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Various modernist projects celebrating "African primitivism" as high art was typified in projects like Orson Welles and John Houseman's 1936 "voodoo" production of Macbeth at Harlem's Lafayette Theatre, or in Cabin in the Sky, both of which featured an all-black casts.
Similarly, the pseudo-anthropological conceit which informed minstrelsy, and "native" exhibitions in world fairs of the late nineteen and early twentieth century was a part of the larger continuum of working-class entertainment which offered up blackness as fantasy and forbidden pleasure.
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