Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Space, page 26 of 36

 

You appear to be using an older verion of Internet Explorer. For the best experience please upgrade your IE version or switch to a another web browser.

Space, Page 187

Commonly referred to as "jungle music," swing music became wildly popular in the American consciousness. Nightclub emcees and radio announcers tended to locate the ostensibly "black" cultural production as emanating from the jungles of Africa, New Orleans, or "Darktown" (aka Harlem).

Similarly, cartoons extended that racial geography into 2-D space, depicting jazz music as arising out of the urban ghettos of America - spaces which were portals to fantastic blackness.

For example, Clean Pastures located Harlem on the African continent, depicting an angelic "Pair-O-Dice" where segregation is only natural.

Similarly, the 1938 Walter Lantz short Voodoo In Harlem animated stereotypical Ubangi natives singing about voodoo practices taking place in Harlem. Springing forth from the fantastic blackness of the inkwell, the Ubangi leave behind a black spot, which is discovered by an African-American maid who is there to clean up the mess.
Comment on this page
 

Discussion of "Space, Page 187"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 26 of 36 Next page on path

Related:  Labor, Page 122Space, Page 189Race, Page 221Space, Page 150Space, Page 175Race, Page 235Space, Page 138Conclusion, Page 290Labor, Page 123Space, Page 193Race, Page 247Space, Page 190Performance, Page 50Labor, Page 98Race, Page 206Labor, Page 113Introduction, Page 29Performance, Page 74Space, Page 165Labor, Page 88Space, Page 178Race, Page 253Performance, Page 44Space, Page 170Space, Page 172Race, Page 248Race, Page 258Conclusion, Page 286Labor, Page 109Race, Page 231Space, Page 177Race, Page 254Space, Page 197Space, Page 194Performance, Page 82Introduction, Page 6Performance, Page 60Space, Page 188Space, Page 162Conclusion, Page 300Race, Page 224Race, Page 261Space, Page 141Labor, Page 132Introduction, Page 14Race, Page 230Race, Page 220Performance, Page 47Labor, Page 129Introduction, Page 2Labor, Page 128Race, Page 252Space, Page 148Race, Page 232Race, Page 229Labor, Page 101Performance, Page 54Performance, Page 52Labor, Page 112Conclusion, Page 303Performance, Page 45Conclusion, Page 292Conclusion, Page 284Space, Page 184Performance, Page 35Performance, Page 41Space, Page 171Labor, Page 110Conclusion, Page 298Introduction, Page 23Space, Page 152Performance, Page 72Space, Page 163Conclusion, Page 289Space, Page 182Conclusion, Page 275Performance, Page 42Space, Page 191Introduction, Page 1Space, Page 155Labor, Page 119Space, Page 183Conclusion, Page 291Space, Page 181Introduction, Page 21Labor, Page 131Race, Page 251Space, Page 143Race, Page 225Labor, Page 133Space, Page 146Performance, Page 46Conclusion, Page 304Race, Page 239Conclusion, Page 302Space, Page 195Introduction, Page 30Conclusion, Page 296Race, Page 204Race, Page 213Introduction, Page 4Performance, Page 34Performance, Page 77Performance, Page 84Conclusion, Page 273Performance, Page 43Space, Page 137Performance, Page 70Conclusion, Page 278Race, Page 219