Walking the tightrope between racial stereotypes and respectability: images of African American and Native American artists in the golden age of the circus.
The golden age of the circus coincided with especially difficult times in African American and Native American history. For African Americans, this era is known as the Nadir, a time of Jim Crow segregation, scientific racism and the most anti-African-American lynchings. Native Americans faced harsh...
| Publicado en: | Early Popular Visual Culture Vol. 15; no. 3; pp. 315 - 334 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=126078969&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 126078969 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17460654 15UY jtl: Early Popular Visual Culture issn: 17460654 maglogo: N pubinfo: dt: Aug2017 vid: 15 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 126078969 10.1080/17460654.2017.1383028 ppf: 315 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.6MB tig: atl: Walking the tightrope between racial stereotypes and respectability: images of African American and Native American artists in the golden age of the circus. aug: au: Hughes, Sakina M. affil: Department of History, University of Southern Indiana, Evansville, IN, USA su: Circus Aerialists Native American artists Racism Culture African American artists sug: subj: Circus Aerialists Native American artists Racism Culture African American artists keyword: African American circus musicians Native American Race respectability visual culture ab: The golden age of the circus coincided with especially difficult times in African American and Native American history. For African Americans, this era is known as the Nadir, a time of Jim Crow segregation, scientific racism and the most anti-African-American lynchings. Native Americans faced harsh Indian policies, shrinking reservations and the horrors of boarding schools. During this time, African American and Native American leaders used various media to combat white supremacy, uplift their communities, and reverse negative images rampant in all aspects of American culture. Especially egregious were popular images of African American and Native American people in circuses, exhibitions, and other traveling shows. These images showed people of color at best as uncivilized, child-like imbeciles to be trained and at worst as brutal savages to be constrained. Still, many African American and Native American artists found lucrative employment in circuses, Wild West shows, and other traveling venues. Those that did felt pressures from the wider white supremacist society to create demeaning images and pressures from within their own communities to promote racial uplift and assimilation. This study will explore artists who walked the tightrope between these two stressors. This article argues that while many artists of color participated in the demeaning traveling show industry, they also created opportunities and visual images that undermined white supremacy and reflected race pride and racial uplift, albeit differing from middle-class versions of the respectable. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early Popular Visual Culture is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early Popular Visual Culture holder: Taylor & Francis Ltd dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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