ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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Amateur puppetry continued to be a place of contradictions. Munger’s Little Black Sambo deepened the cultural connection to, albeit imagined, African American life by introducing music she attributes to black tradition. Her choice of music, “I’ve Been Workin’ on the Railroad,” was not the most innovative selection nor even necessarily authentic African American music. 248 However, other puppeteers, who used her published text, might have chosen an authentically African American musical background. Efforts to advance the artistic quality of local blackface puppetry were significant but not representative of the majority of productions. Marjorie Batchelder’s collection at the University of New Mexico preserves dozens of puppet plays, many of which feature blackface characters. Many are either literally or essentially Jim Crow puppets derived from the Punch and Judy tradition. James Juvenal Hayes’s blackface object provides a useful reference. Hayes was a major figure in the Junior Leagues, a division of the Puppeteers of America that arranged projects for such organizations as community groups for underprivileged children and hospitals. His Punch and Judy (1927) script included a blackface character named “Rastus” (see figure 49). Hayes took the dialect and basic action of the Shallaballa scenes in pre-1930s Punch and Judy and depicted it as a composite of blackface puppet traditions. McPharlin’s illustration of the object suggests a combination of Sambo’s child-like vestige and Uncle Tom’s dress. The object’s lines are in the faux-African speech of Shallaballa: “Me Master […] gwine hab 248 Having explored a number of accounts, I have determined that the author of “I’ve Been Workin’ on the Railroad” has been lost to history. Thus, it is impossible to determine if this song is from the African American musical tradition. 197
yo all arrested.” 249 In the same vein, the objects engage in the same argument/fight/exit pattern of the Collier version. Punch mocks the figure’s racial characteristics; “I dented my club […] His head must be solid ivory - or ebony.” 250 Hayes deleted the brutal consequences of the original and reduced this blackface puppet’s essence to comic relief. Fundamentally, Hayes’s production was a tamer version of the Punch show, despite his introduction of some of its characteristics. Fig. 49. “Rastus.” Illustration by Paul McPharlin. Copied from: Frank Marshall. Hand- Carved Punch & Judy Puppets, Marionettes, Ventriloquial Figures. Chicago: Theo Mack & Sons, 1930s. Other puppeteers used blackface puppets more arbitrarily, for comic effect. Tom Fool’s The End of Mr. Fish and Mr. Bones (1928) incorporates an interesting version of this classic minstrelsy role. He does not speak in minstrel language but makes a casual reference to Topsy, and complains that his hair will not curl. 251 In an Anonymous play 249 James Juvenal Hayes, Punch and Judy (Detroit: Paul McPharlin, 1931), 12. 250 Ibid., 13. 251 R. C. Rowlson, The Lion and the Mouse, unpublished collection scripts (Albuquerque: University of New Mexico Majorie Batchelder Collection, 1968). Pages unnumbered. 198
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ABSTRACT Title of Dissertation: THE
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THE PHENOMENOLOGY OF RACIALISM: BLA
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Dedication This dissertation is ded
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Table of Contents Dedication.......
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House and the Brooklyn Academy of M
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Bert O’States expands on the meth
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previous related performances, are
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“blackface” as counterfeit perf
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demands of this transcendent notion
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To manage such an investigation, th
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a celebration of superiority. 20 Th
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playbill, minstrel show script, con
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Lano fancies himself an advocate of
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of the African American race, and s
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in creating the first connection be
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In order to explain the interaction
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performance. 29 Marionette minstrel
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Nonetheless, it maintains the criss
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3), into more complex types. By the
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from the head and leg strings, can
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leased Queen’s Hall in Liverpool
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effectively capture the nonlinear p
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other puppet, is not slack and seem
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was already showing considerable ar
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The Marionettes in Performance The
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of an aged former slave who has esc
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The criminal acts and dishonesty de
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Antislavery songs in a marionette p
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e useful to compare the joke exchan
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the figure, once “folded up prepa
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eginning with a wide variety of mar
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Christy Minstrels, with their reper
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Walter E. Deaves Edwin Deaves, Walt
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some images of minstrel players (re
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Yet, one cannot easily reduce the s
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Daniel Meader Sometime after 1874,
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lackface makeup, rather than authen
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figure 12. His hair is slightly hig
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puppets for the last time, he may s
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The Meader Uncle Tom suggests the e
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Chapter III: David Lano The Essence
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lackface characters for ridicule; h
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doctor. Lano then depicts the black
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A colored quartet now sang. They we
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The Career of David Lano While thre
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Lano’s solo career. One of the la
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human oddities. Like many of its ki
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“continually transforms necessity
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David Lano’s Work Lano’s extant
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such as the kakunga of the Suku peo
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The clothes are a curious blend of
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the age of ten, he presented his ow
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Punch murdering the Servant. Lano c
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form by introducing sentimental mus
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creation on the basis of active mot
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divided between the “Sambo” and
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Though they share in the appercepti
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mild embarrassment on his use of Ji
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“The marionette can be anything o
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he [can] find them.” 147 Calthrop
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of the Moor, who is, though still m
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slanted and sharp, the nostrils are
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perhaps the beginning puppeteer, wh
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taken it from playwright Tsou Ku Ch
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figure, who dismisses his complaint
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Thus, the structure of the play pre
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Chapter V: The Majors The major pup
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Bedchamber.” 165 Sarg described:
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Critics and fellow puppeteers prais
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Sarg and Blackface Though Sarg neve
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“Skin me, Brer Fox,” sez Brer R
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possibilities of puppetry led him t
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was common with the so-called “To
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present his particular imaginations
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herself in need of independent econ
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The Essence of Puppetry for Sue Has
Page 153 and 154: the head to the right and left, to
Page 155 and 156: art,” and “a descendent of the
Page 157 and 158: puppeteers to avoid complicated and
Page 159 and 160: delicate verisimilitude for blackfa
Page 161 and 162: Remo Bufano: The Local Emcees the E
Page 163 and 164: Club’s stage (ca 1932) began with
Page 165 and 166: world culture, including a Medieval
Page 167 and 168: impressive aspects of elaborate, la
Page 169 and 170: capture the great variety of black
Page 171 and 172: tangled a Prime Minister marionette
Page 173 and 174: program continued with a pair of ne
Page 175 and 176: no good messin’ aroun’ wid whit
Page 177 and 178: By inaugurating the action with thi
Page 179 and 180: lackface stereotypes, but also mark
Page 181 and 182: Brown’s puppetry work is enigmati
Page 183 and 184: (Marionette Minstrel Show), and Bru
Page 185 and 186: and personality for her/his creatio
Page 187 and 188: Paris’s semiotic choices introduc
Page 189 and 190: characters were common to the varie
Page 191 and 192: However, the essential realism of t
Page 193 and 194: A ninth grade Art Club in Oshkosh,
Page 195 and 196: the Royal Marionettes, with some re
Page 197 and 198: slips away with his clothes. The ti
Page 199 and 200: the same moment, Mumbo commented on
Page 201 and 202: Munger also introduced a range of a
Page 203: minstrelsy. They would also permit
Page 207 and 208: exclamation; “Oh, my lan’! Now
Page 209 and 210: Tom. Simon Legree was a puppet base
Page 211 and 212: event led to a full season of produ
Page 213 and 214: comic context of their puppet plays
Page 215 and 216: epresentations of blacks would cont
Page 217 and 218: impressive, and touted his enterpri
Page 219 and 220: clearly believes that some other pu
Page 221 and 222: of the play to connect with African
Page 223 and 224: its length (see figure 52). Finally
Page 225 and 226: O’Neill’s take on Henri Christo
Page 227 and 228: audiences, then goes on to suggest
Page 229 and 230: Chesse’s reading of Brutus was th
Page 231 and 232: meticulous artistic strokes then, c
Page 233 and 234: Many of the lost objects may have b
Page 235 and 236: sketches would be well-served by th
Page 237 and 238: The FTP production of Little Black
Page 239 and 240: transmitted to, and circulated with
Page 241 and 242: Conclusion: Phenomenology, Authenti
Page 243 and 244: the essence of less grotesque black
Page 245 and 246: used them in plays where puppets ce
Page 247 and 248: minstrelsy-derived Topsy, as genuin
Page 249 and 250: productions featuring blackface cha
Page 251 and 252: _. Race and Ethnic Relations. 3 rd
Page 253 and 254: Durham, Weldon B. ed. American Thea
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Hill, Errol. Shakespeare in Sable:
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Mahar, William J. Behind the Burnt
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Powell, Herbert Preston. The World'
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Spurling, Laurie. Phenomenology and
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