Acts of racial violence were justified and encouraged through the emphasis on this stereotype of the Savage.The urgent message to whites was, we must put blacks in their place or else (Boskin, 1986).
Acts of racial violence were justified and encouraged through the emphasis on this stereotype of the Savage.The urgent message to whites was, we must put blacks in their place or else (Boskin, 1986).Tags: Structured Essay Question HistoryGood English Thesis StatementTerm Paper Research MethodWriting The Methods Section Of A DissertationTeachers Homework SheetsExamples Of A Definition Essay
Bishop Wipple's Southern Diary, 1834-1844, is evidence of this justification of slavery, "They seem a happy race of beings and if you did not know it you would never imagine that they were slaves" (Boskin, 1989, p. However, it was not only slave owners who adopted the Sambo stereotype (Boskin, 1989).
Although Sambo was born out of a defense for slavery, it extended far beyond these bounds.
It is essential to realize the vast scope of this stereotype.
It was transmitted through music titles and lyrics, folk sayings, literature, children's stories and games, postcards, restaurant names and menus, and thousands of artifacts (Goings, 1994).
It has been argued that "[t]he image of the minstrel clown has been the most persistent and influential image of blacks in American history" (Engle, 1978, p. Words from the folk song "Jim Crow," published by E.
Riley in 1830, further demonstrate the transmission of this stereotype of African-Americans to society: "I'm a full blooded niggar, ob de real ole stock, and wid my head and shoulder I can split a horse block.
This pervasive image of a simple-minded, docile black man dates back at least as far as the colonization of America.
The Sambo stereotype flourished during the reign of slavery in the United States.
In fact, "a stereotype may be so consistently and authoritatively transmitted in each generation from parent to child that it seems almost a biological fact" (Boskin, 1986, p. The stereotyping of African-Americans was brought to the theatrical stage with the advent of the blackface minstrel (Engle, 1978). His inspiration for the famous minstrel dance-and-comedy routine was an old, crippled, black man dressed in rags, whom he saw dancing in the street (Engle, 1978).
Beginning in the early 19th century, white performers darkened their faces with burnt cork, painted grotesquely exaggerated white mouths over their own, donned woolly black wigs and took the stage to entertain society. This "city dandy" was the northern counterpart to the southern "plantation darky," the Sambo (Engle, 1978 p. During that time, a law prohibited African-Americans from dancing because it was said to be "crossing your feet against the lord" (Hoffmann, 1986, video).