FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1991236436> ?p ?o ?g. }

• W1991236436 abstract "Uncle Tom in the White Pacific: African-American performances of the “slave sublime” in late-colonial Australasia Melissa Bellanta Abstract In the late nineteenth century, a number of travelling African-American entertainment troupes gave performances evoking the suffering of slaves to audiences in the British settler colonies of Australia and New Zealand. These performances consisted chiefly of Uncle Tom’s Cabin plays and concerts of so-called jubilee songs. A significant portion of the Australian and New Zealand public responded sentimentally to these performances. In this article, I ask why and how this was possible given that the late 1800s was a period of hardening attitudes towards “Coloured” peoples in this part of the “White Pacific.” Why did so many Australasian settlers respond sentimentally to African-American performances of what Paul Gilroy would call the “slave sublime”? My answer is that sentimentality about African-American suffering in another place and time actually reinforced the hardening of settler attitudes towards Indigenous peoples close to home. In so arguing, I seek to relate the existing literature on “Black cultural forms” to new work on settler colonialism in late-colonial Australasia. I also take issue with those who suggest that sentimental cultural forms were no longer significant in the late 1800s, showing that they continued to play an important social and cultural role. -Australia bids you welcome here And in her name I speak. Your wrongs, your songs have drawn a tear, And watered many a cheek. Yet, through our tears, our hearts to thee Feel tender, kind and true; Sweet Singers of the Jubilee, We breathe a prayer for you. —A Tribute to the Fisk Jubilee Singers1 For almost three and a half years in the late 1880s, Frederick J. Loudin’s Fisk Jubilee Singers, the famous African-American choir, toured Australia and New Zealand. Loudin’s group was named after an even more famous Black American choir from the 1870s, the original Fisk Jubilee Singers, from Nashville, Tennessee. As the name suggests, the main items in each of these groups’ repertoires were jubilee songs. A jubilee song was an example of Black American religious music, usually a spiritual, that had been altered to suit the conventions of the commercial concert stage.2 Loudin’s Singers’ performances of jubilee songs such as “Steal Away to Jesus” and “I’m Rolling Through An Unfriendly World” proved enormously popular in Britain’s Australasian colonies.3 They attracted crowds almost everywhere they went. They also garnered critical praise. Crucial to the warmth of their colonial reception were their connections to American slavery. In both their publicity and the press commentary, much was made of the fact that every member of the choir was a former slave or a direct descendant of slaves.4 It was also claimed that their best-known songs were “wild weird melodies and spirituels [sic] composed and sung by the captive slaves while in bondage.”5 Loudin’s Fisk Jubilee Singers were the first African-American group dedicated to the performance of Black religious music to visit Australia and New Zealand. Yet jubilee songs were already circulating in the colonies by the time they arrived. Nonconformist church choirs and White blackface minstrel troupes had performed jubilee songs such as “Go Down, Moses” in the early 1880s.6 More significantly, two touring groups of African-American vocalists had performed jubilee songs in the late 1870s. Both were minstrel troupes confusingly calling themselves the Georgia Minstrels; both, too, appeared in dramatisations of Uncle Tom’s Cabin, Harriet Beecher Stowe’s renowned anti-slavery novel, in collaboration with local White theatre companies. In each case, the Georgia Minstrel troupes fielded performers to act as Uncle Tom and in other melodramas set in the slavery-era American South. Those not acting in these productions reprised their minstrel acts in plantation scenes; all, too, sang a mixture of hymns and jubilee songs at the plays’ most affecting moments. Most music scholars make careful distinctions between jubilee songs performed in concerts by serious vocalists such as Loudin’s Singers and the “spurious” versions offered in minstrel shows and melodramas.7 One could indeed draw many distinctions between the two, not least because vocal concerts were considered..." @default.
• W1991236436 created "2016-06-24" @default.
• W1991236436 creator A5080583359 @default.
• W1991236436 date "2014-01-01" @default.
• W1991236436 modified "2023-10-17" @default.
• W1991236436 title "Uncle Tom in the White Pacific: African-American performances of the “slave sublime” in late-colonial Australasia" @default.
• W1991236436 cites W1490378346 @default.
• W1991236436 cites W1529500089 @default.
• W1991236436 cites W1539119695 @default.
• W1991236436 cites W1539325952 @default.
• W1991236436 cites W1596900066 @default.
• W1991236436 cites W1973584726 @default.
• W1991236436 cites W1985243072 @default.
• W1991236436 cites W1991432176 @default.
• W1991236436 cites W2017840521 @default.
• W1991236436 cites W2020427682 @default.
• W1991236436 cites W2020977284 @default.
• W1991236436 cites W2022687494 @default.
• W1991236436 cites W2046323500 @default.
• W1991236436 cites W2061006428 @default.
• W1991236436 cites W2067361131 @default.
• W1991236436 cites W2072940936 @default.
• W1991236436 cites W2130403294 @default.
• W1991236436 cites W2320036600 @default.
• W1991236436 cites W2328006181 @default.
• W1991236436 cites W2796142683 @default.
• W1991236436 cites W2796373297 @default.
• W1991236436 cites W350594572 @default.
• W1991236436 cites W358438758 @default.
• W1991236436 cites W577901853 @default.
• W1991236436 cites W578787926 @default.
• W1991236436 cites W585417255 @default.
• W1991236436 cites W588393706 @default.
• W1991236436 cites W606097365 @default.
• W1991236436 cites W618059795 @default.
• W1991236436 cites W623841341 @default.
• W1991236436 cites W632494866 @default.
• W1991236436 cites W633445840 @default.
• W1991236436 cites W641341594 @default.
• W1991236436 cites W650054156 @default.
• W1991236436 cites W803332613 @default.
• W1991236436 doi "https://doi.org/10.1353/cch.2014.0048" @default.
• W1991236436 hasPublicationYear "2014" @default.
• W1991236436 type Work @default.
• W1991236436 sameAs 1991236436 @default.
• W1991236436 citedByCount "1" @default.
• W1991236436 countsByYear W19912364362019 @default.
• W1991236436 crossrefType "journal-article" @default.
• W1991236436 hasAuthorship W1991236436A5080583359 @default.
• W1991236436 hasConcept C104317684 @default.
• W1991236436 hasConcept C124952713 @default.
• W1991236436 hasConcept C142362112 @default.
• W1991236436 hasConcept C166957645 @default.
• W1991236436 hasConcept C185592680 @default.
• W1991236436 hasConcept C18903297 @default.
• W1991236436 hasConcept C195244886 @default.
• W1991236436 hasConcept C2776717531 @default.
• W1991236436 hasConcept C2778786929 @default.
• W1991236436 hasConcept C2781188991 @default.
• W1991236436 hasConcept C52119013 @default.
• W1991236436 hasConcept C531593650 @default.
• W1991236436 hasConcept C55493867 @default.
• W1991236436 hasConcept C55958113 @default.
• W1991236436 hasConcept C56273599 @default.
• W1991236436 hasConcept C86803240 @default.
• W1991236436 hasConcept C95457728 @default.
• W1991236436 hasConceptScore W1991236436C104317684 @default.
• W1991236436 hasConceptScore W1991236436C124952713 @default.
• W1991236436 hasConceptScore W1991236436C142362112 @default.
• W1991236436 hasConceptScore W1991236436C166957645 @default.
• W1991236436 hasConceptScore W1991236436C185592680 @default.
• W1991236436 hasConceptScore W1991236436C18903297 @default.
• W1991236436 hasConceptScore W1991236436C195244886 @default.
• W1991236436 hasConceptScore W1991236436C2776717531 @default.
• W1991236436 hasConceptScore W1991236436C2778786929 @default.
• W1991236436 hasConceptScore W1991236436C2781188991 @default.
• W1991236436 hasConceptScore W1991236436C52119013 @default.
• W1991236436 hasConceptScore W1991236436C531593650 @default.
• W1991236436 hasConceptScore W1991236436C55493867 @default.
• W1991236436 hasConceptScore W1991236436C55958113 @default.
• W1991236436 hasConceptScore W1991236436C56273599 @default.
• W1991236436 hasConceptScore W1991236436C86803240 @default.
• W1991236436 hasConceptScore W1991236436C95457728 @default.
• W1991236436 hasIssue "3" @default.
• W1991236436 hasLocation W19912364361 @default.
• W1991236436 hasOpenAccess W1991236436 @default.
• W1991236436 hasPrimaryLocation W19912364361 @default.
• W1991236436 hasRelatedWork W2093707786 @default.
• W1991236436 hasRelatedWork W2239521593 @default.
• W1991236436 hasRelatedWork W2253536102 @default.
• W1991236436 hasRelatedWork W315398972 @default.
• W1991236436 hasRelatedWork W3168729787 @default.
• W1991236436 hasRelatedWork W3193494382 @default.
• W1991236436 hasRelatedWork W4248151926 @default.
• W1991236436 hasRelatedWork W4283832806 @default.
• W1991236436 hasRelatedWork W46986209 @default.
• W1991236436 hasRelatedWork W2751446839 @default.
• W1991236436 hasVolume "15" @default.
• W1991236436 isParatext "false" @default.
• W1991236436 isRetracted "false" @default.

• next