Abstract

White men pretending to be black men by blackening their faces and performing, on stage, the peculiar antics that constituted their vision of blackness. This chapter explores how black people sustain themselves under conditions of racial terror, exclusion, and oppression. Eric Lott's point goes beyond shaming and repudiation, though, to suggest that minstrelsy is more, and more interesting, than a garden variety expression of racism. The men who donned blackface did so in an attempt to work out their own identities as Americans, and some chose blackness as a vehicle for this because of a genuine, if paternalistic and complicated, respect for black culture. The point of the work has been to assemble black aesthetics as an object of philosophical study, using the resources, broadly speaking, of analysis, pragmatism, and genealogical cultural criticism and social theory.