From the 1940s onward, a progressive trend in Minstreling permitted real black men to participate on stage – often along side white actresses. It must be born in mind that plantations existed well into the early 20th century. Slaves cannot help being uneducated because that is the state that the slave-master demands (knowing less is believed to make a person more easily controllable). On stage, the “interlocuter” would sit on a central throne and control the entire show. He is in fact the “slave-master” – and his slaves sit all around him – like obedient soldiers. Why the seats? Well, the “crackers” – the white security guards with whips (stood in the aisles) – preferred that the slaves be seated (and in one place for as long as possible) until it was their turn to perform. These crackers, although hidden, probably numbered as high as the performers just in case the slave-master (or his white assistants) were attacked at any point in the show. When blacked-up white men took the place of the slaves, the risk of attack disappeared, but the organisation used to control the slaves was retained on stage as an important feature of the entertainment itself. It is interesting to consider that popular music, in all its genres, is believed to have evolved out of the Minstreling tradition.
SANGHA KOMMUNE (SSR) 