The Tautology of Blackface and the Objectification of Racism: A “How-To” Guide

This essay examines U.S. blackface performance in the twentieth century through the lens of Adorno's mass culture critiques, specifically of jazz music. Despite being rooted in the divisive logic of antiquated live performance traditions, blackface as a racist glyph flourishes in the technologically mediated social environment of the twentieth century. By replacing Adorno's critique of jazz with a direct investigation of blackface, the essay argues for a more materialist approach to minstrelsy studies that acknowledges both circulation and accumulation as oppressive hegemonic forces.Published online: 06 Jul 2016; 18 Month EmbargoThis item from the UA Faculty Publications collection is made available by the University of Arizona with support from the University of Arizona Libraries. If you have questions, please contact us at repository@u.library.arizona.edu