Minstrels

= The Minstrel =

A minstrel was a medieval European bard who performed songs whose lyrics told stories about distant places or about real or imaginary historical events. Though minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets and became well liked until the middle of the Renaissance, despite a decline beginning in the late 15th century. Minstrelsy fed into later traditions of traveling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity down to today's buskers or street musicians.

For more information go to: http://en.wikipedia.org/wiki/Minstrel

= Minstrelsy or Minstrel shows =

The minstrel show, or minstrelsy, was an American entertainment consisting of comic skits, variety acts, dancing, and music, performed by white people in "blackface" or, especially after the Civil War, also black people, also in "blackface".

A common theatrical form used by such troupes was the so-called Ethiopian burlesque, Ethiopian opera, or Ethiopian sketch. Or more bluntly referred to as a negro burlesque, negro farce or negro sketch (or even less euphemistically nigger burlesque, nigger farce or nigger sketch).

For more information go to: http://en.wikipedia.org/wiki/Minstrel_show

= Minstrels and Minstrel Shows in South Africa =

The introduction of minstrel shows to the country
Deriving from the popular 19th century African-American tradition of minstrel shows, the form apparently first brought to South Africa by the Christy Minstrels during their 18** tour, this style of performance has had an enormous impact on South African performance culture, as Bosman (1964), Coplan (1985) and Kruger (1999) show.

The 1860s and early 1870s are interesting in this respect. The names and terms such as the S.A. Minstrels (1860), African Minstrels (1862), Amateur Christy's, Nigger Burlesque, Grand Christy Entertainment, Minstrels, Comic Negro Song, Christy Concert frequently crop up in Cape Town theatres for example, and F.C.L. Bosman (1980) for example refers to the type of performances as "Christy's" or "Christy programmes", etc.

One of the most noticeable of the longer term effects of the exposure to the Christy's performances, is to be seen in the way they directly influenced the form, dress and style of the so called Coon Carnival in Cape Town, while such South African minstrel groups as the African Darkies, African Own Entertainers, and the Midnight Follies became popular, and in their turn influenced township performance through their use of coon songs and skits borrowed from recordings and sheet music from Britain and the USA.

An offshoot of this influence is also found in the mid-20th century "Follies" or "Minstrel Shows"  (the Minstrels and Follies series during the 1970's) by people like Brian Brooke,  Joan Brickhill and Louis Burke, and others.

Minstrel companies and their performances in South Africa
Among the minstrel companies specifically mentioned are:

The African Minstrels
The African Minstrels was perhaps related to the S.A. Minstrels of 1860, consisting of eight men under the leadership of "Colour Sergeant" Heaven performed an interlude during a performance of The Miller and His Men and A Kiss in the Dark by officers and men from the 11th Regiment in the Barracks Theatre, Cape Town on Tuesday 2 December 1862.

Though it is tempting to assume otherwise in this case, the rank of "Colour Sergeant" does not mean that Heaven was from an African corps of some kind, it is in fact a specific rank of non-commissioned officer found in several armies. It is likely though that his cast of Minstrels consisted of ensigns under his care.

The 86th Royal Downshire Minstrels
The 86th Royal Devonshire Minstrels, who - under the patronage of Captain Jackson of the 86th Royal Downshire Regiment, performed a Grand Christy Entertainment Show in the Oddfellows Hall on 19 April 1869 and another evening's entertainment on the 27th May, then reappeared with similar work (and billed as a "celebrated Troupe") in 1872.

1870: Performed The Mischievous Nigger (White) in the New Lyceum Theatre in July, 1870.

The Amateur Coloured Troupe
The Amateur Coloured Troupe was the name given to a private (i.e. non regimental) concert company, performing under in the Minstrelsy style popularized by the Christy Minstrels. They were active in Cape Town between 1869 and 1871. They seem to have emerged from the Y.M.I. Amateur Christy's, also performing in the Young Men's Institute Institute and Club, and soon replacing it as the leading Christy's company. Their repertoire included typical Christy material, e.g. pantomimes, burlesques, also what were euphemistically called "Ethiopian burlesques" and more bluntly "nigger farces" at the time. These were usually part of a more conventional programme of songs, dances and virtually always included a dramatic entertainment of some kind. Their performances were often adopted to local conditions in the Cape.

Regular performers named in the early years were H. Burton, J. Lyal (or J. Lyall) and T. Grimier, with occasional mention of Mr Marchand, Mr Dix. Later E. Clifton and Mr Peverill became leading figures in the company. Others mentioned include Mr France, Mr Pomp, Mr Hamilton, Mr Stuart, Mr Emery, Mr Johnson, Miss Moore, Miss Peverill, Miss Lorenzo.

Their busiest year seems to have been 1869, doing at least 14 performances durting the period May to November, and also included participation in the Saturday Evening Entertainments put on by the Young Men's Institute and Club Dramatic Company. In 1870 the latter fell away and they tended towards theatrical performances of plays, often two on an evening, alongside their singing. They did at least six performances between May and September. In this year they also performed three shows in the New Lyceum Theatre (or Oddfellows Hall), and even did one performance in Wynberg at the Government School Building.

The performances in 1869 included The Challenge Dance, The Photographic Salon, Wha'rs Your Ticket, Who Stole the Chickens, Executive Lovers,  The Dentist's Shop, The White Statue, Polka Maria, Othello (described as a "Ethiopian Burlesque in 3 Acts"). In 1870 they did Shylock, or De Old Clothes Merchant of Venice ("Grand Ethiopian Burlesque"), Rochester Knockings (or The Magic Leg?), Caught by the Cuff, Full Private Perkins and The Rival Lovers (the latter two referred to as "nigger farces"). These performances all took place in Young Men's Institute Institute and Club, while the following two special performances were done in July in the New Lyceum Theatre: The Virginian Mummy; and a week later the The Mischievous Nigger and The Area Belle (the evening's "Grand Entertainment" staged with the help of J. Ryan of the 86th Royal Downshire Minstrels). Another show in this venue occurred in September, with a benefit for E. Clifton, featuring The Two Polts and Mazeppa ("Grand Ethiopian Burlesque"). Only one performance by the Troupe is mentioned for 1871, a year in which very little theatre actually occurred in Cape Town, and the play performed was Joe Desmond's Revenge, and 1872 offered nothing.

The Amateur Dramatic and Christy Minstrels Company
This company apparently only did one recorded performance of "Negro melodies, farces, etc." in February 1867 in the bowling saloon of the Swiss Hotel in Plein Street Cape Town. It may have then become part of the Young Men's Dramatic Company, which did two performances in the same venue a few months later.

The Y.M.I. Amateur Christy's
The Young Men's Institute and Club Dramatic Company performed in the Young Men's Institute and Club (or sometimes called the Y.M.I. Institute and Club).

= Sources =

https://en.wikipedia.org/wiki/Colour_sergeant

F.C.L. Bosman, 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik: pp. 167, 255, 266, 274, 278-280, 291

Bosman (1964), Coplan (1985) and Kruger (1999)

(Coplan??p 124)

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