Production of Race in the 19th and 20th Centuries

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The production of race and racism in the American context was shaped by several events during the 19th and 20th centuries. The definition of race shifted from excluding skin color to being its primary factor in its new construction. Race and racism in the American context was invented as a response through political struggles and disputes. In, Love & Theft Blackface Minstrelsy and the American Working Class, Lott explains how blackface minstrelsy was a popular means of entertainment in America in the mid 19th century. Blackface minstrelsy was an event during the mid 19th century that helped produce race and racism relating it to skin color. In, All the World’s a Fair, Rydell explains how the world’s fairs further attempted to imprint distinctions of race by physical features and skin color in the late 19th and early 20th centuries. The world’s fairs massive displays promoted economic and material growth by suggesting which race had been more progressive. These events most notably discriminated against Black people. Despite this, Black people showed resistance, as mentioned by Robinson in Black Movements in America. The Blacks resisted the new production of race and racism in the American context by either assimilating or separating. In the new construction of race and racism during the mid 19th century, blackface minstrelsy played an immense role in acknowledging differences in skin color. Lott mentions that “blackface minstrelsy was an established nineteenth-century theatrical practice, principally of the urban North, in which white men caricatured blacks for sport and profit” (Lott pg.3). White men caricatured blacks by painting the visible parts of their body with burnt cork or greasepaint suggesting immediately that Black people were indeed black. Since blackface minstrelsy was a very popular means of entertainment, this notion of black skin color began to

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