1. The Power of Images Jim Crow, Minstrels, & Institutionalized Racism

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21. "Jim Crow" According to The Encyclopedia of New York City (Kenneth Jackson editor, Yale Univ. Press, New Haven, 1995, pp. 763-764) blackface acts were common features in circuses and traveling shows from the 1790s onwards. All this moved to a new level in the 1820s when white entertainer Thomas "Daddy" Rice caused a nationwide sensation by donning burnt cork to perform the song "Jump Jim Crow" on stage. He first heard it from an old black street singer who supposedly made up the lyric about his own name – First on de heel tap, Den on the toe Every time I wheel about I jump Jim Crow. Wheel about and turn about En do j's so. And every time I wheel about, I jump Jim Crow. - From 1823 sheet music "Jim Crow" turned out to be more than a popular song. It became the name of one of minstrelsy's stock comedy characters, and a by-word for legalized racial oppression. In 1828, Jim Crow was born. He began his strange career as a minstrel caricature of a black man created by a white man, Thomas "Daddy" Rice, to amuse white audiences. By the 1880s, Jim Crow had become synonymous with a complex system of racial laws and customs in the South that enabled white social, legal and political domination of blacks. Blacks were segregated, deprived of their right to vote, and subjected to verbal abuse, discrimination, and violence without redress in the courts or support by the white community. - Richard Wormser, The Rise and Fall of Jim Crow. (New York: St. Martin's Press, 2003), p. xi.

22. The Power of Images The images you have just seen are objects of oppression and persecution. They convey the power of the media to promote entertainment as well as to condone racism and hatred. The legacy of Jim Crow, KKK, and Minstrel shows upon American race relations affects us even to this day.