Christy's Minstrels was founded in Buffalo, NY by Edwin P. Christy in the early 1840s. The troupe climbed to their lasting fame when they debuted in New York City's Mechanics Hall on February 15, 1847. Christy and his fellow blackface performers, George Christy, Tom Vaughn, and Lansing Durand, stayed with Mechanics Hall for 7 years (1). E.P. Christy came to the realization that in order to maintain “repeat audiences” his troupe needed to take on a new approach in how they performed (2). The two most significant areas he addressed were structure and style. Historian Mark Knowles discussed the structure of the early 1840s minstrel show in his book Tap Roots: The Early History of Tap Dancing: “The various parts in the minstrel show were interchangeable…All four men danced, played instruments, did jokes, and sang(3).”
Christy took the show from being an unorganized, rambunctious spectacle to a full-fledged, refined performance. Their work became known as the traditional four-part minstrel show format (4). As for their style, Christy’s Minstrels changes “emphasized respectability (5).” On October 10, 1847, the New York Sunday Dispatch wrote an article describing the troupe’s performances: “There is a variety which prevents the slightest feeling of monotony, and an elegance and perfection of art which removes the least shade of vulgarity (6).” Furthermore, the music, according to historian Richard Crawford, put “more emphasis on polished musical sound than unruly antics(7).” Together, the troupe’s new performance structure and style proved to be the best example of the changing dynamic in minstrelsy from the 1840s into the 1850s.
Christy took the show from being an unorganized, rambunctious spectacle to a full-fledged, refined performance. Their work became known as the traditional four-part minstrel show format (4). As for their style, Christy’s Minstrels changes “emphasized respectability (5).” On October 10, 1847, the New York Sunday Dispatch wrote an article describing the troupe’s performances: “There is a variety which prevents the slightest feeling of monotony, and an elegance and perfection of art which removes the least shade of vulgarity (6).” Furthermore, the music, according to historian Richard Crawford, put “more emphasis on polished musical sound than unruly antics(7).” Together, the troupe’s new performance structure and style proved to be the best example of the changing dynamic in minstrelsy from the 1840s into the 1850s.
1) Crawford, Richard. America's Musical Life: A History. New York: Norton, 2001. 212.
2) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.
3) Knowles, Mark. Tap Roots: The Early History of Tap Dancing. Jefferson, N.C.: McFarland &, 2002. 101.
4) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 8.
5) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.
6) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.7) Crawford, Richard. America's Musical Life: A History. New York: Norton, 2001. 212.
2) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.
3) Knowles, Mark. Tap Roots: The Early History of Tap Dancing. Jefferson, N.C.: McFarland &, 2002. 101.
4) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 8.
5) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.
6) Mahar, William John. Behind the Burnt Cork Mask: Early Blackface Mistrelsy and Antellum American Popular Culture. Urbana: University of Illinois Press, 1999. 26.7) Crawford, Richard. America's Musical Life: A History. New York: Norton, 2001. 212.