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In fact, the notion of the "happy slave" is the core of the Sambo caricature.White slave owners molded African-American males, as a whole, into this image of a jolly, overgrown child who was happy to serve his master.These attributed characteristics are usually negative (Jewell, 1993).
Weel about and turn about and do jis so, eb'ry time I wheel about I jump Jim Crow" (Bean et al., 1997, p. The method of representing African-Americans as "shuffling and drawling, cracking and dancing, wisecracking and high stepping" buffoons evolved over time (Engle, 1978, p. Self-effacing African-American actors began to play these parts both on the stage and in movies.
Bert Williams was a popular African-American artist who performed this stereotype for white society.
As an accommodation to this law, African-Americans developed a shuffling dance in which their feet never left the ground.
The physically impaired man Rice saw dancing in this way became the prototype for early minstrelsy (Engle 1978).
by Laura Green Virginia Commonwealth University As human beings, we naturally evaluate everything we come in contact with.
We especially try to gain insight and direction from our evaluations of other people.
The "foppish" black caricature, Jim Crow, became the image of the black man in the mind of the white western world (Engle, 1978).
This image was even more powerful in the north and west because many people never had come into contact with African-American individuals.
This pervasive image of a simple-minded, docile black man dates back at least as far as the colonization of America.
The Sambo stereotype flourished during the reign of slavery in the United States.