White plays Black

De Hut van Oom Tom, Moortje en Othello, but also: de Sjors en Sjimmie-verfilmingen from Henk van der Linden, Wendy van Dijk’s Dushi, the popular Black and White Minstrel sketchshows (until 1972 on Dutch television) and offcourse Zwarte Piet: since the 19th century, white performers have worn make-up to portray caricatured, stereotypical versions of Black* people. In minstrel shows, revues, plays and sketch shows, characters in blackface are a familiar phenomenon. Whilst for many white people these characters are associated with fond (childhood) memories, for Black people they have had a painful impact by contributing to exclusion, inequality and discrimination. The exhibition White Plays Black, drawing on material from the Allard Pierson’s theatre collection and supplemented by contemporary art, explores how a seemingly innocent medium such as theatre has contributed to the normalisation of blackface on Dutch stages – and beyond.

Blackface: from the Middle Ages to the present day

‘It’s just a joke. It’s not meant like that.’ This is how many white people view the act of imitating Black people. But painting one’s face black to portray a Black person is neither innocent nor neutral – as the history of this phenomenon shows. Blackface, colonialism and slavery are, in fact, inextricably linked. The rise of blackface in the 19th century was a direct consequence of the transatlantic slave trade: millions of Black Africans were abducted and enslaved to work on plantations, within a system where Black people were subordinated to white people. In 1847, the first minstrel shows appeared in the Netherlands: by portraying Black people on stage as stupid, lazy, simple-minded or ‘cheerful as slaves’, the white population was able to maintain the social hierarchy and its dominance. However, White Plays Black delves even deeper and shows that the roots of blackface actually go back to the Middle Ages, when Black people, often referred to as ‘Moors’, were depicted in plays, dance performances and street entertainment. The exhibition also explores other forms of racist entertainment, such as public exhibitions (also known as ‘human zoos’).

The struggle for representation continues

For centuries, the theatre has thus provided a platform for racism as a form of entertainment. At the same time, since the 1980s, this same medium has served as a stage for Black resistance. During that period, the first productions in the Netherlands were staged by Black creators, who claimed the stage for their own stories and perspectives. The struggle for representation continues today. One example is the foundation The Need for Legacy, set up by a young generation of theatre-makers of colour who are campaigning for an inclusive history of theatre. White Plays Black also showcases other works by contemporary artists, such as Kara Walker and Brian Elstak, who extend the phenomenon of blackface to the present day and to the ‘international stage’. Taken as a whole, the exhibition challenges visitors with questions such as: are you aware of stereotyping in plays and other forms of entertainment? Where does the line between humour and racism lie? And: from what perspective do you view things? The exhibition hopes to contribute to greater understanding and awareness: together, we can shape a more equitable future.

To accompany the exhibition, a public programme and an educational programme have been developed, aimed at secondary schools and vocational colleges. And keep an eye on our calendar for all the events related to the exhibition!

The exhibition has been made possible in part by funding from the VFonds and the Mondriaan Fund, as well as loans from, amongst others, The Black Archives, The Need for Legacy, Studio Braak, Bijlmer Parktheater and De Pont.

*The decision to capitalise the word ‘Black’ refers to a shared sense of history, identity and community amongst people who identify as Black, both in Africa and within the African diaspora.

Warning

This exhibition contains offensive and racist images, texts and excerpts, including blackface and stereotypical depictions of Black people. The exhibition design by René Wissink of Atelier Argos creates a multi-layered experience with references to the theatre. Indirect sightlines allow visitors to set their own pace when viewing the offensive material.