Following the first performances of the Virginia Minstrels in 1843, the minstrel show and its music were adopted across the Anglophone world. The Virginia Minstrels toured England in the year of their US debut, generating numerous imitators. American and British minstrel groups toured to the Australian colonies from 1850. In their wake, amateur minstrelsy emerged in private and public spheres. Although the touring groups, their musical content, and their reception have been the subject of considerable research, much less study has been made of amateur minstrel activities, especially in the colonial context. This article seeks to redress this and examines three different minstrel groups active in the 1850s, 1860s, and 1870s in the Newcastle region of New South Wales. Within this study, attention is paid to the conundrum of coalminers with their coal-blackened faces taking on the role of blackface performer, in the context of historical vilification of miners in racial terms. The article thus contributes to an understanding of the colonial impact of an Imperial racist agenda in which dirt, pigment, and impurity were elided.

中文翻译：

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工作和娱乐中的黑脸​​：猎人谷的业余Minstrel团体，1840-1880年

继1843年弗吉尼亚五星琴乐队的首次演出之后，整个英语演出和音乐在整个英国英语界得到广泛采用。Virginia Minstrels在美国首次亮相之年就参观了英格兰，产生了许多模仿者。从1850年开始，美国和英国的吟游诗人团体就参观了澳大利亚殖民地。随之而来的是，业余吟游诗人出现在私人和公共领域。尽管巡回演出的团体，他们的音乐内容和接受程度已成为大量研究的主题，但对业余吟游诗人活动的研究却很少，尤其是在殖民地背景下。本文试图解决这一问题，并研究了在新南威尔士州纽卡斯尔地区活跃于1850、1860和1870年代的三个不同的吟游诗人团体。在这项研究中 在种族歧视历史上，关注煤矿工人的难题，他们的煤黑面孔扮演黑脸表演者的角色。因此，该文章有助于理解帝国种族主义议程对殖民地的影响，其中消除了污垢，色素和杂质。