The crucible of American popular theater was the minstrel stage, where white actors blacked up to perform racist caricatures of African-Americans. ‘‘Hamilton’’ flips minstrelsy on its head, offering sympathetic and insightful portrayals of the archetypal white Americans, the founding fathers and mothers, by a cast composed almost entirely of people of color. ‘‘The show reflects what America looks like now,’’
Who lives? Who dies? Who tells your story?
Jessica Hoekstra

Love this notion of, “flip[ping] minstrelsy on its head”, particularly in how it also relates to music of a revolution that has echoes of the past in the present. This is a bit provocative, but I’m thinking of how there’s been so much anti-rhetoric on the destruction of cities, shopfronts, and looting, particuarly in the violent responses that occured in Baltimore and Ferguson. It’s interesting to put those riots and looting side by side to historic episodes such as the Boston Tea Party or other deliberate responses to British tyrancial rule in cities like Boston, Philadelphia, and New York. Somehow we celebrate those historical events and feel like incidents such as the Boston Massacre gave free reign for Americans during the colonial era to fight for freedom from George III and yet there’s no willingness to learn from the past and see how black (in particular, although not just black) resistance, violent or nonviolent, may be a just or authentic response to American tyranny and oppression.

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