Brown, Letting the Flesh Fly

     Brown’s first approach in chapter two of the “urban stage” in relation to the “female race delineation” she outlines the “strange choreographies” of several musical plays and the rolls of Topsy. (p. 56) What I found “strange” and shocking, was the scientific racial theories of the “nineteenth century ”which Brown titles “The Disease Called ‘Rascality’”. These theories were widely known and “pitched to the popular” through “press”, “lectures”, and “visual languages”. Visual language for example is a universal message, we need not look beyond the single photo of Marcus Garvey and its impact. I wonder how much these scientific theories influenced the urban stage and hindered black female’s from being hired to perform the roll of Topsy. (p. 77)

     One of the main emphasis of influence applied to racial differences is outlined by “George Combe” were indicated by “the mental constitutions”. (p. 78) Just one year before Stowe’s writing released in 1852, “Samuel Cartwright” claimed the negro race had a disease that was “adapt to do mischief”, cause “violation of the rights of property”. Although this was before emancipation, and applied for the use of “disciplinary tactics”, I argue that these theories along with many others resonated in the general public, and still do today, yet may have had an impact on the lack of black performers allowed to play the role of Topsy. (p. 79) Although author Stowe along with many others, may have been empathetic due to the horrifying truths of survivor “Mary Prince” (p. 80), thus Stowe may have created Topsy as a product of inhumane treatment.

     On page 74, Brown states “the subversive quality is not equally present”. In some cases, “the white female minstrel stage” in “blackface”, was used only to “disrobe authority”, of the “white female duty” in regard to “matronage and entitlement”, and/or the thin claim to embrace  empathy for the black female as a commodity. Eventually, “Black women’s performances of Topsy carried different meanings…” (p. 57) yet “The role always signifies (ownership) of the black female body.” (p. 74) It is appalling to me to know the many scientific theories may have assisted beliefs abroad to suppress black female performers from the roll of Topsy and others. On pages 73 and 74, Brown suggest as to why “black performers” were kept from the roll of Topsy, noting Topsy had become “tamed” do to the death and love of Eva and Christian teachings. In my understanding, Brown speaks of the inner expression Topsy displayed through seemingly rebellious actions, and was unable to identify with until introduced to compassion. This inner compassion held prisoner in the body longing to escape through hands and feet, as Brown states, speaking for avoided black performers, “They might have run away with it”. Yet the minstrels continued emphasizing and playing off Topsy’s seemingly rebellious actions.