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Vaudeville and Immigrant America[edit]

The racial relations of Irish and African Americans is showcased by the cover art and lyrics of St. Patrick's Day is a Bad Day for Coons.

In addition to vaudeville's prominence as a form of American entertainment, it reflected the newly evolving urban inner city culture and interaction of it's operators and audience. Making up a large portion of immigration to the United States in the mid-19th century, Irish Americans interacted with established Americans, with the Irish becoming subject to discrimination due to their ethnic physical and cultural characteristics. The ethnic stereotypes of Irish through their greenhorn depiction alluded to their newly arrived status as immigrant Americans, with the stereotype portrayed in avenues of entertainment. [1]

Following the Irish immigration wave, several waves followed in which new immigrants from different backgrounds came in contact with the Irish in America's urban centers. Already settled and being native English speakers, Irish Americans took hold of these advantages and began to assert their positions in the immigrant racial hierarchy based on skin tone and assimilation status, cementing job positions that were previously unavailable to them as recently arrived immigrants. [2] As a result, Irish Americans became prominent in vaudeville entertainment as curators and actors, creating a unique ethnic interplay between Irish American use of self-deprecation as humor and their diverse inner city surroundings. [3]

The interactions between newly arrived immigrants and settled immigrants within the backdrop of the unknown American urban landscape allowed vaudeville to be utilized as an avenue for expression and understanding. The often hostile immigrant experience in their new country was now used for comic relief on the vaudeville stage, where stereotypes of different ethnic groups were perpetuated. [4] The crude stereotypes that emerged were easily identifiable not only by their distinct ethnic cultural attributes, but how those attributes differed from the mainstream established American culture and identity.[5]

Coupled with their historical presence on the English stage for comic relief, [3] and as operators and actors of the vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant population and in their new country as a whole by the Irish on stage. [6] Unfortunately, the same interactions between ethnic groups within the close living conditions of cities also created racial tensions which were reflected in vaudeville. Conflict between Irish and African Americans saw the promotion of black face minstrelsy on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy. [7]

Although the Irish had a strong Celtic presence in vaudeville and the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor. As the Irish donned their ethnic costumes, groups such as the Chinese, Italians, Germans and Jews utilized ethnic caricatures to understand themselves as well as the Irish. [8] The urban diversity within the vaudeville stage and audience also reflected their societal status, with the working class constituted 2/3 of the typical vaudeville audience. [8]

The ethnic caricatures that now comprised American humor reflected the positive and negative interactions between ethnic groups in America's cities. The caricatures served as a method of understanding different groups and their societal positions within their cities. [8] The use of the greenhorn immigrant for comedic effect showcased how immigrants were viewed as new arrivals, but also what they could aspire to be. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty [9] to the lace curtain [10] became a model of economic upward mobility for immigrant groups.

  1. ^ Williams, William H. A. (2002). "Green Again: Irish-American Lace-Curtain Satire". New Hibernia Review.
  2. ^ Barrett, James (2012). The Irish Way: Becoming American in the Multi-Ethnic City. New York: The Penguin Press. p. 107.
  3. ^ a b Barrett, James (2012). The Irish Way: Becoming American in the Multi-Ethnic City. New York: The Penguin Press. ISBN 978-0143122807.
  4. ^ "Sign In". doi:10.2307/467640. Retrieved 2016-03-01.
  5. ^ Wittke, Carl (1952). "The Immigrant Theme on the American Stage". The Mississippi Valley Historical Review. doi:10.2307/1892181.
  6. ^ Bayor, Ronald (1996). The New York Irish. Baltimore, Maryland: John Hopkins University Press. pp. 143–145.
  7. ^ Barrett, James (2012). The Irish Way: Becoming American in the Multi-Ethnic City. New York: The Penguin Press. p. 159.
  8. ^ a b c Barrett, James (2012). The Irish Way: Becoming American in the Multi-Ethnic City. New York: The Penguin Press. pp. 166–167.
  9. ^ Barrett, James (2012). The Irish Way: Becoming American in the Multi-Ethnic City. New York: The Penguin Press. p. 108.
  10. ^ Wittke, Carl (1952). "The Immigrant Theme on the American Stage". The Mississippi Valley Historical Review. doi:10.2307/1892181.
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