"There Was No Resisting John Canoe": Circum-Atlantic Transracial Performance
"There Was No Resisting John Canoe": Circum-Atlantic Transracial Performance
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“没有抵抗约翰·卡诺”：环大西洋跨种族表演
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发表时间：
2012
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影响因子：
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通讯作者：
Peter Reed
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作者：
Peter Reed
在她1861年的自传《一个奴隶女孩生活中的事件》中，哈里特雅各布斯写到了流行的节日奴隶表演，她称之为“约翰坎诺斯”这些表演以各种各样的形式出现在整个大西洋世界，曾经蔓延到美国东海岸，今天在加勒比海地区幸存下来。他们的运动-地理和文化-使他们成为十九世纪大西洋世界最引人注目和最狡猾的表演之一。这些表演以各种形式向各种观察者展示了大西洋黑人文化。英国牙买加种植园主和剧作家马修G。刘易斯（也许最出名的是在英国帮助创作了哥特式情节剧）在19世纪的头几十年里感受到了琼科努的魅力。他发现《约翰·独木舟》和雅各布斯一样引人注目，称这部电影的主角是“不可或缺的”，甚至是不可抗拒的。正如刘易斯的日记所表明的那样，这场演出对白色和黑色的观众都意义重大。对于奴隶和奴隶主来说，这一法案代表了种族间互动的一个引人注目的时刻。Jonkonnu在一系列不断变化的重新发明中产生了广泛的吸引力，揭示了移动的
In her 1861 autobiography Incidents in the Life of a Slave Girl, Harriet Jacobs writes of popular holiday slave performances she calls “Johnkannaus.” The performances, appearing in various guises throughout the Atlantic world, once spread up the eastern seaboard of the United States and survive today in the Caribbean. Their movements—geographical as well as cultural—make them some of the most compelling and slippery performances in the nineteenthcentury Atlantic world. In its various forms, the acts performed black Atlantic culture to a variety of observers. Anglo-Jamaican planter and playwright Matthew G. Lewis (perhaps best known for helping to create gothic melodrama back in England) sensed Jonkonnu’s allure in the ¤rst decades of the 1800s. He found “John Canoe” just as compelling as Jacobs did, calling the act’s main character “indispensable,” even irresistible. As Lewis’s journal suggests, the performance meant much to audiences both white and black. For slave and slaveholder alike, the act represents a compelling moment of interracial interaction. Jonkonnu generated its broad appeal in a series of shifting reinventions, revealing mobile