For “Nigger Minstrels”
In the previous chapter hints have been given to enable a party of five or more performers to give a Nigger Minstrel Entertainment. The object of the following is to show how one or two people can contrive to amuse their friends with a few negro performances.
The pieces are suitable either as items in a variety entertainment, or as convenient “gags” to be introduced between longer entertainments when the interest of the audience is to be sustained by some timely diversion.
It might be remarked, by the way, that it is surprising how much the effect of a joke depends upon the humor of the audience. If they are feeling in a happy and pleasant frame of mind, the mere sight of a comic man is sufficient to bring forth roars and shrieks of laughter. But if a gloom or lack of interest has settled over the company, even the comic genius of the late Dan Leno would most probably have failed to raise a smile.
There are two things almost invariably associated with nigger songs—a banjo and bones. Proficiency with both these is necessary before attempting to give an entertainment.
Practice and a quick ear are indispensable for playing or even strumming a banjo. A very little practice will enable you to strike chords with ease, whilst a quick ear will show when they should be played.
To make a successful “hit” with the “bones” is a question, more or less, of knack.
A set of four bones costs about $1.00. When buying take care they are sound, i.e. with no crack or flaw, and that they contain no core of pith, as this is liable to dull the sound, rendering it quite impossible to obtain the sharp clean click so necessary for successful rendition.
Having obtained your bones—a pair for each hand—you must know how they should be held. Notice they are slightly curved, as in [Fig. 1]. With a pair in each hand place the ends between the first and second and second and third fingers, the convex sides towards each other ([Fig. 2]). Hold No. 1 (the bone between the first and second fingers) fairly firmly, although not so stiffly as to rob it of a distinct spring. No. 2 (the bone between the second and third fingers) must be rapped up against its companion by the action of the third and fourth fingers.
Fig. 1.—Curved bone used in nigger minstrelsy.
A sharp shake of the hand will make the bones clap together, while if you keep the hand quivering and also work bone No. 2 vigorously a continuous rattle is produced.
Fig. 2.—How to hold the bones.
Fig. 3.—Correct position for playing the bones.
A good plan, when once you are accustomed to having the bones between the fingers, is to hold the hand with the knuckles upwards, the bones pointing to the ground, as in [Fig. 3]. By this means the fingers are allowed freer play. At the same time a better appearance is given to the exhibition.
At first you will find your rattles jerky and spasmodic, but do not be content until you have the bones so entirely under command that you can make a long rattle as easily as a solitary tap, remembering that the less exertion you betray the better will be the effect.
Your own ear will show you how to introduce them into the music. Do not drown the air—the bones are only intended to give a point, to accentuate certain parts and not to render them inaudible. A smart rattle may be given at the commencement of the music and at the conclusion of the song.