 Master Juba's stint with Pell makes him the earliest known black performer to tour with a white minstrel troupe. Scholars disagree over why he was allowed to do so. Dance historian Marian Hannah Winter argues that Juba was simply too talented to be held back. Dance historian Stephen Johnson sees Juba's talent as less central to the matter, and emphasizes the element of exoticism and exhibition in the tour. During the same period, exhibits of Arab families, Bushmen, Kaffir Zulus, and Ojibway warriors appeared in London. A reviewer for the Manchester Guardian gave an almost anthropological description of Juba, unheard of for other performers:
