Talk:Master Juba

message: Dear future editors: I'm aware that such extensive quotes are not typically used in articles like this, but I ask you to make an exception in this case. Dickens captures the atmosphere magnificently and the final paragraph conveys more about Juba, I think, than entire chapters of dry historical writing could. Thx. JDG 22:27, 23 October 2006 (UTC)
replies: text: This article sorely needs expansion, and should it make it to the length it deserves, the Dickens quote will not be obtrusive at all. I hope to one day take a crack at this article, with George Washington Dixon as a model of sorts. I really like the flavor that period quotes can bring to an article. — BrianSmithson 22:45, 23 October 2006 (UTC)

text: I completely agree with keeping the Dickens quote. - Jmabel | Talk 17:16, 26 October 2006 (UTC)
thread_title:  Please keep the large Dickens quote 

message: This is an unfortunate case. This page has been a copyvio for a long time. Innocent editors have worked on it. But the meat of the article is still copied from another site. I used the Wayback Machine at www.archive.org and the other site looks like it came first. Especially given related pages, the audio version there, etc. Hullaballoo Wolfowitz 22:36, 1 November 2006 (UTC)
replies: text: Really? Where do you think the copy vio occurred? The earliest versions of this article look little or nothing like the page at masterjuba.com. — BrianSmithson 22:37, 1 November 2006 (UTC)
replies: text: All the way back at the second edit. Opening of the other page: "Master Juba’s real name was William Henry Lane. He was born a free black man in Rhode Island in 1825, and began his career as a performer in minstrel shows. He played the banjo and the tambourine and could imitate the moves of all of the best dancers of his time." Opening of the second edit: "Master Juba was the stage name of William Henry Lane. He was born a free black man in Rhode Island in 1825, and began his career as a performer in minstrel shows in the 1840s. He played the banjo and the tambourine and could imitate the moves of all of the best dancers of his time." The copvio was started by an anon. Therefore I didn't put a warning of the IP talk page. It looks like the anon tried to hide the copy vio. He didn't do it all at once and changed a tiny number number of words. The long Dickens quote is identical to the one at masterjuba.com, too. Hullaballoo Wolfowitz 22:55, 1 November 2006 (UTC)
replies: text: Well, the Dickens quote is fair game, since it's PD. But I'll take a look at the rest later today to see if I can salvage it. -- BrianSmithson 02:22, 2 November 2006 (UTC)

text: I've gone through the article edit-by-edit and restored anything that did not originate from or build on anything from 204.210.36.114. The remaining article lacks some of the original context, but it's not copyvio. — BrianSmithson 12:17, 2 November 2006 (UTC)
thread_title:  Copyvio issues 

message: Dulcem, I took a shot at some of this. Let me know whether you find my edits helpful or not: you clearly know the topic better than I do, I'm just trying to smooth the writing, in the face of the criticisms of style on the FAC page. Do check to make sure that none of what I've written is misinterpretation. - Jmabel | Talk 06:09, 9 May 2008 (UTC)
replies: text: Thanks for the attention. I'll take a closer look this evening or in the morning, but so far what I've seen seems good. You've been a big help. — Dulcem (talk) 06:53, 9 May 2008 (UTC)
thread_title:  My recent edits 

message: "Juba then billed himself as the 'King of All the Dancers' and played there for two weeks..." Referent of "there" is unclear: a city was mentioned, but not a venue. - Jmabel | Talk 23:26, 9 May 2008 (UTC)
replies: text: Good catch. I've clarified that Boston was intended. — Dulcem (talk) 02:17, 10 May 2008 (UTC)
thread_title:  Unclear phrase 

message: We quote, "The principal feature in entertainments at Vauxhall is Juba". Then several paragraphs later we say "The Serenaders continued through Britain and played such high-class establishments as the Vauxhall Gardens," but presumably "at Vauxhall" mean the Vauxhall Gardens. Unless there is some reason to think otherwise, we should resequence or reword. - Jmabel | Talk 23:51, 9 May 2008 (UTC)
replies: text: I've tried to reorder. The idea was to keep all the praise/criticism of the European tour confined to one area, which necessitated the break in chronology. I'm not sure my change is any better though. What do you think? — Dulcem (talk) 02:21, 10 May 2008 (UTC)
replies: text:  Much better. & thanks for the "Boston" clarification. - Jmabel | Talk 05:16, 10 May 2008 (UTC)
thread_title:  Vauxhall 

message: "He was a fully integrated member of the troupes with which he toured": given the racial connotations of "integrated", it seems a poor choice of word. How about "He an integral member of the troupes with which he toured"? - Jmabel | Talk 06:24, 10 May 2008 (UTC)
replies: text: I've changed this per your suggestion. Thanks. — Dulcem (talk) 12:44, 11 May 2008 (UTC)
thread_title:  "Integrated" 

message: "Musicologist Hans Nathan has said that Juba was heir to a black tradition that likely moved north with free black migrants...": I realize this is a paraphrase of a source, so perhaps it should stay as it is, but why any need for "moved north"? There were plenty of blacks in New York City (although, of course, never as many as in the plantation states). New York had black slaves until 1827 (as well as a large free black population). - Jmabel | Talk 16:56, 10 May 2008 (UTC)
replies: text: I've tried to reword the paraphrase to better represent Nathan's ideas. Thanks again, — Dulcem (talk) 12:44, 11 May 2008 (UTC)
thread_title:  "moved north" 

message: I’m surprised that the article doesn’t mention where the "Juba and American Minstrelsy" was first published.
It appears to be in: Marian Hannah Winter, "Juba and American Minstrelsy," Dance Index Vol. 6 No. 2, February 1947 (pages ?)
Most authors prefer to cite:
Chronicles of the American Dance, ed. Paul Magriel (H. Holt , New York, 1948), 39-63.  Aa77zz (talk) 16:13, 11 February 2010 (UTC)
thread_title:  Juba and American Minstrelsy 

message: A very interesting article, thanks to all concerned.  About Juba in the UK - "Nevertheless, an element of exploitation followed him through the British Isles, with writers treating him as an exhibit on display" and "Master Juba's stint with Pell makes him the earliest known black performer to tour with a white minstrel troupe.[53] 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." I think are interesting points that could be developed.  
It must be borne in mind that the UK of the 1850's was a very white place: British-owned slaves had almost exclusively worked on the plantations in the West Indies, not in the UK itself and so there was virtually no slavery-derived black population as in the US - the large-scale migration of Afro-Caribbeans to the UK didn't really get underway til the late 1940's (see MV Empire Windrush). Also, the UK never had segregation/a colour bar the way the US did: there was a lot of racism, sure, but it was not legally formalised.  So the idea of him being 'allowed' to perform with a white minstrel troup mustn't be viewed through the lens of the US experience.  The UK has long been welcoming to US black performers, sometimes more so than their own country - more recently see the reaction of black US jazz musicians coming to the UK who were unused to being able to perform with white musicians (as discussed by Ken Clarke in his recent BBC radio series), Jimi Hendrix etc. 86.150.103.254 (talk) 17:16, 14 February 2010 (UTC)
replies: text: I would disagree with the statement in the article that Juba was quickly forgotten and references to him are rare.  This was not so in the UK.  In the Gale 19th c. newspapers database are several references to him throughout the 1850s as the gold-standard performer of black American dance, the man all others must be measured against. He wasn't practising a high-status form of art and so his fame was more ephemeral than that of, say, a famous ballet dancer might have been: but even as late as 1881 - thirty years after his death - a blackface entertainer in Bristol was billing himself as 'Boz Juba'. RLamb (talk) 00:20, 22 March 2011 (UTC)
thread_title:  Juba in the UK 

message: I think this page has been vandalize with some racist jargon. I can't fix it from my mobile phone (and I'm no editor anyway). But this is really bad since its black history month and its a featured article. Someone should revert the edits asap. 
-Miles  —Preceding unsigned comment added by 206.53.157.103 (talk) 13:21, 16 February 2010 (UTC)
replies: text: Don't worry, they've been reverted. 86.147.162.38 (talk) 14:10, 16 February 2010 (UTC)
thread_title: Racist Edits!

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