Blackface performers take up the banjo

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Joel Walker Sweeney, a Virginian who said he had learned from enslaved Black musicians, begins touring in blackface with the banjo as his central instrument; through the 1840s the Virginia Minstrels, the Christy Minstrels and their imitators carry the format across the United States, Britain, Ireland and Australasia. The instrument is industrialised, mass-marketed and detached from the people who created it, and the caricature it is embedded in is used to justify first slavery and then segregation.

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