By Abbey Klaassen (Editor)
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Extra resources for Advertising Age - 11 April 2011
This is the source for the souvenir Silk that, I suggest, is an early version of the press kit, and an early appropriation of the review-as-testimonial. Testimonial In Extremis: The Northern Tour Pell, Juba, and the Ethiopian Serenaders left London in the Fall of 1848 for a tour that took them to many large- and medium-sized urban centers in the Midlands, the northern industrial regions around Sheffield and Manchester, and into Scotland; with a brief return to London, they were on the road until the summer of 1850.
It emphasizes the unusual character of the performance through the “unprecedented” nature of a letter of endorsement from the President of the United States. And finally, though less overtly, the letter endorses the uniquely American character of the performance by emphasizing both the specificity of the imitation (“your performance of the negro character”—meaning the plantation slave), and the sense of “mission” in a British tour (“forwarding your views as Ethiopian minstrels”). There is in this at least a hint that the letter views minstrelsy as a means to exhibit American culture abroad, in a similar manner to the exhibition of African, Asian, Middle Eastern, and South American culture and Testimonials in Silk 29 performance popular with the British middle classes at this time—a line of defense and promotion that was unquestionably used by minstrel performers in Britain.
It is an appeal to an audience that did not read newspapers, consistent with early minstrelsy’s attempt to attract the full range of patrons. It is also consistent with the other advertising strategies for this tour; indeed, the mystery promoted by the Stirling poster complements the testimonials, which are generally beside themselves with their delight in the mystery of the performance. This was an alternative model the Serenaders could, and to some extent did, use in their search for patronage.
Advertising Age - 11 April 2011 by Abbey Klaassen (Editor)