The depreciation of the race that Mungo started continued, and when in 1781 _Robinson Crusoe_ was given as a pantomime at Drury Lane, Friday was represented as a Negro. The exact origins of Negro minstrelsy are not altogether clear; there have been many claimants, and it is interesting to note in passing that there was an "African Company" playing in New York in the early twenties, though this was probably nothing more than a small group of amateurs. Whatever may have been the beginning, it was Thomas D. Rice who brought the form to genuine popularity. In Louisville in the summer of 1828, looking from one of the back windows of a theater, he was attracted by an old and decrepit slave who did odd jobs about a livery stable. The slave's master was named Crow and he called himself Jim Crow. His right shoulder was drawn up high and his left leg was stiff at the knee, but he took his deformity lightly, singing as he worked. He had one favorite tune to which he had fitted words of his own, and at the end of each verse he made a ludicrous step which in time came to be known as "rocking the heel." His refrain consisted of the words:
Wheel about, turn about, Do jis so, An' ebery time I wheel about I jump Jim Crow.
Rice, who was a clever and versatile performer, caught the air, made up like the Negro, and in the course of the next season introduced Jim Crow and his step to the stage, and so successful was he in his performance that on his first night in the part he was encored twenty times.[1] Rice had many imitators among the white comedians of the country, some of whom indeed claimed priority in opening up the new field, and along with their burlesque these men actually touched upon the possibilities of plaintive Negro melodies, which they of course capitalized. In New York late in 1842 four men--"Dan" Emmett, Frank Brower, "Billy" Whitlock, and "Dick" Pelham--practiced together with fiddle and banjo, "bones" and tambourine, and thus was born the first company, the "Virginia Minstrels," which made its formal debut in New York February 17, 1843. Its members produced in connection with their work all sorts of popular songs, one of Emmett's being "Dixie," which, introduced by Mrs. John Wood in a burlesque in New Orleans at the outbreak of the Civil War, leaped into popularity and became the war-song of the Confederacy. Companies multipled apace. "Christy's Minstrels" claimed priority to the company already mentioned, but did not actually enter upon its New York career until 1846. "Bryant's Minstrels" and Buckley's "New Orleans Serenaders" were only two others of the most popular aggregations featuring and burlesquing the Negro. In a social history of the Negro in America, however, it is important to observe in passing that already, even in burlesque, the Negro element was beginning to enthrall the popular mind. About the same time as minstrelsy also developed the habit of belittling the race by making the name of some prominent and worthy Negro a term of contempt; thus "cuffy" (corrupted from Paul Cuffe) now came into widespread use.