Joel Sweeney

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Joel Sweeney
Joel Sweeney

Joel Walker Sweeney (1810 – October 29, 1860), also known as Joe Sweeney, was a musician and early blackface minstrel performer. Born on a farm in Buckingham (now Appomattox) County, Virginia, he claimed to have learned to play the banjo from local African-Americans and is the earliest documented white banjo player. In addition, he is the earliest known person to have played the banjo on stage. [1] Aside from his important role in popularizing the instrument, he is also acknowledged as major contributor to the physical development of the modern 5-string banjo. Whereas the instrument's resonating chamber had formerly been constructed from a gourd (like the banjo's African ancestors and cousins), Sweeney is said to have been influencial in popularizing the use of a drum-like resonating chamber. Moreover, he is often credited with adding a fifth, bass string to the instrument, which should not to be confused with the high-pitched, thumb or drone string. Sweeney also performed with the Virginia Minstrels for a time.

Throughout most of the 1830s, the banjo was an instrument reserved for African Americans. A few musicians performed on stage in "the Louisiana Banjou style" by the middle of the decade, but the instrument used was the violin.[2] By 1839, Sweeney was performing in various blackface venues in New York. His earliest documented use of the banjo on stage was in April 1839. That same month, he performed alongside James Sanford at the Broadway Circus in New York with a blackface burlesque of The Dying Moor's Defence of His Flag called "Novel Duetts, Songs, &c". This was accompanied by a "Comic Morris Dance by the whole company".[3] According to Billy Whitlock of the Virginia Minstrels, Sweeney gave Whitlock a few banjo lessons around this time.

By 1841, Sweeney was remaking the banjo into an instrument for the middle class. His advertisements boasted that he played with "scientific touches of perfection".[4] Another raved, "Only those who have heard Sweeny [sic] know what music there is in a banjo."[5] For the next few years, he was the benchmark against whom other banjo players were compared. After a performance by Dan Emmett at the Bowery Amphitheatre Circus, the New York Herald wrote, "Emmit's [sic] banjo playing is fully equal to Jo [sic] Sweeney's, and far ahead of any other now in the United States."[6] "Jenny Get Your Hoe Cake Done" and "Knock a Nigger Down" became two of Sweeney's signature tunes.

Sweeney saw success, and by early 1843, he had embarked on a European tour that would include stops in London and Edinburgh. In July 1843, Sweeney was playing during entr'actes at the Adelphi Theatre in Edinburgh, Scotland. Frank Brower of the Virginia Minstrels met him there and joined Sweeney's act as a bones player. The two toured, performing in early October at the Theatre Royal in Birmingham and later that month in a circus at Leicester. At some point, Brower parted company to tour with Dan Emmett, though he rejoined Sweeney by spring of 1844.

At this time, Dick Pelham met up with Sweeney and Brower, and the trio decided to reform the Virginia Minstrels with Sweeney as banjoist. They found Emmett in Bolton and talked him into joining, although Sweeney would be the troupe leader. The new Virginia Minstrels performed in Dublin at the Theatre Royal from 24 April to 7 May during entr'actes, then continued for a series of entr'actes and complete minstrel shows in Cork, Belfast, then Glasgow by the end of May. They did several shows at the Theatre Royal, Adelphi, and later in the Waterloo Rooms in Edinburgh, followed by a return engagement in Glasgow, this time at City Hall.

[edit] Notes

  1. ^ Cockrell 148.
  2. ^ 15 October 1834. Boston Post. Quoted in Cockrell 147.
  3. ^ 23-26 December 1839. New York Herald. Quoted in Cockrell 52.
  4. ^ 18 March 1841. Playbill, Bowery Theatre. Quoted in Cockrell 148.
  5. ^ 9 December 1841. Boston Post. Quoted in Cockrell 148.
  6. ^ 31 January 1842. New York Herald. Quoted in Cockrell 149.

[edit] References

  • Cockrell, Dale (1997). Demons of Disorder: Early Blackface Minstrels and Their World. Cambridge University Press.
  • Nathan, Hans (1962). Dan Emmett and the Rise of Early Negro Minstrelsy. Norman: University of Oklahoma Press.

[edit] External links

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