You know what blackface is.
Is there such a thing as blackVOICE? What is it?
Historically, we might call “blackvoice” one of the performative tools of blackface minstrelsy. In the days when minstrelsy was considered an acceptable form of entertainment, blackface and blackvoice existed simultaneously in the same performance/performer.
What about now?
Iggy Azalea is only one of the most obvious white adopters of a “blaccent” in her work. The practice is of long standing, however.
This is Alison Moyet, a white English “blued-eyed soul” singer from the 1980s.
Covering this classic hit:
Is it blackvoice?
This raises the question: Is there such a thing as whitevoice?
In this 1980 performance of Mozart’s opera Die Entführung aus dem Serail (The Abduction from the Harem), African-American soprano Reri Grist sings the role of Blonde (which means “Blondie” in German), an English maid who, with her mistress, has been taken captive in a Turkish harem. The gruff harem guard, Osmin, takes a shine to her; she tweaks him, telling him that women like to be treated with kindness.
Recently, Congresswoman Alexandria Ocasio-Cortez was accused, mainly by commentators on the right, of engaging in blackvoice:
She responded to her critics by calling it code-switching, the practice of alternating between dialects or accents depending on the situation.
As linguist John McWhorter says, echoing AOC: “Ain’t nothing wrong with that.”
What do you think?