Western colonialism in the context of "Portuguese conquest of Ceuta"

Blackface is the practice of performers using burned cork, shoe polish, or theatrical makeup to portray a caricature of black people on stage or in entertainment. Scholarship on the origins or definition of blackface vary with some taking a global perspective that includes European culture and Western colonialism. Blackface became a global phenomenon as an outgrowth of theatrical practices of racial impersonation in theatres across the British Empire, where it was integral to the development of imperial racial politics. Scholars with this wider view may date the practice of blackface to as early as Medieval Europe's mystery plays when bitumen and coal were used to darken the skin of white performers portraying demons, devils, and damned souls. Still others date the practice to English Renaissance theater, in works such as William Shakespeare's Othello and Anne of Denmark's personal performance in The Masque of Blackness.

However, some scholars see blackface as a specific practice limited to American culture that began in the minstrel show; a performance art that originated in the United States in the early 19th century and which contained its own performance practices unique to the American stage. Scholars taking this point of view see blackface as arising not from a European stage tradition but from the context of class warfare from within the United States, with the American white working poor inventing blackface as a means of expressing their anger over being disenfranchised economically, politically, and socially from middle and upper class White America.

Conspiracy theories -- (i.e. explanations for an event or situation that asserts the existence of a conspiracy, generally by powerful sinister groups, often political in motivation), but always when other explanations are more probable -- are a prevalent feature of Arab politics, according to a number of sources. A 1994 paper in the journal Political Psychology by Prof. Matthew Gray writes they "are a common and popular phenomenon" that are important to understanding the political landscape of the Arab world. Variants include conspiracies involving Islamic anti-Semitism, anti-Zionism, the machinations of Western colonialism, superpowers, oil, and the war on terror, which is often referred to in Arab media as a "War against Islam". Roger Cohen theorizes that the popularity of conspiracy theories in the Arab world is "the ultimate refuge of the powerless". The prevalence of conspiracy theories reflects effective top-down dissemination of disinformation by state actors, rather than a unique susceptibility of Arab culture to conspiracy, as some have claimed. State hostility and weak protections for journalists present major obstacles to challenging conspiracy theories, as journalists struggle to gather information and put their lives at risk by contradicting their governments. The spread of antisemitic and anti-Zionist conspiracism in the Arab world and the Middle East has seen an extraordinary proliferation since the beginning of the Internet Era.

Gray points out that actual conspiracies such as the 1956 plot to seize control of the Suez Canal encourage speculation and creation of imagined conspiracies. After the 1967 Six-Day War which resulted in a decisive Arab defeat, conspiracy theories started to gain traction in the Arab world. The war was perceived as a conspiracy by Israel and the United States—or its opposite: a Soviet plot to bring Egypt into the Soviet sphere of influence. Thomas Friedman notes the numerous conspiracy theories concerning the Lebanese civil war, attributing the source of the conflict to "Israelis, the Syrians, the Americans, the Soviets, or Henry Kissinger" in an attempt to destabilize the Lebanese government.