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Remove ads Ads by TrafficFactory. The museum drew in about , visitors a year. In Barnum purchased The American Museum, which made freaks the major attraction, following mainstream America at the midth century.

Barnum was known to advertise aggressively and make up outlandish stories about his exhibits. Barnum offered one ticket that guaranteed admission to his lectures, theatrical performances, an animal menagerie, and a glimpse at curiosities both living and dead.

One of Barnum's exhibits centered around Charles Sherwood Stratton, the dwarf billed as " General Tom Thumb " who was then 4 years of age but was stated to be With heavy coaching and natural talent, the boy was taught to imitate people from Hercules to Napoleon.

By 5, he was drinking wine, and by 7 smoking cigars for the public's amusement. During —45, Barnum toured with Tom Thumb in Europe and met Queen Victoria , who was amused [15] and saddened by the little man, and the event was a publicity coup.

When Stratton retired, he lived in the most esteemed neighborhood of New York, he owned a yacht, and dressed in the nicest clothing he could buy.

Henry Johnson, a mentally disabled black man. During the Civil War , Barnum's museum drew large audiences seeking diversion from the conflict.

Barnum's most popular and highest grossing act was the Tattooed Man, George Contentenus. He claimed to be a Greek-Albanian prince raised in a Turkish harem.

He had tattoos covering his body. Each one was ornate and told a story. His story was that he was on a military expedition but was captured by native people, who gave him the choice of either being chopped up into little pieces or receive full body tattoos.

This process supposedly took three months and Contentenus was the only hostage who survived. He produced a page book, which detailed every aspect of his experience and drew a large crowd.

Upon his death in , he donated about half of his life earnings to other freaks who did not make as much money as he did. One of Barnum's most famous hoaxes was early in his career.

He claimed this woman was years old, but she was actually only 80 years old. This hoax was one of the first, but one of the more convincing.

Barnum retired in when his museum burnt to the ground. Some of the acts made the equivalent of what some sports stars make today.

Barnum's English counterpart was Tom Norman , a renowned Victorian showman , whose traveling exhibitions featured Eliza Jenkins, the "Skeleton Woman", a "Balloon Headed Baby" and a woman who bit off the heads of live rats—the "most gruesome" act Norman claimed to have seen.

Most famously, in , Norman came into contact with Joseph Merrick , sometimes called "the Elephant Man", a young man from Leicester who suffered from extreme deformities.

Merrick arrived in London and into Norman's care. Norman, initially shocked by Merrick's appearance and reluctant to display him, nonetheless exhibited him at his penny gaff shop at Whitechapel Road , directly across the road from the London Hospital.

At this time, however, public opinion about freak shows was starting to change and the display of human novelties was beginning to be viewed as distasteful.

After only a few weeks with Norman, the Elephant Man exhibition was shut down by the police, and Norman and Merrick parted ways.

A different way to display a freak show was in a dime museum. In a Dime Museum, freak show performers were exhibited as an educational display of people with different disabilities.

For a cheap admission viewers were awed with its dioramas, panoramas, georamas, cosmoramas, paintings, relics, freaks, stuffed animals, menageries, waxworks, and theatrical performances.

No other type of entertainment appealed to such diverse audiences before. New York City was the dime museum capital with an entertainment district that included German beer gardens, theaters, vendors, photography, studios, and a variety of other amusement institutions.

New York also had more dime museums than any place in the world. Freak shows were the main attraction of most dime museums during — with the human oddity as the king of museum entertainment.

Visitors were directed from platform to platform by a lecturer, whose role was to be the master of ceremonies. The lecturer needed to have both charisma and persuasiveness in addition to a loud voice.

His rhetorical style usually was styled after the traditional distorted spiel of carnival barkers, filled with classical and biblical suggestions.

As the nineteenth century ended and the twentieth began there was a shift in popularity of the dime museum and it began its downward turn.

Audiences now had a wide variety of different types of popular entertainment to choose from. Circuses, street fairs, world's fairs, carnivals, and urban amusement parks, all of which exhibited freaks, began to take business away from the dime museums.

In the circus world, freak shows, also called sideshows, were an essential part of the circus. It was a symbol of the peak of the practice and its acceptance in American society.

During the s it was common to see most circuses having freak shows, eventually making the circus a major place for the display of human oddities.

Most of the museums and side shows that had traveled with major circuses were disgracefully owned during most of By human phenomena were now combined with a variety of entertainment acts from the sideshows.

By tent size and the number of sideshow attractions began to increase, with most sideshows in large circuses with twelve to fifteen exhibits plus a band.

Bands typically were made up of black musicians, blackface minstrel bands, and troupes of dancers dressed as Hawaiians. These entertainers were used to attract crowds and provide a festive atmosphere inside the show tent.

By the s the circus was declining as a major form of amusement, due to competition such as amusement parks; movie houses and burlesque tours; and the rise of the radio.

Circuses also saw a large decline in audience during the depression as economic hard times and union demands were making the circus less and less affordable and valuable.

Freak shows were viewed as a normal part of American culture in the late 19th century to the early 20th century. The shows were viewed as a valuable form of amusement for middle-class people and were quite profitable for the showmen.

Some scholars [ who? Other scholars [ who? Changing attitudes about physical differences led to the decline of the freak show as a form of entertainment towards the end of the 19th century.

As previously mysterious anomalies were scientifically explained as genetic mutations or diseases , freaks became the objects of sympathy rather than fear or disdain.

Laws were passed restricting freak shows for these reasons. For example, Michigan law forbids the "exhibition [of] any deformed human being or human monstrosity, except as used for scientific purposes".

People could see similar types of acts and abnormalities from the comfort of their own homes or a nice theater, they no longer needed to pay to see freaks.

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There was also a shift in American culture which influenced people to see leisure activities as a necessary and beneficial equivalent to working, thus leading to the popularity of the freak show.

The showmen and promoters exhibited all types of freaks. People who appeared non-white or who had a disability were often exhibited as unknown races and cultures.

Hypopituitary dwarfs who tend to be well proportioned were advertised as lofty. Achondroplastic dwarfs, whose head and limbs tend to be out of proportion to their trunks, were characterized as exotic mode.

There were four ways freak shows were produced and marketed. The first was the oral spiel or lecture. The second was a printed advertisement usually using long pamphlets and broadside or newspaper advertisement of the freak show.

The third step included costuming, choreography, performance, and space used to display the show, designed to emphasize the things that were considered abnormal about each performer.

The final stage was a collectable drawing or photograph that portrayed the group of freaks on stage for viewers to take home. Exhibits were authenticated by doctors who used medical terms that many could not comprehend but which added an air of authenticity to the proceedings.

Freak show culture normalized a specific way of thinking about gender, race, sexual aberrance, ethnicity, and disability.

Scholars [ who? Freak shows were a space for the general public to scrutinize bodies different from their own, from dark-skinned people, to victims of war and diseases, to ambiguously sexed bodies.

During the first decade of the twentieth century, the popularity of the freak show was starting to dwindle. However, it was very common for Barnum's acts to be schemes and not altogether true.

Barnum was fully aware of the improper ethics behind his business as he said, "I don't believe in duping the public, but I believe in first attracting and then pleasing them.

The museum drew in about , visitors a year. In Barnum purchased The American Museum, which made freaks the major attraction, following mainstream America at the midth century.

Barnum was known to advertise aggressively and make up outlandish stories about his exhibits. Barnum offered one ticket that guaranteed admission to his lectures, theatrical performances, an animal menagerie, and a glimpse at curiosities both living and dead.

One of Barnum's exhibits centered around Charles Sherwood Stratton, the dwarf billed as " General Tom Thumb " who was then 4 years of age but was stated to be With heavy coaching and natural talent, the boy was taught to imitate people from Hercules to Napoleon.

By 5, he was drinking wine, and by 7 smoking cigars for the public's amusement. During —45, Barnum toured with Tom Thumb in Europe and met Queen Victoria , who was amused [15] and saddened by the little man, and the event was a publicity coup.

When Stratton retired, he lived in the most esteemed neighborhood of New York, he owned a yacht, and dressed in the nicest clothing he could buy.

Henry Johnson, a mentally disabled black man. During the Civil War , Barnum's museum drew large audiences seeking diversion from the conflict.

Barnum's most popular and highest grossing act was the Tattooed Man, George Contentenus. He claimed to be a Greek-Albanian prince raised in a Turkish harem.

He had tattoos covering his body. Each one was ornate and told a story. His story was that he was on a military expedition but was captured by native people, who gave him the choice of either being chopped up into little pieces or receive full body tattoos.

This process supposedly took three months and Contentenus was the only hostage who survived. He produced a page book, which detailed every aspect of his experience and drew a large crowd.

Upon his death in , he donated about half of his life earnings to other freaks who did not make as much money as he did. One of Barnum's most famous hoaxes was early in his career.

He claimed this woman was years old, but she was actually only 80 years old. This hoax was one of the first, but one of the more convincing.

Barnum retired in when his museum burnt to the ground. Some of the acts made the equivalent of what some sports stars make today.

Barnum's English counterpart was Tom Norman , a renowned Victorian showman , whose traveling exhibitions featured Eliza Jenkins, the "Skeleton Woman", a "Balloon Headed Baby" and a woman who bit off the heads of live rats—the "most gruesome" act Norman claimed to have seen.

Most famously, in , Norman came into contact with Joseph Merrick , sometimes called "the Elephant Man", a young man from Leicester who suffered from extreme deformities.

Merrick arrived in London and into Norman's care. Norman, initially shocked by Merrick's appearance and reluctant to display him, nonetheless exhibited him at his penny gaff shop at Whitechapel Road , directly across the road from the London Hospital.

At this time, however, public opinion about freak shows was starting to change and the display of human novelties was beginning to be viewed as distasteful.

After only a few weeks with Norman, the Elephant Man exhibition was shut down by the police, and Norman and Merrick parted ways. A different way to display a freak show was in a dime museum.

In a Dime Museum, freak show performers were exhibited as an educational display of people with different disabilities.

For a cheap admission viewers were awed with its dioramas, panoramas, georamas, cosmoramas, paintings, relics, freaks, stuffed animals, menageries, waxworks, and theatrical performances.

No other type of entertainment appealed to such diverse audiences before. New York City was the dime museum capital with an entertainment district that included German beer gardens, theaters, vendors, photography, studios, and a variety of other amusement institutions.

New York also had more dime museums than any place in the world. Freak shows were the main attraction of most dime museums during — with the human oddity as the king of museum entertainment.

Visitors were directed from platform to platform by a lecturer, whose role was to be the master of ceremonies. The lecturer needed to have both charisma and persuasiveness in addition to a loud voice.

His rhetorical style usually was styled after the traditional distorted spiel of carnival barkers, filled with classical and biblical suggestions.

As the nineteenth century ended and the twentieth began there was a shift in popularity of the dime museum and it began its downward turn.

Audiences now had a wide variety of different types of popular entertainment to choose from. Circuses, street fairs, world's fairs, carnivals, and urban amusement parks, all of which exhibited freaks, began to take business away from the dime museums.

In the circus world, freak shows, also called sideshows, were an essential part of the circus. It was a symbol of the peak of the practice and its acceptance in American society.

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