Here is another quote from Jan Nederveen Pieterse's bookWhite on black: images of Africa and Blacks in Western popular culture that focuses on representations of Black people in German culture (again, my interest in German culture in this regard is because of the German version of the children's game of tag that I have just learned about.)

Page 159

"Blacks inhabit German novels and operas as if they were a species of exotic birds. Helmut Fritz mentions a number of black figures in German works, such as Monostatos in Mozart's Die Zauberfote; Solieman, a little Moor in a fairy tale costume who serves as a mascot in Robert Musil's Der Mann ohne Eigenschaften; Franz Grillparzer's Negro Zanga; and the black evil-doer Congo Hoanga in Heinrich von Kleist's Verlobung von St Domingo. From this inventory alone a pattern emerges of German representations: blacks with oriental names (that is, domesticated by or filtered through Arabic culture, often situated in Egypt), like Sarotti-Mohr, tend to be enjoyable, decorous types; while blacks with African-sounding names are aggressive, threatening. This is an interesting bifurcation which seems to suggest some deeper European feelings about Africa. Again the motif of 'two Africas' returns.

In everyday German culture blacks are figuratively consumed in the form of Mohrkopfe and Negerkusses-two different sorts of cream-filled chocolate cake; hence the term the 'edible Negro'. The principle that blacks exist to satisfy white needs has thus been well established. As porcelain flower-bearer servant types like the Sarotti-Mohr decorate German middle class homes-another embourgeoisement of the nobles black page of the past."

-snip-

[Italics are presented as found in that book]