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Profiles forty-five lithographs by Paul Colin which portray the uproar African-Americans created in music and dance in Paris after World War I.
The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene. In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France’s complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
This revelatory biography of Folies Bergere dancer Josephine Baker (1906-1975) is a study of struggle, truimph and tragedy.
* Critically acclaimed biographies of history's most notable African-Americans * Straightforward and objective writing * Lavishly illustrated with photographs and memorabilia * Essential for multicultural studies
Beyond biography: a legendary performer's legacy of symbolism
Josephine Baker (1906-1975) was nineteen years old when she found herself in Paris for the first time in 1925. Overnight, the young American dancer became the idol of the Roaring Twenties, captivating Picasso, Cocteau, Le Corbusier, and Simenon. In the liberating atmosphere of the 1930s, Baker rose to fame as the first black star on the world stage, from London to Vienna, Alexandria to Buenos Aires. After World War II, and her time in the French Resistance, Baker devoted herself to the struggle against racial segregation, publicly battling the humiliations she had for so long suffered personally. She led by example, and over the course of the 1950s adopted twelve orphans of different ethnic backgrounds: a veritable Rainbow Tribe. A victim of racism throughout her life, Josephine Baker would sing of love and liberty until the day she died.
Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping. Nicknamed the "Black Venus," "Black Pearl," and "Creole Goddess," Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker's film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker's Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis artfully illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans' broader aspirations for progress toward racial equality. Examining an unexplored aspect of Baker's career, Josephine Baker's Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.
"There was Cleopatra. Later there was Josephine Baker. The French called her La Baker, the epitome of all that was exciting from the 1930s on. The toast of two continents, she could be found at night, dressed in her fabulously elaborate gowns and headdresses or just her famous banana costume, receiving standing ovations at the Folies Bergere. By day, tout Paris greeted her as she strolled down the Champs Elysées in a Dior frock, leading her pet leopard with its jeweled collar. Josephine Baker had come a long way from the black ghetto in St. Louis where she was born. Here is a dramatic story, heartwarming, horrifying, and funny by turns. Legends about her life and loves were legion, then and now. But only one person knew the real story of Josephine--herself. This is her book. Nearly completed before her death in 1975, it has been added to by her husband, Jo Bouillon, her sister, several of her adopted children, and her close friends. And what a life it was: one-night stands in tank-town theaters throughout the U.S., success in New York, and finally triumph in Paris and other European cities...fabulous costumes and famous friends...legendary performances throughout the world...lovers, husbands, jewels, pets... her efforts in World War II for the Free French cause...winning the medal of Resistance, given by General De Gaulle... her twelve adopted children of different races and religions--her Rainbow Tribe...Château Milandes which was to be a monument to human brotherhood and which was literally sold out from under her...her continuous fight for racial equality...her great comeback on the Paris stage just a few days before her death. Josephine's story is larger than life, for she reveled in the glamour of yesterday and today, and struggled for a more enlightened tomorrow." -- Book jacket
This rich, once-in-a-lifetime volume gathers photographs, posters, drawings, prints, and sculpture to tell the story of Bakers life and contributions to 20th century culture.