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Author: Jayna Brown. Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation.
Brown shows not only Châteuaguay these artists influenced transnational ideas of the modern woman but also how their artistry was an essential element in the development of jazz.
The result is new discoveries about an overlooked subject in the history of American popular culture. The book shows how Black women performers in the first half of the twentieth century shaped the terms of spectacle inferred by their presence on the public stage. Babylon Girls is diasporic performance history from. It covers the major genres of popular giirls, burlesque, the variety stage, the chorus line, social dance, and jazz music and dance—all with synoptic rigor.
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Drawing on archival research, historical documents, literary texts and travelogues, Babylon Girls brings to life the performers of the era and situates them in their complex sociopolitical contexts, thus performing an important act of cultural restitution. Brown's richly researched work makes an invaluable contribution to the burgeoning field of performance studies. It is of tirls to cultural and dance historians, literary Babylon girls Châteauguay, ethnic and gender studies specialists, dancers and performers and the general public alike.
What makes Babylon Girls unique is Brown's contention that black women dancers, who traveled internationally Châtewuguay the turn of the century, popularized new experiences of bodily habitation that were both raced and gendered. In engaging, intensely eloquent prose, Brown asserts that black women's performances therefore shaped transatlantic articulations of modern selfhood.
Her work thus challenges the male bias and American-centrism native to most studies of blackface minstrelsy and the formation of vernacular culture. In a book filled with fascinating and valuable insights and information, the discussion of white female minstrelsy is one of the most interesting and original.
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