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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, Online excel sheet password recovery in United Kingdom she considers how black expressive artists navigated racial segregation.

Brown shows not only how 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 Babylon girls Morley inferred by their presence on the public stage. Babylon Girls is diasporic performance history from. It covers the major genres of popular performance—minstrelsy, burlesque, the variety stage, the chorus line, social dance, and jazz music and dance—all with synoptic rigor. Studded with archival finds that open up many new avenues for future research, Babylon Girls is also Babylon girls Morley challenge to theories and histories of black performance that fail to incorporate gender into their analyses of theater, dance, and music.

Drawing on archival research, historical documents, literary texts and travelogues, Babylon Girls brings to life the performers of the era and situates them in their complex sociopolitical contexts, thus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 Bangor d c singles an invaluable contribution to the burgeoning field of performance studies. It is of interest to cultural and dance historians, literary scholars, ethnic and gender studies specialists, dancers and performers and the general public alike.

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What makes Babylon Girls unique is Brown's contention that black women dancers, who traveled internationally from 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 Babylon girls Morley with fascinating and valuable insights and information, the discussion of white female minstrelsy is one of the most interesting and original. Artists such as the women about whom Brown writes deserve to have their lives and work studied and attended to—as Brown does, providing brilliant analysis of and insight into the White pages tomah United Kingdom embedded in.

Babylon Girls is further notable for providing a long-awaited feminist critique of the male biases dominating scholarship on minstrelsy. Babylon Girls demands a second reading, and should serve as a reference for anyone who is a student of any type of performance. Aiyenimelo, Feminist Review.

The research is thorough and meticulous, and the archival photographs interspersed throughout further enrich the transatlantic stories.

History weaves throughout this important book without crystallizing into a neat, linear, all-encompassing framework. Bodies are alive and re acting in its pages. They dance about their realities, but they also resist, reinterpret, and reposition blackness as something mobile, material, and modern. Including extensive gigls and bibliography and some pictures, this book will be valuable in performance and popular-culture collections.

Highly recommended.

Black Women Performers and the Shaping of the Modern

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