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Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an emerging urban popular culture. In an era of U. These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences. Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Babylon and Valaida Snow, Brown girls the histories of bbylon singers and dancers together with incisive theoretical insights. She describes the strange phenomenon girla blackface performances by women, both black gorls white, and she considers how black expressive artists navigated racial segregation.

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These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences. 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. In an era of U.

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Her incredibly valuable book demonstrates how African Americans moved in resilient and unpredictable ways—both geographically and performatively—during the early twentieth century. Brown shows not only how these girls influenced transnational ideas of the modern woman but also how babylon artistry was an essential element in the development of jazz. Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an emerging urban popular culture.

It is of interest to cultural and dance historians, literary scholars, ethnic and gender studies specialists, dancers and performers and the general public alike.

Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Giels explains how these women shaped the movement and style of an emerging urban popular culture. Brown's richly researched work makes an invaluable contribution to the burgeoning field of performance studies. Visa hela texten. It covers the major genres of popular performance—minstrelsy, burlesque, the variety stage, the gkrls line, social dance, and jazz music and dance—all with synoptic rigor.

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These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences. Babylon Girls is further notable for providing a long-awaited feminist critique of the male biases dominating scholarship on minstrelsy.

She describes the strange phenomenon of blackface performances by women, babylon black and white, and she considers how black expressive artists navigated racial segregation. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Her work thus challenges the male bias and American-centrism native to most studies of blackface minstrelsy and the formation of vernacular culture.

They dance about their realities, but they also resist, reinterpret, and reposition blackness as something mobile, material, and modern. 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 girls and dancers together with incisive theoretical insights.

Through a consideration of the bahylon, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped babylon movement and style of an emerging urban popular culture. Studded with archival finds that open up many new avenues for future research, Babylon Girls is also a challenge to theories and histories of black performance that fail to incorporate gender into their analyses of theater, dance, and music.

These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than girls of their audiences. 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.

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Including extensive notes and bibliography and some pictures, this book will be valuable in performance and popular-culture collections. All readers, all levels.

History weaves throughout this important book without crystallizing into a neat, linear, all-encompassing framework. Bodies are alive and re acting in its s. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation.

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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. The result is new discoveries about an overlooked subject in the history of American popular culture.

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. Highly recommended. 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.

Babylon Girls is diasporic performance history from below. In an era of U. 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. 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.

Babylon girls

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. In engaging, intensely eloquent prose, Brown asserts that black women's performances therefore shaped transatlantic articulations of modern selfhood.

Consistently pushing multiple fields in new directions, Jayna Brown reveals the centrality of black female performance culture in the making of transatlantic modernity. In an era of U.

Black women performers and the shaping of the modern

Artists such as the women about whom Brown writes deserve to have their babylom and work studied and attended to—as Brown does, providing brilliant analysis of and insight into the meanings embedded in them. The research is thorough and meticulous, and the archival photographs interspersed throughout further enrich the transatlantic stories. Babylon Girls demands a second reading, and should serve as a reference for anyone who is a student of any type of performance.

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