According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
Taking it to the stage: Performing arts education and African American male academic identity development
