Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s

The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.

the brownies’ book: du bois e a construção de uma referência literária para identidade negra infanto-juvenil

In the period from January 1920 to December 1921 a cooperation between Jessie Fauset, Augustus Dill and W.E.B. Du Bois resulted in the publication of a periodical called “The Brownies’ Book” (TBB) the first publication for North American black, and not white (colored people) children and young people. The creation of “The Brownies' Book” (TBB) was a pioneering event in African American literature in general and, more specifically, in the field of African American children's literature, as it was the first periodical composed and published by African Americans for black children who, until then, searched in vain for material that included a perspective on their experience and history. This article argues that the TBBs were one of the harbingers of the movement called the Harlem Renaissance, constituting a children's literary materialization of the path towards the emergence of what the philosopher Alain Locke called the New Negro. What was being formulated was both the deconstruction of stereotypes associated with blacks and the active projection/creation of a positive identification with their local and ancestral community. This paper seeks to identify the post-WWI discursive strategies and practices of de-racialization proposed for “the children of the sun”, as W.E.B. Du Bois called them, in order to stop seeing themselves “through the eyes of others” (Du Bois, 1903).