“Let me see you dance:” Ada “Bricktop” Smith, the Charleston, and Racial Commodification in Interwar France

@article{McMahan2015LetMS,
  title={“Let me see you dance:” Ada “Bricktop” Smith, the Charleston, and Racial Commodification in Interwar France},
  author={Matthew Joseph McMahan},
  journal={Journal of Dramatic Theory and Criticism},
  year={2015},
  volume={29},
  pages={43 - 61}
}
  • M. McMahan
  • Published 23 July 2015
  • Art, History
  • Journal of Dramatic Theory and Criticism
Matthew McMahan is a Ph.D. Candidate at Tufts University where he studies French theatre and immigration. His research and reviews are published in Praxis, Theatre Journal, Theatre Survey, Theatre Topics and Texas Theatre Journal. He has also worked both regionally and in New York for such theatre companies as the Atlantic Theatre Company, Imaginary Beasts, Indiana Repertory Theatre, the Wooster Group, and Young Playwrights, Inc. “Let me see you dance:” Ada “Bricktop” Smith, the Charleston, and… 

References

SHOWING 1-10 OF 49 REFERENCES
Le Tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930
In France of the early 20th-century, the term "art negre" was as likely to refer to the black music and dance of America as to the sculpture of Africa. Indeed, music and dance, which both racial
“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York1
Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body
Black Girls in Paris: Sally Hemings, Sarah Baartman, and French Racial Dystopias
My Paris is the enchantment of wandering through an old museum, hand in hand with an old friend from Hollywood, lost in the wonder of Rodin. My Paris is the magic of looking up at the Champs-Élysées
Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and Katherine Dunham
This article situates Hurston's largely neglected theatrical presentations of West Indian folk dance alongside the better-known dance work of Baker and Dunham in order to trace shifts in the
The third eye : race, cinema, and ethnographic spectacle
Charting the intersection of technology and ideology, cultural production and social science, Fatimah Tobing Rony explores early-twentieth-century representations of non-Western indigenous peoples in
Black Looks: Race and Representation
Preface to the New Edition Introduction 1. Loving Blackness as Political Resistance 2. Eating the Other 3. Revolutionary Black Women 4. Selling Hot Pussy 5. A Feminist Challenge 6. Reconstructing
The Production and Consumption of Chinese Theatre in Nineteenth-Century California
  • D. Lei
  • History
    Theatre Research International
  • 2003
The history of the earliest documented Chinese opera performances in California (1852) and their successors during the following decades reveal how Chinese theatre in the diaspora was produced and
Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris
The 1931 International Colonial Exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that
Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics
One of the very few Black women's studies books is entitled All the Women Are White; All the Blacks Are Men, But Some of Us are Brave.1 I have chosen this title as a point of departure in my efforts
Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment
Preface to the First Edition. Preface to the Second Edition. Acknowledgements Part 1: The Social Construction of Black Feminist Thought 1. The Politics of Black Feminist Thought 2. Distinguishing
...
1
2
3
4
5
...