David Krasner

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walkers choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walkers choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

The First Black Actors on the Great White Way. By Susan Curtis and Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910. By David Krasner

On April 5, 1917, Three Plays for a Negro Theater by Ridgely Torrence opened at the Garden Theatre in New York City. This performance was a monumental event in American stage history. Not only was this the first dramatic production to portray African American life beyond the cliche, it was also the first production on Broadway to feature an all-black cast. The morning after the three plays were performed, newspapers were filled with praise for the cast, crew, and playwright. Despite such early critical acclaim, Three Plays for a Negro Theater closed before the end of the month and received little attention thereafter. Why was a nation, so fascinated with firsts, able to forget these black actors and this production so quickly? It is this question that Susan Curtis addresses in The First Black Actors on the Great White Way. Set against the backdrop of transforming theater conventions in the early 1900s and the war in 1917, this important study relates the stories of the actors, stage artists, critics, and many others - black and white - involved in this groudbreaking production. Curtis explores in great depth both the progress in race relations that led to this production and the multifaceted reasons for its quick demise.