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The profession of Norton and Margot, a ballroom dance group whose paintings used to be thwarted via the racial tenets of the period, serves because the barometer of the days and acts because the journey advisor in this day trip during the worlds of African American vaudeville, black and white the United States through the swing period, the eu traveling circuit, and pre-Civil Rights period racial etiquette.

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Extra info for Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era

Sample text

Yet, the unwritten Yankee code was generally understood by the populace, black and white, and was entrenched and perpetuated by decades of conditioning on both sides. It was as effective a tool of segregation as the signs down South: “Blacks were permitted to attend downtown theaters in New York, although [i]t was an era when Negroes had trouble purchasing orchestra seats in theaters and meals in public restaurants . . , the nation’s capital, African Americans were not allowed in white theaters.

There was no theme. We’d do a little tap, and maybe a little Russian thrown in. . 7 We’d say we were sixteen. 8 The costume was always a little short, skimpy thing showing your legs—but not a nude-type affair. . (25 June 1980) This stereotype of rhythm and speed was expected of black performers, regardless of the style and category of their work. Often, in later years, Norton and Margot were plagued by white audiences urging them to “get hot” when heat was neither their forte nor appropriate for their genre.

The expatriate experience and how the race card was played at home and abroad is the subject for Chapter 5. Chapter 6 surveys the decline of the swing era, the demise of Norton and Webb’s career, and the elements that contributed to both. The final chapter takes a wide-angle perspective to examine the connections between modernism and the black-originated swing aesthetic to conclude this discussion of race as performance politics—or performance as race politics. Chapter Two From Marjorie to Margot Early Life and Influences o begin this drama, a little background on the featured player is in order.

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