Synopses & Reviews
This unique study focuses on the social, racial, and artistic climate for African American performers working during the swing era—roughly the late 1920s through the 1940s. The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as a tour guide and barometer of the times on this excursion through the worlds of African American vaudeville, separate black and white Americas, the European touring circuit, and pre-Civil Rights era racial etiquette.
Review
“... a close, intelligent look at a long 'invisibilized' piece of black cultural history.” —
Publishers Weekly“. . . [a] significant contribution. . . . This work points up the power of the black dancing body to influence American culture.” —Philadelphia Dance Alliance
“...another significant contribution to the fields of dance, cultural and performance studies” —Dance Critics Association Newsletter
Synopsis
The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.
About the Author
Brenda Dixon Gottschild is Professor Emerita of dance studies at Temple University. She writes for
Dance Magazine and performs with her husband, Hellmut Gottschild.
Table of Contents
Foreword *
Part I * The Race Trope in Swing Era Performance From Marjorie to Margot * “You Didnt Go Downtown—Everything Was Uptown”: Harlem, U.S.A. * Whos Got His Own: Black Creativity as Commodity *
Part II * Color and Caste in Black and White: Performing at Home and Abroad *
Part III * Coda to a Dream Deferred * Legacy: All That Jazz * Chronology: Margot Webbs Professional Career