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.
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Book Description
Editorial Reviews
Review
“Here is a ... scholarship possessing funk, rigor and style...It is as sensuous as the artists she describes, employs a zigzagging, swinging approach to her topic and provides a useful guide in our ongoing struggle against the sands of invisibalisation.” —Bill T. Jones, choreographer
“...a rare and gifted writer, a gem of a cultural portraitist...she teaches us all how to write about dance, the cool and the hot, mind and motion, making it clear how black dance centers self-realization and the moral education of the world.” —Robert Farris Thompson, Trumbull Professor of the History of Art, Yale University
“With insight and honesty, the author reveals careers limited by racial oppression in the pre-Civil Rights-era US.” —Choice
“During the 1930s and 1940s, the African American vaudeville team of Norton and Margot danced gracefully in a country scarred by segregation. Their frustrations and satisfactions, emblematic of the lives of so many African American artists in their time, are chronicle with lyrical insight in Brenda Dixon Gottschild's Waltzing in the Dark.” —Journal of American History
“...a rare and gifted writer, a gem of a cultural portraitist...she teaches us all how to write about dance, the cool and the hot, mind and motion, making it clear how black dance centers self-realization and the moral education of the world.” —Robert Farris Thompson, Trumbull Professor of the History of Art, Yale University
“With insight and honesty, the author reveals careers limited by racial oppression in the pre-Civil Rights-era US.” —Choice
“During the 1930s and 1940s, the African American vaudeville team of Norton and Margot danced gracefully in a country scarred by segregation. Their frustrations and satisfactions, emblematic of the lives of so many African American artists in their time, are chronicle with lyrical insight in Brenda Dixon Gottschild's Waltzing in the Dark.” —Journal of American History
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.
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Inside This Book
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First Sentence:
I enter a Manhattan subway and board a crowded train. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
swing aesthetic, swing era performance, white vaudeville theaters, swing culture, era performers, white venues, race trope, minstrel era, adagio dance, tap team, race etiquette, unit tour, jazz aesthetic, white dancers, white theaters, racial etiquette, toe dance, swing music, white clientele, black performers Key Phrases - Capitalized Phrases (CAPs): (learn more)
African American, New York, Cotton Club, United States, Louis Armstrong, Margot Webb, Duke Ellington, Alberta Hunter, Earl Hines, Bill Robinson, Cab Calloway, Josephine Baker, Grand Terrace, John Williams, Jim Crow, Lindy Hop, Paul Robeson, Benny Goodman, Clarence Robinson, Ethel Waters, Langston Hughes, Paul Whiteman, Spear Dance, Joe Glaser, Nazi Germany New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
I enter a Manhattan subway and board a crowded train. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
swing aesthetic, swing era performance, white vaudeville theaters, swing culture, era performers, white venues, race trope, minstrel era, adagio dance, tap team, race etiquette, unit tour, jazz aesthetic, white dancers, white theaters, racial etiquette, toe dance, swing music, white clientele, black performers Key Phrases - Capitalized Phrases (CAPs): (learn more)
African American, New York, Cotton Club, United States, Louis Armstrong, Margot Webb, Duke Ellington, Alberta Hunter, Earl Hines, Bill Robinson, Cab Calloway, Josephine Baker, Grand Terrace, John Williams, Jim Crow, Lindy Hop, Paul Robeson, Benny Goodman, Clarence Robinson, Ethel Waters, Langston Hughes, Paul Whiteman, Spear Dance, Joe Glaser, Nazi Germany New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 56
books:
See all 56 books this book cites
3
books
cite this book:
- The Cotton Club by James Haskins on 8 pages
- Invisible Man by Ralph Ellison on page 4, page 223, and Back Matter
- African American (American Regional Cooking Library) by Rosa Waters on page 82, page 124, and page 135
- Lena Horne by James Haskins on page 52, and Back Matter
- The Black Swan by Day Taylor on page 8, and page 148
See all 56 books this book cites
- Performance in America: Contemporary U.S. Culture and the Performing Arts by David Román in Front Matter, and Back Matter
- From Ballroom To Dancesport: Aesthetics, Athletics, And Body Culture (Suny Series in Sport, Culture, and Social Relations; Suny Series in Communication Studies) by Caroline Joan Picart on page 4, and Back Matter
- Glamour Addiction: Inside the American Ballroom Dance Industry by Juliet McMains in Back Matter
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