IN THIS ISSUE
Introduction: Why Josephine Baker?
by Kaiama L. Glover
About this Issue
by Gisela Fosado
PART 1
Reflections in Josephine’s Mirror
The Intelligent Body and Erotic Soul of Josephine Baker
a lecture by Margo Jefferson
PART 2
Paris’ Call and Baker’s Response
Synesthetic Rhythms: African American Music and Dance Through Parisian Eyes
by Terri J. Gordon
The New Woman and the New Empire: Josephine Baker and Changing Views of Femininity in Interwar France
by Tyler Stovall
PART 3
Baker’s Craft
Whose Choreography?: Josephine Baker and the Question of (Dance) Authorship
by Anthea Kraut
The End of the Line: Josephine Baker and the Politics of Black Women’s Corporeal Comedy
by Daphne Ann Brooks
Colonial, Postcolonial, and Diasporic Readings of Josephine Baker as Dancer and Performance Artist
by Mae Gwendolyn Henderson
PART 4
Staging Tensions, Crossing Borders, Dancing In-Between
Foil, Fiction, and Fantasm: ‘Josephine Baker’ in Princesse Tam Tam
by Claudine Raynaud
The Use-Value of ‘Josephine Baker’
by Felicia McCarren
PART 5
Agent(?) Josephine
What Does Beyoncé See in Josephine Baker?: A Brief Film History of Sampling La Diva, La Bakaire
by Terri Francis
Adoptive Affinities: Josephine Baker’s Humanist International
by Jonathan Eburne
Josephine Baker, Performance, and the Traumatic Real
by Walter Kalaidjian
PART 6
From Josephine Baker to Other “Others”
Katherine Dunham on the French Stage (No Repeat of La Revue Nègre)
by Geneviève Fabre
Rediscovering Aïcha, Lucy and D’al-Al, Colored French Stage Artists
by Michel Fabre
Body and Soul: Josephine, Jane and Paulette
a lecture by Maryse Condé
After Josephine: Black American Women in the French Music Scene
a multimedia presentation by Gretchen Holbrook Gerzina
And She Set the Stage for Us
a dance performance by The Studio Museum in Harlem’s “Hoofer’s House” Dancers
