T. Denean Sharpley-Whiting - Bricktops Paris : African American women in Paris between the two World Wars

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STATE UNIVERSITY OF NEW YORK PRESS, ALBANY

2015 State University of New York

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Library of Congress Cataloging-in-Publication Data

Sharpley-Whiting, T. Denean.

Bricktops Paris : African American women in Paris between the two World Wars / T. Denean Sharpley-Whiting.

pages cm.

Includes bibliographical references and index.

ISBN 978-1-4384-5501-3 (hardcover : alk. paper)

ISBN 978-1-4384-5502-0 (ebook)

1. African American womenFranceParisHistory20th century. 2. Bricktop, 18941984. 3. African American womenFranceParisBiography. 4. Women entertainersFranceParisBiography. 5. NightclubsFranceHistory20th century. 6. Paris (France)Intellectual life20th century. 7. AmericansFranceParisHistory20th century. 8. Paris (France)Social life and customs20th century. 9. Montmartre (Paris, France)Biography. I. Title. II. Title: African American women in Paris between the two World Wars.

10 9 8 7 6 5 4 3 2 1

CONTENTS

ALICE RANDALL

T. DENEAN SHARPLEY-WHITING

ILLUSTRATIONS

ACKNOWLEDGMENTS

Id first like to thank my editor, Beth Bouloukos, who saw my vision and believed in the trade potential of this project, as well as the editorial staff and production and marketing team at SUNY Press. I would like to acknowledge Vanderbilt Universitys Office of Sponsored Programs managed by the Office of the Vice Provost for Research for a summer 2007 grant that helped me mine various research leads in France. Mona Frederick and the Robert Penn Warren Center for Humanities were also instrumental in furthering my research as have been the Offices of the Provost and the Dean of the College of Arts and Science. There were many libraries, archivists, organizations, centers, and people who have assisted in the completion of this project. The staff at Beinecke Library at Yale, Moorland-Spingarn Research Center, Dean Jean Carney Smith and Fisk University Special Collections, the Schomburg Center, Maria Lopes at Rhode Island College, Danish National Archive, the various Bibliothques nationales in France, the British Library, and the Library of Congress were especially helpful. Id also like to thank Vivace Press, University of MissouriSt. Louis, for use of Nora Holts musical composition, Negro Dance.

My colleagues in African American and Diaspora Studies have been more than supportive, reading versions of the book and offering feedback. Id like to single out in particular Victor Anderson, who understood what a sabbatical means; Houston A. Baker for his sharp mind and wit; Tiffany Patterson for her historical insights in crafting a narrative; and Alice Randall, whose command over language, long lunches and dinners, and early morning hours-long phone conversations dispensing writing advice were indispensable to this work. And I dont know what Id do without Tara Faith Williams. Id also like to acknowledge Karen E. Fields, who knows how to turn a phrase. In Paris 2007, you helped set the tone of this book. Bob Barsky, Holly Tucker, and Lynn Ramey in French and Italian (FRIT) have been delightful sounding boards at various stages in my writing.

The Fugitives Writing Retreat, generously supported by the College of Arts and Science Deans Office and the AADS Research Center, made me see things I was too close to the text to see. I look forward to our annual, four-day, get-down-to-the-business-of-writing sessions. Id also like to thank David Ikard, an amazing mind and sounding board.

Id like to also thank Thadious Davis, a serious mentor and good friend who has always been there for me since 1991. My agent, Charlotte Sheedy, deserves a merit for understanding why I cant quit academic publishing, as does Julie Smith, my mystery-writing mentor. It was she who told me on a hot September day at the Omni in New Orleans, Bricky has to shoot the gun, Tracy. Love to my Dad and Mom, the Sharpleys, who always delight in every one of my new projects, and my sister-cousin, Neet, the embodiment of the fearless and loyal Changchang, who reads every one of my fictional works with glee. Love supreme to my daughter, Haviland, who appears as expensive porcelain china in this book, and my ever-supportive, fun-loving husband of twenty years, Gilman W. Whiting.

THE WOMEN

Josephine Baker

Gwendolyn Bennett

Selma Burke

Bessie Coleman

Lillian Madame Evanti Evans-Tibbs

Jessie Fauset

Adelaide Hall

Nora Holt

Alberta Hunter

Florence Embry Jones

Lois Mailou Jones

Nella Larsen

Florence Mills

Dorothy Peterson

Nancy Prophet

Eslanda Goode Robeson

Augusta Savage

Clara Shepard

Ada Bricktop Smith

Valaida Snow

Anita Thompson

ALelia Walker

Ethel Waters

Elisabeth Welch

Laura Wheeler Waring

Map of Bricktops Paris

Key:

Josephine Baker, Casino de Paris, 15 Avenue Montaigne, 8me arrondissement. Josephine debuts at the Thtre des Champs-lyses in La Revue ngre in 1924.

Gwendolyn Bennett, Pension Orfila, 60 Rue dAssas, 6me arrondissement. Her first residence upon arrival in June 1925.

Selma Burke, Marly-le-roi (France). Aristide Mailols studiosixteen miles north of Paris, or thirteen miles from Neuilly on the map. Burke studied with the master sculptor here.

Bessie Coleman, Socit des ingnieurs civils, 19 Rue Blanche, 9me arrondissement. The site of the 1921 Pan-African Congress in Paris, which Coleman attended.

Anna Julia Cooper, 5 Rue Rollin, 5me arrondissment. Coopers residence in 1924.

Lillian Madame Evanti Evans-Tibbs, Le Trianon, Elyse Montmartre, 80 Boulevard des Rochechouart, 9me arrondissement. Evans-Tibbs performed here as Lakm.