Page 46 - All About History - Issue 70-18
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Josephine Baker
such as the Charleston and the Black Bottom to called Bakerfix and a skin darkening lotion called
Paris and incorporating African themes into her Bakerskin for her fans to buy.
performances. Audiences loved Josephine’s work Encouraged by her career in Europe, Josephine
because her dances indulged the stereotype that wanted to achieve fame in America. In 1936,
black people were primitive, exotic and foolish. she travelled to New York City to perform in the
She catered to this to propel her burgeoning famous Ziegfeld Follies, her first performance in
career, pulling faces and crossing her eyes America since she had left for Paris. But Josephine
throughout her performances to make her dances was shattered when newspaper critics published
goofy yet sexy. Her tactics worked because by the scathing reviews that laughed and ridiculed her,
late 1920s, Josephine had become the highest-paid topped off with a barrage of racism – one stinging
entertainer in Europe, touring the continent. critic derogatorily referred to her as “the negro
Josephine built a new life for herself in Paris, wench”. Heartbroken, Josephine fled back to
a place without the racial segregation of the Jim France and in 1937 she married French industrialist
Crow laws, or abuse. When discussing her life in St Jean Lion and began the process to become a
Louis, Josephine commented, “It was one of the French citizen, renouncing her US citizenship.
worst cities in America for racial discrimination… When WWII broke out two years later, Josephine
I have very bad memories of that time.” It is no wanted to help her adoptive country. In her own
wonder that Josephine fell in love with France, words, she stated that, “France made me what I
which offered her freedom and safety. am, they gave me their hearts. Surely can give
I
Her success was unprecedented for an African- them my life.”
American woman at the time, with her popularity Putting her fame to good use she worked for
allowing her to move from the stage to the silver the French Resistance, as her performances gave
screen. In 1934, she became the first black woman her the perfect cover to travel throughout Europe
to star in a major motion picture when she played without suspicion. She attended glittering parties
the titular character Zouzou. filled with Axis officials, charming them to gain
Just as captivating on-screen as she was on information for the Resistance.
stage, women flocked to emulate Josephine’s Of course, it is unlikely that charm alone would
Josephine on stage at the Folies- style through clothing, makeup and her famous have persuaded the enemy to divulge their secrets.
Bergère music hall around 1926
spit curls – she even released a hair pomade In fact, they supposedly trusted Josephine and
Josephine’s looks for stage and screen
The banana skirt 1925 Screen siren 1934 Captivating in Cuba 1951 The final bow 1975
Josephine’s banana skirt has gone down This is one of the beautiful gowns that Josephine wore lots of stunning Pictured during her final ever
in history as one of the most iconic Josephine wore for her big debut in dresses during her career, including this performance at the Bobino Theatre
looks of all time. the French film, Zouzou, created by the strapless gown for a studio portrait in in Paris, Josephine’s love for stylish
Made from a string of 16 artificial costume designers Pascaud and Zanel. Havana, Cuba, during her tour of Latin decadence never faded. With a large
bananas, it complemented her seductive Exuding elegance, Josephine looked America. By this stage, Josephine was feather headpiece and dripping in
Danse Sauvage and propelled Josephine every inch a movie starlet and far in her mid-50s and her gown collection jewels, her last show gown was certainly
to stardom. removed from her banana skirt. reportedly cost $150,000. a show stopper.
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