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Extra info for Encyclopedia of African American Actresses in Film and Television

Example text

The banana skirt has become a timeless erotic symbol. Baker’s persona remains controversial to this day: the black woman as insatiable sex goddess. Race and sexuality were the keynotes of her appeal, and she certainly defined perhaps as no woman before or since the “exotic” appeal of women of color. The better part of a century before the emergence of supermodels such as Tyra Banks and Naomi Campbell, and generations before the “dreamgirl” media event created by the appearance of Beyoncé in the Sports Illustrated swimsuit issue, Josephine Baker championed an in-yourface sensuality that remains cutting edge.

Race and sexuality were the keynotes of her appeal, and she certainly defined perhaps as no woman before or since the “exotic” appeal of women of color. The better part of a century before the emergence of supermodels such as Tyra Banks and Naomi Campbell, and generations before the “dreamgirl” media event created by the appearance of Beyoncé in the Sports Illustrated swimsuit issue, Josephine Baker championed an in-yourface sensuality that remains cutting edge. The other side of the coin, however, is that the “sexy savage” image — especially when combined with a “loved-unwisely-and-lost” Madame Butterfly persona — seems as racist to many modern viewers as any other black stereotype of its era.

Paul Derville, director of the Folies-Bergère, wanted her to star in his next show. A dramatic addition to the show was Baker’s pet cheetah, Chiquita, who wore a diamond collar but refused to obey the politer dictates of society. The cheetah, part of the “savage” ambience of the show, often escaped into the orchestra pit, giving the musicians fits, and adding a distinct element to the proceedings, which consisted of Baker dancing in a banana skirt and high heels — and nothing else (“La Danse Souvage”).

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