Darkowaa A-K; Dance and Identity Politics in American Negro Vaudeville; Dance 0163; Response 6

Nadine A. George does a great job at portraying the Whitman sisters, their goals and how they were achieved from 1900-1935.

With the Whitman sisters' Christian, high class upbringing, they maintained morality, and exuded sophistication, elegance and respect in their stage works. Essie, Mabel, Alberta and Alice were all very talented: from (tap) dancing, singing, acting, the works. They were popular and many people of all races wanted to witness their vibrant, humorous performances. It was very impressive to know that Mabel, one of the sisters, was the meticulous manager of their company. She was a domineering woman that 'championed desegregation and rights for blacks' and ensured her company was not exploited because of their skin color and, or gender.

The goals of the Whitman sisters were illustrated in their work. They challenged public into recognizing the 'shakiness of the rigid constructions of race and gender.' They were determined to make their own identity, rather than have anyone dictate it for them. Their dancers and dances were unique and creative in the shimmery costumes, their comedies were known to be hilarious and their overall energy was awesome.

The sisters could pass as white ladies. But when they performed, they usually used the 'black face' to avoid any tensions between audience perception of white-black erotic relations on their stage acts. During the 1920's, fair-skinned beauty was more accepted, but the Whitmans did not discriminate or condone to this hierachy. They hence rejected this standard by employing females of all complexions to nourish the company. They thus had a 'rainbow of kids.' Even though the Whitmans were light skinned and could pass as white females, they believed that simply passing as white did not determine one's identity, as it can not be read on ones body physically. Acts such as 'Old Darky' were social protests that they used to convey messages of identity. Gender issues were also portrayed as the Whitmans and the rest of the company used singing and tap dances to defy the negative stigmatisms.