In 1936, after returning from a sojourn in France, Josephine Baker starred in the prestigious Ziegfeld Follies on Broadway. Among the reviewers was a New York Times critic who called her “a negro wench.” After her role in the production finished, Baker returned to France within a year and became one of its most beloved citizens, as well as a permanent US ex-pat. She was awarded the Légion d’honneur, France’s highest honour for her work with the French Resistance in World War II. In 1975, more than 20,000 people lined the streets to pay their last respects as her funeral procession made its way through the city of Paris. Honoured with a 21-gun salute, Baker became the first American woman buried in France with military honours.
It’s not surprising then, that the woman who uttered, “You’ve got to fight every single day. When I see a roach, I step on it,” would fight doggedly for civil rights in her native United States, despite being based in Paris. She refused to perform for segregated audiences in the US—in particular, Las Vegas—and is often referred to as the central reason why audience desegregation occurred there, which at the time was often referred to as the “Mississippi of the West.”
Wearing her Free French uniform she stood at the side of Martin Luther King and spoke at the legendary march on Washington. Not only was she the only woman to do so, but King’s widow, Coretta Scott King, was so impressed by Baker that she approached her after his assassination to assume the role as leader of the American civil rights movement. Baker, citing her 12 adopted children’s need for a full-time mother, declined.
Leslie Carvery, the proprietor of Shake It Dance Studio since 2000 and the star of Atlantic Fringe show, Me & Josephine, lauds the fighting spirit and accomplishments of Baker and women like her: “Josephine Baker will live on forever and her fame will always be recognized. It has to be as she was so far ahead of her time back then. It will be only unfortunate to those who don’t know or have not found her…there are tons of others similar to Jo and her story. Many, many African American women who were large and left the world better. I believe my mother, Linda Carvery, to be one of those women.”
Carvery, a dancer, mother and entrepreneur, sees a lot of Baker in herself as well. She says, “I looked at my journey and adventures and felt totally alone, and then when I found Jo I felt a kinship and sisterhood of strength and survival.”
It’s that sort of spiritual kinship that led Carvery to embark on a one-woman performance that deftly interlaces elements of Baker’s life and dance choreography with her own. Several times during Me & Josephine, there is no separation between Carvery and Baker. Carvery challenges audiences to determine what is born of her own experiences as a dancer and what is a product of Baker’s experiences. It’s a credit to Carvery that the differences are virtually indistinguishable. In introducing audiences to Baker, essentially becoming Baker’s mouthpiece, she channels Baker. It’s anambitious undertaking, successfully navigated because of Carvery’s natural charm and aplomb.
Interactions with the audience cement Me & Josephine in a realm of originality. Free of pretension, wrought with enthusiasm and showcasing Carvery’s wonderful talents as a dancer, the play becomes equally art and an exchange of ideas. The joy that Carvery gets out of the audience’s reaction is evident when she recounts the standing ovation she received after she performed the play at the Africville reunion, or an ex-nun leaving after the performance singing Baker’s “Don’t Touch Me Tomatoes.”
Carvery’s previous work has focused almost exclusively on her abilities as a dancer, teacher and choreographer, so the one-woman play, which also incorporates a variety of media, has been quite a leap for her. The cabaret-style performance, which ran three times a week in May and every Friday in June at Shake It, is single-handedly performed by Carvery and run with some assistance from her son. She jokes that its do-it-yourself theme is caused by her inability to delegate, but there’s also a utilitarian reason for it: “I wanted to make sure that I didn’t depend on anyone and that the show could run as long as I was there.”
Truly a labour of love for Carvery, she feels an obligation to “bring a light back on an amazing person who has been overlooked…there are many women I feel connections with, but none like Jo who I can say moved me into the frenzy that created the show.” a
Me & Josephine, Thursday, August 28, 7:15pm; Friday, August 29, 6:45pm; Saturday, August 30, 9pm; Sunday, August 31, 5pm; Saturday, September 6, 2pm, 9pm; Sunday, September 7, 3:15pm. DANSpace, 1531 Grafton, $10.
This article appears in Aug 21-27, 2008.
Leslie Carvery brings vanity to an entirely new level with her appalling and laughable show Me and Josephine. It is one thing to have no formal dance training – if you have rhythm and grace (at least a modicum of these, which ms. Carvery clearly does not). During this performance, we suffered through a series of internet facts clumsily pieced together on a powerpoint presentation any first year college student would be embarrassed to show, then to another crappy powerpoint of various pictures of Josephine Baker and Ms. Carvery, in what looked like a desperate attempt for Ms. Carvery to compare herself with the legendary Ms. Baker. Afterwards, Ms. Carvery explained that she didn’t want us leaving there thinking she was the most arrogant person in the world – well, then perhaps you should have some talent to back up what you’re trying to portray. Finally, in her last attempt to push her pedestal even higher, Ms. Carvery explained that when she opened her studio 8 years ago (by the way, you should give those students their money back) people in Halifax, “didn’t know what salsa dip was let alone salsa dance.” Thanks for saying all Maritimers are idiots, and, by the way, you clearly don’t know what salsa dance is either.
Leslie Carvery is an amazing dancer! Every time I see her move it makes me wish I could do the same! I took dance lessons with her and she was actually able to teach me what I needed to know! To the previous poster, I don’t think you know what you are talking about… she is an amazing artist and we are lucky to have her in our city.
First I will state that it was comments like the one above that pushed Josephine Baker into performing in Paris to begin with, anyone with music in their soul can be a dancer….Leslie just happens to be a great one, to have the courage to do this by herself shows a great deal of strength. Not only in her dance but in herself. What I would suggest the young lady do is go to one of Les’ classes…and try it out herself, Leslie might be able to teach her something about self expession…I know she taught me. I didnt think that I would ever be able to do the Latin dances that I now do (thanks Les for all that one on one). Most people that make nasty comments couldnt do it themselves so they critize others…..thats not cool. I love what you do Leslie the positive energy you bring to the dance floor as well as to those around you…you LOVE dance and I love watching you LOVE it, I THANK YOU for that.
I didn’t get to see the show, but I did see clips of it online along with several videos of other performances by Leslie. It all looks pretty damn good to me! Keep up the good work Leslie!
the first comment is exactly the type of thing that reinstates my belief that this city’s desire sways towards negativity and failure. handing out criticism for those who try. i have known this wonderful woman for a few years now and have seen her perform at many different venues in the city and each time it’s new, energetic and beautiful to watch. i have not seen so much energy and dedication go into their work and vision since i have moved to this city, and it was a pleasure to work with her, if only briefly.
a lot of these criticisms seem to be stemming from a very personal nature and therefore it was difficult to take seriously. one might look at it as more of a angry, bitter letter written by a high school student to her succesful rival.
comments like these are cowardly and in the end, kind of sad. so please get your facts straight before you post anything next time.
When Leslie called me up and asked me to swing by and check out the dances and costumes she had created for the show, she displayed nothing but passion and creativity…. That same energy was carried through everyone of her performances, right up to the very last one which I was fortunate enough to watch.
The idea of relating herself to Josephine Baker was unique and educating all at the same time.
In response to the first comment, don’t be ignorant. You’ve only made an ass of yourself. To put that much time and energy into picking apart a performance to the absolute extreme, and then falsely accusing the performer of having no talent is down right ignorant. There are more opportunities to be grasped in this world, so don’t resent Leslie just because she was able to find hers.
In conclusion: well done Leslie, the show was fabulous and it has given you a fabulous base which you will build upon in future performances.