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Portrait de Joséphine Baker

Joséphine Baker

Joséphine Baker

1906 — 1975

France, États-Unis

Performing ArtsSocietyDanseur/seActeur/triceActiviste20th CenturyStar of the Folies Bergère, Resistance fighter, anti-racist activist

French singer, dancer, and revue performer of American origin

Émotions disponibles (6)

N

Neutre

par défaut

I

Inspirée

P

Pensive

S

Surprise

T

Triste

F

Fière

Key Facts

    Works & Achievements

    La Revue Nègre (1925)

    African-American music-hall show presented at the Théâtre des Champs-Élysées, which revealed Joséphine Baker to Europe and caused a major cultural shock by introducing jazz and African-American dances to Parisian audiences.

    La Folie du Jour (Folies Bergère) (1926)

    The flagship revue of the Folies Bergère in which Joséphine Baker created her iconic banana costume, establishing her status as an international star and symbol of the modernity of the Roaring Twenties.

    La Créole (Offenbach operetta) (1934)

    Joséphine Baker triumphed in this operetta at the Théâtre Marigny, proving her artistic versatility beyond dance and establishing herself as a genuine actress and lyric singer.

    Zouzou (film) (1934)

    French musical film in which Joséphine Baker plays the first female lead role for a Black woman in European cinema, a historic achievement that broke a racial taboo in the film industry.

    Princess Tam-Tam (film) (1935)

    Musical comedy in which Baker plays a young Tunisian woman transformed into a Parisian star, a film that ironically questions colonial prejudices and the social codes of interwar European society.

    Action in the French Resistance (1940-1944)

    Full commitment as an agent of the Deuxième Bureau, transmitting vital military intelligence under artistic cover, which earned her the Resistance Medal and the Legion of Honor at the Liberation.

    Speech at the March on Washington (August 28, 1963)

    The only woman officially at the podium during the great civil rights rally where Martin Luther King spoke, Baker carried the voice of the experience of true freedom and challenged America on its racial contradictions.

    Anecdotes

    When she arrived in Paris in 1925, Joséphine Baker caused a resounding scandal by dancing the 'Danse sauvage' wearing nothing but a skirt made of bananas at the Théâtre des Champs-Élysées. Within a few weeks, she became the most photographed woman in the world and the idol of all Paris.

    During the Second World War, Joséphine Baker worked as a secret agent for French intelligence services. She concealed military information in her sheet music and on her body using invisible ink, traveling freely thanks to her fame as an international artist.

    In 1963, Joséphine Baker was the only woman to officially speak at the March on Washington alongside Martin Luther King. Dressed in her French Army uniform, she declared before 250,000 people: 'You have a dream. I have reality.'

    Joséphine Baker adopted twelve children of different nationalities and religions, whom she called her 'Rainbow Tribe'. She settled her family at the Château des Milandes in the Dordogne, transforming her estate into a living symbol of universal brotherhood and peaceful coexistence.

    In 1974, ruined and evicted from her château, Joséphine Baker was taken in by Princess Grace of Monaco, who offered her an apartment. At 68, she returned to the stage in Paris to celebrate her 50-year career and received a twenty-minute standing ovation. She passed away four days after her final performance.

    Primary Sources

    Memoirs of Josephine Baker, collected by Marcel Sauvage (1927)
    I arrived in Paris with forty francs in my pocket. But I had something that money cannot buy: I had the will to succeed and to prove that the color of my skin was not an obstacle.
    Report by Captain Jacques Abtey, officer of the Deuxième Bureau (1944)
    Josephine Baker placed herself entirely at the disposal of Free France. She transmitted intelligence of the utmost importance on enemy troop movements in Morocco, Spain and Portugal, at the risk of her life.
    Speech by Josephine Baker, March on Washington (28 August 1963)
    My friends and my brothers, when I come back to America, I suffer. You know what I mean. But when I return to France, I breathe. I am free. I am a complete human being.
    Letter from Josephine Baker to the NAACP (National Association for the Advancement of Colored People) (1951)
    I categorically refuse to perform before a segregated audience. If Black people cannot sit in the same seats as white people, I will not take the stage. That is my one and only condition.

    Key Places

    Folies Bergère, Paris

    The mythical Parisian music hall where Joséphine Baker became a world star from 1926. It was here that she created the "Banana Dance" and embodied the spirit of the Roaring Twenties.

    Château des Milandes, Castelnaud-la-Chapelle

    Property acquired by Joséphine Baker in 1947, where she established her "Rainbow Tribe" of twelve adopted children. She made it a living symbol of universal brotherhood until its seizure in 1969.

    Théâtre des Champs-Élysées, Paris

    Site of her 1925 Parisian triumph with the Revue Nègre, where Baker caused a resounding scandal and instantly won over all of artistic Paris, launching her European career.

    Saint-Louis, Missouri, United States

    Joséphine Baker's birthplace, marked by the poverty and racial violence of her childhood. It was the brutality of American segregation that drove her to flee to Europe.

    Marrakech, Morocco

    During the Resistance, Joséphine Baker used her tours across North Africa as cover for her espionage missions, gathering intelligence on Axis troops in Morocco and the Mediterranean.

    Typical Objects

    Banana skirt

    Iconic costume from the "Banana Dance" performed at the Folies Bergère in 1926, which became one of the most recognizable visual symbols of the Roaring Twenties and Joséphine Baker's artistic freedom.

    French army uniform

    Joséphine Baker proudly wore her French Air Force second lieutenant uniform at public appearances, including the March on Washington in 1963, symbolizing her dual commitment to France and civil rights.

    Sheet music

    During the Resistance, Joséphine Baker concealed secret military intelligence written in invisible ink inside her sheet music, which she transported during her tours through neutral territories.

    Tamed leopard (Chiquita)

    Joséphine Baker would stroll through the streets of Paris accompanied by her tamed cheetah Chiquita, a symbol of her unapologetic eccentricity and refusal to conform to the social conventions of the time.

    Légion d'honneur medal

    Decoration awarded to Joséphine Baker for her courage during the Resistance and her commitment to Free France, which she wore with pride to remind the world that patriotism and the fight against racism are inseparable.

    Stage microphone

    An essential working tool for this singer and revue headliner, the microphone embodies a fifty-year career on the world's greatest stages, from Paris to New York, transforming Baker's voice into an instrument of freedom and resistance.

    School Curriculum

    Vocabulary & Tags

    Key Vocabulary

    Tags

    spectaclesocietedanseuracteuractiviste

    Daily Life

    Morning

    Joséphine Baker rises late, after spending the night on stage until the small hours. She begins her day with a hot bath and a massage, surrounded by her pets (cats, parrots, and her cheetah Chiquita). She has a hearty breakfast of eggs, fresh fruit, and strong coffee, before attending to her voluminous fan mail.

    Afternoon

    The afternoon is devoted to rehearsals at the theater, where Baker oversees every detail: choreography, costumes, and lighting. She confers with dressmakers and set designers, imposing her ideas with authority. When at the Château des Milandes, she tends to her adopted children, teaching them languages and organizing educational activities.

    Evening

    The evening belongs entirely to the show: elaborate makeup, sculpted hair, meticulously prepared costume. Baker concentrates alone in her dressing room before taking the stage, then gives everything during two hours of performance. After the show, she receives artists, journalists, and admirers in her dressing room until dawn.

    Food

    Joséphine Baker happily enjoys the Creole and American cuisine of her childhood: fried chicken, red beans and rice, fruit pies. In Paris, she embraces classic French cuisine and frequents the finest restaurants. She drinks little alcohol despite the perpetual festive atmosphere of the cabarets, preferring fruit juice and mineral water to preserve her voice.

    Clothing

    On stage, Baker wears extravagant costumes created by the greatest Parisian couturiers: ostrich feathers, sequins, furs, and her legendary banana skirt. In everyday life, she dresses with understated but confident elegance, wearing Chanel or Schiaparelli, always at the cutting edge of fashion. She was one of the first women to popularize certain masculine cuts and to wear short hair slicked back with brilliantine.

    Housing

    Joséphine Baker lives in a luxurious apartment in the 16th arrondissement of Paris, decorated in an Art Deco style blending African objects with modern Parisian furniture. From 1947 onward, she lives partly at the Château des Milandes, a vast estate in the Périgord region with a park, farm, and tourist village that she develops for her 'Rainbow Tribe.' She travels constantly between Paris, North Africa, and the United States for her tours.

    Historical Timeline

    1906Naissance de Freda Josephine McDonald à Saint-Louis, Missouri, dans une famille pauvre afro-américaine.
    1917Émeutes raciales de Saint-Louis : Joséphine, 11 ans, assiste à des violences traumatisantes contre la communauté noire.
    1920Le mouvement du jazz et du blues explose aux États-Unis, portant une nouvelle culture afro-américaine en Europe.
    1925Joséphine Baker débarque à Paris avec la Revue Nègre et triomphe au Théâtre des Champs-Élysées, devenant une star internationale instantanée.
    1926Première de la « Danse des bananes » aux Folies Bergère : Joséphine Baker crée une icône mondiale de la culture parisienne des Années folles.
    1937Joséphine Baker prend la nationalité française en épousant l'industriel Jean Lion, rompant définitivement avec les États-Unis ségrégationnistes.
    1940Engagement dans la Résistance : Joséphine Baker rejoint les Forces françaises libres et devient agent du contre-espionnage (Deuxième Bureau).
    1944Nommée sous-lieutenant dans l'armée de l'air française, elle participe activement à la Libération de la France.
    1946Joséphine Baker est décorée de la Médaille de la Résistance et de la Légion d'honneur pour son action pendant la guerre.
    1947Acquisition du Château des Milandes en Dordogne : Joséphine Baker crée son « Village du Monde », symbole de fraternité internationale.
    1951Campagne antiségrégationniste aux États-Unis : Baker refuse de jouer devant des publics ségrégués et fait plier plusieurs grandes salles de spectacle.
    1963Participation à la Marche sur Washington aux côtés de Martin Luther King : seule femme à prendre la parole lors de cet événement historique.
    1968Ruine financière : les dettes s'accumulent au Château des Milandes ; Baker est contrainte de quitter sa propriété en 1969.
    1975Triomphe à Paris pour ses 50 ans de carrière, puis décès le 12 avril 1975 d'une hémorragie cérébrale. Funérailles nationales à Paris, première Américaine honorée ainsi par la France.
    2021Panthéonisation symbolique de Joséphine Baker, première femme noire et première artiste à entrer au Panthéon de Paris.

    Period Vocabulary

    Revue — A grand music-hall show combining singing, dancing, lavish costumes, and comic acts. The revues at the Folies Bergère or the Casino de Paris were the most popular entertainments in Paris during the Roaring Twenties.
    Années folles — French term for the 1920s, a period of cultural, artistic, and festive ferment in Europe following the trauma of World War I, characterized by social freedom and the rise of jazz.
    Jazz hot — An improvised style of jazz of African-American origin, introduced to France after 1917 by American soldiers. Jazz hot fascinated European avant-garde artists and became the emblematic music of Parisian nightlife.
    Racial segregation — A system of laws and practices enforcing separation between white and Black people in the United States until the 1960s, particularly in transportation, schools, restaurants, and performance venues. Joséphine Baker fled this system by coming to Europe.
    Resistance — The network of clandestine movements that fought the Nazi occupation of France between 1940 and 1944. Joséphine Baker joined General de Gaulle's Free French Forces and served as an intelligence agent.
    Deuxième Bureau — The French military intelligence service responsible for counterespionage during World War II. It was for this agency that Joséphine Baker gathered information on Axis forces during her tours in neutral territories.
    Civil rights — The American political and social movement of the 1950s–1960s that demanded equal rights for Black citizens, including an end to segregation. Joséphine Baker actively supported this movement from France.
    Art Deco — The dominant artistic style of the 1920s–1930s, characterized by clean geometric forms, luxurious materials, and a glamorous aesthetic. Show posters depicting Joséphine Baker, such as those by Paul Colin, are masterpieces of this style.
    Revue headliner — A female performer who leads and drives a music-hall show, combining singing, dancing, and charismatic stage presence. The headliner is the undisputed star of the stage, around whom the entire orchestra and corps de ballet revolve.
    Naturalization — The process by which a foreign national obtains the citizenship of another country. Joséphine Baker was naturalized as a French citizen in 1937, a powerful symbolic act of rupture with segregationist America.

    Gallery

    Boettinger-040

    Boettinger-040

    Remise de tableaux de Joséphine Baker à la LICRA au Sénat par Jean-Loup Othenin-Girard

    Remise de tableaux de Joséphine Baker à la LICRA au Sénat par Jean-Loup Othenin-Girard

    Remise de tableaux de Joséphine Baker à Laurent Kupferman au Sénat par Jean-Loup Othenin-Girard

    Remise de tableaux de Joséphine Baker à Laurent Kupferman au Sénat par Jean-Loup Othenin-Girard

    Tableau de Josephine Baker par Jean-Loup Othenin-Girard

    Tableau de Josephine Baker par Jean-Loup Othenin-Girard

    Ruth Weber - Josephine Baker (painting 1928 KK095)

    Ruth Weber - Josephine Baker (painting 1928 KK095)

    Josephine Baker 906-3501

    Josephine Baker 906-3501

    Baker Harcourt 1940 2 (cropped)

    Baker Harcourt 1940 2 (cropped)

    
Josephine Baker

    Josephine Baker

    Sculpture de Joséphine Baker par C215 (Christian Guémy).

    Sculpture de Joséphine Baker par C215 (Christian Guémy).

    VdA groupe scolaire josephine baker 15 allee des bacheliers

    VdA groupe scolaire josephine baker 15 allee des bacheliers

    Visual Style

    Style Art Déco parisien des Années folles, inspiré des affiches de Paul Colin : contrastes forts, dorures et couleurs tropicales mettant en valeur la silhouette flamboyante de Baker sur les scènes parisiennes.

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    AI Prompt
    Art Deco illustration style, 1920s Paris cabaret aesthetic. Joséphine Baker as a glamorous Black woman performer: warm brown skin tones, dramatic stage lighting in amber and gold, sequined costumes, feather headdresses, banana skirt silhouette. Bold geometric Art Deco patterns, Folies Bergère poster style inspired by Paul Colin lithographs. Deep velvety reds and blacks of theater interiors, golden spotlights, glittering stage. Contrast of opulent Parisian décor with bold modern dance postures. Stylized, elongated figures in the manner of 1920s fashion illustration. Warm tropical colors of banana yellow and lush green against Parisian stone gray.

    Sound Ambience

    Ambiance sonore des cabarets et music-halls parisiens des Années folles, mêlant jazz américain, rythmes afro-caribéens et effervescence festive de la Belle Époque.

    AI Prompt
    Jazz band playing in a 1920s Parisian music hall: trumpet fanfare, Charleston rhythm on drums, upright bass walking lines, banjo strumming. Crowd murmuring and applauding in a grand theater. Cabaret atmosphere with laughter, clinking glasses, and a spotlight humming. Swing era big band brass section, female vocal improvisation, tap dancing on a wooden stage. African rhythms mixing with French chanson, accordion in the distance, champagne corks popping. Backstage sounds: silk costumes rustling, stage crew moving sets, a feather boa swishing through air.

    Portrait Source

    Wikimedia Commons