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• W2009641015 abstract "Reviewed by: The Scene of Harlem Cabaret: Race, Sexuality, Performance Darin Kerr The Scene of Harlem Cabaret: Race, Sexuality, Performance. By Shane Vogel. Chicago: University of Chicago Press, 2009; pp. xiii + 257. $60.00 cloth, $22.00 paper. In the afterword to his new study, Shane Vogel discusses the 2002 launch of a Los Angeles queer club, Bricktops, by African American drag artist Vaginal Davis. In doing so, Vogel makes clear the connection Davis forges not only with the historical antecedent her name parodies, political activist Angela Davis, but also with the historical “Bricktop” Ada Smith, an entertainer and entrepreneur in the post–World War I Paris club and cabaret scene. Vogel argues that in establishing a connection between herself and the historical Bricktop, Vaginal Davis creates “a particular confluence of persona and place that marks the spatial and geographical routes of Harlem cabaret and black performance around and beyond the black Atlantic” (194). The cartography of this confluence, both figurative and literal, is at the heart of Vogel’s project, which itself represents a kind of confluence of the critical approaches of performance studies and textual analysis. Vogel employs these two critical modes, in part because his study of cabaret incorporates both an embodied connotation and a literary one. Not only does cabaret refer to certain performance practices associated with Harlem nightlife, it also refers to the Harlem Renaissance’s so-called Cabaret School, a subset of writers, including Langston Hughes, Claude McKay, Zora Neale Hurston, and Carl Van Vechten, who used Harlem cabaret as a setting in their literary works. In his textual analysis of works by Hughes and McKay, Vogel provides a clear sense of how discourses regarding cabaret practices were constituted and circulated within the prevailing sociological episteme surrounding African American behavior and identity. These literary discourses are then juxtaposed with embodied practices in the cabarets themselves, allowing Vogel to analyze those activities that are traditionally marked as performances, as well as the performances of self enacted through the patrons’ behavior within the flexible boundaries of the club’s space. Vogel argues for Harlem cabaret performances as sites of potential resistance, both physical and philosophical, to the normative impulses of uplift ideology as expressed by such black leaders as W. E. B. Du Bois. “Uplift,” with its valorization of the “Talented Tenth” over the “Submerged Tenth” and its emphasis on middle-class values, attempted to efface sexual difference. Such differences, however, were often notably on display in the Harlem cabaret scene, as in the drag ball held annually by the Hamilton Club Lodge. Vogel amply demonstrates how cabaret, in both its embodied and literary varieties, offered alternatives to the constraining ideologies of uplift. He first contextualizes the emergence and deployment of the word “cabaret,” both historically and geographically, with the assumption that “to understand the social and performative effects of the cabaret, we should look not only to generic distinctions, sociohistorical context, and discursive formations that shape the cabaret, but also to the spatial practices and relations of performance that produce the cabaret as an intimate formation” (43). This sense of intimacy—or lack thereof—serves as a structural principle throughout Vogel’s study, as in his chapter on Lena Horne. Throughout her career, critics of Horne noted her seeming coldness or aloofness. Vogel suggests that this distanciation from her (primarily white) audiences was an intentional strategy on Horne’s part, employed in order to create a sense of self not circumscribed by discourses that relied on the sexless or sexualized stereotypes of the mammy and the mulatta, respectively. Vogel’s take on his subject “queers” existing scholarship, suggesting that, even while scholars have sought to reconstruct a gay and lesbian Harlem Renaissance, certain subjectivities remain silenced within that particular formation. He then attempts to account for the ways in which the complex interplay of place and persona create new discursive possibilities in our readings of the Harlem Renaissance, both as a literary movement and as a set of embodied practices. As the epigraph to his introduction, Vogel quotes Langston Hughes: “It’s the way people look at things, not what they look at, that needs to be [End Page 323] changed” (1). While a great..." @default.
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• W2009641015 date "2010-01-01" @default.
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• W2009641015 title "<i>The Scene of Harlem Cabaret: Race, Sexuality, Performance</i> (review)" @default.
• W2009641015 doi "https://doi.org/10.1353/tj.0.0364" @default.
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