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Universi^ Micrc5nlms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Universi^ Micrc5nlms International 300 N. Zeeb Road Ann Arbor. Ml 48106 1320089 TERRY, TERLENE DARCELL A SURVEY OF BLACK DANCE IN WASHINGTON, 1870-1945 The American University M.A. 1982 University Microfilms InternetlO nel 300 N. Z«eb Road, Ann Arbor. MI 48106 Copyright i9S2 by TERRY, TERLENE DARCELL All Rights Reserved PLEASE NOTE; In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages 2. Colored illustrations, paper or ____print 3. Photographs with dark background^ A. Illustrations are poor copy______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several______ pages 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost_______ in spine 10. Computer printout pages with indistinct print. 11. P ag e(s)____________ lacking when material received, and not available from school or author. 12. P ag e(s)____________ seem to be missing in numbering only as text follows. 13. Two pages n u m b ered____________ . Text follows. 14. Curling and wrinkled pages______ 15. O ther___________________________________________________________________________ University Microfilms International A SURVEY OF BLACK DANCE IN WASHINGTON 1870-1945 by Terlene D. Terry submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of The Requirements for the Degree of Master of Arts in Dance Signature p£ Committee ; Chairman" V . / ..r /tA_ \ _ y/ ,L-L. u Dean of College Date 1982 The American University Washington, D.C. 20016 {/p\d(3 the m e r i c a m university library A SURVEY OF BLACK DANCE IN WASHINGTON 1870-1945 by Terlene Terry ABSTRACT Black dance has been an important part in the cultural spirit of Washington, D.C. The activities of black Washington choreographers, dancers and teachers from 18 70 to 1945 have never been documented. This study has compiled and analyzed the contributions of black dancers to the cultural life of Washington during this period. All evidence of dance by blacks in Washington prior to 1945 were examined and placed in chronological order. The information vital to this study was acquired through several sources; black newspapers and periodicals, census records, personal interviews, special library collections, books on black history, music, dance and Washington history. This study produced several major developments tracing black dance: a black dance instructor as early as 1883, the influence of the "cakewalk," the Howard Theatre, Howard Univer­ sity and black pioneers of classical ballet training. ii This study has sought to provide the foundation of black dance in Washington prior to 1945. Ill ACKNOWLEDGMENTS This research has been dedicated in the memory of my Dad, Henry L. Patterson. It is also dedicated to all those, too numerous to name, who supported and believed in me during this re­ search. Your words of inspiration, small acts of kindness and good humor helped keep the flame of wisdom bright when I was ready to succumb to frustration and fatigue. To Shirley E. Patterson, my mother, and Naima Prevots, my advisor, words cannot express my deepest appre­ ciation for everything done. And finally, I give the greatest credit to the Lord above for making it all possible. IV TABLE OF CONTENTS Page INTRODUCTION........................................ 1 Chapter I. BLACK LIFE IN WASHINGTON: 1800-1899 ............ 2 II. BLACK LIFE IN WASHINGTON: 1900-1945............ 15 III. MINSTREL AND VAUDEVILLE SHOWS IN WASHINGTON: 1865-1900 .......................................... 23 IV. BLACK DANCE IN WASHINGTON; 1883-1928 ........... 33 V. BLACK DANCE IN WASHINGTON; 1928-1945 ........... 52 VI. MAJOR CURRENTS AND CONTRIBUTIONS OF BLACK DANCE IN WASHINGTON: 18 70-1945 ................ 85 APPENDICES 1. Black Theatres, Playhouses and Dance Halls in Washington from 1900 through 1945 .............. 89 2. A List of Negro Recreational Facilities of the District of Columbia in 1940.......... 93 3. A Select Listing of Black Dancers Who Appeared at the Howard Theatre from 1940 to 1945.... 96 4. Doris N. Patterson School of Dance, 1945. 98 BIBLIOGRAPHY........................................ 101 V INTRODUCTION Before the contributions of black dancers, teachers and choreographers can be traced, the writer must first present an overview of black life in the city of Washington, D.C. By giving an overview of black life in the District of Columbia between 1800 and 1945, this writer hopes to give the background which sets the stage for the work of the black dancers. As the city changed over these years, so did the accomplishments of the blacks and more notably, the black dancers. CHAPTER I BLACK LIFE IN WASHINGTON 1800-1899 BLACK LIFE IN WASHINGTON 1800-1899 In 17 90, the State of Maryland offered territory to be used as the seat of government for the United States. The first Congress agreed to accept the land, located near the Potomac River.^ In 18 00, the Federal District was called Washington and was adjacent to a separate community called Georgetown. Although Washington was considered the capital city, it was governed by the laws of Maryland and Virginia until Congress established laws for the city. This first year of the "official seat of government" found the black population to comprise 23.5 percent of the total. Of this percentage, 7 83 were considered "free negroes" and 3,244 were slaves, making a total black residency of 4,027.^ One white District resident categorized the population of the city into four groups: "the better sort, those who keep Congress boarders and their mutual friends, the sub­ ordinate officers of the government, the laboring class and free negroes."^ '^Letitia Woods Brown, Free Negroes in the District of Columbia, 1790-1846 (New York: Oxford University Press, 1972), pp. 2-8. ^Ibid., pp. 9-13. ^Ibid., p . 129. 4 Generally the white population of Washington feared the black residents, even those who were considered free. The free blacks experienced blatent antagonism along with outbursts of violent prejudices. They were always made to feel contained and restricted.** There were several ways to become a "free negro" during the beginning of the nineteenth century in Washington. Manumission, purchase, or through the "efforts of other blacks"® were some of the most common. Manumission occurred when the owner agreed to relinquish any binds or restraints on a slave, thereby making him a "freed man." Easy as it may sound, it was the least likely to occur. Sometimes slaves could be manumitted when the slave holder died and it was so stated in his will. Most blacks preferred to purchase their freedom from white owners. Prices for freedom could start as low as four hundred dollars and go as high as fifteen hundred dollars, depending on how much the owner felt the slave was worth. These prices sometimes in­ cluded children and older adults at cheaper rates. The working white population in the District primarily held jobs in boardinghouses as hotel personnel, retail and service workers, construction and maintenance workers of all varieites. Since the working force in these jobs was scarce, the qualified worker was well received. ** Ibid . , p . 15 . ®Mercedia V. Gass, Blacks in Washington, D.C., 1800-1865 (Washington, D.C.: Howard University, 1975), p. 18. 5 The white employers had mixed attitudes about slave labor. Some wanted it and others did not. As a result, a free black could secure a job if he was capable.® The Navy Yard and Army Arsenal were the major centers of employment for blacks. Most of the free women worked as hairdressers and domestics.^ Free black men worked as government or banking messengers, bricklayers, carpenters, hackmen, livery-stable hands, cooks, blacksmiths, shoemakers, tailors and barbers.® A few free blacks owned property.
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