Abstract
In this essay, spectacle provides entrée into considerations of Josephine Baker as both dancer and writer, and constitutes the analytic that firmly plants Baker within African diasporic performance and African American literary histories. Situating close readings of the climactic conga sequence in her 1935 French film Princesse Tam Tam alongside close readings of passages from her memoir Josephine, this essay offers the “shadow of spectacle” as a means of examining the textures, temporalities, and historical implications of and entanglements between African diasporic dance and African American literature.
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