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C’est là un ouvrage de référence qui présente la recherche sur la musique, les genres et les sexualités, et plus largement la vie musicale non dominante au Québec depuis le dernier quart du XIXe siècle jusqu’à aujourd’hui. Issu des travaux réalisés en 202-2022 par le pôle universitaire DIG! Différences et inégalités de genre dans la musique au Québec (D!G), un réseau interdisciplinaire et intersectoriel qui réunit les chercheur·ses, publics, artistes et autres professionnel·les de la musique qui s’intéressent à cette thématique, l’ouvrage comprend une revue de la littérature et une bibliographie de plus de 800 ressources scientifiques.
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The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.
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This dissertation maps the interaction between jazz, identity, modernity and nation during the so-called "golden age" of jazz in Montreal (1925-1955). Drawing on the fields of musicology, women's studies (black feminist theory and feminist research methods in particular), critical dance studies, and cultural studies, this project provides a critical re-writing of the history of Montreal jazz, one which acknowledges various roles that racialized and ethnicized women played in the shaping of modern identities, pleasures and sounds in Quebec. Montreal's particular status as a "showtown" makes it a rich laboratory to study the collaborative creative relationships between jazz music and dance on the black variety stage in the first half of the twentieth century. I also map the specific parameters that articulate the discursive relationship between jazz and vice, in particular as these relate to the gendered and racialized embodiment of morality in interwar Quebec. Finally, this dissertation produces the first extensive biographical accounts and critical listening of several prominent Montreal-based female jazz artists, including pianists Vera Guilaroff and Ilene Bourne, all-girl groups such as The Spencer Sisters and the Montreal Melody Girls Orchestra, black women performers such as Tina Baines Brereton, Bernice Jordan Whims, Marie-Claire Germain, Mary Brown, Natalie Ramirez, as well as piano teacher Daisy Peterson Sweeney and dance teachers Ethel Bruneau and Olga Spencer Foderingham.
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Cet article porte sur les rôles que les femmes ont joué dans le développement d’une scène jazz à Montréal. Les archives témoignent de l’importance des pianistes Vera Guilaroff et Ilene Bourne, de l’enseignante de piano Daisy Peterson Sweeney, des enseignantes de danse Olga Spencer Foderingham et Ethel Bruneau, ainsi que des danseuses de variétés dans le développement de la plus grande scène jazz du Canada au cours de la première moitié du xxe siècle. Cet article contextualise la présence des femmes dans ces espaces performantiels précis (le piano, l’enseignement, la danse) et explore les processus historiographiques liés à leur exclusion des récits historiques.
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Show Girls celebrates Montreal's swinging Black jazz scene from the 1920s to the 1960s, when the city was wide open. Three women who danced in the legendary Black clubs of the day - Rockhead's Paradise, The Terminal, Café St. Michel - share their unforgettable memories of life at the centre of one of the world's hottest jazz spots. From the Roaring Twenties, through the Second World War and on into the golden era of clubs in the fifties and sixities, Show Girls chronicles the lives of Bernice, Tina and Olga - mixing their memories with rarely seen footage of the era. Their stories are told against a backdrop of the fascinating social and political history that made Montreal a jazz and nightclub hotspot for decades. It is a story of song and dance, music and pride.