George Walker’s and Bert Williams’s Efforts

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George Walker and Bert Williams
Introduction
During the early 20th century, the American theatre audience enjoyed authentic performances. At the time, most white Americans regarded African culture as uncivilized. However, a group of white American theatre enthusiasts regarded African culture as an authentic way to express oneself. Simultaneously, the country was still experiencing the lasting effects of minstrelsy. In turn, black musicians and actors took advantage of the audience's captivation to the authentic culture and minstrelsy to perform many theatre musicals. Some of these actors include George Walker and Bert Williams. Their race and talent became an added advantage to further their acting careers while paving the way for other black artists. This essay evaluates the duo's effort to move beyond minstrel practices and create a new type of African theatre performance while using Daphne Brooks' book chapter, "Alien/Nation," as the primary source. 
George Walker and Bert Williams
The first debut by the duo was the show In Dahomey. The event happened at the Casino Theatre in New York in 1903. Their performance comprised songs and a skit of Walker convincing Williams to buy into a get-rich-quick scheme. Before their performance in London, the show had become famous. Lee (152) argues that its large amount of publicity is because of its all-black cast. However, despite both actors being racially black, Williams wore a blackface, making his skin darker. Lee (152) explains that the duo noticed that the audience was more engaged when Williams, the lighter one, wore a blackface. 
Regardless of this controversial move, the pair created their narrative regarding racial identity and black culture while having an engaged audience. Moreover, the act became popular outside America in England, with theatres booking them for weekly shows. Through their efforts, the white audience recognized African talent despite racism at the time. For example, in 1940, "A Portrait of Bert Williams" was used as a tribute by Duke Ellington (Seely 289). Despite the dark beginnings of African theatre, the pair changed the audience's perception of a race using entertainment.
Chapter "ALIEN/NATION" by Daphne Brooks
In the book, Bodies in Dissent, Brooks (223) reasons that African performers like actors, singers, and black transatlantic activists transformed the societal perception of black communities from the mid-19th century to the early 20th century. The author explains how these performers used different ways to display their bodies through movement, dress, or technologies to defamiliarize the fascination with black people and culture. While performing their act, the cast created the site of jungle terrain. Lee (153) posit that this was a depiction of the terrain in Africa. This scene transforms into a song and dance as the chorus is performed. Two lovers dressed in frog costumes performed the song "My Lady Frog.” Bodies lay into and out of the swamp, creating a colorful depiction of the African Kingdom. 
Due to these depictions, the cast of In Dahomey was branded as flamboyant, colorful, and potentially pleasing to the Edwardian viewe...