What is a Chorus Girl?
It is hard to define the origin of the historic “chorus girl” dancer. Some trace the them back to The Ballets Russes, or to the Can-can dancers of the mid-1800s music halls. Others have even suggested the origins go back as far as the Baroque era, to ladies who acted as backup actors/dancers on stage during the great operatic performances of the time.
Of course, that far back, the chorus gals weren’t yet dancing to what we know of as jazz. Ragtime, considered the forerunner to jazz, became popular starting around 1899, influenced by African American banjo styles and the syncopated dance rhythms of the time.
For the purposes of vernacular jazz dance, when we hear the term “chorus girl”, we often associate it with such imagery as the dancers of the Cotton Club in Harlem, the Ziegfeld Follies, grand Busby Berkeley cinematic productions, the Rockettes (originally known as the Missouri Rockets), and/or the MGM Goldwyn Girls of the “Golden Age” of Hollywood.
Thankfully, we have a lot of incredible documented footage and photography that still survives today of many of these performances.
Many an iconic female performer began their careers as chorus line dancers, either in film or on stage in vaudeville; names on this roster include legends such as Lena Horne, Lucille Ball, Ginger Rogers, Josephine Baker, Joan Crawford, and many more.
Without a doubt, the art of the chorus girl historically was most heavily influenced by early Black American jazz music, art, culture, and movement of the 1910s and beyond.
In 1921 the hit Broadway music, Shuffle Along, brought an all Black cast to the stage, including the “Shuffle Along chorus girls”. The show was a smash success, striking a major blow against racial stereotyping, inspiring the beginning of the Harlem Renaissance, and ultimately running for 504 performances.
“Moreover, Shuffle Along laid the foundation for public acceptance of African-American performers in other than ‘burlesques’ roles. Florence Mills, the female star, gained international fame due to the success of the show. Shuffle Along also had an innovative female chorus, which included up-and-coming performer Josephine Baker.
They combined jazz dance and jazz music, creating an improvisational style of dancing that encouraged individual expression. Other Broadway producers, including those of the Ziegfeld Follies, were so impressed that they hired several of the Shuffle Along girls to give pointers to their choruses.”
Jazz clubs from New Orleans to Harlem inspired young women to run off and join the chorus line and be professional dancers, although the hours were long and the work was very hard, with many dancing long hours until their feet bled.
We have so many incredible early female icons of jazz dance to thank for this art form, such as the performers of The Silver Belles and The Sepia Steppers, Cora La Redd, Florence Hill, Bessie Dudley, Daisy Richardson, Alice Barker, Mable Lee, Dr. Jeni LeGon, Norma Miller, Sandra Gibson, and so many countless others.
We highly encourage you to read more about their lives, histories, and contributions to the dance!
The Dance
Chorus girl routines often focus on synchronization of movement and footwork, highlighting this by positioning the dancers in long lines or complicated formations. Props were often added to create fun visual effects during dancing.
In Film
Classic clips also often featured elaborate sets and costumes. The Ziegfeld Follies were famous for these types of routines. Overhead film shots where the dancers create dynamic shapes and formations from a birds’ eye view became popular, such as those by choreographer Busby Berkeley.
Bringing the Art of the Chorus Girl to Modern Day
Historically
Chorus girls, historically, actually lived a hard life – many died young from alcoholism or drug addiction.
They were constantly judged on their body measurements, pushed to dance long hours until their feet bled and with little pay, and faced many instances of sexual harassment and abuse in their daily work.
On top of all this, Hollywood historically (and in some cases still today) has had a long problem of whitewashing and pushing forward only white narratives on film.
Today
As a modern “chorus girl” troupe, our goal is to be a more inclusive and empowered dance team than history oftentimes allowed for.
We welcome and celebrate all body types and ages (21+) on Sister Kate. Our company members have ranged in age from dancers in their twenties up to dancers in their fifities.
Tattoos and/or pink hair? That’s us!
We also welcome all genders who have a passion for high-femme jazz-era performance and love the classic style of chorus girl fashions to come join us.
Another large difference between historical chorus girl dance troupes and Sister Kate, is the choreography.
During the Jazz era, many dance groups led by men. The numbers were similarly often choreographed by men.
On Sister Kate, we are female-identifying individuals choreographing for ourselves! Women making art by women.
Education and History of Vernacular Jazz Dance
We need to diligently remind ourselves that the dance we learn, choreograph, and perform was created in the African-American communities of Harlem. The origins of our dance form, itself, comes from Congo square in New Orleans, where in the late 1700s/early 1800s, enslaved Africans would gather to sing, dance, drum, and trade on Sunday afternoons. Prior to that, this area was used by Houmas Indians for celebrating their annual corn harvest, and was considered sacred ground.
The history of the dance, the reasons why people were dancing in the 20s-50s, and the BIPOC (Black/Indigenous/People of Color) who were involved in its creation (and responsible for its popularity) need to be remembered always. How we remember is we pass on these truths through oral teaching/talks, written/visual documentation, and conversation.
We are blessed to be able to express ourselves, as artists, through this incredible art form. As such, we recognize the need to be more outspoken in celebrating the BIPOC voices of those who helped originate the dance. We are honored to be stewards of this art form, working to carry it forward for generations to come.
We strive to give back to local and national BIPOC & LGBTQIA arts organizations, as well as continue to spread the education of this iconic Black cultural art form’s roots and history.
Some of the organizations we donate to
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Wa Na Wari
Wa Na Wari creates space for Black ownership, possibility, & belonging through art, historic preservation, & connection.
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Na'ah Ilahee Fund
Na’ah Illahee Fund serves as a bridge builder, facilitator, and resource partner as we work to catalyze a movement toward positive futures. Our scope of impact includes urban, rural, island, and reservation-based Indigenous communities from the Arctic to the Rockies in what is now known as Alaska, British Columbia, Washington, Oregon, Idaho, Montana, and Wyoming.
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Northwest African American Museum (NAAM)
The Northwest African American Museum is an anti-racist, pro-equity, affirming gathering place of hope, help, and healing for the entire Northwest region that is building intergenerational cultural wealth.