Josephine Baker - Early Life

Early Life

Baker was born Freda Josephine McDonald in St. Louis, Missouri, the daughter of Carrie McDonald. Her estate identifies vaudeville drummer Eddie Carson as her natural father. A biography written by her foster son Jean-Claude Baker stated:

… (Josephine Baker's) father was identified (on the birth certificate) simply as "Edw" … I think Josephine's father was white—so did Josephine, so did her family … people in St. Louis say that (Josephine's mother) had worked for a German family (around the time she became pregnant). (Carrie) let people think Eddie Carson was the father, and Carson played along … (but) Josephine knew better.

Her mother, Carrie, was adopted in Little Rock, Arkansas in 1886 by Richard and Elvira McDonald, both of whom were former slaves of African and Native American descent. When Baker was eight she was sent to work for a white woman who abused her, burning Baker's hands when she put too much soap in the laundry. She later went to work for another woman.

Baker dropped out of school at the age of 12 and lived as a street child in the slums of St. Louis, sleeping in cardboard shelters and scavenging for food in garbage cans. Her street-corner dancing attracted attention and she was recruited for the St. Louis Chorus vaudeville show at 15. She then headed to New York City during the Harlem Renaissance, performing at the Plantation Club and in the chorus of the popular Broadway revues Shuffle Along (1921) with Adelaide Hall and The Chocolate Dandies (1924). She performed as the last dancer in a chorus line, a position in which the dancer traditionally performed in a comic manner, as if she were unable to remember the dance, until the encore, at which point she would not only perform it correctly, but with additional complexity. Baker was then billed as "the highest-paid chorus girl in vaudeville".

She traveled to Paris, France, for a new venture: on October 2, 1925, she opened in La Revue Nègre at the Théâtre des Champs-Élysées, where she became an instant success for her erotic dancing and for appearing practically nude on stage. After a successful tour of Europe, she reneged on her contract and returned to France to star at the Folies Bergères, setting the standard for her future acts. She performed the Danse sauvage, wearing a costume consisting of a skirt made of a string of artificial bananas. Her success coincided (1925) with the Exposition des Arts Décoratifs, which gave birth to the term "Art Deco", and also with a renewal of interest in ethnic forms of art, including African. Baker represented one aspect of this fashion. In later shows in Paris she was often accompanied on stage by her pet cheetah, Chiquita, who was adorned with a diamond collar. The cheetah frequently escaped into the orchestra pit, where it terrorized the musicians, adding another element of excitement to the show.