"Bobino: The Music Hall in Paris," Paris is Beautiful City Guide, accessed November 24, 2017, http://cityguide.paris-is-beautiful.com/en/paris/entertainment-en-2/bobino-the-music-hall-in-paris/7083.

"History of the Place," bobino, accessed November 22, 2017, http://bobino.fr/#histoiredulieu.

"Josephine Baker," The Official Site of Josephine Baker, accessed November 22, 2017, https://www.cmgww.com/stars/baker/about/biography/.

Baker's career and success in the music industry is significant because she used her fame to make powerful statements about culture, identity, and race relations during a time of white supremacy. Baker embraced her racial identity, as well as her culture of being both American and French[1]. She used music and performance arts to question the idea of "place and belonging"[2]. Through her work, she defied stereotypes and acted as an advocate for inclusivity.

As outlined by Jackson, black artists were sought after in France due to their natural talent and ability to provide a burst of fresh jazz energy[3]. Baker's quick rise to fame in Paris can be attributed to the desire of the French people to see black women perform. Baker was sought after in Paris, so she used her fame to bring awareness to the place of cultural minorities in evolving French culture[4]. She refused to accept only roles involving black stereotypes and she made an alternate style of dance commonplace[5]. Baker frequently used her celebrity status to voice concerns of inequity and racial profiling, as evident in her activism surrounding the racially driven massacre of 1917 in St. Louis[6]. Many of her performances were titled after important racial issues and explored the theme of racial acceptance[7].

However, in addition to her black heritage and racial activism, Baker also prioritized her acclimation into the French culture. She was an active member of the French Red Cross during WWII and converted to Catholicism[8] in order to show her commitment to her new home country. Baker embodied that, "To be French is not [biologic] but … an identity chosen while adhering to French culture and French lifestyle"[9] .

Baker truly conveyed the importance of cultural acceptance as she adopted her twelve children, whom she deemed "The Rainbow Tribe"[10]. She was committed to proving that across cultures and races, people can still be accepting and considered "brothers"[11]. Baker used her position as a prominent performer to advance the acceptance of race and culture throughout Paris and the jazz industry.

[1] Irina Armianu, "Josephine Baker: Artist and dissident," International Journal of Francophone Studies (20, 1/2): 40.

[2] Bennetta Jules-Rosette, "Josephine Baker and utopian visions of Black Paris," Journal of Romance Studies, (5, 3): 35.

[3] Jeffrey Jackson, "Making Jazz French: The Reception of Jazz Music in Paris, 1927-1934" French Historical Studies (2002): 154.

[4] Irina Armianu, "Josephine Baker: Artist and dissident," International Journal of Francophone Studies (20, 1/2): 40.

[5] Ibid.

[6] Irina Armianu, "Josephine Baker: Artist and dissident," International Journal of Francophone Studies (20, 1/2): 40.

[7] Ibid.

[8] Ibid., 41.

[9] Ibid.

[10] "Josephine Baker," The Official Site of Josephine Baker, accessed November 22, 2017, https://www.cmgww.com/stars/baker/about/biography/.

[11] Ibid.

This walking tour brings tourists to the jazz clubs in the left bank of Paris. These locations are crucial to understanding the political, social, and racial tensions present in 20^th century France. The majority of our sites are in the Latin Quarter, which was the neighbourhood where many famous artists, writers and intellectuals spent their time. These sites also show the diverse ways of life throughout the different Parisian neighborhoods, and how music and jazz influenced their inhabitants. The venue of Les Trois Mailletz led to an understanding of Hal Singer's career and the juxtaposition views of how French people welcomed the employment of black musicians. Le Caveau de la Huchette showcased how racial tensions affected the employment of black musicians. While France is often referred to as a racially accepting nation throughout the 20^th century, the experiences of musicians such as Sidney Bechet is evidence of the racism present throughout Paris. La Chat Qui Pêche was an important stop on our journey as it was a dominant force in establishing the African-American jazz culture in Paris. This site also made connections to a similar community of black jazz musicians who took root in Montmartre. This demonstrates how the black jazz community was such a strong force in the Parisian jazz scene that they congregated on both sides of the Seine River. La Villa was another important stop on our tour as it highlighted the upper-class community that frequented many jazz clubs in Paris. Le Club Saint-Germain was another crucial point of interest on this tour as it is located in the heart of the Saint-Germain-des-Près string of clubs. It was another site that was often visited by writers and various types of artists. Finally, the Bobino Theatre was the venue for Josephine Baker's final performance. Baker made a profound influence on the cultural and racial acceptance and worked diligently to advocate for inclusion through her art. Overall, each of these jazz venues reveals how jazz made an important impact on advancing the music industry, as well as political, social, and cultural understanding in Paris and worldwide during the 1900s.