Kicha's photos with the keyword: Activist

Aida Overton Walker (1880-1914), dazzled early 20th century theater audiences with her original dance routines, her enchanting singing voice, and her penchant for elegant costumes. One of the premiere African American women artists of the turn of the century, she popularized the cakewalk and introduced it to English society. In addition to her attractive stage persona and highly acclaimed performances, she won the hearts of black entertainers for numerous benefit performances near the end of her tragically short career and for her cultivation of younger women performers. She was, in the words of the New York Age's Lester Walton, the exponent of "clean, refined artistic entertainment." Born in New York City, where she gained an education and considerable musical training. At the tender age of fifteen, she joined John Isham's Octoroons, one of the most influential black touring groups of the 1890s, and the following year she became a member of the Black Patti Troubadours. Although the show consisted of dozens of performers, Overton emerged as one of the most promising soubrettes of her day. In 1898, she joined the company of the famous comedy team Bert Williams and George Walker, and appeared in all of their shows—The Policy Players (1899), The Sons of Ham (1900), In Dahomey (1902), Abyssinia (1905), and Bandanna Land (1907). Within about a year of their meeting, George Walker and Overton married and before long became one of the most admired and elegant African American couples on stage. While George Walker supplied most of the ideas for the musical comedies and Bert Williams enjoyed fame as the "funniest man in America," Aida quickly became an indispensable member of the Williams and Walker Company. In The Sons of Ham, for example, her rendition of Hannah from Savannah won praise for combining superb vocal control with acting skill that together presented a positive, strong image of black womanhood. Indeed, onstage Aida refused to comply with the plantation image of black women as plump mammies, happy to serve; like her husband, she viewed the representation of refined African American types on the stage as important political work. A talented dancer, Aida improvised original routines that her husband eagerly introduced in the shows; when In Dahomey was moved to England, Aida proved to be one of the strongest attractions. Society women invited her to their homes for private lessons in the exotic cakewalk that the Walkers had included in the show. After two seasons in England, the company returned to the United States in 1904, and it was Aida who was featured in a New York Herald interview about their tour. At times Walker asked his wife to interpret dances made famous by other performers—one example being the "Salome" dance that took Broadway by storm in the early 1900s—which she did with uneven success. After a decade of nearly continuous success with the Williams and Walker Company, Aida's career took an unexpected turn when her husband collapsed on tour with Bandanna Land. Initially Walker returned to his boyhood home of Lawrence, Kansas, where his mother took care of him. In his absence, Aida took over many of his songs and dances to keep the company together. In early 1909, however, Bandanna Land was forced to close, and Aida temporarily retired from stage work to care for her husband, now clearly seriously ill. No doubt recognizing that he likely would not recover and that she alone could support the family, she returned to the stage in Bob Cole and J. Rosamond Johnson's Red Moon in autumn 1909, and she joined the Smart Set Company in 1910. Aida also began touring the vaudeville circuit as a solo act. Less than two weeks after Walker's death in January 1911, Aida signed a two-year contract to appear as a co-star with S. H. Dudley in another all-black traveling show. Although still a relatively young woman in the early 1910s, Aida began to develop medical problems that limited her capacity for constant touring and stage performance. As early as 1908, she had begun organizing benefits to aid such institutions as the Industrial Home for Colored Working Girls, and after her contract with S. H. Dudley expired, she devoted more of her energy to such projects, which allowed her to remain in New York. She also took an interest in developing the talents of younger women in the profession, hoping to pass along her vision of black performance as refined and elegant. She produced shows for two such female groups in 1913 and 1914—the Porto Rico Girls and the Happy Girls. She encouraged them to work up original dance numbers and insisted that they don stylish costumes on stage. When Aida Overton Walker died suddenly of kidney failure on October 11, 1914, the African American entertainment community in New York went into deep mourning. The New York Age featured a lengthy obituary on its front page, and hundreds of shocked entertainers descended on her residence to confirm a story they hoped was untrue. Walker left behind a legacy of polished performance and model professionalism. Her demand for respect and her generosity made her a beloved figure in African American theater circles. Sources: Jazz: Black Musical Theater in New York, 1890-1915. Washington, D.C., Smithsonian Institution Press, 1989, Thomas L Riis; James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library

Aida Overton Walker is a name that should be more familiar to vaudeville and theater lovers than it is for she was the foremost African-American star of her generation which comprised the early years of the 20th century. Her national and even international fame was such that she was a living legend of black show business and in fact her vision of a world with dignified and respected black show business artists who did not have to demean themselves onstage was years ahead of reality. Her work helping young black artists and especially black women to become super-achievers and her own remarkable talents as singer, dancer, actress, comedienne and choreographer caused her to be one of the most admired and respected black women in America. Aida was born in 1880 in New York City and became known quickly for her talent as a dancer and singer as well as her great natural beauty. By 1895 she was a member of the famous black touring company disparagingly known as John Isham’s Octoroons and then joined the Black Patti Troubadours. This famous group was headed by Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, who became a famous soprano. She was called the “Black Patti” after the famous white soprano Adelina Patti, who was one of the foremost superstars of opera of her time. Her troupe, the Troubadours, consisted of a whole show that entertained black and sometimes also white audiences throughout the country. The show had some 40 performers but Adelina emerged as one of its leading stars. In 1898 she joined the rapidly rising comedy team of Bert Williams and George Walker, being featured in all of their landmark black performances including The Policy Players (1899), The Sons of Ham (1900), the very famous In Dahomey (1902), Abyssinia (1905) and Bandanna Land (1907). Walker and Overton married soon after they began performing together. Her performance of Miss Hannah from Savannah in Sons of Ham caused a national sensation and furthermore Aida did the choreography for all of these big shows and emerged as the glue or catalyst that made the Walker-Williams shows work so well, as she worked behind the scenes with her husband supplying the themes and basic ideas for the shows, which then featured the great humor of Bert Williams. Although forgotten today, whereas Williams and Walker are more remembered, the three of them formed the most popular trio of “colored” entertainers in the world in the early years of the 20th century. Aida was also in demand as a choreographer for other shows such as Bob Cole and J. Rosamond Johnson’s The Red Moon (1909). In these shows, although she performed in blackface, Aida refused to play black plantation stereotypes and an essential part of her political activism was to make the black woman stand tall and be an object of dignity and respect, even though she would attempt to make this statement through comedy and song. She became a huge hit in England from 1902 to 1904 with In Dahomey and was frequently hired for major society parties because she became known as the Queen of the Cakewalk from her dancing in the show and the British wanted to learn this remarkable dance so-named because originally those black dancers who did it well might receive a cake for a prize. In 1903 she played a command performance at Buckingham Palace for King Edward VII which added to her international reputation. In the midst of this success her husband allegedly contracted syphilis through affairs with other women and he collapsed during the run of Bandanna Land in 1908. She was able to fill in for her ailing husband, performing his part in drag and managing to save the company, but eventually he grew more ill and died in 1911 as the disease, which had symptoms of stuttering and memory loss was incurable at this time. Bert Williams went on to solo success with the Ziegfeld Follies and Aida was forced to develop into a solo artist as well, leading to her work as choreographer and featured star in Red Moon and she joined the famous African-American Smart Set Company in 1910 while her husband was still gravely ill. What she must have thought of her husband’s behavior is not recorded but her indomitable will to survive and continue her art and her work even despite his situation is clear. Ten days after her husband’s death she signed a contract to star with S. H. Dudley in an all-black traveling show. Walker was buried in his home town of Lawrence, Kansas, one of many black superstars of the time to die of syphilis which almost reached epidemic proportions in the black theatrical community around this time. Her post-Walker career was also distinctive as she emerged as a female superstar and was often invited to prominent white social gatherings to demonstrate the latest dances suitable for such events. Only Bert Williams among other black performers was able to do this and to work with white performers. For example she played the lead in Oscar Hammerstein’s 1912 revival of Salome at the Victoria Theater in New York, a role she had essayed in the black theater since the initial Salome craze of the early years of the century. Aida was also an activist for black causes years and years before this was something that was popularly accepted. She raised significant funds for the Industrial Home for Colored Working Girls and worked to promote opportunities for young black women in the entertainment business through her connections. She hoped to promote a new generation of refined and elegant black performers free of the hamstringing stereotypes of the previous decades. To this end in 1913 and 1914 she promoted the Porto Rico Girls and the Happy Girls and produced shows for these troupes to show black women as original creative talent. This she did despite suffering from a number of disabling illnesses that beset her after the death of her husband. In the 1910s she was described by critics as “the best Negro comedienne today” and “the most fascinating and vivacious female comedy actress the Negro race has ever produced”. Her ability to mesmerize an audience and her standard numbers performed in drag which she perfected while filling in for her ailing husband were legendary. Indeed each of her performances in shows or in vaudeville featured one of her famous drag numbers. And then just as suddenly it was all over. Just 34 years of age, Aida died quickly on October 1, 1914 from kidney failure and hundreds of people came to her house to honor her and to grieve. A true legend of black vaudeville and theater had passed. Every black female entertainer of note in this world owes a great debt to this pioneering entertainer who envisioned a world which honored and respected black talent and who died at the height of her fame. Sources: James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library; Kansas City Museum Collection; Hall Studio (NY) , circa 1909

William C. Goodridge was born enslaved in Baltimore, Maryland. Eventually he became a prominent businessman in York, Pennsylvania and an activist on the Underground Railroad. William C. Goodridge was born to an enslaved African American mother in Baltimore, Maryland in 1806. It is not known who his father was, but it is generally assumed he was a white man. In 1811 he was indentured to the Reverend Michael Dunn who operated a tannery in York. Goodridge received his freedom in 1822 when Dunn went bankrupt. Goodridge then moved to York, Pennsylvania, where he opened his own barber shop. In 1827, he married Evalina Wallace who also became his business partner. The two had seven children, five of which survived to adulthood. Goodridge then opened an employment agency, began to invest in commercial and residential real estate, and in 1842 opened his own freight service, the “Reliance Line of Burthen Cars” on the railroad line between York and Philadelphia. Cementing his position in York, he in 1847 built Centre Hall, a five-story commercial property in the center of town. The same year they were married, the Goodridges moved into a well-built brick home along Philadelphia Street and William lived there until the mid-1860s. The couple quickly expanded their barber business to include the sale of various items, to include a baldness cure known as Oil of Celsus. Goodridge then opened a freight service, the Reliance Line, in 1842 which operated primarily between York, Philadelphia and Baltimore. In 1847 he built the tallest building in York, Centre Hall, a five-story commercial property located in central York. Goodridge operated an employment agency from Centre Hall and rented out space to various businesses, to include a tavern and York’s first newspaper, The Democrat. One of Goodridge’s sons also operated a photography studio within Centre Hall. As a mixed race businessman in a town and state where many vehemently opposed the abolition movement, Goodridge kept a low profile, especially after passage of the Fugitive Slave Act in 1850 made aiding escaped slaves a federal crime, so we will never know the extent of his activities. His name, however, is associated with two major events in the struggle against slavery. In the aftermath of the Christiana riot in neighboring Lancaster County, some of the black men who had participating in that deadly firefight made the first leg of their trip north to safety in Canada concealed in a special freight car of Goodridge’s Reliance Line. In the aftermath of John Brown’s failed raid on the federal arsenal in Harpers Ferry in October 1859, Osborne Perry Anderson, one of Brown’s trusted lieutenants, fled to York, where Goodridge arranged his safe passage by railroad to Philadelphia. By 1856, Goodridge owned 12 properties in York and was one of the wealthiest African Americans in south central Pennsylvania. However, things began to go awry after his wife died in 1852 and most of his properties were sold at auction after he went bankrupt just prior to the start of the Civil War. Goodridge remained a barber in York until 1864 when he moved to East Saginaw, Michigan to live with family. He then moved on to Minneapolis to live with his daughter, Emily, where he died in 1873 at age 66. In 1998, the Goodridge home in York became one of the first Underground Railroad sites designated by the National Park Service as a National Historic Landmark. There the Goodridge Freedom House and Underground Railroad Museum is working towards opening a museum in his honor. Until recently, the only known image of William C. Goodridge, was a grainy one published in a York newspaper in 1907. In September of 2015, an original ambrotype believed to be of Goodridge was sold on ebay. The photograph, which is not marked, is small but clear. The buyer, Robert Davis of Sacramento, contacted Carol Kauffman at the Crispus Attucks Association in York to share his discovery. The association had been working on the restoration of the Goodridge Freedom House & Underground Railroad Museum in York for several years. "It's an amazing picture for the time," Kauffman said. Davis loaned that photograph as well as three tintypes of Goodridge's descendants to the Crispus Attucks Association for a reception that took place in 2015 in honor of William C. Goodridge. The event was held at the York railroad station. It was also part of a fundraiser for the renovation of his former home in York. Sources: Enterprising Images: The Goodridge Brothers, African American Photographers, 1847-1922 by John Vincent Jezierski; Michigan Historical Museum; York Daily Record, Teresa Boeckel (staff writer); theclio

Ora Brown Stokes (1882 - 1957), was born in Chesterfield County and raised in Fredericksburg, Virginia. During her life, she worked to improve the lives of African American women and girls. For twenty years she was employed as a probation officer with the Richmond City Juvenile Court. She organized the National Protective League for Negro Girls and a local chapter of the Council of Colored Women. In 1912, she started the Richmond Neighborhood Association to help black working women, and it quickly expanded to support a nursery, a residence for young girls, and other community services. Stokes was also president of the Southeastern Section of the National Association of Colored Women's Clubs and the Virginia Negro League of Women Voters. Info and Image: History of the American Negro (Virginia Edition), 1921.