TitleInterview with Margot Webb, 1978
NamesWebb, Margot, 1910- (Interviewee)Gottschild, Brenda Dixon (Interviewer)
CollectionDance Audio Archive
Dates / OriginDate Created: 1978-04-17
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZTCO 3-338
TopicsNorton, HaroldWebb, Margot, 1910-Norton and Margot (Dance team)African American dancersSegregation -- United StatesBallroom dancing -- United StatesRacism and the artsDiscrimination in public accommodations
GenresInterviews
NotesCitation/reference: For transcript of interview, see *MGZMT 3-338.Content: Title supplied by cataloger.Venue: Recorded by Brenda Dixon-Stowell [later Brenda Dixon Gottschild] 1978, April 17 New York (N.Y.)Funding: The conservation and cataloging of this recording was made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The support of the National Endowment for the Arts is also gratefully acknowledged.
Physical DescriptionAudiocassetteExtent: 1 audiocassette (approximately 1 hr., 3 min.) : quarter-track; 1.875 ips.Sound quality is good.
DescriptionInterview with Margot Webb conducted by Brenda Dixon-Stowell [later Brenda Dixon Gottschild] on April 17, 1978 in New York (N.Y.). The contents of this interview are reflected in Dixon-Stowell's article: Dancing in the Dark: The Life and Times of Margot Webb in Aframerican Vaudeville of the Swing Era, in Black American Literature Forum, Vol. 17, No. 1, Black Theatre Issue (Spring, 1983), pp. 3-7.
Streaming audio file (approximately one hour and three minutes). Margot Webb speaks with Brenda Dixon-Stowell [later Brenda Dixon Gottschild] about performing during the 1930s, on tour and in night clubs [with Harold Norton as the ballroom dance team, Norton and Margo]; the typical structure of the productions in which their act, known as a "unit", appeared; segregation in the theaters and the clubs; the almost complete absence of black agents and managers; the lack of adequate backstage facilities; the cost of lessons; her gowns; alternating touring and working in clubs; a run of one week at a given theater as typical; more on segregation; typical compensation including the disparity between that received by white and by black dancers; the invitation to dance in Russia [former Soviet Union] and its withdrawal; their repertory which included a "toe dance" solo for Webb and an African dance for Norton; Norton's ballet training; more on their repertory including boleros, waltzes, tangos, and rumbas; other black ballroom dancers; performing at the Palladium Theatre in London, England; performing at the Amytis Theater in St. Louis, Missouri thanks to the sponsorship of a wealthy individual; living and performing in Berlin, Germany under the National Socialist regime; the abrupt halt to their tour, in 1937; Harold Norton as a dancer including his versatilityy; their school [ends abruptly].
Type of ResourceSound recording
LanguagesEnglish
IdentifiersRLIN/OCLC: 81455115NYPL catalog ID (B-number): b12118146Universal Unique Identifier (UUID): fec6e7c0-c316-0133-2c71-60f81dd2b63c
Rights StatementThe copyright and related rights status of this item has been reviewed by The New York Public Library, but we were unable to make a conclusive determination as to the copyright status of the item. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use.
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