page_title: Master Juba
section_title: Performance style
hierarchical_section_title: Master Juba / Performance style
caption_attribution_description: Caricature of the African American dancer Master Juba and his fellow blackface minstrel, Gilbert W. Pell, from their British tour during the 1848 theatrical season. The image shows Juba with knees bent and legs spread, one leg poised to land hard on the floor; arms in close.
context_page_description: Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white minstrel group. His real name was believed to be William Henry Lane, and he was also known as "Boz's Juba" following Dickens's graphic description of him in American Notes.
  As a teenager, he began his career in the rough saloons and dance halls of Manhattan's Five Points neighborhood, moving on to minstrel shows in the mid-1840s. "Master Juba" frequently challenged and defeated the best white dancers, including the period favorite, John Diamond. At the height of his American career, Juba's act featured a sequence in which he imitated a series of famous dancers of the day and closed by performing in his own style. Being a black man, he appeared with minstrel troupes in which he imitated white minstrel dancers caricaturing black dance using the phenomenon Blackface. Even with his success in America, his greatest success came in England.
  In 1848 "Boz's Juba" traveled to London with the Ethiopian Serenaders, an otherwise white minstrel troupe.
context_section_description: Playbills tell us, broadly, what Juba did during his performances. No known description of Juba's dancing by a contemporary was written by anyone of his own race, class, or profession. While he was clearly a remarkable dancer, it is impossible to gain precise knowledge of his style and technique, or of the degree to which he differed from his largely forgotten black contemporaries. The sources lack precise points of comparison. The more detailed accounts come from British critics, to whom Juba must have been more of a novelty than to Americans. These writers were catering to a white, middle class, British audience. Other descriptions come from promotional material and thus cannot be trusted to be objective. Juba was described as a "jig dancer" at a time when the word still connoted Irish folk dancing but was in the process of changing to encompass black dance. The Irish jig was common at this time, so skillful improvisation may account for the inordinate amount of attention Juba received.
  These accounts offer only ambiguous choreographic descriptions. While these descriptions often offer exacting detail, they contradict one another. Some attempt an almost scientific precision, while others emphasize the impossibility of Juba's style. The reviews do agree that Juba's dance was novel to the point of indescribability, frenzied, varied in tempo and tone, well-timed, percussive, and expressive.
  He was an integral member of the troupes with which he toured, as evidenced by the roles he played in the minstrel show presented by Pell's Ethiopian Serenaders. Juba did three dances in two forms. He performed "festival" and "plantation" dances in formal attire with Thomas F. Briggs on banjo, and dressed in drag to perform the role of Lucy Long in the song of that name, sung by Pell. There is little evidence to indicate whether Juba portrayed the wench role in sexual or burlesque style. However, a review from Manchester, England, implies that it was the former:
  With a most bewitching bonnet and veil, a very pink dress, beflounced to the waist, lace-fringed trousers of the most spotless purity, and red leather boots,—the ensemble completed by the green parasol and white cambric pocket handkerchief,—Master Juba certainly looked the black demoiselle of the first ton to the greatest advantage. The playing and singing by the serenaders of a version of the well-known negro ditty, furnished the music to Juba's performance, which was after this fashion:-Promenading in a circle to the left for a few bars, till again facing the audience, he then commenced a series of steps, which altogether baffle description, from their number, oddity, and the rapidity with which they were executed ... The promenade was then repeated; then more dancing; and so on, to the end of the song.
  Existing images of Juba offer more hints. Two depictions, from a review of Juba at the Vauxhall Gardens, published in The Puppet-Show on August 12, 1848, show a drunken man imitating Juba's performance; he seems to be doing a cake-walk, his leg kicked high, his hat in his extended arm. A caricature of Juba shows him with knees bent and legs spread, one leg poised to land hard on the floor; arms in close. The most common image of Juba, originally from June 18, 1848, edition of The Era, shows him in a position similar to this one; his hands rest in his pockets. One British account, in an issue of The Illustrated London News from August 5, 1848, is accompanied by an illustration that shows Juba performing what seems to be a jig.
caption: A caricature of Juba and Pell from the 1848 season shows Juba in a characteristic dance pose.
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