James Barton: A Jazz Dance Original
James Barton (1890-1962) was born into an Irish theatrical family where dancing jigs and reels was as normal as walking. His father and uncle were early minstrel performers, and his mother danced ballet. When he starred in his first show in 1898, “The Boy Comedian,” Barton became a member of a prestigious club—one of the few stage performers who helped define by example what jazz dancing would evolve to be -- a 20th century movement phenomenon. Training from his family, years of performing in vaudeville and burlesque shows and absorbing the growing influence of African-American performers would combine to make Barton one of the first jazz dancers in American dance history. Although he concluded his career as a legitimate actor on stage and screen, Barton contributed heavily to what the American dance machine would eventually call jazz dancing by uniting a wide range of ethnic, theatrical and practical influences. Through several wars, the Great Depression and rock-n-roll, Barton performed a unique amalgam of tap, swing and the grind that shocked audiences, wowed critics and intrigued dancers.
Barton toured with his parents and eventually performed in every major theatre circuit in the U.S. During that time he appeared on Broadway in early musicals and reviews. But not until he landed a job as a replacement in “The Passing Show of 1919” did he get the attention of virtually everyone. He replaced Ed Wynn and brought audiences to their feet and critics to their typewriters with his improvisations. Following this success, Barton’s dancing literally saved many poorly written shows. A critic from the New York News said, “…whenever the book failed him, he shuffled into one or more of his eccentric dances.”
Eccentric dance was and is used to describe a whole host of vernacular dance movements that were well known among particular ethnic groups and then eventually merged into popular entertainment. Everything from an Irish jig to a Caribbean snake ritual was incorporated into what was called dance in the early part of the century. In retrospect, entertainment was a reflection of the melting pot ideal that created America. People bring more than clothing and dreams with them when they immigrate to another country. Their culture comes along for the ride, and they must also learn to blend with the cultures of others. A quick study like Barton employed a keen eye, willingness to take risk and some rhythm to produce a dance form that brought together the cultures and dance traditions of several different nations. “I did a strut, a Mooche, a knock-about dance, a military drill, a dying-swan burlesque (my mother gave me the idea for that), a ballroom sheik, a skating act on a pedestal, a mad-dog act, an acrobatic bit, a challenge dance, a burlesque waltz and some others I can’t remember,” Barton said of his dancing. Now that’s entertainment!
Jazz dancing defies explicit definition. The nature of the style allows for a form of dance that may not fit somewhere else to find a home in jazz. Jazz is ever evolving in part because of its originations. Besides movement, jazz dance mixes music, politics, intellect, fashion, economics, emotions and global perspective, to name a few of the influences. James Barton’s career spanned the range of entertainment options available as he hoofed on midwestern vaudeville stages, originated the stage role of Ben Rumson in “Paint Your Wagon” (1951) and had several parts in movies, including “The Misfits” (1961) with Clark Gable and Marilyn Monroe. He died of a heart attack in 1962.
Resources: Jazz Dance, The Story of American Vernacular Dance, Marshall and Jean Stearns, Schirmer Books, New York, 1968. www.streetswing.com
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