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Eugénie Fougère
Eugénie Fougère (Marseille, April 12, 1870 – unknown) was a French vaudeville and music hall singer. She was known for her eye-catching outfits, frisky movements, suggestive demeanor, and for her rendition of the popular "cakewalk dance," which in her own style included "negro" rhythms and paces.〔Gordon, ''Dances With Darwin'', p. 236〕 She should not be confounded with the frequenter of the French demi-monde also named Eugénie Fougère although the two knew each other, mixed in the same circles and even lived in the same street in Paris for a while.〔 (Un asssassinat à Aix-les-Bains ), Le Figaro, September 21, 1903〕〔Bossy, ''(Les Grandes Affaires Criminelles de Savoie )'', pp. 81-104〕〔 (Les survivants du Caf’Conc’ ), by Maurice Hamel, Lectures pour tous, August 1934〕
==Career==
He first appearance was at the age of 12 in Avignon.〔 (La "gommeuse excentrique" Eugénie Fougère ), Comœdia, September 12, 1925〕 At the age of 15 she started her career at the ''Café des Ambassadeurs'' in Paris, where she would live the rest of her life.〔〔 Fougère became a popular and excentric singer and dancer that performed in famous theatres, such as the ''Folies Bergère'' and ''L'Olympia''.〔〔 (Les Chansons illustrees )〕 She became known for her "racially ambiguous" dancing techniques that she applied to ragtime and the popular "cake walk" dance of the time.〔 A popular theorist of "negro dance," Andre Levinson, complied that it is impossible for Europeans to recreate the moves seen by African dance, and that is why the public is amazed by it.
The "frenzied divette" was, in the art of music hall, a precursor, introducing songs and dances of all countries, long before that became fashionable in the café-concert circuit, while wearing the most unlikely toilets, bedecked with paradoxical colours.〔〔
While describing a revue at ''La Cigale'' near Place Pigalle in Paris in 1920, where she appeared in the costume of an American Negro, Rae Beth Gordon, a Professor in French literature, notes that "at least in this original fantasy, she told the journalist, 'I felt my old self again.' The incorporation of blackness by this white singer suggests that the motivations for adopting a black persona and the effects of such a masquerade went beyond the purposes of simple exploitation. Fougère felt more at home in a black body — or, at least, in a body ruled by black rhythms and movements — than she did in a white body deprived of the opportunity to express itself with no holding back."〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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