This chapter explores race and sexuality in three parts. After a preamble that explores uses and definitions of race both historically and by historians, the first part examines representations of race and sexuality in relation to the politics of race and sexuality, via such historical figures as Sarah Baartman, Josephine Baker, and Jane Nardal. The second part considers administrative and legal policies as well as forms of social control that were used to control sexuality along the colour line, with references to Cleopatra, legal codes such as the Code Noir, the Scottsboro affair, sex work, and sex talk in the Americas, West Africa, Europe, and Southeast Asia. The third part considers a newer trend towards exploring the influences of love, family, community, and kinship networks upon discussions and experiences of sexuality and race, via examples such as the Signares of Senegal or the ballroom houses of Harlem. One of the points of this chapter is to show how histories of empires, and those of encounters between the Global North and the Global South, were also histories of sex and race.

The American New Woman is an archetype for the generations of women who, in the early twentieth century, were engaged in defining new forms of femininity and forging new public identities, through work, leisure, art, education, and politics. The New Woman also signaled a complex, and sometimes contradictory, modernizing of embodied femininity. Beginning with the New Woman as a sociopolitical individual, mobilized in feminist discourse and suffrage politics, this chapter goes on to explore Greenwich Village women, Black women’s responses to the New Woman, fashions for bobbed hair, and the bodies and performances of different kinds of women dancer (Isadora Duncan, Josephine Baker, Irene Castle). The chapter concludes with Djuna Barnes’ ambivalent encounters with the fashionable New Woman in her work, and Gertrude Stein’s engagement with the legacy of Susan B. Anthony, a crucial pioneer for the women’s suffrage movement and modern feminism, in her final opera The Mother of Us All (1947).

Chapter Six focuses on the figure of the orchēstris (sympotic female dancer) in the Greek cultural and literary imagination. Since these women have received little attention as a distinct category of performer, I begin by surveying both visual and textual evidence to build up an understanding of how orchēstrides were eroticized, objectified, and largely silenced by extant Greek sources. I then argue that both Xenophon’s Symposium and Theopompus’ On the Funds Plundered from Delphi use the figure of the orchēstris to address questions about gender, social order, agency, and authority. I show that these two strikingly different texts (philosophical and historical) both hint at the unsettling power of the attractive yet unruly female dancer.