Freda Josephine Baker (née McDonald; June 3, 1906 – April 12, 1975) was an American-born French dancer, singer, and actress, and a spy for the French Resistance. Her career was centered primarily in Europe, mostly in France. She was the first Black woman to star in a major motion picture, the 1927 French silent film Siren of the Tropics, directed by Mario Nalpas and Henri Étiévant.
During her early career, Baker was among the most celebrated performers to headline the revues of the Folies Bergère in Paris. Her performance in its 1927 revue Un vent de folie caused a sensation in the city. Her costume, consisting only of a short skirt of artificial bananas and a beaded necklace, became an iconic image and a symbol both of the Jazz Age and the Roaring Twenties. Baker was celebrated by artists and intellectuals of the era, who variously dubbed her the "Black Venus", the "Black Pearl", the "Bronze Venus", and the "Creole Goddess". Born in St. Louis, Missouri, she renounced her U.S. citizenship and became a French national after her marriage to French industrialist Jean Lion in 1937. She adopted 12 children, whom she referred to as the Rainbow Tribe, and raised them in France.
Baker aided the French Resistance during World War II, and also worked with the British Secret Intelligence Service and the United States Office of Strategic Services, to an extent which was not publicized until 2020, when French documents were declassified. After the war, she was awarded the Resistance Medal by the French Committee of National Liberation and the Croix de Guerre by the French military, and was named a Knight of the Legion of Honour by General Charles de Gaulle. Baker sang "J'ai deux amours" (in English: "I have two loves: my country and Paris").
She refused to perform for segregated audiences in the United States, and is also noted for her contributions to the civil rights movement. In 1968, she was offered unofficial leadership in the movement following the assassination of Martin Luther King, but declined due to concerns for the welfare of her children. On November 30, 2021, Baker was inducted into the Panthéon in Paris, the first black woman to receive one of the highest honors in France. As her resting place remains in Monaco Cemetery, a cenotaph was installed in vault 13 of the crypt in the Panthéon.
Josephine Baker was born Freda Josephine McDonald in St. Louis, Missouri. Baker's mother, Carrie, was adopted in Little Rock, Arkansas, in 1886 by Richard and Elvira McDonald, the latter of whom was a former slave, and both of African descent. Carrie McDonald was of African American and Native American heritage. Baker's official website identifies vaudeville drummer Eddie Carson as her biological father; both Carson and Carrie McDonald were vaudeville performers. However, in his 1993 biography entitled Josephine: The Hungry Heart, Baker's foster son, Jean-Claude Baker, stated otherwise. Following decades of exhaustive research into Baker's life and career, Jean-Claude Baker's book described the circumstances of Baker's birth as follows:
The records of the city of St. Louis tell an almost unbelievable story. They show that (Baker's mother) Carrie McDonald ... was admitted to the (exclusively white) Female Hospital on May 3, 1906, diagnosed as pregnant. She was discharged on June 17, her baby, Freda J. McDonald having been born two weeks earlier. Why six weeks in the hospital? Especially for a black woman (of that time) who would customarily have had her baby at home with the help of a midwife? ... The father was identified (on the birth certificate) simply as "Edw".
Jean-Claude Baker failed to unearth the identity of Baker's biological father (which he described as "the most painful mystery of her life"), but that he, Baker, and others believed her father to have been a white man. He added that Eddie Carson "played along" with the assertion that he was Baker's father. Khalid Elhassan, the author of "40 Fascinating Facts About the Fabulous Josephine Baker", noted that it was "almost unheard of" for a person of color to be treated in a white hospital during segregation; he opined that "the likeliest explanation is that Josephine’s mother, who worked for a wealthy German family, had been impregnated by her employer, who then pulled strings to get [her] admitted into the city’s best hospital".
Josephine McDonald spent her early life on 212 Targee Street (known by some St. Louis residents as Johnson Street) in the Chestnut Valley neighborhood of St. Louis, a racially mixed low-income area near Union Station, consisting mainly of rooming houses, brothels, and apartments without indoor plumbing. She was poorly dressed and hungry, and she developed street smarts playing in the railroad yards of Union Station.
Her mother married Arthur Martin, "a kind but perpetually unemployed man", with whom she had a son and two more daughters. She worked in a laundry; her mother placed her there due to her family being impoverished; she worked there in order to increase the income of her family and, at eight years old, Josephine began working as a live-in domestic for white families in St. Louis. One woman abused her, burning Josephine's hands when the young girl put too much soap in the laundry.
In 1917, when she was 11, a terrified Josephine McDonald witnessed racial violence in East St. Louis. In a speech years later, she recalled what she had seen:I can still see myself standing on the west bank of the Mississippi looking over into East St. Louis and watching the glow of the burning of Negro homes lighting the sky. We children stood huddled together in bewilderment ... frightened to death with the screams of the Negro families running across this bridge with nothing but what they had on their backs as their worldly belongings... So with this vision I ran and ran and ran...
By age 12, she had dropped out of school. At 13, she worked as a waitress at the Old Chauffeur's Club at 3133 Pine Street. She also lived as a street child in the slums of St. Louis, sleeping in cardboard shelters, scavenging for food in garbage cans, making a living with street-corner dancing. It was at the Old Chauffeur's Club that Josephine met Willie Wells, whom she married at age 13, but the marriage lasted less than a year. Following her divorce from Wells, she found work with a street performance group called the Jones Family Band.
In her teens, she struggled to have a healthy relationship with her mother, who opposed her becoming an entertainer and scolded her for not tending to her second husband, William Howard (Billy) Baker, whom she had married in 1921, at age 15. She soon left him when her vaudeville troupe was booked into a New York City venue. They divorced in 1925, during a period when her career success was beginning. Still, she continued to use his last name professionally for the rest of her life. Though Baker was often on the road, returning with gifts and money for her mother and younger half-sister, larger career opportunities drew her farther afield, to France.
Baker's unrelenting badgering of a local show manager led to her recruitment for the St. Louis Chorus vaudeville act. At the age of 13, she headed to New York City during the Harlem Renaissance and performed at the Plantation Club, Florence Mills's old stomping ground. After several auditions, she secured a role in the chorus line of a touring production of the groundbreaking and hugely successful Broadway revue "Shuffle Along" (1921) that helped bring public attention to Florence Mills, Paul Robeson, and Adelaide Hall.
In "Shuffle Along", Baker was a dancer at the end of a chorus line. Fearing she might be overshadowed by the others, she used her position to ad-lib, introducing a hint of comedy into her routine, making her stand out from her fellow dancers, thus going off-script, yet engaging audiences. She began in "Shuffle Along" with one of the U.S. touring companies, but, once she came of age, she was transferred to the Broadway production, where she remained for several months, until the show closed, in 1923. Next, Baker was cast in "The Chocolate Dandies", a revue that opened on September 1, 1924. Again, she was relegated to the chorus line. The show ran for 96 performances, finally closing on November 22, 1924.