èAV

Bill “Bojangles” Robinson Dancer


Born in Richmond, Virginia, Bill Robinson began dancing in local saloons at the age of six. He became a popular fixture on the vaudeville circuit just two years after that. While still a child, he was given the nickname “Bojangles,” although even Robinson himself was unsure of the origin of that moniker.

In 1905, Robinson forged a partnership—lifelong, it turned out—with agent Marty Forkins, who gave the dancer a golden opportunity: the chance to develop a solo act. African American dancers of the time appeared exclusively in pairs. 

Robinson made the most of his solo act, touring the United States and Europe until he settled in Harlem in 1928. That was the year he landed a role in the all-Black musical revue Blackbirds of 1928, which was staged by a white producer for white audiences. Robinson’s popularity soared.

Tap-dancing high on his toes and moving his upper body with understated grace, Robinson displayed a lightness and finesse never seen before. He shunned the frantic style of his predecessors for a more elegant, precise form of tap.

Robinson’s talent gave him entrée to two worlds—white entertainment and Black entertainment—yet he was never completely accepted in either one. White audiences adored the films in which he co-starred with Shirley Temple or Will Rogers, but his commercially successful roles were modeled on racist stereotypes, such as that of the genial Black servant. Though artistically satisfying, his few forays into Black films—notably Harlem Is Heaven—didn’t make him much money.

Robinson began performing at Harlem’s Cotton Club in the mid-1930s. In 1939, he joined the Broadway cast of an African American musical called Hot Mikado. The white establishment, meanwhile, cemented his celebrity status by naming him honorary mayor of Harlem—and mascot of the New York Giants baseball team. Many prominent African American individuals, however, found these distinctions to be demeaning and paternalistic.

Despite the racial tension that dogged his career, Robinson revolutionized his art, conquered both stage and screen, and triumphed as a Harlem legend.

Listen: “Doin’ the New Lowdown” by Bill “Bojangles” Robinson

A logo banner that says “Drop Me Off in Harlem” in white font on top of a transparent image of the Cotton Club. The Cotton Club image is obscured by a soft mixture of green, yellow, and pink.

I n t e r s e c t i o n s

A black-and-white photo of jazz bandleader, arranger, and pianist Fletcher Henderson. He wears a white suit with a black bowtie and holds the stand to an old school microphone.

He danced with the Fletcher Henderson Orchestra.

A black-and-white exterior image of the Lafayette Theater, featuring its marquee sign and a crowd of people.

He was a frequent act at the Lafayette Theatre.

A black-and-white photo of dancer, singer, and actress Florence Mills.

Robinson was a close friend and teacher of Florence Mills.

A black-and-white photo of jazz vocalist and bandleader Cab Calloway. Cab is smiling while wearing a wide-brimmed hat.

He headlined with musician Cab Calloway.

A black-and-white image of actress Evelyn Preer.

He was friends with actress Evelyn Preer.

harlem-line.jpg

Video Bio

Video Bio

Related Resources

Media Dancing to Different Rules

They were rebels, they were American, and they dared to be different: the makers of modern dance.

  • Dance
  • Contemporary Dance
  • Choreographers
  • Women in the Arts

Media Alvin Ailey + Revelations

Find out how Alvin Ailey explored themes of African American heritage and culture through dance.

  • Dance
  • Contemporary Dance
  • Choreographers
  • African-American History

Media Music as Dance's Muse

See how four choreographers (Alvin Ailey, Robert Battle, Larry Keigwin, and Mark Morris) use music in different ways in their works.

  • Music
  • Dance
  • Contemporary Dance
  • Choreographers

Media Five(ish) Minute Dance Lessons: Swing Dance

Learn the basics of swing dance, called East Coast Swing; take it up a notch with the Charleston; and if you're really swingin' after that, you can learn the most advanced swing dance, the Lindy Hop.

  • Dance
  • Jazz & Blues
Kennedy Center Education Digital Learning

Eric Friedman 
Director, Digital Learning

Kenny Neal 
Manager, Digital Education Resources

Tiffany A. Bryant 
Manager, Operations and Audience Engagement

JoDee Scissors 
Content Specialist, Digital Learning

Connect with us!

spacer-24px.png                email.png

Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.