In Langston Hughes's 1934 essay “Boy Dancers of Uzbekistan,” (published in Travel magazine), the author writes mournfully about the Soviet reforms that put an end to the practice of effeminized male dancers, bachi, performing in the teahouses of Central Asia for exclusively male audiences; in doing so, Hughes expresses an enthusiasm for the queer contours of the bachi tradition. This article connects that enthusiasm with Hughes's earlier involvement in cultural efforts aimed at increasing queer visibility within the black community during the Harlem Renaissance. By situating “Boy Dancers” in this context, the underexplored role of the Russian Revolution in fostering queer solidarity among global communities of color is highlighted.
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