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Among the book�s most delightful passages is Aloff�s passionate deconstruction of Goofy�s choreography, and limited abilities versus lofty objectives in How To Dance. This is combined with some smart historical perspective on trends of the period, that make the reader wonder what contemporary animators might do if the nation�s - nay, the world�s fascination with celebrity dance competitions were brought to bear on the Goof in a new animated outing (Kevin Deters and Stevie Wermers, are you reading this?) We are also treated to a couple of very good �sidebars� � interviews conducted by Ms. Aloff with various dance artists, the best of which are dancer Susan Casang and choreographer Naomi Goldberg�s remembrances of shooting live-action reference for the Esmeralda dances in The Hunchback of Notre Dame, and a re-print/re-edit of Aloff�s lengthy and insightful conversation with first lady of Disney dance, and Disney Legend, Marge Champion.

Perhaps the book�s most important contribution to the study of animation comes in the two passages that provide and in-depth and well-researched look at how a group of gifted and overshadowed African American artists played a key role in influencing two of the best comic dance sequences in animation history � the swinging moves of the murder of crows in Dumbo, and the unequaled hilarity that is �Dance of the Hours� in the original Fantasia.

In these passages, Aloff delves into the backgrounds of the two men � Freddie and Eugene Jackson, half-brothers with a long history in the entertainment indusrty - and one woman, Hattie Noel. These artists provided the live-action reference footage for the animators, and Aloff gives important focus to what has been touched only peripherally in other books and monographs dealing with these artists and their contributions to the respective Disney classics.

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What could have been apologist sentimentality is instead an objective analysis of the artists, their relation to the industry, and the Disney studio, in particular, during a time when racial stereotyping was the sad and un-evolved norm. Disney has always been under scrutiny for their racial stereotyping in early films; so harsh are the opinions and assumptions around the overly-sentimental Song of the South, that it seems unlikely it will ever again see the light of day, thus forever denying contemporary audiences a chance to discuss the film�s merits and missteps in an informed fashion. To the credit of the author, the book�s editor, Christopher Caines, and Disney Publishing Editorial Director, Wendy Lefkon, Hippo in a Tutu meets a portion of this conversation head-on and presents a very mature, responsible and informed discussion.

The footage of Mssrs. Jackson and Baker (Freddie�s real last name) was lost until a studio staffer discovered it and passed it along to Rusty Frank, a writer and sometimes dance historian who worked briefly in the camera department in the 1990�s. Ms. Frank screened if for the great Fayard Nicholas, of the Nicholas Brothers, who recognized the (until then) un-identified tapping duo. What followed was an on-camera interview with Eugene Jackson, who up until then had never even seen the completed Dumbo. This interview was edited by producer Harry Arends, and used by Ms. Frank, along with the reference footage, in a series of in-house lectures on the use of tap dance in animation. All of this should be on DVD for commercial consumption, but sadly it is not (again�the far-too-easily offended appear to be hiding behind excuses of royalties and releases, and denying an important public conversation about some pretty fabulous historical findings). So it is a great thing, indeed, that Ms. Aloff gives a solid account of such things in this book. The responses, comments, observations and recollections of Mr. Jackson make terrific reading!

Similarly, we are introduced to Ms. Noel, and her obscure but fascinating career in Hollywood. With the help of several colleagues, and some un-credited Internet writers, Ms. Aloff has assembled a solid, albeit brief, biography of Ms. Noel and her career. Easy enough for any willing scholar. What was not easy, but is sensitively and respectfully handled, is Ms. Aloff�s critical examination of the implications, questions, concerns, and differing opinions that Hattie Noel�s (presumed) one day of work on a hot sound stage have left behind. At times heartbreaking, but always fascinating, the fifty pages that comprise this chapter � and which include conversations with and observations on other live-action reference talent � make this book a truly remarkable work, and an admirable and earnest foray into things left un-examined for far, far too long. This book deserves and needs a wide audience, and hopefully it will find it.

As for eye candy � something we�ve come to expect from books on animation in general and from Disney in particular - Designer Jonathan Glick has laid out the text, and lush illustrations, with great style. It�s worth noting that in the past eighteen months, Disney Editions has come back from a brief period of very dull layout and presentation, and once again is showcasing their subjects with the kind of effort and originality that they deserve, and of which the publishing house is clearly capable.

An unlikely �beach read�, yes, but any fan of Disney, in any of its countless iterations, would be well entertained and ultimately well educated by adding Hippo In A Tutu to their pile this summer. Better yet, buy two and give one to the person on the towel next to you. Then, discuss.

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-- Posted June 24, 2009