Katherine Dunham

Katherine Mary Dunham was born on June 22, 1909, in a Chicago hospital and taken as an infant to her parents' home in Glen Ellyn, Illinois, about 25 miles west of Chicago. Her father, Albert Millard Dunham, was a descendant of slaves from West Africa and Madagascar. Her mother, Fanny June Dunham (née Taylor), who was of French-Canadian heritage, died when Dunham was three years old. She had an older brother, Albert Jr., with whom she had a close relationship.[5] After her father married again a few years later, the family moved to a predominantly white neighborhood in Joliet, Illinois. There her father ran a dry-cleaning business.[6]

Dunham became interested in both writing and dance at a young age. In 1921, a short story she wrote when she was 12 years old, called "Come Back to Arizona", was published in volume 2 of The Brownies' Book.'

She graduated from Joliet Central High School in 1928, where she played baseball, tennis, basketball, and track; served as vice-president of the French Club, and was on the yearbook staff.[7] In high school she joined the Terpsichorean Club and began to learn a kind of modern dance based on the ideas of Europeans [Émile Jaques-Dalcroze] and [Rudolf von Laban].[5] At the age of 15, she organized "The Blue Moon Café", a fundraising cabaret to raise money for Brown's Methodist Church in Joliet, where she gave her first public performance.[5][8] While still a high school student, she opened a private dance school for young black children.[8]

After completing her studies at Joliet Junior College, Dunham moved to Chicago to join her brother Albert, who was attending the University of Chicago as a student of philosophy. In a lecture by Robert Redfield, a professor of anthropology, she learned that much of black culture in modern America had begun in Africa. She decided to major in anthropology and to study dances of the African diaspora. Besides Redfield, she studied under anthropologists such as A.R. Radcliffe-Brown, Edward Sapir, and Bronisław Malinowski. Under their tutelage, she showed great promise in her ethnographic studies of dance.[9]

In 1935, Dunham was awarded travel fellowships from the Julius Rosenwald and Guggenheim foundations to conduct ethnographic study of the dance forms of the Caribbean, especially as manifested in Vodun practice of Haiti. Fellow anthropology student Zora Neale Hurston also did field work in the Caribbean. Dunham also received a grant to work with Professor Melville Herskovits of Northwestern University, whose ideas about retention of African culture among African Americans served as a base for her research in the Caribbean.

Her field work in the Caribbean began in Jamaica, where she lived for several months in the remote Maroon village of Accompong, deep in the mountains of Cockpit Country. (She later wrote Journey to Accompong, a book describing her experiences there.) Then she traveled to Martinique and to Trinidad and Tobago for short stays, primarily to do an investigation of Shango, the African god who was still considered an important presence in West Indian religious culture. Early in 1936, she arrived in Haiti, where she remained for several months, the first of her many extended stays in that country through her life.

While in Haiti, Dunham investigated Vodun rituals and made extensive research notes, particularly on the dance movements of the participants. Years later, after extensive studies and initiations, she became a mambo in the Vodun religion. She also became friends with, among others, Dumarsais Estimé, then a high-level politician, who became president of Haiti in 1949. Somewhat later, she assisted him, at considerable risk to her life, when he was persecuted for his progressive policies and sent in exile to Jamaica after a coup d'état.

Dunham returned to Chicago in the late spring of 1936. In August she was awarded a bachelor's degree, a Ph.B., bachelor of philosophy, with her principal area of study named as social anthropology. She was one of the first African-American women to attend this college and to earn these degrees.[4] In 1938, using materials collected during her research tour of the Caribbean, Dunham submitted a thesis, The Dances of Haiti: A Study of Their Material Aspect, Organization, Form, and Function, to the Department of Anthropology at the University of Chicago in partial fulfillment of the requirements for a master's degree, but she never completed her course work or took required examinations to complete the degree. Devoted to dance performance, as well as to anthropological research, she realized that she had to choose between the two. Although Dunham was offered another grant from the Rockefeller Foundation to pursue her academic studies, she chose dance, gave up her graduate studies, and departed for Broadway and Hollywood.[6]

Katherine Dunham 1963

In 1945, Dunham opened and directed the Katherine Dunham School of Dance and Theatre near Times Square in New York City. Her dance company was provided with rent-free studio space for three years by an admirer and patron, Lee Shubert; it had an initial enrollment of 350 students.

The program included courses in dance, drama, performing arts, applied skills, humanities, cultural studies, and Caribbean research. In 1947 it was expanded and granted a charter as the Katherine Dunham School of Cultural Arts. The school was managed in Dunham's absence by Syvilla Fort, one of her dancers, and thrived for about 10 years. It was considered one of the best learning centers of its type at the time. Schools inspired by it were later opened in Stockholm, Paris, and Rome by dancers who had been trained by Dunham.

Her alumni included many future celebrities, such as Eartha Kitt. As a teenager, she won a scholarship to the Dunham school and later became a dancer with the company, before beginning her successful singing career. Dunham and Kitt collaborated again in the 1970s in an Equity Production of the musical Peg, based on the Irish play, Peg O' My Heart. Dunham Company member Dana McBroom-Manno was selected as a featured artist in the show, which played on the Music Fair Circuit.

Others who attended her school included James Dean, Gregory Peck, Jose Ferrer, Jennifer Jones, Shelley Winters, Sidney Poitier, Shirley MacLaine and Warren Beatty. Marlon Brando frequently dropped in to play the bongo drums, and jazz musician Charles Mingus held regular jam sessions with the drummers. Known for her many innovations, Dunham developed a dance pedagogy, later named the Dunham Technique, a style of movement and exercises based in traditional African dances, to support her choreography. This won international acclaim and is now taught as a modern dance style in many dance schools.

By 1957, Dunham was under severe personal strain, which was affecting her health. She decided to live for a year in relative isolation in Kyoto, Japan, where she worked on writing memoirs of her youth. The first work, entitled A Touch of Innocence: Memoirs of Childhood, was published in 1959. A continuation based on her experiences in Haiti, Island Possessed, was published in 1969. A fictional work based on her African experiences, Kasamance: A Fantasy, was published in 1974. Throughout her career, Dunham occasionally published articles about her anthropological research (sometimes under the pseudonym of Kaye Dunn) and sometimes lectured on anthropological topics at universities and scholarly societies.[14]

In 1963 Dunham was commissioned to choreograph Aida at New York's Metropolitan Opera Company, with Leontyne Price in the title role. Members of Dunham's last New York Company auditioned to become members of the Met Ballet Company. Among her dancers selected were Marcia McBroom, Dana McBroom, Jean Kelly, and Jesse Oliver. The Met Ballet Company dancers studied Dunham Technique at Dunham's 42nd Street dance studio for the entire summer leading up to the season opening of Aida. Lyndon B. Johnson was in the audience for opening night. Dunham's background as an anthropologist gave the dances of the opera a new authenticity. She was also consulted on costuming for the Egyptian and Ethiopian dress. Dana McBroom-Manno still teaches Dunham Technique in New York City and is a Master of Dunham Technique.

In 1964, Dunham settled in East St. Louis, and took up the post of artist-in-residence at Southern Illinois University in nearby Edwardsville. There she was able to bring anthropologists, sociologists, educational specialists, scientists, writers, musicians, and theater people together to create a liberal arts curriculum that would be a foundation for further college work. One of her fellow professors, with whom she collaborated, was architect Buckminster Fuller.

The following year, 1965, President Lyndon B. Johnson nominated Dunham to be technical cultural adviser— a sort of cultural ambassador—to the government of Senegal in West Africa. Her mission was to help train the Senegalese National Ballet and to assist President Leopold Senghor with arrangements for the First Pan-African World Festival of Negro Arts in Dakar (1965–66). Later Dunham established a second home in Senegal, and she occasionally returned there to scout for talented African musicians and dancers.

In 1967, Dunham opened the Performing Arts Training Center (PATC) in East St. Louis in an effort to use the arts to combat poverty and urban unrest. The restructuring of heavy industry had caused the loss of many working-class jobs, and unemployment was high in the city. After the 1968 riots following the assassination of Martin Luther King Jr., Dunham encouraged gang members in the ghetto to come to the Center to use drumming and dance to vent their frustrations. The PATC teaching staff was made up of former members of Dunham's touring company, as well as local residents. While trying to help the young people in the community, Dunham was arrested. This gained international headlines and the embarrassed local police officials quickly released her. She also continued refining and teaching the Dunham Technique to transmit that knowledge to succeeding generations of dance students. She lectured every summer until her death at annual Masters' Seminars in St. Louis, which attracted dance students from around the world. She established the Katherine Dunham Centers for Arts and Humanities in East St. Louis to preserve Haitian and African instruments and artifacts from her personal collection.

In 1976, Dunham was guest artist-in-residence and lecturer for Afro-American studies at the University of California, Berkeley. A photographic exhibit honoring her achievements, entitled Kaiso! Katherine Dunham, was mounted at the Women's Center on the campus. In 1978, an anthology of writings by and about her, also entitled Kaiso! Katherine Dunham, was published in a limited, numbered edition of 130 copies by the Institute for the Study of Social Change.

The Katherine Dunham Company toured throughout North America in the mid-1940s, performing as well in the racially segregated South. Dunham refused to hold a show in one theater after finding out that the city's black residents had not been allowed to buy tickets for the performance. On another occasion, in October 1944, after getting a rousing standing ovation in Louisville, Kentucky, she told the all-white audience that she and her company would not return because "your management will not allow people like you to sit next to people like us." She expressed a hope that time and the "war for tolerance and democracy" (this was during World War II) would bring a change.[15] One historian noted that "during the course of the tour, Dunham and the troupe had recurrent problems with racial discrimination, leading her to a posture of militancy which was to characterize her subsequent career."

In Hollywood, Dunham refused to sign a lucrative studio contract when the producer said she would have to replace some of her darker-skinned company members. She and her company frequently had difficulties finding adequate accommodations while on tour because in many regions of the country, black Americans were not allowed to stay at hotels.

While Dunham was recognized as "unofficially" representing American cultural life in her foreign tours, she was given very little assistance of any kind by the U.S. State Department. She had incurred the displeasure of departmental officials when her company performed Southland, a ballet that dramatized the lynching of a black man in the racist American South. Its premiere performance on December 9, 1950, at the Teatro Municipal in Santiago, Chile,[16][17] generated considerable public interest in the early months of 1951.[18] The State Department was dismayed by the negative view of American society that the ballet presented to foreign audiences. As a result, Dunham would later experience some diplomatic "difficulties" on her tours. The State Department regularly subsidized other less well-known groups, but it consistently refused to support her company (even when it was entertaining U.S. Army troops), although at the same time it did not hesitate to take credit for them as "unofficial artistic and cultural representatives."

Dunham married Jordis McCoo, a black postal worker, in 1931, but he did not share her interests and they gradually drifted apart, finally divorcing in 1938. About that time Dunham met and began to work with John Thomas Pratt, a Canadian who had become one of America's most renowned costume and theatrical set designers. Pratt, who was white, shared Dunham's interests in African-Caribbean cultures and was happy to put his talents in her service. After he became her artistic collaborator, they became romantically involved. In the summer of 1941, after the national tour of Cabin in the Sky ended, they went to Mexico, where inter-racial marriages were less controversial than in the United States, and engaged in a commitment ceremony on 20 July, which thereafter they gave as the date of their wedding.[26] In fact, that ceremony was not recognized as a legal marriage in the United States, a point of law that would come to trouble them some years later. Katherine Dunham and John Pratt married in 1949 to adopt Marie-Christine, a French 14-month-old baby. From the beginning of their association, around 1938, Pratt designed the sets and every costume Dunham ever wore. He continued as her artistic collaborator until his death in 1986.

When she was not performing, Dunham and Pratt often visited Haiti for extended stays. On one of these visits, during the late 1940s, she purchased a large property of more than seven hectares (approximately 17.3 acres) in the Carrefours suburban area of Port-au-Prince, known as Habitation Leclerc. Dunham used Habitation Leclerc as a private retreat for many years, frequently bringing members of her dance company to recuperate from the stress of touring and to work on developing new dance productions. After running it as a tourist spot, with Vodun dancing as entertainment, in the early 1960s, she sold it to a French entrepreneur in the early 1970s.

In 1949, Dunham returned from international touring with her company for a brief stay in the United States, where she suffered a temporary nervous breakdown after the premature death of her beloved brother Albert. He had been a promising philosophy professor at Howard University and a protégé of Alfred North Whitehead. During this time, she developed a warm friendship with the psychologist and philosopher Erich Fromm, whom she had known in Europe. He was only one of a number of international celebrities who were Dunham's friends. In December 1951, a photo of Dunham dancing with Ismaili Muslim leader Prince Ali Khan at a private party he had hosted for her in Paris appeared in a popular magazine and fueled rumors that the two were romantically linked.[27] Both Dunham and the prince denied the suggestion. The prince was then married to actress Rita Hayworth, and Dunham was now legally married to John Pratt; a quiet ceremony in Las Vegas had taken place earlier in the year.[28] The couple had officially adopted their foster daughter, a 14-month-old girl they had found as an infant in a Roman Catholic convent nursery in Fresnes, France. Named Marie-Christine Dunham Pratt, she was their only child.

Among Dunham's closest friends and colleagues was Julie Robinson, formerly a performer with the Katherine Dunham Company, and her husband, singer and later political activist Harry Belafonte. Both remained close friends of Dunham for many years, until her death. Glory Van Scott and Jean-Léon Destiné were among other former Dunham dancers who remained her lifelong friends.[29]

On May 21, 2006, Dunham died in her sleep from natural causes in New York City. She died a month before her 97th birthday. She wished her family a happy life. [30]

Anna Kisselgoff, a dance critic for The New York Times, called Dunham "a major pioneer in Black theatrical dance ... ahead of her time." "In introducing authentic African dance-movements to her company and audiences, Dunham—perhaps more than any other choreographer of the time—exploded the possibilities of modern dance expression."

As one of her biographers, Joyce Aschenbrenner, wrote: "Today, it is safe to say, there is no American black dancer who has not been influenced by the Dunham Technique, unless he or she works entirely within a classical genre", and the Dunham Technique is still taught to anyone who studies modern dance.

The highly respected Dance magazine did a feature cover story on Dunham in August 2000 entitled "One-Woman Revolution." As Wendy Perron wrote, "Jazz dance, 'fusion,' and the search for our cultural identity all have their antecedents in Dunham's work as a dancer, choreographer, and anthropologist. She was the first American dancer to present indigenous forms on a concert stage, the first to sustain a black dance company.... She created and performed in works for stage, clubs, and Hollywood films; she started a school and a technique that continue to flourish; she fought unstintingly for racial justice."

Scholar of the arts Harold Cruse wrote in 1964: "Her early and lifelong search for meaning and artistic values for black people, as well as for all peoples, has motivated, created opportunities for, and launched careers for generations of young black artists ... Afro-American dance was usually in the avant-garde of modern dance ... Dunham's entire career spans the period of the emergence of Afro-American dance as a serious art."

Black writer, Arthur Todd, described her as "one of our national treasures." Regarding her impact and effect he wrote: "The rise of American Negro dance commenced ... when Katherine Dunham and her company skyrocketed into the Windsor Theater in New York, from Chicago in 1940, and made an indelible stamp on the dance world... Miss Dunham opened the doors that made possible the rapid upswing of this dance for the present generation." "What Dunham gave modern dance was a coherent lexicon of African and Caribbean styles of movement—a flexible torso and spine, articulated pelvis and isolation of the limbs, a polyrhythmic strategy of moving—which she integrated with techniques of ballet and modern dance." "Her mastery of body movement was considered 'phenomenal.' She was hailed for her smooth and fluent choreography and dominated a stage with what has been described as 'an unmitigating radiant force providing beauty with a feminine touch full of variety and nuance."

Richard Buckle, ballet historian and critic, wrote: "Her company of magnificent dancers and musicians ... met with the success it has and that herself as explorer, thinker, inventor, organizer, and dancer should have reached a place in the estimation of the world, has done more than a million pamphlets could for the service of her people."

"Dunham's European success led to considerable imitation of her work in European revues ... it is safe to say that the perspectives of concert-theatrical dance in Europe were profoundly affected by the performances of the Dunham troupe."

While in Europe, she also influenced hat styles on the continent as well as spring fashion collections, featuring the Dunham line and Caribbean Rhapsody, and the Chiroteque Française made a bronze cast of her feet for a museum of important personalities."

The Katherine Dunham Company became an incubator for many well known performers, including Archie Savage, Talley Beatty, Janet Collins, Lenwood Morris, Vanoye Aikens, Lucille Ellis, Pearl Reynolds, Camille Yarbrough, Lavinia Williams, and Tommy Gomez.

Alvin Ailey, who stated that he first became interested in dance as a professional career after having seen a performance of the Katherine Dunham Company as a young teenager of 14 in Los Angeles, called the Dunham Technique "the closest thing to a unified Afro-American dance existing."

For several years, Dunham's personal assistant and press promoter was Maya Deren, who later also became interested in Vodun and wrote The Divine Horseman: The Voodoo Gods of Haiti (1953). Deren is now considered to be a pioneer of independent American filmmaking. Dunham herself was quietly involved in both the Voodoo and Orisa communities of the Caribbean and the United States, in particular with the Lucumi tradition.

Not only did Dunham shed light on the cultural value of black dance, but she clearly contributed to changing perceptions of blacks in America by showing society that as a black woman, she could be an intelligent scholar, a beautiful dancer, and a skilled choreographer. As Julia Foulkes pointed out, "Dunham's path to success lay in making high art in the United States from African and Caribbean sources, capitalizing on a heritage of dance within the African Diaspora, and raising perceptions of African American capabilities."[31]

Over the years Katherine Dunham has received scores of special awards, including more than a dozen honorary doctorates from various American universities.

• In 1971 she received the Heritage Award from the National Dance Association.
• In 1979 at Carnegie Hall, she received the Albert Schweitzer Music Award "for a life's work dedicated to music and devoted to humanity."
• In 1983 she was a recipient of one of the highest artistic awards in the United States, the Kennedy Center Honors.
• In 1986 the American Anthropological Association gave her a Distinguished Service Award.
• In 1987 she received the Samuel H. Scripps American Dance Festival Award, and was also inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, New York. She also received a Candace Award from the National Coalition of 100 Black Women.[32]
• In 1989 she was awarded a National Medal of Arts, an honor shared by only two other University of Chicago alumni, Saul Bellow and Philip Roth.
• Dunham has her own star on the St. Louis Walk of Fame.[33]
• In 2000 she was named one of the first one hundred of "America's Irreplaceable Dance Treasures" by the Dance Heritage Coalition.
• In 2002 Molefi Kete Asante included her in his book 100 Greatest African Americans.[34]
• In 2004 she received a Lifetime Achievement Award from Dance Teacher magazine.[35]
• In 2005, she was awarded "Outstanding Leadership in Dance Research" by the Congress on Research in Dance.

• Das, Joanna Dee (2017). Katherine Dunham: dance and the African diaspora. ISBN 978-0190264871.</ref>

• Haskins, James, Katherine Dunham. New York: Coward, McCann, & Geoghegan, 1982.
• Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and Katherine Dunham," Theatre Journal 55 (2003): 433–50.
• Long, Richard A., The Black Tradition in American Dance. New York: Smithmark Publications, 1995.

• The Katherine Dunham Collection and the online Katherine Dunham Collection at the Library of Congress.
• Guide to the Photograph Collection on Katherine Dunham. Special Collections and Archives, The UC Irvine Libraries, Irvine, California.
• Dunham Collection - Missouri History Museum

• Katherine Dunham's oral history video excerpts at The National Visionary Leadership Project
• Katherine Dunham Museum in East St. Louis, Illinois

Wikimedia Commons has media related to Katherine Dunham.

• Katherine Dunham at the Internet Broadway Database
• Katherine Dunham at IMDb
• "Katherine Dunham on Overcoming 1940s Racism". Archival footage of Katherine Dunham speaking on June 26, 2002, at a Jacob's Pillow Dance Festival.
• Katherine Dunham Centers for Arts and Humanities
• Katherine Dunham Biography at PBS.org
• Recalling Choreographer and Activist Dunham - NPR
• "How Katherine Dunham Revealed Black Dance to the World" -New York Times
• Katherine Dunham, Dance Pioneer, Dies at 96 Playbill
• Katherine Dunham and child undated photo, possibly 1936; African Americans at the University of Chicago 1870–1940.
• FBI files on Katherine Dunham
• Carter, Michael (23 October 1943). "On Stage and Backstage with—Talented Katherine Dunham, Master Dance Designer". The Afro American. Retrieved 25 July 2016.
• Mili, Gjon (photographer) (8 November 1943). "Dunham Dances". LIFE. Chicago, Illinois: TIME Inc. 15 (19): 69–72. Retrieved 25 July 2016.
• Spencer, Terence (photographer) (16 November 1962). "Bring 'em back dancing". LIFE. Chicago, Illinois: TIME Inc. 53 (20): 99–103. Retrieved 25 July 2016.