The Pioneering Katherine Dunham By Constance Cherise
āGo within every day and find the inner strength so that the world will not blow your candle out.ā-Katherine Dunham
Best known as a choreographer, Kennedy Center Honoree Katherine Dunham created one of the first all-black dance troupes, Ballet NĆØgre, that successfully toured internationally. She cultivated an infusion of Afro-Caribbean style in the development of her Dunham Technique, where undulation of the body is independently accentuated. Over the course of her life, Dunham would encompass a richly versed, highly prolific career. She would choreograph a new version of the production ofĀ AidaĀ for New Yorkās Metropolitan Opera, collaborate with George Balanchine, received three honorary Doctor of Fine Arts degrees and was inducted into the Entertainment Hall of Fame for her work in television, film and on Broadway.
Born in Glen Ellyn, IL, Dunham was the blend of interracial marriage. Her interest in the arts grew during her adolescence, and Dunham studied under Russian dancer Ludmilla Speranzeva, one of the first dance teachers to accept black students. A piece of her writing was published in the August 1921 ofĀ The Brownies BookĀ when she was 12 years old. Dunham was exposed to a variety of disciplines and was determined to pursue anthropology during a lecture by Robert Redfield. She received a grant to research indigenous West Indian dance (she called it a life-altering experience), visiting the islands of Trinidad, Jamaica, Martinique and Haiti.
She married her set and costume designer, Canadian born John Pratt, and exclusively wore his designs both on stage and in film. Her stunning features and curvaceous physique translated well, attracting Hollywood. She would appear in a total of nine motion pictures including, CARNIVAL OF RHYTHM (ā41), STAR SPANGLED RHYTHM (ā42), STORMY WEATHER (ā43) and CASBAH (ā48).
In 1941, Warner Bros. produced CARNIVAL OF RHYTHM, a short film devoted entirely to Dunham and her dance company. Along with her partner Archie Savage, she performed a ritualistic, mating dance. As tribal drums decrescendo, there is little mistaking the intention being conveyed. At a time where black performers were relegated to stereotypical subservient roles that would be constructed through the perspective of a white lens, Dunham remained unapologetic in the provocative translation of her art. CARNIVAL OF RHYTHM received favorable reviews, including an accolade from theĀ Los Angeles Times, which wrote that the film was, āWidely acclaimed as perhaps the best short film of its type ever produced.ā
Dunhamās first full-length film was an uncredited role in STAR SPANGLED RHYTHM, starring a cavalcade of Paramount stars, including Veronica Lake, Bob Hope and Bing Crosby. Dunahm performed in a minor role alongside Eddie āRochesterā Anderson in the musical number āSharp as a Tack.ā Dunham maintained control over her choreography with light and exacting movement, and although she does not perform in her signature Afro-Caribbean mannerism, she does make a strong reference to the religion of Rastafarianism, which originated in Jamaica, when she speaks her only line to Anderson: āYou aināt only classy, youāre Haile Selassieā
According to the Lena Horne biographyĀ Stormy Weather, the all-black cast film, STORMY WEATHER was an amalgamation of effort on the part of the NAACP for Hollywood to present a more accurate representation of African Americans, as opposed to the stereotypical norms. Horne is the female lead. Her prior film was the Vincente Minnelli directed MGM picture CABIN IN THE SKY (ā43), in which Horne portrays the sultry role of āSweetā Georgia Brown. Initially a stage play, Dunham originated the theatrical version role and was said to be so disappointed with losing the movie role that she was not able to bring herself to watch the film.
STORMY WEATHER is more than likely what Dunhamās Hollywood career is most associated with. In the film, Dunham and her company perform a dreamlike, softly sensual, lyrical ballet. Dunham not only choreographed her own performances, additionally, she lent her expertise to multiple Hollywood films including, CASBAH, in which Eartha Kitt made her debut as part of Dunhamās troupe; SPRING IN THE HEART (ā56); John Hustonās THE BIBLE: IN THE BEGINNING⦠(ā66); and a handful of uncredited pieces.
An innovative pioneer of her field, Dunham, passed away at the age of 96 on May 21, 2006, leaving behind an indelible legacy. The Dunham Technique endures in present-day choreography imprinting its continual influence throughout the modern dance.