Katherine Dunham (1909-2006) was a pioneering, multi-talented woman, who brought a unique celebration of Black culture to the public eye. She blended disciplines to create never before seen performances, and even toured the world to show it off.
Katherine Dunham (1909-2006) was a pioneering, multi-talented woman, who brought a unique celebration of Black culture to the public eye. She blended disciplines to create never before seen performances, and even toured the world to show it off.
History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.
Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.
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Hello! From Wonder Media Network, I’m Luvvie Ajayi Jones. I’m a NYT Best Selling author and host of the podcast Professional Troublemaker. I’m so excited to be your guest host for this month of Womanica!
This month we’re highlighting Prodigies: women who achieved greatness at a young age.
Today we’re talking about a pioneering, multi-talented woman, who brought a unique celebration of Black culture to the public eye. She blended disciplines to create never before seen performances, and even toured the world to show it off. Let’s talk about the dancer, choreographer, teacher, and anthropologist: Katherine Dunham.
Katherine Dunham was born on June 22, 1909 in Chicago, to a Black father and a mother of both French Canadian and Native American descent.
When Katherine was young, her mother passed away. Her father remarried a schoolteacher and moved the family to the mostly-white city of Joliet, and started a dry-cleaning business.
Katherine was passionate about dance and performance from an early age. She joined the dance club in high school, where she studied freestyle modern forms of dance. At 15 years old, she arranged and starred in a “cabaret party” to raise money for a local Methodist Church – much to the shock of her neighbors. She later admitted that she wasn’t actually sure what cabaret meant.
Despite her immediate interest in performance, Katherine initially stuck to her family’s vision for her future and pursued a career in teaching. She followed her older brother, Albert Jr., to the University of Chicago. She would go on to get her bachelor’s, master’s, and doctorate degrees in anthropology.
In 1930, at just 21 years old, Katherine co-founded one of the first Black ballet companies – Ballet Nègre. Katherine then danced her first leading role in a ballet called “La Guiablesse” in 1934 at the Chicago Civic Opera House. It was based on Martinique folklore, about two lovers having their relationship interrupted by a monster. It also featured an all-Black cast.
In the mid 1930’s, Katherine caught the eye of Alfred Rosenwald, of the Julius Rosenwald Fund. Alfred was taken with Katherine’s outlook on how, inspired by her anthropology background, she believed dance could illuminate other cultures.
After that, Katherine received the Rosenwald Fund Fellowship, allowing her to travel to the Caribbean to study dance. In 1935, while she was still a grad student, Katherine traveled to Jamaica, Martinique, Trinidad, and Haiti – but it was in Haiti where Katherine felt most at home. She would go on to become a priestess of the Vaudun religion, get a second home in the country, and establish a medical clinic there later in her life.
Katherine’s studies in Haiti led her to write her books, “The Dances of Haiti: Their Social Organization, Classification, Form, and Function,” as well as “Island Possessed.” Her research was groundbreaking, and a vital first step into what would become a discipline of its own: dance anthropology.
Katherine returned to the United States seeking to perform and choreograph new dances that celebrated Black culture. While she didn’t officially remain in academia, her anthropological work continued to inspire her art. She took various cultural motifs and adapted or abstracted them until they became statements of their own.
In 1941, Katherine married John Pratt, an artist and designer who also acted as her manager. They had a daughter together, and remained married until John’s death in 1986.
Katherine’s dance company visited more than 50 countries, performing work that celebrated Black culture and brought injustices to light. One dance, called “Southland,” depicted a lynching. Katherine and her company frequently came face-to-face with racism in America - whether it was in living accommodations that refused them service, or segregated theaters that either separated or banned Black attendees.
Katherine always pushed back against racist treatment. She refused to return to segregated theaters, and even filed lawsuits against discriminators.
Katherine once wrote, "We weren't pushing 'Black Is Beautiful,' we just showed it.”
In her early thirties, Katherine also made popular appearances on Broadway, including playing Georgia Brown in “Cabin in the Sky.” This led to Hollywood appearances in films like “Carnival of Rhythm,” “Star-Spangled Rhythm,” and “Stormy Weather” in the early 1940’s.
At this time, Katherine developed a fast-paced choreography style that earned praise from critics. Her show “Tropical Revue” premiered on Broadway in 1943 before touring the nation. Though it was mostly well-received, it also drew complaints claiming the show was too sexual. This was a common note on much of her choreography.
Katherine once said, "Judging from reactions, the dancing of my group is called anthropology in New Haven, sex in Boston and in Rome — art!"
In 1944, Katherine founded the Dunham School of Dance and Theater. It offered classes in dance, acting, philosophy, design, and languages. Though it would close a decade later, Katherine continued to find opportunities to teach. She founded the Performing Arts Training Center near Southern Illinois University in 1967, and became known as a counselor and mentor to young people in need. ***
Katherine was a passionate activist until late in life. In 1992, when she was 82 years old, she staged a hunger strike for nearly 50 days in solidarity with Haitian refugees.
She also received many prestigious art awards, like the Presidential Medal of the Arts, the Kennedy Center Honors, and recognitions from the French and Haitian governments.
Katherine Dunham died in 2006 at the age of 96.
Since her passing, her style has continued to influence other choreographers, and her techniques continue to be taught in dance schools.
All month we’re highlighting prodigies.
For more information, find us on Facebook and Instagram @womanicapodcast.
Special thanks to creators Jenny and Liz Kaplan for having me as your guest host.Liz Kaplan, my favorite sister and co-creator.
Talk to you tomorrow!