Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
Among the under-projected classics screening April 18 – 26 at the Museum of Modern Art for Making Faces on Film: A Collaboration with BFI Black Star is the 1943 all-star extravaganza “Stormy Weather,” featuring Lena Horne and Bill ‘Bojangles’ Robinson (above), Cab Calloway, Fats Waller, Dooley Wilson, the tap-flying Nicholas Brothers, Katherine Dunham and her Troupe, and just about every other major African-American performer of the epoch. Directed by Andrew L. Stone, the movie was meant to help the recruiting effort among African-Americans. The MoMA mini-festival celebrates the legacy of African-American artists working both within and outside the mainstream film industry. Image: Film Study Center Special Collections, The Museum of Modern Art.
By Donald McKayle & Francis Mason
Copyright 2006 Donald McKayle & Francis Mason
First published on the Dance Insider on May 23, 2006, on the occasion of Katherine Dunham’s death. From the DI Archives of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2016, plus five years of the Jill Johnston Letter and trail-blazing reporting and commentary on the leading dance news of the era. Want more? You can purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Purchase by March 22, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at email@example.com .
As a young teen growing up in New York City, I first came across Katherine Dunham while walking through the Broadway theater district perusing the posters and billboards of attractions at the various theaters. At the Belasco I was captured by the picture of a striking woman dancing in a gossamer dress. Katherine Dunham and her troupe of dancers, musicians, and singers were performing in Bal Negre. I purchased a balcony seat for $4.80 and went up to see a performance that would change my life and mark the beginning of my career in dance. Over the past ten years we have met and discussed several projects. Miss Dunham was a powerful force and I will always be indebted to her brilliance as an artist, a scholar, and an humanitarian. — Donald McKayle
I shall never forget Katherine Dunham in “Cabin in the Sky,” the musical Balanchine staged in New York in 1940. The devilish stunning Dunham and her dancing alongside the holier-than-thou radiance of Ethel Waters set the world on fire. When I interviewed her in 1990 with Dawn Lille for my book “I Remember Balanchine,” Dunham recalled how Balanchine came to Chicago to see her and her girls and invited them to come to New York to be in the musical. She recalled how she worked with Balanchine, how he loved her girls and how at the try-out in Boston she was censored for her bare navel in the Egyptian ballet. Her husband put a yellow diamond in her navel and the show went on. Dunham also recalled that after the show opened in New York Balanchine and the composer of “Cabin in the Sky,” Vernon Duke, used to come to her place all the time. Once they brought Stravinsky. Balanchine persuaded Stravinsky to compose a tango for her, which he did. He autographed it. “I’ve never done it,” she said, “I keep thinking I must find it. I don’t think anyone has done it.” — Francis Mason