January 28th, 2010
Dunham Dances NY Diaspora
These are the things I come to New York to learn about. I spend way too much time in libraries and online, trying to look up obscure things about the things I’m terribly interested in, and every time I get deep enough, I start to feel like I’m going crazy and need to meet people. Even if those people happen to be ghosts, like investigating the life of Katherine Dunham has opened up a treasure chest filled with spirits. These spirits, however, are not buried peacefully in the ground and resigned to the afterlife, but are a rather rowdy bunch of ancestral spirits that like to be engaged in great conversations. Dancing and drinking, too, are not optional, but necessary.
Katherine Dunham was into some very interesting things. I didn’t book Manhattan accommodation and make all the necessary arrangements, to find out she was interesting. But being here does help me to understand the magnitude of her work, and the reason it was groundbreaking when she did it, and is still groundbreaking. She studied with Herskovitz and Redfield, and they opened up the idea that would change her life, and also change African diasporic scholarship as we know it. They posed that to understand anything about African and African-derived culture, you would need to know the rituals.
This lead her to a lifelong devotion to travel and work in the Caribbean, and eventual move to Haiti. This is where she found her real spiritual home, and the principles she was integrating into her art were suddenly infused with an energy and a force that they had not had access to before. She is one of the great pioneers in modern dance in the U.S., and her work and life helped to shed light on the multiple signs and significances behind the polyrhythms. She passed just a few years ago, having lived almost a hundred years, but there are times when the sense of loss gets replaced by that unmistakable sensation that the dead are dancing.

