Social Activist
The Katherine Dunham Company toured throughout North America in the mid-1940s, even performing in the then-segregated South, where Dunham once refused to hold a show 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," and she expressed a hope that time and the "war for tolerance and democracy" would bring a change. 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. This was also true elsewhere in the world.
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, in Santiago, Chile, in 1951. 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."
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