African American Modern Dance
See also: African American danceAfrican American contributions to modern dance were substantial, they included pure modern dance works or blended modern dance with African American vernacular dance, African dance and Caribbean influences.
- Katherine Dunham - African-American dancer, and anthropologist, originally a ballet dancer she founded her first company Ballet Negre in 1936 and later the Katherine Dunham Dance Company based in Chicago, Illinois. Dunham opened a school in New York (1945) where she taught Katherine Dunham Technique, a blend of African and Caribbean movement (flexible torso and spine, articulated pelvis and isolation of the limbs and polyrhythmic movement) integrated with techniques of ballet and modern dance.
- Pearl Primus - a dancer, choreographer and anthropologist Primus drew on African and Caribbean dances to create strong dramatic works characterized by large leaps in the air. Primus often based her dances on the work of black writers and on racial and African-American issues. Primus created works based on Langston Hughes The Negro Speaks of Rivers (1944), and Lewis Allan's Strange Fruit (1945). Her dance company developed into the Pearl Primus Dance Language Institute which teaches her method of blending African-American, Caribbean, and African influences with modern dance and ballet techniques.
- Alvin Ailey- a student of Lester Horton (and later Martha Graham) Ailey spent several years working in both concert and theatre dance. in 1930 Ailey and a group of young African-American dancers perform as Alvin Ailey American Dance Theater in New York. Ailey drew upon his blood memories of Texas, the blues, spirituals and gospel as inspiration, his most popular and critically acclaimed work is Revelations (1960).
Read more about this topic: Modern Dance In The United States
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“Miss Nancy Ellicott smoked
And danced all the modern dances;
And her aunts were not quite sure how they felt about it,
But they knew that it was modern.”
—T.S. (Thomas Stearns)
“I never feel so conscious of my race as I do when I stand before a class of twenty-five young men and women eager to learn about what it is to be black in America.”
—Claire Oberon Garcia, African American college professor. As quoted in the Chronicle of Higher Education, p. B3 (July 27, 1994)
“The sacrifice to Legba was completed; the Master of the Crossroads had taken the loas’ mysterious routes back to his native Guinea.
Meanwhile, the feast continued. The peasants were forgetting their misery: dance and alcohol numbed them, carrying away their shipwrecked conscience in the unreal and shady regions where the savage madness of the African gods lay waiting.”
—Jacques Roumain (1907–1945)
“The death of William Tecumseh Sherman, which took place to-day at his residence in the city of New York at 1 o’clock and 50 minutes p.m., is an event that will bring sorrow to the heart of every patriotic citizen. No living American was so loved and venerated as he.”
—Benjamin Harrison (1833–1901)
“By his very success in inventing labor-saving devices, modern man has manufactured an abyss of boredom that only the privileged classes in earlier civilizations have ever fathomed.”
—Lewis Mumford (1895–1990)
“The girl who can’t dance says the band can’t play.”
—Yiddish proverb.