The West Indian experience changed forever the focus of Dunham's life (eventually she would live in Haiti half of the time and become a priestess in the "vodoun" religion), and caused a profound shift in her career. This initial fieldwork provided the nucleus for future researches and began a lifelong involvement with the people and dance of Haiti. From this Dunham generated her master's thesis (Northwestern University, 1947) and more fieldwork. She lectured widely, published numerous articles, and wrote three books about her observations: JOURNEY TO ACCOMPONG (1946), THE DANCES OF HAITI (her master's thesis, published in 1947), and ISLAND POSSESSED (1969), underscoring how African religions and rituals adapted to the New World.

And, importantly for the development of modern dance, her fieldwork began her investigations into a vocabulary of movement that would form the core of the Katherine Dunham Technique. What Dunham gave modern dance was a coherent lexicon of African and Caribbean styles of movement -- a flexible torso and spine, articulated pelvis and isolation of the limbs, a polyrhythmic strategy of moving -- which she integrated with techniques of ballet and modern dance.

When she returned to Chicago in late 1937, Dunham founded the Negro Dance Group, a company of black artists dedicated to presenting aspects of African-American and African-Caribbean dance. Immediately she began incorporating the dances she had learned into her choreography. Invited in 1937 to be part of a notable New York City concert, "Negro Dance Evening," she premiered "Haitian Suite," excerpted from choreography she was developing for the longer "L'Ag'Ya." In 1937-1938 as dance director of the Negro Unit of the Federal Theatre Project in Chicago, she made dances for "Emperor Jones" and "Run Lil' Chillun," and presented her first version of "L'Ag'Ya" on January 27, 1938. Based on a Martinique folktale (ag'ya is a Martinique fighting dance), "L'Ag'Ya" is a seminal work, displaying Dunham's blend of exciting dance-drama and authentic African-Caribbean material.

Dunham moved her company to New York City in 1939, where she became dance director of the New York Labor Stage, choreographing the labor-union musical "Pins and Needles." Simultaneously she was preparing a new production, "Tropics and Le Jazz Hot: From Haiti to Harlem." It opened February 18, 1939, in what was intended to be a single weekend's concert at the Windsor Theatre in New York City. Its instantaneous success, however, extended the run for ten consecutive weekends and catapulted Dunham into the limelight. In 1940 Dunham and her company appeared in the black Broadway musical, "Cabin in the Sky," staged by George Balanchine, in which Dunham played the sultry siren Georgia Brown -- a character related to Dunham's other seductress, "Woman with a Cigar," from her solo "Shore Excursion" in "Tropics." That same year Dunham married John Pratt, a theatrical designer who worked with her in 1938 at the Chicago Federal Theatre Project, and for the next 47 years, until his death in 1986, Pratt was Dunham's husband and her artistic collaborator.

With "L'Ag'Ya" and "Tropics and Le Jazz Hot: From Haiti to Harlem," Dunham revealed her magical mix of dance and theater -- the essence of "the Dunham touch" -- a savvy combination of authentic Caribbean dance and rhythms with the heady spice of American showbiz. Genuine folk material was presented with lavish costumes, plush settings, and the orchestral arrangements based on Caribbean rhythms and folk music. Dancers moved through fantastical tropical paradises or artistically designed juke-joints, while a loose storyline held together a succession of diverse dances. Dunham aptly called her spectacles "revues." She choreographed more than 90 individual dances, and produced five revues, four of which played on Broadway and toured worldwide. Her most critically acclaimed revue was her 1946 "Bal Negre," containing another Dunham dance favorite, "Shango," based directly on "vodoun" ritual.

If her repertory was diverse, it was also coherent. "Tropics and le Jazz Hot: From Haiti to Harlem" incorporated dances from the West Indies as well as from Cuba and Mexico, while the "Le Jazz Hot" section featured early black American social dances, such as the Juba, Cake Walk, Ballin' the Jack, and Strut. The sequencing of dances, the theatrical journey from the tropics to urban black America implied -- in the most entertaining terms -- the ethnographic realities of cultural connections. In her 1943 "Tropical Revue," she recycled material from the 1939 revue and added new dances, such as the balletic "Choros" (based on formal Brazilian quadrilles), and "Rites de Passage," which depicted puberty rituals so explicitly sexual that the dance was banned in Boston.

Beginning in the 1940s, the Katherine Dunham Dance Company appeared on Broadway and toured throughout the United States, Mexico, Latin America, and especially Europe, to enthusiastic reviews. In Europe Dunham was praised as a dancer and choreographer, recognized as a serious anthropologist and scholar, and admired as a glamorous beauty. Among her achievements was her resourcefulness in keeping her company going without any government funding. When short of money between engagements, Dunham and her troupe played in elegant nightclubs, such as Ciro's in Los Angeles. She also supplemented her income through film. Alone, or with her company, she appeared in nine Hollywood movies and in several foreign films between 1941 and 1959, among them CARNIVAL OF RHYTHM (1939), STAR-SPANGLED RHYTHM (1942), STORMY WEATHER (1943), CASBAH (1948), BOOTE E RIPOSTA (1950), and MAMBO (1954).

In 1945 Dunham opened the Dunham School of Dance and Theater (sometimes called the Dunham School of Arts and Research) in Manhattan. Although technique classes were the heart of the school, they were supplemented by courses in humanities, philosophy, languages, aesthetics, drama, and speech. For the next ten years many African-American dances of the next generation studied at her school, then passed on Dunham's technique to their students, situating it in dance mainstream (teachers such as Syvilla Fort, Talley Beatty, Lavinia Williams, Walter Nicks, Hope Clark, Vanoye Aikens, and Carmencita Romero; the Dunham technique has always been taught at the Alvin Ailey studios).

During the 1940s and '50s, Dunham kept up her brand of political activism. Fighting segregation in hotels, restaurants and theaters, she filed lawsuits and made public condemnations. In Hollywood, she refused to sign a lucrative studio contract when the producer said she would have to replace some of her darker-skinned company members. To an enthusiastic but all-white audience in the South, she made an after-performance speech, saying she could never play there again until it was integrated. In São Paulo, Brazil, she brought a discrimination suit against a hotel, eventually prompting the president of Brazil to apologize to her and to pass a law that forbade discrimination in public places. In 1951 Dunham premiered "Southland," an hour-long ballet about lynching, though it was only performed in Chile and Paris.

Toward the end of the 1950s Dunham was forced to regroup, disband, and reform her company, according to the exigencies of her financial and physical health (she suffered from crippling knee problems). Yet she remained undeterred. In 1962 she opened a Broadway production, "Bambouche," featuring 14 dancers, singers, and musicians of the Royal Troupe of Morocco, along with the Dunham company. The next year she choreographed the Metropolitan Opera's new production of "Aida" -- thereby becoming the Met's first black choreographer. In 1965-1966, she was cultural adviser to the President of Senegal. She attended Senegal's First World Festival of Negro Arts as a representative from the United States.

Moved by the civil rights struggle and outraged by deprivations in the ghettos of East St. Louis, an area she knew from her visiting professorships at Southern Illinois University in the 1960s, Dunham decided to take action. In 1967 she opened the Performing Arts Training Center, a cultural program and school for the neighborhood children and youth, with programs in dance, drama, martial arts, and humanities. Soon thereafter she expanded the programs to include senior citizens. Then in 1977 she opened the Katherine Dunham Museum and Children's Workshop to house her collections of artifacts from her travels and research, as well as archival material from her personal life and professional career.

During the 1980s, Dunham received numerous awards acknowledging her contributions. These include the Albert Schweitzer Music Award for a life devoted to performing arts and service to humanity (1979); a Kennedy Center Honor's Award (1983); the Samuel H. Scripps American Dance Festival Award (1987); induction into the Hall of Fame of the National Museum of Dance in Saratoga Springs, N.Y. (1987). That same year Dunham directed the reconstruction of several of her works by the Alvin Ailey American Dance Theater and "The Magic of Katherine Dunham opened Ailey's 1987-1988 season.

In February 1992, at the age of 82, Dunham again became the subject of international attention when she began a 47-day fast at her East St. Louis home. Because of her age, her involvement with Haiti, and the respect accorded her as an activist and artist, Dunham became the center of a movement that coalesced to protest the United States' deportations of Haitian boat-refugees fleeing to the U.S. after the military overthrow of Haiti's democratically elected President Jean-Bertrand Aristide. She agreed to end her fast only after Aristide visited her and personally requested her to stop.

Boldness has characterized Dunham's life and career. And, although she was not alone, Dunham is perhaps the best known and most influential pioneer of black dance. Her synthesis of scholarship and theatricality demonstrated, incontrovertibly and joyously, that African-American and African-Caribbean styles are related and powerful components of dance in America.

-- Sally Sommer