PrepTest 70, Section 4, Question 9

One of the more striking developments in modern North American dance was African American choreographer Katherine Dunham's introduction of a technique known as dance-isolation, in which one part of the body moves in one rhythm while other parts are kept stationary or are moved in different rhythms. The incorporation of this technique into North American and European choreography is relatively recent, although various forms of the technique have long been essential to traditional dances of certain African, Caribbean, and Pacific-island cultures. Dunham's success in bringing dance-isolation and other traditional techniques from those cultures into the mainstream of modern North American dance is due in no small part to her training in both anthropological research and choreography.

As an anthropologist in the 1930s, Dunham was one of the pioneers in the field of dance ethnology. Previously, dance had been neglected as an area of social research, primarily because most social scientists gravitated toward areas likely to be recognized by their peers as befitting scientifically rigorous, and therefore legitimate, modes of inquiry. Moreover, no other social scientist at that time was sufficiently trained in dance to be able to understand dance techniques, while experts in dance were not trained in the methods of social research.

Starting in 1935, Dunham conducted a series of research projects into traditional Caribbean dance forms, with special interest in their origins in African culture. Especially critical to her success was her approach to research, which diverged radically from the methodology that prevailed at the time. Colleagues in anthropology advised her not to become too closely involved in the dances she was observing, both because of the extreme physical demands of the dances, and because they subscribed to the long-standing view, now fortunately recognized as unrealistic, that effective data gathering can and must be conducted from a position of complete detachment. But because of her interest and her skill as a performer, she generally eschewed such caution and participated in the dances herself. Through prolonged immersion of this kind, Dunham was able not only to comprehend various dances as complex cultural practices, but also to learn the techniques well enough to teach them to others and incorporate them into new forms of ballet.

Between 1937 and 1945, Dunham developed a research-to-performance method that she used to adapt Caribbean dance forms for use in theatrical performance, combining them with modern dance styles she learned in Chicago. The ballets she created in this fashion were among the first North American dances to rectify the exclusion of African American themes from the medium of modern dance. Her work was thus crucial in establishing African American dance as an art form in its own right, making possible future companies such as Arthur Mitchell's Dance Theater of Harlem.

One of the more striking developments in modern North American dance was African American choreographer Katherine Dunham's introduction of a technique known as dance-isolation, in which one part of the body moves in one rhythm while other parts are kept stationary or are moved in different rhythms. The incorporation of this technique into North American and European choreography is relatively recent, although various forms of the technique have long been essential to traditional dances of certain African, Caribbean, and Pacific-island cultures. Dunham's success in bringing dance-isolation and other traditional techniques from those cultures into the mainstream of modern North American dance is due in no small part to her training in both anthropological research and choreography.

As an anthropologist in the 1930s, Dunham was one of the pioneers in the field of dance ethnology. Previously, dance had been neglected as an area of social research, primarily because most social scientists gravitated toward areas likely to be recognized by their peers as befitting scientifically rigorous, and therefore legitimate, modes of inquiry. Moreover, no other social scientist at that time was sufficiently trained in dance to be able to understand dance techniques, while experts in dance were not trained in the methods of social research.

Starting in 1935, Dunham conducted a series of research projects into traditional Caribbean dance forms, with special interest in their origins in African culture. Especially critical to her success was her approach to research, which diverged radically from the methodology that prevailed at the time. Colleagues in anthropology advised her not to become too closely involved in the dances she was observing, both because of the extreme physical demands of the dances, and because they subscribed to the long-standing view, now fortunately recognized as unrealistic, that effective data gathering can and must be conducted from a position of complete detachment. But because of her interest and her skill as a performer, she generally eschewed such caution and participated in the dances herself. Through prolonged immersion of this kind, Dunham was able not only to comprehend various dances as complex cultural practices, but also to learn the techniques well enough to teach them to others and incorporate them into new forms of ballet.

Between 1937 and 1945, Dunham developed a research-to-performance method that she used to adapt Caribbean dance forms for use in theatrical performance, combining them with modern dance styles she learned in Chicago. The ballets she created in this fashion were among the first North American dances to rectify the exclusion of African American themes from the medium of modern dance. Her work was thus crucial in establishing African American dance as an art form in its own right, making possible future companies such as Arthur Mitchell's Dance Theater of Harlem.