Working to Save American Dance’s Black Heritage

Although Ford Foundation funds support “The Black Tradition in American Modern Dance,” it is the American Dance Festival, under the leadership of Charles Reinhart, that created and guides the preservation project.

Reinhart, director of Durham, N.C.’s American Dance Festival (ADF), said he was especially worried about the loss of black American choreographers’ work because many of these artists, such as McKayle, didn’t have their own permanent companies.

In 1986, Reinhart and his wife, Stephanie, engaged McKayle to mount “Games” on Chuck Davis’ Durham-based African American Dance Ensemble. Then, along with panel discussions, the work was performed at the Durham festival that June as part of a Humanities-and-Dance program.

Officials from the Ford Foundation saw that presentation and awarded the ADF a three-year, $300,000 grant.

The first Ford Foundation-funded “Black Traditions” presentation was made last summer. The program consisted of “Games” and McKayle’s “Rainbow ‘Round My Shoulder,” danced by the Davis troupe and Ohio’s Dayton Contemporary Dance Company, respectively; three Pearl Primus solos, performed dancers from Philadelphia’s Philadanco troupe; Eleo Pomare’s “Las Desenamoradas” performed by the Dayton troupe; and Talley Beatty’s “Congo Tango Palace” by Chicago’s Joel Hall Dancers.

Reinhart said he and others who participate in the annual ADF make all administrative decisions about the project, such as whose works to preserve.

Alvin Ailey hasn’t been included because he has his own company. Katherine Dunham was left out because Ailey’s troupe was, in 1986, in the middle of preserving many of her dances.