-
1900-1920 migration to NYC tripled in this time period.
-
staged annual demonstrations at Hampton
-
danced with the Metropolitan Opera Ballet and appeared in Music Box Revenue
-
enacted and heightened sensitivity to systematic discrimination.
-
First Performed at the Hampton Institute in Virginia
-
founded a company titled the New Negro Art Theatre
-
published an account that envisioned new forms for American dance, including the dream of men dancing; called The American Ballet
-
Blue Blood won the Opportunity contest for black-authored drama
-
short story Smoke, Lilies, and Jade was the first openly gay fiction
-
performed her first independent concert in New York
-
produced her own concert in January at the Little Theatre on West Forty-fourth street
-
choreographed 9 dances set to spirituals to 1944
-
premiered two dances set to spirituals, Nobody Knows de Trouble I See and Josua Fit de Battle ob Jericho
-
Salome was performed at the Cherry Lane Theatre in Greenwich Village
-
created Jacob’s Pillow (a venue for dance training and production)
-
-
comprised of name slike, Martha Graham, Humphrey, Weidman, Tamaris, and for some time De Mille
-
premiered Get on Board Little Chillun and Weeping Mary at the concert titled the First Negro Dance Recital in America
-
articulated a critical conundrum that took Negro dancers a decade to resolve in his review of the First Negro Dance Recital in America
-
reiterated the critical conundrum the John Martic first scripted for Negro dancers
-
premiered her first Negro Spirituals on April 29th
-
staged Four Spirituals for his company at the Harlem Academy. Included The Slave Ballet adapted from Salome in his concert at Harlem
-
started an on-campus dance group
-
all-male group presented Zoonga at the Big Red Bazaar
-
performed as the Witch Doctor in the African village.
-
began presenting his Religious Dances and Negro Spirituals on tour and in NYC
Shawn and his Men Dancers visited (and would visit again in the future) the Hampton Institute in Virginia; this is where he connected with Charles Williams -
Both Crisis and Opportunity took notice of Winfield when he appeared at the Metropolitan Opera as the witch doctor in Emperor Jones
-
shared an all female company program where Ruth St. Denis discussed “Dance as an Art.”
-
Kykunkor, became Broadway hit in spring and summer. It opened at the Unity Theatre
-
reported the audiences enthusiastic response in Dance Observer when reviewing a performance of Ted Shawn’s troupe at Washington Irving
-
part of the “New Deal” initiative
-
appeared at Howard University
-
began a summer school for male dancers
-
appearance at the First National Dance Congress (a festival organized by leftist dancers at the Young Men’s Hebrew Association)
-
Staging at YMHA on 92nd Street
-
presented a matinee at the 92nd Street Y.
-
student company, the Hampton Institute Creative Dance Group, made its debut in New York
-
collaborated with Alisoon Burroughs, Katherine Dunham, and Asada Dafora to stage Negro Concert evenings
-
got the American Dance Association to sponsor Negro Concert evenings
-
Last word in the white dance press penned by Walter Terry
-
Debut of her company-established Negro dance as an ongoing enterprise in NYC
-
shifts her work to Broadway to 50s
-
staged a solo titled Spiritual Suite at the Humphrey-Weidman Studio Theatre and a group work titled Spirituals at Studio 819 in Carnegie Hall
-
performed her danced spirituals on film
-
performed her danced spirituals for the last time but 14 years later she recorded 5 or her spirituals on film.
-
recorded five of her danced spirituals for the last time at Central High School of Needle Trades
-
taught all nine of her danced spirituals at the High School for the Performing Arts in NYC
-
students performed her danced spirituals at a memorial program