Live/Work Space - Katherine Dunham

La Danseuse.

project 3: space Part 3: Synthesis of prior studies and explorations in programmed space Project 3: Live & Work Studio Space (for Katherine Dunham) 25

project 3: space My project is about the relationship between ethnography and choreography as revealed and concealed by the movement of curtains. 26

project 3: space DESIGN BRIEF DECEMBER 2020 CLIENT: KATHERINE DUNHAM LOCATION: 57 GREAT JONES ST. NEW YORK, NY AREA: 1045 SQ FT Overview of project A multifunctional live and work space inspired by Dun- ham’s anthropoloigcal and ethnographic studies and her studio work. She would like a comfortable and clean space where she can easily move unencumbered, whether in everyday life or dancing. The space should allow her to think to think clearly and it must reflect her Afri- can and Caribbean heritage - aesthetically or in spir- it. The space must not be boring. Dunham is a busy and active woman, so the space should reflect her multilay- ered identity and multidimensionality. In essence, she would like a space that emulates and supports her work as both a thinker and academic and as ultimately as a dancer. Spatial Requirements an open plan studio space a private quiet study/work area a simple and modest kitchen outfitted with the necessi- ties (stove, oven, refrigerator, etc.) a simple bathroom with a shower, not a bathtub a stage where I can practice my choreography a storage area or furniture to keep costumes, gifts, and other objects closet space to store my dresses and headpieces Object Requirements a ballet barre several mirrors that can be displaced the Louis Vuitton shoecase gifted to Dunham a multifunctional desk that can be protracted or re- tracted for multifunctional use shelving unit or system to store papers and books a small portable television 27

floorplanproject 3: space combined 28

floorplanproject 3: space floorplanobject partition 29

planproject 3: space back elevation reflected ceiling 30

project 3: space Artwork Diagrams straight lines dots arcs combined 31

project 3: space Exploratory Sketches 32

project 3: space Katherine Dunham (1909-2006) - anthropologist dancer choreographer social activist educator 33

project 3: space born in the suburbs of Chicago her choreography has been began singing at a young age in described as smooth and flu- her church but never aimed to ent become a dancer The Katherine Dunham Cen- studied anthropology at the ters for Arts and Humanities University of Chicago and sub- writes about Dunham: \"By sequently went on a fellowship that time, she was consid- to study anthropology in the ered a living, breathing, Caribbean historical institution in and of herself.” became interested in the roots She found more satisfaction of dance, specifically its in the practice of dance \"ethnic\" origin (that is why she did not traveled to Jamaica, Trinidad, pursue anthropology formal- Brazil and Haiti ly). revolutionized modern dance was more interested in the world with her innovative in- fusion of arts and science terpretation of \"ethnic\" danc- investigation of dance --> es --> she wanted to show the specifically of the people beauty of black dance and un- who created dances in ad- cover its ethnic roots dition to the dances them- responsible for exposing the selves white-dominated European dance her work focused on the folk world to Caribbean and African and primitive dances influences influenced by Franco-Russian fused anthropology with dance ballet --> Ludmilla Sper- founded the Katherine Dun- anzeva was her first ballet ham Dance Company in the ear- teacher (from Vaudeville ly 1940s --> toured around the troupe Chauve-Souris) world and was mostly well re- combined aspects of European ceived because people had never ballet tradition with Amer- seen anything like it before; ican musical theater tech- exposed people to Caribbean and niques and what she learned African dance studying Caribbean and Afri- named the \"queen and matriarch can dance heritage of black dance\" first African American woman to choreograph for the Metropoli- tan Opera 34

project 3: live/work offstage (live) collage 35

project 3: live/work onstage (work) collage 36

project 3: live/work WORK OBJECT DIARY I don't really like to get attached to objects; I like to study them. Observe them, analyze them, understand them so that I may understand the culture they belong to. I do not simply refer to material static objects such as stat- uettes and masks which I have gathered from my travels abroad. The objects that most interest are objects only in the sense that they are experiencing an action that is directed toward them. This action is my observation. These objects I refer to are living breathing beings, mag- nificent bodies infused with such fervent energy that you start to feel a tingling, tantalizing sensation over- come you. You cannot help but be attracted to them, en- grossed by the way these bodies move. In essence, my ob- ject is movement, this intangible dynamism that keeps history and tradition alive, bubbling underneath the sur- face, sometimes spilling out like boiling water in a pot. I understand that not everyone can access this energy, let alone understand it. So this is where physical material ob- jects - objects that are fixed, that can be held in one's hands - are useful. In fact, they are sometimes more per- tinent to highlight in cases in which the dance is too elusive, too incomprehensible, at first watch, to appre- ciate. Here, I acknowledge the value of certain objects. The stage décor and costumes I put into play for my dances are examples of objects I believe hold a lot of value and not just for entertainment reasons. What is by nature im- mobile is not necessarily spiritless. These objects come to life because we, the dancers, infused them with ener- gy and vitality. My husband creates most of the pieces I use for my shows - I am always amazed at his talents, how he crafts these magnificent, wonderfully intricate pieces - dresses, headpieces, skirts, and of course the stage set itself. He is my partner in crime both onstage and off. He has a unique ability to translate the narrative I am trying to tell in my choreography, into objects. He is respect- ful of tradition but does not shy away from innovation. It is hard to chose one piece I like the most from him. To me it isn't so much about having \"favorites\"since they are all valuable in their own right. Having said this, there is one category of pieces that I cherish in particular and that I carry with me both in my personal and pubic life. The headpiec- es. These sometimes lavish but most of the time modest pieces of clothing that to me are more than just a mere accessory. They are the outfit. Whether it's in the studio or onstage, in the streets or at parties, headpieces make me feel more confident, as if I was wearing a crown, like an actual queen. 37

project 3: live/work LIFE OBJECT DIARY Sometimes people gift me objects during my travels as a sign of appreication or admiration. While I do not seek to accumulate objects in general, I always accept these presents graciously. They are an act of kindness. Someone took the time of think of me and think of something to give me. This is important to note. Objects are gatekeepers of history and culture, so when some- one gives me one, I take that as an act of extension of cul- ture. They are transmitting their culture through this mate- rial act of donation, which in turn keeps the culture alive. Of the many gifts I have been fortunate to receive, this rab- bit spirit mask stands out in particular. It comes from the Mumuye people in Nigeria; the figure is simple: it is a head with elongated ears, indented circular eyes, and triangular teeth. It is made of wood that exhibits these beautiful grain variations, full of texture and grit. It is one of those ob- jects that conveys so much more than what its looks suggest. Sometimes I stare at it and wonder what it is thinking, who it is showing its teeth to - a predator? An enemy? Misfortune? In my schools and with my dancers, I emphasize the importance of learning about and honoring history, and most importantly of keeping that history alive, so as to not lose the culture that came before us. If we do not make the effort of preserving and transmitting the knowledge, beliefs and traditions that precede us, no one else will, and these cultures will be lost. 38

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Fin.