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I never met Katherine Dunham, but she shaped the course of my life. At age nine, I began to take jazz dance at the Center of Creative Arts (COCA), a community arts center in University City, an “inner ring” suburb of St. Louis, Missouri. I had only a vague awareness that my teacher, Lee Nolting, doubled as the ballet mistress for the Katherine Dunham Children’s Workshop across the river in East St. Louis. After taking a Dunham Technique class at age twelve with Lee’s husband, Darryl Braddix, I realized that many aspects of my jazz dance training, including our arm positions during warm-ups and our body-part isolations, came from Dunham Technique. Even more influentially, Lee based the COCA dance program on Dunham’s philosophy of intercultural communication through the arts. Lee insisted that COCA offer scholarship programs that drew black students from the north side of St. Louis and white students from rural areas in Missouri and Illinois.1Close I was part of an organization with a mission to create community and challenge racial segregation.
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