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Donald McKayle
Donald McKayle (born July 6, 1930, New York City) is an African-American modern dancer, choreographer, teacher, director and writer best known for creating socially conscious concert works during the 1950s and '60s that focus on expressing the human condition and more specifically, the black experience in America. He was, "Among the first black men to break the racial barrier by means of modern dance,".〔Nancy Reynolds and Malcolm McCormick, ''No Fixed Points: Dance in the Twentieth Century'' (New Haven, CT: Yale University Press, 2003), 345.〕 His talents extend beyond the concert stage as McKayle has also performed and choreographed for Broadway musicals, theatre, television, and film.〔Melanye P. White-Dixon, "McKayle, Donald," in Selma Jeanne Cohen (ed.), ''International Encyclopedia of Dance'', vol. 4 (New York: Oxford University Press 1998), 345.〕 He has worked with many choreographers such as Martha Graham, Alvin Ailey, Anna Sokolow, and Merce Cunningham. A Tony Award and Emmy Award nominee, McKayle is currently a Professor of Dance, Modern Technique and Choreography, at UC Irvine, in the Claire Trevor School of the Arts Dance Department. He has served on the faculties of Connecticut College, Sarah Lawrence College, and Bennington College.
==Early life and influences==
McKayle was born in New York City on July 6, 1930, and grew up in a racially mixed East Harlem community of African-American, Puerto Rican, and Jewish immigrants.〔Gay Morris, ''A Game for Dancers: Performing Modernism in the Postwar Years, 1945–1960'' (Middletown, CT: Wesleyan University Press, 2006), 147-165.〕 He was the second child of a middle class, immigrant family of Jamaican descent.〔Elisa Davis, ''Transcending Boundaries? The Struggle of African-American Identity in the Works and Career of Donald McKayle from 1950 to 1973''. Senior Thesis (Barnard, 2007), (hl=en&lr=&q=cache:CaVu10VVkHwJ:www.barnard.columbia.edu/dance/Senior%2520Theses/Elisa_davis.doc+donald+Mckayle Google Scholar. )〕
Growing up in an integrated neighborhood shaped McKayle's understanding of the social issues and racial prejudices in America during a time when racism and segregation was commonplace. McKayle was also influenced by his parents liberal and activist lifestyles. He was exposed to social dance and the exuberant social atmosphere of the West Indian parties his parents attended.〔''Donald McKayle: Heartbeats of a Dance Maker'' (Hightstown, NJ : Princeton Book Co., 2002).〕 McKayle's educational experience attending a public school outside of the Harlem community also heightened his social awareness. His political beliefs were influenced by his high school English teacher Louis Allen, also known as Abel Meeropol, author of the poem "Strange Fruit". And in high school McKayle joined the Frederick Douglass Society to learn more about African-American history and heritage, a subject that was not taught in school.〔Elisa Davis, ''Transcending Boundaries'', 5-6.〕
But it was an inspiring performance by Pearl Primus sparked McKayle's interest in dance as a teenager. Despite his lack of formal dance training, McKayle auditioned and was granted a scholarship for the New Dance Group in 1947.〔Gay Morris, ''A Game'', 152.〕 McKayle was ambitious and eagerly took advantage of the company's formal training in modern, ballet, tap, Afro-Caribbean, Hindu, and Haitian dance forms. His instructors included modern dance pioneer Martha Graham, Merce Cunningham, Anna Sokolow and Karol Shook.〔Gregg Lizenbery, "McKayle, Donald," in Taryn Benbow-Pfalzgraf (ed.), ''International Dictionary of Modern Dance'' (Detroit: St.James Press, 1998), 526.〕 His noted mentors are Sophie Maslow, Jane Dudley, William Bales, and his first teacher Jean Erdman.〔''Donald McKayle: Heartbeats''.〕 Other instructors include Mary Anthony, Pearl Primus, Jean-Leon Destine, Hadassah, and Paul Draper.〔Gregg Lizenbery, ''McKayle'', 526.〕 In less than a year, McKayle was choreographing his own complete concert dance pieces.
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