Kicha's photos with the keyword: Businesswoman

Katherine Dunham as she appeared in the 1956 production of "Floyd's Guitar Blues." Courtesy of Special Collections Research Center, Morris Library, Southern Illinois University, Carbondale. Born in Chicago, and raised in Joliet, Illinois, Katherine Dunham did not begin formal dance training until her late teens. In Chicago she studied with Ludmilla Speranzeva and Mark Turbyfill, and danced her first leading role in Ruth Page's ballet "La Guiablesse" in 1933. She attended the University of Chicago on scholarship (B.A., Social Anthropology, 1936), where she was inspired by the work of anthropologists Robert Redfield and Melville Herskovits, who stressed the importance of the survival of African culture and ritual in understanding African-American culture. While in college she taught youngsters' dance classes and gave recitals in a Chicago storefront, calling her student company, founded in 1931, "Ballet Negre." Awarded a Rosenwald Travel Fellowship in 1936 for her combined expertise in dance and anthropology, she departed after graduation for the West Indies (Jamaica, Trinidad, Cuba, Haiti, Martinique) to do field research in anthropology and dance. Combining her two interests, she linked the function and form of Caribbean dance and ritual to their African progenitors. The West Indian experience changed forever the focus of Dunham's life (eventually she would live in Haiti half of the time and become a priestess in the "vodoun" religion), and caused a profound shift in her career. This initial fieldwork provided the nucleus for future researches and began a lifelong involvement with the people and dance of Haiti. From this Dunham generated her master's thesis (Northwestern University, 1947) and more fieldwork. She lectured widely, published numerous articles, and wrote three books about her observations: JOURNEY TO ACCOMPONG (1946), THE DANCES OF HAITI (her master's thesis, published in 1947), and ISLAND POSSESSED (1969), underscoring how African religions and rituals adapted to the New World. And, importantly for the development of modern dance, her fieldwork began her investigations into a vocabulary of movement that would form the core of the Katherine Dunham Technique. What Dunham gave modern dance was a coherent lexicon of African and Caribbean styles of movement -- a flexible torso and spine, articulated pelvis and isolation of the limbs, a polyrhythmic strategy of moving -- which she integrated with techniques of ballet and modern dance. When she returned to Chicago in late 1937, Dunham founded the Negro Dance Group, a company of black artists dedicated to presenting aspects of African-American and African-Caribbean dance. Immediately she began incorporating the dances she had learned into her choreography. Invited in 1937 to be part of a notable New York City concert, "Negro Dance Evening," she premiered "Haitian Suite," excerpted from choreography she was developing for the longer "L'Ag'Ya." In 1937-1938 as dance director of the Negro Unit of the Federal Theatre Project in Chicago, she made dances for "Emperor Jones" and "Run Lil' Chillun," and presented her first version of "L'Ag'Ya" on January 27, 1938. Based on a Martinique folktale (ag'ya is a Martinique fighting dance), "L'Ag'Ya" is a seminal work, displaying Dunham's blend of exciting dance-drama and authentic African-Caribbean material. Dunham moved her company to New York City in 1939, where she became dance director of the New York Labor Stage, choreographing the labor-union musical "Pins and Needles." Simultaneously she was preparing a new production, "Tropics and Le Jazz Hot: From Haiti to Harlem." It opened February 18, 1939, in what was intended to be a single weekend's concert at the Windsor Theatre in New York City. Its instantaneous success, however, extended the run for ten consecutive weekends and catapulted Dunham into the limelight. In 1940 Dunham and her company appeared in the black Broadway musical, "Cabin in the Sky," staged by George Balanchine, in which Dunham played the sultry siren Georgia Brown -- a character related to Dunham's other seductress, "Woman with a Cigar," from her solo "Shore Excursion" in "Tropics." That same year Dunham married John Pratt, a theatrical designer who worked with her in 1938 at the Chicago Federal Theatre Project, and for the next 47 years, until his death in 1986, Pratt was Dunham's husband and her artistic collaborator. With "L'Ag'Ya" and "Tropics and Le Jazz Hot: From Haiti to Harlem," Dunham revealed her magical mix of dance and theater -- the essence of "the Dunham touch" -- a savvy combination of authentic Caribbean dance and rhythms with the heady spice of American showbiz. Genuine folk material was presented with lavish costumes, plush settings, and the orchestral arrangements based on Caribbean rhythms and folk music. Dancers moved through fantastical tropical paradises or artistically designed juke-joints, while a loose storyline held together a succession of diverse dances. Dunham aptly called her spectacles "revues." She choreographed more than 90 individual dances, and produced five revues, four of which played on Broadway and toured worldwide. Her most critically acclaimed revue was her 1946 "Bal Negre," containing another Dunham dance favorite, "Shango," based directly on "vodoun" ritual. If her repertory was diverse, it was also coherent. "Tropics and le Jazz Hot: From Haiti to Harlem" incorporated dances from the West Indies as well as from Cuba and Mexico, while the "Le Jazz Hot" section featured early black American social dances, such as the Juba, Cake Walk, Ballin' the Jack, and Strut. The sequencing of dances, the theatrical journey from the tropics to urban black America implied -- in the most entertaining terms -- the ethnographic realities of cultural connections. In her 1943 "Tropical Revue," she recycled material from the 1939 revue and added new dances, such as the balletic "Choros" (based on formal Brazilian quadrilles), and "Rites de Passage," which depicted puberty rituals so explicitly sexual that the dance was banned in Boston. Beginning in the 1940s, the Katherine Dunham Dance Company appeared on Broadway and toured throughout the United States, Mexico, Latin America, and especially Europe, to enthusiastic reviews. In Europe Dunham was praised as a dancer and choreographer, recognized as a serious anthropologist and scholar, and admired as a glamorous beauty. Among her achievements was her resourcefulness in keeping her company going without any government funding. When short of money between engagements, Dunham and her troupe played in elegant nightclubs, such as Ciro's in Los Angeles. She also supplemented her income through film. Alone, or with her company, she appeared in nine Hollywood movies and in several foreign films between 1941 and 1959, among them CARNIVAL OF RHYTHM (1939), STAR-SPANGLED RHYTHM (1942), STORMY WEATHER (1943), CASBAH (1948), BOOTE E RIPOSTA (1950), and MAMBO (1954). In 1945 Dunham opened the Dunham School of Dance and Theater (sometimes called the Dunham School of Arts and Research) in Manhattan. Although technique classes were the heart of the school, they were supplemented by courses in humanities, philosophy, languages, aesthetics, drama, and speech. For the next ten years many African-American dances of the next generation studied at her school, then passed on Dunham's technique to their students, situating it in dance mainstream (teachers such as Syvilla Fort, Talley Beatty, Lavinia Williams, Walter Nicks, Hope Clark, Vanoye Aikens, and Carmencita Romero; the Dunham technique has always been taught at the Alvin Ailey studios). During the 1940s and '50s, Dunham kept up her brand of political activism. Fighting segregation in hotels, restaurants and theaters, she filed lawsuits and made public condemnations. In Hollywood, she refused to sign a lucrative studio contract when the producer said she would have to replace some of her darker-skinned company members. To an enthusiastic but all-white audience in the South, she made an after-performance speech, saying she could never play there again until it was integrated. In São Paulo, Brazil, she brought a discrimination suit against a hotel, eventually prompting the president of Brazil to apologize to her and to pass a law that forbade discrimination in public places. In 1951 Dunham premiered "Southland," an hour-long ballet about lynching, though it was only performed in Chile and Paris. Toward the end of the 1950s Dunham was forced to regroup, disband, and reform her company, according to the exigencies of her financial and physical health (she suffered from crippling knee problems). Yet she remained undeterred. In 1962 she opened a Broadway production, "Bambouche," featuring 14 dancers, singers, and musicians of the Royal Troupe of Morocco, along with the Dunham company. The next year she choreographed the Metropolitan Opera's new production of "Aida" -- thereby becoming the Met's first black choreographer. In 1965-1966, she was cultural adviser to the President of Senegal. She attended Senegal's First World Festival of Negro Arts as a representative from the United States. Moved by the civil rights struggle and outraged by deprivations in the ghettos of East St. Louis, an area she knew from her visiting professorships at Southern Illinois University in the 1960s, Dunham decided to take action. In 1967 she opened the Performing Arts Training Center, a cultural program and school for the neighborhood children and youth, with programs in dance, drama, martial arts, and humanities. Soon thereafter she expanded the programs to include senior citizens. Then in 1977 she opened the Katherine Dunham Museum and Children's Workshop to house her collections of artifacts from her travels and research, as well as archival material from her personal life and professional career. During the 1980s, Dunham received numerous awards acknowledging her contributions. These include the Albert Schweitzer Music Award for a life devoted to performing arts and service to humanity (1979); a Kennedy Center Honor's Award (1983); the Samuel H. Scripps American Dance Festival Award (1987); induction into the Hall of Fame of the National Museum of Dance in Saratoga Springs, N.Y. (1987). That same year Dunham directed the reconstruction of several of her works by the Alvin Ailey American Dance Theater and "The Magic of Katherine Dunham opened Ailey's 1987-1988 season. In February 1992, at the age of 82, Dunham again became the subject of international attention when she began a 47-day fast at her East St. Louis home. Because of her age, her involvement with Haiti, and the respect accorded her as an activist and artist, Dunham became the center of a movement that coalesced to protest the United States' deportations of Haitian boat-refugees fleeing to the U.S. after the military overthrow of Haiti's democratically elected President Jean-Bertrand Aristide. She agreed to end her fast only after Aristide visited her and personally requested her to stop. Boldness has characterized Dunham's life and career. And, although she was not alone, Dunham is perhaps the best known and most influential pioneer of black dance. Her synthesis of scholarship and theatricality demonstrated, incontrovertibly and joyously, that African-American and African-Caribbean styles are related and powerful components of dance in America. Snippet from Floyd's Guitar Blues (no sound): loc.gov/item/ihas.200003819 Source: PBS.ORG bio by Sally Sommer

Lucretia Marchbanks was one of the most interesting and most beloved people in Deadwood, South Dakota’s pioneer days. She was born into slavery on March 25, 1832, in Putman County, Tennessee, the oldest of eleven children. She was the bondswoman of Martin Marchbanks, whose father had settled near Turkey Creek east of Algood, Tennessee. Her father, of mixed racial heritage, was a half-brother of Martin Marchbanks. Prior to the enactment of the 13th Amendment, before the firing of the guns at Fort Sumter had announced the opening of the U. S. Civil War, her liberty-loving father had purchased his freedom with $700 which he had saved over the years. Lucretia Marchbanks, who acquired her father’s frugal industrious habits, grew to womanhood on the master’s estate where she was fully trained in housekeeping and the culinary arts. Her master, Martin Marchbanks, gave Lucretia to his youngest daughter whom she accompanied to the Western frontier, reputed a land of gold, fortune and romance. They traveled and lived for a period time in California, and later, a free woman, she returned to her old home in Tennessee. Once again, Lucretia set out again for the untamed west where she remained for the rest of her life. Like many others, she was lured into the Black Hills by reports of gold. Lucretia joined the “Black Hills Gold Rush,” arriving in historic Deadwood Gulch, a bustling mining camp, on June 1 1876, where she secured a job, working as the kitchen manager in the Grand Central Hotel. Soon, the hotel, which really wasn’t that grand, was better known for the great food served by Lucretia in the frontier hotel’s restaurant. “Aunt Lou,” as she was known, labored hard to make her way in a sometimes unforgiving boomtown of the West. Except for “Aunt Sally” Campbell, who came with the George Armstrong Custer Black Hills Expedition in 1874, most believe that Lucretia Marchbanks was the first black woman to live in the Black Hills of the Dakota Territory. After she left the kitchen, Lucretia worked for four successive mine superintendents for the small sum of $40 per month. That was a small price, a real bargain for anyone who could afford to employ a woman with her ability and training. Two years later she was offered a better position as a cook for the Golden Gate Mine in nearby Lead. Her work ethic, loyalty to duty and fine character were evident to all who knew her. She then left Deadwood to become the manager of the Rustic Hotel at the DeSmet Mine. Gossip of her culinary skills spread like a wildfire and she was soon hired away again as a cook and housekeeper for a boarding house owned by Harry Gregg in Sawpit Gulch, also in Lead. They catered to the DeSmet Mine workers. One historical account tells that when she was late getting back from a meeting, she was still able to fix an evening meal for the miners in 25 minutes, plus lunch buckets for all on the night shift. Contrary to what was seen on the HBO series “Deadwood,” Lucretia Marchbanks was never an employee of George Hearst, the owner of the world famous Homestake Mine. Her final employer was Harry Gregg, with whom she worked until 1883 when she resigned and opened her own establishment, the Rustic Hotel at the mouth of Sawpit Gulch located just down the road from Deadwood. She was considered to be the finest cook in the Black Hills at that time. She has been regaled for her excellent plum puddings, among other culinary delights. A Mr. William A. Reamer, who boarded with her, asked her for the recipe and she replied, “Oh, just a handful of this and a handful of that.” Lucretia was more commonly known throughout Deadwood and the Black Hills as “Aunt Lou.” She was also lovingly known to some people of the area as “Mahogany Lou” Marchbanks. For example: The New York Stock Exchange in discussing a Black Hills Mining News article asked “Who is Aunt Lou?” The Black Hills Daily Times answered in an article entitled “We’ll Tell You Who She Is” - Aunt Lou is an old and respected colored lady who has had charge of the superintendent’s establishment of the DeSmet mine as housekeeper, cook and the 'superintendent of all superintendents’ who have ever been employed at the mine. Her accomplishments as culinary artist are beyond all praise. She rules the house where she presides with autocratic power by Divine right brooking no cavil or presumptuous interference. The mine superintendent may be a big man in the mines or the mill but the moment he sets foot within her realm he is but a meek and ordinary mortal. “She is a skillful nurse as well as a fine cook and housekeeper, her services to the victims of mountain fever never received an even part of the praise to which they are entitled.” There was a festival in the City Hall of Golden Gate in 1880 for the purpose of the raising of funds for the Congregational church, a prize of a diamond ring was raffled off and then given to the most popular woman in the Black Hills. Her competitors for this high honor were a sizable number of popular white women. Many men and women, citizens of all walks of life voted with their money for their favorite woman: “Aunt Lou.” She easily won and was awarded the coveted prize. She was however, was more than just a kind friendly woman with great cooking skills; she was also a tough and demanding kitchen manager and stood no intimidation from her rowdy patrons. It is said that on one day she proved that when a Mexican man came into the restaurant boasting that he had killed an Indian and acting as though he’d like to do the same again … kill someone else. While nervous customers looked on, “Aunt Lou” confronted him while brandishing a large knife and in no time, the stranger was quick to take his leave. Lucretia finally decided that she had cooked long enough. She retired from the Rustic Hotel business in 1885 and sold the hotel to a Mrs. A.M. Porter. “Aunt Lou” purchased a ranch at Rocky Ford, Wyoming, (between Sundance and Beulah) from A. C. Settle. She moved to the ranch that same year and was very active in raising cattle and horses. She with the help of a hired hand named George Baggely, who worked for Lucretia for 20 years and managed the ranch. Various historical records show that she conducted her ranch in the very businesslike manner everyone would have expected. She died in 1911 and is buried in Beulah Cemetery. Black Hills Pioneer, Destination Deadwood, by David K Whitlock

Fannie Clay was born in Ripley, Tennessee in 1891, the daughter of former slaves Elen Gilliland Clay and Hugh Clay. In 1910 she graduated from Lauderdale County Training School and relocated to Memphis, Tennessee with her family. She eventually relocated to Chicago, where she studied to become a pharmacist. While working at a drug store to pay for her education she met the man who would become her husband of twenty-one years. Fannie Clay and Bill “Bojangles” Robinson were married January 27, 1922, (she was his 2nd wife). No longer focusing on her career she worked as her husband's secretary and business manager. She's credited as playing a significant role in his success by working behind the scenes. They divorced June 25, 1943 due to his gambling, womanizing, and Fannie’s desire to have him slow down due to his heart condition. When they divorced Fannie is quoted as having said they “agreed to disagree" but remained the best of friends. The couple never had children. In the 2001 movie “Bojangles” Gregory Hines played the lead and Fannie's character was portrayed by Kimberly Elise. Photo: National Vaudeville Artists Fund (1929) Source: blackripley.com

Lottie Grady (1887-1970), as she appeared on sheet music for The Merry Widower, 1907. She appeared as one of the lead characters in what's credited as being the first all black cast in a film company started by a black man, William Foster (stage name Juli Jones). The Railroad Porter came out in 1912. Lottie Grady was born on September 8, 1887 in Chicago, Illinois. She was a well known stage actress in the early 20th century. Originally from the south side of Chicago, she was a talented singer, dancer, and actress. She performed on stage with the likes of Bert Williams (1904's show "Lode of Kole"), Jesse Shipp and S. H. Dudley ("The Smart Set") before returning to her hometown and becoming the leading lady of the Pekin Theatre Stock Company, a collection of actors and actresses who produced and performed in plays and other dramatic presentations, many written by African Americans, or adapted to appeal to a predominately African American audience. She would then join with William Foster and, with other members of the Pekin Theatre stock company, like Charles Gilpin, Abbie Mitchell and others, would act in his "photoplays." It was reported in contemporary newspapers that Grady would appear at showings of the films and while the reels were changed, would entertain the audience by singing. She retired from performing in 1919, when she married Charles Roxborough (1887-1963), he served one term in the State Senate of Michigan (1931-1933) thus becoming the first black man elected to that chamber. The couple had two sons, Charles Anthony and John Walter. The couple divorced in 1939. After her divorce Lottie moved to the resort town of Idlewild, Michigan, where for almost thirty years she owned and operated (along with the help of her oldest son), a popular restaurant called The Rosana Tavern. She passed away on February 20, 1970 in Idlewild, Michigan. [imdb.com, by Jane Margaret Laight]

The National Cyclopedia of the Colored Race (Vol. 1), 1919. In recent years the Negro woman has begun to find herself. Time was when both by herself and in the minds of the general public it was decided, yea determined, that her place was in the home, in the school room and in the Sunday School. Gradually she got into founding institutions, schools, social settlements and the like. She went on the lecture platform. She traveled in America and in Europe as a singer. In all these places she found herself a complete success. Then a few ventured into unheard of fields ... into politics and in business. Again success is crowning their endeavors. Why should they not enter any and all branches of work? One of the leading Negro women in business, and general social work is Mrs. Lula Barnes of Savannah, Georgia. Though an Alabamian by birth and education Mrs. Barnes is a Georgian by adoption and achievement. She was born in Huntsville, Alabama, August 22, 1868, she had many difficulties in getting an early education. However, Huntsville Normal and Industrial Institute was near at hand; and so after several years she entered here and gained her life training. Soon after her school days she was married and set about to make a happy home and to aid her husband in every possible way. Providence deemed it otherwise. Spurred by adversity, she now began to cast about a livelihood. Living in Savannah, she thought she saw an opening for a Negro grocery. She thought also that a Negro woman should just as well conduct this business as could a man. Hence she launched forth into the business. She opened a store on Price Street, and by courtesy, fair dealing and shrewd business tact made her store one to be reckoned with in the business world. For ten years she was a grocer, and gave up, or sold out, only to enter other fields. She closed her grocery books in 1893. During her ten years in business Mrs. Barnes had practiced economy. She now made several paying investments. She bought a handsome residence, which is her home, on East Henry Street. She bought twelve rent houses, which in themselves provide her with a pretty comfortable income. She also owns five vacant lots in Savannah. Having made these investments, which were safe and which would protect her in case of inability, she felt safe in placing money in several worthy enterprises. She owns stock and is a director in the Wage Earner's Bank of Savannah, in the Standard Life Insurance Company, in the Afro-American Company and in the Union Development Company. Mrs. Barnes was married to Mr. Richard Barnes of Savannah on August 16, 1884. He died in 1911.