The man who truly loves his country is the man who is able to see it in the bad as well as the good and seeing the bad declaim it, at the cost of liberty or life. (Katherine Dunham, Prologue to Southland)
In 1951, at the dawning of a decade that would be known by some for its suffocating conformity and political intolerance, Katherine Dunham created Southland, a dramatic ballet Americana about what was by then the century-long practice of lynching. In the program notes to the ballet that premiered at the Opera House in Santiago de Chile, Dunham wrote, “This is the story of no actual lynching in the southern states of America, and still it is the story of every one of them”. She spoke the Prologue onstage, in Spanish:
Though I have not smelled the smell of burning flesh, and have never seen a black body swaying from a southern tree, I have felt these things in spirit.… Through the creative artist comes the need to show this thing to the world, hoping that by exposing the ill, the conscience of the many will protest.”