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Donald McKayle
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Donald McKayle
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Donald McKayle (July 6, 1930 – April 6, 2018[2]) was an 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."[3] His work for the concert stage, especially Games (1951) and Rainbow Round My Shoulder (1959), has been the recipient of widespread acclaim and critical attention.

Key Information

In addition, McKayle was the first black man to both direct and choreograph major Broadway musicals, including the Tony Award-winners Raisin (1973) and Sophisticated Ladies (1981), and he worked extensively in television and film.[4][5] As a young man he appeared with some of the twentieth century's most important choreographers, including Martha Graham, Anna Sokolow, and Merce Cunningham, and in some of Broadway's landmark productions, including House of Flowers (1958) and West Side Story (1957), where he served for a time as the production's dance captain. A Tony Award and Emmy Award nominee, McKayle held an endowed chair for the last decades of his life in the Dance Department at UC Irvine, where he was the Claire Trevor Professor of Dance. He previously served on the faculties of Connecticut College, Sarah Lawrence College, and Bennington College.

Early life and influences

[edit]

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.[6] He was the second child of a middle-class, immigrant family of Jamaican descent.[7] His father worked as a maintenance man at the Copacabana nightclub before becoming a mechanic while his mother worked as a medical assistant.[8]

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.[9] 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 Lewis 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.[10]

But it was an inspiring performance by Pearl Primus that sparked McKayle's interest in dance as a teenager. Despite his lack of formal dance training, he auditioned and was granted a scholarship for the New Dance Group in 1947.[11] 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.[12] His noted mentors are Sophie Maslow, Jane Dudley, William Bales, and his first teacher Jean Erdman.[13] Other instructors include Mary Anthony, Pearl Primus, Jean-Leon Destine, Hadassah, and Paul Draper.[14] In less than a year, McKayle was choreographing his own complete concert dance pieces.

Early choreography

[edit]
McKayle with the Jefferson Dancers, 1992

McKayle's early works explores the universal human condition and reflect themes of unity and community through expressive and emotional movement.[15]

At the age of 18 McKayle premiered his solo piece, Saturday's Child (1948), choreographed to the poetry of Countee Cullen. This piece depicted the reality of poverty and the suffering of the homeless. According to McKayle's autobiography, he was inducted into the Committee for the Negro in the Arts due to the repeated performance and high visibility of this piece. This organization was composed of Harlem Renaissance, leaders including Langston Hughes, and up-and-coming African-American artists and performers such as Harry Belafonte. The Committee was dedicated to changing the prejudices and widespread racism that made it difficult for African Americans in the performing arts.[16]

The American dance classic Games (1951) was McKayle's first major work and was responsible for launching his dance career. He combines rhythms, chants, play songs and street games to create a childhood scene dedicated solely to playtime. Inspired by childhood memories, Games explores themes of poverty and discrimination in shaping the lives and attitudes of the youth.[17]

Rainbow 'Round My Shoulder (1959) is also considered a masterwork that incorporates Africanist movement, rhythms, and music. Prisoners of a chain gang move powerfully across the stage creating an expressive narrative through abstract movements of physical labor. McKayle alludes to African-American dreams of freedom and equality through this image of bondage and slavery. The racial injustice and violence of the piece concludes as a chain gang member is shot and killed.[18][19]

Broadway/ TV/ Film

[edit]

McKayle's early works attracted the interest of Broadway stars, audiences, and Hollywood films. Golden Boy (1964) was his first Broadway production, followed by I'm Solomon (1969) and Dr. Jazz (1975). McKayle was the director and choreographer of Raisin (1974) and was awarded a Tony for the best musical. He was responsible for the entire concept, staging and choreography of Sophisticated Ladies (1981), which has won numerous awards.

Creating choreography for celebrities led to his appearances in popular television shows such as The Bill Cosby Show and The Ed Sullivan Show. McKayle's work was broadcast on every major TV network from 1951 to 1985. He has also choreographed for films, including Bedknobs and Broomsticks (1970), The Great White Hope (1972), and The Minstrel Man (1976).[14]

Biographical documentary film

[edit]

Donald McKayle : Heartbeats of a Dancemaker Film by Joy Chong-Stannard; Victoria N Kneubuhl; Gregg Lizenbery; Marilyn Cristofori. Musical score by Stephen Fox. Appearances by Donald McKayle; Della Reese (narrator); Harry Belafonte; José Limón Dance Company; San Jose and Cleveland Ballet. Dance Pioneers; Hawaii Public Television; Dance Horizons Video.

Awards

[edit]

In 1963, McKayle was awarded the Capezio Dance Award, and in 1992 received the Samuel H. Scripps American Dance Festival Award for lifetime achievement.[20] In 2004, he received the Heritage Award from the National dance association for his contributions to dance education. He was the first to receive the Distinguished Faculty Lectureship Award for Research from the University of California, Irvine where he was an instructor and the artistic director of UCI's dance troupe.[21]

McKayle, 2008.

The 2016 Bessie for Outstanding Revival (The New York Dance and Performance Awards) was presented to Rainbow ’Round My Shoulder by Donald McKayle, performed by Dayton Contemporary Dance Company, and produced by Paul Taylor American Modern Dance at the David H. Koch Theater "for giving a classic modern dance powerful new life, transforming the midcentury portrayal of an African-American prison chain gang into a searingly resonant cry for our current times, performed with humanity, craft, and beauty."[22]

Companies

[edit]

McKayle formed and directed his own dance company, Donald McKayle and Dancers (1951–69), and was the head of the Inner City Repertory Dance Company from 1970 to 1974.[13] He maintained relationships with companies that are repositories of his work including the Alvin Ailey American Dance Theatre, the Cleveland San Jose Ballet, and the Los Angeles Contemporary Dance Theatre.

McKayle was a choreographer of the Limon Dance Company from 1995 onwards.[23] He also choreographed more than 70 pieces for dance companies around the world in the U.S., Canada, Israel, Europe and South America.[21]

Selected choreography

[edit]
  • Saturday's Child (1948)(1960)
  • Creole Afternoon (1950)
  • Games (1951)
  • Her Name was Harriet (1952)
  • Nocturne (1953)
  • The Street (1954)
  • Prelude to Action (1954)
  • Four Excursions (1956)
  • Rainbow 'Round My Shoulder (1959)
  • District Storyville (1962)
  • Blood of the Lamb (1963)
  • Reflections in the Park (1964)
  • Incantation (1968)
  • Songs of the disinherited
  • Death and Eros (2000), with music composed for the dance by Jon Magnussen[24]

Broadway choreography credits

[edit]

Roles

[edit]
  • House of Flowers (1954)
  • West Side Story (1957)

Selected film and television choreography

[edit]

Further reading

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Donald McKayle

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Donald McKayle was an American modern dancer, choreographer, and educator known for pioneering the integration of African American experiences into modern dance and creating works that explored themes of social justice, community, and cultural identity. Born on July 6, 1930, in New York City, he discovered dance late in high school after attending a performance by Pearl Primus, which inspired him to pursue training and launch a career that spanned seven decades. He began professionally with the New Dance Group and went on to perform with notable companies before establishing himself as a choreographer whose pieces addressed racial and social issues with lyrical power and theatrical flair. McKayle's signature works include landmark modern dance pieces such as Games, Rainbow 'Round My Shoulder, District Storyville, and Reflections in the Park, many of which drew from African American folklore, labor struggles, and everyday life while becoming staples in repertories worldwide, including frequent performances by the Alvin Ailey American Dance Theater. He extended his influence to Broadway, choreographing shows like Raisin, Sophisticated Ladies, and Doctor Jazz, earning Tony Award nominations, as well as contributing to film, television, and international companies in Europe, Israel, and South America. Throughout his career, McKayle received numerous honors recognizing his artistry and cultural impact, including multiple awards from dance organizations and institutions. He taught and mentored generations of dancers at universities and conservatories, notably serving as a professor at the University of California, Irvine, where he shaped dance education. McKayle passed away on April 6, 2018, remembered as a transformative figure who expanded the narrative scope of modern dance and championed diversity on stage.

Early Life and Education

Childhood and Family Background

Donald McKayle was born on July 6, 1930, in New York City to Eva Wilhelmina Cohen McKayle and Philip Augustus McKayle, both immigrants from Jamaica. As a first-generation American, he grew up in Harlem as part of the West Indian immigrant community. This environment in New York City shaped his early worldview and later contributed to the social consciousness evident in his choreography. His family provided a stable upbringing amid the vibrant cultural mix of Harlem, fostering an awareness of diverse perspectives from a young age.

Introduction to Dance and Early Training

Donald McKayle, born in New York City, was introduced to dance during his senior year of high school after seeing a performance by Afro-Caribbean choreographer Pearl Primus. This experience inspired him to pursue dance seriously despite lacking any prior formal training. He auditioned for the New Dance Group, a progressive artists' organization committed to social change through dance, and received a scholarship to study there in 1947. At the New Dance Group, McKayle began his formal training under a diverse faculty that included Pearl Primus, Sophie Maslow, Jean Erdman, and others. He immersed himself in classes that integrated modern dance techniques with ethnic forms, studying ballet, Afro-Caribbean rhythms, and other styles. This early education at the New Dance Group provided his foundational technical and artistic development.

Performing Career

Early Professional Performances

McKayle began his professional performing career with the New Dance Group in New York City after receiving a scholarship in 1947. This marked his entry into paid professional dance work following his late start in formal training, as the New Dance Group served as both a school and a performing collective focused on modern and socially engaged dance. At the New Dance Group, he trained under influential teachers including Sophie Maslow, Mary Anthony, Pearl Primus, and Jean Leon Destine, and participated as a dancer in the group's activities and presentations during the late 1940s. These early engagements provided him with foundational experience in modern dance performance before he moved on to other opportunities in the early 1950s.

Collaborations with Major Companies

Donald McKayle collaborated with several prominent modern dance companies and choreographers as a performer during the 1950s, establishing himself as a versatile and sought-after dancer in New York's contemporary dance scene. He joined the Martha Graham Dance Company in 1955 after earning a scholarship to the Martha Graham School of Contemporary Dance. Martha Graham created a solo role for him in her work Ardent Song as an enticement to join the company. He performed with the company during its 1955–1956 U.S. State Department-sponsored tour of Asia, which included performances and lecture-demonstrations across the Near and Far East. McKayle also danced with Jean Erdman's company, where he served as a leading male dancer and appeared in her piece Four-Four Time. He performed with Merce Cunningham's company for a special commission at the opening gala of the Art Center at Brandeis University. Additionally, he became a member of Anna Sokolow's newly formed company following her return from Mexico and danced with Mary Anthony and Charles Weidman. Known as a free agent who moved fluidly between ensembles, McKayle contributed to multiple companies simultaneously at points in his career, including during 1951 when he was a member of four other dance groups while beginning his own endeavors. These collaborations highlighted his adaptability and presence in the evolving modern dance landscape of the mid-20th century.

Concert Dance Choreography

Formation of Own Company and Debut Works

In 1951, Donald McKayle founded and began directing his own ensemble, Donald McKayle and Company, which operated until 1969 and served as the primary vehicle for his early concert dance choreography. This marked his transition from performer to independent choreographer, allowing him to explore themes drawn from his observations of urban life and social dynamics. The company's inaugural presentation featured McKayle's first major work, Games, which premiered in 1951. The piece drew on children's chanted songs and dialogue to portray a scene of youthful street play, subtly interrupted by external tensions that hinted at broader societal issues. Games established McKayle's signature approach, merging abstract movement with narrative elements to comment on childhood innocence against the backdrop of urban realities and social challenges. It quickly gained recognition as a breakthrough, becoming one of his landmark contributions to modern dance. Through his early 1950s efforts with the company, McKayle emphasized choreography that addressed social commentary, particularly the experiences and tensions within African American communities, laying the foundation for his later explorations of cultural and human themes.

Signature Works and Social Themes

Donald McKayle's concert dance works are celebrated for their profound social consciousness, centering African American narratives, racial injustice, resilience, and the broader human condition within the framework of modern dance. His choreography often drew from Black history, folklore, literature, and lived experiences to confront oppression while celebrating cultural strength and survival. These pieces established McKayle as a pioneering voice integrating themes of the Black Diaspora and social critique into the concert repertory. Rainbow 'Round My Shoulder (1959) remains one of his most iconic creations, depicting the relentless toil and inner dreams of chain-gang prisoners in the American South. Set to compiled prison and blues songs, the work uses repetitive, grounded movement to evoke the physical and emotional weight of incarceration, with "rainbow" referring to prison slang for the shimmering arc of a swinging pickaxe. Prisoners' fantasies manifest as visions of lost freedom embodied by a dream-figure woman representing mother, wife, and lover, culminating in defiance, failed escapes, and tragic loss. The piece powerfully addresses systemic oppression of African American men while conveying enduring hope and humanity. District Storyville (1962) humorously yet evocatively reconstructs the birth of jazz in New Orleans' historic red-light district, known as the cradle of jazz. Drawing on authentic musical material from Sidney Bechet, Duke Ellington, Jelly Roll Morton, and traditional funeral and parade traditions, the dance-theater piece captures brass bands marching to mourn death and returning to celebrate life, with the horn as king amid musical battles. It highlights the cultural vibrancy and sorrows of the demi-monde across 1903 and 1917, ending with the district's closure while affirming the persistence of jazz. Her Name Was Harriet (1952, later retitled They Called Her Moses) is an early epic work dramatizing the life of Harriet Tubman and her heroic role guiding enslaved people to freedom via the Underground Railroad. The sprawling dance-theater canvas draws from historical scenes to explore themes of resistance, liberation, and African American endurance against enslavement. Reflections in the Park (1964) presents a more lyrical exploration set to an original jazz score by Gary McFarland, emphasizing originality in movement and mood within an urban park setting. Songs of the Disinherited (1972), a masterwork suite in four movements, deeply examines aspects of the Black Diaspora from slavery through survival and celebration. Set to music including Richie Havens and The Voices of East Harlem, it progresses from determined spiritual escape in "I’m On My Way," through anguished blues in "Upon the Mountain," to majestic female strength in the solo "Angelitos Negros," and urban gospel affirmation in "Shaker Life." Angelitos Negros specifically pleads for inclusion, questioning why religious art depicts only white angels and asserting the divinity and beauty of Black children. The work has been restaged widely, with Angelitos Negros performed notably by artists from the Alvin Ailey American Dance Theater and Limón Dance Company. Several of McKayle's concert pieces, including District Storyville and others, entered the repertory of the Alvin Ailey American Dance Theater, extending their reach and influence within major modern dance institutions.

Broadway and Musical Theater Choreography

Key Productions and Contributions

Donald McKayle brought his distinctive modern dance style to Broadway musical theater, infusing productions with expressive, socially conscious movement that bridged concert dance and commercial theater. His choreography often incorporated fluid, narrative-driven sequences drawn from his concert work, allowing performers to convey emotional depth and thematic complexity through dance. McKayle's Broadway debut as a choreographer came with Golden Boy in 1964, where he contributed to the revival of the Clifford Odets play turned musical starring Sammy Davis Jr. He choreographed A Time for Singing in 1966, a musical adaptation of Richard Llewellyn's novel How Green Was My Valley, directed by Gerald Freedman. In 1973, McKayle achieved a historic milestone by directing and choreographing Raisin, the Tony Award-winning musical adaptation of Lorraine Hansberry's A Raisin in the Sun; he was the first African American to both direct and choreograph a major Broadway musical. The production featured his integrated choreography that emphasized family dynamics and racial themes through modern dance-influenced movement. He choreographed Doctor Jazz in 1975, a musical celebrating the life and music of Jelly Roll Morton. McKayle conceived and choreographed Sophisticated Ladies in 1981, a revue showcasing Duke Ellington's music, where his original staging and choreography blended jazz idioms with modern dance elements to highlight the sophistication and emotional range of the compositions. These works demonstrated McKayle's ability to expand Broadway's choreographic language by drawing on his concert dance roots to create innovative, story-driven dance sequences.

Tony Award Nominations

Donald McKayle received five Tony Award nominations for his work on Broadway musicals. He earned four nominations for Best Choreography for the productions Golden Boy, Doctor Jazz, Sophisticated Ladies, and Raisin, reflecting his distinctive fusion of modern dance, social themes, and musical staging. Additionally, he was nominated for Best Direction of a Musical for Raisin, marking his role as a pioneering African American director-choreographer on Broadway. These recognitions, spanning from the 1960s to the 1980s, underscore his lasting influence on musical theater despite never winning a Tony Award.

Film and Television Choreography

Notable Film Credits

Donald McKayle applied his expertise in modern dance and theatrical choreography to several feature films, creating movement sequences that blended his artistic vision with cinematic demands. His contributions often drew from his Broadway experience, adapting staged dance for the screen in both musical and dramatic contexts. Among his most prominent film credits is the choreography for Disney's Bedknobs and Broomsticks (1971), where he devised the memorable underwater ballet featuring Angela Lansbury and David Tomlinson. He also served as choreographer for the 1970 film adaptation of The Great White Hope, directed by Martin Ritt and starring James Earl Jones and Jane Alexander. McKayle returned to Disney for Charley and the Angel (1973). His later Hollywood work included choreography for the 1980 musical remake The Jazz Singer. These projects highlight McKayle's range in film, from fantastical musical numbers to dramatic movement integrated into narrative storytelling. His film credits also encompass Private Debts (1989).

Television Specials and Appearances

Donald McKayle's choreography and dance works reached broad audiences through television, with his contributions broadcast on every major U.S. TV network from 1951 to 1985. Beginning in 1963, he created choreography for television programs approximately once a year, often for high-profile variety shows and award specials that featured dance segments. This consistent presence helped introduce modern and socially conscious dance styles to mainstream viewers during the 1960s and 1970s. Among his most notable television credits were choreography for The Ed Sullivan Show in 1966 and 1967, where he crafted dance numbers for the popular variety series. In 1968, McKayle served as choreographer for The Bill Cosby Special, designing sequences that complemented the host's comedic and musical format. His work also extended to major events such as the 1970 Oscar Presentations and the 1974 Marlo Thomas special Free to Be... You and Me. McKayle additionally provided choreography for network variety shows, award telecasts including the Oscars and Grammys, and other specials, earning recognition including Emmy nominations for his television achievements. These contributions highlighted his versatility in adapting concert dance themes to the television format.

Teaching and Academic Career

University Positions and Roles

Donald McKayle joined the University of California, Irvine (UCI) faculty in 1989 as Professor of Dance, a position he held for the remainder of his professional life. He also served as Artistic Director of the UCI Department of Dance from that year onward and was named the Claire Trevor Professor of Dance, an endowed chair recognizing his contributions. In 1995, he founded the Etude Ensemble at UCI and served as its Artistic Director, providing a platform for student performances and choreography. McKayle became Professor Emeritus of Dance and continued active teaching and involvement with students until shortly before his death in 2018. Prior to his appointment at UCI, McKayle held faculty positions at several institutions, including Bennington College, The Juilliard School, and Bard College. He also taught at the American Dance Festival and participated in educational programs at Jacob’s Pillow Dance Festival. These earlier roles complemented his extensive professional choreography career and informed his long-term commitment to dance education.

Educational Influence and Mentorship

Donald McKayle displayed his greatest talent in his role as a master teacher, where he drew creative expression and physical determination out of students they did not know they possessed. His pedagogical approach emphasized beginning with authentic emotion to generate movement rather than forcing technique first, with guidance such as "Don’t create movement and then try to exude an emotion, start with the emotion and the movement will come." He prioritized musicality, storytelling, and humanity over perfection, using rhythm, imagery, singing, and precise counting to foster genuine performance while avoiding demeaning criticism. At the University of California, Irvine, where he served as professor from 1989 to 2010 and continued mentoring afterward, McKayle trained thousands of dancers and earned descriptions as a "godfather to generations of dancers." Former students credited him with instilling belief in their potential, infectious passion for dance, and an understanding of how life events and ideas shape choreography, with one noting that he provided "the belief to explore my potential" that they had never genuinely received before. His mentorship extended to guiding alumni into professional careers with companies such as the Joffrey Ballet and the Rockettes, as well as into teaching roles where they continued his legacy. Through his teaching and coaching, McKayle encouraged connections between dance and personal or cultural storytelling, often by restaging his own works that explored African American experiences and the human condition. Students described his influence as imprinting on their "dance DNA," fostering empathy, and inspiring them to portray the human spirit with depth and authenticity.

Awards and Recognition

Major Honors and Lifetime Achievements

Donald McKayle received numerous prestigious honors recognizing his pioneering contributions to modern dance as a choreographer, dancer, and educator. He was awarded the Capezio Award for his outstanding impact on the field of dance, along with the Dance Magazine Award and the American Dance Guild Award. In 1992, McKayle received the Samuel H. Scripps American Dance Festival Award, which honors lifetime achievement and enduring influence in American dance. He was also named one of America's Irreplaceable Dance Treasures by the Dance Heritage Coalition, an designation that celebrates individuals whose work has profoundly shaped the nation's dance heritage. McKayle earned fellowships from the National Endowment for the Arts in support of his choreographic endeavors. Additional recognitions include the Living Legend Award from the National Black Arts Festival, Dance/USA Honors, and an Irvine Fellowship. These awards collectively affirm his status as a master artist whose innovative integration of cultural narratives and movement left an indelible mark on modern dance.

Personal Life and Legacy

Later Years and Death

Donald McKayle formally retired from his position as professor of dance at the University of California, Irvine in 2010, concluding his full-time academic career after more than two decades at the institution. Although he stepped away from regular faculty duties, he remained deeply involved in dance education and creation, continuing to teach master classes, guide the UCI Etude Ensemble, and contribute choreography as professor emeritus. He was invited back to UCI in 2016 for further teaching and engagement in his emeritus capacity. McKayle died on April 6, 2018, at the age of 87 in Irvine, California.

Enduring Impact on Dance

Donald McKayle is celebrated as a trailblazing figure who pioneered the integration of African American experiences into modern dance, weaving themes of racial struggle, resilience, and hope into the art form at a time when such narratives were rarely centered. His socially conscious choreography addressed oppression and the Black experience with depth and humanity, helping to expand the thematic scope of modern dance and break racial barriers in the field. This approach not only reflected his own background but also influenced subsequent generations of choreographers to explore cultural identity and social issues through movement. Several of McKayle's works have achieved lasting repertory status, most notably Rainbow 'Round My Shoulder (1959), which draws on the hardships of chain-gang labor to convey endurance and protest, and continues to be performed by the Alvin Ailey American Dance Theater as part of its core programming. Other pieces have similarly endured, with his modern dance classics presented by companies worldwide, ensuring his vision remains active in contemporary performances. These ongoing stagings underscore his role in creating works that transcend their original era while preserving authentic representations of African American life. McKayle's influence as a teacher and mentor further amplifies his legacy, as he trained numerous dancers and choreographers who carried forward his emphasis on narrative-driven, culturally rooted dance. His long academic career, including his tenure at the University of California, Irvine, fostered environments where socially engaged artistry could thrive, leaving an imprint on dance education and practice. McKayle died on April 6, 2018, yet his contributions continue to shape discussions of diversity, representation, and consciousness in modern dance.

References

  1. https://ailey.org/people/donald-mckayle
  2. https://www.thirteen.org/freetodance/biographies/mckayle.html
  3. https://dance.washington.edu/people/donald-mckayle
  4. https://rdtutah.org/role-member/donald-mckayle/
  5. https://ocballet.org/meet-donald-mckayle/
  6. https://danceinteractive.jacobspillow.org/themes-essays/african-diaspora/donald-mckayle/
  7. https://www.lib.uci.edu/sites/all/docs/exhibits/checklist_mckayle.pdf
  8. https://www.nytimes.com/2018/04/10/obituaries/donald-mckayle-87-broadway-and-modern-dance-choreographer-dies.html
  9. https://www.thehistorymakers.org/biography/donald-mckayle
  10. https://dance-teacher.com/celebrating-donald-mckayle/
  11. https://rdtdancetolearn.org/spotlight/donald-mckayle
  12. https://dance.arts.uci.edu/news/honoring-late-donald-mckayle
  13. https://www.americandanceguild.org/ndghistory
  14. https://danceinteractive.jacobspillow.org/themes-essays/african-diaspora/donald-mckayle
  15. https://oac.cdlib.org/findaid/ark:/13030/tf1k400389/
  16. https://www.latimes.com/entertainment/arts/la-et-cm-donald-mckayle-obit-20180411-htmlstory.html
  17. https://search.proquest.com/openview/b90d20ff7e291da43584bf04669db3e6/1?pq-origsite=gscholar&cbl=18750
  18. https://exhibits.lib.uci.edu/sites/exhibits/files/docs/exhibit-item-list/Infinite-Journey-exhibit-list.pdf
  19. http://www.donaldmckayle.com/district-storyville.html
  20. http://www.donaldmckayle.com/chronological-listing.html
  21. http://www.donaldmckayle.com/songs-of-the-disinherited.html
  22. http://www.donaldmckayle.com/angelitos-negros-songs-of-the-disinherited.html
  23. https://www.ibdb.com/broadway-production/a-time-for-singing-3141
  24. https://www.broadway.com/buzz/191789/donald-mckayle-groundbreaking-director-choreographer-of-raisin-more-dies-at-87/
  25. https://www.ibdb.com/broadway-production/sophisticated-ladies-4098
  26. https://playbill.com/article/director-choreographer-donald-mckayle-five-time-tony-nominee-dies-at-87
  27. http://www.donaldmckayle.com/
  28. http://www.donaldmckayle.com/movies.html
  29. https://www.nytimes.com/1992/06/30/news/scripps-winner-s-dances-are-for-the-soul.html
  30. https://www.televisionacademy.com/bios/donald-mckayle
  31. https://news.uci.edu/2018/04/09/modern-dance-giant-donald-mckayle-has-died/
  32. https://dancemagazine.com/donald-mckayle/
  33. https://news.uci.edu/2012/03/05/following-in-his-footsteps/
  34. https://faculty.uci.edu/profile/?facultyId=2656
  35. https://www.latimes.com/archives/la-xpm-2010-jul-06-la-et-donald-mckayle-20100706-story.html
  36. https://chancellor.uci.edu/communications/campus/2018/180409-mckayle-passing.php
  37. https://newuniversity.org/2018/04/17/remembering-a-modern-dance-visionary-and-former-uci-professor/
  38. https://www.nytimes.com/2019/11/13/arts/dance/donald-mckayle-modern-dance.html
  39. https://ailey.org/blog/12-black-dance-makers-and-their-contributions-ailey
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