A Celebration of Geoffrey Holder’s Life & Legacy
Written by Alexandra Siclait for Lonnie G. Bunch at the Smithsonian’s National Museum of African American History and Culture
“I create for that innocent little boy in the balcony who has come to the theatre for the first time,” Geoffrey Holder told Dance magazine in 2010. “He wants to see magic, so I want to give him magic. He sees things that his father couldn’t see.”
When I think of Geoffrey Holder, a Trini dancer, choreographer, actor, composer, designer, sculptor, and painter, I cannot help but think how this native of Trinidad and Tobago created magic in the African American experience. But unfortunately, this past Sunday, we lost Geoffrey to complications from pneumonia. He was 84.
New York was poised to mark his passing by dimming the lights on Broadway for one minute. By anyone’s standards, he had a full life and commanded attention on any stage he owned. There was no missing him. He did not just master different mediums; he refined them, infusing them with his broad range of West Indian enchantment. And as a Renaissance man involved in all facets of artistic production, he loved to share that enchantment onstage with none other than his wife of 59 years, Carmen De Lavallade. Together, they made a statement to capture cultural traditions and produce a multi-sensory experience.
A versatile man, indeed, in the course of his life, he acted on stage and in films. He directed a dance troupe from his native island on Broadway and the Metropolitan Opera. He choreographed for the Alvin Ailey American Dance Theater and the Dance Theatre of Harlem. In 1975, he won Tony Awards for directing action and designing the costumes for the Broadway sensation, “The Wiz,” an all-black version of “The Wizard of Oz” starring Diana Ross and Michael Jackson.
I recall spending several days with Mr. Holder, him walking me through his fantastic home that was rich with history and culture. We spent hours examining his creativity. Later, he donated costumes from “The Wiz” to this museum. We are proud to be able to share them as a critical part of our Black Fashion Museum collection. Several of his costumes will be on view in the museum’s inaugural exhibition exploring contemporary artists whose work transformed the representation of African American culture in the theater.
We are grateful his career was recognized during his lifetime and even more thankful for his contributions to the African American cultural tapestry. Who can forget the characters Baron Samedi in “Live and Let Die,” Punjab in “Annie,” or the voice of Ray in “Bear in the Big Blue House?” As a multi-faceted artist where Caribbean folklore often guided his work and talents, he activated my consciousness with his dance classics – “ Prodigal Prince” (1971), “Dougla” (1974), and “Timbuktu!” (1978).
Geoffrey Holder’s work embodied his inherent multilayered identity. He knew how to grab disparate elements and bring them together. He knew the importance of creativity and individuality. He knew how to manifest all aspects of our African diaspora identity for the world. “He was at the heart of the African diaspora traditions,” says Dwandalyn R. Reece, music and performing arts curator for the Smithsonian’s National Museum of African American History and Culture (NMAAHC). His story became our story. His multicultural journey became this nation’s journey.”
I will never forget the enormity of his talent and the generosity of his spirit. With his hearty laugh and that heavily accented, lower-than-low bass voice, we will always hear him saying, “absolutely marvelous.” And marvelous he was.