Reflections: 2002 Honorary Doctors of Performing Arts in American Dance at OCU
Despite excellent attendance, very little was written at the time about Oklahoma City University (OCU) awarding nine honorary Doctors of Performing Arts in American Dance degrees in February of 2002. In the intervening four years, we have lost four of those great American artists, and the tap community has come to realize the historical and personal importance of the presentation. Buster Brown, Cholly Atkins, Leonard Reed and Fayard Nicholas, the now deceased honorees, each stated the event was the most important of their professional careers, a sentiment shared by the remaining five: Bunny Briggs, Jeni LeGon, Henry LeTang, Jimmy Slyde and Prince Spencer.
The idea to grant honorary degrees to senior hoofers was the brainchild of Robert L Reed, who sought, unsuccessfully, its approval by another university. In the meantime, Reed became employed as Rhythm Tap Artist-in-residence at Oklahoma City University (OCU). OCU's Dance Chairman, Jo Rowan, shared his sense of urgency to honor senior hoofers who had made a historical impact in the world of American dance. When Reed presented Rowan his original list that was longer, Rowan and Bedford (Dean of the School of Dance and Arts Management), believed it would be difficult to get more than nine approved. Together with Rowan and her husband, John Bedford, the three began working behind the scenes to get the necessary academic permissions and to raise the money for the hoped for event. Rowan and Bedford worked on university approvals and funding, while Reed raised money in the private sector. They all give President Tom McDaniel much credit for approving the project.
The three planners asked me to organize a history presentation the day before the presentation, and named it "Melba's Moving History." I asked each of the honorees to give a short talk on a subject that would take advantage of their special knowledge, and would be a history lesson in dance for the audience. It was difficult to narrow the subjects that I asked them to speak about.
Leonard Reed spoke about the med-icine and minstrel shows. Bunny Briggs presented "Dancing with David," about the great Ellington music that he performed with the Duke Ellington orchestra many times in a church. Jeni LeGon spoke about dancing with Bill Robinson and being the first female in the Hoofers Club. LeGon performed a group of "chorus girl" steps she had put together, which received great applause from all the honorees. Buster Brown, even though not well, performed his entire act including the electric light bulb joke, an incredible treat for all the OCU dance majors to see live. Michela Lerman, a protégé of Buster Brown, danced in Buster's honor. Fayard Nicholas spoke about the Cotton Club and wished his brother could have been there with him. Cholly Atkins' subject was "Dancing with the Basie Band." Prince Spencer spoke about the Step Brothers and all their travels. Robert L. Reed and Van Porter danced representing Prince Spencer, Maceo Anderson and the Step Brothers. Henry LeTang's topic discussed his role as a Broadway, movie and nightclub choreographer and his early classes in New York at the Buddy Bradley School. Jimmy Slyde, the youngest of the group of honorees, wrapped it up with talk about the direction of tap. Robert Reed III and Bril Barrett danced representing the future of tap. The surprise conclusion was Jo Rowan dancing as Shirley Temple. It was a well kept secret and the OCU students and entire audience laughed after discovering that it was Jo. Shirley would have enjoyed it too.
The event presented historic and moving moments, even in the "everyday" activities. On the evening of arrival, a buffet dinner was held at the hotel where Bunny Briggs, Prince Spencer, Leonard Reed, Jeni LeGon, Buster Brown, Fayard Nicholas and Henry Tang were gathered. Jimmy Slyde and Cholly Atkins watched a game on television in the lobby. Their friendships reach so far back, to a time when many of us were not even alive, and the opportunity to be together again made the event an award for friendship if nothing else.
Following a dinner and reception at the college, President Tom McDaniel, Jo Rowan, John Bedford, and Robert L. Reed conferred the degrees in alphabetical order. A person special to each honoree read the introduction of each honoree. Tap people introducing the dancers were Melodye Bates Holden, Tony Waag, Nicole Hockenberry, Margaret Morrison, Debbi Dee, Robin Reed, Anne Miller, Dianne Walker and Van Porter. Each honoree came to the microphone with tears and humble appreciation. At the conclusion, OCU also presented several Living Treasure Awards to those who had not received them previously.
Following the formal ceremonies, many excellent tap dancers, some of whom traveled from far away places, danced in honor of the nine tap dancers.
Jo Rowan, Professor of Dance and Dance Department Chairman reflects:
"I believe that people who have
made important contributions to the American Experience should be recognized while they are alive. We can't say "thank you" to all the people who have enriched out lives, but, we should make an effort to honor those great artists who are in our midst. In America many of the creative dancers who molded our dance styles, who entertained us through performance and choreography, and who taught our children... were not given the respect that was due them. I want to shine a spotlight on their contributions. I want them to know that their work will go down in history and I want them to understand that the next generation of American dancers will honor them as their artistic mothers and fathers. That is why we in the Ann Lacy School of American Dance and Arts Management have given the Living Treasure in American Dance, The Preservation of our Heritage Award and The American Enterprise Awards over the past two and a half decades. But the most important thing we have been able to do at Oklahoma City University is to award Honorary Doctor of American Dance degrees to nine great dancers who have molded our American art form--Tap Dance. They have been outstanding contributors to the creation of this unique form of communication. And for that, their efforts, and the importance of their contributions, they were granted academic recognition. From the academic recognition they receive the respect they deserve and they received it while they were able to understand how much they
meant to everyone who enjoys
American Dance."
Dean John Bedford recalls:
"It is important to recognize the creation of an American dance style with an academic degree. The innovation, energy, and joyful expression that is required of any new idea is the same whether it is done in a classroom, a king's palace, or in the case of the American art form, TAP, on the streets, and in the ballrooms and theaters of our country. Recognizing nine important contributors to this art form of the "Melting Pot", honors every American who was a part of this uniquely entertaining form of communication through movement... Tap Dance. I am happy that the Honorary Doctor of American Dance degrees, that we were able to award, recognize artists who were not always given the proper venue to display their talents, and that now, because of this important academic recognition, their work will go down in the history books, and that dance students everywhere will study and learn about the genius and innovation of our dancing American entertainers-the dancers who "stole steps" and shared their rhythmic discoveries and who played a crucial role in the creation of American Tap Dance."
Robert L. Reed states:
"The most important thing was what it meant to them. It legitimized the art form in academia....all those years of work. They made a great contribution and it was the greatest recognition they could ever receive. They had given their lives to the art form. Every one of them cried and even months afterward, they would tear up when talking about it. It was my pleasure to do this for them. I am happy I found someone to work with and we got it done before they passed away. Those we lost died on a high note."
Everyone who attended left on a high note, and that high note continues in the memories of those who attended one of tap's greatest events.