same year she put on a concert at Harlem’s 138th Street Young Women’s Christian Association (YWCA) in which her choreography was followed by St. Denis’ lecture entitled Dance as An Art. Guy also received mention in the August 1931 issue of Dance Magazine, announcing that she was to feature in an upcoming staging of Oscar Wilde’s Salome with the Sierra Leonean-born Asadata Dafora. On May 7, 1932 Guy staged a concert at Roerich hall in a program organized by the Washington Conservatory of Music and School of Expressionism. where she performed five solos including African Plastique, her first piece in which she drew from African themes. In 1937 Guy cemented her role as an organizer in the African-American dance community when she and Allison Burroughs staged Negro Dance Evening on March 7. This show catapulted Katherine Dunham’s company, which at the time included dancer/ choreographer Talley Beatty, into the limelight. The concert highlighted different cultures of the African diaspora . In the third part of the program, dubbed United States, the piece Shout was performed by Guy and Burroughs with Clarence Yates, Archie Savage, Leonard Barros. In the final section of the concert, Modern Trends, Guy performed her solo After Gauguin. The program was concluded by a performance of Negro Songs of Protest, a piece co-choreographed by her and Burroughs. The show was reviewed in Dance Magazine and deemed “spectacular entertainment”. In that same year Guy organized “Dance International” which took place at Rockefeller Center and featured performances of about forty groups. In 1938 Guy opened a dance school in New York and in 1939 she served on the American Dance Association committee. Later years Edna Guy married Walter McCully on May 21, 1939, and later moved with him to Enfield, New Hampshire. By this time she had given up her dance career, in part due to the Great Depression. She suffered a series of heart attacks in the mid-1940s. By the 1960s she was again living in New York, in the city of Hudson. Edna Guy died in 1983 in Fort Worth, Texas, where she had been living for the previous seven years. Works by Edna Guy Madrassi Nautch (1931) Luleta’s Dance (1932) After Gauguin (1932) Gimme Yo Han (1932) Juba (1932) Negro Songs of Protest (co- choreographed with Alison Burroughs; 1937) References External links The Black Presence In American Dance Free To Dance: Pioneers In Negro Concert Dance