Jones, Shelley Winters, Sidney Poitier, Shirley MacLaine and Warren Beatty. Marlon Brando frequently dropped in to play the bongo drums, and jazz musician Charles Mingus held regular jam sessions with the drummers. Known for her many innovations, Dunham developed a dance pedagogy, later named the Dunham Technique, a style of movement and exercises based in traditional African dances, to support her choreography. This won international acclaim and is now taught as a modern dance style in many dance schools. By 1957, Dunham was under severe personal strain, which was affecting her health. She decided to live for a year in relative isolation in Kyoto, Japan, where she worked on writing memoirs of her youth. The first work, entitled A Touch of Innocence: Memoirs of Childhood, was published in 1959. A continuation based on her experiences in Haiti, Island Possessed, was published in 1969. A fictional work based on her African experiences, Kasamance: A Fantasy, was published in 1974. Throughout her career, Dunham occasionally published articles about her anthropological research (sometimes under the pseudonym of Kaye Dunn) and sometimes lectured on anthropological topics at universities and scholarly societies. In 1963 Dunham was commissioned to choreograph Aida at New York's Metropolitan Opera Company, with Leontyne Price in the title role. Members of Dunham's last New York Company auditioned to become members of the Met Ballet Company. Among her dancers selected were Marcia McBroom, Dana McBroom, Jean Kelly, and Jesse Oliver. The Met Ballet Company dancers studied Dunham Technique at Dunham's 42nd Street dance studio for the entire summer leading up to the season opening of Aida. Lyndon B. Johnson was in the audience for opening night. Dunham's background as an anthropologist gave the dances of the opera a new authenticity. She was also consulted on costuming for the Egyptian and Ethiopian dress. Dana McBroom-Manno still teaches Dunham Technique in New York City and is a Master of Dunham Technique. In 1964, Dunham settled in East St. Louis, and took up the post of artist-in-residence at Southern Illinois University in nearby Edwardsville. There she was able to bring anthropologists, sociologists, educational specialists, scientists, writers, musicians, and theater people together to create a liberal arts curriculum that would be a foundation for further college work. One of her fellow professors, with whom she collaborated, was architect Buckminster Fuller. The following year, 1965, President Lyndon B. Johnson nominated Dunham to be technical cultural adviser—a sort