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Erick Hawkins: Choreographic Analysis

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Erick Hawkins: Choreographic Analysis INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. U M I films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send U M I a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact U M I directly to order. UMI A Beil & Howell Information Company 300 North Zeeb Road, Ann Aitoor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. ERICK HAWKINS: CHOREOGRAPHIC ANALYSIS by Hsiao-Fang Lee Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the degree of Master of Arts in Performing Arts foma Prevots ri / . Aryjrea,Snyder , ' Dean of the College Date t 1998 American University Washington, D.C. 20016 THE A!'4 —. -- — ; . .i V —< » « L i i'\rsr*. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1391823 UMI Microform 1391823 Copyright 1998, by UMI Company. AH rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ERICK HAWKINS : CHOREOGRAPHIC ANALYSIS by Hsiao-Fang Lee ABSTRACT Erick Hawkins (1909-1994) was an important American dancer, teacher, and choreographer. This study analyzes selected choreography by dividing his work into three major periods. For the period 1951-1970 the following works are analyzed; Here and Now with Watchers (19571. Eight Clear Places (1960). and Black Lake (1969). For the period 1970-1980 the pieces discussed are: Classic Kite Tails (1972), and Plains Daybreak (1979). These are compared with three selected works that Hawkins created during the last decade o f his life, 1980-1993: Summer Clouds People. Cantilver II and Killer-of-Enemies. Major themes o f the periods are discussed, as well as important movement motifs and ideas o f each piece. A context for the study o f Hawkins choreography is provided with a brief biographical overview. There is also analysis o f his philosophy, as shown in the various collected essays in The Body Is A Clear Place and Other Statements on Dance, published in 1992. His work as a dancer in Martha Graham's company is also examined. American Document. Appalachian Soring, and NigfaUflitfnsy were three o f Graham's works in ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. which Hawkins played a major role, and which helped influence both his and Graham's artistic directions. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT.................................................................................................................ii Chapter 1. THE BODY IS A CLEAR PLACE-BIOGRAPHICAL OVERVIEW AND PHILOSOPHY............................................................................................ 1 2. IN MARTHA GRAHAM’S COMPANY..................................................14 3. A CHOREOGRAPHER EMERGES 1951 -1970.................................... 30 4. THREE CHOREOGRAPHIC HIGHLIGHTS 1970-1980.......................44 5. SELECTED CHOREOGRAPHIC HIGHLIGHTS 1980 - 1993...............56 BIBLIOGRAPHY........................................................................................................ 73 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 THE BODY IS A CLEAR PLACE-BIOGRAPHICAL OVERVIEW AND PHILOSOPHY This chapter will provide a brief overview of Erick Hawkins' early background and a review of his philosophy as expressed in a book of his collected writings, The Body Is A Clear Place and Other Statements on Dance, published in 1993, just one year before his death. Erick Hawkins was bom in Trinidad, Colorado, April 23, 1909. Hawkins' father was an inventor whose products included a crude-oil engine for public water irrigation in Colorado.1 The elder Hawkins had financial difficultly in Colorado with a failed business, and the family moved to Kansas City when Hawkins was ten years old. After doing very well in Kansas City’s public schools, Hawkins was awarded a local Harvard Club scholarship in 1926. He attended Harvard and majored in classics; although listed as a graduate, class of 1930, he did not actually graduate until 1932.2 1Kisselogoff, Anna. " Erick Hawkins, a Pioneering Choreographer of American Dance, Is Dead at 85;” The New York Times. Nov 24, 1994. 2Erick Hawkins' original name was Frederick Hawkins. His field of concentration was Classics. The following is a list of courses Hawkins took while at Harvard, and was obtained from the registrars office: Full academic year 1926 - 1927 English A English 28 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 Erick Hawkins attended his first dance concert during Christmas vacation in New York while a student at Harvard. Hawkins recalled:" It was at the old Craig Theater on 54th Street, which has since been tom down. Harald Kreutzberg and Yvonne Georgi were dancing and I kept saying to myself,' This is what I want to do.1"3 Hawkins went to Salzburg, Austria in 1932 to study with Harald Kreutzberg for two months,4 and in 1934 began studying at the School of American Ballet, newly founded by Lincoln Kirstein, George Balanchine, Edward Warburg, and Vladimir Dimitriew. When Kirstein founded Ballet French A History 1 History B Full academic year 1927 - 28 Astronomy 1 Government 1 Greek G Latin 1 Summer School 1928 Greek S1 Fall Term 1928-29 Latin 8 Philosophy B Full academic year 1930 - 31 Fine Arts 1C Greek A Greek B Greek 2 Greek 3 History 4 Full academic year 1931 -32 Fine Arts 1A Greek 8 Greek 15a 3Mazo, H. Joseph. Dance Magazine. February, 1995. 4Kreutzberg, Harald, a German dancer, choreographer, and teacher, was a leading exponent of modem dance in Germany during the 1930s. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3 Caravan in 1935,5 Hawkins was asked to join and created his choreography, Showpiece, in 1937. As a dancer, he performed one of the male roles in both Serenade and Transcendance. choreographed by Balanchine in 1934 and 1935 respectively; he was also in two other ballets, Jeu de Cartes (1937) and Baiser de la Fee (1937).8 Balanchine allowed Hawkins to teach at the school after he had studied for a couple of years. Ballet Caravan appeared at the Bennington College Summer Festival in 1937, and Martha Graham was impressed by Erick Hawkins's Showpiece. She went backstage to talk to Hawkins and suggested that he study with her. Lincoln Kirstein lent him tuition money, and in 1938 Hawkins studied with Graham at the Bennington College summer session, where Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm had been teaching since 19347 After Hawkins had studied with Graham for a few weeks, he asked to watch a rehearsal of American Document. At rehearsal, she choreographed a role for him, and he became the first male to dance in her company, remaining with the company through 1951. He danced major roles created for him by 5Lincoln Kirstein founded Ballet Caravan in 1936 as a platform for young American choreographers. In 1938 the company changed its name to American Ballet Caravan. 6Keefer, Julia L. " Erick Hawkins, Modem Dancer. History, Theory, Technique, and Performance," (Ph.D. dissertation, New York University, 1979). 7Kriegsman, Sali Ann. Modem Dance in America: The_Benninqton Y eas. (Boston: G.K. Hall & Co., 1981), 63-68. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4 Martha Graham during this period (selected highlights of these performances will be disscussed in chapter 2). After Hawkins danced with Graham for a few years, he started to teach ballet and Graham technique for her company. During this period, he also created his own works, including John Brown (1945), Stephen Acrobat (1945), and The Strangler (1948). Hawkins and Graham had
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