Analysis: Pivotal Modern Dance And Technique Artist Erick Hawkins

Erick Hawkins: Pivotal Modern Dance and Technique Artist Erick Hawkins is a prime example of true success in the world of art. He poetically changed the world of modern dance and continues to change the world by the means of his company, Erick Hawkins Dance Company (EHDC), that still lives on today. Having been able to partake in an intensive provided by the EHDC, I have a deep appreciation for Erick Hawkins and the creations he has contributed to dance. What Hawkins has produced and the accomplishments he has made in the world of modern dance will not be forgotten by me and fellow dance artists. For these reasons, his works should be presented at the Jacob’s Pillow Festival to showcase his pivotal movements and new perspective to the stage.

He began his study in dance after obtaining a B.A. in classics from Harvard University in 1924 – 1930. At first, Hawkins learned from Harald Kreutzberg, who had experience in the modern dance styles taught by Mary Wigman and Rudolf Laban. Later, he went to the School of American Ballet where he studied from George Balanchine and Lincoln Kirstein until 1938. He produced his first piece of work called Showcase in 1937 while at the School of American Ballet (Celichowska). Moving from his studies in ballet to modern, Hawkins began his modern career with the Martha Graham Company. He was the first male Martha Graham company member and choreographer. He helped choreograph numerous amounts of pieces by Graham’s side. Hawkins collaborated choreographically with Graham in Appalachian Spring 1944 (Allen), and many other people including Merce Cunningham (Martha). Working together in Graham’s troupe brought Hawkins closer to Graham, eventually marrying her in 1948. In 1951, Hawkins then set out to start his own new beginnings in modern, breaking away from Grahams troupe. They eventually got divorced in 1954. Soon after he started collaborating with the composer Lucia Dlugoszewski, which he then stayed with for the rest of his

He never wanted to play recorded music and insisted on using live music to dance to. Duke explains the connection between dance and music by clarifying that both are two different forms of art that are fully exquisite on their own. So, Hawkins movement should be able to function without the need of music and still give the message needed to understand the dance. This can be shown in Duke’s intensives by her graceful and calming voice, counting out loud the timing of each movement. In fact, I remember only one bit of prerecorded music was play for the duration of the week long intensive. Even though music wasn’t being played, it was not needed because of Duke’s focus in her practice with movement is centered on the importance of dancing for the pure artistry of