The Dance Division at Texas State was founded and fostered by professor emeritus Dr. Joan Hays (Dance Division Director from 1973-2003). Dr. Hays decided to base the program in the aesthetic philosophies and technical principles of modern dance pioneer, Erick Hawkins. We are proud to be one of the very few institutions striving to promote and preserve Erick Hawkins’ technique, choreography, and aesthetic philosophy.
The Erick Hawkins technique values the human instrument as a vehicle for artistic expression that is in accord with the natural use of the body. The technique is scientifically solid in its knowledge and application of kinesiology (the study of the body in movement), as well as rhythmic virtuosity, and a dynamic awareness of free-flow energy. The technique promotes facile bodies that develop strong core strength, while learning to become aware of and release extraneous bodily tension that often prevents healthy alignment and proper execution of movement. The Dance Division faculty believes that the technique provides a solid foundation for dancers, regardless of their stylistic preferences. The principles of the Hawkins technique are easily transferred to other dance styles, and are especially useful for future teachers who wish to train young dancers to use their body-instruments for a healthy, life-long enjoyment of dance. The Texas State modern dance faculty has extensive training and experience with Hawkins’ work.
Erick Hawkins (1909 – 1994) was a leading American modern-dance choreographer and dancer.
Born in Trinidad, Colorado, he majored in Greek civilization at Harvard University, graduating in 1930. A performance by the German dancers Harald Kreutzberg and Yvonne Georgi so impressed him that he went to Austria to study dance with the former. Later, he studied at the School of American Ballet. Soon he was dancing with George Balanchine's American Ballet. In 1937, he choreographed his first dance, Show Piece, which was performed by Ballet Caravan. The next year, Hawkins was the first man to dance with the company of the famous modern dancer and choreographer Martha Graham. The following year, he officially joined her troupe, dancing male lead in a number of her works, including Appalachian Spring in 1944. The two were married in 1948. He left her troupe in 1951 to found his own, and they divorced in 1954. Not long afterwards, he met and began collaborating with the experimental composer Lucia Dlugoszewski. They remained together for the rest of his life.
After leaving the Graham Company, Hawkins' work developed in a unique and different direction. Hawkins moved towards an aesthetic vision detached from realistic psychology, plot, social or political agenda, or simple musical analogue. Important influences were the dances of the American Indians, Japanese aesthetics, Zen thinking, as well as the Greek classics. In some ways, he took dance in a similar direction that “abstract” painters were taking art, though he disliked the word “abstract.” This was coupled with a redefinition of dance technique according to newly understood principles of kinesiology, creating a bridge to later somatic studies. Hawkins' famous statement was “The body is a clear place.”
Hawkins championed contemporary composers, and insisted on performing to live music. The Erick Hawkins Dance Company toured with the Hawkins Theatre Orchestra, an ensemble of 7 or more instrumentalists plus conductor. In addition to Lucia Dlugoszewski, his collaborators included composers Virgil Thompson, Alan Hohvaness, Lou Harrison, Henry Cowell, Dorrance Stalvey, Toru Takemitsu; visual artists Isamu Noguchi, Ralph Dorazio, Helen Frankenthaler, Robert Motherwell. On October 14, 1994, one month before he died, he was presented with the National Medal of Arts by President Clinton.
courtesy of erickhawkinsdance.com