Dances of José Limón and Erick Hawkins examines stagings of masculinity, whiteness, and Latinidad in the work of US modern dance choreographers, José Limón (1908-1972) and Erick Hawkins (1908-1994). Focusing on the period between 1945 to 1980, this book analyzes Limón and Hawkins’ work during a time when modern dance was forming new relationships to academic and governmental institutions, mainstream markets, and notions of embodiment. The pre-war expressionist tradition championed by Limón and Hawkins’ mentors faced multiple challenges as ballet and Broadway complicated the tenets of modernism and emerging modern dance choreographers faced an increasingly conservative post-war culture framed by the Cold War and Red Scare. By bringing the work of Limón and Hawkins together in one volume, Dances of José Limón and Erick Hawkins accesses two distinct approaches to training and performance that proved highly influential in creating post-war dialogues on race, gender, and embodiment. This book approaches Limón and Hawkins’ training regimes and performing strategies as social practices symbiotically entwined with their geo-political backgrounds. Limón’s queer and Latino heritage is put into dialogue with Hawkins’ straight and European heritage to examine how their embodied social histories worked co-constitutively with their training regimes and performance strategies to produce influential stagings of masculinity, whiteness, and Latinidad.

CONTRIBUTORS: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner, Paul Taylor.

Each unit contains core ideas, a series of journaling and discussion topics, improvisation experiments, biographical sketches of the choreographers, and a presentation of-class material. At the end of each chapter, questions and experiments offer basic ideas that you can use to further your understanding of the choreography presented. --

Seven Statements of Belief: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolais, Pauline Koner, Paul Taylor.

A groundbreaking study of the 92nd Street Y and its major influence on 20th-century American culture.

CONTRIBUTORS: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner, Paul Taylor.

This revised third edition of The Male Dancer updates and enlarges a seminal book that has established itself as the definitive study of the performance of masculinities in twentieth century modernist and contemporary choreography. In this authoritative and lively study, Ramsay Burt presents close readings of dance works from key moments of social and political change in the norms around gender and sexuality. The book’s argument that prejudices against male dancers are rooted in our ideas about the male body and behaviour has been extended to take into account recent interdisciplinary discussions about whiteness, intersectionality, disability studies, and female masculinities. As well as analysing works by canonical figures like Nijinsky, Graham, Cunningham, and Bausch, it also examines the work of lesser-known figures like Michio Ito and Eleo Pomare, as well as choreographers who have recently emerged internationally like Germaine Acogny and Trajal Harrell. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural representation of gender. By reflecting on the latest studies in theory, performance, and practice, Burt has thoroughly updated this important book to include dance works from the last ten years and has renewed its timeliness for the 2020s.