1. Mary Hinkson is best known for her work as a member of the Martha Graham Dance Company.
59 Facts About Mary Hinkson
2.
Mary Hinkson studied Dalcroze technique in a high school eurythmics class, as well as Native American dance forms at summer camp.
3.
Mary Hinkson died of pulmonary fibrosis in Manhattan in 2014, aged 89.
4.
Thankfully, the university was one of the first to have a real dance major which Mary Hinkson abandoned all of her previous credits to join.
5.
One exercise Mary Hinkson recalled was creating movement on the floor while blindfolded and then recreating it while standing for it to eventually piece together into a phrase.
6.
Mary Hinkson loved learning under her and the ways she coaxed out their individuality.
7.
Mary Hinkson moved in an internal and lyrical style and taught primarily from Holm's technique.
8.
One of the experiences Mary Hinkson learned through was by joining Orchesis, a dance group that required an audition to get into.
9.
Mary Hinkson was quite intimidated by the obvious experience the other dancers had, but made it into the group nonetheless.
10.
Mary Hinkson's teacher Louise remarked on the powerful projection she had during this performance, which was a great accomplishment for her considering the anxiety and fickleness that often caused her to skip out on rehearsals.
11.
Mary Hinkson was not the largest contributor to choreography due to her lack of experience, but their pieces were received very well.
12.
Mary Hinkson even filled in for a larger role when it was left empty and performed with Bertram Ross.
13.
Mary Hinkson continued to work with the company and even joined one of YURIKO's experimental classes.
14.
Mary Hinkson made money by giving private lessons and learning to teach for an eventual career as a teacher at Juilliard School of Music, Dance Theatre of Harlem, and the Ailey School.
15.
When demonstrating for Graham, Mary Hinkson would be verbally instructed in the moment as to what she should be doing and sometimes took a little bit longer to catch on.
16.
Mary Hinkson had periods where she worked with the New York City Opera.
17.
Mary Hinkson was selected to join the opera, but found out later that Butler had mixed up Mary Hinkson and Matt Turney and didn't actually ask to see Hinkson audition.
18.
Mary Hinkson found working at the Opera to be a much more professional and reliable environment compared to the Martha Graham Dance Company.
19.
Mary Hinkson had a wonderful time balancing both companies, but sometimes Graham, who was very dedicated to her patterns and methods and could be seen as uncompromising, would become upset at Butler for conflicting schedules.
20.
Mary Hinkson achieved the title of principal dancer in Bluebeard's Castle at the New York City Opera in 1953.
21.
Mary Hinkson found the dance to be kind of frightening because she was lifted into the air a lot while standing on a 12 foot platform.
22.
In 1953, Mary Hinkson stepped into the role of woman in white in Heretic when it was left empty.
23.
When Graham would not rechoreograph a particularly difficult knee drop for Mary Hinkson, Yuriko helped her replace the movement.
24.
Mary Hinkson was very excited to arrive in the Netherlands as it was much warmer there.
25.
Mary Hinkson was in many of these pieces, but had the chance to watch some of them from the front with Turney.
26.
Mary Hinkson was enticed to stay by friends she made in Jack Cole's company and the refreshing days they had together, but ended up coming back to New York.
27.
Martha wanted everyone to go on tour again to the far east, but Mary Hinkson refused to go.
28.
Mary Hinkson was gone from the end of 1955 to 1956.
29.
In 1955, Mary Hinkson participated in Seraphic Dialogue, a work that was a series of solos.
30.
Mary Hinkson did not perform as the warrior again as it went to other dancers instead.
31.
When Mary Hinkson returned to Seraphic Dialogue in 1958, she stepped into the lyrical role of the maid, which was taught to her by the original maid, Patsy.
32.
Mary Hinkson took on this role when she didn't expect to.
33.
Some more unrewarding roles Mary Hinkson held were that of Athena and Iphigenia in Clytemnestra.
34.
Mary Hinkson had difficulty connecting to the piece as well as didn't much prefer all of the sitting and watching it included.
35.
Mary Hinkson relied on notes scribbled in the margins of the sheet music to piece it together.
36.
Mary Hinkson was able to get very emotionally involved in the dance, although she was only able to perform it twice.
37.
Mary Hinkson did earn a compliment from Martha for how she used the music.
38.
Mary Hinkson performed as Eve in Embattled Garden in 1958 with Bertram Ross as Adam and eventually performed as Lilith opposite Bob Cohan's Adam.
39.
Mary Hinkson learned in this piece that one cannot take some roles too seriously, or one will not be able to fully explore and hit the mark.
40.
Graham used this as a bribe to get Mary Hinkson to go on tour with them again as she was hesitant to leave her daughter; the bribe worked and she went on tour with them.
41.
Mary Hinkson learned the character based on the images that Graham gave her regarding the animalistic and oblique nature of the movement.
42.
When it was finally put on the stage, Yuriko helped Mary Hinkson create a memorable head piece by sweeping up her hair with much spray and a looped gold wire.
43.
The piece came alive onstage in a way it never did during rehearsal because Mary Hinkson realized they had to rely on their own animal instinct and let it be as dramatic as possible.
44.
Mary Hinkson took classes in many places, one of which was with Louis Horst.
45.
Mary Hinkson enjoyed her so much that he traveled her around to demonstrate for him at many places, some of which being high school performing arts programs.
46.
The hardest part of this, Mary Hinkson thought, was making sure the dance is still more than just a dance.
47.
Mary Hinkson danced in Deaths and Entrances, which she remembers most for the way her relationship with Graham grew during rehearsals.
48.
Out of all her roles, Mary Hinkson liked the ones that had the most continuity in the performance.
49.
In Diversion of Angels, it is a bit more fragmented, but Mary Hinkson still considered it nonstop.
50.
Mary Hinkson removed the company from the event which had repercussions for both them and the City Center.
51.
Mary Hinkson then took some of the new dancers and left on a residency.
52.
Mary Hinkson was able to share positive moments with Graham over the phone as they discussed the different performances they did and their thoughts on them.
53.
Mary Hinkson attempted to get everyone to go on tour again, but after Hinkson heard it was triple cast, she realized she would much rather stay in New York and teach.
54.
Mary Hinkson did not look back and was glad she lifted that weight off her shoulders.
55.
Mary Hinkson often dreaded the practices at Graham's company, but woke up inspired for laughter filled rehearsals with Tetley.
56.
Mary Hinkson's movement was more about implication than anything, but he still asked for drama.
57.
Mary Hinkson taught at Juilliard School of Music, Dance Theatre of Harlem, and the Ailey School.
58.
Mary Hinkson appreciated Graham's talent, wisdom, and process, but at times did not like the way she spoke to her.
59.
Mary Hinkson mostly tolerated their spats, but at times would retaliate with her own attitude.