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Interview with Jean Erdman

Side 1. Ms. Erdman talks about Graham's class at Sarah Lawrence College in the 1930's; joining Graham's company; secret visits with her husband Joseph Campbell, despite Graham's disapproval; Campbell's support of her work; difficulty of leaving Graham's company; performing Graham's Letter to the world 25 years after its creation at Bennington and how it had changed; John Martin's love for Graham; Graham as a love object -- Side 2. Courting Joe Campbell; traveling with her parents; learning four new works in ten days; Pearl Harbor; being on tour with Graham's company; the company in Cuba.

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  • "Part 1, disc 2 (ca. 47 min.). Jean Erdman speaks with Don McDonagh about Graham's eating habits; Graham's aloofness from the company; Graham's tendency to call her husband, Joseph Campbell, at home to discuss mythology; Graham's interest in mythology; beginning to choreograph solos, with Louis Horst composing the scores, especially Medusa, with Charlotte Trowbridge's costume designs; working with Carlos Dyer; leaving Graham's company to start her own dance company; her studio on 5th ave.; working with Merce Cunningham at Bennington, choreographing a piece that was chiefly improvised, a fact that shocked the other dancers; choreography taken from a story written by Cunningham; after leaving Graham's company; studying various dance forms; teaching classes in dance fundamentals; eventually creating her own technique; recalls a teacher at Sarah Lawrence, Marion Knighton, and her influence; changes in Graham's company in later years; Graham's use of male dancers; Graham's issues with alcohol consumption; Ron Protas's influence on Graham; opinion of Ron Protas [abrupt end]."
  • "Part 1, disc 1 (ca. 47 min.). Jean Erdman speaks with Don McDonagh about discovering Martha Graham's work when Graham taught classes at Sarah Lawrence College, where Erdman was a student; being inspired by Graham; the fact that Graham's dances were grounded in body and strength; Graham's dance outfit when she taught at Sarah Lawrence; deciding to dance because one could choreograph one's own work, and then dance it; Graham's classes with floor work; attending Bennington and performing in Anna Sokolow's dance; an anecdote of borrowing a white leotard from Graham, and considering it a holy thing; returning the leotard to Graham and being asked to join Graham's company; delaying joining the Graham company in order to travel around the world with her family; returning to Graham after travels; having to learn four dances in ten days, proving to be an exciting initiation into the Graham company; Erick Hawkins joining the company at the same time, with American document being his first performance; taking ballet lessons from Hawkins; Graham's use of the ballet bar in her classes; the fact that Graham's area of movement began to change with Hawkins' arrival, due to the fact that men took the space that had once been occupied by women; Graham sending Merce Cunningham to ballet school; her marriage to Joseph Campbell; Louis Horst and his appreciation and knowledge of art; Graham's relationship with Horst after male dancers arrived; Graham's need to create male and female tension in the dances; playing the role of the spectator in Every soul is a surface, in Letter to the world; the costumes used for the dances; her duet with Hawkins at Bennington, and getting to know him; an anecdote when Graham told Erdman that Erdman had the same kind of underwear as Hawkins, which was the first the company learned of Graham's personal relationship with Hawkins."
  • "Side 1. Ms. Erdman talks about Graham's class at Sarah Lawrence College in the 1930's; joining Graham's company; secret visits with her husband Joseph Campbell, despite Graham's disapproval; Campbell's support of her work; difficulty of leaving Graham's company; performing Graham's Letter to the world 25 years after its creation at Bennington and how it had changed; John Martin's love for Graham; Graham as a love object -- Side 2. Courting Joe Campbell; traveling with her parents; learning four new works in ten days; Pearl Harbor; being on tour with Graham's company; the company in Cuba."@en
  • "Track 1 (ca. 30 min.). [Begins abruptly]. Erdman speaks about creating her earliest works, including Transformations of Medusa and Creature on a journey; explains her preference for using music composed specifically for the dance; working with John Cage; her treatment of music as a partner for the dancer; her work Daughters of the lonesome isle; her portrayal of life cycles in her work; formal experiments; her work Hamadryad."
  • "Disc 1 (ca. 48 min.). Erdman speaks about her dance opera, the Shining house, including the meaning of the title, the nature of the characters represented, such as Pele, and the underlying myth; Nathaniel B. Emerson's compilation of Hawaiian epic poetry, Unwritten literature of Hawaii; Erdman's efforts to understand the concepts and symbolism embodied in Hawaiian myths; Erdman's birth and childhood in Hawaii; the Dillingham family of Hawaii and her relation to it; origins and transmission to Hawaii of the Pele cult; the volcanoes on Hawaii Island; manner in which epics were performed prior to contact with the Europeans; learning traditional Hawaiian dance from childhood on; changes in hula dancing after World War II [ends abruptly]."
  • "Disc 2 (ca. 48 min.). Erdman speaks about her work Gauguin in Tahiti; compares Tahitian dance and the Hawaiian hula; the effect of Christianity on Polynesian dancing; more about her work the Shining house, including her decision to limit the use of the hula to elements within her own style of choreography; dancing in Martha Graham's company; leaving Graham's company and studying more traditional styles of dancing; her views on teaching dance; marrying Joseph Campbell; reminiscences about her first exposure to Asian dance; returning from Asia and dancing with Martha Graham's company; contribution of Campbell to Erdman's works; influence on her work of what Louis Horst called archaic Greek style; her work Ophelia; experimentation with different styles in her choreography; creating her work The coach with six insides; Irish elements in this work [ends abruptly]."
  • "Disc 3 (ca. 52 min.). Continuation of description of the 1940 performance of Letter to the world [Erdman and the interviewer also refer at times to photographs, probably from Barbara Morgan's book]; the 1970 revival of the work at the Brooklyn Academy of Music; a later revival; reminisces about her research for Graham's work Punch and the Judy and Erdman's role as the speaking Fate."
  • "Disc 1 (ca. 64 min.). Erdman speaks about dancing for Martha Graham; dancing for Anna Sokolow and studying with Hanya Holm, Louis Horst, and others at Bennington College; travelling to Bali; marrying Joseph Campbell and joining Martha Graham's company; Graham's work Every soul is a circus [with frequent references to photographs from a book by Barbara Morgan entitled Martha Graham: sixteen dances in photographs?]; reminisces about Merce Cunningham; John Cage; Erdman's personal relationship with Graham; working with Erick Hawkins; Erdman's dissatisfaction with speaking rather than dancing roles; change in Graham's style after Hawkins entered her company; influence of cinema on certain Graham works, including Herodiade; the relation between the score and the spoken text of Letter to the world [ends abruptly]."
  • "Disc 2 (ca. 63 min.). Continuation of discussion of Letter to the world, in particular Erdman's detailed description of the 1940 performance in which Erdman had the role of One who speaks [Erdman and the interviewer also refer at times to photographs, probably from Barbara Morgan's book; recording ends abruptly]."

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  • "Interview with Jean Erdman [sound recording]"
  • "Interview with Jean Erdman"
  • "Interview with Jean Erdman"@en

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