Mary Hinkson: influences, peers and legacy

Every connection with its receipt

Mary Hinkson arrived from Milwaukee by way of Margaret H'Doubler's pioneering dance program at Wisconsin, then spent two decades as one of Martha Graham's great principals — and became one of the first Black dancers invited to perform with New York City Ballet. This mix traces the modern-dance lineage she absorbed, the Greek-myth and sculpture worlds that shaped her roles, and the Black concert-dance generation she helped make possible.

The Kynda mix for Mary Hinkson

• Key Influence · Cave of the Heart by Martha Graham (1946). Hinkson joined the Martha Graham Dance Company in 1951 and inherited Graham's Medea role in this Noguchi-designed myth-drama, one of the fiercest solos in the repertory. Graham's contraction-and-release technique, her Jungian reading of Greek heroines, and her practice of building roles on a dancer's own physical temperament shaped Hinkson's entire performing identity across more than twenty years in the company.','
• Influencia Obscura · Dance: A Creative Art Experience by Margaret H'Doubler (1940). H'Doubler founded the first university dance major in America at the University of Wisconsin, where Hinkson earned her degree before heading to New York. H'Doubler's anatomy-based, improvisation-first philosophy — dance as general education rather than conservatory drilling — produced an unusual pipeline of Black modern dancers from Madison, including Hinkson and her longtime Graham colleague Matt Turney.
• Local Roots · The Moor's Pavane by José Limón (1949). Hinkson taught for years at Juilliard, where the dance division under Martha Hill placed Graham technique beside Limón's. Limón's Humphrey-trained vocabulary of fall and recovery, weighted and courtly here in this Othello quartet, was the house alternative to Graham in the same New York building — the immediate professional landscape in which Hinkson performed, taught and cast her reputation as a teacher.
• Beyond the Medium · Medea by Euripides (431 BC). Hinkson's signature Graham roles were drawn straight from Greek tragedy — the sorceress, Circe, the women of the Clytemnestra cycle. Euripides' vengeful outsider, foreign and magically powerful, is the literary source behind the Medea figure Hinkson danced, and the tragedians' concentration on a single woman's interior catastrophe is precisely what Graham translated into contraction, spiral and floor.
• Peer · Roots of the Blues by Alvin Ailey (1961). Carmen de Lavallade was Hinkson's closest counterpart: a Black dancer of the same generation moving fluidly between modern companies, Broadway and ballet-adjacent work while breaking the same barriers. This duet, built for de Lavallade and Ailey on Brownie McGhee and Sonny Terry songs, shows the parallel career Hinkson's generation of Black women dancers carved out in the early 1960s.
• From the Canon · Circe by Mary Hinkson (1963). Graham created the title role of this Homeric work on Hinkson, and it remains the clearest record of what she brought to the company: a sorceress of cool control and sudden animal attack, surrounded by Noguchi's beast forms. Casting a Black dancer as Graham's enchantress-protagonist in 1963 was itself significant, and the role became the one most associated with Hinkson's name.
• Key Collaborator · The Figure in the Carpet by George Balanchine (1960). Balanchine invited Hinkson to appear with New York City Ballet in this Handel-scored spectacle, among the first times a Black woman danced with the company — a crossing between the Graham and Balanchine worlds that was almost unheard of. The partnership mattered twice over: it broke a casting line, and it certified that Graham-trained bodies could hold a classical stage.
• Legacy · Creole Giselle by Arthur Mitchell (1984). Mitchell's Dance Theatre of Harlem was built on the premise Hinkson helped prove: that Black dancers belonged in ballet as well as modern companies. Her appearances with New York City Ballet, where Mitchell was the first Black principal, preceded his founding of the company; this relocation of Giselle to Louisiana is the fullest realization of the institution-building her barrier-crossing career made plausible.

What influenced Mary Hinkson

• Martha Graham (1894). Hinkson's long association with Martha Graham indicates lineage under Graham. (also via Cave of the Heart, Canticle for Innocent Comedians, Dark Meadow) “The dance star is rounding her some thirteen years’ association with the famed Martha Graham.” (Atlanta Daily World (Atlanta, Georgia))
• Cave of the Heart by Martha Graham (1946). Cave of the Heart (Martha Graham) — titan for Mary Hinkson “In regards to performing as Madea in Cave of the Heart , she said, “We must realize that it's a woman scorned, but first she was a woman in love.” (Wikipedia)
• Margaret H'Doubler. Hinkson studied dance with H'Doubler. (also via Dance: A Creative Art Experience) “she did not receive formal dance training until enrolling at the University of Wisconsin , where she studied with Margaret H'Doubler .” (Wikipedia)
• Hanya Holm. Hinkson and her fellow dancers sought training in Holm's approach. (also via Trend) “Wanting to further their careers, they moved to New York hoping to train in Hanya's vein of work but found she was not teaching as much.” (Wikipedia)
• Doris Haywood. Haywood taught Hinkson at summer camp. “During her summers at camp, she was excited to be taught by Doris Haywood and was truly set on fire for dance.” (Wikipedia)
• Yuriko. Hinkson attended one of Yuriko's classes. “She continued to work with the company and even joined one of YURIKO's experimental classes.” (Wikipedia)
• Louis Horst. Hinkson took Horst's classes and demonstrated for him. “Hinkson took classes in many places, one of which was with Louis Horst . He enjoyed her so much that he traveled her around to demonstrate for him at many places” (Wikipedia)
• Natanya Neumann. Hinkson learned a role from Neumann. “As Hinkson does not share this style, she comparatively enjoyed learning from Natanya Neumann better because she is much more about musicality like herself.” (Wikipedia)
• Pre-Classic Dance Forms by Louis Horst (1937). Pre-Classic Dance Forms (Louis Horst) — titan for Mary Hinkson “Hinkson took classes in many places, one of which was with Louis Horst.” (en.wikipedia.org)
• Dance: A Creative Art Experience by Margaret H'Doubler (1940). Dance: A Creative Art Experience (Margaret H'Doubler) — ghost for Mary Hinkson “Due to not being taken seriously as a living room dancer, she did not receive formal dance training until enrolling at the University of Wisconsin, where she studied with Margaret H'Doubler.” (en.wikipedia.org)
• Trend by Hanya Holm (1937). Trend (Hanya Holm) — ghost for Mary Hinkson “While at University of Wisconsin, Hinkson also learned from Louise, a technique teacher trained by Mary Wigman and Hanya Holm.” (en.wikipedia.org)
• Medea. Medea (Euripides) — culture for Mary Hinkson (openlibrary.org)
• Kouros by Isamu Noguchi (1945). Kouros (Isamu Noguchi) — culture for Mary Hinkson (wikidata.org)
• The Greek Myths by Robert Graves (1955). The Greek Myths (Robert Graves) — culture for Mary Hinkson (openlibrary.org)
• Radha by Ruth St. Denis (1906). Radha (Ruth St. Denis) — titan for Mary Hinkson

Peers and kindred spirits

• Martha Graham Company by Martha Graham. Hinkson is identified as a member of the Martha Graham Company. (also via Circe) “Ballerina Mary Bunny i Hinkson, a native of Philadelphia whose twinkling toes and splendid form have carried her over the major countries of the world as a member of the famed Martha Graham Company has scored again” (Atlanta Daily World (Atlanta, Georgia))
• Alvin Ailey (1931). Ailey is listed among choreographers Hinkson worked with. (also via Roots of the Blues, Revelations) “Some of them are Harry Belafonte , Alvin Ailey , Pearl Lang , Walter Nix , John Butler, Martha Graham , Glen Tetley , and Merce Cunningham .” (Wikipedia)
• Canticle for Innocent Comedians by Martha Graham. Hinkson performed a role created for her in Graham's work. “Graham created leading roles for Hinkson, including Canticle for Innocent Comedians (1952), Ardent Song (1955), and the title role in Circe (1963)” (Women's History Network)
• Seraphic Dialogue by Martha Graham. Hinkson participated in the dance work. “Both women took the role of Joan of Arc in Seraphic Dialogue [36:23] (1955).” (Women's History Network)
• Clytemnestra. Hinkson danced roles in Clytemnestra. “After Graham retired from the stage in 1969, Hinkson took on some of Graham’s leading roles, including Clytemnestra in the heralded three-act work based on the Greek myth.” (Women's History Network)
• Circe by Martha Graham. Graham created Hinkson's role in Circe specifically for her. “Graham created leading roles for Hinkson, including Canticle for Innocent Comedians (1952), Ardent Song (1955), and the title role in Circe (1963)” (Women's History Network)
• Deaths and Entrances. Hinkson danced in Deaths and Entrances. “inherited some of Graham’s own roles (notably Deaths and Entrances”, 1943; and the title role of “Clytemnestra”, 1958 - photo 79).” (Alastair Macaulay)
• Diversion of Angels by Martha Graham. Hinkson discusses the experience of performing Diversion of Angels among her roles. “first coming to prominence in 1948 in Diversion of Angels . An abstract work that depicts love, it was in this production that Hinkson was partnered with Bertram Ross” (Women's History Network)
• Circe by Martha Graham Company. Hinkson performed the title role in the new work Circe. “The young artist lias the title role in the new chore graphed work, "CIRCE", rendered in the two-week theatre season at the Lunt-Fontanne Theatre in New York.” (Atlanta Daily World (Atlanta, Georgia))
• Rainbow 'Round My Shoulder by Donald McKayle (1959). Rainbow 'Round My Shoulder (Donald McKayle) — peer for Mary Hinkson “Donald McKayle created the female role in Rainbow ‘Round My Shoulder (1959) for Hinkson” (Women's History Network)
• The Figure in the Carpet by George Balanchine (1960). The Figure in the Carpet (George Balanchine) — collaborator for Mary Hinkson “George Balanchine used Hinkson as his muse alongside Arthur Mitchell when Mr. B choreographed a duet for them in Figure in the Carpet (1960).” (Women's History Network)
• Martha Graham Dance Company. Hinkson was a member of the company. “She is best known for her work as a member of the Martha Graham Dance Company .” (Wikipedia)
• Matt Turney. Hinkson and Turney formed and performed with the same touring dance group. “During their junior and senior year, Hinkson and a few other students (Matt Turney, Miriam Cole, Sage Fuller Cowles) formed the Wisconsin Dance Group, got an old car, and travelled around the country booking performances and doing dances…” (Wikipedia)
• Miriam Cole. Cole and Hinkson formed and performed with the Wisconsin Dance Group. “During their junior and senior year, Hinkson and a few other students (Matt Turney, Miriam Cole, Sage Fuller Cowles) formed the Wisconsin Dance Group, got an old car, and travelled around the country booking performances and doing dances…” (Wikipedia)
• Sage Fuller Cowles. Cowles and Hinkson formed and performed with the Wisconsin Dance Group. “During their junior and senior year, Hinkson and a few other students (Matt Turney, Miriam Cole, Sage Fuller Cowles) formed the Wisconsin Dance Group, got an old car, and travelled around the country booking performances and doing dances…” (Wikipedia)
• Juilliard School. Hinkson taught at Juilliard. “She also taught at Juilliard School of Music , Dance Theatre of Harlem , and the Ailey School .” (Wikipedia)
• Dance Theatre of Harlem. Hinkson taught at Dance Theatre of Harlem. “She also taught at Juilliard School of Music , Dance Theatre of Harlem , and the Ailey School .” (Wikipedia)
• The Ailey School. Hinkson taught at the Ailey School. “She also taught at Juilliard School of Music , Dance Theatre of Harlem , and the Ailey School .” (Wikipedia)
• New York City Opera. Hinkson was selected to join the New York City Opera, identified in the preceding sentences. “She 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.” (Wikipedia)
• John Butler. Butler directed opera performers, including Hinkson, in televised appearances. “Between the years 1952 and 1953, Butler regularly took the opera to perform at the NBC Sunday morning shows for thirty minute time slots.” (Wikipedia)
• Bertram Ross. Hinkson and Ross worked together on the Dark Meadow revival. “Hinkson, Bertram Ross , and Bob Cohan took charge of spearheading the Dark Meadow revival .” (Wikipedia)
• Bob Cohan. Hinkson and Cohan worked together on the Dark Meadow revival. “Hinkson, Bertram Ross , and Bob Cohan took charge of spearheading the Dark Meadow revival .” (Wikipedia)
• Harry Belafonte. Belafonte is listed among artists Hinkson worked with. “Some of them are Harry Belafonte , Alvin Ailey , Pearl Lang , Walter Nix , John Butler, Martha Graham , Glen Tetley , and Merce Cunningham .” (Wikipedia)
• Pearl Lang. Lang is listed among dancers and choreographers Hinkson worked with. “Some of them are Harry Belafonte , Alvin Ailey , Pearl Lang , Walter Nix , John Butler, Martha Graham , Glen Tetley , and Merce Cunningham .” (Wikipedia)
• Walter Nix. Nix is listed among dancers and choreographers Hinkson worked with. “Some of them are Harry Belafonte , Alvin Ailey , Pearl Lang , Walter Nix , John Butler, Martha Graham , Glen Tetley , and Merce Cunningham .” (Wikipedia)
• Glen Tetley. Hinkson rehearsed with Tetley. “Mary often dreaded the practices at Graham's company, but woke up inspired for laughter filled rehearsals with Tetley.” (Wikipedia)
• Merce Cunningham (1919). Cunningham is listed among choreographers Hinkson worked with. “Some of them are Harry Belafonte , Alvin Ailey , Pearl Lang , Walter Nix , John Butler, Martha Graham , Glen Tetley , and Merce Cunningham .” (Wikipedia)
• Cleveland Symphony Orchestra. Hinkson's performance of Deaths and Entrances premiered with the orchestra playing live. “They premiered it at the Blossom Festival with the Cleveland Symphony Orchestra live.” (Wikipedia)
• Dark Meadow by Martha Graham. Hinkson helped revive the dance work. “Hinkson, Bertram Ross , and Bob Cohan took charge of spearheading the Dark Meadow revival .” (Wikipedia)
• Bluebeard's Castle. Hinkson was principal dancer in this production. “Hinkson achieved the title of principal dancer in Bluebeard's Castle at the New York City Opera in 1953.” (Wikipedia)
• Heretic by Martha Graham. Hinkson danced the woman-in-white role in Heretic. “In 1953, Hinkson stepped into the role of woman in white in Heretic when it was left empty.” (Wikipedia)
• Embattled Garden by Martha Graham. Hinkson performed two roles in Embattled Garden. “Hinkson performed as Eve in Embattled Garden in 1958 with Bertram Ross as Adam and eventually performed as Lilith opposite Bob Cohan 's Adam.” (Wikipedia)
• Ardent Song by Martha Graham. Phillips names Ardent Song among the works for which Graham created a leading role for Hinkson. “Graham created leading roles for Hinkson, including Canticle for Innocent Comedians (1952), Ardent Song (1955), and the title role in Circe (1963)” (Women's History Network)
• The Moor's Pavane by José Limón (1949). The Moor's Pavane (José Limón) — geography for Mary Hinkson (wikidata.org)
• Day on Earth by Doris Humphrey (1947). Day on Earth (Doris Humphrey) — geography for Mary Hinkson “Sometimes during their rehearsals, Doris Humphrey would even come to watch and critique them.” (en.wikipedia.org)
• Roots of the Blues by Alvin Ailey (1961). Roots of the Blues (Alvin Ailey) — peer for Mary Hinkson “Some of them are Harry Belafonte, Alvin Ailey, Pearl Lang, Walter Nix, John Butler, Martha Graham, Glen Tetley, and Merce Cunningham.” (en.wikipedia.org)
• Revelations by Alvin Ailey (1960). Revelations (Alvin Ailey) — collaborator for Mary Hinkson “Some of them are Harry Belafonte, Alvin Ailey, Pearl Lang, Walter Nix, John Butler, Martha Graham, Glen Tetley, and Merce Cunningham.” (en.wikipedia.org)
• Graham School. Hinkson teaches at the Graham School, a named dance institution.
• Juilliard. Hinkson teaches at Juilliard.
• Dark Elegies by Antony Tudor (1937). Dark Elegies (Antony Tudor) — geography for Mary Hinkson

…and 2 more on the map above.

Who Mary Hinkson influenced

• Divining by Judith Jamison (1984). Divining (Judith Jamison) — legacy for Mary Hinkson “"A Conversation Between Two Dance Legends: Judith Jamison and Mary Hinkson".” (en.wikipedia.org)
• Creole Giselle by Arthur Mitchell (1984). Creole Giselle (Arthur Mitchell) — legacy for Mary Hinkson