All the World's a Stage
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who worked under Hawkins describe her as an inspiring leader. But
she was also socially conservative, so much so that it took three
entire faculty meetings for her colleagues to persuade her to allow
students to wear tights, as opposed to calf-length skirts in pastel
colors, to their dance classes.
it was Hawkins' foresight that led to an expanded dance curriculum,
including, most significantly for the current incarnation of the
department, a program in dance ethnology. In 1963, inspired by the
addition of ethnomusicology offerings within UCLA's Music Department,
Hawkins arranged to hold classes in the movement practices of Yugoslavia,
Bali and Mexico. The stage was set for UCLA's dance department to
focus not just on dance of the United States but, uniquely, on dance
of the world.
was in 1968, then, goaded by "student pressure" and the specific
catalyst of a strike against the Vietnam War, that Hawkins birthed
the idea that has since grown into the Department of World Arts
and Cultures. As a member of a multidisciplinary university committee
charged with responding to student demands for accountability, Hawkins
dreamed up a new interdisciplinary program "that would be more liberal
in nature ... and not tied directly to a graduate education degree.
I felt that the broad experience in the so-called ethnic arts could
provide a foundation that could be useful in several fields of study."
by anti-war activism, the struggle for civil rights and the growth
of ethnicity-based political movements, the Ethnic Arts Program
was established in 1972, drawing from distinct curricula in dance,
art, music, theater, anthropology and folklore and mythology.
Fuller Snyder, the dance ethnologist who replaced Hawkins as chair
of Dance in 1974, was responsible for nurturing Ethnic Arts, terming
it "the truest liberal arts program in the university."