Last month, eleven of us gathered together on a Zoom call to remember choreographer Louis Johnson who had passed away on March 31. (April 10th obituary in NYTimes) We all had some kind of connection to Louis, and most of us had worked with him on “Let My People Go.” We covered a number of time zones and different countries from Italy to Costa Rica to the US (from NYC to CA). The next morning we received this beautiful email from Deborah Hanna. I asked her if I could share it as a guest blog.
Bio of our Guest Blogger:
Deborah Lynn Hanna grew up in Charleston, West Virginia as a sports lover – playing basketball, swimming and riding horses competitively. This love of movement transformed into modern dance, and she graduated with a BA in Humanities from Stetson University in Deland, Florida, earning “The Most Outstanding Humanities Student” Award in 1981 and 1982. Next step: New York City and the Martha Graham School of Contemporary Dance where she worked and studied for 5 years, achieving her 3rd year Trainee Program Diploma at the Advanced Level, while acting as Coordinator for the Martha Graham Ensemble and dancing with the Ensemble for 3 years in the annual revival pieces of “Primitive Mysteries,” “Steps in the Street” and “Celebration.” Primarily, Deborah grew as a performer with The Avodah Dance Ensemble from 1987-1992 in its 15-piece repertoire, dancing and giving workshops in all parts of the US. She then moved to Italy with her Italian husband and began teaching the Martha Graham Technique and choreographing, as well as teaching English as a Second Language. In 2013, the latter work took Deborah and her husband to Myanmar for 7 years, where she taught English and dance, and also performed in interesting, but unlikely venues. In July 2019 Deborah and her husband returned to their family property in Tarquinia, Italy and are in the midst of creating a holistic center for Cultural and the Healing Arts.
Guest Blog by Deborah Hanna
I woke up this morning (a few hours later actually, with our time difference here), remembering pieces of our conversations, your faces, my thoughts and reflections, and most importantly, a profound sense of love… love for the beauty and uniqueness of what was shared, along with such awe and respect for the amazing talent and achievements represented on that tiny screen – everyone in their homes, sort of a humbling and very human factor, that gives us an equal voice at the table as human beings, as we all walk through this unique period of history together…. with a glance backwards towards another era.
My first consideration, as we all expressed last night, was the unifying force of JoAnne, her creative vision for Avodah and the ever-changing landscape of her choreography (of which we all played integral roles in the creation of movement), the beauty of so many diverse collaborations, performance arenas, teaching workshops, cities, towns and even countries, and the continual unexpected, which made every performance and new work exciting. This is an amazing accomplishment, JoAnne – one that gave so much to so many of us as artists, not to mention the audiences and workshop participants. The other beautiful quality of Avodah was the bond of friendship and healthy spirit of collaboration that existed amongst us… a very rare quality in the NYC dance scene – at least coming from the Martha Graham Dance Company perspective. Last night, after we listened to Candice’s memory of getting lost in a piece of Avodah choreography and JoAnne being amused as to how she and the rest of us would figure our ways out of these tight spots, Kezia brought up a similar moment for me, with the Graham work Celebration.
During one City Center performance of the first reconstruction of Celebration (464 jumps in 6 minutes), as I was beating out a 64-count phrase, I became lost in imagery that Martha herself had given to us during one of the last rehearsals. I simply departed on my next jump series 8 counts too soon – alone, instead of with another 5 dancers. I remember being out in the middle of that big City Center stage, feeling all of the responsibility that comes with representing Graham in that arena, and thinking to myself, “Okay, Deb, you’re here…. just keep jumping until the others arrive and keep the image of light pouring down, so no one can see in your eyes that you screwed up royally.” I was the only one moving on the stage at that moment in an intricately choreographed Graham piece, where every single second was carved to perfection. Just in that moment, a quite accomplished dance reviewer snapped my photo, which only made matters worse! Eight counts later, the other dancers arrived and we finished the piece successfully. The next day, the dance review and photo were sitting on my dressing room table, with all of the other Ensemble members gathered round. To my mind, I had successfully come out of an error and actually done really well. Naturally, Yuriko (the director of the Ensemble) didn’t agree! She stomped into the dressing room – her tiny but powerful stature steaming, venom flowing from her eyes. I felt this ancient Samurai power about to unfurl …. she was furious and said that if I ever did anything like that again, I was out of the Ensemble! There was no chance to explain, no excuses!
Only recently, after having lived in South East Asia for 7 years and having worked with many Japanese, getting to know them and their culture, I can now understand her reaction, but at the time, it was very foreign – especially for a West Virginia hillbilly like myself. Yuriko was deeply dedicated to the integrity and accuracy of Martha’s work, above all else…. and that was the atmosphere of the Graham World. Our rehearsals with Yuriko were very much akin to being in the military, I imagined… for all the greatness and perils that those worlds offer.
So, from there to Avodah…..After I’d finished my first season at City Center with the Martha Graham Ensemble in the reconstructions of Celebration and Primitive Mysteries, Yuriko was interested in having me come to rehearsals and integrate into the permanent Martha Graham Ensemble ( which I had helped cultivate into a full-time second company, having been the booking coordinator – a role I developed as a work-study student, in order to pay for my own classes). It was one of those monumental life crossroads for me. I had just gotten into Avodah simultaneously, during the Graham NY City Center season in 1987, and had to make a decision of which road to travel. I looked at the long line of extraordinary dancers fighting tooth and nail to get into Graham, and fortunately I had the good sense to choose Avodah, where I could be a “little star” in a very healthy, satisfying dance company. And that decision has made all of the difference!
At the end of my intense years both training with Graham and working on her reconstruction works, then the immensely diverse experiences performing in so many roles with Avodah, I felt deeply satisfied as a dance performer and was ready for the next step…. which just happened to be Italy via India…. dance being a constant companion throughout…but in extraordinarily unique settings, far from my NYC days.
I know that Louis would be very pleased to know that he was responsible for helping unite all of us in a little gem of a work that he and JoAnne created…. “Let My People Go!” It was one of my very favorite pieces in the Avodah repertoire because it gave us the chance to do so much – act, sing, dance different styles and change up pace so quickly that you were always on your toes. I learnt this great lesson on the art of choreographing from Louis…the grave importance of changing pace, dynamics, styles, directions, rhythms and energy. That lesson is monumental!
I’ll finish off this rather indulgent email (only in these times is this kind of epistle really possible – to write and perhaps even to be read) with how “Let My People Go” started on its first debut, to its final performance of the first season run. Our “virgin” performance was on a notably long, and rather narrow bema in Ohio, where we left notes on stage right and left as we exited, in order to remember where and when we entered and what we had to do….. to the last performance for that season, at Henry Street Settlement – 15 performances later – all done in less than a 2-month period.
That final Sunday afternoon matinee performance at Henry Street was a humble, but magical one! It was raining, I believe, and a rather gloomy Sunday afternoon, so there was hardly any audience and I don’t think Louis was present. But we were there, a now seasoned first cast, having worked together so hard and intensively, travelling for almost 6 weeks – planes, cars, hotels, restaurants, snow storms, missing cast members, dead deer, interesting hosts…. and so, we were seasoned in many ways…. enough so, that the final performance was truly a spiritual experience. We now knew the piece — and each other — very well, and on that stage at Henry Street Settlement, where the project had begun, something extraordinary happened. Every one of us began spontaneously to expand a little on our roles, sing an extra note, give an added expression, leap a little higher, or add an arm for emphasis. I remember watching Kezia, Newman, Loretta, Mark and Rob in between my own entrances, and so enjoying and appreciating their spontaneity and creativity. But above all, there was this amazing, tangible feeling between us – a sort of deep flow and understanding beyond words, of being united by vibrations – those invisible threads that bind us to the core. For me, that last run of “Let My People Go” was the essence and highest level of performance…….collective, joyful, fun and pure creativity in the moment.
Behind her is Loretta Abbott and drummer Leopoldo Fleming. Photo by Tom Brazil.