Martha Graham

Martha Graham (May 11, 1894 – April 1, 1991) was an American modern dancer, teacher and choreographer, whose style, the Graham technique, reshaped the dance world and is still taught in academies worldwide.

Graham danced and taught for over seventy years. She was the first dancer to perform at the White House, travel abroad as a cultural ambassador, and receive the highest civilian award of the US: the Presidential Medal of Freedom with Distinction. In her lifetime she received honors ranging from the Key to the City of Paris to Japan's Imperial Order of the Precious Crown.

She said, in the 1994 documentary ''The Dancer Revealed'': "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."

Founded in 1926 (the same year as Graham's professional dance company), the Martha Graham School is the oldest school of dance in the United States. First located in a small studio within Carnegie Hall, the school currently has two different studios in New York City.

Early life

Graham was born in Allegheny City, later to become part of Pittsburgh, Pennsylvania, in 1894. Her father, George Graham, practiced as what in the Victorian era was known as an "alienist", a practitioner of an early form of psychiatry. The Grahams were strict Presbyterians. Her father was a third-generation American of Irish descent. Graham's mother, Jane Beers, was a second-generation American of Irish, Scots-Irish, and English ancestry, and who claimed to be a tenth-generation descendant of Myles Standish. While her parents provided a comfortable environment in her youth, it was not one that encouraged dancing.

The Graham family moved to Santa Barbara, California, when Martha was fourteen years old. In 1911, she attended the first dance performance of her life, watching Ruth St. Denis perform at the Mason Opera House in Los Angeles. In the mid-1910s, Martha Graham began her studies at the newly created Denishawn School of Dancing and Related Arts, founded by Ruth St. Denis and Ted Shawn, at which she would stay until 1923. In 1922, Graham performed one of Shawn's Egyptian dances with Lillian Powell in a short silent film by Hugo Riesenfeld that attempted to synchronize a dance routine on film with a live orchestra and an onscreen conductor.

Career

Graham left the Denishawn establishment in 1923 in order to become a featured dancer in the Greenwich Village Follies revue for two years. As a result, she felt a strong urge to make dance an art form that was more grounded in the rawness of the human experience and orientalism as opposed to just a mere form of entertainment. This motivated Graham to strip away the more decorative movements of ballet and of her training at the Denishawn school and focus more on the foundational aspects of movement.

In 1925, Graham was employed at the Eastman School of Music where Rouben Mamoulian was head of the School of Drama. Among other performances, together Mamoulian and Graham produced a short two-color film called ''The Flute of Krishna,'' featuring Eastman students. Mamoulian left Eastman shortly thereafter and Graham chose to leave also, even though she was asked to stay on.

In 1926, the Martha Graham Center of Contemporary Dance was established, in a small studio on the Upper East Side of New York City. On April 18 of the same year Graham debuted her first independent concert, consisting of 18 short solos and trios that she had choreographed. This performance took place at the 48th Street Theatre in Manhattan. She would later say of the concert: "Everything I did was influenced by Denishawn." On November 28, 1926, Graham and others in her company gave a dance recital at the Klaw Theatre in New York City. Around the same time she entered an extended collaboration with Japanese-American pictorialist photographer Soichi Sunami, and over the next five years they together created some of the most iconic images of early modern dance. Graham was on the faculty of Neighborhood Playhouse School of the Theatre when it opened in 1928.

One of Graham's students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company's first director.

Graham's technique pioneered a principle known as "contraction and release" in modern dance, which was derived from a stylized conception of breathing.

Contraction and release:
The idea to highlight emotional expressions while also using the bodies ability to gather strength from its core led Graham to empahsise the movements "contraction and release" in her dance technique, for which she would become known. Each movement could separately be used to express either positive or negative, freeing or constricting emotions depending on the placement of the head. The contraction and release were both the basis for Graham's weighted and grounded style, which is in direct opposition to classical ballet techniques that typically aim to create an illusion of weightlessness. To counter the more percussive and staccato movements, Graham eventually added the spiral shape to the vocabulary of her technique to incorporate a sense of fluidity.

New era in dance

Following her first concert made up of solos, Graham created ''Heretic'' (1929), the first group piece of many that showcased a clear diversion from her days with Denishawn, and served as an insight to her work that would follow in the future. Made up of constricted and sharp movement with the dancers clothed unglamorously, the piece centered on the theme of rejection—one that would reoccur in other Graham works down the line.

As time went on Graham moved away from the more stark design aesthetic she initially embraced and began incorporating more elaborate sets and scenery to her work. To do this, she collaborated often with Isamu Noguchi—a Japanese American designer—whose eye for set design was complementary to Graham's choreography.

Within the many themes which Graham incorporated into her work, there were two that she seemed to adhere to the most—Americana and Greek mythology. One of Graham's most known pieces that incorporates the American life theme is ''Appalachian Spring'' (1944). She collaborated with the composer Aaron Copland—who won a Pulitzer Prize for his work on the piece—and Noguchi, who created the nonliteral set. As she did often, Graham placed herself in her own piece as the bride of a newly married couple whose optimism for starting a new life together is countered by a grounded pioneer woman and a sermon-giving revivalist. Two of Graham's pieces—''Cave of the Heart'' (1946) and ''Night Journey'' (1947)—display her interest in not only Greek mythology but also with the psyche of a woman, as both pieces retell Greek myths from a woman's point of view.

In 1936, Graham created ''Chronicle'', which brought serious issues to the stage in a dramatic manner. Influenced by the Wall Street Crash of 1929, the Great Depression that followed, and the Spanish Civil War, the dance focused on depression and isolation, reflected in the dark nature of both the set and costumes.

The same year, in conjunction with the 1936 Summer Olympic Games in Berlin, the German government wanted to include dance in the Art Competitions that took place during the Olympics, an event that previously included architecture, sculpture, painting, music, and literature. Although Joseph Goebbels, Reich Minister of Propaganda, was not appreciative of the modern dance art form and changed Germany's dance from more avant-garde to traditional, he and Adolf Hitler still agreed to invite Graham to represent the United States. However, the United States was not represented in the Art Competitions as Graham refused the invitation by stating:

I would find it impossible to dance in Germany at the present time. So many artists whom I respect and admire have been persecuted, have been deprived of the right to work for ridiculous and unsatisfactory reasons, that I should consider it impossible to identify myself, by accepting the invitation, with the regime that has made such things possible. In addition, some of my concert group would not be welcomed in Germany.

Goebbels himself wrote her a letter assuring her that her Jewish dancers would "receive complete immunity", however, it was not enough for Graham to accept such an invitation.

Stimulated by the occurrences of the 1936 Olympic Games, and the propaganda that she heard through the radio from the Axis Powers, Graham created '' American Document'' in 1938. The dance expressed American ideals and democracy as Graham realized that it could empower men and inspire them to fight fascist and Nazi ideologies. American Document ended up as a patriotic statement focusing on rights and injustices of the time, representing the American people including its Native-American heritage and slavery. During the performance, excerpts from the U.S. Declaration of Independence, Lincoln's Gettysburg Address, and the Emancipation Proclamation were read. These were passages that highlighted the American ideals and represented what made the American people American. For Graham, a dance needed to "reveal certain national characteristics because without these characteristics the dance would have no validity, no roots, no direct relation to life".

The beginning of American Document marks modern concepts of performance art joining dance, theater and literature and clearly defining the roles of the spectator and the actors/dancers. The narrator/actor starts with "establishing an awareness of the present place and time, which serves not only as a bridge between past and present, but also between individual and collective, particular and general". Together with her unique technique, this sociological and philosophical innovation sets dance as a clear expression of current ideas and places and Graham as a pillar of the modern dance revolution.

1938 became a big year for Graham; the Roosevelts invited Graham to dance at the White House, making her the first dancer to perform there. Also, in 1938, Erick Hawkins became the first man to dance with her company. He officially joined her troupe the following year, dancing male lead in a number of Graham's works. They were married in July 1948 after the New York premiere of ''Night Journey''. He left her troupe in 1951 and they divorced in 1954.

On April 1, 1958, the Martha Graham Dance Company premiered the ballet ''Clytemnestra'', based on the ancient Greek legend Clytemnestra and it became a huge success and great accomplishment for Graham. With a score by Egyptian-born composer Halim El-Dabh, this ballet was a large scale work and the only full-length work in Graham's career. Graham choreographed and danced the title role, spending almost the entire duration of the performance on the stage. The ballet was based on the Greek mythology of the same title and tells the story of Queen Clytemnestra who is married to King Agamemnon. Agamemnon sacrifices their daughter, Iphigenia, on a pyre, as an offering to the gods to assure fair winds to Troy, where the Trojan War rages. Upon Agamemnon's return after 10 years, Clytemnestra kills Agamemnon to avenge the murder of Iphigenia. Clytemnestra is then murdered by her son, Orestes, and the audience experiences Clytemnestra in the afterworld. This ballet was deemed a masterpiece of 20th-century American modernism and was so successful it had a limited engagement showing at the 54th Street Theatre on Broadway, conducted by Robert Irving, voice parts sung by Rosalia Maresca and Ronald Holgate.

Graham collaborated with many composers including Aaron Copland on ''Appalachian Spring'', Louis Horst, Samuel Barber, William Schuman, Carlos Surinach

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