Martha Graham Technique
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Graham technique is a
modern dance Modern dance is a broad genre of western concert dance, concert or theatrical dance which includes dance styles such as ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th ...
movement style and pedagogy created by American dancer and choreographer
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 s ...
(1894–1991). Graham technique has been called the "cornerstone" of American modern dance, and has been taught worldwide. It is widely regarded as the first codified modern dance technique, and strongly influenced the later techniques of
Merce Cunningham Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He frequently collaborated with artists of other discipl ...
,
Lester Horton Lester Iradell Horton (January 23, 1906 – November 2, 1953) was an American dancer, choreographer, and teacher. Early years and education Lester Iradell Horton was born in Indianapolis, Indiana on January 23, 1906. His interest in dance was ...
, and Paul Taylor. Graham technique is based on the opposition between contraction and release, a concept based on the
breathing Breathing (spiration or ventilation) is the rhythmical process of moving air into ( inhalation) and out of ( exhalation) the lungs to facilitate gas exchange with the internal environment, mostly to flush out carbon dioxide and bring in oxy ...
cycle which has become a "trademark" of modern dance forms. Its other dominant principle is the "spiraling" of the torso around the axis of the spine. Graham technique is known for its unique dramatic and expressive qualities and distinctive
floorwork In dance, floorwork refers to movements performed on the floor. Floorwork is used extensively in modern dance, particularly Graham technique, Hawkins technique, and breakdancing. Some dance training practices, notably Floor-Barre, consist entire ...
; dance critic
Anna Kisselgoff Anna Kisselgoff (born 12 January 1938) is a dance critic and cultural news reporter for ''The New York Times''. She began at the ''Times'' as a dance critic and cultural news reporter in 1968, and became its Chief Dance Critic in 1977, a role she h ...
described it as "powerful, dynamic, jagged and filled with tension". The phrase "Graham technique" was registered as a
trademark A trademark (also written trade mark or trade-mark) is a form of intellectual property that consists of a word, phrase, symbol, design, or a combination that identifies a Good (economics and accounting), product or Service (economics), service f ...
before Graham's death, and was the subject of a trademark dispute in the early 2000s.


Characteristics

Graham technique is based on " contraction and release", and uses different parts of the body in opposition to one another to create
spiral In mathematics, a spiral is a curve which emanates from a point, moving further away as it revolves around the point. It is a subtype of whorled patterns, a broad group that also includes concentric objects. Two-dimensional A two-dimension ...
s for dramatic tension. It also incorporates formal exaggerations of "natural" movements.


Contraction and release

The fundamental movement of Graham technique is the cycle between "contraction" and subsequent "release", which developed as a stylized representation of
breathing Breathing (spiration or ventilation) is the rhythmical process of moving air into ( inhalation) and out of ( exhalation) the lungs to facilitate gas exchange with the internal environment, mostly to flush out carbon dioxide and bring in oxy ...
. Along with the "fall and recovery" dualism of
Doris Humphrey Doris Batcheller Humphrey (October 17, 1895 – December 29, 1958) was an American dancer and choreographer of the early twentieth century. Along with her contemporaries Martha Graham and Katherine Dunham, Humphrey was one of the second gen ...
's technique, it is one of the most important concepts in early modern dance. A classic Graham contraction is a movement originating from the deep pelvic muscles. These muscles, along with the
abdominal muscles Abdominal muscles cover the anterior and lateral abdominal region and meet at the anterior midline. These muscles of the anterolateral abdominal wall can be divided into four groups: the external obliques, the internal obliques, the transversus abd ...
, pull the
spine Spine or spinal may refer to: Science Biology * Spinal column, also known as the backbone * Dendritic spine, a small membranous protrusion from a neuron's dendrite * Thorns, spines, and prickles, needle-like structures in plants * Spine (zoology), ...
into a
concave Concave or concavity may refer to: Science and technology * Concave lens * Concave mirror Mathematics * Concave function, the negative of a convex function * Concave polygon A simple polygon that is not convex is called concave, non-convex or ...
arc from the
coccyx The coccyx (: coccyges or coccyxes), commonly referred to as the tailbone, is the final segment of the vertebral column in all apes, and analogous structures in certain other mammals such as horse anatomy, horses. In tailless primates (e.g. hum ...
to the
nape The nape is the back of the neck. In technical anatomical/medical terminology, the nape is also called the nucha (from the Medieval Latin rendering of the Arabic , ). The corresponding adjective is ''nuchal'', as in the term ''nuchal rigidity'' ...
of the neck, with the pelvis tucked and shoulders forward. The spine grows longer, not shorter, in a contraction. The force of the contraction can be used to move the body through space or change its trajectory. The release may be considered a relatively passive return to a "normal" state, or alternatively an equally active outward propulsion of energy. The contraction is associated with the exhale, and the release with the inhale, although this connection may be merely conceptual. The
indexical In semiotics, linguistics, anthropology, and philosophy of language, indexicality is the phenomenon of a '' sign'' pointing to (or ''indexing'') some element in the context in which it occurs. A sign that signifies indexically is called an index o ...
meaning of the contraction in Graham's choreography is generally that the dancer is overcome with emotion, although the details depend on the specific context. Graham's decision to make movement originate from the core rather than
distal Standard anatomical terms of location are used to describe unambiguously the anatomy of humans and other animals. The terms, typically derived from Latin or Greek roots, describe something in its standard anatomical position. This position provi ...
ly echoes the style of Isadora Duncan, but Duncan wrote in My Life (Isadora Duncan autobiography), her autobiography that movement originates in the solar plexus rather than the low abdomen.


Spiraling

The second fundamental concept in Graham technique is the
spiral In mathematics, a spiral is a curve which emanates from a point, moving further away as it revolves around the point. It is a subtype of whorled patterns, a broad group that also includes concentric objects. Two-dimensional A two-dimension ...
. The basic "spiraling" position consists of rotating the spine approximately 45° around its vertical axis, so that a dancer facing the front of the stage would have their shoulders aligned with the "Via Triumphalis", an imaginary line parallel to a corner-to-corner diagonal of the stage. In a "hip spiral", the movement initiates subtly from the hip and builds to maximum tension by pulling the opposing scapula, shoulder blade away from the initiating hip.


Falls

Like other early modern choreographers, Graham used
floorwork In dance, floorwork refers to movements performed on the floor. Floorwork is used extensively in modern dance, particularly Graham technique, Hawkins technique, and breakdancing. Some dance training practices, notably Floor-Barre, consist entire ...
to explore the themes of weight and gravity in new ways; European students were "shocked" when Anna Sokolow introduced them to Graham's "percussive" falling techniques in the 1950s. Graham falls use contractions and manipulate the body's center of gravity, in order to control the timing and direction of a fall. There is a wide range of strictly codified Graham falls, including sitting and traveling falls; falls from elevation; and standing falls, which may be directed forward, backward, to the side, or into a split. In almost all falls, the dancer exerts a strong upward force to counteract the force of gravity and suspend the body in space for artistic effect. Graham falls can be used for dramatic effect, making meaning in a choreographic context from manipulating the balance between actively suspending the body and surrendering to gravity.


Other aspects

Graham technique uses the hands in distinctive ways. They are generally meant to be active and purposeful, not decorative. They are often held in a stylized, cupped position, with the fingers held straight and pulled towards the palm. Arms typically move in response to impetus from the back or shoulders. Arm movements were often left unspecified in Graham's early work, and there is variation between Graham teachers' use of ''port de bras'' (carriage of the arms).


Analysis

Graham technique is designed to make its dancers expressive and dramatic. Its movement vocabulary draws connections between the physical and emotional meanings of "power", "control", and "vulnerability". Movement initiates from the core, incorporating large back movements and floorwork, dancing on the floor. The technique highlights weight and effort; according to Marian Horosko, "the body had to appear to be pushing through a heavy mass, much like the pressure confronted when walking through water." The technique's "earthbound" and "assertive" character initially drew strong criticism. In a "vehement" 1934 review, Lincoln Kirstein wrote: "Her jumps are jolts; her walks, limps and staggers; her runs, blind impulsive gallops; her bends, sways", and called the effect "stark, earth-ridden, gaunt, inward-eyed". In contrast, Graham was strongly promoted by dance critic John Martin (dance critic), John Martin, who helped her to win a popular following. Graham was exceptionally flexible, and many of her technique's exaggerated movements can be difficult or painful to execute.


Relationship to ballet

Graham is considered a "codified technique", like the several schools of classical ballet. There are major differences between Graham and ballet techniques. Graham dancers are trained to highlight their effort and use weight as a dramatic tool, while ballet dancers strive to appear weightless and effortless. Graham technique's use of large torso movements and floorwork represent further breaks from the balletic tradition. Graham explained that, although she respected the advances made in the course of ballet history, "Ballet ... did not say enough, especially when it came to intense drama, to passion." However, her extended collaboration with ballet-trained Erick Hawkins made her technique more balletic over time.


Gender

The technique was originally developed on an all-female company, although the company later included men. Graham sometimes criticized her dancers for failing to initiate from the pelvis, or as she sometimes put it, "move from the vagina"; the connection between Graham technique and the female pelvis led one of Graham's male dancers to develop "vagina envy". The pelvic origin of the contraction contributes to the role of sexuality in Graham technique. Feminism, Feminist dance scholar Dee Reynolds (scholar), Dee Reynolds has argued that, because Graham technique was "so large and forceful, thrusting into and conquering space", it allowed Graham and her early all-female company to "redefine femininity as powerful and autonomous." Reynolds also noted that the idea of "moving from the vagina" is similar to late nineteenth-century ideas about "female hysteria", a supposed sexual disorder sometimes linked to dancing, and Graham's contractions could be seen as reclaiming the female body as an artistic medium.


Influence on modern dance

Graham, along with
Doris Humphrey Doris Batcheller Humphrey (October 17, 1895 – December 29, 1958) was an American dancer and choreographer of the early twentieth century. Along with her contemporaries Martha Graham and Katherine Dunham, Humphrey was one of the second gen ...
, Helen Tamiris, Agnes de Mille, and others, was part of an artistic movement in dance which rejected both the centuries-old tradition of classical ballet and the first-generation rebels of
modern dance Modern dance is a broad genre of western concert dance, concert or theatrical dance which includes dance styles such as ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th ...
, such as those who taught at the Denishawn school where Graham studied. The expressive force of Graham technique had a revolutionary effect on modern dance. Graham is now taught in most university dance programs, and remains the "hallmark" style of contemporary concert dance; its movement vocabulary is familiar to almost all professional contemporary dancers. It strongly influenced several other codified techniques, notably those of
Merce Cunningham Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He frequently collaborated with artists of other discipl ...
,
Lester Horton Lester Iradell Horton (January 23, 1906 – November 2, 1953) was an American dancer, choreographer, and teacher. Early years and education Lester Iradell Horton was born in Indianapolis, Indiana on January 23, 1906. His interest in dance was ...
, and Paul Taylor.


Teaching

Graham developed a daily class for her company, which is still used (with some variations) to teach her technique. The class is organized as follows: *Floor work Students stand to salute the teacher as she or he enters, then work on the floor for thirty to forty minutes. Students begin with "bounces" of the torso in three seated positions, and perform contraction exercises and kneeling combinations. The floor exercises emphasize core strength and stability, explore the articulation of the spine and torso, and start to coordinate the arms, legs and head. *Standing exercises The floorwork exercises transition up to standing combinations, which work the legs, feet, and torso, and train balance and control. *Across the floor These traveling combinations begin with simple walking exercises, and increase in complexity to include jumps and leaping turns. Students traditionally consider this section an opportunity for "real" dancing, in contrast to the other sections' duly executed technical training. *Falls Each fall consists of a contraction and concurrent move from the feet or knees to the back. The falls are meant to demonstrate control of the body at each of the vertical levels previously practiced.


Trademark dispute

Martha Graham founded a school, the Martha Graham Center of Contemporary Dance, which she sold in 1956. After Graham's death, Ron Protas, her sole heir, sued the school for the rights to use Graham's trademarked name and choreography. A federal court awarded the school the rights to the names "Martha Graham" and "Graham technique" in 2001, and the rights to Graham's choreography in 2002.


See also

*Modern dance *Humphrey-Weidman technique *José Limón, Limón technique


External links


Videos

*Excerpts from ''Guidelines in Contemporary Dance Training'', a DVD set produced by Graham dancer Phyllis Gutelius:
Floorwork

Off-center work

Standing work


References


Bibliography

* *Agnes de Mille, De Mille, A. (1991). ''Martha: The Life and Work of Martha Graham''. Vintage. {{dance Dance technique Modern dance Martha Graham Dance education