It also showed how the company is now looking ahead, with some very appealing new choreography from contemporary dance-makers. Elbows sharply angled, hands to their hips and necks, heads turned as if looking over their shoulders, a congregation of black-clad women step very deliberately back onto the stage from both sides before slowly coming together against Leslie Andrea Williams, who stands apart. Freer sections to brighter music contrast starkly with sharper dance to more threatening accompaniment. Time and again she puts her hands out, palms raised as if to stop or ward off someone or something, and beats her thighs as if in despair.
Early life[ edit ] Graham was born in Allegheny City — later to become part of PittsburghPennsylvania — in Her father, George Graham, practiced as what in the Victorian era Martha graham s chronicle known as an "alienist", a practitioner of an early form of psychiatry.
The Grahams were strict Presbyterians. Graham was a third-generation American of Irish descent. Denis and Ted Shawn at which she would stay until 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.
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.
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: Around the same time she entered an extended collaboration with Japanese-American pictorialist photographer Soichi Sunamiand over the next five years they together created some of the most iconic images of early modern dance.
The desire to highlight a more base aspect of human movement led Graham to create the "contraction and release", for which she would become known for.
Each movement could separately be used to express either positive or negative, freeing or constricting emotions depending on the placement of the head.
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[ edit ] Following her first concert made up of solos, Graham created Hereticthe 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 around 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. 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.
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.
InGraham created Chronicle which brought serious issues to the stage in a dramatic manner. Influenced by the Wall Street Crash ofthe Great Depression that followed, and the Spanish Civil Warthe dance focused on depression and isolation, reflected in the dark nature of both the set and costumes.
On April 1,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. Graham choreographed and danced the title role, spending almost the entire duration of the performance on the stage.
Within the ballet, Clytemnestra has an affair with Aegisthuswhile her husband is away battling at the Trojan War.The women who hit the streets for voting rights in forged a path still followed by the Women’s March today.
That year history is celebrated by the Martha Graham Dance Company with a program choreographed by women, featuring female protagonists, and including “Chronicle,” Graham’s unforgettable anti-war masterpiece.
A magical evocation of Graham as an artist by Robert Wilson, and a dance/theater piece in twelve sections which uses abstract forms and movements to recall the American images that gave meaning to Martha’s work and her life: elements from Shaker life, and the deserts of the American southwest, the designs and myths of its aboriginal inhabitants.
Martha Graham's Chronicle speaks against the rise of fascism, but it also reveals a universal message. Everyone should fight for causes. On September 30 at New York City Center, The Martha Graham Dance Company's performance of Graham's masterwork concluded the second program of the Fall for Dance Festival.
Chronicle premiered at the Guild Theater in New York City on December 20, The dance was a response to the menace of fascism in Europe; earlier that year, Graham had refused an invitation to take part in the Olympic Games in Germany, stating: “I would find it impossible to dance in Germany at the present time.
The Company’s repertory includes Graham classics as well as new works by today’s top choreographers. Martha Graham.
Every Soul is a Circus Performed separately or as the center section of Graham’s Chronicle.
Music: Wallingford Reigger Costumes: Martha Graham. Chronicle is a modern dance work choreographed by Martha Graham to music by Wallingford Riegger. It premiered on December 20, , at the Guild Theatre in New York City.