Martha Graham

Early life

Graham was born in Allegheny City, later to become part of Pittsburgh, Pennsylvania, in 1894. Her father, George Graham, was an "alienist", a practitioner of an early form of psychiatry. The Grahams were 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 Maria, 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.

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. 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.

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:

Retirement and later years

In the years that followed her departure from the stage, Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham's health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote,

It wasn't until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted.

[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. My face was ruined, and people say I looked odd, which I agreed with. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma.

Graham not only survived her hospital stay, but she rallied. In 1972, she quit drinking, returned to her studio, reorganized her company, and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990's Maple Leaf Rag.

Death

Graham choreographed until her death in New York City from pneumonia in 1991, aged 96. Just before she became sick with pneumonia, she finished the final draft of her autobiography, Blood Memory, which was published posthumously in the fall of 1991. She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico.

Influence and legacy

Graham has been sometimes termed the "Picasso of Dance" in that her importance and influence to modern dance can be considered equivalent to what Pablo Picasso was to modern visual arts. Her impact has been also compared to the influence of Stravinsky on music and Frank Lloyd Wright on architecture.

Graham has been said to be the one that brought dance into the 20th century. Due to the work of her assistants, Linda Hodes, Pearl Lang, Diane Gray, Yuriko, and others, much of Graham's work and technique have been preserved. They taped interviews of Graham describing her entire technique and videos of her performances. Glen Tetley told Agnes de Mille, "The wonderful thing about Martha in her good days was her generosity. So many people stole Martha's unique personal vocabulary, consciously or unconsciously, and performed it in concerts. I have never once heard Martha say, 'So-and-so has used my choreography.'" An entire movement was created by her that revolutionized the dance world and created what is known today as modern dance. Now, dancers all over the world study and perform modern dance. Choreographers and professional dancers look to her for inspiration.

Agnes de Mille said:

The greatest thing [Graham] ever said to me was in 1943 after the opening of Oklahoma!, when I suddenly had unexpected, flamboyant success for a work I thought was only fairly good, after years of neglect for work I thought was fine. I was bewildered and worried that my entire scale of values was untrustworthy. I talked to Martha. I remember the conversation well. It was in a Schrafft's restaurant over a soda. I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly: "There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

Martha Graham Dance Company

The Martha Graham Dance Company is the oldest dance company in America, founded in 1926. It has helped develop many famous dancers and choreographers of the 20th and 21st centuries including Erick Hawkins, Anna Sokolow, Merce Cunningham, Lila York, and Paul Taylor. It continues to perform, including at the Saratoga Performing Arts Center in June 2008. The company also performed in 2007 at the Museum of Contemporary Art, Chicago, with a program consisting of: Appalachian Spring, Embattled Garden, Errand into the Maze, and American Original.

Among the dancers who passed through her company in 1978 was the singer Madonna, a few years before she became famous. The singer, who greatly admires Graham, was nicknamed "Madame X" by her, which would be the name of her 14th studio album in 2019.

Early dancers

Graham's original female dancers consisted of Bessie Schonberg, Evelyn Sabin, Martha Hill, Gertrude Shurr, Anna Sokolow, Nelle Fisher, Dorothy Bird, Bonnie Bird, Sophie Maslow, May O'Donnell, Jane Dudley, Anita Alvarez, Pearl Lang, and Marjorie G. Mazia. A second group included Yuriko, Ethel Butler, Ethel Winter, Jean Erdman, Patricia Birch, Nina Fonaroff, Matt Turney, Mary Hinkson. The group of male dancers was made up of Erick Hawkins, Merce Cunningham, David Campbell, John Butler, Robert Cohan, Stuart Hodes, Glen Tetley, Bertram Ross, Paul Taylor, Donald McKayle, Mark Ryder, and William Carter.

Accolades

During her career, Graham was awarded a Guggenheim Fellowship in Choreography three times- one in 1932, one in 1943, and one in 1944.

In 1957, Graham was elected a Fellow of the American Academy of Arts and Sciences. She was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had studied under Graham in her youth). Ford declared her "a national treasure".

Graham was the first recipient of the Samuel H. Scripps/American Dance Festival Award for lifetime achievement in modern dance in 1981, presented by Betty Ford.

In 1984, Graham was awarded the highest French order of merit, the Legion of Honour by then Minister of culture Jack Lang.

Graham was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987.

In 1990, the Council of Fashion Designers of America awarded Graham with the Geoffrey Beene Lifetime Achievement Award.

In 1998, Graham was posthumously named "Dancer of the Century" by Time magazine, and one of the female "Icons of the Century" by People.

In 2015, she was posthumously inducted into the National Women's Hall of Fame.

On May 11, 2020, on what would have been Graham's 126th birthday, the New York Public Library for the Performing Arts announced it had acquired Graham's archives for its Jerome Robbins Dance Division. The archive consists mainly of paper-based material, photographs and films, including rare footage of Graham dancing in works such as "Appalachian Spring" and "Hérodiade"; her script for "Night Journey"; and her handwritten notes for "American Document".

Choreography

This excerpt from John Martin's reviews in The New York Times provides insight on Graham's choreographic style. "Frequently the vividness and intensity of her purpose are so potent that on the rise of the curtain they strike like a blow, and in that moment one must decide whether he is for or against her. She boils down her moods and movements until they are devoid of all extraneous substances and are concentrated to the highest degree." Graham created 181 ballets.