Martha Graham's Creative Approach to Dance
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In the world of dance, Martha GrahamĘs influence as an artist has been substantial and monumental. She has been compared to Stravinksi, Picasso and Shakespeare due to the high standard of innovation with which she extended the vocabulary of artistic expression. Her creative approach to an art form that had been narrowly defined by a rigidly codified classical tradition initiated and inspired a revolution in the world of dance. Numerous writers have offered insight into GrahamĘs life, art, and influence. An interesting and valuable volume in this substantial body of literature is Ernestine StodelleĘs Deep Song: The dance story of Martha Graham. Stodelle was a friend of Graham and a talented dancer in her own right. As such, she was able to provide not only an interesting retelling of the significant events in the great artistĘs life and artistic career, but also vivid descriptions of GrahamĘs creations as seen through the eyes of a fellow dancer, and re-created through the fluid prose of a talented writer. The events of GrahamĘs life are well known. She was born on May 11 1894, in the industrial town of Allegheny, Pennsylvania. While Allegheny had little to offer in terms of artistic inspiration, Graham managed to retain and develop her childhood sense of fascination and curiosity. When Graham was 14, the family moved to Santa Barbara, California. The sunny, multicultural atmosphere of Santa Barbara was a source of delight for young Graham.
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w Roman ¦ - - - - so on - but their devotion to her esthetic vision and her own force of conviction insured that they would always give as much as she asked. The result was a body of work with a breadth and depth equal to that of any of the creative geniuses with whom she has been compared.
One of GrahamĘs early masterpieces was Heretic. It was a timely and telling composition that expressed the eternal struggle of the individual against the confines of rigid orthodoxy. The dance begins with a lone woman in white, played by Graham with her back to the audience, facing two rows of six dancers, dressed in the black robes of Puritanism. As the music - Old Breton Song - begins, the woman advances defiantly toward the group. The lines immediately shift to block the womanĘs passage through the group. A heated dialogue ensues in which both parties stubbornly refuse to compromise. Then the music stops.
In the silence, the group returns to its original position. When the music resumes, the woman advances with greater intensity in an attempt to pass through the group. They shift into a new configuration and, with a considerable struggle, successfully block the womanĘs advance. Again the music stops while
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Approximate Word count = 1344
Approximate Pages = 5 (250 words per page)
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