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Martha Graham

From Wikipedia, the free encyclopedia
American dancer and choreographer (1894–1991)

Martha Graham
Graham in 1948
Born(1894-05-11)May 11, 1894
DiedApril 1, 1991(1991-04-01) (aged 96)
Known forDance and choreography
MovementModern dance
Spouse
AwardsKennedy Center Honors (1979)
Presidential Medal of Freedom (1976)
National Medal of Arts (1985)

Martha Graham (May 11, 1894 – April 1, 1991)[1] was an American modern dancer, teacher and choreographer responsible for creating theGraham technique.[2]

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

Early life

[edit]

Graham was born inAllegheny City, later to become part ofPittsburgh, Pennsylvania, in 1894. Her father, George Graham, was an "alienist", a practitioner of an early form ofpsychiatry.[3] The Grahams werePresbyterians. 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[4] ofMyles Standish.[5][6] While her parents provided a comfortable environment in her youth, it was not one that encouraged dancing.[7]

The Graham family moved toSanta Maria, California, when Martha was fourteen years old.[8] In 1911, she attended the first dance performance of her life, watchingRuth St. Denis perform at theMason Opera House in Los Angeles.[9] In the mid-1910s, Martha Graham began her studies at the newly createdDenishawn School of Dancing and Related Arts, founded by Ruth St. Denis andTed Shawn,[10] at which she would stay until 1923. In 1922, Graham performed one of Shawn's Egyptian dances withLillian Powell in a short silent film byHugo Riesenfeld that attempted to synchronize a dance routine on film with a live orchestra and an onscreen conductor.[11]

Career

[edit]

Graham left the Denishawn establishment in 1923 in order to become a featured dancer in theGreenwich Village Follies revue for two years.

In 1925, Graham was employed at theEastman School of Music whereRouben Mamoulian was head of the School of Drama. Among other performances, together Mamoulian and Graham produced a shorttwo-color film calledThe 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.[citation needed]

In 1926, theMartha Graham Center of Contemporary Dance was established, in a small studio on theUpper East Side of New York City. On April 18 of the same year[10] Graham debuted her first independent concert, consisting of 18 short solos and trios that she had choreographed. This performance took place at the48th Street Theatre inManhattan. She would later say of the concert: "Everything I did was influenced byDenishawn."[12] On November 28, 1926, Graham and others in her company gave a dance recital at theKlaw Theatre in New York City. Around the same time she entered an extended collaboration with Japanese-Americanpictorialist photographerSoichi Sunami.[13] Graham was on the faculty ofNeighborhood Playhouse School of the Theatre when it opened in 1928.[14]

One of Graham's students was heiressBethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established theBatsheva Dance Company in 1965, Graham became the company's first director.[15]

Graham's technique pioneered a principle known as "contraction and release" in modern dance, which was derived from a stylized conception of breathing.[16]

In conjunction with the1936 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.[17] AlthoughJoseph 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 andAdolf 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.[18]

Goebbels himself wrote her a letter assuring her that her Jewish dancers would "receive complete immunity". Graham nevertheless rejected the invitation.[19]

Stimulated by the occurrences of the 1936 Olympic Games, and the propaganda that she heard through the radio from theAxis powers, Graham createdAmerican 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 theU.S. Declaration of Independence, Lincoln'sGettysburg Address, and theEmancipation 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".[20]

In 1938, theRoosevelt family invited Graham to dance at theWhite House, making her the first dancer to perform there.[21] In the same year,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 ofNight Journey.[22] He left her troupe in 1951 and they divorced in 1954.

On April 1, 1958, theMartha Graham Dance Company premiered the balletClytemnestra, which would become a success.[23] With a score by Egyptian-born composerHalim 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.[24] The ballet tells the story of QueenClytemnestra, who is married to KingAgamemnon. Agamemnon sacrifices their daughterIphigenia on a pyre, as an offering to the gods to assure fair winds to Troy, where theTrojan 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. The ballet had a limited engagement showing at the54th Street Theatre onBroadway, conducted byRobert Irving, voice parts sung by Rosalia Maresca andRonald Holgate.[25]

Graham collaborated with many composers includingAaron Copland onAppalachian Spring,Louis Horst,Samuel Barber,William Schuman,Carlos Surinach,Norman Dello Joio, andGian Carlo Menotti.[26] Graham's mother died in Santa Barbara in 1958. Her oldest friend and musical collaborator Louis Horst died in 1964. She said of Horst: "His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost."[27]

Graham resisted requests for her dances to be recorded because she believed that stage performances should only be experienced live.[28] There were a few notable exceptions. For example, in addition to her collaboration withSunami in the 1920s, she also worked on a limited basis with still photographersImogen Cunningham in the 1930s, andBarbara Morgan in the 1940s. Graham consideredPhilippe Halsman's photographs ofDark Meadow the most complete photographic record of any of her dances. Halsman also photographed in the 1940sLetter to the World,Cave of the Heart,Night Journey andEvery Soul is a Circus. In later years her opinion changed. In 1952 Graham allowed taping of her meeting and cultural exchange with famed deaf-blind author, activist and lecturerHelen Keller, who, after a visit to one of Graham's company rehearsals became a close friend and supporter. Graham was inspired by Keller's joy from and interpretation of dance, utilizing her body to feel the vibration of drums and of feet and movement moving the air around her.[29]

Martha Graham withBertram Ross (1961)

In her biographyMartha,Agnes de Mille cites Graham's last performance as having occurred on the evening of May 25, 1968, inTime of Snow. But inA Dancer's Life, biographerRussell Freedman lists the year of Graham's final performance as 1969. In her 1991 autobiography,Blood Memory, Graham herself lists her final performance as her 1970 appearance inCortege of Eagles when she was 76 years old. Graham's choreographies span 181 compositions.[30]

Retirement and later years

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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. InBlood 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 hellDante 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.[31]

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'sMaple Leaf Rag.

Death

[edit]

Graham choreographed until her death in New York City frompneumonia in 1991, aged 96.[32] 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.[33] She was cremated, and her ashes were spread over theSangre de Cristo Mountains in northernNew Mexico.

Influence and legacy

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Graham has been sometimes termed the "Picasso of Dance" in that her importance and influence to modern dance can be considered equivalent to whatPablo Picasso was to modern visual arts.[34][35] Her impact has been also compared to the influence ofStravinsky on music andFrank Lloyd Wright on architecture.[36]

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.[37]Glen Tetley toldAgnes 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.'"[38] 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.[39]

Agnes de Mille said:

The greatest thing [Graham] ever said to me was in 1943 after the opening ofOklahoma!, 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 aSchrafft'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."[40]

To celebrate what would have been her 117th birthday on May 11, 2011,Google's logo for one day was turned into one dedicated to Graham's life and legacy.[41]

In 2013, the dance films by her were selected for preservation in theNational Film Registry by the registry's owner, theLibrary of Congress.

In 2019Time created 89 new covers to celebrate women of the year starting from 1920; it chose Graham for 1930.[42]

In 2021 actressMary Beth Peil portrayed Graham in theNetflix seriesHalston.[43]

Martha Graham Dance Company

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See also:Martha Graham Center of Contemporary Dance

TheMartha Graham Dance Company is the oldest dance company in America,[44] founded in 1926. It has helped develop many famous dancers and choreographers of the 20th and 21st centuries includingErick Hawkins,Anna Sokolow,Merce Cunningham,Lila York, andPaul Taylor. It continues to perform, including at theSaratoga Performing Arts Center in June 2008. The company also performed in 2007 at theMuseum of Contemporary Art, Chicago, with a program consisting of:Appalachian Spring,Embattled Garden,Errand into the Maze, andAmerican Original.[45][46]

Among the dancers who passed through her company in 1978 was the singerMadonna, 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 her14th studio album in 2019.[47]

Early dancers

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Graham's original female dancers consisted ofBessie 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, andMarjorie G. Mazia. A second group includedYuriko, Ethel Butler,Ethel Winter,Jean Erdman,Patricia Birch,Nina Fonaroff,Matt Turney,Mary Hinkson. The group of men dancers was made up ofErick Hawkins,Merce Cunningham, David Campbell, John Butler,Robert Cohan,Stuart Hodes,Glen Tetley,Bertram Ross,Paul Taylor, Donald McKayle, Mark Ryder, and William Carter.[48]

Accolades

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PresidentGerald Ford awarding the Presidential Medal of Freedom with Distinction to Martha Graham, 1976

During her career, Graham was awarded aGuggenheim Fellowship in Choreography three times- one in 1932,[49] one in 1943, and one in 1944.[50]

In 1957, Graham was elected a Fellow of theAmerican Academy of Arts and Sciences.[51] She was awarded thePresidential Medal of Freedom in 1976 by PresidentGerald Ford (theFirst LadyBetty Ford had studied under Graham in her youth). Ford declared her "a national treasure".[52]

Graham was the first recipient of theSamuel H. Scripps/American Dance Festival Award forlifetime achievement in modern dance in 1981, presented by Betty Ford.[53][54]

In 1984, Graham was awarded the highest Frenchorder of merit, theLegion of Honour by then Minister of cultureJack Lang.[55]

Graham was inducted into theNational Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987.[56]

In 1990, theCouncil of Fashion Designers of America awarded Graham with theGeoffrey Beene Lifetime Achievement Award.[57]

In 1998, Graham was posthumously named "Dancer of the Century" byTime magazine,[2] and one of the female "Icons of the Century" byPeople.[58]

In 2015, she was posthumously inducted into theNational Women's Hall of Fame.[59]

On May 11, 2020, on what would have been Graham's 126th birthday, theNew 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".[60]

Choreography

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This excerpt fromJohn Martin's reviews inThe 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."[61] Graham created 181 ballets.

See also:Category:Ballets by Martha Graham
YearPerformanceMusicNotes
1926ChoraleCésar Franck
1926NoveletteRobert Schumann
1927LugubreAlexander Scriabin
1927RevoltArthur Honegger
1927FragilitéAlexander Scriabin
1927ScherzaRobert Schumann
1929Figure of a SaintGeorge Frideric Handel
1929ResurrectionTibor Harsányi
1929AdolescencePaul Hindemith
1929DanzaDarius Milhaud
1929Vision of the ApocalypseHermann Reutter
1929InsinceritiesSergei Prokofiev
1929Moment RusticaFrancis Poulenc
1929Hereticfrom folkloreOldBreton song,Tetus Breton, as arranged by Charles de Sivry; added to the United StatesNational Film Registry in 2013 along with three other Martha Graham dance films[62]
1930LamentationZoltán KodálySets by Isamu Noguchi; added to the United StatesNational Film Registry in 2013 along with three other Martha Graham dance films[62]
1930HarlequinadeErnst TochCostumes by Graham
1931Primitive MysteriesLouis Horst
1931BacchanaleWallingford Riegger
1931DolorosaHeitor Villa-Lobos
1933Romeo and JulietPaul NordoffDance sequences for aKatharine Cornell production
1934Dance in Four PartsGeorge Antheil
1934CelebrationLouis HorstCostumes by Martha Graham
1935PraeludiumPaul NordoffCostumes by Graham (1935), by Edythe Gilfond (1938)
1935FrontierLouis HorstSets byIsamu Noguchi; added to the United StatesNational Film Registry in 2013 along with three other Martha Graham dance films[62]
1935CourseGeorge Antheil
1936Steps in the StreetWallingford RieggerPart ofChronicle
1936ChronicleWallingford RieggerLighting byJean Rosenthal
1936HorizonsLouis HorstSets byAlexander Calder
1936SalutationLehman Engel
1937Deep SongHenry Cowell
1937Opening DanceNorman Lloyd
1937Immediate TragedyHenry Cowell
1937American LyricAlex NorthCostumes by Edythe Gilfond
1938American DocumentRay GreenSets by Arch Lauterer, costumes by Edythe Gilfond
1939ColumbiadLouis HorstSets by Philip Stapp, costumes by Edythe Gilfond
1939Every Soul is a CircusPaul NordoffSets by Philip Stapp, costumes by Edythe Gilfond
1940El PenitenteLouis HorstOriginal sets by Arch Lauterer, costumes by Edythe Gilfond, sets later redesigned by Isamu Noguchi
1940Letter to the WorldHunter JohnsonSets by Arch Lauterer, costumes by Edythe Gilfond
1941Punch and the JudyRobert McBrideSets by Arch Lauterer, costumes by Charlotte Trowbridge, text byEdward Gordon Craig
1942Land Be BrightArthur KreutzSets and costumes by Charlotte Trowbridge
1943Deaths and EntrancesHunter JohnsonSets by Arch Lauterer, costumes by Edythe Gilfond (1943) and byOscar de la Renta (2005)
1943Salem ShorePaul NordoffSets by Arch Lauterer, costumes by Edythe Gilfond
1944Appalachian SpringAaron CoplandSets by Isamu Noguchi; added to the United StatesNational Film Registry in 2013 along with three other Martha Graham dance films[62]
1944Imagined WingDarius MilhaudSets by Isamu Noguchi, costumes by Edythe Gilfond
1944HérodiadePaul HindemithSets by Isamu Noguchi
1946Dark MeadowCarlos ChávezSets by Isamu Noguchi, costumes by Edythe Gilfond, and lighting by Jean Rosenthal.
1946Cave of the HeartSamuel BarberSets by Isamu Noguchi, costumes by Edythe Gilfond, and lighting by Jean Rosenthal.
1947Errand into the MazeGian Carlo MenottiSets by Isamu Noguchi, lighting by Jean Rosenthal
1947Night JourneyWilliam SchumanSets by Isamu Noguchi
1948Diversion of AngelsNorman Dello JoioSets by Isamu Noguchi (eliminated after the first performance)
1950JudithWilliam SchumanSets by Isamu Noguchi, lighting by Jean Rosenthal
1951The Triumph of St. JoanNorman Dello Joio
1952Canticle for Innocent ComediansThomas Ribbink
1954Ardent SongAlan Hovhaness
1955Seraphic DialogueNorman Dello JoioSets by Isamu Noguchi
1958ClytemnestraHalim El-DabhSets by Isamu Noguchi, costumes by Graham and Helen McGehee
1958Embattled GardenCarlos SurinachSets by Isamu Noguchi
1959EpisodesAnton WebernCommissioned byNew York City Ballet
1960Acrobats of GodCarlos Surinach
1960AlcestisVivian Fine
1961Visionary RecitalRobert StarerRevised asSamson Agonistes in 1962
1961One More Gaudy NightHalim El-Dabh
1962PhaedraRobert StarerSets by Isamu Noguchi
1962A Look at LightningHalim El-Dabh
1962Secular GamesRobert Starer
1962Legend of Judith[63]Mordecai Seter
1963CirceAlan HovhanessSets by Isamu Noguchi
1965The Witch of EndorWilliam Schuman
1967Cortege of EaglesEugene LesterSets by Isamu Noguchi
1968A Time of SnowNorman Dello Joio
1968Plain of PrayerEugene Lester
1968The Lady of the House of SleepRobert Starer
1969The Archaic HoursEugene Lester
1973Mendicants of EveningDavid G. WalkerRevised asChronique in 1974
1973Myth of a VoyageAlan Hovhaness
1974Holy JungleRobert Starer
1974Jacob's DreamMordecai Seter
1975LuciferHalim El-Dabh
1975AdorationsMateo Albéniz
Domenico Cimarosa
John Dowland
Girolamo Frescobaldi
1975Point of CrossingMordecai Seter
1975The Scarlet LetterHunter Johnson
1977O Thou Desire Who Art About to SingMeyer Kupferman
1977ShadowsGian Carlo Menotti
1978The Owl and the PussycatCarlos Surinach
1978EcuatorialEdgard Varèse
1978Flute of PanTraditional music.
1978 or 1979FrescoesSamuel Barber
1979EpisodesAnton Webernreconstructed and reworked
1980JudithEdgard Varèse
1981Acts of LightCarl NielsenCostumes byHalston
1982Dances of the Golden HallAndrzej Panufnik
1982Andromanche's LamentSamuel Barber
1983Phaedra's DreamGeorge Crumb
1984The Rite of SpringIgor Stravinsky
1985SongRomanianfolk musicplayed on thepan flute byGheorghe Zamfir withMarcel Cellier on the organ
1986Temptations of the MoonBéla Bartók
1986Tangled NightKlaus Egge
1987PerséphoneIgor StravinskyCostumes byHalston[64]
1988Night ChantR. Carlos NakaiSet by Isamu Noguchi
1989American Document (new version)John CoriglianoGuest Artist M.Baryshinikov
1990Maple Leaf RagScott Joplincostumes byCalvin Klein, lighting by David Finley
1991The Eyes of the Goddess (unfinished)Carlos SurinachSets byMarisol

See also

[edit]

Citations

[edit]
  1. ^"Martha Graham | Biography, Dance, Technique, Company, & Facts".Encyclopædia Britannica. October 2, 2023. RetrievedOctober 22, 2023.
  2. ^ab"TIME 100: Martha Graham".Time. August 6, 1998. Archived fromthe original on July 6, 2011.
  3. ^https://sites.pitt.edu/~gillis/dance/martha.html
  4. ^Nurturing Creativity in the Classroom – An Exploration of Consensus Across Theory and Practice, Karen Hosack Janes, Critical Publishing Ltd, 2022, p. 31, quoting Creating Minds: An Anatomy of Creativity seen through the lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi, Howard Gardner, 1993 (rep. 2011), p. 250
  5. ^Gibbs, Angelica (December 19, 1947)."Martha Graham's Mode of Dance".The New Yorker.
  6. ^Jowitt, Deborah (2012)."Martha Graham (1894–1991)"(PDF).Dance Heritage Coalition. Archived fromthe original(PDF) on August 3, 2020. RetrievedApril 13, 2020.
  7. ^Freedman 1998, p. 12.
  8. ^Freedman 1998, p. 20.
  9. ^Freedman 1998, p. 21.
  10. ^abBryant Pratt 1994, p. [page needed]
  11. ^"Music Films",Standard-Examiner (Ogden, Utah), May 21, 1922, p. 5
  12. ^Mansfield Soares 1992, p. 56.
  13. ^"from Kathy Muir". Seattle Camera Club. Archived fromthe original on March 4, 2016. RetrievedOctober 4, 2015.
  14. ^Fishgall, Gary (2002).Gregory Peck: A Biography. New York: Scribner. pp. 55–56.ISBN 0-684-85290-X.OCLC 48952197.
  15. ^"Batsheva Dance Company: About".batsheva.co.il. RetrievedJune 12, 2022.
  16. ^Debra Craine; Judith Mackrell (August 19, 2010).The Oxford Dictionary of Dance. Oxford University Press. pp. 196.ISBN 978-0-19-956344-9.
  17. ^Art Competitions at the 1936 Summer Olympics.
  18. ^Hanley 2004, p. 136.
  19. ^Hanley 2004, p. 137.
  20. ^Plotkin, Leah. June 23, 1938. "Exploring the Seven Arts", p. 17.[full citation needed]
  21. ^Martha Graham Timeline: 1894–1949, The Library of Congress.
  22. ^Franko 2012, p. 139.
  23. ^Martha Graham: A special issue of the journalChoreography and Dance, by Alice Helpern[full citation needed].
  24. ^LaMothe, Kimerer L.Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of. p. 203.
  25. ^"Dance:Clytemnestra; Martha Graham Work Offered by Her and Company at Broadway Theatre" byJohn Martin,p. 23,The New York Times, March 9, 1962
  26. ^Marthagraham.org.Archived January 10, 2010, at theWayback Machine.
  27. ^Freedman 1998, p. 134.
  28. ^Klenke, Karin (2011).Women in Leadership: Contextual Dynamics and Boundaries. Bingley: Emerald. p. 208.ISBN 9780857245618.
  29. ^Hello Goodbye Hello: A Circle of 101 Remarkable Meetings.[full citation needed]
  30. ^Martha Graham Dance Company – History.Archived April 13, 2012, at theWayback Machine.
  31. ^Graham 1991, p. 237.
  32. ^Kisselgoff, Anna (April 2, 1991)."Martha Graham Dies at 96; A Revolutionary in Dance".The New York Times.
  33. ^Susan Ware (1998).Letter to the World: Seven Women who Shaped the American Century. W.W. Norton.ISBN 978-0-393-04652-6.
  34. ^Bondi (1995) p. 74 quote: "Picasso of Dance ... Martha Graham was to modern dance what Pablo Picasso was to modern art."
  35. ^de Mille 1991, p. vii"Her achievement is equivalent to Picasso's," I said to Mark Ryder, a pupil and company member of Graham's, "I'm not sure I will accept him as deserving to be in her class."
  36. ^"Martha Graham: About the Dancer".American Masters. NPR. September 16, 2005.Archived from the original on October 10, 2013.
  37. ^de Mille 1991, p. 409.
  38. ^de Mille 1991, pp. 409–410.
  39. ^Newman 1998, p. [page needed].
  40. ^de Mille 1991, p. 264.
  41. ^"Google Doodle Celebrates Martha Graham and Dynamic Web". PC World. May 11, 2011. Archived fromthe original on July 2, 2013. RetrievedMay 11, 2011.
  42. ^"100 Women of the Year".Time. March 5, 2020.Archived from the original on December 23, 2022. RetrievedMarch 21, 2021.
  43. ^Maureen Lee Lenker (May 14, 2021)."See the cast of Halston and their real-life counterparts".Entertainment Weekly.
  44. ^"Martha's back! Famed dance company in residence during June."Archived October 10, 2012, at theWayback MachineScope Online. Skidmore College
  45. ^"Martha Graham Dance Company". Museum of Contemporary Art, Chicago. Archived fromthe original on September 19, 2011. RetrievedAugust 8, 2011.
  46. ^Darnell, Tracie (April 17, 2007)."Martha Graham Dance Company returns to Chicago for long-awaited performance at MCA".Medill. Archived fromthe original on October 12, 2013. RetrievedAugust 8, 2011.
  47. ^Winship, Lyndsey (October 6, 2025)."'A certain bite': how Martha Graham pushed dance in dazzling new directions".The Guardian.ISSN 0261-3077. RetrievedJanuary 9, 2026.
  48. ^de Mille 1991, p. 417.
  49. ^TIME (March 21, 1932)."Education: Guggenheim Fellowships".TIME. RetrievedSeptember 4, 2024.
  50. ^"Martha Graham – John Simon Guggenheim Memorial Foundation…". RetrievedSeptember 4, 2024.
  51. ^"Book of Members, 1780–2010: Chapter G"(PDF). American Academy of Arts and Sciences. RetrievedJuly 29, 2014.
  52. ^Freedman 1998, p. 142.
  53. ^"Martha Graham to Receive $25,000 Life's-Work Award".The New York Times. June 15, 1981.ISSN 0362-4331. RetrievedJune 12, 2023.
  54. ^"About ADF".American Dance Festival. RetrievedOctober 7, 2024.
  55. ^Dionne, E.J. (January 26, 1984)."PARIS CHEERS MARTHA GRAHAM".The New York Times. RetrievedOctober 7, 2024.
  56. ^Cross, Mary (ed.).One Hundred People who Changed 20th-century America. p. 156.
  57. ^"Geoffrey Beene Lifetime Achievement Award". Geoffrey Beene. Archived fromthe original on October 20, 2017. RetrievedOctober 7, 2024.
  58. ^Women in Leadership: Contextual Dynamics and Boundaries, By Karin Klenke
  59. ^"10 women honored at Hall of Fame induction". Democratandchronicle.com. RetrievedOctober 4, 2015.
  60. ^Gia Kourlas,"For the Public Library, Martha Graham Is the Missing Link,"The New York Times, May 11, 2020.
  61. ^Armitage, p. 9.[incomplete short citation]
  62. ^abcd"2013 additions to National Film Registry" (8/29),CBS News.
  63. ^"Moving force",HaaretzArchived February 25, 2012, at theWayback Machine
  64. ^Kisselgoff, Anna (October 15, 1987)."Ballet: Graham'sPersephone".The New York Times. p. C23.

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