Martha Graham (May 11, 1894 –April 1, 1991) is considered the mother of modern dance. She created the only fully codified modern dance technique, choreographed over 150 works during her lifetime, and has had a remarkable impact on the entire field of modern dance. Her technique's deviation from classical ballet and use of specific body movements such as the contraction, release, and spiral have had profound influence on the development of modern dance.
The Contraction
The contraction serves as the foundation of Graham technique. Graham developed the idea from observing the physical manifestation of grief in the body. It is one of the fundamental characteristics of her choreography and as such, most of Graham exercises were created with the contraction in mind. While Graham was the creator of the contraction, the move has become a staple of modern dance and has been used, altered, and redefined by many subsequent choreographers.
A Graham contraction begins from the pelvis and travels up the spine, lengthening the space between each vertebra, up to the neck and head, which remain in line with the spine. Each contraction is accompanied with an exhalation of breath. To the inexperienced eye, a contraction may look like a sucking in of the gut or a hunching over of the torso. However, any change in the rib cage, shoulders, or neck, is a result of the building of the contraction from the pelvis and occurs automatically when it has been performed correctly.
The Release
The release is the counter to the contraction. It occurs on the inhalation of breath. A release also begins from the pelvis and travels up the spine to return the torso to a neutral, straight position.
A second type of release, called the high release occurs when a dancer opens their breastbone to the sky and seems to rest their torso on an invisible shelf beneath the shoulder blades. The rib cage maintains alignment over the hips with no break in the lower back. The head remains in line with the spine.
The Spiral
A twisting of the torso around the spine, or spiral, is another fundamental part of Graham technique. Like the contraction, the spiral begins in the pelvis and travels up the spine to the neck and head, although the head always stays in line with the spine. The changes in the torso take places as a cause and effect process as the spiral moves up from the pelvis. The lower spine must move before the shoulders which move before the neck, etc. As the dancer releases from the spiral and returns to a neutral position, the movement, again, originates from the pelvis and travels upwards.
A Typical Graham Technique Class
All Graham classes spend approximately 30-45 minutes performing exercises on the floor at the beginning of class. Much like a ballet technique class, there is a progression of specific exercises, each which can be altered to fit the ability level of the class. The floor work is especially focused on the use of the contraction/release and the spiral.
The middle of class is spent on center work with a set of standard exercises to warm up the legs and feet and to get the dancers moving. The rest of the class is spent applying the concepts learned in the beginning of class to combinations that move across the floor. Choreography from Graham dances may sometimes be used during this portion of the class to demonstrate the intersection of technique with repertory.
Famous students and members of Graham's Company include Paul Taylor, Merce Cunningham,Erick Hawkins, Bertram Ross, and Pearl Lang, among others. Graham's works are still performed today by the Martha Graham Dance Company and the Martha Graham Ensemble. Students interested in learning Graham technique today can take class at the Martha Graham School of Contemporary Dance in New York City.
Sources
- de Mille, Agnes. Martha. New York: Random House, 1991
- Graham, Martha. Blood Memory. New York: Doubleday, 1991.
 |
