Martha Graham. The name might ring a bell, perhaps associated with something vaguely “artsy” or “modern dance.” But to truly understand Martha Graham is to encounter a seismic force in American art, an innovator whose impact reverberates through dance, theater, and even popular culture today. Comparing her influence to giants like Stravinsky and Picasso might seem hyperbolic, yet those who understand her legacy insist it’s not. She was a woman who challenged Hitler, befriended Helen Keller, and even taught Woody Allen – but the true depth of her genius often remains untold.
For many, “modern dance” conjures images of abstract movements and inaccessible performances. But peel back the layers, and you discover that Martha Graham wasn’t just creating steps; she was forging a new language of movement, one that spoke directly to the human condition. She wasn’t interested in escapist fantasies of swans and royalty. Graham sought to expose the raw, unfiltered emotions, the “inner landscape” of human experience – the joy, the pain, the struggle, and the ecstasy. And in doing so, she birthed a dance vocabulary that remains profoundly relevant and powerfully resonant, making her a Brand New Dance Genius for every generation that discovers her work.
To truly grasp Graham’s enduring impact, we need to delve into her world. Fortunately, Janet Eilber, the Artistic Director of the Martha Graham Dance Company and a former dancer with Graham herself, offers invaluable insights. As Eilber eloquently explains, Graham was a pioneer of 20th-century American dance, a leading figure in the modernist movement alongside luminaries in other fields. “When you think of other leaders of the modernist movement, what America was reaching for in those days, the greats of American jazz emerged,” Eilber notes. “Gershwin and Copland were creating an American sound in music. Hemingway and Faulkner, an American narrative in fiction. Frank Lloyd Wright and Georgia O’Keeffe. What all of those geniuses were doing in their field, Martha Graham was doing for dance.”
Martha Graham’s iconic “Lamentation” showcases the raw emotional power and innovative movement vocabulary that cemented her status as a dance genius.
Her creations, masterpieces like Appalachian Spring, Cave of the Heart, and Night Journey, are not mere dances; they are “milestones in American art,” as Eilber aptly describes them. Yet, the ephemeral nature of dance presents a unique challenge. Unlike a Picasso painting hanging permanently in a museum, dance lives in performance, in the fleeting moments on stage. This is why, as Eilber emphasizes, preserving and promoting Graham’s legacy is so crucial – ensuring these “incredible masterpieces live today and are available to future generations.”
The Revolutionary Graham Technique: Dance from the Core
What exactly made Martha Graham so revolutionary? It boils down to her groundbreaking technique, a style of movement that was unlike anything seen before. In the 1920s, Graham felt deeply dissatisfied with the prevailing dance scene, which she saw as “escapist, decorative,” focused on “imaginary gods and goddesses or swans or flowers or royalty.” It lacked substance, failing to reflect the realities of American life and the complexities of the human spirit.
Graham sought to create a dance form that would “reveal…the inner landscape.” She meticulously studied human movement, observing how emotions manifest physically – how the body reacts to unhappiness, misery, or ecstasy. From this observation, she developed her signature “contraction and release” technique. The contraction, Eilber explains, is “an exhaling of the breath and the folding of your torso,” embodying feelings of inwardness and pain. The release, conversely, is “a big inhale, an explosion of energy,” with limbs extending outward, representing liberation and expansiveness.
This technique, driven by the torso – the core of the body – is intensely emotional and physically demanding. It’s a technique that grounds dancers, connecting them to the earth rather than striving for an ethereal, anti-gravity lightness like classical ballet. “Martha’s technique is quite the opposite,” Eilber clarifies when contrasting Graham with ballet. “She wants you to feel the earth, to leverage against the earth, to feel the reality of the weight of your own body moving through space. It’s a very gutsy, athletic technique, very recognizable… Graham dancers are taught to leverage the power of the planet, while ballet dancers are taught to hover above it.”
The Martha Graham Dance Company embodies the powerful “contraction and release” technique, showcasing the emotional depth and physical rigor of Graham’s revolutionary approach to dance.
The impact of the Graham technique is undeniable. It has permeated dance worldwide, influencing ballet, modern dance, and even theater. As Tony Randall noted, Graham “changed the course of American acting” by emphasizing how “your body, your movement reveals what you’re really thinking and feeling.” Even pop icon Madonna studied with Graham early in her career, and contemporary choreographers like Sonya Tayeh, a Tony Award winner, openly acknowledge Graham’s profound influence.
A Legacy That Continues to Inspire and Evolve
Martha Graham’s genius isn’t confined to the past; it’s a living, breathing force that continues to evolve and inspire. The Martha Graham Dance Company, under Janet Eilber’s artistic direction, is actively ensuring her legacy remains vibrant and accessible to new audiences.
The company’s “Graham 100” initiative, a three-season celebration leading up to their centennial in 2026, is a testament to this commitment. This ambitious project includes a documentary, a coffee table book, a major exhibition at the New York Public Library of the Performing Arts, and new recordings of historic scores. Crucially, the company is also pushing boundaries with new choreography while honoring Graham’s foundational works. Pairing Agnes DeMille’s classic Rodeo with a brand new piece by Jamar Roberts, featuring a score by Rhiannon Giddens, exemplifies this dynamic approach. Even pop-up performances in museums, like Martha Graham solos performed at the Met Museum alongside a 1930s American art exhibit, are designed to bring Graham’s work to unexpected spaces and audiences.
Recognizing that modern dance can sometimes seem intimidating, the company is proactively breaking down barriers. They offer spoken introductions at performances, akin to museum audio tours, providing context and insights to enhance audience understanding. Online video competitions and Zoom classes expand access to the Graham technique globally, making it possible for anyone, anywhere, to experience its power. As Eilber points out, despite perceptions of seriousness, “people move when they hear a beat. There’s a kinesthetic response to dance that everyone and anyone can understand from a two-year-old to a 92-year-old and beyond.”
A Glimpse into the Legend: Michael Small’s 1989 Interview
To gain an even deeper appreciation for Martha Graham, we can turn to a rare interview conducted in 1989 by journalist Michael Small for People Magazine. At 95 years old, Graham, though physically frail, still possessed an undeniable aura of power and genius. Small’s account paints a vivid picture of a woman who, even in her twilight years, remained fiercely dedicated to her art.
Describing her presence, Small notes, “Could you call somebody stately who is only around five feet tall? It’s crazy, but you’re absolutely right. She did have the look that you’d expect.” He recalls her elegant attire – a Halston pantsuit, her hair in a signature bow – and the palpable energy that still emanated from her.
Small’s interview also offers glimpses into Graham’s legendary perfectionism and demanding nature. He recounts witnessing a rehearsal for a revival of American Document with Mikhail Baryshnikov. Despite Baryshnikov’s immense talent and the approaching premiere, Graham remained uncompromising. “You know the dances very well,” she declared, “But they don’t mean a thing. Maybe to someone else, but not to me. We’ve got a lot of work to do.” This relentless pursuit of artistic truth, even in the face of acclaim, was a hallmark of her genius.
American Document itself, originally created in 1938, underscores Graham’s social consciousness. Conceived as a statement about American values in contrast to rising dictatorships, the dance incorporated narration from diverse American texts – the Declaration of Independence, writings by Thomas Paine and Abraham Lincoln, and even Chief Red Jacket of the Seneca Nation. This fusion of art and social commentary further solidified Graham’s position as a visionary artist who used dance to explore not only personal emotions but also broader societal themes.
The gala performance of American Document in 1989 was a significant event, not just artistically but also financially, as the Martha Graham Dance Company was facing deep debt. The post-performance party at the Plaza Hotel drew a glittering crowd – Frank Sinatra, Calvin Klein, Halston, Kathleen Turner, and even Ivana Trump – highlighting Graham’s broad appeal and the recognition she commanded across different spheres of society. Woody Allen, who had studied with Graham, was also connected to the event, with a humorous anecdote circulating about his awestruck silence in her presence.
Martha Graham’s Voice: Wisdom and Wit
The most compelling part of Small’s account is, of course, the interview excerpts with Martha Graham herself. Her words reveal a sharp intellect, a dry wit, and a profound understanding of her own artistic drive.
When asked about comparisons to Picasso and Stravinsky, Graham demurred, not out of false modesty, but from a deep sense of self-awareness. “No, I never believed it,” she stated. “They were they themselves. With all of their wonder, their imagination. I could look at it and envy it, perhaps. But I never did to the point where I sought them, and did not seek myself.” Her focus was always inward, on her own artistic vision, not on external validation or comparisons.
Her dedication to excellence was unwavering. “I don’t believe in mediocrity,” she declared simply when asked about her reputation for being tough on dancers. This uncompromising standard fueled her own relentless creativity and pushed her dancers to reach their full potential.
Graham’s resilience and longevity are equally striking. When asked how she kept going when others gave up, she responded, “I kept going because I wanted to. And because that was the fullness of life for me.” Her work wasn’t just a career; it was her very reason for being. And with characteristic self-awareness, she added, “And I was vain. I am vain. I continue to be vain and to fix my hair as I think it should be and makeup and that’s my privilege.” This touch of vanity, confessed with a twinkle in her eye, humanizes the legend and reveals a woman who embraced life in all its facets.
Martha Graham’s friendship with Helen Keller, who could “feel” dance through vibrations, highlights Graham’s ability to communicate and connect on a deeply human level, transcending conventional boundaries.
One of the most touching anecdotes from the interview is Graham’s recollection of her friendship with Helen Keller. Keller, deaf and blind, would visit Graham’s studio, experiencing dance through vibrations. Graham recounted Keller’s curiosity about jumping: “One time she said to me, ‘Martha, I don’t understand what jumping is.’ So I put Merce Cunningham at the bar and he jumped and she laughed and said, ‘Oh, how wonderful. How like the mind.'” This story beautifully illustrates dance’s power to transcend sensory limitations and connect with the human spirit on a profound level.
Graham’s principled stance against injustice is evident in her refusal to participate in the 1936 Berlin Olympics. “I do not approve of your policy,” she told the German representatives who tried to persuade her. “And I will continue not to believe in your policy.” Similarly, she challenged segregation in the American South, famously demanding that Spelman College students be allowed to attend her performance. “I don’t believe in segregation,” she asserted. “I want 20 seats. Well, I got them.” These acts of defiance reveal a woman of unwavering moral conviction, who used her platform to stand up for what she believed in.
Even in the face of criticism and misunderstanding, Graham remained resolute. “I realized that I had to do it in spite of that, whether they liked me or did not like me,” she stated about early negative reviews. “I did the thing I wanted to do and the way I wanted to do it to hell with how I wanted.” This artistic integrity, this unwavering commitment to her vision, is a defining characteristic of her genius.
Despite her monumental achievements, Graham remained grounded and even humorous about her struggles. When asked about her finances, she quipped, “The reality is I have no money at all. And I’m constantly in need of money.” This candid admission underscores the ongoing challenges faced by artists, even those of Graham’s stature.
Ultimately, when asked if she was happy, Martha Graham’s response was both simple and profound: “Yes. I wouldn’t have lived the life I have lived unless I was to a certain degree happy in it. I found great happiness in my work and in everything that I did and had great feeling and honor for it and I didn’t want to be anything else.” Her happiness was inextricably linked to her art, to her lifelong dedication to dance.
In the interview’s poignant conclusion, Graham expressed a wistful longing to still dance: “I wish I could dance now. I wish I could be active in my body. I’m not. So I find another way, which is the beauty of the company and the beauty of their accomplishment.” Even as her physical body aged, her artistic spirit remained vibrant, finding fulfillment in the continuation of her legacy through her company.
The Enduring Legacy of a Dance Genius
Martha Graham’s impact on dance and the arts is immeasurable. She wasn’t just a dancer or choreographer; she was a visionary who redefined movement, emotion, and storytelling in dance. Her technique remains a cornerstone of modern dance education, and her works continue to be performed and reinterpreted, inspiring audiences and artists alike.
She is, and remains, a brand new dance genius for each generation that encounters her work. Her exploration of the human condition, her fearless innovation, and her unwavering artistic integrity resonate deeply in our contemporary world. As Martha Graham herself eloquently stated, “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.” This “blessed unrest” is the very essence of artistic genius, and it is a quality that Martha Graham embodied throughout her extraordinary life.
Explore the world of Martha Graham. Discover her dances, support the Martha Graham Dance Company, and delve deeper into the life and work of this unparalleled artist. Visit MarthaGraham.org to learn more and experience the genius firsthand. You’ll find that Martha Graham’s revolutionary spirit and artistic vision are as vital and relevant today as they ever were, proving her enduring status as a true brand new dance genius.
