Generations after generations, dance is expressed on our body differently, and influences into a current style depending on the dancers. Martha Graham introduced her Graham techniques in the 1900s, it involves a very delicate form of dance, which evokes emotion with our bodies: ballet. She was an influential American teacher, dancer, and choreographer of modern dance. In her lifelong journey as a dancer, Graham builds a strong movement method of dance that is still practiced all over the world. She said, in the 1994 documentary The Dancer Revealed, “I have spent all my life with dance and being a dancer. It’s permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.”
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On April 18, 1926, Graham and her students from Eastman debuted in New York City while performing a ballet ballad called “The Flute of Krishna.” In return, they received a review from The Dance saying that, "clad in a heavy gold kimona, making patterns with her body against a screen of brilliant lacquer...Martha Graham presents a series of pictures that fire the imagination and make a hundred stories for every gesture. Shall we say her dances are motion pictures for the sophisticated."” Another one was from The New York Herald Tribune, who notes for Graham’s “successful performance, showing ability to present a mood or a picture, with the assets of grace, agility, effective poses and well chosen costumes." From these reviews, we can interpret that The Dance had just saw something foreign as they praised Graham not only for her ability, but how well put together it was through her …show more content…
The pair collaborated during Graham’s debut in New York in 1926, and continued working together several other pieces. In the modern dance scene of the 1920s through 40s, Horst was a major eminence figure. He further helped Graham in advancing her technique by establishing a new relationship between dancing and music in the American scene, and introducing her to work with contemporary composers. To Graham, Horst was influential person that kept her going, but instead they held more than just that, they were lovers until 1948 before Graham fell in love with another man, Erik Hawkins, while teaching at Bennington
On April 18, 1926, Graham and her students from Eastman debuted in New York City while performing a ballet ballad called “The Flute of Krishna.” In return, they received a review from The Dance saying that, "clad in a heavy gold kimona, making patterns with her body against a screen of brilliant lacquer...Martha Graham presents a series of pictures that fire the imagination and make a hundred stories for every gesture. Shall we say her dances are motion pictures for the sophisticated."” Another one was from The New York Herald Tribune, who notes for Graham’s “successful performance, showing ability to present a mood or a picture, with the assets of grace, agility, effective poses and well chosen costumes." From these reviews, we can interpret that The Dance had just saw something foreign as they praised Graham not only for her ability, but how well put together it was through her …show more content…
The pair collaborated during Graham’s debut in New York in 1926, and continued working together several other pieces. In the modern dance scene of the 1920s through 40s, Horst was a major eminence figure. He further helped Graham in advancing her technique by establishing a new relationship between dancing and music in the American scene, and introducing her to work with contemporary composers. To Graham, Horst was influential person that kept her going, but instead they held more than just that, they were lovers until 1948 before Graham fell in love with another man, Erik Hawkins, while teaching at Bennington