A Stunning Display of Dance
WITNESSING the dancers of the Martha Graham Dance Company execute a contraction and release—the essential element of Martha Graham’s lifelong work—is as stunning a human movement as there is. To see the beginning of the movement come from the center of the torso and then cascade to the rest of the body like moving quicksand is as intriguing as it gets. (For more about this, see the video link at the bottom of the page.)
It is this simple depth of motivation that is more authentic than so much in our culture today. Any reality TV show that draws an audience of millions pales in comparison to the beauty and depth of the performance that about 500 people watched at the Gaillard Auditorium. As a dancer, I know that the modern dance idiom is highly specialized, and if you are not personally involved in art or theatre, it may not hold much weight for you. Nonetheless, it is a very worthwhile exercise in cultural appreciation and understanding.
Lamentation | photo © Max Waldman
This performance on October 27 was a historic overview led by the company’s elegant artistic director, Janet Eilber, who took us from piece to piece providing insight into Graham’s influences and inventions from her earliest work. Even my 14-year-old and her friend were struck by the awesome use of the body and its drama.
Highlights of the performance included Katherine Crockett showing the severe and stark beauty of a woman wrapped in fabric signifying grief. Created in 1936, Lamentation was inspired by the simple and timeless human response. The very first flex of Katherine’s foot off the floor drew us into her wordless expression, because the dance is about drawing into our innermost grief.
As a brilliant counterpart to this classic piece, three current choreographers staged works inspired by Lamentation and the tragedy of 9/11. Especially powerful was Larry Keigwin’s piece for the full company.
Diversion of Angels
In another seminal piece, Diversion of Angels, Graham showed the various stages of love—from flirtatious, to passionate, to seasoned. From the red figure in an exciting off-balance position, to the sheer joy of the yellow figure, and the evolved grace of the white figure, the piece had a delightful momentum and freedom that is absent in some of the darker works. Even here, Graham’s choreography did not sugarcoat the subject, but defined it through it’s many emotional levels.
A piece I found especially exciting was one I had seen before and thought out of date, but Blakely White-McGuire and Lloyd Knight were breathtaking in their rendition of Errand into the Maze. The strength and determination of the female in this journey, and her battle with the Creature of Fear, was most compelling.
Errand into the Maze
The majestic undulation of the torso, the sweeping legs, and the excruciating and flawlessly executed partner work more than held up to today’s standards.
Martha Graham said that where a dancer stands on stage is a sacred space, and this was evident with each of the performers as they exhibited their honor and understanding of the work. Imitation often falls flat and becomes dated with audiences who find nothing to relate to, but this time it was dramatically resonant of the life-time achievement of a great artist.
It is truly due to the dancers in the company that I am most grateful, as they translated this collection of choreography—some of it 100 years old—to resonate in people today who, in a sense, are viewing a form that may be found in a museum collection. The sheer integrity and intensity they displayed is what is missing in the human experience today. In Graham’s works—as inspired by her father’s words—“the movement never lies.”
Thanks to the Charleston Concert Association for kicking off their season with this impressive troupe. •
Watch this short video about Martha Graham’s methods as explained by some former dances who studied with her.
I, too, was thrilled with the Martha Graham dancers. As the CCA chairman, I want to thank everyone who is helping us keep the arts alive in Charleston. Bravo!