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Relevant bibliographies by topics / Martha Graham Center of Contemporary Dance

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Academic literature on the topic 'Martha Graham Center of Contemporary Dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Martha Graham Center of Contemporary Dance"

1

Bannerman, Henrietta. "Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment." Dance Research Journal 42, no. 1 (2010): 30–45. http://dx.doi.org/10.1017/s0149767700000814.

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Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriousness with which her tough technique is regarded. But the house of the pelvic truth does chime with stories about Graham's often frank method of addre

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2

Celda, Olga. "Discurso feminista e identidad americana en la danza moderna: Martha Graham y el significado social del cuerpo femenino." Itamar. Revista de investigación musical: territorios para el arte, no. 9 (July 4, 2023): 20. http://dx.doi.org/10.7203/itamar.9.26995.

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This article reflects on the concepts of feminist discourse and American identity in the context of the social significance of the dancing body as portrayed in choreographies by the American dancer Martha Graham. Here, we approach the impact of the revolutionary works of Heretic (1929) Lamentation (1930), Primitive Mysteries (1931), Frontier (1935), Letter to the World (1940) and Appalachian Spring (1944), exploring the social significance attached to the demarcation of masculinity and femininity in Graham’s vision of dance. The visual iconography, extraordinary music scores and sensory atmosp

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3

Jones, Kim. "American Modernism: Reimagining Martha Graham's Lost Imperial Gesture (1935)." Dance Research Journal 47, no. 3 (2015): 51–69. http://dx.doi.org/10.1017/s0149767715000352.

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This article explores the process of reimagining Martha Graham's 1935 “lost” work, Imperial Gesture, into a complete work for performance. The solo was last performed by Graham in 1938 and constitutes the first political solo of her career. With no musical score, no notation score, and scant archival evidence, Graham dancer, régisseur, and contemporary choreographer Kim Jones pieced together the fragments left behind. Beginning in 2011, Jones assembled a team of artists in order to reimagine Imperial Gesture for the Martha Graham Dance Company. This article discusses how Jones found primary an

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4

Hernandez Siete, Ileana Yalith. "Dance and politics in <i>Steps in the Street</i> by Martha Graham." HArtes 5, no. 9 (2024): 69–80. http://dx.doi.org/10.61820/ha.v5i9.1323.

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This research analyzes the staging of Martha Graham’s Steps in the Street in which the choreographer sought to highlight contemporary problems that threatened the world such as European fascism, the great depression and the Spanish civil war. Proposing dance as a manifestation of political redistribution, that is, placing bodies in specific spaces as an intervention in the flow of everyday movement. Based on the postulates of André Lepecki and Jacques Rancière in order to counteract the passivity of the spectator and actively engage in the artistic experience in relation to space, by reassessi

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5

Szymajda, Joanna, and Anton Ovchinnikov. "Dancing the New Realities: The Beauty and a Beast of the War." Pamiętnik Teatralny 73, no. 1 (2024): 15–39. http://dx.doi.org/10.36744/pt.2369.

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This essay is a record of the experience of the ongoing war in Ukraine, presented from the perspective of the contemporary dance artist Anton Ovchinnikov. Captured almost in statu nascendi, his moral dilemmas and difficult choices—personal and artistic—constitute a kind of a war diary, a record of a moment in history. The author also asks important questions about artistic responsibility, whose relevance resounds ever more strongly in the face of the continuing conflict. Joanna Szymajda’s introduction offers a historical panorama of artistic phenomena and attitudes in response to the state of

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6

Taylor, Steve John. "The Complexity of Authenticity in Religious Innovation: “Alternative Worship” and Its Appropriation as “Fresh Expressions”." M/C Journal 18, no. 1 (2015). http://dx.doi.org/10.5204/mcj.933.

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The use of the term authenticity in the social science literature can be rather eclectic at best and unscrupulous at worst. (Vanini, 74)We live in an age of authenticity, according to Charles Taylor, an era which prizes the finding of one’s life “against the demands of external conformity” (67–68). Taylor’s argument is that, correctly practiced, authenticity need not result in individualism or tribalism but rather a generation of people “made more self-responsible” (77).Philip Vanini has surveyed the turn toward authenticity in sociology. He has parsed the word authenticity, and argued that it

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7

Marshall, Jonathan. "Inciting Reflection." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2428.

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   Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic descri

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8

Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Books on the topic "Martha Graham Center of Contemporary Dance"

1

New York State Bar Association. Entertainment, Arts, and Sports Law Section. The recent decision of Martha Graham School and Dance Foundation, Inc. v. Martha Graham Center of Contemporary Dance, Inc. NYSBA, 2004.

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2

Burstein, Judd. Work-for-hire copyright law under the Second Circuit's Decision in Martha Graham School and Dance Foundation, Inc., et al., v. Martha Graham Center of Contemporary Dance, Inc., et al. New York State Bar Association, Entertainment, Arts, and Sports Law Section, Committee on Fine Arts, 2005.

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3

Bird, Dorothy. Bird's eye view: Dancing with Martha Graham and on Broadway. Univ.Pittsburgh P., 2002.

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4

Greenberg, Joyce, and Dorothy Bird. Birds Eye View: Dancing With Martha Graham And On Broadway. University of Pittsburgh Press, 2002.

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5

Cohan, Robert, writer of added commentary, ed. The last guru: Robert Cohan's life in dance : from Martha Graham to London Contemporary Dance Theatre. 2013.

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6

Someday dancer. Scholastic Inc., 2012.

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Book chapters on the topic "Martha Graham Center of Contemporary Dance"

1

Osumare, Halifu. "Dancing in Europe." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0003.

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This chapter explores the unique positionality of being a black woman in Europe in the late 60s. This social position is further complicated with being a contemporary dancer trying to survive in Spain, France, and the Netherlands and finally Copenhagen, Denmark, and Stockholm, Sweden. The author forms a Danish modern dance company with another American dancer in Copenhagen and, together, they help create a dance “revolution” for the times. She ends up teaching jazz dance in a major ballet academy in Stockholm, where she is also able to continue her own training with former members of the Katherine Dunham and Martha Graham dance companies. The author also investigates the influence of Dunham’s Technique on the Nordic region of Europe.

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