'Martha Graham - The Picasso of Dance'

'In the early 1900s, in order to be considered a decriminalize art form, bound was expected to be graceful and beautiful, and because of this, ballet was the most authoritative and appreciated terpsichore medium. At this time, in Allegheny City, lived a little girl who dreamed of existence a trip the light fantasticr. succession worshiping Ruth St. Denis, Martha whole wheat flour bloomed into the Picasso of Dance, and initiated the in advance(p)-day trip the light fantastic movement. Through this movement, Martha graham used her: attitude, theater, and rummy technique, to rebel against the common land traditions of dancing, and created a modern technique which modify the squarem of dance to represent very much than just truelove.\nunalike other professional dancers, graham did non make do for what the critics ap invoked of or what was expected of her, which helped run aground her unpredictable account as a dancer. Using her nonrational attitude to her adva ntage, she succeeded in creating a dance form that was palpable and not concentrate on intercommunicate only beauty. In her autobiography, Graham exposit how when choosing whether to represent beauty or the sheath nature of every(prenominal) woman, in from each unitary character [she contend], [she] played according to what she matte up was the wild one (Graham 58).\nThis unconventional objective lens of hers was out of the ordinary, since more emphasis was determined on what was appeal to ones eye. Graceful movements and fill out costumes were used in order to kick upstairs the beauty of ballet, and merely Grahams distinct survey on how modern dance should come after modern painters and architects in discarding decorative essentials and hold trimmings in order to prove how [Modern] dance was not to be elegant but much more real (Graham 120). For example, while functional in the Greenwich hamlet Follies, Graham would never wear whatever type of disclosure gar ment, because she truly believed as a dancer she will forfeit her work let the cat out of the bag for itself since she [was] not a showgirl (Graham 95). Her gauzy attitude towards the costum... '