This is the high spot of Deaths and Entrances: Martha Graham's solo, expressing conflicts of desire and realization, January 12, 1944.
Photo: Tom Fitzsimmons for the AP via WHNT
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Martha Graham ➵🌙 A dancer's world (Film, 1957)
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I soon struck up a conversation with Albert Pesso, a stocky former dancer with the Martha Graham Dance Company who was then in his early seventies.
"The Body Keeps the Score: Mind, brain and body in the transformation of trauma" - Bessel van der Kolk
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Albert Watson
Katherine Crockett, ‘Cave of the Heart,’ Martha Graham Dance Company, New York City, 2010
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martha graham dance company by francesco scavullo in leg - diana edkins + betsy jablow (1997)
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Hello loves.
Life update: I have been given a great opportunity that has been taking up many of my evenings.
In summary, I have a pretty extensive dance background but have not danced in many years. A woman recently opened a studio in my town with the desire to start a company that includes paid rehearsals and performances. After seeing me dance in the class I signed up for, she encouraged me to try out for the company, so I did, and she invited me to join.
It’s very cool. She’s from India originally and studied at the Martha Graham school in NYC, so I am learning a combination of modern and Indian classical styles. It feels really good to be practicing art in my community.
In my quest for balance in my life I have quit social media almost entirely, so I do apologize for what feels like an extended absence from tumblr over the past few months.
Truthfully, tumblr has, for a long while, been a source of anxiety for me, as is sharing really anything that I create. But I am working through it, as I do want to be around to enjoy and share the beautiful works of art that my fellows in the fandom have created.
So while I have been steadily working on the WIP that so many of you enjoy, I have been working on the biggest WIP of all — myself.
I know I did say I’d share a sneak peek a few days ago, but there are so many good parts that I am indecisive as to which to share! I’ll decide sooner or later. Or just end up announcing the chapter because it’s that close to being done. ;)
In the meantime, thank you for your love and support.
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Elizabeth Taylor and Liza Minnelli attend a benefit for the Martha Graham Dance Company at Halston's Olympic Tower salon in New York City on May 5, 1983.
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Charlotte Landreau (Martha Graham Dance Company) photographed by Ken Browar and Deborah Ory.
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Skyler Lubin of BalletX and Richard Villaverde of Martha Graham Dance Company. Photo by Vikki Sloviter Photography.
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barre with me🩰✨💕
February 24th 2024
More exciting news! 🤗🥳
Our creative director will be stepping away for a few weeks. As a part of a fellowship program with the US, she’ll be working with dance studio abroad for the next month and a half.
In her absence, I’ll stepping in as interim rehearsal director for our Graham technique classes.
Super excited for the opportunity continue growing and learning as a dancer while sharing what I’ve learned with others💞
image📸: Martha Graham Dance Company on Instagram
*image taken from Pinterest*
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oh I went to see the martha graham dance company perform selections from "rodeo" today. this is a ballet set on a ranch where performers wear cowboy boots and pretend to ride horses
it was basically impossible for me to watch it without reading it as queer bc the main character (rightmost in above image) is a cowgirl who wears pants and wants to do all the same rodeo dances the men are doing. when some women show up she's clearly very jealous but with no dialogue it's hard to tell who exactly she's jealous of. then she puts on a skirt and the men fight over her and that's the happy ending :/ but what can you expect from 1942
they also performed a contemporary piece that debuted this year that made for a powerful contrast bc it wasn't heavily gendered. they even had lines of mixed men and women
rodeo was fun though. it's a ballet that also has tap dancing and square dancing. it's goofy
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Martha Graham surrounded by members of her dance company in 1990.
Credit…Jim Wilson/The New York Times
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