From her beginning in Three Gnossiennes, to her final dance, Maple leaf Rag, Martha Graham's technique was present everywhere. Even though he had to stop due to health problems, his soul was still at its mercy. His dance method was inspired not only by his frustrations to unleash inner emotions, but also to create his own personality in this vast world of dance. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Martha Graham was born in 1894 in a small town outside Pittsburgh, Pennsylvania. She was born to a doctor specializing in human psychology. The city's "alienist" had instilled his motto in his eldest daughter: "The movement never lies." Even though these words seemed to pass through her, they remained engraved. At the age of fourteen, his family moved to California. About three years later, he attended a Ruth St. Denis dance recital in Los Angeles. This presentation was the first dance he had ever seen. As with all great performances, she was overwhelmed by the type of dance. Then he knew that this was his future. In 1916 he enrolled in Denishawn. At twenty-two, this petite, shy, but perceptive and diligent girl impressed Ted Shawn, one of the studio's leaders. She was chosen to dance in her rendition of Xochilt. Then, suddenly, he left Denishawn to dance solo at the Greenwich Follies. In 1925, Graham became a dance instructor at the Eastman School of Music and Theater in Rochester, NY. “I wanted to begin,” he said, “not with characters or ideas but with movement.... I wanted meaningful movement.” It was here that he began experimenting with modern dance forms. "I didn't want it to be beautiful or fluid. I wanted it to be full of inner meaning, excitement and momentum." He abandoned the direct steps and techniques of classical ballet. Graham wanted the dancing body to be linked to natural movement and music. He began to experiment with what the body could do, thus developing "percussive movements". In 1930 he began to recognize a new movement system and new choreographic principles. "Based on her interpretation of the Delsartean principle of tension and relaxation, Graham identified a method of breathing and impulse control that she called "contract and release." For her, movement originated in the tension of a contracted muscle, and continued in flow of energy released from the body as the muscle relaxed. This method of muscle control gave Graham's dances and dancers a hard and angular appearance, very unusual for audiences accustomed to the fluid and lyrical movements of the body of Isadora Duncan and Ruth St. Denis In her early reviews, as a result, Graham was often accused of dancing "ugly." Her early dances were non-figurative and sharp, almost "cubist." stripped our medium of non-essential decorative elements". The dances were presented on bare stages with only costumes and lights. The dancers' faces almost reflected them because they were tight almost rigid, and their costumes were immensely inadequate. Subsequently, he integrated backdrops and costumes to achieve a surreal effect. The music was contemporary and usually composed specifically for dance. Martha Graham introduced a number of other improvements to the dance. He established the use of movable sets, symbolic props such as Phaedra's, and communication with dance. She was the first to racially mix her group, using minorities in her usual company. He replaced the usual ballet tunic or folk dress with a straight, dark, long shirt or a common leotard.