Lesson Overview:
This lesson helps students build a frame of reference that will enable them to better understand the innovative structures and provocative themes of key Martha Graham choreographies. It also illustrates specific ways that Graham’s work was a "new voice" that expressed dramatic 20th century cultural change.
Length of Lesson:
Six 45-minute class periods
Instructional Objectives:
Students will:
- research and document elements effecting cultural change in the late 19th century and 20th century.
- explain ways emerging new art forms reflected cultural change.
- construct word and "dance" definitions for key terms that apply to Martha Graham’s "lexicography" of dance movements and the nature of her choreographies.
- prepare and demonstrate brief combinations of innovative dance movements that recur in Martha Graham’s work.
- consider the relationship of music to creative endeavor.
- examine the impact of stage sets and props as symbolic extensions of narratives, forms and themes.
- develop a culminating essay analyzing selected aspects of modern art form.
Supplies:
- Pencil/pen
- Notebook/paper
Instructional Plan:
Background
The significance of Martha Graham’s innovative choreography and unique contributions to the world of dance must be viewed in the context of rapid, dramatic changes in Western culture that occurred in the late nineteenth and early part of the 20th century. This context makes Martha Graham an especially valuable teaching source, not only in the study of dance performance and dance history, but also in the study of European and American history and literature, psychology, visual arts, and other genres of performing arts.
Influences
Divide the class into small collaborative groups (3-4 students per group).
Explain to students that the goal of the assignment is to bring them in touch with key philosophical and cultural influences that shaped Martha Graham’s creative vision. Tell them that this will provide them with background that will help them to better understand the complexity of Martha Graham’s choreographies and help them recognize specific ways she changed the face of 20th century modern dance.
Pass out the worksheet, Assignment A: Influences.
Place topics into a hat and pass it around so each group can choose its area of focus.
Explain that it is each group’s’ responsibility to
- research its topic in Web and print media;
- develop and hand in a detailed written summary of their findings; and,
- prepare an oral presentation explaining significant elements culled from group members’ research.
When the groups have completed the assignment, have them share their findings and conclusions with the other members of the class.
Terms
This assignment offers suggestions for building a "repertoire" of terms that will help students better understand Martha Graham’s dance movements, composition style, and the specific ways her work correlates with other arts expression of the time period.
Pass out the handout, Assignment B: Building A "Repertoire" Of Terms. To save time, consider putting student’s names on the handout before distribution.
Assign each student one or more terms and instruct him or her to research and record—in writing—a brief, but clear and precise definition of each term. Explain that definitions will be shared in class.
At first, students may think this task is simplistic. Indicate that they need to provide very specific definitions, since this is only the first part of the assignment. The second part will take place after the complete class shares their definitions.
If there is enough space in the classroom, have students sit in a large circle. Ask them to present their definitions by following their sequence in the circle. During the definition-sharing session, record students’ definitions on a copy of the "Assignment B" sheet for use later.
When students have completed their presentations, explain that all of the terms on the list have been previously used to describe specific movements and/or the nature of Martha Graham’s choreographies.
Explain the second part of the assignment. Each student will give a physical demonstration of his or her assigned term. Consider pairing students and allowing them 15 minutes to plan their presentation—working together to construct a "body" statement that captures the essence of their assigned term’s definition.
Suggest that they can either perform their "dance definition" solo or together. Encourage students to think of ways to integrate all aspects of their bodies—in active movement and/or still. Instruct them to pay attention to the positioning of their shoulders, head, torso, legs, arms, wrists, feet, and fingers as they build their "live" dance definition.
If time allows, consider using the following special project as an adjunct to the assignment:
Place the terms below on the board and uncover one at a time. Again, the goal is to immerse students in experiences that will allow them to personally identify with Martha Graham’s dance movements and conceptual vision.
- order and frenzy
- fall and recovery
- pull against gravity
- contract and release
- a struggle with an adversarial force
- standing steadfast in principles though torn with desire
- refusal to capitulate when challenged
- the experience of "ecstasy"
- deep emotional trauma (anger; jealousy; anxiety; etc)
- crossroads of decision
- the formality of ritual
Encourage students with dance training to create a brief choreography that demonstrates the above Graham-type dance patterns—adding other movements, if they choose, to physically articulate each concept.
Students’ first reaction to the project will be disbelief. But, after the performance of a few self-conscious volunteers,
momentum will grow and non-dancers will become as engaged as those with dance training.
Students who attempt this physical definition of terms will benefit in later viewing of Martha Graham films or graphic displays. They will more readily identify personally with specific types of Graham’s movements, as well as gain an overall
enhanced understanding of artistic modernism as a cultural mirror—a reflection of the prevailing tone of the 20th century.
Note: This type of assignment can be very valuable in helping students understand modern form not only in dance, but also in literature. Several of the same terms can be used to define the work of modern authors—such as Ernest Hemingway, T. S.
Eliot, e.e.cummings.
Music
Initiate a discussion about the relationship of music to creative endeavor.
Raise a series of questions on the subject, such as:
- If you were writing a song, would you compose the music score first and then work to shape lyrics to fit the rhythm(s), tone, structural alignment, and/or instrumental variations to the music score?
- Or would you write the lyrics first, then work to shape the music to the words, phrasing, and structural implications of the lyrics?
- Or would you start with a concept and then work out the relationship of the lyrics and music score along the way?
Identify students who are particularly interested in music (those who play an instrument or sing) to lead the discussion.
You can extend the discussion with another series of questions, such as:
- If you were going to develop lyrics or build choreography based on an established piece of music—part of a symphony score, for instance—how would you proceed?
- Would you "spell out" the score first, determining different aspects such as structural patterns, prevailing rhythm and/or changes, sustained tones and/or changes—then try to "match" your words or your movements to the music?
- Or would you try to build an individual work,—a creative enhancement that still preserved the integrity of the original score?
Share with students that Martha Graham developed some of her work using established scores. However, most of her work was
choreographed to special contemporary music written by well-known composers or to special music arrangements of existing scores (arranged by her long time friend Louis Horst). Graham was never a "slave" to a music score; the dance was preeminent. The music was a rich reinforcement of choreographic structural patterns and dance movement.
Note: If time allows, consider showing students a complete or partial version of Falling Down Stairs on videotape. This delightful, informative artistic exchange between cellist Yo-Yo Ma and choreographer Mark Morris, filmed at Jacob’s Pillows, focuses on these issues.
Set Design
One of the most compelling and distinctive features of Graham’s choreographies is their set design. Stage sets and accompanying props are used in original, ambiguous ways. Graham owes the ingenuity of most of these sets and props to the Irish/Japanese sculptor/designer Isamu Noguchi. She gives recognition to his contributions in her autobiography, Blood Memory.
For 50 years, Noguchi unfailingly found ways to support Graham’s creative vision with his own. Each set or prop may take
on more than one meaning—sometimes several.
Each transformation reinforces—through symbolic or functional impact—some central aspect of the choreography:
- the emotional context of the central character(s);
- the psychological dilemma of the dance "protagonist";
- the exposition and/or thread of the narrative; and/or,
- the overriding "statement" of the choreographed text.
Graham’s genius in projecting states of inner consciousness—a dominant structural pattern in her work—is greatly enhanced, perhaps even made possible, by Noguchi’s symbolic, ambiguous sets and props.
To help students appreciate the power of concrete objects as symbols and ways to evoke elements embedded in the inner consciousness, consider involving them in the following activity:
Ask students to quickly make a list of concrete objects in their room, house, or yard that hold special meaning for them. Encourage them to scan the list and select one that is particularly special.
Ask them then to close their eyes and concentrate on the object. Suggest that they consider the object as a symbolic
representation of some aspect of their life.
Use some examples:
- a teddy bear as symbolic of comfort, love, and companionship;
- a shell picked off the beach as symbolic of a summer of family happiness;
- a piece of furniture—rocking chair—that recalls a relationship with a loved one;
- a lamp that is a symbolic reminder of a childhood fear of the dark.
Then request that they explore what the object represents in relation to a past experience—why it still means something to them in the present; why they value it as special.
When they open their eyes, ask students to write a brief free form paragraph or two about what they thought and felt during the exercise. Encourage volunteers to share their paragraphs with the rest of the class as a whole or in small groups.
"Knowing Figure"
Share with students another compelling and distinctive aspect of Martha Graham’s choreographies—her frequent use of an elder "Knowing Figure".
This figure takes on different personas, but is one who has a special "knowing"—real or perceived—and is imbued with the wisdom of prophecy.
"The Figure" is sometimes in strong tension with a central character(s) of the choreography such as the Ancestress in Letters to the World (symbolic of rigid Puritan heritage in conflict with inner "natural" human passions) and Tiresias in Night Journey (the formidable messenger of Fate).
Sometimes, it is an agent of support and encouragement, such as the Pioneer Woman in Appalachian Spring.
"The Figure" adds an intriguing third dimension to the choreographic narrative and contributes to the artistic force of
non-linear form.
(A more detailed explanation will be in the ARTSEDGE lessons: Landscapes of the Mind, Graphs of the Heart, and Graham's Appalachian Spring: A Study.)
Consider using the "Knowing Figure" in a classroom assignment.
After explaining the concept to the class, ask students if there is someone in their experience whom they perceive as a
"Knowing Figure"—an ancestor, a grandparent, an aunt, an uncle, a teacher, a minister, an older friend.
Assign a brief, informal essay where students describe a person who has encircled their lives as a "Knowing Figure."
Ask the students to explain their relationship with this person by answering a series of questions:
- Has or does the figure presently provide some kind of special "wisdom" for you to measure yourself against?
- Do you find this figure’s "voice" reassuring, providing an extra support of direction for your life?
- Or, do you fight against the "voice", resisting the figure’s attempt to impose
behavioral attitudes that you find restrictive? Do you ignore his or her "prophecy" about what following your natural inclinations will bring about—such consequences and guilt?
- Has or does the figure provide both —reassurance, in some ways, and contention in others?
Consider asking volunteers to share their essays with classmates.
Culminating Experience
In the late 19th and 20th centuries, arts themes and forms reflected dramatic cultural change. Ironically, artists expressing new "voices" as part of this cultural shift drew inspiration from the philosophical, social, political, psychological, and technological sources that were catalysts for the change.
Although the "voices" were diverse in thematic focus and presentation styles, they became increasingly consistent in projecting an argument for the relativity of human perception in fresh, provocative ways.
This point-of-view denies independent reality outside of the human mind. Instead, it sees acquisition of knowledge, understanding, emotional and psychological contexts, and conceptions of time and space as governed by relative perceptions
within an individual’s inner consciousness.
In the search for ways to articulate this concept and to "speak" it for the receiver of an arts experience, many artists
abandoned traditional concepts of structure and the nature of artistic unity, challenging prevailing modes of arts expression.
As a result, new—some thought radical—forms emerged. Devices that were used to effect this shift included: to the foreground in this shift. Some of the devices included:
- Ambiguity
- Symbolism
- Layered, fragmented, and/or "cubed" constructions
- Surreal images
Some, like ambiguity and symbolism, were not new, but would be used in fresh ways in modern art.
Essay Topic Assignment
Provide each student with the Assignment C: Culminating Essay, which will ask him or her to write a brief essay about the concept of "Culminating Experience."
Prior to their beginning to write, have students divide into small groups to discuss questions and thoughts about the devices used in modern art to express relativity of human perception.
- Ambiguity
- Symbolism
- Layered, fragmented, and/or "cubed" constructions
- Surreal images
In their essay, ask students to chose a device and explain why it could serve as an effective way to articulate relativity of human perception and activate the relativity of response in the consciousness of the "receiver" of an arts experience. Tell them to support their explanation with specific examples.
Encourage students to save their written responses. They can redevelop them after they have expanded their knowledge of modern art themes and forms after future lessons.
Note to Teacher: The assertion has been made that Graham’s structural patterns (use of time and space) are often governed by Einstein’s theory of relativity. Some students might enjoy struggling with that one! Students will probably think this is an impossible topic. Remind them that learning is in the struggle.
Assessment:
Use the Assessment Rubric to determine each student’s progress.
Areas of assessment include:
- serious and cooperative participation in research and collaborative assignments
- evidence of discernment in contributions from research and to collaborative work
- substantive contributions to class discussion and special projects
- range and depth in analysis
- evidence of creative thinking
- solid preparation for performance activities
- organization, meaningful substance, rhetorical skill, and poise in formal oral presentation
- seriousness of purpose in following through on writing assignments
- alignment of written performance with good practices of the writing process
- willingness to volunteer for special activities
- general level of engagement in all activities and assignments
Extensions:
Expand the lesson plan by studying samples of Imagist and Symbolist poetry. This would help illuminate several aspects of
Graham’s work, including her use of set designs and props.
Direct your students' attention to the ARTSEDGE Mini-site: A Dancer's Journal: Learning to Perform the Dances of Martha Graham.
Sources:
Print:
- Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson Inc (World of Art Series), 1988.
- Cohen, Selma Jeanne, ed. International Encyclopedia of Dance. New York: Oxford University Press, 1998.
- deMille, Agnes A. Martha: The Life and Works of Martha Graham. New York: Random House, 1991.
- Gardner, Howard. Creating Minds (chapter 8). New York: BasicBooks (a Division of HarperCollins Publishers), 1993.
- Graham, Martha. Blood Memory. New York: POCKET BOOKS, a division of Simon & Schuster Inc. 1991.
- Jowitt, Deborah. Time and the Dancing Image. Berkley and Los Angeles: University of California Press, 1989.
Media:
- Martha Graham: An American Original (excerpt: A Dancer’s World). Produced by Martha Graham. Approx. 25 minutes. Kultur, 1958. Videocassette.
Web:
Authors:
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Jayne Karsten, English, Grades 9-12
The Key School
Annapolis, MD US
