Graham technique

[9] Graham technique is known for its unique dramatic and expressive qualities and distinctive floorwork;[1][10] dance critic Anna Kisselgoff described it as "powerful, dynamic, jagged and filled with tension".

[15] The fundamental movement of Graham technique is the cycle between "contraction" and subsequent "release", which developed as a stylized representation of breathing.

[16] Along with the "fall and recovery" dualism of Doris Humphrey's technique, it is one of the most important concepts in early modern dance.

[21] The release may be considered a relatively passive return to a "normal" state, or alternatively an equally active outward propulsion of energy.

[9] The indexical meaning of the contraction in Graham's choreography is generally that the dancer is overcome with emotion, although the details depend on the specific context.

Graham falls can be used for dramatic effect, making meaning in a choreographic context from manipulating the balance between actively suspending the body and surrendering to gravity.

Its movement vocabulary draws connections between the physical and emotional meanings of "power", "control", and "vulnerability".

[3][29] The technique highlights weight and effort; according to Marian Horosko, "the body had to appear to be pushing through a heavy mass, much like the pressure confronted when walking through water.

In a "vehement" 1934 review, Lincoln Kirstein wrote: "Her jumps are jolts; her walks, limps and staggers; her runs, blind impulsive gallops; her bends, sways", and called the effect "stark, earth-ridden, gaunt, inward-eyed".

[3][31] In contrast, Graham was strongly promoted by dance critic John Martin, who helped her to win a popular following.

[29] Graham technique's use of large torso movements and floorwork represent further breaks from the balletic tradition.

[3] Graham, along with Doris Humphrey, Helen Tamiris, Agnes de Mille, and others, was part of an artistic movement in dance which rejected both the centuries-old tradition of classical ballet and the first-generation rebels of modern dance, such as those who taught at the Denishawn school where Graham studied.

[2][15] It strongly influenced several other codified techniques, notably those of Merce Cunningham, Lester Horton, and Paul Taylor.