CriticalDance Forum

Tadej,<P>Thanks for writing. My concern is, with the school also closing, who is left to continue the Graham legacy?<P>And, Stuart, even if other companies have co-produced performances with the Graham company, do they have the right to, without Ron Protas' permission?<P>What will Martha say about her heir-designate, if she were still alive?

You're right Azlan, they would need Ron's permission. I suppose I was assuming that he would be interested to see the legacy continue.

I have studied with former Graham company members and also at the School of Toronto Dance Theatre which teaches "graham-based" technique and both were inspiring; the NYC style more "gutsy", the Toronto style more "flow" (I know some will disagree with my analysis, that's just how it felt to me) so as far as I can tell the original technique will "spiral" into more wonderful things from former company members and teachers, much like different schools of ballet technique have, i.e. Balanchine. <BR> <BR>However, I am sad to see any company disappear but I have heard that the Graham company has always had a difficult time financially, at one time the dancers used to sew costumes (like every other company, I guess!!!) <P>Marie-Hélène

Sewing costumes is something most dancers have to learn to do.<P>But I tend to agree with you, Marie-Hélène, in that many companies probably struggle financially from season to season, especially in the US where state subsidies are very small.<BR>

quote:"Sewing costumes is something most dancers have to learn to do."....<P>...i've known SOME who don't, and won't, even DO them up - and sometimes even some who won't PICK them up (other people are paid to do both of these jobs)...let alone even DREAM of sewing them (that should be 'nightmare', not 'dream', shouldn't it?)...guess it depends on where you work!<BR><p>[This message has been edited by grace (edited June 15, 2000).]

It is important to understand that the problem of Graham institution is not finantial as it may appear.<BR>Does the name Ron Protas sound familiar? <BR>It will soon be time to start pointing finger at the right direction....<BR>

tadej, that is very insightful observation. i cannot believe money suddenly runs dry after so many seasons of success. the people responsible for money and their support of the people in the company matter very much.

An excerpt from the following article on Martha Graham: "But it wasn't until she died in 1991 that the controversies got truly ruinous, and in the ensuing nine years escalated to where she may be remembered more for her choice of a successor than for her choreographic innovations."<P> <A HREF="http://www.backstage.com/news/ny/nyn20000608113708.asp" TARGET=_blank>http://www.backstage.com/news/ny/nyn20000608113708.asp</A>

Grace!<BR>I'm definitely with your descriptions concerning costumes.<P>Imagine!<P>(I can't even sew a button back on a shirt)<BR>(fortunately i'm still in touch with my old dressers!)<P>No seriously, the Graham heritage situation is very "grave". But whatever happens with the form of presentation of her works - her influence cannot be diminished; it lives inside a multitude, including myself. <BR>(I loved the "spiral" comment, has anyone ever been a "Periwincle"? We had to be at one point in Gayree McSween"s Graham classes at ABS).<p>[This message has been edited by Michael Montgomery (edited June 17, 2000).]

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>her influence cannot be diminished<HR></BLOCKQUOTE><BR>i agree.<P>michael, where is the spiral or periwinkle comment you refer to?

Marie's post.

thank you!

It occurs to me that not everyone will have seen the first MGDC thread, where we discussed the problem of the Graham rep. being made available to the Company (as I write this, it is still difficult to believe that it could happen).

Here is the link:

http://forum.criticaldance.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=3&t=000035

<font size = -2><center>(Edited by salzberg to fix link)</center></font>

<small>[ 08-11-2002, 16:08: Message edited by: salzberg ]</small>

Having served as the Graham Company and School's Managing/Executive Director for over three years until my eventual departure February 25, I have a comprehensive, albeit tragic, overview of the myriad struggles which have faced and continue to face the Graham legacy. Having worked closely with Ron Protas on what seemed to have been a committed, major step forward toward a new, viable institution, it is very clear where the "ground zero" issues lay. Indeed, as some have pointed out, the latest actions were long in coming. What I had once hoped had been a heroic and determined effort - on the part of all of us who struggled through the last three years (and,of course much earlier for others) - toward what we all hoped and knew could be if certain elements would only truly change - only proved to be another casualty on the tragic battlefield of the Graham legacy. Would that there were enough individuals and enough money and power out there to wage the battle that truly must be fought if the Graham legacy is to have any hope of eventually being free to thrive as it should. My heart and soul goes out to the dancers, the students and the staff who truly were valiant. And, most certainly, to Terese Capucilli and Christine Dakin and other devotees who, out of their passion, their "blood memory", were the true carriers of the artistic torch - the ones who were really responsible for keeping the integrity of the company high. There must be no doubt. And now, to anyone resolute enough, join in the fight.

I would like inform you all that the Martha Graham Dance company finaly has its own web site where you will soon be able to find updates, letters of support and more. <BR>Web site's address is: <A HREF="http://www.marthagrahamcenter.com" TARGET=_blank>www.marthagrahamcenter.com</A> <BR>I encorage you all to participate in this fight.