When Movement Meets Garment: Exploring Martha Graham’s Visual Legacy
- Summer Poet418
- 14 hours ago
- 3 min read
By Sophia Pallozzi
On the upper level of the Performing Arts Center, soft lights beamed onto costumes showcasing the unique works of Martha Graham, a legendary modern dancer, choreographer and costume designer.
Martin Lofsnes, a former dancer of the Martha Graham Company and Purchase Dance Conservatory teacher, curated “Sacred Garments: Exploring Martha Graham’s Costume Legacy,” an inside look at Martha’s costume design with a presentation on her work, along with an in-person view of her costumes. “She often referred to the body as a sacred garment,” said Lofsnes, “our first, and last.”
Many praise Grahams' unique ability to create something that no one else had, whether it be a choreographed dance, or the costume to go with it. “She broke down movements from her ballets into exercises,” said Lofsnes, “and the techniques started to emerge. The same was true for her costume design. She knew what she wanted and made it happen.” ”Primitive Mysteries," a dance from 1932 choregraphed and styled by Graham included a heavy wool jersey, a material that was cheap to find. She often used dark colors to contrast the soloist’s costume, making the main character more prominent. The tight-fighting core of the costume brought dancers into their characters, making it hard to move and breathe, but allowing a stiffness that reminded dancers who they were supposed to portray. “When you wore your costume, it helped you engage in the technique,” said Lofsnes. “The costume becomes such a vital partner for dancing.”
Graham’s earlier pieces were mainly women until 1938. “She could explore her softer side,” said Lofsnes. “She could explore the contrast between masculine and feminine.” Many of her works included subtle jabs at the political state, including the Spanish Civil war titled "Deep Song," paying tribute to a Spanish revolutionary woman named Martha. The costume, a fiery red dress with black and yellow designs that flowed down the body, was displayed for audience members to see.
Graham used her costumes to convey her emotions, expressing grief or sorrow. Amanda Goodridge, a junior dance major, wore a tight purple fabric tube, and moved in a way to express lamentation, a dance of sorrow. “It’s hard; it takes a lot of work from your arms,” said Goodridge. “I think with Graham, it’s hard to feel the sensation of whether that’s the feeling of the arm, or the feeling of grief, but I feel like this added layer, this barrier, allows for a tangible talent and task.”
Rie Matsumae, a sophomore dance major, was also included in the demonstration of Graham’s costumes. “It’s really cool to be able to wear the costume,” she said. “Learning about the history that Martha put into her company and dances, it’s really unique.” Matsuma showcased “The Night Journey” dress, highlighting the long brown cape and the torso. The dress gives freedom to the leg, creating a swoop of fabric when dancing.
The Purchase College Dance Conservatory performed "Diversion of Angels" in 2022, an infamous ballet piece created by Graham herself. Lofsnes sent the video to the Graham Company as a stipulation of their contract, which led the Graham Company to invite the Purchase Dance Conservatory to their NYC season “University Partners Showcase.”
The next event, “Deep Song, Deep Roots, Dancing Forward Looking Back,” will be held on Dec. 3 at 12:30 p.m. in the Kazuko Hirabayashi Dance Theater Lab, which will explore the evolution of the Graham technique and its modern-day relevance. “We do Graham a few times a week in the conservatory,” said Goodridge, “so having context behind a lot of the overarching themes and the brilliance behind [Graham] brings me deeper into the technique, and just her work as a whole.”