Martha Graham, page 77
Frank, Waldo, xv, 118, 230, 257
Frankenstein, Alfred, 288
Fraser, Robert, 282, 303
Freier Tanz (free dance), 86
Frenetic Rhythms: Three Dances of Possession, 224, 279, 287, 301
Freud, Sigmund, 127, 204, 339, 365
From Desert and Pueblo (Grunn), 47
Fromm, Erich, 372
Frontier: American Perspective of the Plains, 5, 247, 282, 282–4, 286, 287, 308, 328, 331, 394
Fruhauf, Aline, 45, 173
Fuller, Buckminster, 161–2, 226
Fuller, Loie, 25–6, 46, 321
“Future of the Dance, The” (Graham), 323
G
Gage, Margaret, 153
García, Genaro, 52
Garden of Kama, The, 33, 77, 80, 122
Genthe, Arnold, 70, 242
Geoffrey of Monmouth, 385
Georgi, Yvonne, 293
German aesthetics and culture, 32, 93, 109, 113, 200, 245
German expressionism, 109, 267
Gershwin, George, 140, 161, 198, 204
Gilbert, Ralph, 331, 332
Gilfond, Edythe, xii, 328, 346
Gilman, Lawrence, 111, 242
Gilmour, Ailes, 155, 156, 160, 160, 162, 219, 251, 263, 273, 277
Gilmour, Leonie, 155, 156
Glenn, John, 143
Gluck, C. W., 99, 105
glückliche Hand, Die, 174–7, 179
Glushanok, Peter, 341
Goebbels, Joseph, 287
Goetschius, Percy, 85, 223
Golden, Samuel L., 45
Goluth Studio, 180
Goossens, Eugene, 97, 105, 228, 229
Gorham, Robert, 49, 64, 313
Gotham Book Mart, New York, 91–2
Gould, Norma, 29–30, 31
Graham, George Greenfield (father), 5, 6, 6–8, 11, 15, 17, 23, 74, 271, 352
Graham, Georgia (“Geordie”) (sister), 5, 9, 11, 12, 14, 15, 77, 106, 216, 273, 337
Graham, Jane (“Jennie”) Beers, later Mrs. Homer N. Duffy (mother), xvi, 5, 6, 7, 8, 11, 12, 14, 15, 16, 17, 190, 236, 239, 313, 354, 379, 397
Graham, Martha: Allegheny City, Pa., as childhood home of, 3–12, 4; “The American Dance” by, 275, 288; ancestors of, 5, 6–7; “Art as Communication” by, 263–4; autonomy and detachment of, 15, 107; ballet as viewed by, 72, 129, 201, 231–2; childhood of, 3–5, 4, 5, 7–16; “choreography before music” rule of, 229, 252; contraction and release of, xii, xiii, 71, 89, 116, 129, 136, 160, 174, 186, 200, 243–4, 362, 399; costuming and, 92, 96, 98, 117, 150, 178, 252, 276–7; creative process of, 217–20, 224, 252–3, 307, 323; “The Dance in America” by, 254–5; European tour of Dance Company (1950), 389, 390, 392, 394–5, 395; first ensemble of men choreographed by, 99; on form in dancing, 201, 262; “The Future of the Dance” by, 323; on her technique, 393; histrionics and tantrums of, 110, 178–9, 262, 285–6, 395, 403; on how to command the stage, 185–6; humor in dances of, 327–8; inner workings of body central to, 8–9, 129, 243, 374; knee injury of (the Paris “accident”), 394–5, 396, 401; legacy of, 404–5; on meaning and intention in dance, 136; “A Modern Dancer’s Primer for Action” by, 332; movement symbols employed by, 308; New York debut of Concert Group, 91–7, 98; notebooks of, 348–52, 354, 362; private warm-up sessions of, 307; religious upbringing of, 11, 50; schooling of, 10, 15–16, 18–22, 23–4, 38, 40; School of Contemporary Dance founded by, 5, 399–400; on sculpture’s relationship to dance, 150; “Seeking an American Art of the Dance” by, 198, 200–1, 254; stories and poems written by, 16, 19–20; as teacher, xii–xiii, 42, 72, 80–4, 89–90, 97–8, 103, 104–5, 128–9, 136, 173, 184–6, 262–4. See also specific dances, people, and topics
Graham, Mary (“Mimi”) (sister), 5, 9, 10, 11, 12, 12, 14, 15, 337
Graham, William Henry (brother), 6, 11–12, 12, 23, 337
Granville-Barker, Harley, 21, 119
Great Sacrifice, The (Roerich), 170
Greek architecture, 194
Greek myths and themes, 25, 31, 32, 39, 46, 63, 232, 271, 311; Ariadne’s tale, Graham’s Errand into the Maze and, 373, 376, 388; dithyrambs and, 249–50 (see also Dithyrambic); Hawkins’s Stephen Acrobat and, 368; Hawkins’s The Strangler and, 369, 373, 376; Heretic and, 136–7; Maenads, Tragic Patterns and, 277, 277–8; Medea myth and, 355–6, 372 (see also Serpent Heart/Cave of the Heart); Minotaur and Labyrinth, 311, 368, 373, 388; Oedipus, 187, 281, 369, 373, 376, 386, 396; powerful female characters’ lamentation and, 151; riddle of the Sphinx, 369, 376; terra-cotta female statues, 150–1 (see also Tanagra figurines); Trois Gnossiennes and, 95–6, 105, 150, 203
Green, Morrris, 91
Green, Ray Burns, 308–9, 312, 313, 315
Greenwich Village Follies, The, 73–7, 75, 76, 80, 81, 82, 91, 122, 178, 200, 207, 236, 271
Greenwood, Marion, 104
Grieg, Edvard, 116
Grigg, Mrs. Merrill Moore, 23–4
Gris, Juan, 247
Gruenberg, Louis, 142, 163, 165, 166, 204
Grunn, Homer, 47, 193
Guggenheim Foundation Fellowship, 235–6, 256
Guion, David Wendel, 207
Gustafson, Ester, 82
H
Hackett, Karleton, 69
Halsman, Philippe, 347, 367, 384
Hammond, Natalie Hays, 272, 272–3
Hansen, Paul, 129, 188, 221, 298, 299
Hanson, Howard, 100, 107
Hapgood, Norman, 198–9
Happy Hypocrite, 212
d’Harcourt, Raoul and Marguerite, 117
Hardenbergh, Henry J., 103
Hare, Will, 366
Hargrave, Roy, 220
Harker, James W., 333
Harlem Renaissance, 140–1
Harlequinade: Pessimist and Optimist, 145, 146, 243, 254
Harris, Henry Birkhardt, 16, 26–7
Harris, Natalie, 311
Harrison, Jane Ellen, 136–7, 349, 464n
Harsányi, Tibor, 133
Harvard Society of Contemporary Art, 161, 296
Hastings, Baird, 374
Hawkins, Erick (born Frederick Hawkins), xii, xvi, 291–5, 292, 299, 300, 309–14, 325, 349, 355, 364–74, 378, 400–3; “Ahab” project and, 369–71; American Document and, 312, 312–13, 317, 317, 318–20, 321; Appalachian Spring and, 254, 342, 342, 344, 345, 354; ballet background of, 309–10, 331–2; in Ballet Caravan, 290, 320, 356; choreographic projects of, 324–5, 332–4, 339, 353, 366–71; on classicism, 375; Dark Meadow and, 346, 347, 352, 353; Deaths and Entrances and, 336, 337, 337, 338–9; Every Soul Is a Circus and, 328, 329, 368; existential discontent of, 364–6, 386, 396–7; Graham Company’s 1950 European tour and, 389, 390, 394, 395, 395; Graham’s first encounters with, 290, 301, 310, 312–13, 356; Graham’s marriage to, 379; Graham’s relationship with, 313–14, 324–5, 339–40, 353–4, 365–6, 371–3, 375, 386–8, 395–8, 401, 403; Graham’s ruptures with, 371–3, 375, 376, 395–8; as Graham’s student, 311–12, 324–5, 396; Harvard education of, 292–3, 294–5, 365; haunted, ambivalent dreams of, 364–5; Horst’s relationship with Graham disparaged by, 378; John Brown and, 353, 354, 366–8, 369, 375; Jung read by, 324, 365; as King Lear, 339, 380, 384, 384, 385, 386–8; Kirstein’s praise and support for, 310, 311, 319–20, 321; literary interests of, 291; Martin’s critical assessments of, 367, 388; Night Journey and, 373; physical presence of, 290, 313; Primer for Action by, 331–2; at School of American Ballet, 300, 309–10, 311, 364, 368; Serpent Heart and, 361, 363; Show Piece and, 310–11; Stephen Acrobat and, 367, 368–9, 375, 394; The Strangler and, 369, 373, 376; as teacher, 331, 366, 396, 398; “What Is Modern Dance?” speech given by, 373–4
Haworth Parsonage, Yorkshire, England, 335
Hawthorne, Nathaniel, 282
Hays, Richard E., 183
Hayworth, Rita, 76
Helpern, Alice, 98
Henderson, Robert, 233, 235
Heretic, 132, 133, 134–5, 136–8, 144, 150, 160, 188, 199, 224, 228, 230, 274, 282, 306, 404; Horst’s ideal of music and, 134–5; origin of title of, 136–7
Herodiade, 354
Heroic Dance, 192
Herridge, Frances, 376–7
Hija de Cólquide, La, 357–8
Hill, Martha, 106–7, 107, 131, 144, 216, 255, 267, 313–14; American Dance Festival and, 375; Bennington School of the Dance and, 253–4, 274, 275, 282, 289, 325
Hindemith, Paul, 90, 131, 133, 144, 228, 275
Hinkson, Mary, 400
Hinman, Mary Wood, 42
L’Histoire du Soldat, 166, 174, 177
Hodes, Stuart, 342, 345, 367, 368–9, 375, 387, 388
Holm, Hanya, 244–5, 245, 246, 253, 262, 286, 288, 301, 306, 325
Hone, William, 271
Honegger, Arthur, 146, 182. See also Dance/Revolt
Hopi, 47, 279, 369
Horan, Robert, 337, 359
Horgan, Paul, 90, 99
Horizon magazine, 336
Horizons, 285, 287
Horosko, Marian, xvi
Horst, Betty (“Bessie”), 36, 40, 52, 53, 56, 74, 78, 308, 314
Horst, Louis, xii, xvi, 34–6, 37, 38, 39, 40, 43, 44, 52, 54, 61, 64, 65, 67, 70, 77, 89–90, 94, 102, 105, 106, 110, 137, 153, 177, 182, 202, 224, 230, 246, 271, 278, 288, 293, 305, 306, 311, 336, 379, 390; American Dance Festival and, 378, 378–9; American Document and, 308, 313; Ballet Intime tour and, 208–9; Celebration and, 280, 309; Ceremonials and, 252–3; Chorus of Youth—Companions and, 262–3; Copland’s Piano Variations and, 249; Cornish School and, 184; Dance Composition course taught by, 127–8; Dance Observer and, 45, 202–3, 255, 287, 374; Dance Repertory Theatre and, 141, 144–7, 225; death of, xvi; de Mille’s music and, 209, 210; departure from Denishawn, 78–9, 85; Fonaroff’s affair with, 314; Frontier and, 283; Graham’s 1928 Little Theatre recitals and, 117, 118; Graham’s 1929 Booth Theatre recitals and, 130–5; Graham’s estrangement from, 378–9; Graham’s New York debut and, 91–5, 98; Graham’s romantic relationship with, 52, 53, 55–6, 74, 85, 95, 378; “Harvest Dirge” setting by, 86, 95; Heretic and, 134–5, 136; Hindemith compositions and, 275; hired by St. Denis, 34, 36; Lamentation and (1930 solo), 147, 149; Lamentation and (second work so titled), 277–8; Modern Dance Forms class taught by, 202–5; “The Musician Comments” essay by, 78–9, 203; Neighborhood Playhouse School and, 127–8, 183, 202, 203, 244; Nietzsche’s writings and, 209, 278; Panorama and, 284; Perry-Mansfield School and, 202, 202, 259–60; Pre-Classic Dance Forms class taught by, 127–8, 202; Primitive Mysteries and, 216, 217, 218, 220, 222; on relationship of music to dance, 78–9, 85, 285; Scène Javanaise and, 86, 99; Tamiris’s music and, 140, 141, 142; theory of dance and, 109, 127–8, 134–5, 201, 202, 204–5; Tragic Patterns and, 277–8; traveling in Mexico with Graham, 257–9, 258; traveling through New Mexico’s pueblos with Graham, 192, 195, 196, 218, 239–41, 260, 279; Vienna sojourn of, 79, 85–7, 95
Horton, Lester, 122
Hound & Horn, 296, 297, 298, 316
Howe, George, 199
Howland, Olin, 177
Humphrey, Doris, 41, 41–2, 115–17, 128, 139, 143, 153, 177, 191, 230, 246, 288, 301, 305, 325, 375, 391, 404; Dance Repertory Theatre and, 141, 142–4, 211, 212–16, 215, 225; in Denishawn Company, 41–2, 43, 49, 53, 64, 77, 115–16; fall and recovery technique of, 116, 213; school opened by, 118; The Shakers (originally titled Dance of the Chosen) and, 213–16, 215, 225
Hurok, Sol, 69, 244, 246, 354
I
Ide, Letitia, 212
Iliad (Homer), 150–1
Immediate Tragedy, 192
Immigrant, 117, 144, 182
Incas, music of, 117
India, stories and themes related to, 18, 25, 26, 33, 39, 46, 54, 77, 83, 98, 106
Indians (indigenous to the Americas), 31, 47, 119, 255–6; Austin’s writings on, 242, 243–4; Chávez’s thoughts on national style in music connected to, 264; Crane’s and Graham’s shared goal of connecting to, 255–6; Graham on what she learned from, 197; Shawn on dances of, 192–3; Shawn’s thoughts on national style in dance rooted in, 192–3. See also primitives, primitive sources; Pueblo peoples, pueblos
In the American Grain (Williams), 280–1, 309
In Time of Armament, 332–3
Isaacs, Edith J. R., 109–10, 110, 153, 236, 335, 336
Isaacs, Lewis Montefiore, 110
Israel (Bloch), 118–19, 121, 122
Ito, Michio, 77, 82, 118, 122–7, 125, 133, 156, 158, 166, 184, 262; as Graham’s dance partner, 122, 313; Noguchi’s Michio Ito and, 157
Ivantzoff, Ivan, 176–7, 448n
Ives, Charles, 325
J
Jackson, William Henry, 239
Java, dances and themes related to, 40, 50, 86, 99, 106, 211
Jazz Age, 58, 64
Jemez Pueblo, 170, 240, 279
Jewell, Edward Alden, 154
Jocasta story, 187, 373
John Brown, 353, 354, 366–8, 369, 375
Johnson, Alvin, 229, 236
