The fourth section has the lead performing her solo while the rest form one line of six behind her and another diagonal line of four to her left. In unison, and in time with the music, they kneel on their right knee, then on both knees, then on the left knee and finally they stand and begin the phrase anew. As is the case with the first section, the effect evokes rather bizarre religious overtones as the dancers present the appearance of supplication to discord.
McDonagh, D. (1973). Martha Graham: A biography. New York: Praeger Publishers.
In the third episode, the lead dancer continues her side kick while the rest parade from upstage right to downstage left. The file marches in unison. Each individual dancer, however, strikes and maintains a different, awkward pose with their upper body. The effect is one of watching a parade of wounded people.
There were many who did not like her performance, however. Shawn and St. Denis sent her messages that were almost abusive. Shawn collected newspaper clippings that harshly criticized GrahamĂs performance, he sent them to her with a letter stating that she was wasting her talents and that her departure from his school had been a big mistake. St. Denis replied simply that her pieces were dreadful. A large crowd had turned out for the show, however, and to the surprise of many, when the receipts were counted, Graham had earned enough to repay Steloff. Overall, it was an auspicious beginning to a promising career.
Banes, S. (1980). Terpsichore in sneakers: Post-modern dance. Boston: Houghton Mifflin.
Based on the power of GrahamĂs performance, ˘Xochitl÷ was scheduled to tour on the Pantages vaudeville circuit. She had previously played only small roles in local concerts with the Denishawn group. The tour, which included performances in cities all along the West Coast, was successful and it gave Graham her first taste of stardom. Upon returning to Santa Barbara at the conclusion of the tour, Graham gave