The next section begins on the last beat of previous episode. Accompanied by dissonant piano music, a single dancer takes center stage. Again, she strikes a simple pose. Arms outstretched and lifted toward the ceiling, she taps her extended left leg against the stage, with a sideways kick, in time with the music. The other twelve dancers form two groups, slightly upstage, on either side of the lead. They perform a bouncing dance which alternates with a prayerful pose.
On April 18, 1926 the show would go on. Graham and her three dancers, with Horst at the piano, presented 18 short pieces. Set to the music of such composers as Scriabin, Debussy, Satie, Ravel and Rachmaninoff, among others, the show was a mix of styles that progressed from those established at Denishawn to her new inventions. Her early solo titled ˘Tanagra÷, for example, remained strictly within the Denishawn style of Oriental lyricism. While Graham had not yet developed and refined her new style to the extent that it could carry an evening, she did present some powerful and remarkably new compositions that presented the beauty of pure motion. One such piece was ˘Arabesque No. 1÷ in which Biracree, Sabin and MacDonald melted from one pose into another accompanied by DebussyĂs work of the same title.
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.
The stage setting for this piece was designed by Isamu Naguchi, with whom she collaborated throughout most of her career. It is a significant element in the composition in spite of its apparent simplicity. It consists of a 30 or 40 foot length of rope and two round, seven-foot, wooden posts placed about three feet apart at a slight diagonal so that they spread slightly as they r