• Dr. Teena Rachel Thomas

Active on stage in the late nineteenth century, Martha Graham, one of the first feminists to become a pioneer for American modern dance, inspired many women to free the female body from its gender baggage and to pursue their own identities through the art of dance. It is quite evident in dance research that deserved recognition has been given to Graham’s contribution to American modern dance, thus, mapping the influence of Modernism, Psychoanalysis and Anthropology on her works from the 1930s and early 1940s. But in this paper I am particularly interested in a performative analysis of how Graham’s (what I have termed) ‘Greek Autochoreographies’ namely Cave of the Heart (1946); Errand into the Maze (1947); Night Journey (1947); and Clytemnestra (1958) can illustrate each of the above mentioned three elements of resistance within the social circumstances and theoretical framework each dance was choreographed in.

"Dance as Resistance: Martha Graham’s “Greek Autochoreographies", International Journal of Emerging Technologies and Innovative Research (www.jetir.org), ISSN:2349-5162, Vol.5, Issue 3, page no.100-105, March-2018, Available :http://www.jetir.org/papers/JETIR1803021.pdf

"Dance as Resistance: Martha Graham’s “Greek Autochoreographies", International Journal of Emerging Technologies and Innovative Research (www.jetir.org | UGC and issn Approved), ISSN:2349-5162, Vol.5, Issue 3, page no. pp100-105, March-2018, Available at : http://www.jetir.org/papers/JETIR1803021.pdf