Watch Martha Graham perform 'Heretic,' a 1929 piece about breaking the dance world's norms.

Ballet prized lightness, but Graham's choreography emphasized weight. This essay explores how her work broke from European influences to embrace American idioms, much as her American contemporaries in jazz and literature did.

The dancer and choreographer created a uniquely American form of ballet that brought together stories from the country's history, abstract expressionism, modern psychological ideas, and collaborations with other major artists.

This history of the modern dancer's life uses archival photos and videos to illustrate how Graham's childhood, especially her upbringing by a psychiatrist and her early dance performance, set the stage for her career.

Graham choreographed and performed the piece about grief, which premiered in 1930. The dance is performed while seated, with Graham's character attempting to free herself from an all-encompassing purple jersey.

Stravinsky's "The Rite of Spring" is famously chaotic, making it an odd choice for Graham's highly precise style. Her 1984 choreography for it, however, redefined how people saw the ballet's score. Graham's version is still performed today; below is an excerpt from a 2018 performance in Paris.

This clip from the 1957 documentary "A Dancer's World" features the dancer explaining why she has committed all of her energy to her art. "Spontaneity … is something arrived at over years and years of training," she says. "It's not a mere chance."

Graham's choreography was as visual as it was physical, complemented by the modernist set design of Isamu Noguchi. That's on display in this collection of artful photos from classic productions of shows like "Night Journey" and "Appalachian Spring."

This interview, from the "Bernard Gabriel Views the Music Scene" program, features a candid conversation in which Graham discusses how her career did not take off until her 30s and how she learned to ignore criticism.

The innovative choreographer encouraged her dancers to tune into their bodies' natural movements. According to Kimerer L. LaMothe, author of "What a Body Knows," that kind of mindfulness made them better able to communicate a piece's symbolic meaning.

The dance company was the first major group to livestream rehearsals and has collaborated with Google on a version of Graham's "Lamentation" that superimposes past performances on the present-day dancer.

In 1951, Graham hired Mary Hinkson and Mattie Tierney, two Black dancers who started in the company's dance corps and eventually took on lead roles in productions. The move broke color barriers that were the norm for the time.

This BBC explainer walks you through Martha Graham's famous approach to dance, offering you six moves you can work into your exercise regimen—or Graham-inspired routine.

Reporter Michael Small interviewed the influential choreographer and dancer in 1989 for People magazine, two years before she died, and features the 95-year-old looking back on her life and career. If you want to skip ahead to the raw audio, jump to 26:40.

The influential choreographer and dancer once said that creative people will never be satisfied with their work. Instead, "there is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

The dance piece was inspired by the story of Oedipus, as well as by more contemporary psychoanalytic theories from Sigmund Freud and Carl Jung. This JSTOR article explores how Graham's piece merged those texts with her singular approach to movement to explore gender and identity.

The Graham company toured the globe several times on cultural exchange campaigns throughout the 1950s. Some believe that the Graham company in particular was chosen because it was the first integrated dance company in the US, thereby countering international perceptions of American segregation and racism.

The two women were friends, and Keller eventually visited Graham's studio while her company was rehearsing. In this footage of that encounter, Graham shows Keller the shape of her choreography.

The ballet, which premiered in 1944, was conceived by the composer and choreographer through the mail, with the two corresponding about how the music might fit the dancing. Later, designer Isamu Noguchi would design a set that whittled the western Pennsylvanian pioneer town down to its core elements.

The five performances, which included an invitation for the audience to use 72 objects as they pleased, helped put her on the map as a fearless artist, but they also caused her physical harm.

The "symphonic dance of threeness" brought together Bauhaus' varied artistic interests and offered a fable in which collectivism wins. This history and timeline of the work details its origins as well as its near-destruction at the hands of the Nazis, who considered it profane.

Growing older did not limit Abramović from continuing to work or stir controversy. Reenactments of her older performances continue to generate strong responses from viewers, especially in a cultural atmosphere that she views as increasingly hostile and regulated. (This resource contains some artistic nudity.)

By inviting the audience to do as they please without repercussions, Abramović showed the public both the beauty and hideousness of human nature. Playful interactions eventually turned into assault, and the performance left her with scars she still wears decades later.

Working across continents for over five decades has made Abramović one of the most recognizable and prolific performance artists in history. Her shocking oeuvre has involved self-harm, public nudity, exotic animals, and fire.

For seven days, Abramović reenacted seven works by her peers for seven hours each. The performance attracted widespread attention that helped lay the groundwork for her life as a celebrity artist.

The HBO documentary follows the preparation and execution of Abramović’s 2010 MoMA show, taking a deeper look into the emotional experience. Performing was both physically and emotionally taxing for the artist, and visitors were often moved to tears while connecting with her. (This resource contains some artistic nudity.)

As the performer became more tied to A-listers like Jay-Z, Lady Gaga, and James Franco, culture critics began to consider the commercialization of performance art and how audiences may have flocked to see the “brand” of Abramović more than her actual work.

In a 2024 interview with GQ, Abramović shares her opinion on the “Barbie” movie and Kim Kardashian, while also sharing abstract insights into the power of dreaming, solitude, and stillness.

The movement’s early performances were absurd cabarets featuring experimental poetry, avant-garde music, and maskwork. Much of it was reckoning with the growing deathcounts of World War I, with work that often lampooned Western imperialism and supposed rationality.

The Abramović Method compiles Abramović’s own learnings and gives instructions to other artists for remaining present and grounded. Pop star Lady Gaga learned the method and cited it as a huge influence on her work.

Performance art defies traditional boundaries, existing as a dynamic, live medium where the artist's actions—and sometimes the audience's—become the work itself. Emerging in the early 20th century with movements like Dadaism, performance art has continually evolved to provoke reflection and challenge cultural norms.

Race directors assumed women could not handle the physical demands of the race. In 1966, Bobbi Gibb hid in the bushes near the starting line, then hopped in the race after it began, and became the first woman to finish the Boston Marathon, albeit unofficially.

When the Daughters of the American Revolution refused to allow Marian Anderson to perform at their Washington hall in 1939 because she was Black, Roosevelt publicly cut ties with the group. She worked to arrange an alternative outdoor concert for Anderson at the Lincoln Memorial, which drew a crowd of 75,000.

Part theater, part anarchy, part absurdism, performance art encompasses a whole range of media and genres. The short version is that it’s conceptual, often spontaneous art that is performed live. Performance art is inherently confrontational, challenging societal ideas of what constitutes “fine art,” making it an ideal vehicle for political and protest pieces. It’s closely related to other avant-garde movements like Dada and Futurism.

Although Holiday is sometimes associated with the Harlem Renaissance, the Black cultural movement of the 1920s and '30s, scholar Whit Frazier Peterson argues that her real impact in poetry was on the Black Arts Movement, the more radical Black literary movement of the '60s and '70s that featured writers like Amiri Baraka, Sonia Sanchez, and Nikki Giovanni.

A year after Bobbi Gibb’s unofficial finish, Kathrine Switzer registered under an androgynous name to avoid suspicion. Race officials unsuccessfully tried to remove her from the race while she was competing (pictured below), but she ultimately became the first woman to officially finish the race. In 1972, the Boston Marathon changed its rules to allow women to register.

Although the American Impressionist's work is sometimes dismissed as overly sentimental, these Cassatt specialists argue that her portrayals of women are often subtly subversive, emphasizing how they defy the gender norms of the time.

The exhibit at the Museum of Modern Art invited visitors to sit in silence in the company of a master performer. Many shed tears or gestured affectionately, claiming to have felt a profound connection with Abramović. (This resource contains some artistic nudity.)

During the 90-day performance that took place on the Great Wall of China, Abramović lived in isolation, nearly fell into an abyss, and wrote poetry—among other transformative experiences.

Abramović’s willingness to mainstream transgressive and symbolic work has inspired many, but some have also interpreted that same work as ridiculous, pretentious, or even Satanic.

While performance art is a very flexible genre, it is defined by several core elements: time, space, the body, and the relationship between the artist and the audience. These elements may be manipulated in infinite ways to convey the artist’s message, such as how endurance performances challenge the limits of the body over long periods of time.