It seems Madonna was trained by her.
Martha Graham created a dance technique that became the first significant alternative to the idiom of classical ballet. As the dancer Alma Guillermoprieto has pointed out, Graham was “the first creator of modern dance to devise a truly universal dance technique out of the movements she developed in her choreography.” Her dance language was intended to express shared human emotions and experiences, rather than merely provide decorative displays of graceful movements. The dances were also intended to evoke a visceral response in the audience rather than be comprehended in primarily linear or pictorial terms.
Many of her dances feature forceful, angular movements originating in spasms of muscular contraction and release centred in the dancer’s pelvis.
These expressive contractions help generate the strong sexual tension that is a feature of so many of Graham’s works. The resulting dance vocabulary is startlingly unlike that of classical ballet in its jagged and angular lines, and its dislocations and distortions that express intensely felt human emotion. Her technique is the most highly developed body-training method in the entire field of modern dance, requiring both unrelenting discipline and prodigious virtuosity.
Throughout most of her career, Graham maintained a position as the foremost figure in American modern dance. She instructed, or guided, generations of modern dance teachers both in the United States and abroad. She strongly influenced succeeding generations of modern dancers, ballet choreographers, stagers of musicals and operas, and creators of dance-dramas. From the “long woolens” of the 1920s, Graham moved to some of the most opulent productions to be found in modern dance, with an accent on sculptured pieces and brilliant costumes and properties. She was the recipient of many awards and honours, including the Medal of Freedom, the highest civilian award in the United States. In 1973 she published The Notebooks of Martha Graham.