NIGHT OF JOURNEY

MY BEST 20 PICS

FOR DAVID

Martha Graham, surely one of the most important dancer and choreographer of the twentieth century, innovated the world of the Dance with her new style and new dramatically staging, she´s considered as the pioneer of the Modern Dance. Her unique style marked a new age in Dance, she designed her own technique of Dance, and this kind of Dance has her own name: The Graham Technique.

This technique puts great emphasis on the breath. A distinctive feature of this technique is the contraction-release, but Martha created many other exercises and movements for training herself and her “Acrobats of God”.

Into her mind a new way of training had to be completely new and she wanted to create new things that, against the classic ballet, would process the breath into energy that molds the shape of the body and at the same time prepare the dancer to project to the public the emotions in all their purity.


The Beginning of the Class, Working on the Floor


Bounces

Dancers must be sit with the soles of my feet together, we start in a release and with the music we suddenly start the contraction and make sixteen bounces, then go to the release and change to the second position to make another sixteen bounces there and then same another release to make another sixteen bounces with the legs extended to the front in a first position. This exercise helps to stretch the lower back and to work in the opening of the legs.


BREATHINGS

This second exercise is usually made immediately of the first one, dancers are sit with the arch of the feet crossed in point against each other, making a fifth position, the torso is in contraction with the arms in a low second position. The focus is in front of the feet, so the head is not hanging just follows the line of the contraction up. We practice breathings in two and breathings in four, which is related to the music tempo. Breathings on two are contraction and release to stretch the whole back and the Breathings on four are contraction-release-heart release to stretch the back in a semi cambré that makes open your chest and fill it with the breath.
This exercise helps us to stretch the back, the opening of the inner thighs, the chest, and the upper back and to control the breath.


SPIRAL BREATHINGS

With this exercise the Graham Dancers are introduced to the opposition and continue the work of the back. The start position is with the arch of the feet crossed in point against each other in a contraction with the arms stretched over the knees. In the first simple spirals breath will bring the torso up, one hip goes behind the other; focus must be over the shoulder with a straight head and straight torso. As the torso is straight, because of the hip movement, we got an effect of a diagonal position of the torso which, usually this spirals are dance in three tempos and on them we got to work the increase of the spiral which ends going to the center in a contraction and then spiral again to the other side. The second spirals we learn are the same but heart release of the back in the second tempo of the music followed by a contraction to the center and spiral-heart release to the other side, with this exercise dancers work hips, the pelvis, the back, and the opposition.


OPENNING OF THE LEGS

This exercise is made immediately after the Spiral Breathing in which one we do the spiral but with it we bring the arms up in a fifth position at the same time that we open the legs, one to a second position and the other is pulling away from the other with the arch of the foot in point on the floor, so we work the opening of the legs and the spiral at the same time. The exercise continues with the opened leg closing into a fifth position, then the back stretches up and goes to a pitch forward with the hands opened aside of the legs making a pyramid over the legs which are pulling the thighs out and settle in the ground. The next movement is performed by the torso which goes to one side over the legs, and brings one of the legs up, makes it step on the foot and the arm of that side goes against the leg to make it open behind, and this movement makes the back open up too. Then we go back to the fifth position with the arches of the feet in point and then open to an end. This exercise is very complex and makes us work the opening of the legs and the strength of the back.


CONTRACTIONS

Probably this is the most difficult work to be done in the Graham Technique. The basic exercise starts in a Release of the back with the soles of the feet together, then we make the contraction and pretend to go with the crown of the head over the feet, but it has to be done as much as we can without losing the contraction, then release the back go back to the release and then contract again and deep the contraction till it makes go us backwards to feel the contraction as the breath is exhale to the limit and then we drop it again with the crown of the head to the feet and the release and repetition. This exercise is one of the bases of the Graham Technique as it makes control the breath all over the body and the head and it project the images to the audience with a profound sense.



deep STRETCHES

The name of this exercise refers to the action of the stretches we work on it. It begins in second position with arms in second as well. The first step is a contraction which is deepened with the arms and in second position and the heels of the hands and the feet in flex, pulling away from the center of the body, and the head looking at the sky. We deepen this contraction to the point the head needs to go forward to the floor (again, without losing the contraction), at the maximum point we´ll release the back in a pitch forward so the stretch is made in all of the body, each part of the body is pulling away from the center of the pelvis. Head pulls away in a line with the spine, tailbone pulls down to the earth, each hand away from the torso and each feet away of the pelvis. We repeat the sequence with the arms making a diamond over the head, which is the second development, and in the contraction we fold the arms with the heels of the hands facing the shoulders and the head focus to the sky again. We keep the same movements in this position, deepening the contraction with the shoulders over the hips and the head reaching the floor and in the maximum again we´ll release with a pitch forward, the hands will make a diamond again and then they’ll open diagonal each other, pulling away up from the elbows, this is the third development, which will continues the same order of the second, Everything is the same, same contraction as the second development, same release with the difference of the stretching and release is this, arms pulling into a diagonal which makes the shape of an upside down triangle –just like in the beginning of the development-. The Fourth and last development is with the soles of the feet together, hands in the ankles and it will make, contraction, pitch forward and release, sometimes the end will be just with the gaze forward –to the audience- sometimes contraction. This exercise as its own name says and the description mentions help to stretch the body completely, legs, pelvis, arms, torso, neck, the back, as well it works the contraction.


TURN AROUND THE BACK

For this exercise Martha designed a special position in the floor which she called fourth position. The position is with the hip looking to the diagonal, one of the legs folds behind the hip and the other leg is making a plie (heal is opposite to the pelvis). The first movement of the body is the pelvis, it goes forward and the rest of the torso follows it in this sequence: “hips, waist, shoulders, and head”. In fact the teachers always sing-direct the class with this phrase. But the importance of this movement is the sensation of the Turn around the back produces from the pelvis to the crown of the head, so the tailbone, the spine, the neck and the face are on a spiral. Next to this movement we go back in the same tempo of musicality. The feet also move, the leg we have on the front of the pelvis goes point when we turn around the back and when we go back it goes to flex as the initial position. The back foot moves in and out, working the opening of the leg.
The arms play another important role in this exercise because they make series while we turn around the back.
First sequence they are in a low second close to each hip and they´re carried by the body when the turn around. Next we play the arm of the plie going up in the turn around and down when back to initial position which is the second sequence and then we play with the both arms like a font of water, this is the third sequence. The end of the exercise is a pitch forward in the turn around, in this end the dancers take advantage to work the spiral more and more and with it get a perfect arabesque.
This Arabesque is the main point of the Turn around Exercise; eventually we will contract the body and finish in a release over the knees and in the spiral of the upper body and this spiral will make the arms look in a horizontal diagonal. There are more complex Turns Around with stands over the knees and other combinations that belongs to intermediate or advanced levels.


PLEADINGS

The contractions have to be improved; with this exercise the Graham technique works the center of the body and the abdominal muscles. The position for starting is lay down in the floor, next step is initiate the contraction from the pelvis to the waist, we need to deep the contraction which will let us go up with our upper chest, and the knees, resisting to go up the head is as heavy as the feet.
This exercise can be executed in two, three, four or more tempos; normally we work them till four.
This kind of exercise, as well as all the other in Graham, becomes more complex. We can crisscross the upper body with the legs and the knees. Eventually we will sit and make another contractions-falls.


EXERCISE ON SIX

This is one of the most important exercises in the Graham Technique, it stars on a “Z” position of the body, with body over the knees and the back stretched parallel to the floor. The first movement is a contraction which will be deepened to the back till the weight of the back would be supported just for the pelvis. Then dancers must release the back making an opposition from the head to the tailbone, so the Buttocks drop onto heels, and then go back to the starting position stretching the back al maximum, the exercise finishes with a contraction over the knees to recover the initial position with a super-stretch torso.






CENTER and preparation for the diagonals


WARM UP CENTER

In this part of the class the dancers stand up and work some of the exercises we danced on the floor, we work out tandeus, plies, contractions, and balances.


GRAHAM PLIES

Dancers will work one or two plies, firs without arms, then with arms, one contraction-release, one grand plie, and one relevé in each position: parallel feet, first, second, fourth and fifth. Eventually we´ll work spirals in fourth and fifth positions and we´ll work a spiral in the contraction.

PREPARATION FOR JUMPS

This is a classic exercise we can find in ballet class too, but in the Graham version we can find contractions in the middle or eventually balances too. Dancers practice a plie – stretch – releve plie o plie-balance-plie in each of the positions, the regular sequence is in first and second position, but some teachers will ask you to do parallel position and eventually fourth and fifth, we make eight counts of each sequence and then eight small jumps in first and eight in second for the elemental level, but eventually we can make eight or sixteen small jumps in fifth position, the end of this exercise is always one jump in first and one jump in second.


DIAGONALS AND CENTER COMBINATIONS


SIMPLE WALKS

This is one of the most characteristically step of the Graham technique and because of its simplicity it´s one of the most difficult to work. We just walk but the first step is made with the foot in point then we bring the thigh of the back leg opened and we make a Sur le cou-de-pied position and this foot is the one who will make the next step in point.


Low runs

The low runs are a special way of run designed by Graham and its name is low because the shape of the dancer must stay low, like running in a plie position. This step is very aerobic and the dancers are in each run in a fourth position with the upper body and arms in an spiral.




Triplets

The triplets are like the Graham waltz, the combination of this step is one low run and two steps in points, like a “low-high-high” walking. The arms are down like in an preparation position, but also we can dance this exercise raising the arm of the spiral each time. Eventually the triplets are going to be turned out.


JUMPS

Every Graham class finishes with some jumps for the dancers. Basically we can make four little jumps in fist position and four jumps travelling through the space.
Eventually we can make sparkles, grand jete in the air, prances, and some others.


FALLS

Eventually we can practice falls designed for Martha and this kind of steps make a great impact in the choreographies and the train to perform as dancers.






When I just first starting to dance I realize of the importance of the dance in my life, I started 18 years ago, and I´m still discovering the magic of this practice. When younger like at 16 I start to participate in companies and perform on stages, but after a couple of years dancing in this companies, I understood that I was too young to show the real emotions to the audience, and I always fell in this assignment. Then I understood that I needed to study the movement first and its relation to the emotions….and then, only then I´ll be able to really perform and say something to the audience.
From then on, I´ll be study different styles of dance, sports, methods to discover my expressions, I did participate in several performs in Ecuador in Spain but I just wanted to be able to keep on studying and surviving as well, What was difficult for me, being an student with no parents nor scholarship help….So my motivation always was half and half working. I did work with great choreographers and teachers in Spain and made some trainings in another cities in Europe, and I´ve been studying different styles of dance like ballet, jazz, another contemporary styles and ballroom, and this experience let me get a job as teacher of dance in Madrid.
My experience as teacher is as long as my experience as an student of the movement and the dance, but in my beginnings I didn´t like to teach, because I was inexpert I guess….but afterwards in Spain I have the best experience of my life working for the Comunidad de Madrid as principal teacher of classic ballet and ballroom. From then on I got the idea into my mind of my own School and this bring me to the United States to increase my professional training and as a gift of the life I found the Martha Graham School of Contemporary Dance.
The heritage that Martha Graham leave to teachers and students touched me from the fist class I had with Lone Larsen. I understood that what I was looking for was just here in this Center. But the difficulty of the new technique in my body as well in my mind needed a long time to get in, and with the time I just feel more attracted and involved in this technique which I will in the future use to my own school and why not, maybe in my own company. There are a couple of aspects of the Graham technique that I must describe as the influence it gives to me, and I will write them below.
I discovered that I must expend more time and energy in the love of my life, THE DANCE, and I discovered that I must fulfill my expectations about being a dancer and from then on, I started to be one but I keep in my mind the study of the movement as well, because I think this is something I´ll never stop, doing, the body is such a complex thing that express and feel and this both things I need to know, I pursue to know.

The contractions in my new body as dancer, gave me more energy to show images when I´m dancing, I discovered that Martha was right when she thought that the energy of the breath would be controlled with them, because the contraction itself is based on human reactions, with it we can express happiness, passion, lost, pain or more. To me the contraction initiates the feeling and then with the release we through the energy of the feeling needed to express, and so the audience can receive the information the dancer wants to give.
The most important reason I keep on studying this technique is the images I need to register in my mind to choreograph in the future and to train my own dancers. I deeply admire Martha Graham for the intense work she did on this technique, she applies science and physics to it and that´s the treasure she gave to her students and dancers and we luckily can keep on studying it.
To end, I must recognize that my body had experimented a new change and it´s much more strong after my graham experience and after all my feelings and emotions I must say that Graham is a technique for training the body, the mind and the spirit.

MARIELA RODAS
INDEPENDENT PROGRAM STUDENT
NEW YORK, JANUARY 26TH, 2009

MAMÁ INÉS

La Gran Mamá Inés nos ha regalado a mi madre y a mis hermanas, a mis sobrinos y a mis cuñados, una sonrisa y un amor infinitos, el mismo que le ha llevado a ayudarnos en cada ocasión en que la requirieramos, ha sido una madre, una maestra, un ejemplo para nosotros, no hemos podido tener mejor figura materna yo y mis hermanas que ella, la pienso y la recuerdo cada día de mi vida, por ella lucho todos los dias, porque me enseñó el valor de seguir y seguir, me enseñó cada detalle de la vida, me enseñó a ser mujer, y tantas otras miles de cosas, me enseñó a cantar esta canción, que a día de hoy, me hace siempre dedicarle estas palabras¨


EL ALMA EN LOS LABIOS (MEDARDO ANGEL SILVA, LA CANTA JJ)

Cuando de nuestro amor, la llama apasionada
dentro tu pecho amante, contemples extinguida
ya que solo por tí la vida me es amada
el día en que me faltes, me arrancaré la vida,

Porque mi pensamiento, lleno de este cariño,
una vida feliz, me hiciera esclavo tuyo,
lejos de tus pupilas, es triste como un niño,
que se duerme soñando, en tu acento de arrullo.

Para envolverte en besos, quisiera ser el viento,
y quisiera ser todo, lo que tu mano toca;
ser tu sonrisa, ser hasta tu mismo aliento,
para poder estar mas cerca de tu boca.

Vivo de tus palabras y eternamente espero
llamarte mia, como quien espera un tesoro;
lejos de ti comprendo, lo mucho que te quiero,
y besando tus cartas, ingenuamente te lloro.

Perdona si no tengo, palabras con que pueda,
decirte la inefable, pasión que me devora,
para expresar mi amor, solamente me queda,
rasgarme el pecho, amada y en tus manos de seda
dejar mi palpitante, corazón que te adora.

OK, LE PERDONÉ

LA MAREA NO BAJA!

Hace un año que llevo luchando con el gran cambio que he dado en mi vida, dejando España para venir a New York, cambiandome de trabajos y visitando mis familias que tengo regadas por todos lados en el mundo! Cambiando de novios, saltando de amor en amor, uuuuuf! ha sido casi frenético y la verdad es que mi mente y mi alma han dado un giro de casi 180 grados en este tiempo.

Parece ser de cuando en cuando que por fin me asiento y que ya voy a parar, pero los problemas nunca faltan y esta vez en lugar de ser graves mas bien son duros de aguantar........pero aqui estoy luchando dia a dia con mis necesidades y ms obligaciones, considero que la mas grande es hacerme feliz a mi misma a traves del baile y luego con el tiempo podre hacer felices a todos aquellos a los que les he fallado de una forma u otra.

Lo unico que me queda claro es que la gente que no te quiere normalmente es porque no te conoce, y los que te quieren nunca dan el brazo a torcer, y esto es lo mas reconfortante de todo, ver que los que te aman siguen ahi, y aunque navego -ya por mucho tiempo- en aguas turbulentas, llevo en mi corazón el valor que estas personas me han dado y la gratitud de su amor, se me vienen a la mente la gente mas linda de mi vida: mis amigos de España, mis amigos alrededor del mundo, los que tengo aqui en New York, viene a mi mente mi madre! mis hermanas! mis SOBRINOS! Mi tia de aqui de New York........buffff cuanta gente linda! mil gracias por estar ahi y por todo vuestro apoyo......Prometo seguir luchando duro!

Como dijo un dia mi amiga Myllen "crecer duele".......-pues ya podria dejar de crecer, no creen? jajajajaa!-

EL MEJOR REGALITO QUE ME DIO MAMA..........

Mis dos hermanitas bellas, Dios me las bendiga, no tengo palabras, solo que ellas nacieron el mismo dia, y yo soy, la tercera melliza! jajajaja