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Given her reputation as one of the most important artists to emerge from the 1960s, one would think that Martha Graham had something to say about the current environment in which she finds herself: For example, that her performances are grounded in self-reflection and understanding, that they are not exercises in theatrics, that they don’t use drugs or excessive force to produce harmony, that they transcend ideological divides and promote social justice.

One might expect that from an icon; but from Martha Graham, so famous for defying stereotypes, nothing.

New York Times critic John Rockwell recently noted that Graham is “one of the giants of American modern dance, and one of the few mainstream artists who have gone far, far beyond dancing.”

He continued, “She has helped to define the relationship between art and society in the past 40 years. Her dances, intended for all the world, are social commentaries often disguised in bodily movements. Her choreography, dance poems and craft have influenced an extraordinary array of artists.”

So far so good. And then he said: “But she is also a religious reactionary,” he wrote, “one of those gurus who are almost always reactionary, generally conservative in their economic and social views and little more than chauvinist in their reverence for the male.”

In other words, of course she thinks about her work as an artist and what it means, but who wants to listen to what she has to say about gender, race, social justice and the like when all she wants to do is keep dancing?

She might have a different take about how things have turned out, but for now it is as though she is one of those petite-sized celebrities who has been around so long that she has lost any motivation to change.

She is the last thing that those who wish to hold onto a traditional view of

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