Her political biography demonstrates the power of the individual, immigrants, republicanism, and, ultimately, freedom from walls and metaphorical fences with cultural diplomacy through the unfettered language of movement and dance. Following a deconstructive perspective (Buse and Stott 1999 Derrida 1994) and taking up feminist critiques of both autobiography (Benstock 1988 Chanfrault-Duchet 2000) and the effects of embodiment (Phelan 1997 Albright 1997), I theorize autobiography as.
With her tours and modernist aesthetic, Graham represented American Cold War ideology globally. In this article I employ modern dance pioneer Martha Graham’s memoir Blood Memory (1991) to complicate understandings of autobiography. 'Blood Memory' is the story of Martha Graham, from a difficult childhood in the American West and her 'wild' days in the Greenwich Village Follies to her own company that began with only. Martha Graham: The Evolution of Her Dance Theory and Training 1926-1991 Compiled by Marian Horosko. Martha: The Life and Work of Martha Graham By Agnes de Mille. She intersected with politically powerful women in a story of "Good Old Women's History" from Eleanor Dulles, sister of Eisenhower’s Dulles brothers in the State Department and CIA, Jackie Kennedy Onassis, to political matriarch Barbara Bush. Blood Memory: An Autobiography By Martha Graham. Eisenhower through Ronald Reagan, and planned to continue under George H.W. Graham’s claim inspires questions: the United States government exported Graham and her company internationally to over twenty-seven countries representing every seated president from Dwight D. Beginning Modern Dance: Martha Graham The Graham Technique Blood Memory: An autobiography: Martha Graham The Notebooks of Martha Graham: Martha Graham. “I am not a propagandist,” declared the matriarch of American modern dance Martha Graham while on her State Department funded-tour in 1955.
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