740 THE SURVIVAL OF CLASSICAL MYTHOLOGY
MARTHA GRAHAM AND JOSEPH CAMPBELL
A dancer in Martha Graham's company was Jean Erdman, wife of the famous mythog-
rapher Joseph Campbell. Graham had this to say about Campbell's influence:
Joe was a luminous being in all our lives, one who opened gates to mysteries past through
his knowledge and insight into the myths and legends that touch all civilizations.... He
enabled us to treasure and to use the past and to recognize the blood memory within each
of us. I have so often said that dance should illuminate the landscape of man's soul, and in
my Journey through that landscape Joe was a profound influence?^
This concept of soul was vital to Martha Graham's vision; as opposed to the dis-
coveries of science that "will in time change and perhaps grow obsolete ... art is eter-
nal, for it reveals the inner landscape, which is the soul of man."^52
A Graham dance inspired by mythology elucidates the myth from the point of view
of the heroine; it is an exploration of the inner world of the feminine soul or, better,
psyche, with all of the Freudian implications that this word evokes. Another vital el-
ement in her art was its sublime eroticism: "I know my dances and technique are con-
sidered deeply sexual, but I pride myself in placing on stage what most people hide
in their deepest thoughts."^53 Graham's company, which she founded in 1926, is the
oldest continuously performing American dance company, whose future, alas, is in
jeopardy in the year 2002. Her first ensemble consisted of a trio of three women; this
was expanded in 1929 to a larger all-female group; with the addition of permanent
male dancers the company came into being in 1938.Many important scores by prominent American composers were commissioned
by Graham for her innovative dances.
One work choreographed by Graham and danced by three males, Bas Relief
(1926, music by Cyril Scott), is influenced by the ancient world. Also, her dance
Tanagra (1926), to music by Satie, confirms her early commitment to the Greek
spirit; Louis Horst described the work: "An expression of a classical figure, per-
formed with an effective use of draperies, it was the last dance still showing a def-
inite influence of Denishawn background."^54 In addition to her works on Greek
myth, many of Graham's dances have universal spiritual motifs that are signifi-
cant for the classicist. A good example out of many is Primitive Mysteries (Hymn
to the Virgin, Crucifixus, Hosanna, 1931; music by Louis Horst). This work "was
not a piece about Catholicism exclusively, although she had spoken of Mary the
Virgin when working on it with her dancers; rather it was a piece about religious
feelings in general. ..." This "Spanish-Indian brand of Christian ritual" could be
classical; Graham was the Virgin or any "sacred ritual figure" of religious myth.^55
Another work, Celebration (1934; music by Louis Horst), which has no story, sug-
gests things Greek. With reference to this work in particular, comments may be
aptly framed in Greek terms about the "enlarged beings" of Graham's dances,