Martha Graham and Greek Myth

Martha Graham and Greek Myth An initiative that brings together classical philology with modern dance.

In her 1963 dance “Circe”, Martha Graham combined movement, costume, and set design to define the enchantress’ identity....
08/13/2026

In her 1963 dance “Circe”, Martha Graham combined movement, costume, and set design to define the enchantress’ identity. Circe’s shimmering gold leotard alludes to her divine ancestry as the daughter of Helios, the Sun god, distinguishing her from the mortal Odysseus.

Together with the costume, Graham’s choreography presents Circe’s power through movement. She envelops Odysseus in a sweeping embrace, drawing him irresistibly toward her. Through her movements, she seduces him while simultaneously asserting her power over him.

📸 1. Tadej Brdnik Tadej Brdnik (Odysseus) and Carrie Ellmore-Tallitsch Big Sky Yoga and Wellness (Circe). 2. Tadej Brdnik (Odysseus) and Gary Galbraith (his Helsman). Photos by John Deane.

Martha Graham Dance Company

Long before Christopher Nolan brought Circe to the screen (2026) and Martha Graham to the stage (1963), ancient Greek ar...
08/10/2026

Long before Christopher Nolan brought Circe to the screen (2026) and Martha Graham to the stage (1963), ancient Greek artists imagined the famous enchantress on painted pottery.

This Attic black-figure lekythos (ca. 490–480 BCE) depicts the dramatic encounter between Circe and Odysseus. At the center, Circe offers Odysseus a cup containing her enchanted potion while holding the wand with which she transformed Odysseus' companions into pigs. At the left stands one of the transformed companions, reminding the viewer of the danger that confronts Odysseus. Protected by the herb moly, given to him by Hermes, Odysseus resists Circe's magic and ultimately compels her to restore his men to human form. He stays, however, with Circe for a year, enjoying her food, listening to her beautiful singing, and sharing her bed.

This episode became one of the most memorable scenes of the Odyssey, inspiring artists for more than 2,500 years—from ancient vase painters to Martha Graham and Christopher Nolan.

🏺 Attic black-figure lekythos, ca. 490–480 BCE. National Archaeological Museum, Athens.

Why does Martha Graham's engagement with Greek tragedy continue to matter today?Graham treated Greek myths not as relics...
08/07/2026

Why does Martha Graham's engagement with Greek tragedy continue to matter today?

Graham treated Greek myths not as relics of the past but as living stories capable of speaking to every generation. Through modern dance, she reimagined tragic heroines as complex women confronting love, power, jealousy, responsibility, aging, grief, and loss—experiences that remain profoundly human.

Nina Papathanasopoulou’s () new article “Martha Graham’s Radical Reception of the Women of Greek Tragedy” forms part of the broader “Martha Graham & Greek Myth” initiative, which explores Graham's engagement with Greek myth through research, publications, public lectures, performances, and social media outreach.

By placing Graham's choreography in dialogue with ancient tragedy, literature, and visual art, the project seeks not only to deepen our understanding of Graham's creative vision, but also to show how modern performance can enrich our interpretation of the ancient world.

Published open access by , the article is available here: https://www.mdpi.com/2076-0787/15/7/87

Photos from the New York Public Library and the Library of Congress.
Cover photo for the Humanities Journal, Volume 15, Issue 7: Clay figurine of a mourner. 6th cent. BCE. Metropolitan Museum of Art, New York; Martha Graham as Alcestis. Photo by Martha Swope; Attic black-figure loutrophoros. 500-490 BCE; Martha Graham as Jocasta. Photo by Philippe Halsman.

Nina Papathanasopoulou’s (Nina Papathanasopoulou Myers) new article in the Humanities journal argues that Martha Graham ...
08/05/2026

Nina Papathanasopoulou’s (Nina Papathanasopoulou Myers) new article in the Humanities journal argues that Martha Graham performed the women of Greek tragedy throughout her career not only to express archetypal human emotions, but also to confront and make sense of her own experiences. As Graham herself faced personal and artistic challenges, she found in figures such as Electra, Medea, Jocasta, Clytemnestra, Alcestis, Phaedra, and Hecuba enduring companions through whom she could explore the complexities of the human condition.

Graham transformed Greek myths into deeply personal works, demonstrating the continuing power of Greek tragedy to speak across time.

The article is featured as the cover story of Issue 7 of Volume 15 (2026). Check it out here:
https://www.mdpi.com/2076-0787/15/7 (link in bio)

Photos from the New York Public Library The Library for the Performing Arts and the Library of Congress.

Cover photo for the Humanities Journal, Volume 15, Issue 7: Clay figurine of a mourner. 6th cent. BCE. Metropolitan Museum of Art, New York; Martha Graham as Alcestis. Photo by Martha Swope; Attic black-figure loutrophoros. 500-490 BCE; Martha Graham as Jocasta. Photo by Philippe Halsman. Design by iliana alexandrou .

Created by Nina Papathanasopoulou Nina Papathanasopoulou Myers in collaboration with choreographer Penny Diamantopoulou ...
07/31/2026

Created by Nina Papathanasopoulou Nina Papathanasopoulou Myers in collaboration with choreographer Penny Diamantopoulou Penny Diamantopoulou, the Martha Graham & Greek Myth presentations bring together Classical Studies and modern dance to explore Martha Graham’s lifelong engagement with Greek myth through lectures and live performance.

Based in Athens, Greece, the project also travels internationally, collaborating with scholars, dancers, and cultural institutions to present Graham’s Greek-inspired works to new audiences.

For the Graham for Europe Graham For Europe 2026 Summer Intensive in Paris, we were delighted to collaborate with thirteen dancers from the intensive, who joined us in bringing excerpts from Clytemnestra to life and in demonstrating Graham’s groundbreaking portrayal of Greek myth through movement.

Thank you to the Graham for Europe organizers Rafael Molina, Esteban Aranda Rodriguez, the wonderful dancers who shared the stage with us, Moises Maturana for his beautiful percussive accompaniment, and everyone who joined us for this special event.

📍 Martha Graham & Greek Myth: Clytemnestra
📅 July 15, 2026
📍 Auditorium du Conservatoire de Noisy-le-Sec, Paris, France

Dancers: Renata Cardeli Lau Jean-Baptiste Ferreira daphne_ch_ch Salvador Thylmann-Foster Audrey de Texier Andrea Larreta Olivia Pelosi Maria Biosa K E L S E Y - M A E Florencia Calisaya Angelica .giovanellii

📸 Photos by .

Martha Graham & Greek Myth was delighted to participate in the Graham for Europe Graham For Europe 2026 Summer Intensive...
07/24/2026

Martha Graham & Greek Myth was delighted to participate in the Graham for Europe Graham For Europe 2026 Summer Intensive in Paris with a presentation centered on Martha Graham’s Clytemnestra.

Throughout the intensive, choreographer Penny Diamantopoulou Penny Diamantopoulou selected and coached 13 dancers who performed excerpts from Graham’s Clytemnestra on the intensive’s final day as part of the Martha Graham & Greek Myth event.

Presented in a lecture-with-dance format, the presentation combines live performance with an engaging talk to explore Graham’s lifelong engagement with Greek myth. The lectures are created and presented by Nina Papathanasopoulou Nina Papathanasopoulou Myers, Professor of Classical Studies at College Year in Athens.

Martha Graham & Greek Myth: Clytemnestra
📍 Auditorium du Conservatoire de Noisy-le-Sec, Paris, France
📅 July 15, 2026

Dancers: Lau, Maria Biosa, Audrey de Texier, Jean-Baptiste Ferreira, Renata Cardeli, chiara michelari, Angelica, daphne_ch_ch, Andrea Larreta, Salvador Thylmann-Foster, Florencia Calisaya, K E L S E Y - M A E, Olivia Pelosi

📸 Photos: 1. Audrey de Texier and Angelica 2. Maria Biosa and chiara michelari 3. Speaker Nina Papathanasopoulou Myers and dancer Jean-Baptiste Ferreira 4. Nina Papathanasopoulou Myers 5. Penny Diamantopoulou coaching Lau and Salvador Thylmann-Foster during the rehearsals

Photos by .

Our exploration of Martha Graham’s Odyssey-inspired dances continues with her little-known “Myth of a Voyage” (1973), a ...
07/22/2026

Our exploration of Martha Graham’s Odyssey-inspired dances continues with her little-known “Myth of a Voyage” (1973), a work that has not been performed since its premiere season.

Ten years after “Circe” and at the age of 79, Graham returned to Homer’s Odyssey to create a dance inspired by Odysseus’ journey and the remarkable women he encounters along the way. The work features Calypso, Circe, Nausicaa, and the Three Blandishing Ones—figures probably inspired by the Odyssey’s Sirens—as well as the Gray-Eyed one (Penelope/Athena?), and a new Graham creation, the Goddess of Change, who accompanies Odysseus throughout his voyage.

Because “Myth of a Voyage” was performed only during its premiere season in 1973 and has never been revived, it remains one of Graham’s least-known myth-based dances. Reviewing the premiere, New York Daily News critic Michael Lachetta interpreted the work as a metaphor for life’s journey:

“Each [of the female characters] seems to represent the temptations and illusions that make man reach for the unreachable, never content with what he has. And each leaves him struggling against forces he seems powerless to resist.”

The original cast was remarkable. Bertram Ross danced the Archer (Odysseus), while Matt Turney—one of the first two African American dancers to join the Martha Graham Dance Company—performed the Gray-Eyed One. Takako Asakawa danced the Goddess of Change, Yuriko Kimura portrayed Calypso, Phyllis Gutelius appeared as Circe, and Mary Hinkson—to whom Graham entrusted the role of Circe ten years earlier—returned as Nausicaa. The Three Blandishing Ones, recalling the Odyssey’s Sirens, were danced by Janet Eilber (now Artistic Director of the Martha Graham Dance Company), Peggy Lyman, and Traci Musgrove.

📸 Photos: 1. Bertram Ross as the Archer (Odysseus), with Takako Asakawa as the Goddess of Change behind him. 2. Mary Hinkson as Nausicaa with Janet Eilber, Peggy Lyman, and Traci Musgrove as the Three Blandishing Ones. Photographs from the Performing Arts Division, Library of Congress, identified during archival research by Nina Papathanasopoulou Myers.

As Christopher Nolan’s Odyssey renews interest in Homer’s epic, we continue our exploration of Martha Graham’s own reima...
07/20/2026

As Christopher Nolan’s Odyssey renews interest in Homer’s epic, we continue our exploration of Martha Graham’s own reimagining of Odysseus through her two Odyssey-inspired dances: “Circe” (1963) and “Myth of a Voyage” (1973).

These stunning photographs by renowned American dance photographer John Deane capture the central confrontation between Odysseus and Circe. Reviewing a 1987 revival of the dance, New York Times dance critic Anna Kisselgoff observed that Graham radically transformed the Homeric episode:

“As usual in her reexamination of classical myths, Miss Graham refuses to moralize. On the surface, her Ulysses would appear to be a good guy at war with the bad guys – Circe and her henchmen. In the Graham universe, however, we are all at war with ourselves. It is a stroke of Graham genius to envision Ulysses’ confrontation with a gaggle of beasts as man battling with his baser instincts. Ulysses’ helmsman, propelling his master’s boat, is also his master’s voice – an inner one.”

Katherine Crockett, who danced Circe after being coached by the role’s original performer, Mary Hinkson, recalls: “I loved exploring the layers of this mysterious, alluring sorceress. I remember Hinkson talking about the intensity of the focus, the strength and intent of seduction in each movement. We worked on details like the downward tilt of the head that heightened the power and fierceness of the gaze. Circe is the enchantress, she is a woman who exudes her fullest sensuality and commanding presence and she is also the keeper of great knowledge and magical powers. To embody this was to find my own sense of empowerment in both my interpretation of the role and in myself.”

Crockett also reflected on Circe’s costume. The gold leotard and headpiece perhaps allude to Circe’s father, the Sun god Helios, while the flowing red cape was described to her by Hinkson as casting a spell “like the scent a perfume leaves behind.” Crockett embraced this beautiful image as she performed with the Company’s extraordinary male dancers.

📸 Photos: Kenneth Topping (Odysseus), Katherine Crockett, Whitney V. Hunter, Martin Lofsnes, Christophe Jeannot, and Maurizio Nardi in “Circe”. © John Deane.

With Christopher Nolan’s “Odyssey” bringing Homer’s epic back into the spotlight, we’re highlighting Martha Graham’s own...
07/17/2026

With Christopher Nolan’s “Odyssey” bringing Homer’s epic back into the spotlight, we’re highlighting Martha Graham’s own reimagining of Odysseus in her two Odyssey-inspired dances: “Circe” (1963) and “Myth of a Voyage” (1973).

Throughout her career, Graham was drawn to the women of Greek myth and used their stories to explore the female experience. At the age of 69, she turned to one of the Odyssey’s most compelling episodes: Odysseus’ encounter with the enchantress Circe. Created in 1963 for one woman and six men, and set to music by Alan Hovhaness, this was Graham’s first myth-based dance in which she herself did not perform. Instead, she entrusted the title role to Mary Hinkson, one of the first two African American dancers to join the Martha Graham Dance Company. The rest of the cast included Bertram Ross (Odysseus/Ulysses), Clive Thompson (Helmsman), Robert Powell (Snake), Richard Gain (Lion), Gene McDonald (Deer), and Peter Randazzo (Goat).

The dance follows Odysseus’ arrival on Circe’s island and focuses on the sorceress’ power to bewitch his companions, transforming four of them into animals—a lion, a goat, a deer, and a snake. Reviewing the premiere, New York Times dance critic Allen Hughes described the work as evocative “of what can happen to men who come under the spell of an enchanting woman.”

Like all of Graham’s Greek-inspired dances, “Circe” featured a set by the renowned Japanese-American sculptor Isamu Noguchi. A simple wooden boat evokes Odysseus’ long voyage across the sea, while a curved sculptural form dominates the mysterious world of Circe’s island.

📸 Photos: Mary Hinkson and members of the Martha Graham Dance Company in Martha Graham’s Circe (1963). First two photos by Martha Swope; next two by Anthony Crickmay. Performing Arts Division. Library of Congress.

Queen. Wife. Mother. Murderess. Who was Clytemnestra - and why did Martha Graham find her so compelling?Join us to disco...
07/15/2026

Queen. Wife. Mother. Murderess. Who was Clytemnestra - and why did Martha Graham find her so compelling?
Join us to discover more about Graham’s myth-inspired works:
“Martha Graham & Greek Myth” lecture-with-dance presentation
Graham for Europe 2026 Summer Intensive
When: July 15, 2026 @ 3.30pm
Where: Auditorium du Conservatoire de Noisy-le-sec, Paris, France
Lecture: by , Professor of Classical Studies at and Researcher of Martha Graham’s Greek-themed works
Restaging of Graham’s repertory: by .diamant, Graham technique and repertory instructor, and former soloist with the Martha Graham Dance Ensemble
Dance Performance: by students training at the 2026 Paris Intensive

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