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Identity and the Neoclassical Ideal in Martha Graham and Carlos Chávez's Dark Meadow

Published online by Cambridge University Press:  15 December 2020

CHRISTINA TAYLOR GIBSON Open the ORCID record for CHRISTINA TAYLOR GIBSON [Opens in a new window]
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Abstract

If the ideal artistic collaboration is one of shared vision, open communication, and exquisite professionalism then Martha Graham and Carlos Chávez strayed far from it in the making of Dark Meadow (1946). As this article documents, their relationship was full of antagonism, misunderstanding, disdainful gossip, and regret on both sides. Three sources of conflict are examined: 1) a misunderstanding between the two collaborators on the meaning and utility of Greek allusions in art created conflicting aesthetic expectations for a dance with a plot derived from Greek mythology; 2) both artists defied the modernist community's expectations about how each of them should perform their gender identity as artists; and 3) similarly, the press's consistent Othering of Chávez in racist, nationalist terms was contagious, influencing Graham's beliefs about what Mexican music could or should be. Despite significant obstacles, Chávez and Graham produced a work that continues to represent the mid-century Modernist aesthetic.

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Information
Twentieth-Century Music , Volume 18 , Issue 1 , February 2021 , pp. 95 - 124
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Copyright © The Author(s), 2020. Published by Cambridge University Press

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Footnotes

I was privileged to receive wonderful, generous advice in the research and writing of this article. Among those who read or talked through drafts are Rachel Barham, Christopher Bruhn, Alejandro L. Madrid, Libby Smigel, K. Mitchell Snow, and Susan Wiesner. Others commented on various presentations of this material in thought-provoking ways including: Ana Alonso-Minutti, Chelsea Burns, Kassie Hartford, Marisol Quevedo, Leonora Saavedra, Grayson Wagstaff, Andy Weaver, and Julia Young. Thank you to the anonymous peer reviewers for constructive guidance.

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