Though Martha Graham is better remembered in the dance community as a pioneer of modern dance choreography, it was her desire to create immortal dance performances. She danced first as a member of the Denishawn Company, put on solo performances in New York, and later danced at Radio City Music Hall. She gave lessons in movement and modeled coats to fund her own dance company. It was with this company that her eclectic and radical technique made its mark on modern dance history.

Graham was by no means the first dancer to deviate from the strict classical ballet techniques of the early 20th century. Many young American women were also making variations on the standard dance style. But Graham's alterations of sharp, jagged movements and sweeping floor work reformed the whole of modern dance theory and the very notion of what a dancer was. Her signature style continues to permeate the work of contemporary dance and influence modern choreographers, although some, such as Taylor and Cunningham, both former members of Graham's company, have disowned her intense manner of teaching and technique.

The passage states that Graham made a living as all of the following EXCEPT:

(A) model
(B) set designer
(C) professional dancer
(D) teacher
(E) choreographer



Consider each of the three choices separately and select all that apply.

Which of the following statements is supported by the passage?

(A) Graham was at the forefront of the changing paradigm about acceptable forms of dance.
(B) Graham was better at dancing than at directing her company.
(C) Graham's spirit still lives on in the modern dance genre.



The author suggests that Taylor and Cunningham did not

(A) understand the style of Graham's technique.
(B) keep up with the other dancers in Graham's company.
(C) think Graham was very powerful as a teacher.
(D) like the immense vigor Graham used in her manner of teaching.
(E) think Graham was innovative in her choreography.