If you watch my feet, they do this, and then this kind of steps back.

That's all I know.

Maybe this right arm is coming up this way.

Both arms are coming down, and then this is stepping forward, and this is doing that.

I've always admired the way that Graham speaks about dance and how she holds it at such a high standard.

And I've always loved that, and I think it's good to be reminded of that.

She really elevates the art form.

And I think that in the work that I do, there's always a little hint of that that I try to hold on to.

[music playing] We are really proud to be the oldest dance company in the United States, and we're about to launch the celebration for our 100th anniversary.

When this opens, have your focus at the floor.

We want to have the best Graham dances on stage.

That's the spirit.

But we're not making sort of a sacred altar to Martha Graham.

We're honoring her appetite for the new.

[music playing] Our first commission is amazing.

Can I get some iTunes?

Some tunes?

Rhiannon Giddens creating the score and Jamar Roberts doing the choreography.

2, 3, 4, let's go.

Rhiannon is a leading expert in the roots of American music, resting in the immigrant and enslaved communities.

[music playing] 2, 3, 4, 5, 6.

Jamar came to mind because he studied the Martha Graham technique, moved on to become a star with the Alvin Ailey Company, and Ailey was heavily influenced by Martha.

The torso must be flat, as flat as you can get.

Yeah.

I think the difference in choreographing for Graham versus elsewhere is that I know that they can get down.

You know what I mean?

Come down, feet on the floor, barefoot, pelvis dropped.

[music playing] There's the spirit of the untamed that I think lives here.

And you just don't find it everywhere.

[music playing] [applause]