<P> Feminist dance scholar Dee Reynolds has argued that, because Graham technique was "so large and forceful, thrusting into and conquering space," it allowed Graham and her early all - female company to "redefine femininity as powerful and autonomous ." Reynolds also noted that the idea of "moving from the vagina" is similar to late nineteenth - century ideas about "female hysteria," a supposed sexual disorder sometimes linked to dancing, and Graham's contractions could be seen as reclaiming the female body as an artistic medium . </P> <P> Graham, along with Doris Humphrey, Helen Tamiris, Agnes de Mille, and others, was part of an artistic movement in dance which rejected both the centuries - old tradition of classical ballet and the first - generation rebels of modern dance, such as those who taught at the Denishawn school where Graham studied . </P> <P> The expressive force of Graham technique had a revolutionary effect on modern dance . Graham is now taught in most university dance programs, and remains the "hallmark" style of contemporary concert dance; its movement vocabulary is familiar to almost all professional contemporary dancers . It strongly influenced several other codified techniques, notably those of Merce Cunningham, Lester Horton, and Paul Taylor . </P> <P> Graham developed a daily class for her company, which is still used (with some variations) to teach her technique . The class is organized as follows: </P>

What is a fundamental movement principle of all good concert dance