A dance celebration

an emotional message on stage.”

They began to develop contextual themes for individual programs and to enhance that great legacy by commissioning premieres by new choreographers (and not necessarily ones that “fit” with the Graham style and aesthetic).

The Dance Council lineup demonstrates the careful thought and balance that goes into its programs, beginning and ending with two of Ms. Graham’s most famous works. Ms. Eilber calls “Dark Meadow” (1946) and “Diversion of Angels” (1948) “a nice comparison of how she used the architecture, the geometry, the space on stage to send two completely different messages.”

“Dark Meadow” evokes Ms. Graham’s love of the American Southwest and the tribal rituals that she observed in the 1930s. “It’s an abstract work about life’s journey to constantly question and seek.”

“Diversion of Angels” (which Point Park students performed in 2009) is “all about love. There’s no gravity of movement,” says Ms. Eilber. “You can see things like falling in love and head over heels in love represented.”

One of the new works is inspired by Ms. Graham’s iconic solo, “Lamentation.” A video will be shown of her performance, then three choreographers — Bulareyaung Pagarlava, Richard Move and Larry Keigwin — will offer their interpretations of it.

Swedish choreographer Pontus Lidberg, who appeared at the Dance Council in 2015, will contribute the newest work, “Woodland.” Ms. Eilber says he “takes us into the woodland, with young people at play. Like Graham, it represents a psychological landscape.” It also adds to the connection by using music by Irving Fine, a contemporary of Graham composers Aaron Copland and Leonard Bernstein.

Mr. Linberg, who is creating a premiere for New York City Ballet, says he appreciated the generosity of the dancers and the music, which helped him “to see/ understand the connection to Martha Graham and her legacy, which was fascinating.”