{"value"=>"<p>Series I, Historical Items, brings together historically significant objects and papers that chronicle the early personal life of founder Martha Graham and the company's early formation and lasting impact on contemporary dance.</p> <p>The Choreographic Notes written by Graham about her choreography and artistic process are critical to the enduring legacy of her technique. The notes are arranged alphabetically by title and encompass over twenty-five works, some handwritten with annotations. The notes often include step sequences, staging diagrams, and Graham's own opinions on music, costumes, and set designs. The notes are often \"scripts\" and describe each work's meaning and tone.</p> <p>The correspondence dates from the 1930s through the 2000s after Graham's death, and are both personal and professional in nature. Most of the letters are addressed to Georgia (Geordie) Graham Sargeant, Graham's youngest sister and former director of the Martha Graham School of Contemporary Dance from the 1940s through the 1960s. Several letters from Jane Beers Graham, mother of Martha and Georgia, contain content such as advice for her daughters, commentary on Martha's rise to fame, personal anecdotes, and well wishes. Other correspondents to Georgia include her ex-husband Winthrop Sargeant and Aunt Rhea.</p> <p>There are about a dozen photocopied letters authored by Martha Graham to David Zellmer, a company member, during his miltiary service during World War II from 1942 through 1944.</p> <p>Other letters are from various notable correspondents, including composer Aaron Copland, former company committee member André Leon Talley, and former first ladies Barbara Bush and Betty Ford.</p> <p>Among Graham's personal artifacts are two leather belts worn by Graham as well as a childhood keepsake box containing her rosary, bible, a pair of white gloves, a pair of stockings, and three tintypes of unidentified male relatives. Other personal artifacts included in the collection are is an Indonesian shadow puppet which was gifted to her and a road-case that traveled with the company to contain costumes and other paraphernalia. There are also about 160 checks that Graham used to pay for both personal and business expenses from the late 1980s.</p> <p>In addition to Graham's personal history, the series also sheds light on the company's formative years through correspondence, costume and set designs, studio blueprints, business correspondence, and press material. The designs cover a dozen works including some of Graham's most notable dances such as <span class=\"title\">Appalachian Spring</span>, <span class=\"title\">Lamentations</span>, <span class=\"title\">Visionary Recital</span>, and Isamu Noguchi's set drawings for <span class=\"title\">Seraphic Dialogue</span>, including handwritten notes by the artist.</p> <p>There is a small compendium of writings that influenced Graham's ethos and choreography as well as books she had a hand in writing or inspired. Three books are signed by Louis Horst, long time musical director for the Martha Graham Dance Company. The book <span class=\"title\">Martha Graham: Sixteen Dances in Photographs</span> is signed by author Barbara Morgan and captures Graham's early works in black-and-white photography. Graham's autobiography <span class=\"title\">Blood Memory</span> is also included in a Russian translation.</p> <p>Finally, the series is rounded out by awards, certificates, and diplomas Graham received both throughout her lifetime and posthumously. Included in this file is Graham's 2015 induction into the National Women's Hall of Fame, honorary degrees from Wayne State and Brandeis Universities, and a New York State Senate proclamation honoring Graham's life and career.</p>"}