{"value"=>"<p>Series II (Correspondence) comprises the bulk of the collection and is subdivided into family, other individuals, and institutions. The six boxes of correspondence exchanged between Ms. Schönberg and Mr. Varley spans their entire relationship. In the early years of their marriage, and during various summers or other periods when Ms. Schönberg was teaching or Mr. Varley's work called him overseas, their separation is accounted for in a usually daily correspondence. The letters reveal much about the tone and nature of their marriage. The early letters discuss their relationship, later, their home and garden. They share news of their daily activities as well as of the people in their professional and social circles. Ms. Schönberg frequently discusses her work with her husband and solicits his advice. Scattered throughout are her feelings, often strongly expressed, about her colleagues in the dance community as well as her students.</p> <p>There is one box of correspondence from other family members, which includes letters from her father and mother as well as from her sisters, Gertrude Bierschenk and others.</p> <p>The nine boxes of professional and personal correspondence with individuals and dance company representatives are organized by last name. Because dance companies are included in this series, they are filed under the last name of the artistic director. Depending on the amount of material they may be filed all together or, when the volume is more substantial, subdivided. In the case of Merce Cunningham, for example, Merce Cunningham Dance Foundation is separated from Merce Cunningham as individual. But all are filed under (C). Paul Taylor is another example in this category. When the company is not named for the artistic director however, or when it is ambiguous as to whether the correspondence is from an individual or the company as a whole, this system may be become a little more opaque. The dance company Sounddance, for example, is filed under Artistic Director Sandra Stratton and the New York Baroque Dance Company is filed under Catherine Turocy. Whenever possible cross-references will appear in the Folder list. When there are two artistic directors, such as in the case of Alwin Nikolais and Murray Louis, correspondence may appear under either N or L depending on the nature of the correspondence. There is also a section alphabetized by first name when the last name was unknown.</p> <p>These general correspondence files show the scope of Ms. Schönberg's contacts. She was highly regarded and deeply loved by an enormous number of people and seemed to cultivate a wide range of strong and intimate connections. The letters attest not only to the professional assistance she offered to so many choreographers, but to her friendship, hospitality, generosity and warmth. The letters from both well and little known choreographers, dancers, teachers and others are filled with gratitude for being seen, being heard, being challenged and being loved.</p> <p>There is also one box of outgoing correspondence containing copies and drafts of Schönberg's letters to family other than Dimitry as well as two sections of correspondence to other individuals, one filed by last name and one by first when the last was unknown. Also included is a folder containing the general Christmas letters that she sent out in later years.</p>"}