Watch a performance of the influential ballet 'Appalachian Spring,' with music by Aaron Copland and choreography by Martha Graham.

The ballet, which premiered in 1944, was conceived by the composer and choreographer through the mail, with the two corresponding about how the music might fit the dancing. Later, designer Isamu Noguchi would design a set that whittled the western Pennsylvanian pioneer town down to its core elements.

The dancer and choreographer created a uniquely American form of ballet that brought together stories from the country's history, abstract expressionism, modern psychological ideas, and collaborations with other major artists.

Graham's choreography was as visual as it was physical, complemented by the modernist set design of Isamu Noguchi. That's on display in this collection of artful photos from classic productions of shows like "Night Journey" and "Appalachian Spring."

Stravinsky's "The Rite of Spring" is famously chaotic, making it an odd choice for Graham's highly precise style. Her 1984 choreography for it, however, redefined how people saw the ballet's score. Graham's version is still performed today; below is an excerpt from a 2018 performance in Paris.

Ballet prized lightness, but Graham's choreography emphasized weight. This essay explores how her work broke from European influences to embrace American idioms, much as her American contemporaries in jazz and literature did.

Reporter Michael Small interviewed the influential choreographer and dancer in 1989 for People magazine, two years before she died, and features the 95-year-old looking back on her life and career. If you want to skip ahead to the raw audio, jump to 26:40.

Graham choreographed and performed the piece about grief, which premiered in 1930. The dance is performed while seated, with Graham's character attempting to free herself from an all-encompassing purple jersey.

The dance company was the first major group to livestream rehearsals and has collaborated with Google on a version of Graham's "Lamentation" that superimposes past performances on the present-day dancer.

This interview, from the "Bernard Gabriel Views the Music Scene" program, features a candid conversation in which Graham discusses how her career did not take off until her 30s and how she learned to ignore criticism.

This clip from the 1957 documentary "A Dancer's World" features the dancer explaining why she has committed all of her energy to her art. "Spontaneity … is something arrived at over years and years of training," she says. "It's not a mere chance."

The innovative choreographer encouraged her dancers to tune into their bodies' natural movements. According to Kimerer L. LaMothe, author of "What a Body Knows," that kind of mindfulness made them better able to communicate a piece's symbolic meaning.

This history of the modern dancer's life uses archival photos and videos to illustrate how Graham's childhood, especially her upbringing by a psychiatrist and her early dance performance, set the stage for her career.

The Graham company toured the globe several times on cultural exchange campaigns throughout the 1950s. Some believe that the Graham company in particular was chosen because it was the first integrated dance company in the US, thereby countering international perceptions of American segregation and racism.

This BBC explainer walks you through Martha Graham's famous approach to dance, offering you six moves you can work into your exercise regimen—or Graham-inspired routine.

In 1951, Graham hired Mary Hinkson and Mattie Tierney, two Black dancers who started in the company's dance corps and eventually took on lead roles in productions. The move broke color barriers that were the norm for the time.

The two women were friends, and Keller eventually visited Graham's studio while her company was rehearsing. In this footage of that encounter, Graham shows Keller the shape of her choreography.

The dance piece was inspired by the story of Oedipus, as well as by more contemporary psychoanalytic theories from Sigmund Freud and Carl Jung. This JSTOR article explores how Graham's piece merged those texts with her singular approach to movement to explore gender and identity.

The influential choreographer and dancer once said that creative people will never be satisfied with their work. Instead, "there is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

The "symphonic dance of threeness" brought together Bauhaus' varied artistic interests and offered a fable in which collectivism wins. This history and timeline of the work details its origins as well as its near-destruction at the hands of the Nazis, who considered it profane.

Even if you haven't witnessed an 18th century opera, you've likely heard melodies from one in modern media like “Apocalypse Now” and “Sesame Street.” Today, sports events, movies, and television feature operatic melodies even over a century after they were written.

Performance art defies traditional boundaries, existing as a dynamic, live medium where the artist's actions—and sometimes the audience's—become the work itself. Emerging in the early 20th century with movements like Dadaism, performance art has continually evolved to provoke reflection and challenge cultural norms.

Part theater, part anarchy, part absurdism, performance art encompasses a whole range of media and genres. The short version is that it’s conceptual, often spontaneous art that is performed live. Performance art is inherently confrontational, challenging societal ideas of what constitutes “fine art,” making it an ideal vehicle for political and protest pieces. It’s closely related to other avant-garde movements like Dada and Futurism.

If you wandered into one of Andy Warhol’s "Exploding Plastic Inevitable" events in the 1960s, you might have encountered a Velvet Underground performance, go-go dancers, strobe lights, guerrilla filmmakers asking very personal questions, and mimes. Warhol was on the cutting edge of many art forms, and performance art was no exception.

The 1927 musical—penned by Oscar Hammerstein II, who would go on to create, with Richard Rodgers, other titanic shows like "Oklahoma!" and "Carousel"—used its songs to advance the plot and build character rather than simply entertain.

The exhibit at the Museum of Modern Art invited visitors to sit in silence in the company of a master performer. Many shed tears or gestured affectionately, claiming to have felt a profound connection with Abramović. (This resource contains some artistic nudity.)

Based on a true story, Jake Heggie's modern masterpiece tells the story of a Catholic nun who fights for the life of a man on death row. The opera has been staged over 70 times worldwide since its premiere.

Watch this documentary about the Freedom House Ambulance Service—the foundation for all paramedic training in America. Founded in 1967, this emergency care force composed of Black men and women from Pittsburgh sought to respond to Pittsburgh's Black community emergencies when the Black community couldn't rely on the police and fire departments to consistently respond to their emergency calls.

The film explored the tension between graffiti's innovation and its illegality, following some of its most popular artists, such as Mare 139 and Futura, as well as its detractors, including Mayor Ed Koch. The documentary first appeared on PBS in 1983, introducing the movement to a national audience. You can watch it in its entirety below.

Bossa nova was still largely under the radar when João Gilberto, Luiz Bonfa, Sergio Mendes, and others performed at the storied Carnegie Hall in New York. Brazilian musician Gilberto Gil noted that the showcase's success was surprising to both the musicians and Brazilians, who began taking the music more seriously as a cultural export.

The 1964 bossa nova classic won the Grammy for album of the year, a rare feat for a jazz record. According to jazz pianists Peter Martin and Adam Maness, that also makes it one of the last truly popular jazz albums. In this episode of their podcast "You'll Hear It," they break down the musicality of the songs in real time, offering technical insights into every quirk and nuance.

Ken Burns’ massive 2019 miniseries “Country Music” explores the genre and its rich history. In this interview with writer Walter Isaacson, Burns explains what drew him to country, his definition of this “mongrel” music, and why he considers it to be an integral part of American culture.

The 1957 CBS special, part of its series "The Seven Lively Arts," was a landmark broadcast that brought some of jazz's biggest names—including Holiday, Thelonious Monk, and Count Basie—to a national audience. Watch Holiday offer a stirring rendition of "Fine and Mellow" below.

In a conversation recorded at a Philadelphia instrument shop, Fleck reflects on how an instrument associated with a single American folk tradition became his vehicle for bluegrass, jazz, classical, African folk, and orchestral music. He has long advocated that every living room should have a banjo, and he highlights how he has integrated the instrument across genres in this fascinating discussion.