How fun to see this thread come back to the surface!
I didn't mean to imply that there was no Graham technique, just that Graham herself didn't want to make one. She developed the movement principals, in the process of created her repertory. She didn't really want to make a technique so much as she was compelled to find the way she thought she should dance, and, when she began to work with other dancers, she had to communicate those ideas and teach that material. It gradually became something like a technique, especially after she started participating in workshops like the Connecticut College summers (that became the ADF). Some of her early dancers (like May O'Donnell) were also integral to that process.
Think about it in contrast to someone like Doris Humphrey, who set out to make a complete technique, separate from ballet, but equal to it in its comprehensive nature. That's the tradition that Limon was first trained in, and it forms the bedrock of what we think of as Limon technique today.
(I miss Murray Louis's work too, and Alwin Nikolais. Those repertories seem to be slipping away even faster than the Limon and Graham works)