By Sheila Orysiek

SAN DIEGO—Many scholars believe that dance is the oldest of the art forms.  We find it depicted on the  cave walls of France painted by ancient people.  They painted figures dancing.  Humans have always had a need to express themselves through rhythmic movement.  In another unrelated field, many scholars believe that the one of the oldest, if not the oldest, consistently culturally identifiable group of people are Jews.  So, it shouldn’t come as a surprise that Jews have participated in and contributed to dance.  And, as usual in our history, this influence and participation goes well beyond what our numbers would seem to indicate. 

Yes, Jews dance.  And not just the Hora to Chava Nagila, but in pointe shoes to Tchaikovsky around a lake inhabited by swans – otherwise known as “Swan Lake.”  Not on the periphery either, but as central figures of influence, important principal dancers, founders of dance companies, choreographers, and artistic directors in major capitals of the world such as New York City, London, Paris, Moscow, St. Petersburg, etc. 

If one were to name the five greatest prima ballerinas of the 20th century two of them are Jewish:  Dame Alicia Markova (Lillian Alicia Marks) Diaghelev ballerina with the The Ballet Russes and founding prima ballerina of the Royal Ballet (London) and Maya Plisetskaya, Prima Ballerina Assoluta of the Bolshoi Ballet (Moscow).  Two out of five, especially from a minority that is only one half of 1% of the world’s population is a pretty good demographic.  But it goes well beyond two major prima ballerinas.

Let’s begin at the beginning.  The Bible tells us that Miriam led the women in singing and dancing after crossing the Red Sea (Sea of Reeds).  We also know that Queen Isabella’s dance master was a Jew named Gugliemo Ebreo Pesaro, (William the Hebrew) and the author of the first and one of the most important treatises on choreography which he wrote in the 15th century. 

For a 100-year period, starting in the middle of the 16th century, there was an active Jewish theater troupe in Mantua, known as the Universit Israelitica. The citizens of Mantua were all aware of the Universit's unusual schedule: Friday performances were held in the afternoon rather than in the evening, so as not to interfere with the festa del sabbato.

While originally devised as entertainment for Jews by Jews, this troupe received frequent invitations from the Gonzaga dukes to perform for Christian audiences in the palace. In fact, their reputation was so great that they traveled to some of the neighboring duchies. The success of this troupe at its height can be attributed to three of its leaders: the playwright Leone Sommo; the choreographer Isaaco Massarano; and the Gonzagas' own theater composer, Salamone Rossi.

But dancing in a ghetto wasn’t easy. Space was limited.  For that reason Jewish dance masters began to choreograph dance – planning it out – so that there wouldn’t be too much bumping and grinding into each other in those small spaces.  Choreography became a skill that was in demand by the greater community.  Dance was a social grace very much appreciated by the upper echelons of society and the growing middle class which aspired to climb the rungs of the social ladder.  To that end they wanted dancing lessons and Jewish dance masters were happy to oblige.  For the dance master it was  a ticket out of the ghetto as he became part of the household staff  in glittering domestic establishments.

In 1909 when Serge Diaghelev’s The Ballet Russes burst upon the Western European scene and brought Russian art (first paintings and then ballet) to Paris, it dramatically changed the world of dance and art forever.  Picasso and other famous artists were set/costume designers for the company and composers like Stravinsky created music for them. We are still mining the riches of  that event.  But, it almost died aborning.  At the very last minute it was saved by a monetary infusion from Baron de Rothschild who had the foresight and appreciation to know the worth of great art and classical dance.  Without him The Ballet Russes might very well never have been born.  Through the years the list of contributions and participation by Jewish impresarios, benefactors, dancers, choreographers, set designers, composers, costumers, librettists, as well as founders and artistic directors of major companies in both ballet and modern dance – has grown beyond anything expected from such a small and often beleaguered population. 

But before you enjoy the accomplishments of those on the list please let me say that it is entirely incomplete:   In this list I have only included major figures from classical and modern dance.  Not included are: dancers on Broadway, film, or popular stage such as Danny Kaye, Fanny Brice and Joel Grey and many, many others.  Nor have I included members of the corps de ballet, set designers, costume designers, painters, composers involved with dance.  And there are many I don't know about because of name changes or they have not identified themselves.  The people on this list are names recognizable across the world of dance and art:

Dame Alicia Markova: Prima Ballerina and one of the five greatest ballerinas of the 20th century.  Her real name was Lillian Alicia Marks  - joined Diaghelev's The Ballet Russes when only 14, went on to become a world renowned Prima Ballerina and was the founding ballerina instrumental in formation of Royal Ballet, Covent Garden, London when it was still Sadlers Wells Ballet.  She also formed her own company with Anton Dolin.  Without her there might very well not have been a Royal Ballet as we know it today.

Maya Plisetskaya:  Prima Ballerina Assoluta, another in the list of the five greatest ballerinas of the 20th century. For 60 years as Principal Dancer, she led the roster of the Bolshoi Ballet, Moscow, Russia.  She comes from a family of first class dancers and teachers, actors and artists: Asaf Messerer, Sulamith Messerer, Azari Plisetsky (more about them below).  It’s not really possible to use too many superlatives to describe the career and artistry of Maya Plisetskaya.  She recently turned 80 years old and that event was celebrated throughout the dance world with galas and accolades. 

Clement Crisp, dance critic with the Financial Times, London, who does not suffer fools at all, wrote this on Nov. 19, 2005 in her honor:

“ I was blessed in being able to see her in her greatest Moscow roles: her Kitri in Don Quixote was an explosion of the happiest, all conquering impossibilities of technique; in Swan Lake her lyricism and malign brilliancy were heroic in scale; her Juliet was a proud rebel, her Carmen a fire-storm of passion, and in the charming Russian folk tale The Little Humpbacked Horse she was bewitching in grace and dignity.”

He concluded his two page psalm of praise: “Plisetskaya is an Assoluta – that ultimate accolade for the ballerina – and her genius is still undimmed.”

Her autobiography I, Maya is illuminating of not only what it means to be a great artist but also a Jewish artist in Soviet Russia.

Asaf Messerer – (Maya Plisetskaya’s uncle) 30 years master teacher Bolshoi Ballet.

Sulamith Messerer -  (Maya Plisetskaya’s aunt) Prima Ballerina, teacher, choreographer for 20 years, Bolshoi Ballet.

Azari Plisetsky – (Maya Plisetskaya’s brother), Principal Dancer, Bolshoi Ballet.

Susan Jaffe – Principal Dancer, American Ballet Theater.

Mellissa Hayden- (real name: Mildred Herman) – New York City Ballet – Principal Dancer.

Mark Silver - Principal Dancer, Royal Ballet, Covent Garden, London.

Mark Goldweber – Principal Dancer and Ballet Master – Joffrey Ballet.

Jerome Robbins: (real name Jerry Rabinowitz) – soloist, American Ballet Theater, New York City Ballet, - considered the greatest American born choreographer creating:  Fancy Free, West Side Story, Funny Girl, Fiddler on the Roof,  and associate director of New York City Ballet with George Balanchine as the other associate director..

Eliot Feld - choreographed and danced with American Ballet Theater, Joffrey Ballet as well as his own company.  Played Baby John in West Side Story.

Valery Panov -  Principal Dancer/choreographer:  Kirov-Maryinski Ballet, St. Petersburg, Russia, considered one of the greatest virtuoso and character dancers of his time.

Victor Barbee - Principal Dancer/Ballet Master American Ballet Theater.

Robert Weiss - Principal Dancer, New York City Ballet.

Nora Kaye - (real name: Nora Koreff) Principal Dancer, American Ballet Theater, greatest dramatic dancer of her time.

Joanna Berman - San Francisco Ballet, Principal Dancer.

Dame Marie Rambert (Miriam Ramberg) -dancer/teacher/choreographer, founder of first British ballet company.  She was at the core of finding and nurturing such talents as : Anthony Tudor, Frederick Ashton, John Cranko, Lucette Aldous, Pearl Argyle, Diana Gould, Celia Franca.  Each of these artists became principal dancers and/or choreographers of the first rank and/or founders of national ballet companies and artistic directors.  She received the Chevalier de la Legion d'honneur.

Pearl Lang - Principal Dancer Martha Graham Dance Company, choreographer for Batsheva Dance Company, Israel, her own company, and Nederlands Dans Company.

Anna Sokolow - Martha Graham dancer, choreographed for her own company, Batsheva Dance Co., Nederlands Dans Company, taught at Julliard.

Ida Rubenstein - danced with Diaghelev’s The Ballet Russes,  one of the most powerful women in the theater of her day.

Bruce Marks – Principal Dancer, Royal Danish Ballet and American Ballet Theater, Boston Ballet Artistic Director - taught at Julliard

Jillana – (Jillana Zimmermann), Principal Dancer, New York City Ballet.

Michael Kidd - danced with American Ballet Theater,  and choreographed: Baryshnikov in Hollywood, Seven Brides for Seven Brothers, Destry Rides Again, Hello Dolly, Guys and Dolls.

Anabelle Lyon - one of the original Principal Dancers at American Ballet Theater.

David Lichine - Principal Dancer Ballet Russes de Monte Carlo, choreographed for:  American Ballet Theater, Teatro Colon, Ballets des Champs Elysees, London Festival Ballet, La Scala Ballet, Berlin Opera Ballet.

Ruthana Boris – Soloist, Ballet Russes de Monte Carlo, teacher and choreographer.

Robert Cohan – synopsis of his career from The Times of London. “For 20 years, at the helm of London Contemporary Dance Theatre, Cohan trained scores of dancers, developed a generation of choreographers and made dozens of dances. The gala, on the occasion of his 80th birthday, couldn’t begin to encompass his enormous achievements, but three companies with links to Cohan did their best to honor his inspired and charismatic leadership..."

Helen Tameris - (Helen Becker), dancer, teacher, director, choreographer creating: Show Boat; Annie, Get Your Gun.

Lar Lubovitch - dancer, choreographer: Bat Dor Dance Company  (Israel), Dutch National Ballet, Ballet Rambert, American Ballet Theater, New York City Ballet, Paris Opera Ballet, Baryshnikov's White Oak Dance Project, Pacific Northwest Ballet, London Production of Oklahoma, Hunchback of Notre Dame as well as choreographing for the skaters John Curry and Paul Wylie.

Murray Lewis - dancer, director, teacher, choreographer.

Bella Lewitzky - modern dancer, teacher, choreographer, his own company, major exponent of  Modern Dance on West Coast of the USA..

Laura Dean – dancer, Paul Taylor Dance Company, teacher, choreographer for Joffrey Ballet, New York City Ballet and her own company,

Meredith Monk - dancer, choreographer, composer and film maker..

Celia Franca – dancer, choreographer and founder of the National Ballet of Canada.

Benefactors and supporters:

Lincoln Kirstein – Benefactor and Founder of New York City Ballet.

Baron de Rothschild – saved the opening of Diaghelev’s The Ballet Russes

Batsheva de Rothschild – various companies including Martha Graham Dance Company, companies in Israel.

Sol Hurok – greatest impresario of his time, presenting major dance companies such as Bolshoi Ballet, Royal Ballet, Anna Pavlova, and others to the world’s greatest stages.

Israeli Companies that have worldwide reputations:

Bat Dor

Inbal

Batsheva Dance Company

Convinced?

Sheila Orysiek has studied, danced and taught classical ballet in the San Diego area for 40 years.  She is presently retired from teaching but continues to be active in the dance community and as a writer (critique and feature articles) for both print and online international publications such as: Ballet.co Magazine,  Dance Critics Association News. Previous affiliations: Dance Europe Magazine, CriticalDance.  She is a member of the Dance Critics Association. 

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