http://hdl.loc.gov/loc.music/eadmus.mu006003 Pola Nirenska Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress
Washington, D.C.
2006 Guides to Special Collections in the Music Division of the Library of Congress

Catalog Record: http://lccn.loc.gov/2003682047

Finding Aid encoded by Library of Congress Music Division, 2006 Finding aid written inEnglish 2010 April Editorial revisions made to this finding aid by Nancy Seeger in April 2010. Collection Summary Pola Nirenska Collection1910-1992 (bulk 1950-1992) ML31.N57 Nirenska, Pola 10,408 items 30 containers 38 linear feet Collection material in English Music Division Library of Congress
Washington, D.C.
Correspondence, choreographic notes, music manuscripts, poetry, personal papers, biographical materials, including interviews, articles, reviews, and newspaper clippings, programs, publicity materials, such as flyers and posters, scrapbooks, art work, including costume designs, photographic material, memorabilia, books, and other papers relating chiefly to Nirenska's career as a dancer, choreographer, and educator in the United States. The bulk of the collection consists of photographic material. Choreographic notes include those for The Four Horsemen of the Apocalpyse and art work is from Nirenska's early career in Europe and includes costume designs, drawings, and paintings. Correspondents include Evelyn de la Tour, Martha Graham, Louis Horst, Doris Humphrey, Kurt Jooss, Harald Kreutzberg, Rudolf von Laban, Phyllis Legters, Liz Lerman, Dorothy Gifford Madden, Beth Osgood (Chanock), Nicole Pierson, Naima Prevots, Ronald Reagan, Rona Sande, Walter Sorell, Erika Thimey, Jan Tievsky, Jan Veen, Mary Wigman, and Sharon Wyrrick. Selected Search Terms

The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.

 People De la Tour, Evelyn--Correspondence. Graham, Martha--Correspondence. Horst, Louis--Correspondence. Humphrey, Doris, 1895-1958--Correspondence. Jooss, Kurt, 1901-1979--Correspondence. Kreutzberg, Harald, 1902- --Correspondence. Laban, Rudolf von, 1879-1958--Correspondence. Legters, Phyllis--Correspondence. Lerman, Liz--Correspondence. Madden, Dorothy Gifford, 1912-2009--Correspondence. Nirenska, Pola--Correspondence. Nirenska, Pola. Nirenska, Pola. Osgood, Beth--Correspondence. Pierson, Nicole--Correspondence. Prevots, Naima, 1935- --Correspondence. Reagan, Ronald--Correspondence. Sande, Rona--Correspondence. Sorell, Walter, 1905-1997--Correspondence. Thimey, Erika, 1910-2006--Correspondence. Tievsky, Jan--Correspondence. Veen, Jan, 1908-1967--Correspondence. Wigman, Mary, 1886-1973--Correspondence. Wyrrick, Sharon--Correspondence. Subjects Choreographers--United States--Correspondence. Choreography--United States. Dance--United States. Dancers--United States--Correspondence. Occupations Choreographers. Dancers. Educators. Administrative Information Provenance

Acquisition, Jan Karski (Nirenska's husband), 1993.

 Accruals

No further accruals are expected.

 Processing History

The Pola Nirenska Collection was processed in 1997 by Vicky Risner and Mary Edsall. The original finding aid was prepared with Corel WordPerfect 8. In 2006 the Pola Nirenska Collection finding aid was coded for EAD format by Michael A. Ferrando.

 Transfers

The audiovisual materials were transferred to the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.

 Copyright Status

The status of copyright on the materials of the Pola Nirenska Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.).

 Access and Restrictions

The Pola Nirenska Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use.

Certain restrictions to use or copying of materials may apply.

 Preferred Citation

Researchers wishing to cite this collection should include the following information: container number, Pola Nirenska Collection, Music Division, Library of Congress, Washington, D.C.

 Biographical Sketch

Pola Nirenska was born 28 July 1910 in Warsaw. From childhood she was interested in dance despite opposition from her middle-class Jewish family. Nirenska had little early dance training. At age nine, she participated in a summer dance camp for girls. Six years later she choreographed her first work, a dance set to Saint-Saën's Danse macabre, and performed it for her sister in the kitchen of her family's apartment. For recreation, she went to ballroom dances. Nirenska was also interested in gymnastics, singing, drawing, and embroidery. She attended a Catholic school where she was proficient in all art-related subjects and was commended for her scientific drawings. Secretly, she took a ballet class but did not care for it, choosing instead to study modern dance for a few months. At the age of seventeen, Nirenska pressured her parents to let her study elsewhere. She finally persuaded them by locking herself in a room for three days, refusing to eat or sleep, until they slipped a passport under the door. She was permitted to continue her studies on the condition that she promise to content herself with teaching and never dance in public.

In 1928 Nirenska used her dowry to study with Mary Wigman, Elizabeth Wigman, Hanya Holm, and Tina Flade at the Mary Wigman School in Dresden. Nirenska excelled in both dance and music -- particularly percussion. Mary Wigman felt Nirenska was gifted musically and should pursue study in music rather than dance. Much to her father's disappointment, Nirenska refused to shift her focus of study. In three years she graduated with first honors from the Wigman School.

From 1932 to 1933 Nirenska toured the United States and Germany with Mary Wigman's company. When the group returned, Hitler had risen to power and Wigman's school was guarded with Nazi soldiers. As a consequence, Nirenska and all other Jewish students were dismissed. In 1934 Nirenska won first prize for choreography and second prize for solo dance in the International Dance Congress in Vienna. Receiving these prestigious awards allowed her to tour Europe with a program of solos.

A scholarship from the Polish government enabled Nirenska to pursue her studies further. She studied briefly with Rosalia Chladek in Austria but found that Chladek's style did not suit her. During this period Nirenska had an engagement at the Opera in Florence. Mussolini's persecution of the Jews forced her to flee to Poland. In 1935 she moved to London where she married Count John Ledesma, a British film star and Royal Air Force pilot. Nirenska's career flourished as she performed for the Royal Air Force, collaborated with Kurt Jooss and Sigurd Leeder, choreographed Broadway-style shows, founded a studio, worked for the Arts Council of Great Britain, and modeled for fashion designers and artists such as the sculptor Jacob Epstein. Around this time, Nirenska's parents and brother escaped to Palestine while the rest of her family refused to leave their home country; seventy-four family members perished in the war. Nirenska left London in 1949 after she separated from her husband.

Nirenska emigrated to the United States when Ted Shawn invited her to perform at the ninth season of the Jacob's Pillow Dance Festival. In New York she studied with modern dance pioneers Doris Humphrey, Charles Weidman, Jose Limon, Louis Horst, and Gertrude Shurr. Nirenska supported herself by washing dishes in an Italian restaurant and teaching at Adelphia College as well as Dance Arts in Carnegie Hall.

Nirenska made her American debut 16 February 1950 at Boston Conservatory. Dances such as Eastern ballad, A scarecrow remembers, St. Bridget: stained-glass window, Sarabande for the dead queen, La puerta del vino, Peasant lullaby, Mad girl, Dancer's dilemma, and Unwanted child were acclaimed by critics, who referred to her as the "Ruth Draper of the dance." While in Massachusetts, she continued teaching and held a position at the Berkshire Playhouse Drama School in Stockbridge.

In 1951 Nirenska was invited to join Evelyn de la Tour at her modern dance school in Washington, DC. During the same year, Nirenska was guest artist and head of the children's department at the Bar Harbor Summer Dance School. Doris Humphrey is thought to have suggested that Nirenska open her own school and company. In 1956 Nirenska founded the Pola Nirenska Dance Company in Washington, DC; by 1960 she had opened her own studio in a custom built home. The student population of professional and beginning pupils of all ages quickly grew to four hundred. Other teaching engagements included The Washington School of Ballet (academic staff), Madeira School in McLean, Virginia (head of dance department), and Glen Echo Dance Theatre in Maryland (choreographer in residence). With Louis Tupler and Ethel Butler, Nirenska founded the Performing Arts Guild, an association of modern dance companies in the Metropolitan area.

In 1969 Nirenska married Jan Karski, a specialist on communism and a former diplomat active in the Polish underground. Karski sent Nirenski a fan letter after he saw her perform, and six years later they married. In 1967 Nirenska joined her husband on a lecture tour to seventeen countries in Asia and French-speaking Africa, during which she gave workshops and master classes in Istanbul, Izmir, Athens, Thessaloniki, and Beirut. One year later Nirenska retired citing fatigue from teaching and running her studio. While in retirement, she focused on other creative outlets, most notably photography. She won awards in area competitions and became a professional portrait photographer. During her retirement, she also enjoyed volunteer work, gardening, performing arts, and travel.

During the 1980s Nirenska was urged out of retirement by leading dance figures in Washington, DC. Nirenska reworked some of her former dances before choreographing new solos and group pieces for the finest dancers in the area. She taught at The Dance Exchange with Liz Lerman, and was a teacher and resident choreographer at Glen Echo Dance Theater with Jan Tievsky. In 1980 she won the Metropolitan Dance Award. The Washington Performing Arts Society presented a concert devoted to Nirenska's choreography in March 1982 at the Marvin Theater. The event was a collaboration between The Dance Exchange, Glen Echo Dance Theater, and the Contemporary Dancers of Alexandria. Other performances ensued with dancers such as Liz Lerman, Jan Tievsky, Rima Faber, Sue Hannen, Betsy Eagan, Diane Floyd, Colette Yglesias, Sharon Wyrrick, Cathy Paine, Stephanie Simmons, Jan Taylor, and Meryl W. Shapiro. Hannen worked with Nirenska for more than a decade and eventually became her rehearsal director.

In July 1990, a farewell concert of Nirenska's works was presented at Dance Place featuring Rima Faber and Sharon Wyrrick. The entire Holocaust tetralogy was performed: Life (Whatever begins also ends), Dirge, Shout, and The train. The tetralogy is prefaced by a quote from Seneca: "In memory of those I loved . . . who are no more." Nirenska was fortunate always to be one step ahead of the Nazis, but the loss of loved ones had a profound impact on her life. Rather than graphically depicting events, Nirenska's choreography expresses the suffering of Holocaust victims. The tetralogy exhibits Nirenska's intense and powerful expressionist style at its finest.

Nirenska committed suicide 25 July 1992 in Bethesda, Maryland. She is remembered as a matriarch of dance whose works encompassed German Expressionism, the humanistic tradition of American modern dance in the Humphrey-Weidman vein, and the Holocaust. Her teaching contributions are notable as well: she stressed a serious study of dance history, composition, aesthetics, art history, drawing, music history, drama, and Labanotation. Wigman's influence can be seen in Nirenska's philosophy that every educated dancer should be able to read a musical score and play at least one instrument. In 1982 Nirenska said, "Look around, see people, buildings, everything, so you are able to pull all reactions to them into choreography." Throughout her career Nirenska acted as a clear reflection of the achievements of the pioneers of modern dance, and one can see her use of this philosophy in all her work.

 Scope and Content Note

The Pola Nirenska Collection consists primarily of biographical materials, correspondence, choreographic notes, programs, publicity, scrapbooks, photographic materials, art work, and audiovisual materials. Excluding published books and recordings, the collection spans the years 1927 to 1992. The bulk of the documents date from the 1950s to the 1990s -- the period of Nirenska's career in the United States -- but the collection contains many valuable materials from her early career in Europe.

Biographical materials in the collection encompass articles, reviews, publicity clippings, and interviews from many countries, including Poland, Germany, and Russia. The clippings and articles date from 1933 to the end of Nirenska's dance career. Newspaper clippings have been photocopied for preservation purposes. Additional clippings and articles are contained in the scrapbooks and subject files. The interviews span from 1966 to 1986 and are in printed form. Three interviewers are identified: Olga Nuray Olcay, Suzan Moss, and Priaulx Rainier. Two interviews were originally housed in the scrapbooks.

Correspondence in the collection, spanning from 1934 to 1992, consists predominately of letters to Nirenska from students and colleagues. Correspondence from the following renowned dance personalities is included: Martha Graham, Louis Horst, Doris Humphrey, Kurt Jooss, Harald Kreutzberg, Rudolf Laban, Phyllis Legters, Liz Lerman, Dorothy Madden, Beth Osgood Chanock, Nicole Pierson, Naima Prevots, Rona Sande, Walter Sorell, Erika Thimey, Jan Tievsky, Evelyn de la Tour, Jan Veen, Mary Wigman, and Sharon Wyrrick. Other letters are from political figures, such as Ronald Reagan, and international and national organizations. Only a few letters by Nirenska are contained in the collection.

The collection contains notes for a number of works choreographed by Nirenska during her residence in the United States. The choreographic notes are mainly textual descriptions, but some are in Nirenska's own notation system. Notes for The four horsemen of the apocalypse are the most abundant. There are also numerous unidentified choreographic notes. Several of the notes were found on or in audio recording tape boxes.

The programs in the collection consist of printed and typescript programs of performances by Nirenska and performances by others. The programs of performances by Nirenska date from 1933 to 1990. More programs can be found in the scrapbooks and subject files, and additional information may be obtained from the addresses and cards in the personal papers series. Nirenska saved only a few programs of performances by others; these date from 1931 to 1988.

Publicity materials, distinct from publicity articles found in biographical materials, encompass printed and typescript documents such as flyers and posters. Publicity about Nirenska dates from 1933 to 1990. More materials can be found in the scrapbooks and subject files. Publicity about others dates from 1927 and 1992. Nirenska saved only a few publicity items about others.

The scrapbooks comprise particularly informative sections of the collection. Thirteen scrapbooks consisting of photographs, clippings, articles, programs, publicity materials, and correspondence were compiled by Jan Karski. Coverage begins in 1933 with Nirenska's early career and ends with materials concerning her death in 1992. Documents from her sojourns in the United States, Poland, Austria, England, Italy, Israel, Switzerland, Turkey, Greece, and Lebanon are included. Original order of the scrapbooks has been maintained; materials are generally in chronological order.

Photographic materials comprise the bulk of the collection, spanning the 1930s to 1992. The series is divided into three subseries: photoprints, negatives, and slides by Nirenska. Photoprints are divided further into prints of Nirenska alone; those of other people; those by Nirenska; those by David Hasamatsu; and those housed in albums. Prints are black-and-white and are 8 x 10 inches or less in size unless noted otherwise. Works choreographed for dance solo are found in "Nirenska alone;" group works with Nirenska as a performer are located in "Nirenska with others;" and group works not including Nirenska are found in "Other people."

The prints of Nirenska alone are made up of both publicity and informal shots. Included are early solo works such as Eastern ballad, Felina -- catty woman, A scarecrow remembers, and Unwanted child. There are also prints of Nirenska as a model in England. Other publicity and informal shots are contained in the sub-subseries of Nirenska with others. Of particular interest are photographs with Mary Wigman and of works such as Departures, American folk suite, and Shakespearean suite. Prints of others are publicity and informal portraits and late works by Nirenska without her as a performer. In addition to portraits of dance personalities, there are photographs of the artist Felix Topolski. The sub-subseries of prints by Nirenska documents her output during her photographic interlude (1967-1980). A few autographed prints of winter scenes by David Hasamatsu comprise the next sub-subseries; the last division of prints is made up of disassembled photograph albums spanning the years 1977 to 1988. The albums contain photographs of Nirenska's travels, family, friends, and pets.

Negatives are arranged in three sections: those of Nirenska alone; those of others; and those by Nirenska. The negatives are all black-and-white and 35 millimeters in size unless noted otherwise; dates are given when known. The first sub-subseries is publicity shots of Nirenska's early solo works. Negatives of others and negatives by Nirenska are similar to the corresponding photoprints sub-subseries. Materials are not cross-referenced.

Slides by Nirenska in the collection are color slides from her photographic interlude period. They are arranged by subject except for a few titled works.

Art work in the collection, consisting of costume designs, drawings, and paintings, complements the choreographic notes and photographic materials. Costume designs by Audrey Cruddas, Doroty Szenfeld, and unidentified designers are from Nirenska's early career in Europe. There are a number of drawings and watercolors of Nirenska and colleagues as well as several miscellaneous drawings and prints.

The audiovisual materials supplement the printed materials related to Nirenska's choreography. Many VHS videotapes and a few 8 millimeter films document dances choreographed during Nirenska's residence in the United States. There are also numerous audio recordings of rehearsals. The video and audio recordings are significant not only for documenting choreographic works, but also for preserving the music of some contemporary women composers. Record albums of music used for accompanying Nirenska's dances are also contained in the collection.

Other materials include: an autographed printed score of Priaulx Rainier's Quartet for strings and a score of the Polish national hymn; poetry for, about, and by Nirenska, and a few miscellaneous poems; subject files of Nirenska's dance school, dance company, and related files containing publicity, programs, clippings, and writings; personal papers such as addresses and cards, bibliographic cards, business papers, and medical documents; four awards including Nirenska's diploma from Mary Wigman's school; realia such as a medal from the 200th anniversary of the Polish Ballet; monographs related to dance, religion, and history; and magazines, articles, and clippings saved by Nirenska mostly pertaining to dance-related topics.

 Organization of the Pola Nirenska Collection

The Pola Nirenska Collection is organized in 15 series:

Biographical Materials Correspondence Choreographic Notes Programs Publicity Scrapbooks Photographic Materials Art Work Music Poetry Subject Files Personal Papers Awards Realia Books and Articles http://lccn.loc.gov/2003682047 Container List Box Contents 1 Biographical Materials, 1933-1991

The Biographical Materials series is represented by to subseries: Clippings & articles and Interviews. Clippings & articles are dating from 1933 to the end of Nirenska's career. Interviews are printed dating from 1966 and 1986, two are pulled from the scrapbooks.

Arranged by subseries and chronologically

 1/1-4 Clippings and articles 1/1 1933-47 1/2 1948-50 Feb. 1/3 1950 Feb. (continued)-82 Mar. 11 1/4 1982 Sept.-91 1/5-7 Interviews 1/5 Interview by Olga Nuray Olcay for Cumhuriyet, 1966 Dec. 27. Original in Scrapbook no. 9 1/6 Excerpts from an interview by Suzan Moss, 1986 Feb. 18. Original in Scrapbook no. 12 1/7 Interview and commentary by Priaulx Rainier [?], 1986 May 12 1-3 Correspondence, 1934-1992

The Correspondence series consists of general correspondence, primarily letters to Nirenska from students and colleagues.

Arranged alphabetically by correspondent

 2/1 Allen-Piper, Christie, 1985 (2 items) 2/2 "A" miscellaneous 2/3 Beauvoir, The National Cathedral Elementary School, 1960 (1 item) Birch, Nathan see: The Next Ice Age 2/4 "B" miscellaneous 2/5 Commission on the Arts and Humanities, District of Columbia, 1983-84 (4 items) 2/6 Connecticut College School of Dance, 1964-65 (3 items) 2/7 "C" miscellaneous 2/8 Dance Exchange, 1987, 1991, n.d. (3 items) 2/9 Dobkiewicz, Major Waclaw, 1941 (1 item) 2/10 "D" miscellaneous 2/11 Eiko & Koma, 1987, n.d. (2 items) 2/12 Fasulo, Teo, 1935 (1 item) 2/13 "F" miscellaneous 2/14 Garretson, Cecily, 1965-66, 1988-91 (10 items) 2/15 Gelenian, Seda, n.d. (1 item) 2/16 Graham, Martha, 1966 (2 items) 2/17 "G" miscellaneous 2/18 Hartke, Rev. Gilbert V., 1960-63, n.d. (3 items) 2/19 Henderson, Robert, 1949 (1 item) 2/20 Horne, J. P. (Georgie), 1988, 1991 (3 items) 2/21 Horst, Louis, n.d. (1 item) 2/22 Humphrey, Doris, 1958 (1 item) 2/23 "H" miscellaneous 2/24 "I" miscellaneous 2/25 John F. Kennedy Center for the Performing Arts, 1987 (1 item) 2/26 Jooss, Kurt, 1934 (2 items) 2/27 Juilliard School of Music, 1958 (2 items) 2/28 "J" miscellaneous 2/29 Karski, Jan, 1960, 1966, 1992, n.d. (5 items) 2/30 Kauffman, Edith W., 1965-66, n.d. (8 items) 2/31 Kreutzberg, Harald, n.d. (1 item) 2/32 "K" miscellaneous 2/33 Laban, Juana de, 1951 (1 item) 2/34 Laban, Rudolf, 1949-50 (3 items) 2/35 L'Ecole Libanaise de Ballet, 1967 (2 items) 2/36 Ledesma, J. J. de [Count John Ledesma], 1985 (1 item) 2/37 Legters, Phyllis [?], 1968 (1 item) 2/38 Lerman, Liz, 1991, n.d. (3 items) 2/39 Lerner, Marcia [?], 1962, n.d. (2 items) 2/40 "L" miscellaneous 2/41 Madden, Dorothy, 1960, 1991 (3 items) 2/42 Manning, Susan, 1987 (1 item) 2/43 Maynard, Allegra, 1960, n.d. (2 items) 2/44 Metropolitan Dance Association, 1980 (2 items) 2/45 Michaeli, Katia, 1991 (5 items) 2/46 "M" miscellaneous 2/47 National Section on Dance, 1964 (1 item) 2/48 The Next Ice Age [Nathan Birch], 1991 (10 items) 2/49 "N" miscellaneous 2/50 Opera Society of Washington, 1960 (1 item) 2/51 Osgood Chanock, Beth, 1963 (1 item) 2/52 "O" miscellaneous 2/53 Pearson, Nicole, n.d. (1 item) 2/54 Piedmont Day School, 1959 (1 item) 2/55 Pola Nirenska School of Dance, 1968 (1 item). Notification of retirement 2/56 Polish Embassy, London, 1936 (1 item) 2/57 Poulten, Kay, 1948 (3 items) 2/58 Prevots, Naima, 1968 [?] (1 item) 2/59 "P" miscellaneous 2/60 "Q" miscellaneous 2/61 Reagan, Ronald, 1987 (1 item) 2/62 "R" miscellaneous 3/1 Sande, Rona, 1968, 1991, n.d. (9 items) 3/2 Sande, Stuart A., n.d. (1 item) 3/3 Seidl, Ina, 1935, 1949, n.d. (3 items). Letter dated 1949 is signed "R. S." 3/4 Shurr, Gertrude, 1987-92 (6 items) 3/5 Simmons, Stephanie [?], n.d. (1 item) 3/6 Sorell, Walter, 1951, 1987, 1992 (4 items) 3/7 Spelman, Marva, 1991 (5 items) 3/8 Sprague, Judy [?], 1967 (1 item) 3/9 "S" miscellaneous 3/10 Thimey, Erika, 1963, n.d. (3 items) 3/11 Tievsky, Jan, 1991 (1 item) 3/12 Tour, Evelyn de la [and others], 1953 (1 item) 3/13 "T" miscellaneous 3/14 Union of Polish Stage Artists Abroad, 1949 (1 item) 3/15 "U" miscellaneous 3/16 Veen, Jan, n.d. (1 item) 3/17 "V" miscellaneous 3/18 Weber, Reinhard, 1948-49 (4 items) 3/19 Wigman, Mary, 1935-48 (3 items) 3/20 Wyrrick, Sharon, 1987, n.d. (3 items) 3/21 "W" miscellaneous 3/22 Young Men's and Young Women's Hebrew Association Educational Department, 1954 (1 item) 3/23 "Y" miscellaneous 3/24 "Z" miscellaneous 3/25 Unidentified 4 Choreographic Notes

The Choreographic Notes series consists of notes from works choreographed in the United States.

Arranged alphabetically by title

 4/1 American folk suite, "If I had a ribbon". Received in audio recording tape box 4/2 Departures. Received in audio recording tape box 4/3 Double concerto in d minor [?] 4/4 Exits. One page received in audio recording tape box 4/5 The four horsemen of the apocalypse 4/6 Russia: the transparent apple and the silver saucer, "Snow in Siberia" solo choreographed for Liz Lerman 4/7 Shakespearean suite 4/8 Strange visit 4/9 Studio work 4/10 Tired magician 4/11 The train 4/12 Vivaldi. Received in audio recording tape box 4/13 Unidentified 5/1-3 Programs, 1933-1990

The Programs series is represented by two subseries: Performances by Nirenska and Performances by others. Performances by Nirenska consist of printed and typescript programs from 1933-90; all of the programs are not included in this series; more programs can be found in the scrapbooks and subject files, and additional information may be obtained in personal papers, addresses, and cards. Performances by others consists of printed and typescript programs saved by Nirenska from 1931-88.

Arranged by subseries and chronologically

 5/1-2 Performances by Nirenska 5/1 1933-68 5/2 1980-90 5/3 Performances by Others 5/3 1931-88 5/4-7 Publicity, 1927-1992

The Publicity series is represented by two subseries: About Nirenska and About others. About Nirenska consists of printed and typescript publicity materials such as flyers and posters, from 1933-90; more materials can be found in the scrapbooks and subject files. About others consists of printed and typescript publicity materials such as flyers and posters, from 1927-92 (and undated).

Arranged by subseries and chronologically

 5/4 About Nirenska 5/4 1933-90 5/5-7 About Others 5/5 1927-90 5/6-7 1991-1992, n.d. 6-11 Scrapbooks, 1933-1992

The Scrapbooks series consists of thirteen scrapbooks containing photographs, clippings, articles, programs, publicity materials, and correspondence.

Arranged chronologically

 6/1-2 [No. 1] Photographs, portraits, and sculptures, 1933-60s 6/3 [No. 2] United States, Poland, Austria, England, and Italy, 1933-45 7/1 [No. 3] England and Israel, 1946-47 7/2 [No. 4] England, Austria, and Switzerland, 1947-49 8/1 [No. 5] United States, 1949-50 8/2-3 [No. 6] United States, 1951-57 8/4-5 [No. 7] United States, 1958-59 9/1-2 [No. 8] United States -- her own school, 1960-65 9/3 [No. 9] United States, Turkey, Greece, and Lebanon, 1965-67 10/1 [No. 10] Photographic interlude, 1967-80 10/2-3 [No. 11] United States, 1981-84 11/1-2 [No. 12] 1985-92 11/3 [No. 13] Miscellaneous photographs, clippings, and publicity materials 12-21 28-30 Photographic Materials, 1930s-1992

The Photographic Materials series is represented by three main subseries: Photoprints, Negatives, and Slides by Nirenska. The Photoprints subseries (all b&w and 8 x 10 in. or less in size unless noted otherwise) is divided into a number of subseries. The material consists of the following: publicity and informal shots, solo works performed by Nirenska; publicity and informal shots, works by Nirenska with her included as a performer; publicity shots and informal portraits, works by Nirenska without her performing. The Negatives subseries is divided into a number of subseries. The material consits of the following: publicity shots of her works, 8 x 10 copy negatives; arranged alphabetically by title of work; in works by Nirenska and informal portraits, all b&w and 35 mm. in size unless noted otherwise; arranged alphabetically by name or title of work. The Slides by Nirenska subseries consists of color slides by Nirenska.

Various arrangements are applied

 12-18 28-30 Photoprints 12-13 28 Nirenska alone 12/1 1930s 12/2 The cry [?], 1930s 12/3 1933. By Zofja Kruzówna 12/4 1933. By Zygmunt Szajer 12/5 1936 29/1 Polish dance, 14-1/2 x 11-1/2, 1937. By Landseer, London; autographed 12/6 Modeling in London. By Landseer, London 12/7 Angel of death. By Gerti Deutsch, Vienna 12/8, 28/1 Eastern ballad, 11-3/4 x 8-3/4, 12 x 9-1/4, 12 x 9-1/2. By John Deakin; autographed 12/9, 28/2 Felina -- catty woman, 11-3/4 x 10, 9-3/4 x 11-1/2. By John Deakin; autographed 12/10, 28/3 La puerta del vino, 10-3/4 x 10, 11 x 10. By John Deakin 12/11, 28/4 A scarecrow remembers, 11-3/4 x 8-3/4, 12 x 9-3/4. By John Deakin; autographed 12/12, 28/5 Unwanted child, 12 x 10, 10-1/2 x 9-1/2. By John Deakin; autographed 12/13, 28/6 Modeling, four 12 x 10, three 11 x 8-1/4, 11 x 8-1/2 12/14 Posing in a mirror 28/7 10 x 10 12/15 1956 [?]. By Angus McBean; autographed 12/16-19 1960s. By B. Vern Blasdell, Washington, DC 12/20 1960 Jan. 28/8 13-1/2 x 10-1/2 13/1 By Terry Walker 13/2 In studio, 1980s, color and b&w. By Ray C. Schandelmeier, b&w photographs from "Portraits of a friend" 13/3 1980s. By Ray C. Schandelmeier from "Portraits of a friend" 13/4 Unidentified, color and b&w 13 16 28/9 30/1 Nirenska with others 13/5 Mary Wigman Schule, 1930s. By Kastan, Hamburg 13/6 Percussion ensemble, 1930s. By Atelier Robertson, Berlin 13/7 With Mary Wigman, 1948. By Hans Tschirren 13/8 Congress of International Dance at Zurich, 1949. By Hans Tschirren; Hilda Baumann, Mary Wigman, and Nirenska in front 13/9 With Madame Maria Hershman-Horch, Director of Berkshire Drama School, 1950 Aug. By E. H. Aoole [?] 13/10 With Evelyn de la Tour and Lucia L., Hains Point, 1952 16/1 1959 Dec. 28/9 Departures: Dorothy Madden, Nicole Pearson, Rona Sande, Nirenska, and Beth Osgood Chanock, 11 x 14, 1959 13/11 American folk suite, "The three sisters: Rona Sande, Nicole Pearson, and Nirenska 13/12 Shakespearean suite, 1961 Nov. 28. By Naltchayan; Nicole Pearson as Kate in Taming of the shrew, Beth Osgood Chanock as Portia, and Nirenska as Lady Macbeth 13/13 Dance class, 1960 Oct. 6. By Naltchayan 13/14 Ballet class, 1960s. By Fred Ward, Arlington, Virginia; print and contact sheets 13/15 Session with dance teachers in Beirut, 1967 Jan. By David 16/2-80 Panel discussion with Hanya Holm, Erika Thimey, Nirenska, and Sali Ann Kriegsman, 1986. Dancefest '86, celebrating national dance week, Glen Echo Park, MD; May 3-5 13/16 With Ethyl Butler. By G. Vern Blasdell, Washington, DC 13/17 With Jan Karski, 1987 June, 1991 13/18 With Nancy Schandelmeier, 1990s. By Ray C. Schandelmeier from "Portraits of a friend" 13/19 Schandelmeier wedding. By Ray C. Schandelmeier from "Portraits of a friend" 13/20 With Laura Schandelmeier, color 13/21 With Schandelmeier and Jan Karski, color 13/22 In studio with Ray C. Schandelmeier and pets, color. By Ray C. Schandelmeier 13/23 With Rima Faber (Wolff). 8 x 10: 1990, in "Shopping cart" costume; polaroid: 1988 Nov. 6, birthday party for Dr. "Dub" Bullock at Edith Menard's and in Faber's studio, in Stillpoint costume, color 30/1 Unidentified, 16 x 20, color 14 16 28/10-13 30/2 Others 16/81-82 Burkhardt, Beth and Denise Reed, 1986 July, color. National Zoo; choreographed by Burkhardt 29/2 Caron, 14 x 11, 16 x 11 16/83 Carter, Tish, 1980 Dec., color 16/84 Carter, Tish, color. Rocks; choreographed by Carter 14/1 Departures: Dorothy Madden, Nicole Pearson, Rona Sande, and Beth Osgood Chanock, 1959 Dec. 16/85-96 Encounters and goodbyes: Rima Faber, Sue Hannen; 1983; color. By Fred Underwood [?] 14/2 Dirge, 1981, 1988 Jan. 27, color. Prints and contact sheets 16/97 Faber (Wolff), Rima, 1980 Dec., color 16/98 Galeota, Nancy, 1980 Dec., color 16/99 Gieger, Esther, color 14/3 Hannen, Sue, 1980 Dec., 1988 Jan. 27, 30, color. Prints and contact sheets 16/100-101 Hannen, Sue, Stephanie Simmons, and Ellis, color. Jan Tievsky on far left 14/4 Humphrey, Doris and Charles Weidman, 1935. New dance; on front: A merry Xmas from [signed] Charles 14/5 Karski, Jan. By the Detroit News; on back: To my beloved Pola [signed] Jan 14/6 Karski, Jan and Nancy Schandelmeier, color 14/7 Karski, Jan and Ray C. Schandelmeier, color 16/102 Koehler, Cheryl, 1980 Dec., color 14/8, 29/3 Knox, Marion, three 14 x 11, 13-3/4 x 10-1/2 14/9 Kreutzberg, Harald 16/103 Lerman, Liz, 1985 Jan., color. At a rehearsal of Russia: the transparent apple and the silver saucer, "Snow in Siberia" 16/104 Lerman, Liz, 1987 April, color 16/105-111 Life, 1983, color. By Fred Underwood [?] 14/27 Nirenska, Mr. and Mrs. [Pola Nirenska's parents] 30/2 Norman, 13 x 18, 16 x 20, 1968 Fall 14/10 Osgood Chanock, Beth, Nicole Pearson, and Rona Sande, 1960s 28/10 Osgood Chanock, Beth, Nicole Pearson, and Rona Sande, 11-1/4 x 10-1/4, 1960s 14/11 Out of sorts: Sue Hannen, 1988 Jan. 27, color. Prints and contact sheets 14/12 Pearson, Nicole, 1959 Dec., 1960 Oct. 6. By Naltchayan [1960] 16/112 Pearson, Nicole, and Rona Sande, 1959 Dec. 14/13 Reynolds, Greg. Print and contact sheet 16/113-115 Russia: the transparent apple and the silver saucer, "Snow in Siberia": Liz Lerman, 1985 Jan., color 29/4 Sande, Rona, 13-3/4 x 11, 1960s 14/14 Schandelmeier family and friends, color. Prints and contact sheet 14/15 Schandelmeier, Laura, color and b&w. Trilogy and other works; by Robert Yohn and Ray C. Schandelmeier 14/16 Schandelmeier, Nancy, color 14/17 Schandelmeier, Ray C., color. Prints and contact sheets 16/116-122 Shout: Sharon Wyrrick, 1987 June, color 14/18 Stillpoint: Rima Faber, 1990 28/11 Tate, Carolyn, 10-1/2 x 13-1/2, 1960s 16/123 Tievsky, Jan, 1980 Dec., color 16/124 Tievsky, Jan, color 14/19 Topolski, Felix, color 14/20 The train, 1990. By Michael Drago 28/12 The train: Paula Camilli, Heather Doerbecker, Jan Taylor, and Jan [?], 8 x 12, 1990 16/125-132 Trip: Cathy Paine, 1982 Aug., color 16/133-142 Web: Shawn Womack, 1987 Oct., color 14/21 Wigman, Mary. By Ted Hurter, Zürich and Atelier Robertson, Berlin; autographed by Wigman 14/22 Wigman, Mary, Elisabeth Wigman, and Hanya Holm 16/143 Wilcox, Carrie, color 14/23 Womack, Shawn, color 16/144-146 Woman, first movement: Sharon Wyrrick, 1987 April, color 16/147-152 Woman, second movement: Sharon Wyrrick, 1987 April, color 14/24 Wyrrick, Sharon 14/25 Unidentified: dancers, color and b&w. By Joel S. Hauserman 14/26 Unidentified: friends and family, color and b&w 28/13 12 x 10 by John Deakin; autographed 16/153-163 Unidentified: dance rehearsal, 1988 Nov., color 15 28-30 By Nirenska 28/14 A boy on the farm, 10-1/2 x 13-3/4, 1969. Print of the year, National Photographic Society 30/3 Castle in Spain, 19-1/2 x 14, 1969 28/15 Delicate, 10-3/4 x 13-1/4 28/16 Dreaming, 11 x 14 15/1 Horizontal, 1968 30/4 I am mad, 14 x 17 15/2 July 4 30/5 Junior, 14-3/4 x 20 15/3, 28/17 Landscapes, 8-1/4 x 13, 11 x 14-3/4, 11 x 14 29/5 Listening, 11 x 14, 14 x 11 29/6 Marching band, 14 x 11 15/4 My spanish skirt, 1968 April. Accepted in the spring competition of the Greater Washington Council of Camera Clubs 30/6 Nature's form, 16 x 20, 1968 15/5, 30/7 Pets, 1968 Fall, b&w and color 29/7 Portrait of a farmer, 12-1/4 x 14-1/2, 1969 Jan. Honorable mention in portraits, Arts Club of Washington Pictorial Photography Annual Salon 15/6, 29/8, 30/8 Portraits, two 11 x 14, two 14 x 11, 11 x 13-1/2, 13-1/4 x 10, three 20 x 16 15/7 Portraits of a child, 1967. Printed in Baby Talk in 1967 and 1968; copy of 1968 Christmas issue included 30/9 Puff, 14 x 15-1/4, 1969 Jan. Print of the year, second place, National Photographic Society; displayed in Arts Club of Washington Pictorial Photography Annual Salon 15/8, 29/9, 30/10 Still-life, two 11 x 14, 14 x 11, 11 x 14-3/4, two 16 x 20, color and b&w 30/11 Study, two 16 x 20, 1968 15/9 Sulking 28/18 Sulking, 12 x 10-3/4 16/164 Travel, 1987 Oct., color 30/12 Village, 11 x 14, 16 x 20, 1968 28/19 Yawn, 11 x 14, 1967 Dec. Honorable mention, National Photographic Society 30/13 Young painter, 17-1/2 x 15 15/10 Miscellaneous subjects, contact sheets 28/20 By David Hasamatsu 28/20 Winter scenes, 13-1/2 x 10, 13-1/2 x 10-3/4. Autographed 15-18 Albums 16/165-166 St. Martin, 1977; 1980 [color and b&w] 15/11 St. Martin, 1978 [color and b&w] 16/167-171 St. Martin, 1978 [color and b&w] 16/172-174 New York, 1978 [color and b&w] 17/1-3 Guatemala, 1979 [color and b&w] 17/4-5 1979, spring-summer [color and b&w] 17/6-7 Hungary, 1980 [color and b&w] 17/8 New York, 1980 [color and b&w] 17/9-10 Pets, 1979-80 [color and b&w] 15/12 1980-85 [color and b&w] 17/11-15 1980-85 [color and b&w] 18/1-18 1981-82 [color and b&w] 18/19-21 1982 July-Aug. [color and b&w] 15/13 Japan, 1984 June [color and b&w] 18/22-24 Japan, 1984 June [color and b&w] 18/25-28 1986-88 [color and b&w] 15 18 19-21 Negatives 15/14-17 Nirenska alone 15/14 Eastern ballad, 8 x 10 copy negative, safety film 15/15 Polish dance, 8 x 10 copy negative, safety film 15/16 La puerta del vino, 8 x 10 copy negative, safety film 15/17 A scarecrow remembers, 8 x 10 copy negatives, safety film 19 18/29-31 Others 19/1 Burkhardt, Beth and Denise Reed, 1986 July, color. National Zoo; choreography by Burkhardt 19/2-3 Dick 19/4-23 Karski, Jan, color and b&w 19/24-33 Knox, Marion 19/34-47 Norman 19/38-41 Osgood Chanock, Beth 19/42-51 Payne (Nolan), Arvilla 18/29 Pearson, Nicole, 5 x 4, 1964 Jan. 18. In The Evening Star 19/52-64 Sande, Rona 19/65-101 Students of Nirenska 19/102-106 Thimey, Erika, with her sister, Herta 19/107-114 The train: Paula Camilli, Heather Doerbecker, Jan Taylor, and Jan [?], 8 x 12, 1990 19/115-132 Xstery [?], Andrea 18/30-31 Unidentified relatives, 3-3/4 x 2-3/4 copy negatives, safety film 19/133-150 Unidentified 20 21 19/151-185 By Nirenska 19/151-153 Animals 19/154-185 Genre 20/1-53 Miscellaneous subjects, color and b&w 20/54-64 Pets 20/65-67 Photo class 20/68-146 Portraits, three 16 mm. images, color and b&w 21/1-64 Scapes: landscapes, seascapes, and cityscapes 21/65-85 Spain 21/86-112 Still-life, color and b&w 21/113-137 Travel, color 15/18 Slides by Nirenska 15/18 Dusk [color] Landscapes [color] Life begins [color] Lonely bird [color] Portraits [color] Seascapes [color] Still-life [color] Unidentified [color] 22 28 29 30 Art Work

The Art Work series is represented by two subseries: Costume designs and Drawings & paintings. The Costume designs subseries consists of drawings and paintings, primarily from the 1930s. The Drawings & paintings subseries consists of drawings and watercolors of Nirenska and colleagues, and several miscellaneous drawings and prints.

Arranged alphabetically by type, title, and subject.

 22 28 30 Costume designs 28/21 By Audrey Cruddas, annotated 22/1 By Doroty Szenfeld, 1934 22/2 By Doroty Szenfeld, 1936 29/10 Costume, green and yellow 28/22 Costume, Polish 30/14 A scarecrow remembers, by Audrey Cruddas, annotated 22/3 Unidentified 22 28 29 30 Drawings and paintings 28/23 Barnes commons, pencil drawing, by S. R. [?] 29/11 La dame a l'éventail, by Pablo Picasso, print 29/12-14, 30/15 Drawings and watercolors, by A. H. C. [formerly Audrey Cruddas?] 29/15 Mardi Gras, by Paul Cézanne, print 22/4 Nirenska, drawing, by Felix Topolski. Used for programs and as a bookplate; see also Subject Files, Pola Nirenska Dance Company 22/5 Painting, by R. Mizufune, 1962 29/16 Pearson, Nicole and Rona Sande [?], watercolor, 1960s 30/16 Pencil drawing, by Zardenberg [?] 30/17 Sally, drawing, by Frances T. Trammell, 1964 22/6 Two bridges, by Sir Stanley Spencer, print 29/17 Le vieux juif, by Pablo Picasso, print 22/7-8 Music

The Music series consists of autographed miniature score of Priaulx Rainier's Quartet for strings, printed score of the Polish national hymn.

Arranged alphabetically by composer

 22/7 Anonymous, Jeszcze Polska nie zginela (The Polish national hymn). Words by Josef Wybicki 22/8 Rainier, Priaulx, Quartet for strings. Miniature score; autographed "For Pola from Priaulx 1942-1947" 22/9-21 Poetry, 1934-1936, 1949, 1987, undated

The Poetry series consists of poems for, about, and by Nirenska, a few miscellaneous others.

Arranged alphabetically by author

 22/9 Bymme; "On first seeing Pola" 22/10 Faber Wolff, Rima; "Thanksgiving poems" 22/11 Genega, Paul; "The courier"; 1987. For Jan Karski; original in correspondence, "G" miscellaneous 22/12 Kraft, Marcy; Night flowers. To Nirenska with thanks for her inspiration 22/13 Kraft, Marcy; "17 poems" 22/14 Nirenska, Pola; "Dreamscape" 22/15 Scheider, Hanns; "Sü-schy tanzt"; 1934 June 28 22/16 Seidl, Ina; "Aus der engelsuite, getanzt von Pola Nirenska (Versuch einer Bewegungsdeutung)" 22/17 Seidl, Ina; "Der Schrei: Choreographische studie, getanzt v. Pola Nirenska, Warschau, anlässlich des Internat. Tanzwettbewerbes in Wien" 22/18 Seidl, Ina; "Trance [and] Engel des todes"; Winter 1935-36. Based on Nirenska's choreography 22/19 Seidl, R. [Ina ?]; "Erinnerungen einer Vogelscheuche, Studie über einen Tanz von Pola Nirenska"; 1949. Original in correspondence 22/20 Winczakiewicz, Jan; Izrael w poezji Polskiej antologia 22/21 Unidentified 23 Subject Files, 1933-1982

The Subject Files series consists of Nirenska's dance school, dance company, and related files containing publicity, programs, clippings, and writings; also a file of gardening materials ("New plants").

Arranged alphabetically by subject

 23/1 Dance recital publicity, 1958-82 23/2-4 Dance school, 1960-68 23/5 An evening of choreography by Pola Nirenska, 1990 July 28-29 28/24-27 Für Pola, 1933-58 [writings, programs, and publicity from outside U.S.] 23/6 Loose single reprints [clippings and programs], 1964-81 23/7 New plants 23/8 Pola Nirenska Dance Company -- programs, leaflets, etc., 1958-66 23/9 Reviews [and programs/publicity], 1948-63 23/10 Washington Dance Company, 1958-66 24 25 Personal Papers

The Personal Papers series consists of three categories arranged alphabetically and sorted chronologically at the folder level as applicable: addresses and cards, bibliographic cards, business, medical, and miscellaneous.

Arranged alphabetically and sorted chronologically

 24/1 Addresses and cards 25 Bibliographic cards [Note: Topics are as follows: Art, cookery, dance, dictionaries and encyclopedias, fairy tales and legends, gymnastics and health, literature, love and marriage, music, philosophy and psychology, poetry, politics and history, religion and religion-philosophy, theater and costumes, etc., miscellaneous] 24/2 Business 24/3 Medical 24/4 Miscellaneous 24 29 30 Awards, 1934, 1980, 1987, 1991

The Awards series consists of a certificate of appreciation, and a diploma.

Arranged chronologically

 30/18 Diploma, Internationaler Tanz = Wettbewerb und Volkstanztreffen Wien, 1934 June 16 24/5 Award, Metropolitan Dance Association, 1980 29/18 Award, St. Patrick's Senior Center, for the intergenerational contribution of Pola Nirenska to the cultural life of the greater Washington area, 1987 24/6 Certificate of appreciation, National Law Enforcement Officers Memorial Fund, 1991 Aug. 16 26 27 Realia, 1985, undated

The Realia series consists of a medal from the 200th anniversary of the Polish Ballet and other items.

Arranged alphabetically

 26 Medal, 200th anniversary of Polish Ballet, 1985 27 Sea shell [shelf] Books and Articles

The Books and Articles series is represented by two subseries: Books ; Articles & Clippings. The Books subseries consists of monographs related to dance, religion, and history. The Articles & Clippings subseries consists of magazines, articles and clippings (not about Nirenska), mostly dance-related.

Arranged alphabetically by author and title

 [shelf] Books Aubel, Hermann and Marianne, Der Künstlerische Tanz unserer Zeit Bainton, Roland H., The horizon history of Christianity Behr, Walter, Das hatte ich zu sagen... Bénard, Th., L'Année préparatoire d'histoire sainte Bie, Oskar, Der Tanz Boehn, Max von, Der Tanz Cartier-Bresson, Henri, Les danses à Bali Cato (Owen Frank), Guilty men Chesterton, G. K., St. Thomas Aquinas Clarke, C. P. S., Short history of the Christian church Dahlke, Paul, Buddhismus als Weltanschauung Daniel-Rops, Henri, This is the mass Daudet, Alphonse, Die Abenteuer des Herrn Tartarin aus Tarascon Delius, Rudolf von, Tanz und Erotica Diebold, Bernhard, Habima Duncan, Isadora, Der Tanz der Zukunft Dzikowski, Stanislaw, O tancu Elleniko chorodrama, 1950-1960 Freund, Liesel, Monographien der Ausbildungsschulen für Tanz und tänzrische Öperbildung, Band 1: Berlin Gert, Valeska, Mein Weg Gibbon, Edward, Christianity and the decline of Rome Gobineau, Graf, Asiatische Novellen Graham, Dom Aelred, Catholicism and the world today Gray, Rev. Ronald, This is your mass Green, Lili, Einführung in das Wesen unserer Gesten und Bewegungen Gregor, Joseph, Kulturgeschichte des Balletts. Autographed with note, Wien, 1947 Nov. Gunther, John, and Bernard Quint, Days to remember: America 1945-1955 Hersey, John, The wall Hildenbrandt, Fred, Die Tänzerin Valeska Gert. 1930 Dresden The holy bible, light of the world edition Höver, Otto, Javanische Schattenspiele Hughes, Philip, A popular history of the Reformation Kellermann, Bernhard, Japanische Tänze. 1930 Dresden Khayyám, Omar, Trans. by Edward Fitzgerald, Rubáiyát of Omar Khayyám Killgallon, James, and Gerard Weber, Life in Christ Klingenbeck, Fritz, Die Tänzerin Rosalia Chladek Knox, Ronald, The belief of Catholics Kochanowicz, Jan, Wstep do nauki o teatrze Kolb, Dr. Med. Rudolf, Magen und Darm Kubin, Alfred, Dämonen und Nachtgesichte. Autographed by Nirenska Laban, Rudolf von, Des Kindes Gymnastik und Tanz Laban, Rudolf von, Die Welt des Tänzers Levinson, André, La Argentina: A study in Spanish dancing Levinson, André, La danse d'aujourd'hui Liguori, St. Alphonsus, The way of the cross Linder, Kurt, Die Verwandlungen der Mary Wigman Lloyd, Roger, The mastery of evil Mackiewicz, Stanislaw, Historja Polski Mamontowicz-Lojek, Bozena, Terpsychora i lekkie muzy May, Joseph, Stehen Sie fest auf Ihren Füssen? Medau, Hinrich, Deutsche Gymnastik Muther, Richard, Die Kunst, Band 43: Der Tanz als Kunstwerk von Oscar Bie Nerman, Einar, Darlings of the gods: in music hall, revue, and musical comedy Netzer, Dr. Shlomo, A thousand years of history of the Jews of Poland Newman, Dora, Elfenblüten Oberdörffer, Med. H. J., Rhythmische Atem-Gymnastik-Schule Pawlowa, Anna, Anna Pawlowa Pirchan, Emil, Harald Kreutzberg Prucha, F. P., and Gerald Ellard, ed., The sacred ceremonies of holy week Remarque, Erich Maria, Droga powrotna Rheinhardt, E. A., Eleonora Duse Sachar, Abram Leon, A history of the Jews, fifth edition Storck, Karl, Der Tanz Strauss, Richard, Die Musik, Band 47/48: Der Künstlerische Tanz von Werner Suhr Swieto tanca artystycznego Tairoff, Alexander, Das entfesselte Theater 1937 Dresden The Talmud of Jerusalem Die Tänzerin Mary Wigman Terpis, Max, Tanz und Tänzer. "In appreciation of your art of dancing" Katia Michalovsky; 1947 Mar. 27 Toller, Ernst, Joseph Roth, and Alfons Goldschmidt, Das Moskauer Jüdische Akademische. Theater, 1931 Walsh, John, This is Catholicism Way of the cross: meditations of Pope John Paul II Wiesenthal, Grete, Die ersten Schritte, 1947 Wigman, Mary, Deutsche Tanzkunst. Autographed by Wigman; 1935 Dresden Wigman, Mary, Komposition Wigman, Mary, Die sieben Tänze des Lebens Williams, Charles, The forgiveness of sins Winther, Fritz, Körperbildung als Kunft und Pflicht Wolkonski, Ks. Sergjusz, Czlowiek wyrazisty Zundel, Maurice, The splendour of the liturgy 24/7-9 28/28 Articles and Clippings 24/7 Dance magazine, 62, no. 6 (1988 June) 24/8 Tanzdrama Magazin, no. 1 (1987 4. Quartal) 24/9 Miscellaneous 28/28 Miscellaneous Appendix A: Works by Nirenska American folk suite (music: accompanied by Elizabeth Wilson Hughes, voice and dulcimer) "The three sisters" (music: folk song adapted from "The old lord of the Northern Sea," from the John Jacob Niles Collection) "Complaining old woman" (music: Elizabeth Wilson Hughes; text: incomplete folk poem, from the Vance Randolph collection) "Yankee girl" "If I had a ribbon bow" "Maid freed from the gallows" "Old woman, old man" "Pigeons and pain" Avenue of escape "Brandy" (music: Béla Bartók) "Champagne" (music: Claude Debussy) "Absinth" (music: Aaron Copland) Bag lady (music: Claude Bolling, Jean-Pierre Rampal) Barbaric suite (music: Priaulx Rainier) "The dance of fear" "The dance of longing" "The dance of joy" Dancer's dilemma (music: arranged by Kotowska) Departures (music: Heitor Villa-Lobos) Dirge ("In memory of those I loved who are no more") (music: Concerto grosso no. 1, by Ernest Bloch; costume designer: Terri Prell); second section of Holocaust tetralogy The divided self (music: Symphony no. 4, by Roger Goeb; performed by Japan Philharmonic Symphony Orchestra) Double concerto in d minor (dedicated to Doris Humphrey; music: J. S. Bach; costume designers: Cheryl Koehler, Ellen Gray Denker), 1968 "Allegro" "Adagio" "Allegro" Encircled (music: Heitor Villa-Lobos) Encounters and goodbyes (music: Sonata no. 3 [?], by Norman Dello Joio) The eternal fool ("We speak of a young girl, Pierrot and the moon") (music: Abba Nieman) Exits (music: Evelyn Lohoefer; quotations: Dylan Thomas; costume designer: Terri Prell) "Rage, rage against dying of the light" "Bless me now with your fierce tears, I pray... " "Do not go gently into that good night" Faith (music: Clague) Felina -- catty woman (music: Da Costa) The four horsemen of the apocalypse (music: Anton Webern) "Humanity" "Power" "Plague" "War" "Death" Greek washer-girl (music: old Greek round, arranged by R. Cavalho) Homeless child (Unwanted child) (music: Adda Heynessen) I found my grandmother dead (music: Arnold Schoenberg) In the sun (music: Béla Bartók) Italian concerto (music: J. S. Bach) Jubilee (musical revue; music: arranged by John Toohill) The lament (music: lullaby, early 17th century around the time of the Great Plague; vocals: Julia Humphries) Laughter (music: Eugène Bozza) Life (sometimes referred to as Whatever begins also ends) (music: Concerto grosso no. 1, by Ernest Bloch; costume designer: Terri Prell; quote: Seneca), first section of Holocaust tetralogy Life is so daily (music: Lukas Foss) Longing (music: "La plus que lente," by Claude Debussy; piano: Peter Frankel; costume designer: Terri Prell) Lullaby (music: Ignacy Jan Paderewski) Mad girl (music: Frederico Mompou) Mazur (national Polish dance) Menuet (music: Frédéric Chopin) The old and the new (music: traditional, vocals by Richard Tucker) Once over lightly (musical revue; music: arranged by Edward Cashman and Edward Shamaphy) Out of sorts (music: Claude Bolling) Peasant Lullaby (music: Polish folk tunes, arranged by R. Cavalho) Picnic (music: Virgil Thomson) La puerta del vino (The gate of wine) (music: Claude Debussy) "Rhythm in 3/4" "Rhythm in 4/4" Russia: the transparent apple and the silver saucer, "Snow in Siberia" (solo choreographed by Nirenska for Liz Lerman; all other choreography by Lerman) St. Bridget: stained-glass window (The patron of weavers and spinners) (music: French folk songs, arranged by Benjamin Britten) Sarabande for the dead queen (music: Claude Debussy) A scarecrow remembers (music: Adda Heynessen, Gorney) Shakespearean suite (music: Sergei Prokofiev) Shepherd boy (music: Greek folk song) Shout (music: "Hatred of the filthy bomb," by Lou Harrison); third section of Holocaust tetralogy Stars & planets (music: George Crumb) Stillpoint (music: "The unanswered question," by Charles Ives), 1990 Strange visit (music: Béla Bartók) Studies in modern dance "Floor swings" "Primitive player" "Birds" "Isolation" Sweet william (musical; music: by Edward Cashman) They never came back (music: G. Orville Trondson) Three sculptures (music: Evelyn Lohoefer; costume designers: Stan Fowler, Sandy Asay, Pola Nirenska; set designers: Stan Fowler, Alex Rounds), commissioned by Washington Dance Repertory "The eternal insomnia of the earth" "Amity" "The knot" Three women (costume designer: Gayle Behrman Jaster), 1987 I. (music: Anthony Davis) II. (music: Miles Davis) III. (music: Ella Fitzgerald with Duke Ellington) Tired magician (music: William Russel, Henry Dixon Cowell) The train (music: "Suntreader," by Carl Ruggles); last section of Holocaust tetralogy Trapped (music: "Satyagraha," by Philip Glass) Trip (music: Modern Jazz Quartet) Two queens (The queen) (music: G. Orville Trondson) Vigil by the sea (Fated vigil) "Waiting" (music: G. Orville Trondson) "Lament" (music: song attributed to William Byrd) Village beauty (music: Polish folk tunes, arranged by R. Cavalho) Web (music: Jon Hassell) Woman #1 (music: Anthony Davis) see also Three women Wounded (music: Concerto for piano and orchestra, "Allucinante," by Alberto Ginastera; costume designer: Terri Prell) Appendix B: Audiovisual Materials

Audiovisual materials are located in the Motion Picture, Broadcasting and Recorded Sound Division (M/B/RS) of the Library of Congress

Videotapes Item# Description 1 Exuberance dancer: Laura Schandelmeier music: "Little fugue in g minor," J. S. Bach videographer: Laziza Nirenska choreographed Exuberance for Laura Schandelmeier, her next door neighbor. The work is a music visualization in the style of Doris Humphrey. The performance was recorded in Nirenska's basement studio. 2 Last concert 1984: Stars & planet and other dances, choreography by Pola Nirenska, Marvin Theater, George Washington University, March 10, 1984 Tired magician (premiere) music: William Russel, Henry Dixon Cowell dancers: Nirenska, Diane Floyd, Susan Hannen, Meryl W. Shapiro, Jan Tievsky Encounters and goodbyes (premiere, original concept 1965) music: Sonata no. 3 [?], Norman Dello Joio dancers: Rima Faber, mother; Susan Hannen, child; Jan Tievsky, bad influence; Diane Floyd, good influence; Greg Reynolds, young man Jewish song (The old and the new) (premiere) music: traditional, performed by Richard Tucker dancer: Liz Lerman Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers: Jeanne Feeney, Diane Floyd, Susan Hannen, Meryl W. Shapiro, Stephanie Simmons, Jan Tievsky, Rima Faber Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Jeanne Feeney, Diane Floyd, Susan Hannen, Meryl W. Shapiro, Stephanie Simmons, Jan Tievsky, Rima Faber Weed (Trip) (1983) music: The Modern Jazz Quartet dancer: Susan Hannen Stars & planet (premiere, dedicated to Louis Horst) music: George Crumb dancers: Liz Lerman, Earth; Greg Reynolds, Moon; Patrick Scully, Sun; Diane Floyd, Bollux; Susan Hannen, Castor; Jan Tievsky, Taurus Hyader; Northern Star Polaris, Stephanie Simmons; Tobie Hoffman, Comet costume designer: Terri Hume Prell lighting and stage manager, lighting designer: David Madden sound technician: Judy Tyson production manager: Martin PetersiliaThe concert was partially funded by a grant from the National Endowment for the Arts. 3 Web, TV version music: Jon Hassell dancer: Shawn WomackThe performance was videotaped for television. There are special effects such as double images and freeze frames. 4 Everything ["Kennedy Center 1988" on box] Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch costume designer: Terri Hume Prell Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch costume designer: Terri Hume Prell Weed (Trip) (1983) music: The Modern Jazz Quartet dancer: Susan Hannen costume designer: Terri Hume Prell Stars & planet (1984, dedicated to Louis Horst) music: George Crumb dancers: Liz Lerman, Earth; Greg Reynolds, Moon; Patrick Scully, Sun; Diane Floyd, Bollux; Susan Hannen, Castor; Jan Tievsky, Taurus Hyader; Northern Star Polaris, Stephanie Simmons; Tobie Hoffman, CometThe videotape is mislabeled. The recordings are most likely of rehearsals. During Life, Nirenska can be heard instructing the lighting designer. Only a few seconds of Stars & planet are recorded. Attached to the box is a note: "Love, Ron." 5 Trapped, "Snow in Siberia" (EP) Trapped music: Satyagraha, Philip Glass dancer: Jan Tievsky Russia: the transparent apple and the silver saucer, "Snow in Siberia" music: "Groundswell," Vladimir Cosma dancer: Liz LermanThe quality of the recording is poor. "Snow in Siberia" is the second movement of the second act from Russia. The solo is the fifth dance Nirenska choreographed for Lerman. 6 5/3/96 Dancefest '86 Glen Echo, Shout, panel discussion with Hanya Holm Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick videographer: Harmony Vanover Panel discussion with Hanya Holm, Erika Thimey, Sali Ann Kriegsman, and NirenskaThe recording is from Dancefest 1986, in celebration of National Dance Week, held in Glen Echo Park, Maryland, May 3-5. During the panel discussion, Nirenska read a tribute to Holm discussing her relationship with Holm and the Wigman Schule. A copy of the script is in Scrapbook no. 12. 7 Choreography by Pola Nirenska, Woman, Shout, Sun. June 14, Dance Place Three women (1987) I. music: Anthony Davis II. music: Miles Davis III. music: Ella Fitzgerald with Duke Ellington dancer: Sharon Wyrrick costume designer: Gayle Behrman Jaster Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick costume designer: Beth Burkhardt 8 Concert, 1982: solo, Dirge, Bach (LP)"An evening of choreography" by Pola Nirenska, March 9, 1982, 8:00 p.m., Marvin Theater Wounded (premiere) music: Concerto for piano and orchestra, "Allucinante," Alberto Ginastera dancer: Betsy Eagan costume designer: Terri Hume Prell Whatever begins also ends (premiere) Life (1982) Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch Life dancers: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias Dirge dancers: Rima Faber, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Three sculptures (1965)"The eternal insomnia of earth""Amity""The knot" music: Evelyn Lohoefer "The eternal insomnia of earth" dancer: Colette Yglesias "Amity" dancers: Betsy Eagan, Stephanie Simmons, Carrie Wilcox "The knot" dancers: Letitia Carter, Susan Hannen, Jenifer Litwin costume designers: Stan Fowler, Sandy Asay, Nirenska set designers: Stan Fowler, Alex RoundsCommissioned by Washington Dance Repertory Exits "Rage, rage against dying of the light" (1968) "Bless me now with your fierce tears, I pray..." "Do not go gently into that good night" music: Evelyn Lohoefer dancer: Liz Lerman costume designer: Terri Hume Prell quotations: Dylan Thomas Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. Bach dancers: Susan Hannen, Ellen Gray Denker, Rima Faber, Carol Anderson, Betsy Eagan, Jenifer Litwin, Stephanie Simmons, Carrie Wilcox The quality of the recording is poor. Much of the performance is not visible because of darkness. Longing was the first work performed at the concert, but it is not on the recording. Nirenska can be heard commenting on lighting and various other aspects of the performance. 9 Liz (SP)The Dance Exchange and Performance Company and The Dancers of the Third Age, June 13-14, 1985, Caplin Theatre, Sidwell Friends School Russia: the transparent apple and the silver saucer choreography: Liz Lerman, solo by Nirenska original music: David Bishop dancers: Susan Barnett, Jeff Bliss, Eric Bobrow, Mary Buckley, Debra Caplowe, Bob Fogelgren, Velerie Hallenbeck, Louise Haskin, Judith Jourdin, Liz Lerman, Lory Leshin, Monica Lewis, Anne McDonald, Jessica Rea, Hannah Rosenthal, Charlie Rother, Kathy Robens Siegel, Louisa Winer, Don Zuckerman lighting designer: Susan E. Landess costume designer: Terri Hume Prell art direction: Kathy Suter projection programming: Steve Spector sound: Josh Schneider, Monica Peterschmidt stage manager: Joan L. Hampton administrative director: Craig Impink Russia includes "Snow in Siberia," a solo choreographed by Nirenska for Lerman. A few parts are cut momentarily. 10 Dance master copy [copy of #8] (LP)Dress rehearsal, "An evening of choreography" by Pola Nirenska, March 9, 1982, 8:00 p.m., Marvin Theater Wounded (1982) music: Concerto for piano and orchestra, "Allucinante," Alberto Ginastera dancer: Betsy Eagan costume designer: Terri Hume Prell Whatever begins also ends Life (1982) Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch Life dancers: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias Dirge dancers: Rima Faber, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Three sculptures "The eternal insomnia of the earth" "Amity" "The knot" music: Evelyn Lohoefer costume designers: Stan Fowler, Sandy Asay, Nirenska set designers: Stan Fowler, Alex Rounds "The eternal insomnia of the earth" dancer: Colette Yglesias "Amity" dancers: Betsy Eagan, Stephanie Simmons, Carrie Wilcox "The knot" dancers: Letitia Carter, Susan Hannen, Jenifer LitwinCommissioned by Washington Dance Repertory Exits "Rage, rage against dying of the light" (1968) "Bless me now with your fierce tears, I pray..." "Do not go gently into that good night" music: Evelyn Lohoefer dancer: Liz Lerman costume designer: Terri Hume Prell quotations: Dylan Thomas Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. Bach dancers: Susan Hannen, Ellen Gray Denker, Rima Faber, Carol Anderson, Betsy Eagan, Jenifer Litwin, Stephanie Simmons, Carrie WilcoxThe quality of the recording is poor. Much of the performance is not visible because of darkness. Longing was the first work performed at the concert, but it is not on the recording. Nirenska can be heard commenting in the background on lighting and various other aspects of the performance. 11 Pola Nirenska concert at Dance Place The divided self music: Symphony no. 4, Roger Goeb; performed by the Japan Philharmonic Symphony Orchestra dancers: Jan Tievsky, Cheryl Koehler Longing music: La plus que lente, Claude Debussy; performed by Peter Frankel dancer: Susan Hannen costume designer: Terri Hume Prell Three sculptures, "The eternal insomnia of the earth" music: Evelyn Lohoefer dancer: Colette Yglesias costume designers: Stan Fowler, Sandy Asay, Nirenska set designers: Stan Fowler, Alex Rounds Commissioned by Washington Dance Repertory Exits "Rage, rage against dying of the light" (1968) "Bless me now with your fierce tears, I pray..." "Do not go gently into that good night" music: Evelyn Lohoefer dancer: Liz Lerman costume designer: Terri Hume Prell quotations: Dylan Thomas Weed (Trip) (1983) music: Modern Jazz Quartet dancer: Cathy Payne costume designer: Terri Hume Prell Jewish song (The old and the new) (1984) music: traditional, performed by Richard Tucker dancer: Liz Lerman Three women (1987) I. music: Anthony Davis II. music: Miles Davis III. music: Ella Fitzgerald with Duke Ellington dancer: Sharon Wyrrick costume designer: Gayle Behrman Jaster Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick costume designer: Beth Burkhardt Whatever begins also ends Life (1982) Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch Life dancers: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias Dirge dancers: Rima Faber, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. BachThe videotape is fragile due to a repaired splice. 12 Jackson (EP)Television documentary on Michael Jackson BAD, recorded from WETA 26, Washington, DC executive producers: Michael Jackson, Harry Ufland, Frank Dileo producer: Quincy Jones, Barbara De Fina writer: Richard Price director: Martin ScorseseClip of The teahouse of the August moon Commercials"Alive from off center" Air dance landings, Michael Schwartz and Elizabeth Streb New puritan dances, Michael Clark The daytime moon, Min TanakaDocumentary on Pepsico Sculpture Gardens in Purchase, NY producer: Anthony Sheldonhmor narrator: Efrem Zimbalist, Jr."Reading rainbow" host: Levar Burton"3-2-1 contact"More educational programmingThe tape consists of programming recorded from television. The last programs were probably recorded accidentally by continuously recording after the relevant programs. 13 "In memory of those I loved who are no more"I. Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers [?]: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell II. Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Jeff Bliss, Debra Caplowe, Amy Dowling, Rima Faber, Susan Hannen, Jan Tievsky costume designer: Terri Hume Prell III. Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick costume designer: Beth Burkhardt IV. The train (1990) music: "Suntreader," Carl Ruggles dancers: Rima Faber (Mother), Paula Camilli, Heather Doerbecker, Jan Taylor, Meryl W. Shapiro costume designer: Nirenska The movements from the Holocaust tetralogy were recorded on different occasions. Life was filmed during the early 1980s; Dirge was recorded in 1988; therehearsal of The train was filmed in Nirenska's studio in 1990. 14, 15 A celebration of dance, 1988 Feb. 5, John F. Kennedy Center for the Performing Arts [2 copies] Out of sorts (premiere) music: Claude Bolling dancer: Susan Hannen costume designer: Terri Hume Prell lighting designer: David Covey Web (1987) music: Jon Hassell dancer: Shawn Womack costume designer: Terri Hume Prell lighting designer: David Covey Woman #1 (1987) music: Anthony Davis dancer: Sharon Wyrrick costume designer: Terri Hume Prell lighting designer: David Covey I found my grandfather dead (premiere) music: Arnold Schoenberg dancer: Tish Carter costume designer: Terri Hume Prell lighting designer: Tish Carter Shout (1986) music: Lou Harrison dancer: Sharon Wyrrick costume designer: Beth Burkhardt lighting designer: David Covey Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Jeff Bliss, Debra Caplowe, Amy Dowling, Rima Faber, Susan Hannen, Jan Tievsky costume designer: Terri Hume Prell lighting designer: David Covey The program was part of the Kennedy Center's "Washington, front and center!" series. Choreography by Lloyd Whitmore and Tish Carter was also featured as part of "A celebration of dance." The quality of the recording is poor. 16 Everything (A) / Bach 3 movements / Liz (SP) Wounded (1982) music: Concerto for piano and orchestra, "Allucinante," Alberto Ginastera dancer: Betsy Eagan costume designer: Terri Hume Prell Three sculptures, "Amity," "The knot" music: Evelyn Lohoefer "Amity" dancers: Betsy Eagan, Stephanie Simmons, Carrie Wilcox "The knot" dancers: Letitia Carter, Susan Hannen, Jenifer Litwin costume designer: Stan Fowler, Sandy Asay, Nirenska set designers: Stan Fowler, Alex RoundsCommissioned by Washington Dance Repertory Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. Bach Longing music: La plus que lente, Claude Debussy; performed by Peter Frankel dancer: Susan Hannen costume designer: Terri Hume Prell Wounded (1982) (Nirenska's comments in background) Three sculptures, "The eternal insomnia of the earth" music: Evelyn Lohoefer dancer: Colette Yglesias costume designers: Stan Fowler, Sandy Asay, Nirenska set designers: Stan Fowler, Alex Rounds Commissioned by Washington Dance Repertory Bag lady music: Claude Bolling, Jean-Pierre Rampal dancer: Rima Faber Departures [?] music: Bachiana brasileira no. 1, Heitor Villa-Lobos dancer: Cathy Payne Exits "Rage, rage against dying of the light" (1968) "Bless me now with your fierce tears, I pray..." "Do not go gently into that good night" music: Evelyn Lohoefer dancer: Liz Lerman costume designer: Terri Hume Prell quotations: Dylan Thomas Weed (Trip) (1983) music: The Modern Jazz Quartet dancer: Susan Hannen costume designer: Terri Hume Prell Laughter music: Eugène Bozza dancer: Liz Lerman Tired magician music: William Russel, Henry Dixon Cowell dancers: Nirenska, Diane Floyd, Meryl W. Shapiro, Jan Tievsky Encounters and goodbyes (1984, original concept 1965) music: Sonata no. 3 [?], Norman Dello Joio dancers: Rima Faber, mother; Susan Hannen, child; Jan Tievsky, bad influence; Diane Floyd, good influence; Greg Reynolds, young man Jewish song (The old and the new) (1984) music: traditional, performed by Richard Tucker dancer: Liz Lerman Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers [?]: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell The works were recorded in various settings; some are rehearsals on stage or in the studio and some are performances. Recordings of rehearsals are usually of better quality than recordings of performances. Only the beginning of Life is recorded. 17 Bach [extra copy] Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. Bach The divided self, Glen Echo Dance Theater (world premiere with introduction) music: Symphony no. 4, Roger Goeb; performed by the Japan Philharmonic Symphony Orchestra dancers: Jan Tievsky, Cheryl KoehlerThere is only a brief introduction to The divided self. 18 "In memory of those I loved who are no more" [copy of #13, Gertrude Shurr's address on box]I. Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers [?]: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell II. Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Jeff Bliss, Debra Caplowe, Amy Dowling, Rima Faber, Susan Hannen, Jan Tievsky costume designer: Terri Hume Prell III. Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick costume designer: Beth Burkhardt IV. The train (1990) music: "Suntreader," Carl Ruggles dancers: Rima Faber (Mother), Paula Camilli, Heather Doerbecker, Jan Taylor, Meryl W. Shapiro costume designer: Nirenska The movements from the Holocaust tetralogy were recorded on different occasions. Life was filmed during the early 1980s; Dirge was recorded in 1988; the rehearsal of The train was filmed in Nirenska's studio in 1990. 19 Dirge only Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Rima Faber, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Dirge is rehearsed twice. Nirenska can be heard commenting in the background on lighting and various other aspects of the performance. 20, 21, 22 Copy of dances [3 copies] Tired magician music: William Russel, Henry Dixon Cowell dancers: Nirenska, Diane Floyd, Meryl W. Shapiro, Jan Tievsky Encounters and goodbyes (1984, original concept 1965) music: Sonata no. 3 [?], Norman Dello Joio dancers: Rima Faber, mother; Susan Hannen, child; Jan Tievsky, bad influence; Diane Floyd, good influence; Greg Reynolds, young man Jewish song (The old and the new) (1984) music: traditional, performed by Richard Tucker dancer: Liz Lerman Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers [?]: Rima Faber, Carol Anderson, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Rima Faber, Betsy Eagan, Susan Hannen, Carrie Wilcox, Colette Yglesias costume designer: Terri Hume Prell Weed (Trip) (1983) music: The Modern Jazz Quartet dancer: Susan Hannen costume designer: Terri Hume Prell Double concerto in d minor (dedicated to Doris Humphrey, 1968) music: J. S. Bach The divided self, Glen Echo Dance Theater (world premiere with introduction) music: Symphony no. 4, Roger Goeb; performed by the Japan Philharmonic Symphony Orchestra dancers: Jan Tievsky, Cheryl Koehler The works were recorded in various settings; some are rehearsals on stage or in the studio and some are performances. Recordings of rehearsals are usually of better quality than recordings of performances. Nirenska appears on stage during the applause after the performance of The divided self. 23 Dances "Bad" Dancin' man starring: Jeff Hyslop featuring: Ann Reinking, Frank Augustyn, Karen Kain, Honi Coles producer and director: Bernard Picard choreographers: Ann Ditchburn, Kirsteen Etherington, Eva Von Gencsy, Jeff Hyslop"Alive from off center" Pages from the book of rain performers: Maasai choreography director: Gary Hurst music: Global Rain Music Parafango director: Charles Atlas choreographer: Karole Armitage performers: Karole Armitage, Michael Clark, Philippe Decoufle, Jean Guizerix, Joseph Lennon, Nathalie Richard, David Linton; music: David Linton Dancin' man Recorded from Maryland Public Television, and "Alive from off center" is recorded from channel 32, Washington, DC. There is miscellaneous programming between and after the two dance programs. 24, 25, 26 Concert at dance place, July 28 and 29, 1990 [3 copies]Welcome by Debra Riley, staff person at Dance PlaceIntroduction by Rima Faber Stillpoint (premiere) music: The unanswered question, Charles Ives dancer: Rima Faber costume designer: NirenskaIntroduction by Sharon Wyrrick"In memory of those I loved who are no more" I. Life (Whatever begins also ends) (1982) music: Concerto grosso no. 1, Ernest Bloch dancers: Paula Camilli, Heather Doerbecker, Jan Taylor, Meryl W. Shapiro, Carrie Wilcox, Rima Faber costume designer: Terri Hume PrellII. Dirge (1981) music: Concerto grosso no. 1, Ernest Bloch dancers: Paula Camilli, Heather Doerbecker, Jan Taylor, Meryl W. Shapiro, Carrie Wilcox, Rima Faber costume designer: Terri Hume PrellIII. Shout (1986) music: Hatred of the filthy bomb, Lou Harrison dancer: Sharon Wyrrick costume designer: Beth BurkhardtIV. The train (premiere) music: "Suntreader," Carl Ruggles dancers: Rima Faber (Mother), Paula Camilli, Heather Doerbecker, Jan Taylor, Meryl W. Shapiro costume designer: NirenskaProduction Staff: stage manager: Timothea Howard lighting designer: Betsy Toth production manager: Rima Faber technical director: Stefan Johnson technical assistant: Brian McGahrenThe concert is a celebration of the culmination of Nirenska's work and her eightieth birthday. The introductions by Rima Faber, consisting of biographical information, and Sharon Wyrrick, about the Holocaust tetralogy, are informative. The program was partially funded by the National Endowment for the Arts.
Films Double concerto in d minor (dedicated to Doris Humphrey) music: J. S. Bach Recorded in 1965 Exits "Rage, rage against dying of the light" (1968) "Bless me now with your fierce tears, I pray..." "Do not go gently into that good night" music: Evelyn Lohoefer dancer: Liz Lerman costumes: Terri Prell quotations: Dylan Thomas From Phyllis S. Legters Unidentified [2] Audiotapes [Title of dance work (music: Title of composition and/or composer) date [note]] American folk suite, "Complaining old man," "Three old women," "Two young girls," (music: accompanied by Elizabeth Wilson Hughes, voice and dulcimer) American folk suite, "If I had a ribbon," fourth movement, (music: accompanied by Elizabeth Wilson Hughes, voice and dulcimer) [choreographic notes] American folk suite, "Old woman," sixth movement (music: accompanied by Elizabeth Wilson Hughes, voice and dulcimer) ["Chopped bad version"]; The four horsemen of the apocalypse (music: Anton Webern) Avenue of escape, "Brandy," first movement (music: Béla Bartók) Avenue of escape, "Brandy," first movement (music: Béla Bartók); "De los angele" and eight celli; Longing (music: La plus que lente, Claude Debussy) Bag lady (music: Claude Bolling and Jean-Pierre Rampal); Laughter (music: Eugène Bozza) Barbaric suite (music: Barbaric dance suite for piano, Priaulx Rainier) 1957 Nov. 19 The bee oracles for tenor or baritone solo, flute, oboe, violin, cello, and harpsichord, Priaulx Rainier, 1976 Sept. 2 [clipping enclosed] "Bounces, slow legs" "Capitol of the world," (George Antheil) 1956 March 16 [Ballet Theatre Orchestra -- Joseph Levine, Roy Fitzel dancing]; Trois pièces brèves, Jacques Ibert; Mikrokosmos, Béla Bartók [Serly] "Collaboration," "Drama," Exits ("3 exit") (music: Evelyn Lohoefer, quotations: Dylan Thomas); Laughter (music: Eugène Bozza) Cycle for declamation for solo soprano, tenor, or baritone; Sonata for viola and piano; Dance of the rain for tenor and guitar; Priaulx Rainier, 1976 April 1 [Discussion of Rainier's childhood in South Africa precedes the music, envelope enclosed] Departures (music: Heitor Villa-Lobos) [performance tape, choreographic notes] Departures or Quartet for convergent figures (music: Heitor Villa-Lobos, Quartet choreography: Beth Osgood) Dirge (music: Concerto grosso no. 1, Ernest Bloch); Encounters and goodbyes (music: Sonata no. 3 [?], Norman Dello Joio) The divided self (music: Symphony no. 4, Roger Goeb) Double concerto in d minor (music: J. S. Bach); Life is so daily (music: Lukas Foss) [rehearsal tape] Double concerto in d minor (music: J. S. Bach); Three sculptures (music: Evelyn Lohoefer) 1981 May 1 [Glen Echo Dance Theater tape] Duet with Beth Osgood, first version "EAI," 1956 Dec. 10; Hal Layne, 1956 Dec. 30 [test record]; "Phillips practice," 1956 Nov.; American folk suite, "Yankee girl," (music: accompanied by Elizabeth Wilson Hughes, voice and dulcimer); "Hangman," 1957 Jan. 16 Encounters and goodbyes (music: Sonata no. 3 [?], Norman Dello Joio) Encounters and goodbyes (music: Sonata no. 3 [?], Norman Dello Joio); "Union 4;" "Warfield;" complaint to Washington School of Ballet Exits (music: Evelyn Lohoefer, quotations: Dylan Thomas) Exits ("3 death dances") (music: Evelyn Lohoefer, quotations: Dylan Thomas) [choreographic notes]; Vigil by the sea, "Lament," second movement (music: Song attributed to William Byrd); Sonata for dancers [?] (music: Henry Purcell, choreography: Virginia Freeman) The four horsemen of the apocalypse (music: Anton Webern) [2] The four horsemen of the apocalypse, "Death," fifth movement (music: Anton Webern); Exits (music: Evelyn Lohoefer, quotations: Dylan Thomas) The four horsemen of the apocalypse, "Death," fifth movement (music: Anton Webern) [performed by Beth Osgood]; Three sculptures, "Insomnia of the Earth," first movement (music: Evelyn Lohoefer) [2] "Four on position" Homage Improvisations by Evelyn Lohoefer "Jazz" "Jour -- three study;" The eternal fool (music: Abbe Nieman); A scarecrow remembers (music: Adda Heynssen, Harburg, Gorney) Lewis, Joe (Joseph), "exp. voice" [costume designer] Lohoefer, Evelyn and Beth Osgood Chanock Madeira School Miscellaneous Organ gloriana, Two primordial canticles, Requiem, Priaulx Rainier, 1976 Nov. 1 Piano sonatas nos. 1 and 3, Paul Hindemith The queen (Two queens) (music: G. Orville Trondson) Strange visit (music: Béla Bartók) Studies in modern dance, "Jazz study [?]," "Birds," third movement (music: Evelyn Lohoefer) "They never came back" Three sculptures, "Eternal insomnia of the earth," first movement (music: Evelyn Lohoefer) [2] Three sculptures, "The knot," third movement (music: Evelyn Lohoefer) 1962 July 4 [rehearsal tape] Vivaldi, Antonio [choreographic notes] Record Albums As you remember them, Time Life demonstration record. [45] Bach, J. S. Prelude in e-flat minor, I call upon thee, Jesus, Victor 6786. [cracked] Bartók, Béla. Music for string instruments, percussion, and celesta, Capitol L-8048. Bloch, Ernest. Concerto grossi nos. 1 and 2, Mercury SR 90223. Britten, Benjamin. War requiem, London A-4255. Campbell, P. "Ev'rybody loves Saturday night;" Sigman and P. Faith, "True or false," Columbia 40115. Cole, Nat King. The Nat King Cole golden treasury "unforgettable," Capitol SY 5155-61 "Dilemma," "Shepherd," Audiodisc 3292. Folk music from Poland, Folklore F 001 [45] Garner, Erroll. Erroll Garner rhapsody, Atlantic ALP 11216. Garner, Erroll. Erroll Garner of the piano, Savoy MG-15001. Lavalle. Band of America march; Sousa, John Philip. Stars and stripes forever, RCA Victor 447-0086. [45] Martin. "Waltzing bugle boy;" Maxwell. "Ebb tide," London 1358 Mercer, Johnny and Harold Arlen. "Blues in the night;" S. Weiss. "Who kissed me last night?" Columbia 39813. Moussorgsky, Modest. Pictures at an exhibition, RCA Victor DM 1249. [cracked] Piaf, Édith. Chansons parisiennes, Columbia FL 9501. Rainier, Priaulx. Barbaric dance suite (Quartet for strings), Gramophone special recording. [2] Sinatra, Frank. "Take a chance," "Young-at-heart," Capitol F2703. [45] Waring, Fred, and His Pennsylvanians. "Dry bones," "Ole Moses put pharaoh in his place," Decca 9-23948. [45]