Maria Dare, 1911-1997

Dancer & Teacher of Ballet, Hindu, Spanish, Mexican, Hawaiian
Studio Owner & Operator of The Ballet House for over 40 years
Wife of Sergei Dare
Honored Portland Oregon with her life.

Excerpts from Maria Dare Article in, Happenings, Winter 1997-98,

"In recognition of her lifelong contribution to dance the Dance Coalition of Oregon dedicates this issue to Maria Dare who died October 2 at age 86. Earlier in the day she had taught classes at her SW Portland studio, Ballet House.
For over 50 years Maria Dare danced and taught classes in ballet, and forms of Spanish, Hawaiian and Hindu dance to students of all ages and technical levels. Through the positive and gentle spirit of her person, Maria imparted the joy of dancing to her students year after year, 52 weeks a year. Her energy and love of dance were contagious, as one of her students put it, "No matter what cares of stresses you personally brought along, after a class with Maria, life always felt brighter and more hopeful." She was loved by many and will be deeply missed."

___published by Dance Coalition of Oregon

Maria Dare was a remarkable woman. Her love of the dance sustained her through the longest career of teaching in the history of Portland Oregon. Her unconquerable spirit and ability to rise above any hardship was an inspiration to all who knew her. Many were convinced that she was immortal, mainly because the possibility of going on without her was unthinkable.

During her dancing and teaching of Ballet, Spanish, Mexican, Hindu, & Hawaiian, she conducted herself with the highest standards of professional ethics. She forged new ground in teaching techniques for adults. . Maria lived in the here and now, only sharing a story from the past when doing so might help guide someone through a situation. During the later years of her life, Maria Dare became concerned that we were losing the roots of ballet. Her estate was filled with the kinds of keep sakes, and treasures, that told the history of dance and that only dancers could value. Several of Maria's students joined together to purchase items from her estate to start this collection. The goal is to develop the collection into portable displays for performance and school lobbies, and to provide access to collection photos and documents through the internet. May this collection restore the roots of ballet, and share with the world the vital energy that was Maria Dare.

Maria taught me more than how to do steps. Her ear for music was excellent. Each combination was a dance in itself. Since her death, I've had the opportunity to play teacher for some of her students. I am amazed at how versatile they all are.

Maria taught more than ballet. Her signature in an adage combination was an arabesque followed by a ponche arabesque with the other foot. To get from one to the other, she would demonstrate and say in an assertive yet gentle voice, 'Step back, step back,..." When I find my daily routine has me in a frenzy, I hear her voice in my head, 'Step back, step back." That's what I do. I step back, take time out, re-group. May I one day develop a signature combination that offers as much.

Maria, Sergei & The Masters Remembered:

Excerpts from Northwest Examiner, Dec. 1997, page 5. "I was an 8-year old & it was in the depths of World War II when I first met Maria & her husband Donald. ...I studied under them for 4 years, and I still have the program of the 1944 annual recital at Benson High School....When I returned from Laos in the mid-1960's, I looked up Maria & Donald (who was then using his professional name, Sergei) and enrolled in basic dance again, this time for adults. Sergei was getting up in years by then & much of the running of the school fell on Maria's shoulders. Often I would help by sweeping & damp-mopping the dance floor, and seeing that the office & dressing rooms were kept in order.

"Volunteering had it's rewards. Not only did I get to know my old teachers on a very personal level, I was privileged to mingle with the dancers of all the major dance companies that came to perform at the auditorium, including the Royal Ballet & the Royal Winnipeg Ballet.

"The main attraction Ballet House held for these dance companies was not so much the large dance floor, but Sergei and Maria. They were great performers who were known by many in the world's top dancers....

"By virtue of my volunteering, I also got to watch the master's classes taught by Anton Dolin, John Kriza & Michael Sommes, who was Margot Fonteyn's partner prior to Nureyev. ... On the Royal Ballet's first tour of America with Fonteyn & Nureyev, it performed at the Civic Auditorium. The company set up camp at Ballet House ..."

___L. Phillip Clifford,

(Phillip & I both remember Serge Dare sharing that he was one of the few dancers to see Nijinski, Balanchine, and Nureyev in class. I never doubted the Nureyev part for he and Fonteyn left a practice session at Serge's studio just as I was coming in for class. Serge told me he was in class with Nijinski and Balanchine at a time when Nijinski was close to the end of his career and Balanchine was at his beginning. I 95% believed this for the combinations taught at the Ballet House had the feel of Cecchetti and the Russian Masters. It explained why the greats stopped at the Ballet House while on tour, why a dancer came from Germany to study with Serge. If it is true then Serge was most likely in Europe at the end or shortly after the end of World War I. One could have found Nijinsky, Dolin and Balanchine in class together around the 1924-26 Daighilev Seasons.)

Maria, Sergei & The Masters Remembered:
The Ballet House Doors were open under same owner longer than any other studio in the history of Portland Oregon

The Dares taught in Portland, moved to California to teach and study for a period, then returned to Portland. Their studio, The Ballet House, was located 918 SW Washington, downtown Portland from early 1940's until mid 1970's. When the building was torn down to make room for a parking lot, The Ballet House moved to 409 SW 13th, Portland - a location with an already colorful history. Sitting in the same block as the Crystal Ballroom, this new location provided a large dressing room which was once the sound recording studio that cut "Louis Louis," a song which many of us believe, (myself included) should become our State Anthem, though I haven't the slightest idea why. The new studio was once a beatnik coffee house. Maria repainted the studio - no easy task as painting white over black takes a coat or two. The beatnik blue blacks to purple and graffiti remained in less used areas. It definitely gave the new studio a personality. Quite a contrast from the old Selling Hirsh Building were the stairs upward to the top of 3 floors began at a bohemium bakery, past harp and voice instruction studios. By the time one reached the Ballet House, on the top floor, one was winded, but culturally enriched.

The Washington Street location was larger than the 13th Ave. location. But both were quite large by today's standards. The wood floors were live - not because they were wood, but because they were seasoned wood. The size and quality of floor in both studios permitted Maria to continue teaching traditional ballet technique. Once a dancer trained on the east coast came to class. She commented how odd that all of Maria's cross floor combinations moved side to side rather than on the diagonal. I suspect the diagonal was invented as a solution to reduced studio floor space.

Until Sergei's death in 1967, the Ballet House was a professional preparation school. After the move, the Ballet House evolved into a predominantly adult student population and Maria became a teacher of teachers as well as a teacher of adult beginners.

The Ballet House saw it's last classes on the day Maria died. After teaching, Maria went home and passed away peacefully during the night. The final location of the Ballet House, 409 SW 13th, Portland OR, lives on. The building owner has named the space the "Maria Dare Studio" in her honor. Barres & mirrors remain to inspire the new occupants, Food Chain Films, Inc. From music recording, to coffee house, to ballet studio, to films - if only a building could talk!

E-Mail Reply to zandance:

"dear all- I was a student of Maria Dare when I was 16 years old. She was the reason that I left Oregon to go on and join the Houston ballet company and the Atlanta ballet company because he told me " always seek to live your dreams.

_____Sincerly, Jeri Phelps

Rozanne Remembers Serge Dare

"I was 5, waiting with my mother, in the hall of the Selling-Hirsch Building for my ballet teacher, Florence Pickett, to arrive. Something turned my gaze toward the stairs. A couple emerged. The man nudged the woman and they began to walk toward us. There were several students waiting, but the couple stopped before me. I hid in the folds of my mother's skirt, a familiar place, for I was terribly shy. But this time I was not hiding out of fear. I was overwhelmed by this man's regal presence. It was my first experience with feeling humble & I didn't know how to handle it. The man's attempts to strike up a conversation with me resulted in a pleasant chat with my mother. The couple turned and walked away.

"Soon after that, my teacher, Florence Pickett closed her studio to go to work for KGW TV. This sent me into 7 years of teacher shopping, often taking from two teachers at the same time. Mother had just talked Jacqueline Schumaker into putting me with older students, & paid 3rd month of tuition when I said I wanted to quit. Mom was frustrated with me and a bit confused. (She didn't care if I danced or not. I was the one that wanted to take ballet, so what was with this "I quit" syndrome?) Mom turned to the phone book and called the last studio listed that I had not yet attended and rejected. Thinking that I was rejecting teachers that she was picking, Mom made me go alone to observe a class at The Ballet House. I watched Maria Dare teach. The students were good. The combinations were unique. The music was inspiring. I was not sure if I would be able to keep up. When I returned home, I told Mom I wanted to take from this lady. Mom sarcastically inquired, 'How long this time?' I replied, 'This teacher has something I want. I will take from her until I get what she's got." (At the time I thought it might take a couple years to "get it." To this day I'm not sure what "it" was that I wanted to get. One day in class, just 36 years later, the feeling came over me that I had finally got it.)

The next Saturday, after class observation, I went to take my first class at the Ballet House. As I entered, a man seated at the desk in the office turned to greet me. He tried to strike up a conversation with me, telling me his name was Sergei. Once again that feeling of standing in the light of greatness swept over me, leaving me wordless. Then it came in a flash. Sergei & Maria were the couple who tried to talk to me in the hall when I was 5. I never told Sergei. I said very little to him. He was easy to dance for, but outside of class, all I ever wanted to do was bow to him in silence.

I am totally eclectic. When asked who was my teacher, I must reply "Serge Dare" for I learned the most from him. By the time I got into his class, his health was failing. He taught while sitting for he was hardly able to stand. But he knew how to let the steps do the teaching. Now, decades later, his combinations insert themselves into my teaching - sometimes without warning. One time one of his jete combinations came to me. I began to demonstrate it and stopped. I was certain if it was a good combo! My brain was saying it would cause dancers to shift weight side to side instead of straight up. I decided to give it a try anyway. As it turned out it was impossible for even those students who insist of shifting weight side to side to do anything accept go straight up! It turned out to be a brilliant combination & exactly what my students needed.

Zandance.com is dedicated to Maria & R.D. Dare. I promised Maria to carry on and to "remember our roots." I think I keep digging into the collection contents in hope of understanding the gentle power of Serge. That he was born in Chicago. Traveled the USA and Europe to study and to dance and to teach, does not begin to describe who this man was or why he had such an effect on me when I was 5. The best I can share about him is that he was what was.

Master Classes at The Ballet House

My fondest master class memories were George Zorich and Michael Somes. George Zorich danced with his heart. His class music (recorded by his brother, I think) reflected his dancing, fire and thunder. (Maria continued to use Zorich music in class until her death.)

Michael Somes, the Royal Ballet's first danseur noble and partner of Margot Fonteyn prior to Nureyev came to Portland while on tour.

I recall Somes during a Master Class in the Ballet House Studio. He was teaching and smoking at the same time. We made it thru a grueling barre and to center floor. The first time we stumbled thru his 32 count combo he politely said, "Again." It was a de-dah-dah de-dah-dah ...de YAHH dah dah. jumps, turns, jumps and ending with Tour Jete. Back front side side ending corner 2. At the end of our 2nd round of stumbles, Somes lit a cigarette and tried to explain verbally what he wanted that we were not doing. He became more engrossed in watching us, to the point that he forgot he was smoking. He finally stopped our 3rd round of feebleness, gave up on words, and demonstrated. By this time his cigarette was more than half ashes, still between his fingers, held in a way that did not destroy the line of his hand. We cleared space and he took off. The de-dah-dah de-dah-dah jumps all blended together into one move, zip bah into the a tour jete so high I thought he would hit the ceiling and landed without the slightest sound several feet from lift off. But the most amazing part: when finished he had not lost a single ash from his cigarette! From that point on, he was my hero!

A memorable audition class was taught at the Ballet House by Robert Joffrey. I was in Portland on vacation and Maria managed to get me in to observe. Several dancers had severe alignment problems, even tho they were "pulling in, tucking under, shoulders down." After class Robert Joffrey pulled them aside and told them to forget all of that. He told them to lift up on the front of the pelvis. He said that would automatically do all the rest. I tried it. he was right. In 6 months my hip size reduced 6 inches too.

Oregon continued to produce dancers with alignment problems. Once again, I was in Portland while Maria Vegh was doing a 2 week workshop at the Ballet House. Maria managed to slip me in to observe once again. She was most impressive and had a creative solution for the lack of proper alignment. She stuck a yard stick down a dancers leotard and told the dancer to get her spine pulled back to it. At the end of the two weeks. Ms. Vegh had arranged scholarships for a few of the dancers to study at Harkness Ballet. One of the most promising dancers arrived late to the final session of the workshop - she lost her scholarship.

Private Rehearsal Story

One Saturday morning, I arrived for class and was informed that start time would be delayed. It was the only time in 30 years of Ballet House class attendance that I recall class being delayed. The only explanation given was that there was a private rehearsal in the Studio and we would have to wait until it was finished. The dressing room was adjacent to the studio, connected by a swinging door. The word came that it was OK to go into the studio. I shot to the door, gave it a push. The door swung wide open, narrowly missing Dame Margot Fonteyn who was attempting to exist. My mouth dropped wide open and I was unable to get the first word of an apology out. Then class was conducted as if nothing unusual had happened on that day. (A decade or so later there was a line of dance wear that carried the Fonteyn name. Ads for the line always included pictures of fresh pressed little girls in tights and leotards. Each time I saw it in a magazine, I chuckled. On the day I almost knocked her down, she was wearing something of a slip top and leg warmers with more holes than threads. I have kept this anecdote to myself until now for I know Dame Fonteyn would like her image kept fresh pressed. I share it now only because I see too many students going for the "fresh pressed" look rather than the wear that works. Margot Fonteyn was beautiful because she worked and she was as beautiful in those raggy leg warmers as she was in her finest costume.)

For More About Maria & Serge, See Portland Dance History Page

Maria Dare Style Adult Ballet:

The Evolution

Maria Dare 1930's

Maria Dare began like many ballet dances, by taking lessons from the nearest teacher. I suspect attendance at a Mme. Linden captured her soul and sealed her fate. Soon after than Maria enrolled in the Lindendare School of Dance, Portland Oregon. There she was trained in Vagonova Technique, and learned choreography created by Anna Pavlowa. Her Instructors had also studied with several noted European Masters, so she also assimilated a mix that included Cecchetti.

After marrying Sergie Dare, the two opened The Ballet House around 1940. At some point, before or after that date, they went to California for an extended stay of over a year, and also spent brief periods in Chicago and New York. During these travels, Maria studied with Bronislava Nijinski, and other noted Masters of the time. The Ballet House was the home away from home for world class ballet companies when performing in Portland while on tour. By the mid-1960's, The Ballet House was one of the top studios in Portland Oregon, offering professional preparation for students. Many acquaintances & friends of Sergei dropped in while on tour, to rehearse or to teach Master Classes. These included Anton Dolin, Michael Somes, George Zorich, Fonteyn & Nureyev among others. Maria ceased every opportunity to learn from them. She took classes, watched performances, asked questions, took notes. So her style began as traditional professional preparation.

Maria Dare Demonstrating for class exercise 1960’s age 55ish

After Sergei's death in 1967, Maria continued The Ballet House on her own. A new generation of Masters came to The Ballet House to teach Master Classes, including Maria Vegh, & Robert Joffrey. Maria took classes, watched performances, asked questions, took notes. By the mid-1980's Maria Dare's teaching style had evolved into something unique. It was no longer Sergei's Professional Preparation Style. The roots of the Maria Dare Style are entrenched in the traditions of Sergei and the Masters mentioned above. Yet Maria developed a special pace & timing, a special way of teaching, & a special way of combining the steps that is most healthy for the adult mind and body. By the mid-1990's, The Ballet House was still in operation, & Maria Dare was still operating it on her own. Her clientele had changed. 98% of Maria's students were adults, age 18 - 70. Several were over age 40 when they learned their first steps of ballet from Maria, but you would not know it to look at them. As the sun streamed through her studio windows, all became silhouettes in motion. Watching the graceful silhouettes move across the floor, it was impossible to distinguish the 18 year olds from the 60 year old.

The greatest testament to the health of Maria Dare Style Ballet for Adults was Maria Dare herself. She never took an aerobics class. For the last decade, her total exercise regime consisted of demonstrating while teaching her classes, a special stretch just before she fell asleep at night and walking from home to studio to grocery store to home. May we all stand as tall, hold our legs outstretched for as long as Maria Dare did in this 1994 picture, when Maria was age 83. She continued to dance class demonstrations to the day of her death (age 86.) Maria's extension was at least a foot higher until a severe case of pneumonia sent her to the hospital for ten days. Never under-estimate the power of immobilization. While bed-rest cured her illness, she lost flexibility, from which she never fully recovered.

Maria Dare age 83ish

Maria was not the only ballet dancer to have had the good fortune of a long dance life. Many Ballet Masters had long life spans and danced for decades including George Balanchine, Cecchetti, Alexandra Danivola, Anton Dolin, Margot Fonteyn, Bronislava Nijinski, George Zorich. Note the ages at time of death listed in Zandance time line, When Then Was Now. (When viewing ages remember that the average life span for a person born late 1800's to early 1900's was much shorter than that of today.)

Maria & I complimented each other. She was one to just do rather than analyze. If it worked, she did it again. I am one to analyze what has been done more than I do. Maria was always to busy doing to stop and realize that she had created something grand. She left it to me to figure out what she had done and to carry it on. Now, 10 years after her death, I have a stack of post class notes still waiting to be transcribed. If I every quit analyzing and get around to doing, I will list the info in "Zandance Teachers Corner." Briefly, I found the essential ingredients of Maria Dare Style Adult Ballet to be as follows:

Maria Dare Style Adult Ballet Characteristics: