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Dance History, Portland Oregon, USA
A Cultural Hot Spot
For those living in eastern states, the fact that Oregon became a State in 1859 may cause a vision that lacks social culture and appreciation for the arts. Nothing could be further from the truth.
Portland Oregon, located on the union of the Columbia River and Willamette (Will-AM-et) River is the end of the famed "Oregon Trail." When pioneers told their families that they were moving to Oregon, what they meant was that they were moving to Portland and to lands south now referred to as "The Valley." At the time of the American Revolution, Oregon was unexplored land. A decade after the first full length ballet was created in France, Lewis & Clark blazed the first trail from the Mississippi River to Oregon, giving the United States a claim to this wilderness. From that time on, people from the east have flocked to the Portland area to begin a new life. Once they arrived, most were cut off from their past. Until planes became the travel mode for the commoners, visits "back home," were infrequent for travel across the Rocky Mountains was too time consuming and expensive. Even in the late 1900's the phrase "Back East to Idaho" was common language. So how does a town in the wilderness become an artistic hot spot?
Many of the early arrivals who came from "back east" were from families who could afford musical instruments and had taught their children to appreciate the arts. But most of all, the geographic adversity of the United States that basically prevented Oregonians from frequent visits "back east" also concentrated opportunities to experience quality performances.
World Class Ballet Companies were "World Class" because they toured the world. World Class Companies needed to appear in towns that had theatres with adequate stage floors and seating capacity. World Class Companies needed to appear in towns with a large enough population to sell enough tickets to pay their expenses. When a World Class Company came to the east coast of the United States, they had many locations from which to choose. But if the company desired to perform on the West Coast, there was a limited number of places they could go that met their requirements. So the standard West Coast tour was Los Angeles CA, San Francisco CA, Portland OR, Seattle WA. These four cities, all in a straight line, became the watering holes for performing arts tours. Over and over local residents of these cities where infused with culture, inspired by the best of the best. The Greatest of the Greats performed in Portland. To pick up an extra dollar or two, company members taught Master classes to local students. As two local dance historians, Carol Shults and Martha Ullman West, state, "One reason Christensen was able to produce performances so quickly was the presence already in town of teachers of quality."
Los Angeles developed into Movie Town. Bronslava Nijinski and other greats opened dance schools there. San Francisco developed recognized quality, "The San Francisco Ballet Company." Seattle's recognizable quality was delayed until the arrival of Balanchine dancers, Janet Reed (1974-76), Melissa Hayden (1976-77), Kent Stowell and Francia Russel (1977-2005) who established The Pacific Northwest Ballet Company. Portland's recognizable quality has also been delayed and may just now be getting off the ground with the son of Pacific Northwest Ballet Company, Christopher Stowell, taking over the Oregon Ballet Theatre.
"Recognizable quality" should not be confused with "cultural hot spot." The performing arts are alive and well in Portland Oregon and have been since early 1900's.
I grew up in Portland Oregon. I had no idea that just living there was such a rich cultural event until I left. Since leaving Portland, I have lived in many places and traveled the USA extensively. I was shocked at what I found (or failed to find) in other places. Many of the old Portland public grade schools had better stages than the best theatres in many other cities and counties. In Portland, no one ever has to wait for a cultural event to arrive. One only has to choose from the events that are occurring on a daily basis.
Perhaps the delay in Portland's "recognized quality" is the result of:
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too much happening. Too much, waters down support for any one thing. Supporters of the arts are forced to choose from a list of quality projects rather from just one project. Thus many projects get a little, but not enough. Portland has produced many professional dancers - most had to leave Portland to find work. |
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seeing too much quality for there is always comparison to perfection that makes it hard for a beginning company to get off the ground. |
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the result of a wilderness heritage. (All parents teach their children survival skills. A daughter of a Southern USA State was taught survival skills about how to marry well, with social graces being on the top of the list. As a daughter of a family that arrived in Oregon in the early 1900's, my parents taught me the survival skills of hunting, tracking, how to clean, load and fire a rifle. So it seems to me that a daughter of a Southerner might be able to practice her survival skills and take daily ballet classes, while I had to skip ballet class to practice mine. |
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Portland Ballet, 1920’s:
According to Carol Shults and Martha Ullman West, Katherine Laidlaw, born 1894, "studied with local teachers Edith Varney and Maud Ainsworth." Laidlaw then studied with Ruth St. Denis at Denishawn in Los Angeles and other greats before returning to teach in Portland. She taught both ballet and modern.
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Portland Ballet, 1930’s:
WILLAM F. CHRISTENSEN
William Christensen had a powerful impact on the Portland dance scene. Even into the 1960's "trained with Christensen" had "recognized quality." It appears he came from a Vaudeville family. An article about Janet Reed states that "Christensen left Oregon to dance with the San Francisco Opera Ballet in 1933, and became its director in 1937." Clippings and programs in a Utah collection indicate that William F. Christensen Ballet and School of Dancing, was in operation in Portland, Oregon (1934-1936) (1935-1937) and divided his work between San Francisco and Portland 1936-1937. Janet Reed and Jacqueline Schumacher, among others came from this school. His New York Times Obituary stated that "he started teaching at his uncle's dancing school in Portland in 1932. His dancing brothers were Lew and Harold.
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LINDENDARE SCHOOL OF DANCE
Mme. Linden & Sergei Volinoff
Based on Maria Dare Dance History Collection Contents, the Lindendare School of Dance was operating in Portland Oregon before 1933, co-existing with, possibly predating the Christensen School.
Lindendare School was a husband and wife team. MME. Elinova Linden was skilled in ballet and spanish dance. Sergei Volinoff was skilled in ballet. He had many handwritten sheets of music and choreography from the classics. At the height of the studio's success, their performing group included Maria Boehme and Marcelle Renoux. As was the traditions of the ballet world, names of beginning and intermediate students were not listed in programs. It is therefore difficult to say if Maria and Miss Renoux began their dancing careers at the Lindendare School or transferred to the school. It is suspected that Maria began elsewhere, attended a Lindendare performance, saw MME. Linden in a spanish dance and transferred.
The marriage of MME Linden and Sir Volinoff (R. D. Dare) eventually broke up and with it the school. Sergei moved, opening The Vollinoff School of Dance in Colorado. MME. Linden continued to teach in Portland for a period. It is unknown what happened to her after that.
Serge eventually returned to Portland and married Maria Boehme. As Maria and Sergei Dare, (Mr. and Mrs. R. D. Dare) they opened The Ballet House. Marcelle Renoux went on to open her own school of dance in Portland, The Renoux Dance Studio.
Maria Dare Dance History Collection includes:
| 1933 |
Program from Lindendare School. |
| No Date |
3 newspaper articles are undated. Contributed by Ruth Camp, Personal Representative for Maria Dare Estate they provide the following information: |
| 1933 |
An advertisement:
"Lindendare School of Dance announces Classes with MME. Elinova
"Spanish Dancing which includes the correct use of castanets, cymbals, capes, shawls, and tambourines; Flamenca and tango.
"Also classes or private lessons in ballet-technique, toe, character and acrobatic for teachers, advanced, beginners and children.
"Beautiful class rooms, steam heated dressing rooms with showers.
"All arrangements for lessons only by personal call.
"Special Summer School in all types of dance opens June 1st 1933. Write for particulars,
"Studio 425 East Alder at sixth, W.O.W Building" (Portland OR) |
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Newspaper article:
"MME. Linden-Dare, who will be featured in a ballet at the Lindendare School of Dance recital next Friday night.
"Solo Creations To Be Introduced at Dance Recital
"The Lindendare School of the Dance is announcing its big summer recital for Friday night, June 5, at 8:15, in the auditorium of the Neighbors of Woodcraft hall.
"Thirty six numbers will be offered, including several new solo creations and unusual modern studies.
"A brides' ballet, featuring Mme. Linden-Dare and 21 dancers in an arrangement created by Anna Pavlowa; a study in geometric design danced by the boys class; six dancers in an Arabian Phantasy-music by the Azar troupe that appeared with John Botes in "The Desert Song" and other productions in film: Mme. Linden-Dare's famous concert number, a Sevillian ballet; a number of solos and the Junior class in Indian, Mexican, Dutch, and other character dances are included in the list. Tickets are on sale at J.K. Gill company's ticket department or at 2661/2 6th street."
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Newspaper article: "DANCING SCHOOL AIDS IN CAMPAIGN
"The Lindendare School of the Dance, operated by M. Serge Volinoff and Madame Elinova, Mr. & Mrs. R.D. Dare, with studios in the W.O.W. building, aided the Oregon Products Committee materially when they provided a fine dance program in conjunction with the meeting sponsored by the Committee at the Native Sons & Daughters of Oregon on March 22.
"The features as presented included: 'Garrotin,' a Spanish gypsy dance by Esther Davis and Juanita Powell, 'Eccosaises,' a scottish toe dance by; Marie Boehme; 'Canto Gitano,' a Moorish cymbal dance, by Norma Nielson, 'Malaguena,' a Spanish dance with fan, Malvina Feldstein; 'Chaipanecas,' a Mexican dance by Dora Day, Doris Ehrsham, and Jean Hoover, elevan and twelve year old girls; 'Dance Semimatar,' a Tartar dance by Juanita Powell; 'La Sorella,' a spanish toe dance by Esther Davis; 'Mexican Dance,' the National Dance of Mexico by Marcelle Renoux; 'Jota Aragonese,' a Spanish dance from the province of Aragon, by Roberta Jamerson; 'Alma Andalusa,' a Spanish duet by Marie Boehme and Bob Irwin; and 'Flor Flemenco,' a typical spanish dance with ensemble composed of Esther Davis, Juanita Powell, Ida Woodham, Norma Neilson, Malvina Feldstein, Marcelle Renoux; Marie Boehme. Ronald Hall played the accompaniment for all dances. Those who were in attendance voted it a most remarkable exhibition of Terpischore." |
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Portland Ballet, 1940's:
It is known that The Ballet House opened, closed, and re-opened. The exact dates are not known. It is suspected that it opened in late 40's. The Dares closed The Ballet House to move to Los Angeles. While there, Maria studied with recognized quality teachers while Serge operated a dance supply shop. When they returned they had to start from scratch all over again. It is uncertain which opening Maria was referring to when she asked me, "Do you know how long we were open before we got our first student?" Answer: "Five months!" That's right, I was being my impatient self that day.
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Portland Ballet, 1950's:
By 1950 many studios had opened and closed. In 1953 Florence Pickett, a former New York City Radio Center Rocket had a large studio in the same building as The Ballet House (Selling-Hirsh Bldg. 918 SW Washington, downtown Portland.) Florence Pickett closed her studio about 1954 and became a local TV show personality. The Renoux Dance Studio was only a few blocks away.
The Ballet House was in full swing. While Serge taught advanced classes, Maria was on the train to teach in Eugene Oregon. She returned to teach Spanish, Character, and Ballet at their Portland studio. Many of their students went on to dance professionally in New York and San Francisco. Most did not return to live in Portland.
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Portland Ballet, 1960's:
By the 1960's there were 5 well established schools of dance in Portland, The Ballet House, Billings Dance Studio, Renoux Dance Studio, The Schumacher School of Dance, and Vasilieff
It must be noted that by this time there was ballet at almost any corner of Portland. There were many many smaller studios of varying quality. In addition, The YMCA and the City of Portland provided dance classes through its Parks and Recreation. The recreation dept. offered a full schedule of performances in excellent stages for almost no cost. While this reduced the profitability of private dance studios, it greatly expanded the love of dance and dance appreciation among residents of Portland.
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The Ballet House continued in full swing. The style was air born. Big jumps, fast turns. It was a place for full spirits born to waltz fly. Male dancers were prevalent in classes. The dressing room was often filled with stories of the real world ballet as former students returned home for vacations from the professional companies. Serge's health was failing. Even so he taught brilliant classes, even when he was in a wheelchair.
Master Classes by the greats were routine. My fondest master class memories were George Zorich and Michael Somes.
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| Billings |
Billings was THE place for tap and ballroom.
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| Schumaker |
Jacqueline Martin Schumacher, former student of Christensen, went to San Francisco Ballet Company, returned and was operating her own school during this period. Her style was allegro. Her dancers always fast and nimble. Her studio floor space was smaller than some of the other studios so her dancers became very good at working together in tight quarters. This was an advantage when putting performances on stages. Collaboration between Schumacher and Vasilieff created the seed that became Oregon Ballet Theatre. Many of her students went on to be excellent dancers and teachers including John Gardner, Artistic Director of Pacific Festival Ballet Company. John Gardner danced with American Ballet Theatre, San Francisco Ballet, and Hamburg State Ballet before returning to Portland to start his own studio in 1982.
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| Renoux |
Marcelle Renoux was a technician who strived for perfection. Her barre was demanding. Center Floor combinations were complex and challenged the brain. While brain scrambled to keep all the steps in sequence, Miss Renoux was shouting technical corrections. Her moods matched those of the greatest ballerinas as well as the Oregon sky in spring. If a student got it right sunlight filled Miss Renoux's face and if one got it wrong the storm swallowed the sun. There were always more stormy than sunny days. Many of her students went on to dancing careers including Janet Towner, teaching assistant, and principal dancer for Charles Weidman Company and who in 2000 received the Distinguished Alumnus Award from University of Oregon, School of Music and Department of Dance.
After Marcelle Renoux died, the Renoux Dance Studio continued under the Artistic Direction of Christina Hintz. Christina began her ballet training at a different studio, but was one of Renoux's advanced dancers at the time of Miss Renoux's death. Christina was the perfect one to carry on with one exception. Christina lived the ballet tradition and was dedicated to quality teaching. She was as much of a technical perfectionist as Miss Renoux. Christina lacked the stormy moods. Her studio evolved to an adult student clientele. Redevelopment of the area in the city forced the Renoux Studio to move. The move was a blow that eventually caused the close of the studio.
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| Vasilieff |
Nicholas Vasilieff, was thought of as teaching the Russian Style. His dancers were powerful jumpers with muscles shaped more like the Italian School than the Russian School. However, pictures of Vaslav Nijinski, show that he had the large bulgy type muscles, so it is possible. Vasilieff is a name that appears in ballet history. It is suspected that Vasilieff of Portland is the Vasilieff who performed in San Francisco. Anyone with details about this school should email zandance. |
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Portland Ballet, 1970's:
The Ballet House continued under Maria Dare, but 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 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 place 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.
Renoux Dance Studio Continued with Christina Hintz
Jacqueline Martin Schumacher founded the Portland Ballet Company,
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Portland Ballet, 1980's:
The Ballet House continued under Maria Dare with an all adult student clientele.
Renoux Dance Studio continued with Christina Hintz and a predominantly adult student clientele.
John Gardner returned to Portland and opened The Portland Dance Academy.
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Portland Ballet, 1990's:
The Ballet House saw it's last classes on the day Maria died, 1997. After teaching, Maria went home and passed away peacefully during the night.
Renoux Dance Studio continued with Christina Hintz
John Gardner's Portland Dance Academy produced a company, Oregon Festival Ballet. The name was later changed to Pacific Festival Ballet.
According to Wikipedia: In 1992 Ballet Oregon merged with Pacific Ballet Theater to create Oregon Ballet Theatre under direction of James Canfield, formerly a dancer with Joffrey Ballet. According to OBT website the company was established in 1989.
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Portland Ballet, 2000's:
The Renoux Dance Studio was forced to move and eventually closed.
John Gardner's Portland Dance Academy and Pacific Festival Ballet continue.
Oregon Ballet Theatre continues. Since 2003 Christopher Stowell has been Artistic Director, formerly a principal with San Francisco Ballet.
(Hello allegro. Good-bye air born waltz)
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