Pola Nirenska Collection
Catalog Record: http://lccn.loc.gov/2003682047
General International Standard for Archival Description
Music Division Library of Congress Washington, D.C.
Finding Aid encoded by Library of Congress Music Division, 2006
Encoded Archival Description
Encoded Archival Description (EAD) Version 2002
collection
Pola Nirenska Collection1910-1992 (bulk 1950-1992)
Nirenska, Pola
Biographical History for: Pola Nirenska Collection1910-1992 (bulk 1950-1992)
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.
series
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.
subseries
Clippings and articles
file
1950 Feb. (continued)-82 Mar. 11
1982 Sept.-91
Interviews
Interview by Olga Nuray Olcay for Cumhuriyet, 1966 Dec. 27. Original in Scrapbook no. 9
Excerpts from an interview by Suzan Moss, 1986 Feb. 18. Original in Scrapbook no. 12
Interview and commentary by Priaulx Rainier [?], 1986 May 12
Correspondence, 1934-1992
The Correspondence series consists of general correspondence, primarily letters to Nirenska from students and colleagues.
Allen-Piper, Christie, 1985 (2 items)
"A" miscellaneous
Beauvoir, The National Cathedral Elementary School, 1960 (1 item)
Birch, Nathan see: The Next Ice Age
"B" miscellaneous
Commission on the Arts and Humanities, District of Columbia, 1983-84 (4 items)
Connecticut College School of Dance, 1964-65 (3 items)
"C" miscellaneous
Dance Exchange, 1987, 1991, n.d. (3 items)
Dobkiewicz, Major Waclaw, 1941 (1 item)
"D" miscellaneous
Eiko & Koma, 1987, n.d. (2 items)
Fasulo, Teo, 1935 (1 item)
"F" miscellaneous
Garretson, Cecily, 1965-66, 1988-91 (10 items)
Gelenian, Seda, n.d. (1 item)
Graham, Martha, 1966 (2 items)
"G" miscellaneous
Hartke, Rev. Gilbert V., 1960-63, n.d. (3 items)
Henderson, Robert, 1949 (1 item)
Horne, J. P. (Georgie), 1988, 1991 (3 items)
Horst, Louis, n.d. (1 item)
Humphrey, Doris, 1958 (1 item)
"H" miscellaneous
"I" miscellaneous
John F. Kennedy Center for the Performing Arts, 1987 (1 item)
Jooss, Kurt, 1934 (2 items)
Juilliard School of Music, 1958 (2 items)
"J" miscellaneous
Karski, Jan, 1960, 1966, 1992, n.d. (5 items)
Kauffman, Edith W., 1965-66, n.d. (8 items)
Kreutzberg, Harald, n.d. (1 item)
"K" miscellaneous
Laban, Juana de, 1951 (1 item)
Laban, Rudolf, 1949-50 (3 items)
L'Ecole Libanaise de Ballet, 1967 (2 items)
Ledesma, J. J. de [Count John Ledesma], 1985 (1 item)
Legters, Phyllis [?], 1968 (1 item)
Lerman, Liz, 1991, n.d. (3 items)
Lerner, Marcia [?], 1962, n.d. (2 items)
"L" miscellaneous
Madden, Dorothy, 1960, 1991 (3 items)
Manning, Susan, 1987 (1 item)
Maynard, Allegra, 1960, n.d. (2 items)
Metropolitan Dance Association, 1980 (2 items)
Michaeli, Katia, 1991 (5 items)
"M" miscellaneous
National Section on Dance, 1964 (1 item)
The Next Ice Age [Nathan Birch], 1991 (10 items)
"N" miscellaneous
Opera Society of Washington, 1960 (1 item)
Osgood Chanock, Beth, 1963 (1 item)
"O" miscellaneous
Pearson, Nicole, n.d. (1 item)
Piedmont Day School, 1959 (1 item)
Pola Nirenska School of Dance, 1968 (1 item). Notification of retirement
Polish Embassy, London, 1936 (1 item)
Poulten, Kay, 1948 (3 items)
Prevots, Naima, 1968 [?] (1 item)
"P" miscellaneous
"Q" miscellaneous
Reagan, Ronald, 1987 (1 item)
"R" miscellaneous
Sande, Rona, 1968, 1991, n.d. (9 items)
Sande, Stuart A., n.d. (1 item)
Seidl, Ina, 1935, 1949, n.d. (3 items). Letter dated 1949 is signed "R. S."
Shurr, Gertrude, 1987-92 (6 items)
Simmons, Stephanie [?], n.d. (1 item)
Sorell, Walter, 1951, 1987, 1992 (4 items)
Spelman, Marva, 1991 (5 items)
Sprague, Judy [?], 1967 (1 item)
"S" miscellaneous
Thimey, Erika, 1963, n.d. (3 items)
Tievsky, Jan, 1991 (1 item)
Tour, Evelyn de la [and others], 1953 (1 item)
"T" miscellaneous
Union of Polish Stage Artists Abroad, 1949 (1 item)
"U" miscellaneous
Veen, Jan, n.d. (1 item)
"V" miscellaneous
Weber, Reinhard, 1948-49 (4 items)
Wigman, Mary, 1935-48 (3 items)
Wyrrick, Sharon, 1987, n.d. (3 items)
"W" miscellaneous
Young Men's and Young Women's Hebrew Association Educational Department, 1954 (1 item)
"Y" miscellaneous
"Z" miscellaneous
Unidentified
Choreographic Notes
The Choreographic Notes series consists of notes from works choreographed in the United States.
American folk suite, "If I had a ribbon". Received in audio recording tape box
Departures. Received in audio recording tape box
Double concerto in d minor [?]
Exits. One page received in audio recording tape box
The four horsemen of the apocalypse
Russia: the transparent apple and the silver saucer, "Snow in Siberia" solo choreographed for Liz Lerman
Shakespearean suite
Strange visit
Studio work
Tired magician
The train
Vivaldi. Received in audio recording tape box
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.
Performances by Nirenska
Performances by Others
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).
About Nirenska
About Others
Scrapbooks, 1933-1992
The Scrapbooks series consists of thirteen scrapbooks containing photographs, clippings, articles, programs, publicity materials, and correspondence.
[No. 1] Photographs, portraits, and sculptures, 1933-60s
[No. 2] United States, Poland, Austria, England, and Italy, 1933-45
[No. 3] England and Israel, 1946-47
[No. 4] England, Austria, and Switzerland, 1947-49
[No. 5] United States, 1949-50
[No. 6] United States, 1951-57
[No. 7] United States, 1958-59
[No. 8] United States -- her own school, 1960-65
[No. 9] United States, Turkey, Greece, and Lebanon, 1965-67
[No. 10] Photographic interlude, 1967-80
[No. 11] United States, 1981-84
[No. 13] Miscellaneous photographs, clippings, and publicity materials
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.
Photoprints
Nirenska alone
The cry [?], 1930s
1933. By Zofja Kruzówna
1933. By Zygmunt Szajer
Polish dance, 14-1/2 x 11-1/2, 1937. By Landseer, London; autographed
Modeling in London. By Landseer, London
Angel of death. By Gerti Deutsch, Vienna
Eastern ballad, 11-3/4 x 8-3/4, 12 x 9-1/4, 12 x 9-1/2. By John Deakin; autographed
Felina -- catty woman, 11-3/4 x 10, 9-3/4 x 11-1/2. By John Deakin; autographed
La puerta del vino, 10-3/4 x 10, 11 x 10. By John Deakin
A scarecrow remembers, 11-3/4 x 8-3/4, 12 x 9-3/4. By John Deakin; autographed
Unwanted child, 12 x 10, 10-1/2 x 9-1/2. By John Deakin; autographed
Modeling, four 12 x 10, three 11 x 8-1/4, 11 x 8-1/2
Posing in a mirror
1956 [?]. By Angus McBean; autographed
1960s. By B. Vern Blasdell, Washington, DC
1960 Jan.
By Terry Walker
In studio, 1980s, color and b&w. By Ray C. Schandelmeier, b&w photographs from "Portraits of a friend"
1980s. By Ray C. Schandelmeier from "Portraits of a friend"
Unidentified, color and b&w
Nirenska with others
Mary Wigman Schule, 1930s. By Kastan, Hamburg
Percussion ensemble, 1930s. By Atelier Robertson, Berlin
With Mary Wigman, 1948. By Hans Tschirren
Congress of International Dance at Zurich, 1949. By Hans Tschirren; Hilda Baumann, Mary Wigman, and Nirenska in front
With Madame Maria Hershman-Horch, Director of Berkshire Drama School, 1950 Aug. By E. H. Aoole [?]
With Evelyn de la Tour and Lucia L., Hains Point, 1952
1959 Dec.
Departures: Dorothy Madden, Nicole Pearson, Rona Sande, Nirenska, and Beth Osgood Chanock, 11 x 14, 1959
American folk suite, "The three sisters: Rona Sande, Nicole Pearson, and Nirenska
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
Dance class, 1960 Oct. 6. By Naltchayan
Ballet class, 1960s. By Fred Ward, Arlington, Virginia; print and contact sheets
Session with dance teachers in Beirut, 1967 Jan. By David
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
With Ethyl Butler. By G. Vern Blasdell, Washington, DC
With Jan Karski, 1987 June, 1991
With Nancy Schandelmeier, 1990s. By Ray C. Schandelmeier from "Portraits of a friend"
Schandelmeier wedding. By Ray C. Schandelmeier from "Portraits of a friend"
With Laura Schandelmeier, color
With Schandelmeier and Jan Karski, color
In studio with Ray C. Schandelmeier and pets, color. By Ray C. Schandelmeier
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
Unidentified, 16 x 20, color
Others
Burkhardt, Beth and Denise Reed, 1986 July, color. National Zoo; choreographed by Burkhardt
Caron, 14 x 11, 16 x 11
Carter, Tish, 1980 Dec., color
Carter, Tish, color. Rocks; choreographed by Carter
Departures: Dorothy Madden, Nicole Pearson, Rona Sande, and Beth Osgood Chanock, 1959 Dec.
Encounters and goodbyes: Rima Faber, Sue Hannen; 1983; color. By Fred Underwood [?]
Dirge, 1981, 1988 Jan. 27, color. Prints and contact sheets
Faber (Wolff), Rima, 1980 Dec., color
Galeota, Nancy, 1980 Dec., color
Gieger, Esther, color
Hannen, Sue, 1980 Dec., 1988 Jan. 27, 30, color. Prints and contact sheets
Hannen, Sue, Stephanie Simmons, and Ellis, color. Jan Tievsky on far left
Humphrey, Doris and Charles Weidman, 1935. New dance; on front: A merry Xmas from [signed] Charles
Karski, Jan. By the Detroit News; on back: To my beloved Pola [signed] Jan
Karski, Jan and Nancy Schandelmeier, color
Karski, Jan and Ray C. Schandelmeier, color
Koehler, Cheryl, 1980 Dec., color
Knox, Marion, three 14 x 11, 13-3/4 x 10-1/2
Kreutzberg, Harald
Lerman, Liz, 1985 Jan., color. At a rehearsal of Russia: the transparent apple and the silver saucer, "Snow in Siberia"
Lerman, Liz, 1987 April, color
Life, 1983, color. By Fred Underwood [?]
Nirenska, Mr. and Mrs. [Pola Nirenska's parents]
Norman, 13 x 18, 16 x 20, 1968 Fall
Osgood Chanock, Beth, Nicole Pearson, and Rona Sande, 1960s
Osgood Chanock, Beth, Nicole Pearson, and Rona Sande, 11-1/4 x 10-1/4, 1960s
Out of sorts: Sue Hannen, 1988 Jan. 27, color. Prints and contact sheets
Pearson, Nicole, 1959 Dec., 1960 Oct. 6. By Naltchayan [1960]
Pearson, Nicole, and Rona Sande, 1959 Dec.
Reynolds, Greg. Print and contact sheet
Russia: the transparent apple and the silver saucer, "Snow in Siberia": Liz Lerman, 1985 Jan., color
Sande, Rona, 13-3/4 x 11, 1960s
Schandelmeier family and friends, color. Prints and contact sheet
Schandelmeier, Laura, color and b&w. Trilogy and other works; by Robert Yohn and Ray C. Schandelmeier
Schandelmeier, Nancy, color
Schandelmeier, Ray C., color. Prints and contact sheets
Shout: Sharon Wyrrick, 1987 June, color
Stillpoint: Rima Faber, 1990
Tate, Carolyn, 10-1/2 x 13-1/2, 1960s
Tievsky, Jan, 1980 Dec., color
Tievsky, Jan, color
Topolski, Felix, color
The train, 1990. By Michael Drago
The train: Paula Camilli, Heather Doerbecker, Jan Taylor, and Jan [?], 8 x 12, 1990
Trip: Cathy Paine, 1982 Aug., color
Web: Shawn Womack, 1987 Oct., color
Wigman, Mary. By Ted Hurter, Zürich and Atelier Robertson, Berlin; autographed by Wigman
Wigman, Mary, Elisabeth Wigman, and Hanya Holm
Wilcox, Carrie, color
Womack, Shawn, color
Woman, first movement: Sharon Wyrrick, 1987 April, color
Woman, second movement: Sharon Wyrrick, 1987 April, color
Wyrrick, Sharon
Unidentified: dancers, color and b&w. By Joel S. Hauserman
Unidentified: friends and family, color and b&w
12 x 10 by John Deakin; autographed
Unidentified: dance rehearsal, 1988 Nov., color
By Nirenska
A boy on the farm, 10-1/2 x 13-3/4, 1969. Print of the year, National Photographic Society
Castle in Spain, 19-1/2 x 14, 1969
Delicate, 10-3/4 x 13-1/4
Dreaming, 11 x 14
Horizontal, 1968
I am mad, 14 x 17
July 4
Junior, 14-3/4 x 20
Landscapes, 8-1/4 x 13, 11 x 14-3/4, 11 x 14
Listening, 11 x 14, 14 x 11
Marching band, 14 x 11
My spanish skirt, 1968 April. Accepted in the spring competition of the Greater Washington Council of Camera Clubs
Nature's form, 16 x 20, 1968
Pets, 1968 Fall, b&w and color
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
Portraits, two 11 x 14, two 14 x 11, 11 x 13-1/2, 13-1/4 x 10, three 20 x 16
Portraits of a child, 1967. Printed in Baby Talk in 1967 and 1968; copy of 1968 Christmas issue included
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
Still-life, two 11 x 14, 14 x 11, 11 x 14-3/4, two 16 x 20, color and b&w
Study, two 16 x 20, 1968
Sulking
Sulking, 12 x 10-3/4
Travel, 1987 Oct., color
Village, 11 x 14, 16 x 20, 1968
Yawn, 11 x 14, 1967 Dec. Honorable mention, National Photographic Society
Young painter, 17-1/2 x 15
Miscellaneous subjects, contact sheets
By David Hasamatsu
Winter scenes, 13-1/2 x 10, 13-1/2 x 10-3/4. Autographed
Albums
St. Martin, 1977; 1980 [color and b&w]
St. Martin, 1978 [color and b&w]
New York, 1978 [color and b&w]
Guatemala, 1979 [color and b&w]
1979, spring-summer [color and b&w]
Hungary, 1980 [color and b&w]
New York, 1980 [color and b&w]
Pets, 1979-80 [color and b&w]
1980-85 [color and b&w]
1981-82 [color and b&w]
1982 July-Aug. [color and b&w]
Japan, 1984 June [color and b&w]
1986-88 [color and b&w]
Negatives
Eastern ballad, 8 x 10 copy negative, safety film
Polish dance, 8 x 10 copy negative, safety film
La puerta del vino, 8 x 10 copy negative, safety film
A scarecrow remembers, 8 x 10 copy negatives, safety film
Burkhardt, Beth and Denise Reed, 1986 July, color. National Zoo; choreography by Burkhardt
Dick
Karski, Jan, color and b&w
Knox, Marion
Norman
Osgood Chanock, Beth
Payne (Nolan), Arvilla
Pearson, Nicole, 5 x 4, 1964 Jan. 18. In The Evening Star
Sande, Rona
Students of Nirenska
Thimey, Erika, with her sister, Herta
Xstery [?], Andrea
Unidentified relatives, 3-3/4 x 2-3/4 copy negatives, safety film
Animals
Genre
Miscellaneous subjects, color and b&w
Pets
Photo class
Portraits, three 16 mm. images, color and b&w
Scapes: landscapes, seascapes, and cityscapes
Spain
Still-life, color and b&w
Travel, color
Slides by Nirenska
Dusk [color]
Landscapes [color]
Life begins [color]
Lonely bird [color]
Portraits [color]
Seascapes [color]
Still-life [color]
Unidentified [color]
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.
Costume designs
By Audrey Cruddas, annotated
By Doroty Szenfeld, 1934
By Doroty Szenfeld, 1936
Costume, green and yellow
Costume, Polish
A scarecrow remembers, by Audrey Cruddas, annotated
Drawings and paintings
Barnes commons, pencil drawing, by S. R. [?]
La dame a l'éventail, by Pablo Picasso, print
Drawings and watercolors, by A. H. C. [formerly Audrey Cruddas?]
Mardi Gras, by Paul Cézanne, print
Nirenska, drawing, by Felix Topolski. Used for programs and as a bookplate; see also Subject Files, Pola Nirenska Dance Company
Painting, by R. Mizufune, 1962
Pearson, Nicole and Rona Sande [?], watercolor, 1960s
Pencil drawing, by Zardenberg [?]
Sally, drawing, by Frances T. Trammell, 1964
Two bridges, by Sir Stanley Spencer, print
Le vieux juif, by Pablo Picasso, print
Music
The Music series consists of autographed miniature score of Priaulx Rainier's Quartet for strings, printed score of the Polish national hymn.
Anonymous, Jeszcze Polska nie zginela (The Polish national hymn). Words by Josef Wybicki
Rainier, Priaulx, Quartet for strings. Miniature score; autographed "For Pola from Priaulx 1942-1947"
Poetry, 1934-1936, 1949, 1987, undated
The Poetry series consists of poems for, about, and by Nirenska, a few miscellaneous others.
Bymme; "On first seeing Pola"
Faber Wolff, Rima; "Thanksgiving poems"
Genega, Paul; "The courier"; 1987. For Jan Karski; original in correspondence, "G" miscellaneous
Kraft, Marcy; Night flowers. To Nirenska with thanks for her inspiration
Kraft, Marcy; "17 poems"
Nirenska, Pola; "Dreamscape"
Scheider, Hanns; "Sü-schy tanzt"; 1934 June 28
Seidl, Ina; "Aus der engelsuite, getanzt von Pola Nirenska (Versuch einer Bewegungsdeutung)"
Seidl, Ina; "Der Schrei: Choreographische studie, getanzt v. Pola Nirenska, Warschau, anlässlich des Internat. Tanzwettbewerbes in Wien"
Seidl, Ina; "Trance [and] Engel des todes"; Winter 1935-36. Based on Nirenska's choreography
Seidl, R. [Ina ?]; "Erinnerungen einer Vogelscheuche, Studie über einen Tanz von Pola Nirenska"; 1949. Original in correspondence
Winczakiewicz, Jan; Izrael w poezji Polskiej antologia
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").
Dance recital publicity, 1958-82
Dance school, 1960-68
An evening of choreography by Pola Nirenska, 1990 July 28-29
Für Pola, 1933-58 [writings, programs, and publicity from outside U.S.]
Loose single reprints [clippings and programs], 1964-81
New plants
Pola Nirenska Dance Company -- programs, leaflets, etc., 1958-66
Reviews [and programs/publicity], 1948-63
Washington Dance Company, 1958-66
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.
Addresses and cards
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]
Business
Medical
Miscellaneous
The Awards series consists of a certificate of appreciation, and a diploma.
Diploma, Internationaler Tanz = Wettbewerb und Volkstanztreffen Wien, 1934 June 16
Award, Metropolitan Dance Association, 1980
Award, St. Patrick's Senior Center, for the intergenerational contribution of Pola Nirenska to the cultural life of the greater Washington area, 1987
Certificate of appreciation, National Law Enforcement Officers Memorial Fund, 1991 Aug. 16
Realia, 1985, undated
The Realia series consists of a medal from the 200th anniversary of the Polish Ballet and other items.
Medal, 200th anniversary of Polish Ballet, 1985
Sea shell
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.
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
Articles and Clippings
Dance magazine, 62, no. 6 (1988 June)
Tanzdrama Magazin, no. 1 (1987 4. Quartal)