For My Fellow Dance Nerds - Here's Some Anna Pavlova Information Mixed With Some Juicy History

So I actually originally wrote this as my research topic when I was doing my Leaving Cert for History but have added to it and altered it accordingly since gaining some more insight, knowledge and experience. After Dance, English and History are two things I'm super passionate about and interested in, so combining them altogether is a dream for me!

“Pirouettes and Revolutions: Anna Pavlova and how her actions in the arts parallel the political and social change of 20th Century Russia.”

“Anna Pavlova was not merely a dancer: she was a genius of the dance. She has given so much to humanity that she must be compared with all other revolutionaries.” (1)

In one respect, the words, “pirouette” and, “revolution” both mean to spin. However, in this research topic essay I aim to demonstrate that in a social context of great social and political revolution in Russia, the actions of Anna Pavlova amount to an attempt to parallel such spirit of revolution in the area of the arts and society’s attitudes to ballet and women. The, “Collins English Dictionary” defines a revolution as, “a far-reaching and drastic change especially in ideas and methods,” which is a perfect way to sum up the outcome of the 1905 revolution.

The years 1904-1905 was a period of political and social unrest in Russia. The aims and discontent of the revolutionaries can clearly be seen in the words of a worker who signed the petition to the Tsar, “We are impoverished, we are suppressed, overburdened with excessive toil, contemptuously treated... We ask little: to reduce the working day to eight hours, to provide a minimum wage of a rouble of a day... We are seeking here our last salvation. Do not refuse to help Your people.” (2) The 1905 revolution began with a flood of criticism against the government following the assassination of Plehve, the Minister of the Interior by the Socialist Revolutionaries in the summer of 1904. In early November, the liberals held a national zemstvo congress which saw over 5,000 telegrams pouring in, urging the delegates to press for fundamental changes including civil liberties, the rule of law, an extension of voting rights and a representative that would participate in the running of the country. (3) As also obvious from the above quote, the economy which had been destroyed by the Russo – Japenese war, was another catalyst for the 1905 revolution. Thus, it was no surprise that the Russian Factory Workers ran by Fr, Gapon organised an economic strike on the 4th of January 1905 which demanded minimum wages and limited working hours. Thousands were involved. (4) 1905 was a tumultuous year and there were four events that pushed the regime to the edge of the abyss.

Gapon, urged on by the more radical workers in his union, organised the earlier mentioned petition to the Tsar and a march to Winter Palace. The march set off peacefully on 9th of January, a Sunday. The crowd, of over 50,000 people included women, men and children and when they approached Winter Palace, they were charged by cavalry and troops opened fire. Soviet sources have put deaths at 200 and the wounded at 500. Following, “Bloody Sunday,” more strikes broke out and by the end of January, over 400,000 were out on strike. Russia had descended into chaos and the Tsar was truly, “at war with his own people.” (5) The mutiny on the battleship Potemkin sealed the Tsar’s fate. Conditions in the Russian navy were harsh, and morale was low. The crew killed several officers and seized control of the ships when they were greeted at Odessa by crowds of people, the Tsar ordered troops to go in and they opened fire indiscriminately killing 2,000 citizens, it was then that, “the popular myth of a Good Tsar which had sustained the regime through the centuries had been destroyed.” (6) Furthermore, the creation of the St Petersburg Soviet (7) led most famously by Leon Trotsky was a strong indication of the power of the urban workers to develop an effective from of organisation and run their own affairs. The Tsars were under an enormous amount of pressure which led to Nicholas, reluctantly making concessions in what is known as the October Manifesto which conceded the freedom of speech and conscience, the freedom of association and unwarranted arrest and an elected duma which could block laws coming into force although it couldn’t enact laws. The liberal hailed it as the first step towards constitutional government and they believed their main aim of the campaign had been achieved.

However, extremely complimentary to my title, it was not only the workers who went on strike during the 1905 Revolution but dancers too. Although the dancers’ strike which involved prominent Imperial Ballet Company members was short-lived, their aims reflected those of the factory workers. As a distinguished leader, Pavlova voiced her demand for better working conditions and greater artistic autonomy. (8) Pavlova remained respectful however, she was extremely insistent and determined in her values. She was firm in upholding her principles which is why she would donate generously to charities and to even lower paid dancers. Although immediate action was not taken by the government, Pavlova’s generosity and determination to keep ticket prices affordable did eventually prompt the government to act. (9) According to Jessica Pavlova, “In 1905 ticket costs were at 5 roubles and in 1910 they were 2 roubles. Furthermore, by 1910, the dancers’ wages had increased by 3%.

The long term results of the strike were very obviously excellent, however, the most significant immediate result of the brief yet effective strike is as follows, without it and more importantly, Pavlova’s opinions, it could be argued that Pavlova would never have been prompted to search for touring opportunities which did of course, play a huge role in her ability to have such a huge influence on women. (10) In the years of Russia’s Revolution, female political activists played key role in a broad spectrum of political circles and developed one of the first successful movements for women’s suffrage modern world. (11) Pre-revolutionary Russia meant that women led the same lives at home, child-bearing without voting rights and although some groups formed such as the Fritsche Crircle, their voices weren’t heard. (12) However, this changed during 1905, women’s involvement in the march on Winter Palace made quite a statement, just as the black community showed their determination and solidarity for the first time later in 1963 in their march on Washington, in Russia 1905, women demonstrated that they too, were in demand for a better life. Hence, after 1905 more radical groups began to emerge such as The Women’s Equal Rights Union and in 1908 there was a monumental event that was The First All-Women’s Congress. From her, the momentum of women organisers grew and one woman in particular Alexandra Kollontui who was a particularly passionate socialist revolutionary who dedicated herself to liberating and educating Russian peasants. She believed strongly that class inequality was the root of women’s oppression. (13)

Kollontui can be directly compared with Pavlova herself who was also passionate about helping the vulnerable and marginalised in society which again reflects the aims of the 1905 revolutionaries. Pavlova’s passion to help those in need materialised in her refugee orphanages for children who were rendered homeless following the First World War. In another relevant link to Kollontui, it must be mentioned that regardless of class or backgrounds, Pavlova provided an education to all the child refugees. (14) As I have addressed women’s desire for independence and respect before and during the 1905 revolution, the fact that Pavlova was a huge pioneer for women cannot go unmentioned. In an interview in 1905 Pavlova commented on the position of women by saying, “We need to stick by each other. Women workers should be able to do and say what men workers can just as women company members should be able to do and say what men company embers can. (15) Pavlova soon became the figure and voice of encouragement to women in Russia, as she showed that anything was possible, if you want to dance, dance, if you want to travel, travel. (16) It is not merely words and opinions that led me to this statement but statistics: the number of women workers rose to over 1 million as 250,000 women joined the workforce between 1905 and 1917, peasant women took over some of their husband’s farm work and after Pavlova’s internationally recognised performance in 1905 of The Dying Swan, The Imperial Ballet School had 200 more applicants than in the previous year. (17)

To aid my research and discover parallels, I’ve studied many different women with different aims, in different areas, facing varying challenges but yet can still be compared with Anna Pavlova. Take Ireland’s Evie Hone for example who, like Pavlova became a pioneer for women through her work in the arts. Evie Hone was a Dublin artist, born in 1894 and aged 12 she contacted polio which left her lame and weak in one hand yet she defied expectations and went on to become one of Ireland’s most remembered artists. (18) She demonstrated anything was possible just like Pavlova. The biggest challenge Hone faced was the very alive conservative ideas in Ireland however, despite this, after studying in both Paris and London, she was the first artist to bring new artistic movements such as cubism and abstraction to Ireland and although this shocked the conservative opinion, she proceeded to organise Dublin’s first exhibition of art in 1924. (19) The same can be said about Pavlova who has been referred to as the symbol of the “New Russian Ballet.” (20) She too introduced new ideas, demonstrating dance was about joy and passion rather than perfect technique, this was a certain dig at the conservative Russian Balletic ideas. (21) In addition to this, just as Pavlova belonged to her company, Hone was a prominent member of An Tur Gloine until it closed in 1943. (22) Both of these women, although educated in different areas of the arts opened the doors for all of the artists and dancers who came after them, thanks to their determination to stick to their principles and back conservative ideas.

The ability Anna Pavlova had to force ballet to evolve is really what highlights how her actions in the arts parallel the social and political revolution in Russia. Pavlova did not create ballet but she did change the face of ballet forever, in the words of Sir Frederick Ashton, “She successfully gave old classical ballet a sense of individuality.” (23) Before Pavlova, old-fashioned ballet was extremely prominent and the public had become disillusioned and obsessed with technique and elaborate stage décor. There was simply no room for any aspiring dancer unless they had natural flexibility, natural turn-out, stretched toes and legs and a strong torso and ankles which would enable them to stay en pointe for whole acts. (24) Pavlova didn’t have this ability, she defied all of these expectations. Pavlova found her own way to do things, she used wood, metal and cushioning in her shoes to allow her to go en pointe. Not to mention, modern day ballerinas all use pointe shoes constructed of the same materials. (25) Furthermore, just as there was a very strictly structured class system in Russian society in 1905, ballet followed a strict structure too. Until Pavlova that is. This structure stated that dancers had to perform thirty times as part of the corps-de-ballet (large group) before they could progress to a coryphée (small intimate group) there they would have to perform another 15 times before they would even be considered for a solo. (26) However, Pavlova broke this rule as in 1899 on her graduation from the Imperial Ballet School, she danced as part of a coryphée having only danced in the corps once. (27) The simple explanation for this, in view of the fact that she wasn’t incredibly strong technically, was that she was so powerful that her style made not only the public, but her choreographers forget about technique and structure. (28) Choreographer Beatrice Griffiths commented by saying, “Her dance style was renowned for its artistry and grace in an era dominated by strength and technique.” (29) Despite the fact Anna Pavlova had a tendency to dance with bent knees and flexed feet, she had the longest career in the history of ballet, lasting over 30 years and she knew exactly how to spread her message that you should dance for joy. (29) Not only did she herself travel, “She took ballet to places were people had never seen a ballerina before. She went to South America, she went to India, she was responsible for popularising ballet”-Ursula Hageli (Ballet Mistress) (30). But she brought her gift into everyone’s living rooms through the medium of film.

Anna Pavlova’s initiative and attitude shows she is a foil to what I learned in the case study on Nuremburg. In a very different context and medium, Pavlova had the same awareness as Hitler’s minister for propaganda, Josef Goebbells about employing and capitalising on the new modern medium of film. Before being heavily involved in the production of her biographical film, “A Woman For All Time,” she also appeared in the 1915 silent film, “The Dumb Girl of Portiei” based on an Auber opera which gave her the ability to portray a dramatic role through movement and facial expressions. (31) She also promoted ballet to the masses through her, “home movies” of her on and off-stage life in London and on international tours. Although, I am completely aware that Gobbels had a much more sinister objective, it cannot be denied that their methods of promotion come under the same umbrella. Goebbels was interested in films too and believed that while they subconsciously promoted an idea, they provided people with an important form of entertainment and escapism. (32) The same can be said about Pavlova who, aware that during the revolution, Russia was in disarray, she wanted to life the spirits of Russian people, the only way she knew how, through dance -in film. (33) Films were used in both Russia and Germany to boost morale. The public adored Pavlova, everywhere she went and how did she achieve this incredible popularity? Yes of course, she was talented, but it must be remembered although her ideas and new artistic choices were appreciated, they were still very modern and quite alien. Hence, I would argue that her involvement in film was a huge catalyst for her success. Goebbels commented on the content of the Nazi propaganda films by saying, “The essence of propaganda consists in winning people over to an idea so sincerely, so vitally that in the end they succumb to it utterly.” (34) It must be said that Pavlova’s films fulfilled this declaration which is abundantly clear though the following quotes and extracts. “We worshipped her and would never discuss anything which could in any way spoil her image.” – Fellow dancer who wishes to remain unnamed. (35) “Here dancing and films were a universal appeal. And successful at that.” (36) “It was (A Woman For All Time) like a proof that a dance could and should satisfy not only the eye, but through the medium of the eye should penetrate the soul.” – Michel Fokine (37) Not only did she sue the medium of the eye to penetrate the soul, but she used the medium of film to win everyone over to her ideas and views on what dancing is really about.

To conclude, I am certain that I have made the influence Anna Pavlova had in the arts abundantly clear. The results of her actions still live on today, contemporary dance which originated from Pavlova’s personal and distinctive style, is an audition requirement in all ballet schools and dance colleges. Furthermore, as a dancer, I will always be grateful to Pavlova as she created endless opportunities for dancers that followed her, especially considering she was the first woman ballerina to tour. (38) I have also drawn the conclusion that Pavlova personified the Russian refection of class distinctions during the 1905 Revolution. Her actions in the arts are an obvious reflection of the actions of the people involved in the Revolution. However, the question must be asked, did she do it consciously. The answer, absolutely, “What does it matter if two single two don’t hold me up? What does it matter if my feet don’t pointe perfectly? I am not suggesting that I shouldn’t work hard, of course I should. I will better myself for sure. But, I will also change this technique obsessed society that I’m living in. People may snigger, but if you want to reach your own goals, you’ll have to turn against the ride, come what may. I’m in the midst of a revolution. If the once glorified Tsar can be overthrown, then so can idealism in dance. I’ll work like a slave, I’ll have to, but I will do it.” – Anna Pavlova (39) Thus, it is exceedingly clear that Pavlova not only demonstrated how you can do more than you think if you have courage, but her actions in the arts and an exact reflection of the social and political revolution in 1905 Russia.

*All information was researched by me, sources are noted and available.*