Maria Tallchief facts for kids
Quick facts for kids
Maria Tallchief
𐒼𐓣𐓸𐓟𐓤𐓘𐓸𐓮𐓰𐓘𐓸𐓲𐓘 Ki He Kah Stah Tsa |
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Tallchief in 1961
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| Born |
Elizabeth Marie Tall Chief
January 24, 1925 Fairfax, Oklahoma, U.S.
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| Died | April 11, 2013 (aged 88) |
| Occupation | Prima ballerina |
| Years active | 1942–1966 |
| Height | 5 ft 9 in (1.75 m) |
| Spouse(s) |
Elmourza Natirboff
(m. 1952; div. 1954)Henry D. Paschen Jr.
(m. 1956; died 2004) |
| Children | Elise Paschen |
| Former groups | Ballet Russe de Monte Carlo New York City Ballet |
| Dances |
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Maria Tallchief (born Elizabeth Marie Tall Chief on January 24, 1925 – died April 11, 2013) was a famous American ballerina. She was known as America's first major "prima ballerina" (a top female ballet dancer). Maria was also the first Native American from the Osage Nation to reach this high rank. Many say she completely changed ballet.
Maria started dancing very young, taking lessons at age three. When she was eight, her family moved from Fairfax, Oklahoma, to Los Angeles, California. They hoped this move would help Maria and her younger sister, Marjorie, become professional dancers. Both sisters grew up to be important dancers.
At 17, Maria moved to New York City to join a big ballet company. She changed her name to Maria Tallchief. For five years, she danced with the Ballet Russe de Monte Carlo. There, she met the famous choreographer George Balanchine. In 1946, when Balanchine helped start the New York City Ballet, Maria became the company's first star dancer.
Balanchine's challenging dances and Maria's powerful style changed ballet forever. Her role in The Firebird in 1949 made her a top ballerina. Her performance as the Sugar Plum Fairy in The Nutcracker helped make that ballet a popular Christmas tradition in America.
Maria traveled the world, becoming the first American to dance at Moscow's famous Bolshoi Theatre. She also appeared often on American TV before she stopped dancing in 1966. After retiring, Maria helped promote ballet in Chicago. She directed the ballet for the Lyric Opera of Chicago for many years. In 1981, she started the Chicago City Ballet.
Maria Tallchief received many honors. The people of Oklahoma honored her with statues and a special day. She was put into the National Women's Hall of Fame and received a National Medal of Arts. In 1996, she received a Kennedy Center Honor for her lifetime achievements. Her life story has been told in many documentaries and books.
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Early Life and Dance Beginnings
Maria Tallchief was born Elizabeth Marie Tall Chief in Fairfax, Oklahoma, on January 24, 1925. Her father, Alexander Joseph Tall Chief, was a member of the Osage Nation. Her mother, Ruth Porter, had Scottish-Irish roots. Friends and family called Elizabeth Marie "Betty Marie."
Maria's great-grandfather, Peter Bigheart, helped the Osage Nation get money from oil. Because of this, her father grew up wealthy. Maria wrote that her father owned much of their town. Their large brick house was on a hill overlooking the reservation. The family spent summers in Colorado Springs, Colorado to escape the heat.
Maria had a younger sister, Marjorie, who also became a famous ballerina. Marjorie was Maria's best friend. Their mother had always dreamed of being a performer but couldn't afford lessons. She was determined that her daughters would have that chance.
Maria started ballet classes in Colorado Springs at age three. She also studied piano and thought about becoming a concert pianist. When she was five, a ballet teacher from Tulsa, Mrs. Sabin, taught Maria and Marjorie. Maria later said this teacher was not very good and put her on pointe shoes too early.
Maria also went to Sacred Heart Catholic School. She was so good at reading that she skipped the first two grades. Between piano, ballet, and school, Maria had little free time. But she loved being outdoors, exploring her yard and looking for arrowheads.
In 1933, her family moved to Los Angeles. They hoped the girls could get into Hollywood musicals. On their first day, a drugstore clerk suggested Ernest Belcher as a dance teacher. Maria later said this stranger's words decided their future. In California, Maria was put back in the correct grade for her age.
Maria found school boring and focused on dance at Belcher's studio. She learned ballet, tap, Spanish dancing, and acrobatics. She stopped acrobatics but used those skills later. The family moved to Beverly Hills, California, where schools were better. Maria faced some discrimination there and started spelling her last name as one word: Tallchief. She kept studying piano and performed as a soloist in high school.
At age 12, Maria began working with Bronislava Nijinska, a famous choreographer. Nijinska had just opened her own studio in Los Angeles. Maria also worked with David Lichine, another choreographer. Nijinska taught Maria that being a ballerina was a full-time job. Maria realized ballet was what she wanted to do with her life.
When Maria was 15, Nijinska planned three ballets at the Hollywood Bowl. Maria expected a main role but was put in the corps de ballet (group dancers). She felt very sad and hurt. After her mother encouraged her, Maria worked harder and soon got a lead part in Chopin Concerto. Maria also learned from other great teachers. She danced her first pas de deux (a dance for two) for Ada Broadbent. Mia Slavenska helped Maria audition for Serge Denham, director of the Ballet Russe de Monte Carlo. He was impressed, but nothing happened right away.
A Career in Ballet
Starting Out
Maria Tallchief finished Beverly Hills High School in 1942. She had stopped piano and wanted to go to college. But her father said it was time for her to find a job. She got a small part in Presenting Lily Mars, a musical movie with Judy Garland. Dancing in the movie wasn't exciting for her, so Maria decided against a movie career.
That summer, a family friend, Tatiana Riabouchinska, asked Maria if she wanted to go to New York City. At 17, Maria went to New York with Riabouchinska as her chaperone. In New York, Maria looked up Serge Denham. At first, she was told the Ballet Russe de Monte Carlo didn't need more dancers. But a few days later, she got a spot. Denham needed dancers with passports for a Canadian tour, and Maria had one.
Maria joined the company as an apprentice. Her first performance was in Gaîté Parisienne. After the Canadian tour, she was offered a full dancer's place and a salary. On her first day as a full member, Nijinska came to stage Chopin Concerto. She chose Maria to be the understudy (backup dancer) for the lead role. Maria became a target of other dancers' jealousy because of this promotion.
Around this time, Agnes de Mille suggested Maria change her name. Maria didn't want to change her last name, Tallchief, because she was proud of it. But de Mille suggested using a modified version of her middle name. So, Maria agreed and became known as Maria Tallchief for the rest of her career.
In her first two months, Maria danced in seven different ballets. In New York, she took classes at the School of American Ballet. On tour, she learned by watching more experienced dancers. She especially admired Alexandra Danilova for her hard work. Maria practiced whenever she could and became known as a very dedicated dancer.
Maria's chance for a lead role came when the main ballerina, Krassovska, left the company. Maria was chosen to take her place. She felt terrified because she wasn't fully ready for such a difficult role. But when the company returned to New York, Maria received good reviews. A critic from The New York Times wrote that Maria was "stunning" and predicted she would be a big star.
Her second year with Ballet Russe brought bigger roles. She was a soloist in Le Beau Danube and got the lead in Ancient Russia.
Working with Balanchine
In 1944, the famous choreographer George Balanchine joined Ballet Russe de Monte Carlo. This was a major turning point for both Maria and Balanchine. Maria was drawn to his work right away. She wrote that his ballets seemed "simple yet perfect." Balanchine soon gave Maria a solo in Song of Norway. He also made her the understudy for Danilova. The ballet was a success, and Balanchine stayed with the company. Maria's mother asked for a raise for her daughter, and Maria was promoted to "soloist."
Balanchine continued to give Maria important roles. In Danses Concertantes, she danced a jazzy pas de trois (dance for three). The steps were classical but felt modern and fun. In Le Bourgeois Gentilhomme, she had a pas de deux with Yurek Lazowsky.
Balanchine soon became very fond of Maria, both as a dancer and personally. One day, he surprised her by asking her to marry him. After thinking about it, Maria agreed. They married on August 16, 1946.
Balanchine helped Maria improve her dancing greatly. He told her she needed to relearn the very basic ballet exercises. Maria worked hard, lost weight, and changed her body shape. She learned to hold her chest high and keep her back straight. She also improved her turnout, which was once her weakness. Danilova also spent a lot of time teaching Maria the art of being a ballerina.
Maria became a "featured soloist." Balanchine kept giving her important roles. She was the first to perform the technically challenging role of Coquette in Night Shadow.
Becoming a Star at New York City Ballet
In 1946, Balanchine and Lincoln Kirstein started the Ballet Society, which later became the New York City Ballet. Maria stayed with Ballet Russe for six more months. In 1947, she joined Balanchine in France, where he was working with the Paris Opéra Ballet. Maria was put to work right away in ballets like Le baiser de la fée and Apollo. She had to learn a difficult role quickly for Apollo.
Opening night was a huge success. The French press was fascinated by Maria's dancing and her background. Headlines called her "Redskin dances at the Opera" and "The daughter of the great Indian chief dances at the Opera." Maria became the first American to perform with the Paris Opera Ballet.
When Maria and Balanchine returned to the U.S., Maria quickly became one of the first stars of the New York City Ballet. The company opened in October 1948. Balanchine created new roles that needed strength, speed, and powerful dancing. Maria was perfect for his vision. She felt a strong connection with Balanchine's musicality.
Balanchine created many roles just for Maria. This included the lead in "The Firebird" in 1949. Her debut in "Firebird" was amazing and made her a "prima ballerina." The New York Times critic John Martin wrote that Maria did everything with "complete and incomparable brilliance."
Maria's popularity helped the new dance company grow. She sometimes performed as many as eight times a week. In 1954, Maria danced the Sugar Plum Fairy in Balanchine's new version of The Nutcracker. Her performance helped turn this ballet into a popular annual Christmas show. Critic Walter Terry said Maria was "a creature of magic" as the Sugar Plum Fairy.
Other important roles Maria created for Balanchine included the Swan Queen in his Swan Lake and Eurydice in Orpheus. Her strong, athletic performances helped make Balanchine the most important choreographer of that time.
Maria stayed with the New York City Ballet until 1960. But she also took time to dance with other companies. She performed with the Chicago Opera Ballet, the San Francisco Ballet, and the Royal Danish Ballet. In 1958, she created the lead role in Balanchine's Gounod Symphony before taking time off to have her first child.
Later Career and Retirement
After leaving the New York City Ballet, Maria joined American Ballet Theatre. She was first a guest dancer and then a prima ballerina. In 1960, she performed with Erik Bruhn in Russia. She was praised for her "aplomb, brilliance, and dignity." She became the first American dancer to perform at Moscow's famous Bolshoi Theatre. From 1960 to 1962, Maria took on more dramatic roles, like the main characters in Miss Julie and Lady from the Sea.
Maria also danced on TV shows, including The Ed Sullivan Show. She played Anna Pavlova in the 1952 movie musical Million Dollar Mermaid. In 1962, Maria was Rudolf Nureyev's chosen partner for his first American performance, which was shown on national television. Her last performance in America was on TV's "Bell Telephone Hour" in 1966.
Maria moved to Germany for a short time and became the lead dancer of the Hamburg Ballet. One of her last performances was in 1966 in Cinderella. She retired from dancing because she didn't want to dance past her best years. During her career, she danced all over Europe, South America, Japan, and Russia. She also performed with many symphony orchestras.
Teaching and Leadership
After retiring from dancing, Maria moved to Chicago. She directed the ballet for the Lyric Opera of Chicago from 1973 to 1979. In 1974, she started the Lyric Opera's ballet school, where she taught the Balanchine technique. She believed in new ideas but also in respecting the art of ballet.
With her sister Marjorie, Maria founded the Chicago City Ballet in 1981. She was a co-artistic director until the company closed in 1987. Even though the company didn't last, the Chicago Tribune called her "a force in the history of Chicago dance." They said she helped make dance more popular in Chicago.
Maria was featured in the documentary film Dancing for Mr. B in 1989. From 1990 until her death, she was an artistic adviser for Von Heidecke's Chicago Festival Ballet.
Maria's Dance Style
Maria Tallchief was known for amazing audiences with her speed, energy, and passion. People said she showed both "electrifying passion" and great technical skill. She combined precise footwork with athleticism. Ashley Wheater, a ballet director, said that Maria brought a "burning passion" to her dancing. He called her not just a great dancer, but a true artist.
Time magazine said Maria was a master of the "perfect pause." This was a moment of stillness that helped the audience understand the story and the dance. William Mason, from the Lyric Opera of Chicago, described Maria as a true professional. He said she knew how good she was but didn't show off.
Fellow dancer Allegra Kent said Maria seemed fearless on stage. She had a strong will and performed her movements as delicately or powerfully as the music.
Personal Life
During her first year at the Ballet Russe de Monte Carlo, Maria dated Alexander "Sasha" Goudevitch. She thought it was her first true love. But he suddenly changed his mind, and Maria was heartbroken.
When George Balanchine joined the Ballet Russe, he was drawn to Maria. She didn't realize he felt this way at first. It was a shock when he asked her to marry him. She told him she wasn't sure she loved him, but he said it didn't matter. After thinking about it, Maria accepted his proposal.
Maria and Balanchine married on August 16, 1946. She was 21, and he was 42. Her parents didn't approve and didn't attend the wedding. For them, work was more important than a traditional honeymoon. Maria said that passion and romance were not a big part of their married life. But she described Balanchine as a "warm, affectionate, loving husband." Their marriage ended in 1952.
In 1952, Maria married Elmourza Natirboff, a pilot. They divorced two years later. In 1955, she met Henry D. ("Buzz") Paschen Jr., a businessman from Chicago. Maria said he was happy, outgoing, and knew nothing about ballet, which she found refreshing. They married in June 1956.
With Buzz Paschen, Maria had her only child, Elise Maria Paschen, born in 1959. Elise became an award-winning poet. Maria also gained a stepdaughter, Margaret Wright. Maria and Buzz stayed together until his death in 2004.
Maria was known for being direct and honest in what she said. Her protégé Kenneth von Heidecke said this made her seem like a "diva" but was really her strong sense of honesty.
Death and Lasting Impact
Maria Tallchief broke her hip in December 2012. She died on April 11, 2013, from problems related to the injury.
Maria Tallchief was seen as America's first major prima ballerina. She was also the first Native American to reach this high rank. She stayed connected to her Osage heritage throughout her life. She often spoke out against wrong ideas about Native Americans. Maria was involved with groups like America for Indian Opportunity. She and her sister Marjorie are part of a group of five Native American ballet dancers from Oklahoma known as the Five Moons. However, Maria wanted to be judged only on her dancing. She wrote, "I wanted to be appreciated as a prima ballerina who happened to be a Native American, never as someone who was an American Indian ballerina."
The New York Times called Maria Tallchief "one of the most brilliant American ballerinas of the 20th century." Ashley Wheater said she "paved the way for dancers who were not in the traditional mold of ballet." Jacques d'Amboise said that just as Ulanova was known for Russian ballet and Fonteyn for English ballet, Tallchief was known for American ballet. Time magazine said few ballerinas achieved Maria's artistry, which was like "a reverie with backbone."
Maria is credited with breaking down ethnic barriers in ballet. She was one of the first Americans to succeed in a field that Russians and Europeans had long dominated. Maria wrote about her career, "I was in the middle of magic, in the presence of genius. And thank God I knew it."
Honors and Awards
In Oklahoma, the governor honored Maria for her ballet achievements and her pride in her Native American heritage. The state declared June 29, 1953, as "Maria Tallchief Day." She is one of four Indian ballerinas in a mural called "Flight of Spirit" at the Oklahoma State Capitol. Maria is also one of the life-size bronze statues called The Five Moons in Tulsa. The Osage Nation gave her the title "Princess Wa-Xthe-Thomba" (Osage: 𐓏𐓘𐓸𐓧𐓟-𐓵𐓪͘𐓬𐓘, meaning "Woman of Two Worlds").
In 1996, Maria received a Kennedy Center Honor for her lifetime achievements. Her Kennedy Center biography states that Maria was "both the inspiration and the living expression of the best [the United States] has given the world."
Maria is in the National Women's Hall of Fame. She was named "Woman of the Year" twice by the Washington Press Club. She also received Dance Magazine awards twice. In 1999, Maria received the American National Medal of Arts. In 2011, she received the Chicago History Museum's Making History Award for her work in performing arts.
In 2006, the Metropolitan Museum of Art held a special tribute to Maria Tallchief. During this event, Maria officially named Kenneth von Heidecke as her protégé (someone she mentored).
In 2018, Maria was one of the first people inducted into the National Native American Hall of Fame.
On November 13, 2020, Google Doodle honored her with a special drawing.
Maria Tallchief will be honored on an American Women quarter in 2023. She will also appear on the 2023 Sacagawea dollar.
Books and Documentaries
Maria Tallchief has been the subject of many books about her life. Her autobiography, Maria Tallchief: America's Prima Ballerina, was written with Larry Kaplan and came out in 1997.
Sandy and Yasu Osawa made a documentary called Maria Tallchief in 2007. It was shown on PBS from 2007 to 2010.
See also
- Five Moons
- Women in dance
