Collection Artwork
[Ruthanna Boris in "Serenade"]
n.d.
gelatin silver print, white ink
Ruthanna Boris
paper size: 10 x 8 1/8 in.
image size: 9 1/4 x 6 1/8 in.
Gift of Robert Tracy, Class of 1977
1986.109
Handwritten in pencil, paper verso, center: Ruthanna Boris [name underlined in green] / in / Seranade [sic] / Ballet Russe de Monte Carlo / Courtesy The Dance Collection  | Handwritten in pencil, paper verso, lower center: 53 ½ to 53 / [horizontal line] / DP / [horizontal line] / DIANO / [horizontal line]
Handwritten in blue pencil, paper verso, lower right: 99
Handwritten in red, paper verso, upper center: A [encircled]
Handwritten in pencil, paper verso, lower left: 58 [encircled]
Two copyright and permissions stamps, paper verso, sideways, upper left, and upside down, upper right

Installation views

Object Label

Ruthanna Boris (1918-2007) was a successful Jewish ballet dancer from Brooklyn. The meaning of her Jewish identity–informed by social treatment, media representations, and institutional access–changed greatly throughout her lifetime wherein she personally faced and resisted anti-Semitism. Some dance instructors would not allow Jews in their classes, and ultimately, her fight for acceptance in the ballet community was a long and painful process. In the 1930s, Jews were seen by many Americans, including respected scholars, as lazy and unassimilable. More specifically, the American public regarded Jewish women dancers as intensely emotional and un-American in appearance and personality. But, by the 1940s and 1950s, Jewish people had essentially “become” white, demonstrating that the boundaries of whiteness change over time. This begs the question: who benefits from shifting definitions of whiteness?

The photograph at right features a 15-year-old Boris dancing en pointe with her arms elegantly crossed at the elbows. Boris performed in George Balanchine’s Serenade and other work by him throughout her career, going on to become a pioneer as one of the first female choreographers in ballet. Her slender figure and vulnerable pose seem to embody ideal femininity today, but her dark hair and features did not reflect the American Anglo-Saxon ideals of the 1930s.

–Dana Keyes-Gibbons ’19

From the exhibition: When and Where I Enter (October 20, 2018 – January 6, 2019)

Ongoing Research

Research on our collection is ongoing. If you have resources you’d like to share, please contact Associate Curator Rebecca McNamara.
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Pattern by Madeleine Welsch ’17
Inspired by the exhibition Someday is Now: The Art of Corita Kent
The Tang Pattern Project celebrates the Museum’s 20th anniversary. Organized by Head of Design Jean Tschanz-Egger, past and current Tang Design Interns created patterns inspired by the Museum’s exhibition and event history.