120:, a Swedish-born dancer. After a noted career of dance and choreography which spanned from 1913 to 1939, mostly in Paris, Ari married and moved to Argentina. Taking up sculpting, she created busts of several prominent figures. Beginning in 1951, she created endowments to care for dancers, establishing funds to care for ill or aging dancers, to promote new talent, and to establish a library in Sweden to encourage study on dance. The Carina Ari Library in Stockholm holds one of the most extensive collections of archival materials on dance in Europe.
249:. The ballet, which she choreographed and danced, featured a full symphony orchestra, detailed stage designs and eight solo dances, with no intermissions. Between dances, Ari would run to the wings and quickly change costumes, before her next dance. The performance was one of the first in which a classically trained ballerina appeared in a theatrical production on such a large scale and approached
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Ari died on 24 December 1970 in Buenos Aires. In 1961, she created an annual scholarship to be awarded to a promising young dancer, as well as an annual medal to recognize those who promote the development of dance in Sweden. In 1969, Ari endowed a second foundation bearing her name to create the
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joined the RSB as its artistic director. His approach differed to what had been done in the past, promoting dancers to roles based on ability, rather than by their rank in the company. Fokine selected
Jansson to participate in the corps de ballet for the production of
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especially for her. She performed the piece receiving good reviews and calls for encore, but the notice she was getting caused conflict with Börlin, who forbade her to dance it again. Ari left the company after the 1923 season.
285:. Returning to Paris, she became the ballet director at the Opéra-Comique until 1933. Between 1935 and 1937, she appeared in Stockholm at the Royal Opera. In 1938, Ari was hired as the soloist for the role of the Sulamite in
316:, Serge Lifar and Rolf de Maré. Her bust of Hammarskjöld is on display at the tower which bears his name in New York City. Upon her husband’s death in 1951, Ari began using her fortune to dancers who were ill or aging.
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Denmark to study with Fokine, who had taken a villa there. After graduating from Fokine's training and receiving his endorsement for her choreographic abilities, she returned to
Stockholm. She was hired by
199:(1920). The ballet scene was extensive and required the entire Royal Ballet for the performance. Soon after filming ended, she left Stockholm and moved to Paris. She worked as a principal dancer with the
132:, Sweden. Raised in poverty, with questions of her heritage, due to her swarthy complexion, Jansson dreamed of becoming a dancer from a young age. In 1911, she enrolled in the dance school offered by the
293:. Though he had many stars at the Paris Opera to choose from, he selected Ari because of her fluidity and more modern style. Her last performance was on 30 March 1939, when she performed her
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173:, but in 1918 and again in 1919, Jansonn participated with Fokine in two guest appearances over the summer at the theater of
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257:. Her reviews were excellent, and she toured throughout Europe with the production until 1939. In 1928 Ari was hired by the
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273:. The following year, she formed her own company and was hired as a choreographer for the FĂŞte des Narcisses held in
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215:, based on Spanish themes suited both Ari's dark appearance and her dancing style. She also appeared in
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from 1920 to 1923, noted for her flowing arm movements. The first production by the company,
759:(in Swedish). Stockholm, Sweden: Stockholm Economic Association. 22 May 2015. Archived from
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177:. During the first of these appearances, Jansonn changed her artistic name to Carina Ari.
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312:, Argentina. Ari began a second career as a sculptor. Her most noted pieces are busts of
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served as music director. The two married in 1925, the same year she launched
735:(in Swedish). Stockholm, Sweden: Svenska Filminstitutet. 2014. Archived from
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265:, dancing as one of the leads. The music for the ballet was based on
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Näslund, Erik (2005). "Ari, Carina". In Cohen, Selma Jeanne (ed.).
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and contains the most comprehensive archive of dance literature in
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In 1919, Ari quit the Royal Ballet, borrowed money, and moved to
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619:(1st paperback ed.). New York: Oxford University Press.
116:(14 April 1897 – 24 December 1970) was the artistic name of
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Maria Karina
Viktoria Jansson was born on 14 April 1897 in
169:. Activities of the ballet company were suspended during
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685:"Archives of the Dance: The Dance Museum, Stockholm".
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755:[Medals and golden rain for Danish artists].
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and the following year chose her for a small role in
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Upon completion of her studies, Jansson entered the
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325:Carina Ari Library. The library is annexed to the
91:ballerina, choreographer, sculptor, philanthropist
596:(in Swedish). Göteborg, Sweden: Mimer bokförlag.
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279:Algerian National Theater Mahieddine Bachtarzi
229:, the other soloist and choreographer, wrote
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642:Näslund, Erik (Autumn 1989). "Carina Ari".
300:Suffering from rheumatism, Ari traveled to
753:"Medaljer och guldregn för danskonstnärer"
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237:Ari was then hired as a soloist at the
304:in the south of France where she met
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835:20th-century Swedish philanthropists
615:International encyclopedia of dance
152:(RSB). 1913 was the year in which
107:creating the Carina Ari Foundation
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789:Svenskt kvinnobiografiskt lexikon
261:to choreograph and she created
875:Swedish emigrants to Argentina
870:Argentine women choreographers
845:20th-century Swedish sculptors
225:to acclaim, and then in 1922,
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118:Maria Karina Viktoria Jansson
39:Maria Karina Viktoria Jansson
880:20th-century women sculptors
830:Swedish women choreographers
359:Svenska Filminstitutet 2014
896:
697:Edinburgh University Press
695:(2). Edinburgh, Scotland:
654:Edinburgh University Press
652:(2). Edinburgh, Scotland:
593:Offentlig konst i Göteborg
189:to choreograph the ballet
860:Argentine women sculptors
840:Argentine philanthropists
590:Mosesson, Mikael (2014).
287:Le Cantique des Cantiques
243:Désiré-Émile Inghelbrecht
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865:Argentine choreographers
850:Swedish women sculptors
637:(subscription required)
633:Oxford University Press
825:Swedish choreographers
820:Swedish female dancers
815:Artists from Stockholm
699:: 78–80. Autumn 1986.
631: – via
327:Dance Museum of Sweden
297:at the Opéra-Comique.
136:, graduating in 1913.
223:La Nuit de Saint-Jean
739:on 22 September 2014
635:'s Reference Online
150:Royal Swedish Ballet
855:Argentine sculptors
267:Thème et Variations
134:Royal Swedish Opera
733:Svensk Filmdatabas
626:978-0-195-17369-7
603:978-91-87593-36-9
576:, pp. 78–79.
546:, pp. 79–80.
481:, pp. 75–76.
438:, pp. 74–75.
306:Jan Henrik Molzer
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96:Years active
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295:Scénes Dansées
253:more than her
247:Scénes Dansées
231:Anitra’s Dance
182:Charlottenlund
175:Tivoli Gardens
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193:for his film
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49:14 April 1897
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765:. Retrieved
761:the original
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741:. Retrieved
737:the original
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729:"Carina Ari"
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583:Bibliography
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544:Näslund 1989
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532:Näslund 1989
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520:Näslund 1989
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508:Näslund 1989
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455:Näslund 2005
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166:Scheherazade
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72:Buenos Aires
66:(1970-12-24)
810:1970 deaths
805:1897 births
291:Serge Lifar
259:Paris Opera
227:Jean Börlin
171:World War I
80:Nationality
74:, Argentina
799:Categories
784:Carina Ari
337:References
124:Early life
114:Carina Ari
45:1897-04-14
20:Carina Ari
713:0264-2875
670:0264-2875
656:: 70–80.
342:Citations
130:Stockholm
99:1913–1951
53:Stockholm
275:Montreux
241:, where
196:Erotikon
191:Schaname
55:, Sweden
767:18 July
743:18 July
721:1290728
678:1290772
283:Algiers
148:of the
83:Swedish
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140:Career
717:JSTOR
674:JSTOR
209:Ibéra
769:2017
745:2017
709:ISSN
666:ISSN
621:ISBN
598:ISBN
574:1986
559:2015
221:and
218:Jeux
61:Died
35:Born
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
