REFLECTIONS: For the love of dance and the Ukrainian heritage (08/29/04)

REFLECTIONS: For the love of dance and the Ukrainian heritage

by Olia Rudyk

I stood in St. Michael's school auditorium in Yonkers, N.Y., with folded arms, waiting for the new dance instructor to arrive. Anorexic I wasn't, and at the age of 16 quite self-conscious of my body in leotards. About 20 other young Ukrainians mingled about the hall - probably feeling just as uncomfortable and wondering what was in store for us all.

Then the huge door swung open and a tall, dark-haired, striking woman walked in. I was taken aback by her features. Her stride was confident, graceful and full of self-assurance. I immediately wanted to be just like her. I wanted to shed my shyness and awkward posture.

She introduced herself as Roma Pryma-Bohachevska and told us she had danced as a prima ballerina. She promised to teach us ballet and Ukrainian dances as well. Pani Roma was a strict and demanding teacher. She even carried a big stick. We would start classes with warm-ups and the five positions of ballet. Her stick would poke at my toes correcting the angles of my feet to the point I thought I would lose my balance and fall, flat on my behind. I never did fall and to this day I remember all the positions and many other ballet steps along with their names.

In about six months I was told to buy toe shoes. I remember the excitement when I slipped the satiny pink shoes on my feet and criss-crossed the long ribbons around my ankles. I practiced walking around our apartment on my tippy toes. Thinking back now, I must have looked like a circus clown on stilts, but in my mind I was ready for an audition to the American Ballet. I had visions of leaping across a stage into the arms of the male lead dancer. I dreamed of audiences applauding, yelling "Bravo" and throwing roses at my feet.

Although world fame was not in my future, I did perform on many stages for quite a few years. It was also because of Pani Roma that I was introduced to Roman Strotsky. He, too, was an enthusiastic and devoted dancer. One evening Roman packed two other dancers and myself into his beat-up old car and drove us to the Ukrainian National Association resort, Soyuzivka. We had an appointment with the resort's manager, Walter Kwas, who eyed us suspiciously.

Roman pitched his idea of organizing a "Soyuzivka Dance Ensemble." He would drill and prepare us for the famed festival stage in Dauphin, Manitoba. Mr. Kwas questioned us at length and, when we finally proved to be good candidates for work in the dining room as waitresses and bus boys, he conceded to Roman.

The summer of 1971 was one of the happiest times of my life. I thought I was in heaven. Soyuzivka had Ukrainian American employees from all over the United States. I bonded with co-workers, experienced my first "love" along with "heartbreak," and formed lasting friendships. I also met many wonderful guests. They were warm, kind and sincerely interested in us. They spoke to us with respect.

Mr. Kwas filled our days with hard work as employees of the estate, and Roman demanded long hours of dance practice. Very few afternoons were spent sun bathing by the Olympic-size pool. But hard work is followed by reward, and every Saturday night the Soyuzivka Dance Ensemble performed for record crowd audiences. Although they did not throw roses at my feet, I did hear them yell "Bravo."

That summer, the Ukrainian National Association kept its word and sent the Soyuzivka Dance Ensemble to Dauphin, Manitoba. We were pampered hand and foot by the organizers of the festival. Being from the United States and representatives of the UNA and Soyuzivka, we met Sen. Paul Yuzyk and dined with the members of the famous Ukrainian band Rushnychok. I remember how we danced with deep passion at that festival. We were grateful to the UNA and proud of our culture. It was truly a whirlwind experience for me and another marvelous memory I will have forever.

My sister, Lillianna Chudolij, continued in my "footsteps" so to speak. She also came to meet Pani Pryma at St. Michael's hall that year, along with other youngsters. Lilia was only 6 and very tall for her age with big feet to match. Week after week, practice at the bar and floor exercises strengthened my string-bean of a sister into a steady, sure footed little dancer.

Wanting so much to please her new idol, Lilia would practice at home with a child's energy - endlessly. She tried continuously to master the splits and the perfect back position, often commenting that she could still feel Pani Roma's touch upon her shoulders, gently but firmly, pushing downward or correcting the curve of the spine or legs. During these years, Lilia met Ania Bohachevska, Pani Roma's daughter, who in Lilia's words was the "perfect dancer." Pani Roma's son, Boris, on the other hand, was every girl's dream partner.

Lillianna would often try my patience by stuffing and wearing my toe shoes and pestering me to teach her new steps in order to impress her teacher. She struggled and triumphed by being put in the front line where the best dancers were positioned. Pani Pryma's classes gave her the opportunity to learn to dance, and her body gained shape, style, grace and self-esteem.

Eventually, Lillianna was to perform in a ballet, "Kvit Paporoti." Pani Pryma chose a few students from each of her schools to perform. She also engaged Levko Strotsky, a fine dancer in his own right and a student of Pani Pryma's, to star as the prince. This was such an exciting time for my little sister as she toured with the ballet troupe to various Ukrainian communities. Other Ukrainian folk dance performances were to follow.

Years later, Lillianna spent summers attending Pani Roma's Ukrainian Dance Workshop at Verkhovyna, then the Ukrainian Fraternal Association's resort in Glen Spey, N.Y. Three weeks of "lovable torture" was what Lilia called it. With the same old stick pounding out the beat, Pani Roma's students received hours of instruction in ballet, along with character and folk dancing. Steps became movements. Movements became combinations. Eventually, beautiful and intricate regional Ukrainian dances were woven together, showcasing the unique style for which her workshops were famous.

In the mid '70s and through the early '80s, well-known accordionists, such as Alex Chudolij and Ron Cahute, accompanied Pani Pryma's unique choreography at these workshops and the climactic Verkhovyna Festival and Soyuzivka concerts. The performers danced their hearts out and paid homage to their beloved teacher and mentor, Pani Roma. These programs continue to this day, and are much appreciated by the new generation of students that attend.

Pani Roma has influenced generations of young Ukrainians, helping them overcome their shyness and awkward posture as I did so many years ago.

* * *

I am currently working alongside a dear friend from those good old Soyuzivka days on preparing a tribute to Roma Pryma-Bohachevska. Stefa Dobrianska, an ardent enthusiast, sparked the now growing feverish preparations for a luncheon in tribute to Pani Roma as performer, choreographer and mentor.

The Ukrainian Institute of America is posthumously honoring Ms. Pryma-Bohachevska with its first "Lifetime Achievement Award." Her 40 years of dedication, passion and love for dance and Ukrainian heritage will be recognized on September 12, at the Waldorf Astoria, Grand Ballroom, 301 Park Ave., New York City, at 1 p.m. (The individual luncheon donation is $120.)

A commemorative journal will be published, and anyone wishing to participate by placing a personal expression in memory of Pani Roma should respond by sending payment for a full page ($300), half page ($200) or a quarter page ($125) to the Ukrainian Institute of America, 2 E. 79th St., New York, NY 10021. Further information may be obtained by calling (212) 288-8660 or by e-mailing programs@ukrainianinstitute.org.

| Home Page |