he taught Carole King, who went on to found the predecessor to the NAISDA Dance College for Aboriginal and Torres Strait Islander students of contemporary dance in Australia. He was artistic director for the Royal Swedish Ballet from 1963 to 1964. He choreographed three works for the New York City Ballet. From 1973 Tudor continued his teaching career as professor of ballet technique at the Department of Dance, University of California, Irvine (work curtailed by a serious heart condition), while rejoining American Ballet Theatre in 1974 as associate artistic director, creating The Leaves Are Fading and Tiller in the Fields, his last major work, in 1978. With Laing, he continued seasonal residence in Laguna Beach, California. Muses for whom specific ballets where created include Maude Lloyd, Hugh Laing and Nora Kaye. While specific ballets were not created for them, Diana Adams and Sallie Wilson can also be considered as muses of Tudor. As a teacher, Tudor was known for focusing on physical and psychological details to strip away the ego allowing the dancer to be pushed outside their comfort zone and extend their potential. In an interview with Dick Cavett, Tudor said, "You’ve got to get rid of the personal mannerisms to get to the character in the ballet and dancers don't want to let go. Breaking down a person isn't hard. But you cannot break them down unless you are willing to pick up the ashes right away and turn them into the Phoenix. That's the tough thing. You're terribly tempted to lay them flat and walk on them." Recognition Tudor was awarded a creative arts medal by Brandeis University, the Dance Magazine and Capezio awards, New York City's Handel Medallion, and both Kennedy Center and Dance/USA National Honors. Tudor was inducted into the Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame at the National Museum of Dance in 1988. Death and legacy A disciplined Zen Buddhist, Tudor died on Easter Sunday in his residence at the First Zen Institute of America, aged 79. Tudor is generally accepted as one of the great originals of modern dance forms. Along with George Balanchine, he is seen as a principal transformer of ballet into a modern art, but of a genius that uses, rather than proceeds from, ballet forms. His work is usually considered as modern "psychological" expression, but – like their creator – of austerity, elegance and nobility, remarkably