MFA program, which she had originally written. Her courses included dance history and aesthetics, elements of performing, opera, criticism, research and bibliography. She conducted graduate seminars as well as large lecture courses, courses for the University of California Extension system, and lectured at UC-Berkeley. She continued in this post, as Full Professor, also serving on the University Senate, executive committee for community education, and Chancellor's advisory committee on minority affairs, until 1989. Given the School's professional policies, in this period Professor Maynard wrote articles and shorter pieces, and made frequent trips within North America and abroad (significantly including the Soviet bloc and Cuba) as interviewer, dance jurist, critic, conference participant, researcher and lecturer. She studied tsarist repertoire with Peter Gusev, director of the Leningrad Choreographic Institute, and observed and commented upon not only international theater dance but also—returning to her roots--'world dance' of ethnic or folk derivations. Among choreographers with whom she worked closely on issues of history, period and style were George Balanchine, Robert Joffrey, Gerald Arpino, John Neumeier, Norbert Vesak. Her “lauds and laurels” at UCI include those for professional achievement (1981) and distinguished teaching (1987). For her support of racial minorities in the arts, she received a Rainbow award, also an award from the English-Speaking Union for promoting international understanding. The gala for her postponed UCI retirement was to be attended by leading choreographers and dancers. University activity corresponded with a decline in Olga Maynard's book production. Having published six books in eleven years, she published just one more in her last twenty-six. This was to an extent offset by her shorter publications during the university years, mostly in what had become the dance periodical of record, Dance Magazine. Although she had written more than twenty earlier pieces for that journal, beginning in 1970, when William Como assumed the post of Editor-in-Chief of Dance, she averaged one publication a month, for six years. Some of these articles—particularly those in Como's and Richard Philp's "Portfolio" series, printed on heavy stock paper, with the art design of Herbert Migdoll—amount to research monographs, still advertised independently on websites. This was at a time in which the developing dance world constituted something like a 'world', with not only a spatial span but a sense of past and future, because, while journalism kept it before the general public, Dance helped to coordinate it internally. The death of her husband in 1984, along