choreography and as an artistic director. She taught at her studio. In the 1960s for The Royal Ballet in London, she staged revivals of her Ballets Russes-era creations. Her Early Memoirs, translated into English, was published posthumously. Early life Bronislava Nijinska was the third child of the Polish dancers Tomasz [Foma] Nijinsky and Eleonora Nijinska (maiden name Bereda), who were then traveling performers in provincial Russia. Bronislava was born in Minsk, but all three children were baptized in Warsaw. She was the younger sister of Vaslav Nijinsky, a ballet star of world renown. A family of dancers Each of their parents had begun dancing careers in Warsaw at the Teatr Wielki (the Grand Theater). When they later met each was already a ballet professional with the Setov troupe based in Kiev. With the troupe they performed in provincial capitals of the then Russian Empire. They were married in Baku. Tomasz [Russian: Foma] Nijinsky, five years younger, had risen to be premier danseur and ballet master. His wife Eleonora Bareda, orphaned at seven, had followed her elder sister into ballet, and was then dancing as a first soloist. The father Tomasz Nijinsky, by his skills as ballet master, managed to form and direct his own small troupe of a dozen dancers, plus students. He created a ballet pantomime, and performed in circus-theaters, using Polish and Russian music. In 1896 he staged The Fountain of Bakhchisarai, from an 1823 poem by Pushkin. The mother Eleonora danced the role of the captured princess; her children Vatsa and Broni watched her perform it. Tomasz choreographed "two very successful ballets", the other being Zaporozbeskaya Tcharovnitza. Nijinska implies that their small troupe prospered, but that has been questioned. In addition to renting theaters for his shows, Tomasz contracted with 'café chantants', popular nightspots where patrons dined while being entertained with music and dance. Family life was surrounded by artists at work and at home. Her father "loved to be with painters, writers, actors, and musicians." Two touring African-American tap dancers, Jackson and Johnson, visited their home, and gave Nijinska her first lessons. In the past Tomasz had forgone opportunities, turning down dance offers because of his family obligations. In 1897 near Saint Petersburg, Eleonora and Thomasz danced on stage together for the last time. He then continued on the road alone as a dancer. On a prior trip to Finland, he had become involved with another