current repertoire of dance companies. Included were works first produced by Ballets Russes. Irina, a dancer in her own right, had been helping her mother for many years, at her ballet school and as her rehearsal assistant. During the 1970s and 1980s, Irina advanced her legacy. She edited and translated Early Memoirs and saw it to publication. In the theatrical world Irina Nijinska associated with ballet companies to facilitate revivals of the choreographies. Les noces and Les Biches increasingly appeared on stage. Among others, Irina brought Les noces to The Paris Opera Ballet, and "Rondo Capriccioso" to the Dance Theater of Harlem. In collaboration with a dance historian, the French Riviera comedy "Le Train Bleu" was reconstructed; then it was staged by the Oakland Ballet. In 1981 the Dance Theatre of Harlem under Arthur Mitchell "produced an entire Nijinska evening". After Irina's passing in 1991, the Nijinska revivals continued. Ballerina Nina Youshkevitch, a Nijinska dancer (e.g., at the Jacob's Pillow Dance Festival in 1942), revived Bolero for the Oakland Ballet in 1995. She also staged Chopin Concerto for students at Goucher College in Maryland that same year. Commentary by critics, academics, herself Instead, she preferred the pre-war Diaghilev who had been "searching for the creation of a new ballet..." Hence regarding The Sleeping Princess Nijinska recalled the paradox that "I started my first work full of protest against myself." "Because she stemmed from the academic ballet tradition, Bronislava Nijinska is often called a Neo-Classicist. But her choreography also has an affinity to such styles of modern art as Cubism, Constructivism and Expressionism." Over the course of her career Nijinska, in her effort to augment classical ballet with new ideas about the art of movement, neither crossed over to champion a newly fashioned modernity, nor did she accept as timelessly classic the inherited ballet tradition. She declined her brother Nijinsky's turn to modern dance. Instead, following the new insights into movement, she initiated "what would be called neoclassical choreography". She eventually came to admire Petipa's work, while pruning its "nondance elements". A "renewable legacy was at the heart of Nijinska's classicism". As "one of the twentieth-century ballet's great innovators ... her repertoire introduced a new classicism that made dance a medium of modern art expression." Her Les noces (1923) bridged the contemporary tensions "between primitivism and mechanization, exoticism and neoclassicism, Russianess and cosmopolitanism, Soviet and émigré. ... The ability of Les