Victor Anderson, a name synonymous with dedication and quiet influence in the dance world, particularly through the Shawl Anderson Dance Center (SADC), passed away on February 7th at the age of 88. For those deeply embedded in the SADC community, and indeed for many across the broader dance landscape, Victor’s legacy is profound. While official obituaries rightly honor his accomplishments and historical significance—as detailed on the Shawl Anderson website—for those intimately connected with SADC, the desire is to remember Victor in his entirety, especially his enduring relationship with the Bay Area dance scene and the countless dancers whose lives he touched. This exploration seeks to pay homage to Victor’s profound impact, celebrating his life and the enduring spirit of Victor Dance he fostered.
Victor Anderson portrait at Shawl Anderson Dance Center
Even in the years after Victor stepped back from his daily studio routines in 2011, his presence remained palpable at SADC. Many recall seeing him standing sentinel behind the desk in the early mornings, a figure of calm amidst the burgeoning energy of the dance center. This quiet strength, this serene watchfulness, became as much a part of SADC as the sprung floors and barre walls. Victor embodied a quiet fire, a deep passion for dance that manifested not in grand pronouncements, but in a steady, nurturing presence that continues to resonate within the walls of the dance center he helped build.
The Heart of SADC: Community in Every Step
When Victor’s health began to decline about six years prior to his passing, the SADC community rallied around him, a testament to the very values he and Frank Shawl instilled in the center. Rather than a traditional biographical account, this remembrance gathers voices from the SADC community, allowing them to share their personal memories of Victor as a dancer, teacher, and friend. This collective approach feels most fitting, as Victor and Frank’s creation was, at its heart, a community endeavor. The following reflections represent just a small fraction of the outpouring of love and respect for Victor, a man whose life’s work was deeply intertwined with the joy and discipline of victor dance.
Frank Shawl, Victor’s co-founder, poignantly captured the essence of their shared journey:
It wasn’t always a smooth ride, but, as I said to Victor the day before he died, we would never have done it alone. I wouldn’t have done it alone, and you wouldn’t have done it alone. It took the two of us to start this place and it’s such a marvelous school, it’s developed so many people as teachers, choreographers, administrators. And just the joy of dancing, all ages, preschool to seniors. It’s part of the community. What more can you ask for? — Frank Shawl
This sentiment of shared creation and community impact is a recurring theme in memories of Victor, underscoring the collaborative spirit at the core of his approach to victor dance and life.
Finding Joy in the Journey: Victor’s Teaching Philosophy
Victor’s journey in dance was not without its moments of doubt. Rebecca Johnson, SADC Executive Director, recounts a pivotal moment in Victor’s early career:
Victor told me that he thought about quitting dance when he was on tour with Call Me Madam [cast by Jerome Robbins in 1950] because when he would stop in places on tour and take local classes, he saw a competitive attitude that he didn’t like. And then he found May O’Donnell through a burlesque dancer with whom he was taking ballet class. Victor was in awe of the loving community spirit that May created. He would reflect on how May’s co-teacher, Getrude Sherr, would say, “Victor, the people that want the competition and the backstab- bing, they don’t stay here because they don’t nd that here.” This kind of supportive community changed Victor’s dance life and is, to me, what Victor and Frank implicitly built into SADC, and what we’re trying to make explicit and cultivate each day. — Rebecca Johnson, SADC Executive Director
This experience with May O’Donnell clearly shaped Victor’s philosophy, emphasizing a supportive and nurturing environment over cutthroat competition. This ethos became a cornerstone of SADC and reflected in Victor’s approach to teaching and fostering victor dance.
Jill Randall, SADC Artistic Director, highlights Victor’s deep respect for the art of teaching itself:
Victor took so much pride in really good teaching. Even in the last few months of his life, he would like to hear about whose class I took and how they crafted the class. He was so proud of SADC’s commitment to the craft of teaching. And he was so humble! When we were getting ready for the SADC 50th anniversary, I found the program where he performed with Ruth St. Denis at Carnegie Hall. I was amazed at the thought of him touching history, but he just said, “Oh there it is! Yes, I performed with Ruth St. Denis.” — Jill Randall, SADC Artistic Director
Victor’s humility, juxtaposed with his remarkable accomplishments, speaks volumes about his character. He was deeply invested in the quality of instruction at SADC, viewing teaching as a vital and respected craft within the world of victor dance.
Beyond the Studio: Victor’s Appreciation for Life and Art
Ruth Bossieux, a friend and dancer, recalls Victor’s broader artistic sensibilities:
Victor was accomplished enough when he was 18 to decide to become a pianist or a dancer. That was a pivotal time for him and I’m so glad he went towards dance. He loved living in the apartment on Florio Street [built from lumber from the 1939 World’s Fair on Treasure Island, which Victor attended] and looking down on the garden. I have the most abiding tender memories of him. — Ruth Bossieux, Friend and Dancer
This glimpse into Victor’s early life reveals a man with diverse artistic talents and a deep appreciation for beauty, whether in music, dance, or the simple pleasure of a garden view. This holistic appreciation enriched his understanding and practice of victor dance.
Nina Haft, SADC Faculty, shares a story that connects Victor to the very physical space of SADC:
SADC is located on Alcatraz Avenue in Berkeley in a house that used to be a private home. But it started above the liquor store across the street. Victor once told me about how he would look out the window and see a little boy playing the harp in the living room, what is now studio 4. The boy would wave at Victor and Victor would wave back. Years later, that little boy came back to the studio and said, “I used to live in this house. I heard that the people who moved in here were from across the street.” When I was working on a site-specific piece at SADC about how the center had been a private home, I set up studio 4 as a living room. This is what Victor wanted me to know about the building. — Nina Haft, SADC Faculty
This anecdote beautifully illustrates Victor’s connection to SADC’s location and its history, embedding his personal narrative within the physical space where victor dance flourished.
A Generous Spirit and Keen Attention
Ann DiFruscia, SADC Board Vice President, remembers Victor’s remarkable attentiveness:
There is so much to say and acknowledge about Victor—how he fully embraced life’s offerings, never taking one moment of visits with friends for granted, while completely giving his entire attention to every word spoken, as though it might be the last time. I always found his attention and engagement astonishing and quenching. It was at once simple and profoundly generous. — Ann DiFruscia, SADC Board Vice President
Victor’s ability to be fully present, to offer undivided attention, is a testament to his generous spirit and deep respect for human connection, qualities that undoubtedly informed his approach to victor dance and community building.
Steve Siegelman, SADC Board President, recalls Victor’s musicality and personal preferences:
Victor was a great beginning ballet teacher because his combinations were spare and simple, accompanied only by the sound of a beating drum. But he also had an unusually deep capacity for feeling music and being moved by it. He would listen to the Met opera broadcast every Saturday, though he had no tolerance for contemporary takes on classic operas. About one Rigoletto telecast, he told me, “It was set in Las Vegas…in a casino! I just turned the picture off and listened to the music.” — Steve Siegelman, SADC Board President
Victor’s use of drums in ballet class and his passion for opera highlight his deep connection to music and rhythm, integral elements of victor dance. His strong opinions, even about opera stagings, reveal a man with discerning taste and a clear sense of artistic integrity.
Frugality and Humor: Everyday Wisdom
Katie Kruger, SADC Youth Program Director, shares a practical yet telling memory:
Victor used to split a bar of soap and put one half in the upstairs bathroom and one in the downstairs bathroom. He did this to make sure we didn’t go over budget. And that frugality is in part why SADC is still here. Whenever I think of Victor, I think of that half bar of soap upstairs. — Katie Kruger, SADC Youth Program Director
This seemingly small detail reveals Victor’s pragmatic nature and his commitment to the long-term sustainability of SADC. His frugality, in even the smallest matters, contributed to the enduring legacy of victor dance at the center.
Abigail Hosein, SADC Administrative Director, offers a humorous anecdote:
I love the story about Country Joe [McDonald, of Country Joe and the Fish], who lived next door to the studio. He was famous for his super long curly hair. Victor had always had really short, cropped hair, but at some point he had decided to grow it out. Meanwhile, Country Joe got a haircut. One day, they passed each other in the street. They nodded at each other in acknowledgment of the fact that they had switched haircuts. — Abigail Hosein, SADC Administrative Director
This lighthearted story reveals Victor’s sense of humor and his ability to connect with people in unexpected ways, even through a silent acknowledgment of swapped hairstyles with a famous neighbor. This human touch was part of his charm and his approach to victor dance.
Uncompromising Integrity and Lasting Impact
Juliana Monin, SADC Faculty, admired Victor’s strong moral compass:
Victor seemed to always have such a strong sense of self and never let this be compromised. He had recently told me about auditioning for, I believe, Agnes De Mille’s company, and finding her so pompous that during the audition he decided he didn’t want the job. I’m so impressed by his strong moral compass. It seems like he always stayed true to what felt supportive and right for him. I can’t imagine living like that and wish I had an ounce of his courage to do so. — Juliana Monin, SADC Faculty
Victor’s willingness to walk away from a prestigious opportunity because it didn’t align with his values speaks to his unwavering integrity and self-respect. This commitment to his principles undoubtedly influenced his leadership and the values he instilled in SADC and the practice of victor dance there.
Claire Sheridan, Founder of the LEAP Program at St. Mary’s College, reflects on Victor’s teaching approach and calming influence:
I first started coming to SADC in 1972. Victor used a modern approach to ballet technique. He always offered a calming presence and that’s important for the frenetic energy that can be in a dance studio. As a teacher he wanted us to get rid of the grunting, to not force it, and the energy was good in the room so you didn’t have to force it. He gave me perspective on why we’re doing all this training: there’s a life flow, a love, an energy, a beauty in it, as opposed to how high is my extension, how high can I jump. — Claire Sheridan, Founder of the LEAP Program at St. Mary’s College
Victor’s modern ballet technique, combined with his calming presence, created a unique and valuable learning environment. He emphasized the deeper purpose of dance, moving beyond technical perfection to embrace the “life flow, love, energy, and beauty” inherent in victor dance.
Kimiko Guthrie, Co-Founder and Co-Artistic Director of Dandelion Dancetheater, vividly remembers Victor’s unique teaching style:
Taking his class as a teenager: his beginning Ballet class was the hardest ballet class I’d ever taken because it was soooo daaaamnnn sloooow — with his round, soft voice and his round, strong drum keeping time as he wandered around the class, “and- a-one, and-a-two, and-a-three, and-a-four….” The slow developes were torture, made you so strong and deeply focused and were, now that I think about it, transcendent. Once he stopped teaching: seeing him at the studio behind the desk every morning after his own solo ballet barre, chatting with him on my way to class about things like Buddhism, the importance of quiet, walks in nature. His warm, impish smile, hands clasped behind his back, like he knew the joyous secret to solitude and peaceful reflection. — Kimiko Guthrie, Co-Founder and Co-Artistic Director, Dandelion Dancetheater
Victor’s slow, deliberate teaching style, using the drum to mark time, was both challenging and transformative. His presence even after retiring from teaching, engaging in conversations about life’s deeper questions, reflects his continuous mentorship and embodiment of victor dance as a holistic practice.
Valerie Gutwirth, SADC Faculty, beautifully summarizes the enduring legacy of Victor and Frank:
Today [the day after Victor died] the house was open, to love and to grief, to memory and always, always to dancing. All of us who gathered, in body and in spirit, by email and phone call and text message, working to share our love and our art, dancing today in the midst of our grief, expressing our gratitude for him and for each other, embodied Victor’s legacy. Victor and Frank taught us to be rigorous with that love, to be open-hearted with ourselves in our work, to see ourselves — teachers, students, artists — as part of an interconnected, loving, laboring, and loving-to-labor system of dance, and of artistic inquiry. — Valerie Gutwirth, SADC Faculty
In conclusion, Victor Anderson’s legacy extends far beyond steps and choreography. It is woven into the very fabric of the Shawl Anderson Dance Center, a testament to his vision of community, dedication to teaching, and profound love for dance. His “victor dance” is not just a style, but an ethos – one of quiet strength, unwavering integrity, and a deep belief in the power of dance to enrich lives. To honor Victor’s memory and ensure his vision continues to inspire future generations of dancers, please consider donating to the Victor V. Anderson Scholarship Fund at Shawl Anderson Dance Center, and help perpetuate the joy of victor dance.
Please consider donating to the Victor V. Anderson Scholarship Fund at Shawl Anderson Dance Center to help continue Victor’s project to share the joy of dance with future generations.
Sima Belmar, Ph.D., is a Lecturer in the Department of Theater, Dance, & Performance Studies at the University of California, Berkeley. She is ODC Writer in Residence and host of the new podcast Dance Cast. She has been writing the “In Practice” column for In Dance since 2017. To keep up with Sima’s writing please subscribe to tinyletter.com/simabelmar.
