Jan 162025
 

Professional dancer Carla Manger (the name she was known by in Mexico) was born in Wattenscheid, Germany, on 7 August 1914. Her birth name was Carla Marie Windeler. After completing the equivalent of high school in Bochum, she danced in Oldenburg, Bielefeld and Stetin, before studying and dancing for three years at the Folk Arts School (Volsartschule) at Essen.

Carla, who also studied with noted German dance instructors Mary Wigman and Harold Kreutzberg, became an accomplished performer not only of classical ballet, but also modern dance and Russian, Polish, Hungarian and Spanish folk dances. During World War Two, she spent five years dancing professionally in Germany and Poland, including a lengthy spell at the Staats Theatre in Kraków, Poland. (Many years later, Howard Fryer, who lived near Carla Manger in her final years, claimed to have heard that “she was one of Hitler’s favourites and danced for him on numerous occasions.”)

Near the end of the war, Carla returned to Germany and later opened a  studio and ballet school in Hameln-Weser (Hamlin). She and a dance partner ran the school and gave many performances in West Germany for nine years until she decided to leave Germany for the U.S. She arrived (unaccompanied) in the U.S. as “Carla Luecke” on 7 April 1955. Her first husband, Carl Frank Luecke (1902-1985), had moved to Los Angeles, California, decades earlier.

Carla Manger, 1958. (Credit: Wichita Falls Times, 29 June 1958)

Carla Manger, 1958. (Credit: Wichita Falls Times, 29 June 1958)

After working briefly as a housekeeper in Port Jervis, New York, Carla moved to Wichita Falls, Texas, in 1956, where she became a dance instructor at Gross School of Fine Arts in Wichita Falls, Texas.

Two years later, in 1958, she bought the Betty Jeane Studio of Dancing in Tucson, Arizona, filed for divorce from Luecke, reverted to her maiden name of Carla Windeler, and renamed the studio the Carla Windeler Dance Studio. An advertisement for a dance performance in 1961 by her students described their director as “Carla Windeler, former Ballerina of European Opera.”

The Wichita Falls Times published a story by Carla in 1957 about the “bell clock” ( a kind of alarm clock), she had been given by her brother in 1939 at the start of her professional career. Carla had taken it everywhere, and described how it woke her at 2.00am one day in 1943, so she could hurry to the station to meet a Red Cross train carrying her younger brother, wounded in war, who was en route back from the front to a hospital.

In 1944, Carla was in Kraków, Poland, when the Russians arrived. She and many others fled. It took Carla four months to finally reach her family home in Bochum, which was bombed and destroyed shortly afterwards. Suddenly, under the rubble, the clock rang! Carla dug it out, but the glass was smashed; her father fashioned a replacement out of a broken window. After the war ended in May 1945, Carla took the clock with her to Hameln. Not long after she arrived in the U.S., the clock was “so tired” it stopped working. Luckily, an expert in Wichita Falls was able to restore the movement without damaging the polished window glass, which was Carla’s last link to her family home.

In about 1963, Carla married Henry Kinast Manger. Henry, born in Newark, New Jersey, in 1904, had divorced his previous wife, Helen, in 1962, after five years of marriage, on the grounds of cruelty.

After moving to Jocotepec, Henry Manger is known to have helped archaeologists Clement Meighan and Len Foote during their excavations at Tizapán el Alto on the southern shore of Lake Chapala. He also donated land for a school in Nextipac, on the eastern outskirts of Jocotepec, and organized local parents to build a school and a house for the teachers. These plans continued even after Henry Manger’s unfortunate death in a Guadalajara hospital on 15 June 1968. According to local teacher Manuel Flores Jimènez, in appreciation of Manger’s generosity, the school had a bust of Manger on prominent display for many years.

With help from well-wishers, Carla was able to install, doors and bathrooms in the school by 1970, and bought school uniforms. That year she arranged a Christmas party for 175 boys and girls, despite having only just been discharged from a stay in hospital.

Carla also gave free dancing lessons to local children; some 80 youngsters were participating in 1970. Iin addition, she ran exercise ballet classes, and gave ballet classes at the Chula Vista Country Club.

Carla Manger. c 1988. Mercado en la plaza.

Carla Manger. c 1988. Mercado en la plaza.

The Nextipac school (now the Escuela Primaria 15 de Mayo) continued to thrive and expand. In 1976, Henry Manger Jr. raised funds in the US for the cement, tiles and gravel needed to build a 6th Grade classroom, helping to ensure that Nextipac children could complete their primary school years without having to leave their barrio.

At least three of Carla Manger’s paintings of Jocotepec were chosen by Joan Frost for reproduction as Amigos de Salud greetings cards: a street scene and a view of La Quinta (Los Naranjitos), both dated 1982, and an open-air market on the plaza.

Carla was one of numerous Lakeside artists whose work was included in a group show titled “Pintores de la Ribera” at Club Campestre La Hacienda (mid-way between Guadalajara and Chapala) in May 1985. Other artists showing on this occasion were Daphne Aluta, Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, B. R. Kline, Jo Kreig, Carla W. Manger, Emily Meeker, Sydney Moehlman, Xavier Pérez; Tiu Pessa, De Nyse Turner Pinkerton and Eleanor Smart.

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Sources

  • Arizona Republic: 6 May 1961, 12.
  • Tucson Daily Citizen: 21 April 1961.
  • Wichita Falls Times: 26 Aug 1956; 23 Sep 1956; 14 Apr 1957, 52; 20 Mar 1958.
  • The News (Paterson, New Jersey): 16 Oct 1962, 32.
  • Howard Fryer. 2010. El Nitty-Gritty.
  • El Informador: 4 May 1985.
  • Guadalajara Reporter: 30 July 1966; 28 Feb 1970; 25 Mar 1972; 26 Jun 1976, 21.
  • Clement Woodward Meighan and Leonard J. Foote. 1968. Excavations at Tizapan El Alto: Jalisco. University of California.

Comments, corrections and additional material are welcome, whether via comments or email.

Feb 152018
 

Newcomers to the village of Ajijic will not necessarily have heard of Zara Alexeyewa, (known popularly as “La Rusa” – “The Russian”), one of the village’s most distinguished long-term foreign residents, and one still remembered affectionately by the entire community, Mexican and non-Mexican. Everyone who knew her has their favorite anecdote about this iron-willed lady who would gallop her horse through the narrow streets, hooves clattering on the cobblestones, cloak billowing in the wind.

When La Nueva Posada opened in 1990, its dining room was named “La Rusa” in honor of Zara, who had passed away the previous year at the age of 92. Zara’s incomparable contribution to Ajijic life over more than sixty years was focused on the welfare of children and the conservation of Lake Chapala.

Zara Alexeyewa Khyva St. Albans (her formal name in Mexico) lived out a very full and dramatic life – from the moment she set foot on the stage on Broadway as a teenager, until her eventual death in Ajijic in 1989. Objectivity was not, however, always one of her strong points, and piecing together the truth behind the legend can be difficult. In her enthralling autobiographical book, Quilocho and the Dancing Stars, which certainly contains fiction alongside fact, Zara weaves some wonderful tales about her ballet career interspersed with an account of the life of a Mexican friend and supporter, Enrique Retolaza, who (according to the book) had been the youngest officer of Pancho Villa.

In reality, Zara was no more Russian than most native New Yorkers, having been born in that city in 1896. After making an early impression as an actress on the New York stage, twice being featured on the cover of the Dramatic Mirror, and playing lead roles in several Shakespearean productions (as Juliet, Portia, and Ophelia among others), she decided, in the wake of the Great War, to go to Europe. She had attended dancing classes from age six, and in Europe she began a new career as a ballerina. She performed her own ballet, “The Red Terror”, based on a poem by Leonid Andreyev, with a musical arrangement which had been worked on by her mother, organist Charlotte Welles.

"Khyva St. Albans". White Studios. 1915.

“Khyva St. Albans”. White Studios. 1915.

While in Europe, Zara met a young Danish dancer, Holger Mehnen, and the two remained inseparable dancing partners until his untimely death in Guadalajara in 1944. Zara and Holger gave numerous performances of “The Red Terror” around the world, playing to packed houses in Europe, South America, the U.S., and in Mexico.

In 1926-27, they were engaged by the Philadelphia Opera Company as directors of ballet, and presented an unusual Egyptian ballet, called AIDA. They also choreographed and performed “The Black Swan and the White Lilly”.

While contemporary newspaper accounts speak of “the two geniuses of Dance of the ex-Court of Russia”, “dancers of the imperial court of Nicolas II and of King Constantine of Greece”, and the like, it is probable that the nearest either dancer got to those places was Budapest in Hungary, where they gave one of their many standing-room-only performances.

They first performed in the Degollado Theatre in Guadalajara in January 1925, by which time they had decided to take a prolonged vacation at Lake Chapala, living initially at the Villa Reynera in Chapala. In about 1940, they moved to Ajijic.

Degollado Theater program, 1936.

Zara and Holger. Degollado Theater program, 1936.

Zara seems always to have had the knack of leaving indelible first impressions on people she met.

The American artist Everett Gee Jackson, who resided in Chapala for several years in the 1920s, in Burros and Paintbrushes, his entertaining account of his time in Mexico wrote that, when he and his friend Lowelito first arrived in Chapala, they “did not see any other Americans. The two Russians who lived in the house with the bats were the only other non-Mexicans in the village, as far as we knew.” These two “Russians” were, of course, Zara and Holger.

Not long afterwards, Jackson had a much closer encounter with Zara:

“I set up my easel… because the place was… mysterious and magical… with the lazy hogs asleep in the shadows. I was lost in what I was doing, but, suddenly, to my surprise, all the hogs began to shuffle to their feet and move off the road… grunting ferociously. Then I heard a sound like thunder behind me. But it was not thunder. It was that Russian woman riding at full gallop on a dark horse, and she was coming right at me. She knocked my easel over but missed me… She never slowed down but kept galloping at full speed down the road.”

Another of Ajijic’s marvelous characters, Iona Kupiec, who lived for decades in the village, also remembered her first meeting with Zara. Iona was staying in the Posada Ajijic in 1962, having only just arrived in the village. The next morning, she met Zara:

“While I was standing there entranced with the loveliness of everything, what should I see suddenly appearing in front of me from around a bend in the road but a beautiful woman wearing a big red velvet, gold-embroidered charro sombrero with a red, satin, high-necked Russian blouse with a gold dragon embroidered on it from the belt up to the collar, black culottes, with red leather boots, riding a black satin horse which reared up on its hind legs when she suddenly tightened the reins. I was stunned!”

Iona agreed to rent a cottage from Zara. In order to sign the contract, she followed Zara (still on her horse) “through more than a thousand square feet of garden, with glorious eucalyptus trees standing like stately monarchs, countless other fruit and flowering trees, and vast blooms from all kinds of bushes and shrubs – so much color and beauty, and even cool perfumed air!”

Zara’s house was full of mementos from her theater and ballet days, full length oils portraying her and her “brother,” Holger, in their dancing costumes, gilded-framed portraits from her New York theater appearances, photographs, figurines, books, “a veritable art museum in one, very large, elegantly furnished, parlor”.

Zara’s energies were undiminished as she approached her eighties and she insisted on reviving her ballet career for several performances, including a memorable farewell show in the Degollado Theatre in Guadalajara.

She also continued to ride daily until well into her eighties, and was a popular and much-loved figure as, astride her horse, she rode through the streets of Ajijic. This remarkable woman, perhaps the only person ever to reach stardom as an actress under one name (Khyva St. Albans) and as a dancer under another (Ayenara Zara Alexeyewa) is one of the more extraordinary characters ever to have lived in Ajijic.

Notes

A much more detailed account of Zara’s life can be found in chapters 4, 5, 22, 33 and 44 of my Foreign Footprints in Ajijic: Decades of Change in a Mexican Village (2022).

This post is a lightly edited version of my article about Zara, originally published in The Chapala Riviera Guide in 1990. It is no coincidence that a photo of the Villa Reynera, where Zara first stayed in 1924, appears on the front cover of my Lake Chapala through the Ages, an anthology of travelers’ tales.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Acknowledgment:

This article could never have been written (back in 1990) without the help of long-time Ajijic residents Laura Bateman and Iona Kupiec, both of whom have since passed on to a higher world.