“Following the Baroness de Rothschild’s leaving, the Company’s economic and organizational state deteriorated, her donations and enthusiasm stopped, and were directed towards Bat-Dor Dance Company. The dancers’ moral was low, and the salaries were also in danger. At the time I was the Accountant General at the Ministry of Finance and Lea Porath brought me in to arrange the Company’s activities. Alongside the organisational and financial weaknesses the company also had many valuable assets: excellent dances (by Martha Graham and others), ardent dancers and a loyal audience. As a result, many performances were held, especially in the periphery, organised by Tarbut La’am. Following the hard work the dancers took upon themselves in Israel, the financial condition improved and made possible a London tour which was a moral, artistic, and financial success [July-August 1978]. With the help of the Ministry of Education’s Public Council of Culture and Art, the State’s support as well as that of several donors (especially Clal) reached 35%, the rest financed by ticket revenue and advertising. The dancers’ direct salary didn’t rise, but the social conditions improved and we managed to settle their pension. They felt they were being taken care of. The professional-artistic force that led the Company to its successes were Artistic Director Paul Sanasardo, and dancers Rena Gluck, Rina Schenfeld and Rahamim Ron. Of course there were tensions between the dancers, it’s always like that with artists, at least the ones I’ve known in my life.”
Yoram Ravin, Chairman of the Trustees, 1975-1978