The Project Gutenberg eBook of The Dance: Its Place in Art and Life
Title: The Dance: Its Place in Art and Life
Author: Troy Kinney
Margaret West Kinney
Release date: September 26, 2015 [eBook #50056]
Most recently updated: October 22, 2024
Language: English
Credits: Produced by David Edwards, Chuck Greif and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
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Some typographical errors have been corrected; a list follows the text. List of Illustrations Bibliography (etext transcriber's note) |
The Dance
THE DANCE
ITS PLACE IN ART AND LIFE
BY
TROY AND MARGARET WEST KINNEY
(“THE KINNEYS”)
With a frontispiece in colour and one hundred and seventy-six line
drawings and diagrams by the authors, and three hundred
and thirty-four illustrations in black-and-white
from photographs
NEW YORK
FREDERICK A. STOKES COMPANY
MCMXIV
COPYRIGHT, 1914, BY
FREDERICK A. STOKES COMPANY
All rights reserved, including
that of translation into
foreign languages
THE·PLIMPTON·PRESS
NORWOOD·MASS·U·S·A
To
A FELLOW-ENTHUSIAST
J. T. W.
WITH APPRECIATION
PREFACE
The pleasant responsibility of writing about one of our two overwhelming enthusiasms was accepted by us only after consultation with friends in the dancing profession.
“A book of technical instruction is not the idea,” we started to explain.
“No,” they concurred, “that would not be an undertaking for painters. Only an experienced master of dancing should write such a book, and he would not be likely to, because he would know that execution is taught only by personal criticism of a pupil’s work.”
We hastened to specify that the proposal involved no more—and no less—than an effort to share our enthusiasm with others. Appreciation of an art requires no faculties not included in the normal human equipment; more than anything else it is a matter of knowing what to look for. When a layman comes to a painter asking what it is that people find so enjoyable in classic mural decoration, the answer is not difficult. A few hours in an art museum, with some direction of his attention to line as a vehicle of beauty, acquaint him with the idea of beauty as a self-sufficient object; and he goes on his way rejoicing in the possession of a lasting process of making happiness for himself.
Great dancing, to us, always had been a gratification of the same senses that are addressed by decoration. The same suggestions, therefore, that convey the power to enjoy classic mural painting, would enable us to communicate our satisfaction in the dance. But the question arose, was our point of view on dancing in accord with its real intent, and that of its performers and composers?
Madame Cavallazi disposed of the doubt at one stroke. “The ballet,” she said, “is mural decoration.”
Sanctioned by such authority, we have followed the lines above indicated, treating the dance from the standpoint of pure optical beauty. Its enjoyment, experience proves, is distinctly sharpened by acquaintance with choreographic technique. One not fairly familiar with the resources of the art, though he be conscious that the dance before his eyes is progressing, like music, in conformity with an artistic argument, is confused by the speed and seeming intricacy of steps. As a result he loses the greater part of the beauty of the succession of pictures unfolded before him. Whereas the ability to grasp the theme of a composition, and then to follow its elaboration through a vocabulary of already familiar steps, is in effect to quicken the vision. Instead of being harassed by a sensation of scrambling to keep up with the argument, the spectator finds himself with abundant time to luxuriate in every movement, every posture. And, like a connoisseur of any other art, he sees a thousand beauties unnoticed by the untrained.
To the end of furnishing the needed acquaintance with the alphabet of the art, the book includes a chapter of explanation of the salient steps of the ballet. These steps, with superficial variations and additions, form the basis also of all natural or “character” dances that can lay claim to any consideration as interpretative art. It is convenient to learn the theories of them as accepted by the great ballet academies, since those institutions alone have defined them clearly, and brought to perfection the ideals for their execution. Incidentally the school of the ballet is made the subject of considerable attention. In the first place, after getting a grasp of its ideals and intent, any one will catch the sentiment of a folk-dance in a moment. Moreover, it is in itself an important institution. During its long history it has undergone several periods of retirement from public attention, the most recent beginning about sixty years ago. From this eclipse it has already returned to the delighted gaze of Europe; as always after its absences, so far evolved beyond the standards within the memory of living men that posterity seems to have been robbed of the chance of discovering anything further. The renaissance is moving westward from St. Petersburg; London is wholly under its influence; America has felt a touch of it.
American love of animated beauty and delight in skill predestine us to be a race of ardent enthusiasts over the dance. Among us, however, there are many who have never accepted it as an art worthy of serious attention. As a gentle answer to that point of view, a historical résumé is included, wherein statesmen, philosophers and monarchs show the high respect in which the art has been held, save in occasional lapses, in all periods of civilised history.
Direct practical instruction is furnished on the subject of present-day ballroom dancing, to the extent of clear and exact directions for the performance of steps now fashionable in Europe and America. The chapter was prepared under the careful supervision of Mr. John Murray Anderson.
Neither in word nor picture does the book contain any statement not based upon the authors’ personal knowledge, or choreographic writings of unquestioned authority, or the word of dancers or ballet-masters of the utmost reliability. To these artists and to certain managers we are greatly indebted. Much of the matter has never before been printed in English; a considerable portion of it has here its first publication in any language. The illustrations of dances of modern times are made from artists in the very front rank of their respective lines. If the new material so contributed to choreographic literature proves, according to the belief of dancers who have read the manuscript, to be of value to producers, the authors will experience the gratification that comes of having been of service. But their efforts will be more directly repaid if the influence of the book hastens by a day that insistence upon a high choreographic ideal in America, and that unification of dance-lovers which must exist in order that worthy productions may be reasonably insured of recognition in proportion to their quality.
Finally, a word of thanks to those whose aid has made this book possible. Though busy, as successful people always are, they have given time and thought unsparingly to the effort, in co-operation with the authors, to make this a substantial addition to the layman’s understanding of the dancing art.
T. K. and M. W. K.
New York, November, 1913.
CONTENTS
| CHAPTER | PAGE | |
| I. The Dancing of Ancient Egypt and Greece | 3 | |
The dance a primitive emotional expression. Importance in Egyptian religious ritual. Biblical allusions. Its high place in Greek civilisation. Origin attributed to the gods. Employed in observances religious, civic, and private. Practice decreed by Lycurgus for military discipline and cultivation of national stamina. A feature of Plato’s “Ideal Republic.” Ballet in drama. Interacting influence between dance and sculpture. | ||
| II. Dancing in Rome | 22 | |
Simplicity of early Roman taste and manners enforced by poverty. Vulgarity with riches. Degeneration of dancing with other arts, under Empire. Acrobatics, obscenity. Ballet pantomime. Pylades and Bathyllus. | ||
| III. The Middle Ages and the Renaissance | 29 | |
The Christian Church lifts dance from degradation. Ballet d’action in ritual of worship. A cause of disagreements between ecclesiastical dignitaries. The Seises of Seville Cathedral preservers of dance in religious service. Moralities, etc. Mechanical effects. Ambulatory ballets. | ||
Rebirth of polite society; the masque. Cardinal Riario. Catherine de Medici, direct influence toward modern ballet. Elizabeth of England. Richelieu, composer. Louis XIV, ballet performer, founder of national academy. | ||
Dawn of stars. Sallé. Prévost. Camargo. New standards. Expression. New steps added to those derived from old dances: Gavotte, Minuet, Pavane, Saraband, Tordion, Bourrée, Passecaille, Passepied, Chaconne, Volte, Allemande, Gaillarde, and Courante. Their formality; illustrations. | ||
| IV. A Glance at the Ballet’s Technique | 59 | |
Visual music: dance steps are notes, an enchainement is a phrase, a dance-composition is a song, the ballet is an orchestra. Ballet dancing, as such, not based on imitation of nature; a convention, analogous to ornamental decoration. Intent: perfect beauty of line and rhythm; abstract qualities exploited. Importance of pantomime unsettled. | ||
Ballet dancing can be seen intelligently only by aid of acquaintance with elemental steps. Fundamental positions of feet and hands. Gliding steps: chassé, échappé, coupé, etc. Battements, grand, petit. Changement. Entrechat. Brisé. Balloné. Enchainements. Pas de Bourrée, pas de Basque. | ||
Turns and pirouettes. Rond de jambe. Fouetté. Sur le cou-de-pied; en l’air. Renversé. En arabesque, etc. Optical illusions. | ||
Phrasing. Theme. Motive. | ||
Standards of form. Exactness. Beneficial relaxation of formality; results of unguided emancipation. | ||
| V. The Golden Age of Dancing | 100 | |
Early eighteenth century finds ballet profiting by many favourable influences. Royal patronage. Public enthusiasm and discernment. Great-minded artists in co-operation. Fortunate accidents. The Vestris, father and son. Noverre, “the Shakespeare of the dance.” Boucher, designer of stage decoration. Gluck. Costuming. | ||
Rivalries of Camargo and Sallé; Allard and Guimard. Coterie of great performers. French Revolution. | ||
Dance resumed with return of peace. An ambassador as impresario. Public controversy and enthusiasm over Taglioni and Ellsler; opposites; none to replace them; singing supersedes dancing in opera. | ||
| VI. Spanish Dancing | 121 | |
Gaditanae in Roman literature. Spanish dancing resists Roman corruption, Gothic brutality. Favouring influence of Moors. Attitude of the Church. Public taste and discrimination. | ||
Two schools, Flamenco (Gipsy origin) and Classic. The Gipsy. La Farruca, el Tango, el Garrotin; distinct character. Costume. Classic: Seguidillas family. Las Sevillanas; general character. The Fandango rarely seen. La Malagueña y el Torero. Las Malagueñas. The Bolero. Castanets. Los Panaderos. The Jota of Aragon, character, costume, etc. Other dances. | ||
| VII. Italian Dances | 156 | |
The Forlana of Venice: Harlequin, Columbine, Dr. Pantalone. Pantomime and tableaux. The Tarantella, character, costume. The Ciociara of Romagna. Italian fondness for pantomime. The Saltarello. La Siciliana, la Ruggera, la Trescona, etc. | ||
| VIII. European Folk-Dancing in General | 164 | |
Folk-dancing an expression of social conditions. Scotch nationalism. The Sword Dance; the Highland Fling; the Scotch Reel. Motives, basic steps. Reel of Tulloch. The Shean Treuse. England: Sailor’s Hornpipe. Morris Dances. Recent revival of old dances. Ireland: Jig, Reel and Hornpipe. Intent, steps, devices of tempo. Irish festivals; Gaelic League. Sweden: recent revival of old dances. The Skralât; Kadriljs. The Vafva Vadna; the Daldans. Holland: the Mâtelot. France: la Bourrée, la Farandole. Specimen freak dances: the Perchtentanz, the Bacchu-ber. The Schuhplatteltanz of Bavaria. Balkan region: the Kolo. Degeneration of dancing in Greece. Russia: Cossack Dance, Court Dance. Slavonic character and steps: the Czardás; the Mazurka; the Szoló; the Obertass. Temperament. | ||
| IX. Oriental Dancing | 196 | |
Symbolism, decoration, pantomime, story in the dance. Sensational mismanagement in Occidental countries. Mimetic dancing a substitute for newspapers. The Dance of Greeting; welcome, blessings, etc. Structure of Arabic choreography. Handkerchief Dance of Cafés; candour. Flour Dance. Popular narrative dances. Fantasia of Bedoui; religious outbreaks. Dancing for tourists; the Almées. Dance, Awakening of the Soul. Animate sculpture. Oriental technique. Sword Dance of Turkey. Dervishes. Lezginkà of the Caucasus. Ruth St. Denis; Nautch; Spirit of Incense; the Temple; the Five Senses. Antiquity; carvings in India and Java. Hula-Hula of Hawaii. Priestesses trained for religious dancing. Japan: dancing for all occasions. Abstractness of symbols. Dances of war. | ||
| X. The Ballet in its Dark Age | 228 | |
Sterilisation of ballet by struggle for technical virtuosity. Ballet in opera. Vulgarisms and counterfeits: the Can-Can; contortion; high kicking; skirt-dancing; insipid prettiness. A revival of good work; falsifications of it. Loie Fuller, silk scarf, electric lights. Serpentine and Fire dances. Imitators. World’s Fair of 1893; stigma on Oriental dancing. One class of managers. Obscure preparation of a new force. | ||
| XI. The Romantic Revolution | 241 | |
Isadora Duncan, complete idealist. Her metier. Russia: dissatisfaction with ballet. Duncan in St. Petersburg. Secession from Imperial Academy. The romantic idea; choreography, music, painting united in a radical new school. The Russian ballet. Paris, United States, England. Influence and reception. Management in America. | ||
| XII. The Russian Academy and Its Workings | 257 | |
Selection of pupils. Consecration to work. Contract, obligations after graduation. Advantages to the government. General education. Technical training: Italian ballet technique, music, drawing, acting, pantomime, plastic gymnastics, fencing. Care of health. Age of Academy. Russian ballet as distinguished from French-Italian; law-governed freedom. Addition to emotional scope. Recent ballet pantomimes. | ||
| XIII. Social Dancing of To-day | 269 | |
Revived interest in dancing. New forms of dance suited to the present freedom of individual expression. Rapid changes. The Turkey Trot. New names for slightly altered dances already familiar. The Argentine Tango; significance. Detailed instruction for performance of the One-Step, the Boston, the Hesitation Waltz, the Tango, the Brazilian Maxixe. Tendencies toward revival of old court dances. | ||
| XIV. A Layman’s Estimate of Conditions | 304 | |
Re-establishment of great dancing in the United States; will it take and keep a high plane? Loose standards of judgment. Dependence upon commercial management. Managers; their varied influences. Need of endowed ballet and academy. Difficulties of ballet organisation in the United States. Insufficient training of American ballet dancers. Ballet in operas; unimportance under old traditions, changing standards. Metropolitan and Russian ballet; ground gained and partly lost. Russians under other auspices. Ballet school; impositions upon it. Need of academy with dancing as primary purpose. General organisation; departures from scheme of Russian Academy. | ||
| Bibliography | 323 | |
| Index | 327 | |
ILLUSTRATIONS
| Ballet Pantomime From Pose by Mlle. Louise La Gai | Frontispiece |
| Tanagra Figure | Page 3 |
| Greek Vase Decoration | “ 3 |
| Tanagra Figure | “ 3 |
| Tanagra Figures | Facing Page 4 |
| Greek Ceramics | ““ 5 |
| Greek Vase Decoration | Page 8 |
| Greek Comedy Dancing | “ 9 |
| Statuettes | “ 10 |
| Tanagra (A)—Myrina (B)—Tanagra (C). | |
| Greek Relief Decorations | Facing Page 12 |
| Greek Ceramic Decorations | ““ 13 |
| Statuettes | Page 13 |
| Myrina (A)—Tanagra (B)—Myrina (C). | |
| Dance of Nymphs | “ 17 |
| Tanagra Figures | Facing Page 20 |
| Greek Comedy Dancing | Page 21 |
| Dance of Peasants | “ 36 |
| Ballet of the Four Parts of the World: Entrance of the Grand Khan | “ 41 |
| A Fourteenth Century Ball | “ 46 |
| Seventeenth Century Court Dances | Facing Page 48 |
| The Tordion (1, 2)—The Pavane (3, 4, 5). | |
| Louis XIV and A Courtier in the Ballet of Night | Page 50 |
| Seventeenth Century Court Dances | Facing Page 54 |
| The Saraband (1)—The Allemand (3)—The Minuet (2, 4, 5, 6, 7). | |
| The Gavotte | ““ 55 |
| Mme. Adeline Genée and M. Alexander Volinine | ““ 64 |
| Ballet Robert le Diable (1)—Butterfly Dance (2)—Pierrot and Columbine (3). | |
| Mme. Genée in Historical Re-Creations and M. Volinine | ““ 65 |
| Sallé (1)—The Waltz (2)—Camargo (3)—Guimard (4). | |
| Fundamental Positions of the Feet | Page 66 |
| Positions of the Arms | “ 67 |
| “Glissade” | “ 68 |
| “Assemblé” | “ 69 |
| “Assemblé” and Changement (Floor Plan Diagram) | “ 69 |
| “Jeté” | “ 70 |
| “Jeté” to the Side | “ 71 |
| “Battements” | “ 72 |
| Steps of the “Battement” Type | “ 74 |
| “Fouetté” | “ 75 |
| Start of A “Fouetté Pirouette” | “ 76 |
| “Fouetté Pirouette” (Continued) | “ 77 |
| Optional Finish of a “Fouetté Pirouette” | “ 78 |
| The “Pirouette Sur le Cou-de-Pied” | “ 79 |
| Various “Pirouettes” | “ 80 |
| Beginning of the “Renversé” | “ 82 |
| The “Renversé” (Concluded) | “ 83 |
| Two Forms of “Attitude” | “ 84 |
| Mechanism of Broad Jump | “ 86 |
| Classic Ballet Positions | Facing Page 88 |
| Typical moments in a renversé (1, 2, 3, 4, 5,)—Starting a developpé (6)—Progress of a rond de jambe (7, 8, 9). | |
| Classic Ballet Positions (Continued) | ““ 89 |
| Rond de jambe (10)—Jeté tour (11)—Pas de bourrée (12)—Preparation for a pirouette (13)—Position sur la pointe (14)—A fouetté tour, inward (14)—A cabriole à derrière (16)—Descent from an entrechat (17)—An arabesque (18). | |
| “La Malagueña y el Torero” | ““ 122 |
| Typical “Flamenco” Poses | Page 129 |
| “Flamenco” Poses | “ 133 |
| “Las Sevillanas” | “ 137 |
| “El Bolero” | Facing Page 138 |
| Typical moment in first copla (1)—Finish of a phrase (2). | |
| “La Jota Aragonesa” | ““ 139 |
| Type of movement (1)—Finish of a turn (2)—A pirouette (3)—Kneeling position (4)—Woman’s sitting position (5). | |
| Two Groups in “Las Sevillanas” | Page 140 |
| Groups in “La Malagueña y el Torero” | “ 145 |
| Miscellaneous Spanish Notes | “ 147 |
| Two Groups in “Los Panaderos” | “ 149 |
| Part of the “Jota” of Aragon | “ 152 |
| “La Tarantella” | Facing Page 156 |
| Opening of the dance (1)—A poor collection (2)—They gamble for it (la Morra) (3)—She wins (4)—He wins (5). | |
| “La Tarantella” | ““ 157 |
| An arabesque (1)—Finish of a phrase (2)—Typical moment (3)—Finish of a phrase (4). | |
| “La Tarantella” | ““ 158 |
| Opening of the dance (1)—A turn back-to-back (2)—A pause after rapid foot-work (3)—Characteristic finishes of phrases (4, 5). | |
| “La Forlana” | ““ 159 |
| Doctor Pantalone patronized (1)—Defied (2)—Pleads (3)—Accepts the inevitable (4)—Is ridiculed (5). | |
| “La Ciociara” | ““ 160 |
| Opening promenade (1, 2)—End of promenade (3)—He has “made eyes” at a spectator (4)—Opening of dance (second movement) (5). | |
| “La Ciociara” | ““ 161 |
| Rustic affection (1)—Again caught in perfidy (2)—Tries to make amends (3)—Without success (4)—Removed from temptation (5). | |
| The Scotch Sword Dance | ““ 164 |
| A step over the swords (1, 2)—A jump over the swords (3)—Steps between the swords (4, 5). | |
| The “Scotch Reel” | ““ 165 |
| Use of the Battement (1)—A pirouette (2)—Characteristic style (3, 4)—A turn (5). | |
| The “Shean Treuse” | ““ 168 |
| The promenade (1, 2)—The thematic step (3)—Finish of a phrase (4). | |
| The “Sailor’s Hornpipe” | ““ 169 |
| Look-out (1)—Hoisting sail (2)—Hauling in rope (3)—Rowing (4)—Type of step (5)—Type of step (6)—Hoisting sail (7). | |
| Irish Dances | ““ 174 |
| The Jig (1, 3, 4)—The Hornpipe (2, 5)—The Reel (6, 7, 8). | |
| A “Four-Hand Reel” | ““ 175 |
| Preparation for woman’s turn under arms (1)—Characteristic style (2)—A turning group figure (3). | |
| The “Irish Jig” and Portrait of Patrick J. Long | ““ 178 |
| From Various Folk-Dances | Page 185 |
| The “Schuhplatteltanz” | Facing Page 186 |
| A swing (1)—A turn (2)—A turn, man passing under woman’s arms (3)—A swing, back-to-back (4)—The Mirror (5). | |
| The “Schuhplatteltanz” of Bavaria | ““ 187 |
| Preparing a turn (1)—A lift (2)—Starting woman’s series of turns (3)—Start of woman’s turns (4)—Man fans her along with hands (5)—Finish of dance (6). | |
| The “Kolo” of Servia | ““ 190 |
| Start of a turn (1)—Progress of a turn (2)—A bridge of arms (3)—An emphasis (4)—A lift (5). | |
| Poses from Slavonic Dances | ““ 191 |
| Coquetry (1)—Petulance (2)—Indifference (3)—Emphasis (4)—Jocular defiance (5). | |
| Poses from Slavonic Dances | ““ 192 |
| Negation (1)—Fear (2)—Supplication (3)—An emphasis (4). | |
| Poses from Slavonic Dances | ““ 193 |
| Characteristic gesture (1)—Characteristic step (2)—Characteristic gesture (3)—Characteristic step (4)—Same, another view (5)—Ecstasy (6)—The claim of beauty (7). | |
| Arabian “Dance of Greeting” | ““ 196 |
| Called upon to dance, she reveals herself (1)—Salutation (2)—Profile view of same (3). | |
| Arabian “Dance of Greeting” (Continued) | ““ 197 |
| “For you I will dance” (4)—“From here you will put away care” (5, 8)—“Here you may sleep” (6)—“Here am I” (7). | |
| Arabian “Dance of Greeting” (Continued) | ““ 198 |
| “And should you go afar” (9)—“May you enjoy Allah’s blessing of rain” (10)—“And the earth’s fullness” (11). | |
| Arabian “Dance of Greeting” (Continued) | ““ 199 |
| “May winds refresh you” (12)—“Wherever you go” (13)—“Here is your house” (14)—“Here is peace” (15)—“And your slave” (16). | |
| Arabian “Dance of Mourning” | ““ 200 |
| The body approaches (1)—The body passes (2)—“I hold my sorrow to myself” (3). | |
| Arabian “Dance of Mourning” (Continued) | ““ 201 |
| “He has gone out of the house and up to Heaven” (4)—“Farewell” (5). | |
| Arabian “Dance of Mourning” (Continued) | ““ 202 |
| “He slept in my arms” (6)—“The house is empty” (7)—“Woe is in my heart” (8). | |
| Arab Slave Girl’s Dance | ““ 203 |
| “Handkerchief Dance” of the Cafés | ““ 206 |
| The handkerchiefs symbolizing the lovers are animated with the breath of life, but kept dissociated (1)—Brought into semi-association (2)—Separated and dropped (3). | |
| “Handkerchief Dance” (Continued) | ““ 207 |
| She can dance about, between or away from them, indifferently (4)—Made into panniers, the panniers express her willingness to receive; turned inside out, her willingness to give (5)—One of the two handkerchiefs is thrown to the selected lover (6). | |
| “Dance of the Soul’s Journey” | ““ 210 |
| The soulless body (1)—Asks for the light of life (2)—Vision dawns (3)—Inexpert in life, she walks gropingly (4). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 211 |
| She draws aside the veil of the future (5)—Life is seen full and plenteous (6). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 212 |
| But old age will come (7)—Grief will visit (8)—She shall walk with her nose close to the camel’s foot (9). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 213 |
| Yet now, from the crown of her head (10)—To the soles of her feet she is perfect (11). | |
| Miscellaneous Oriental Notes | Page 215 |
| “Dance of the Soul’s Journey” (Continued) | Facing Page 216 |
| Rejoices in the perfect body (12)—And in all good things (13)—Runs from the scene (14). | |
| Characteristic Pantomime in Dancing of Modern Egypt | ““ 217 |
| Express sorrow (1, 3)—Represents a prayer directed downward and back: i. e., to spirits of evil (2). | |
| “Dance of the Falcon” (Egyptian) | ““ 218 |
| Shock as the bird strikes his quarry (1)—Rejoicing as he overcomes it (2). | |
| Dancing Girls of Algiers | ““ 219 |
| Reliefs on Tower of the Temple of Madura (India) | Page 219 |
| Persian Dance. Princess Chirinski-Chichmatoff | Facing Page 220 |
| Oriental Poses | ““ 221 |
| Votive offering (3 poses)—Decorative motives (3 poses)—Disclosure of person (1 pose). | |
| Javanese Dancer, Modern | ““ 222 |
| Relief Carvings, Temple of Borobodul, Java | ““ 223 |
| Dance of Greeting (1)—Dance of Worship (2)—An Arrow Dance (3). | |
| “Nautch Dance” | ““ 226 |
| Japanese Dance | ““ 227 |
| Isadora Duncan | ““ 242 |
| Greek Interpretative Dance | ““ 243 |
| Impressions of Isadora Duncan | Page 244 |
| Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, with Sr. E. Ceccetti | Facing Page 246 |
| Mlle. Lydia Kyasht and M. Lytazkin | ““ 247 |
| “Arabesque” | ““ 248 |
| “Arrow Dance” | ““ 249 |
| Bacchanal | ““ 252 |
| Mlle. Lydia Lopoukowa | ““ 253 |
| Mlle. Pavlowa in a Bacchanal | ““ 257 |
| Mlle. Lopoukowa, in Boudoir | ““ 258 |
| Mlle. Lopoukowa, Interpretative Dance | ““ 259 |
| Mlle. Lopoukowa, In “Le Lac Des Cygnes” | ““ 262 |
| M. Alexander Volinine | ““ 263 |
| Representative Russian Ballet Poses and Groups | Page 265 |
| Representative Russian Ballet Poses and Groups | “ 267 |
| The “Waltz Minuet” | Facing Page 272 |
| Characteristic style (1)—Variation, position of hands (2)—Preparation for a turn (3)—The Mirror figure (4). | |
| The “Gavotte” Showing Present Tendencies | ““ 273 |
| Characteristic style (1)—Characteristic style (2)—A curtsy (3)—Arabesque to finish a phrase (4). | |
| Social Dancing; Position of Feet (Diagram) | Page 276 |
| The One-Step: The Turn (Diagram) | “ 277 |
| The One-Step: Grape-Vine (Diagram) | “ 278 |
| The One-Step: Eight (Diagram) | “ 279 |
| The One-Step: Square (Diagram) | “ 279 |
| The One-Step: A Figure Occupying Three Measures (Diagram) | “ 280 |
| The One-Step: The Murray Anderson Turn (Diagram) | “ 281 |
| The One-Step: A Cross-Over (Diagram) | “ 282 |
| Development of an Arch “À La Pirouette” | Facing Page 282 |
| Cross to right (1)—Cross to left (2)—Start of turn (3). | |
| The One-Step | ““ 283 |
| The “Kitchen Sink” (1)—Position of couple (2). | |
| The “Brazilian Maxixe” | ““ 283 |
| Characteristic position of advanced foot (3). | |
| The “Boston,” Essential Step (Diagram) | Page 284 |
| The Waltz | Facing Page 284 |
| A position of the couple in the Waltz-Minuet (1)—Correct position of man’s hand on woman’s back (2)—A position also assumed in the One-step Eight (3)—A Dip (4). | |
| The Waltz | ““ 285 |
| Correct position of couple (1)—Of feet, in short steps (2)—Of feet, in Dip (3)—Another view of the Dip (4). | |
| The Boston, Step Backward (Diagram) | Page 285 |
| The Boston, The Dip (Diagram) | “ 286 |
| The Boston, The Dip Simplified (Diagram) | Page 287 |
| The Boston, An Embellishment (Diagram) | “ 288 |
| The Boston, An Embellishment (Diagram) | “ 288 |
| The Boston, Same, with Turns (Diagram) | “ 289 |
| The “Hesitation Waltz,” Theme (Diagram) | “ 289 |
| The “Hesitation Waltz” Variation on Theme (Diagram) | “ 290 |
| The “Tango” | Facing Page 290 |
| Characteristic style (1, 2, 4)—Woman circles man (3). | |
| The “Tango” | ““ 291 |
| Characteristic style. | |
| The “Hesitation Waltz,” the “Lyon Chassé” (Diagram). | Page 291 |
| The “Tango” | Facing Page 294 |
| The “Tango” | ““ 295 |
| The reverse (1)—The regular Tango walking step (2)—Style of movement (3)—Position of hands sometimes assumed to emphasize the end of a phrase (4). | |
| The “Tango,” The “Corte” (Diagram) | Page 295 |
| The “Tango,” The Scissors (Diagram) | “ 295 |
| The “Tango,” The Scissors Variation (Diagram) | “ 296 |
| The “Tango,” The Media Luna (Diagram) | “ 296 |
| The “Tango” | Facing Page 296 |
| The corte (1)—Characteristic style (2)—A variation (3)—Start of a turn (4). | |
| A “Tango” Step | ““ 297 |
| Man’s foot displaces woman’s (1)—Woman’s foot displaces man’s (2)—Each displaces the other’s foot (3). | |
| The “Tango,” The Eight (Diagram) | Page 297 |
| The “Tango,” A Waltz Turn (Diagram) | “ 297 |
| The “Tango,” An Easy Step (Diagram) | “ 298 |
| A North American Figure in the “Tango” | Facing Page 298 |
| Preparation (1)—After the twist (2)—Finishing with a Dip (3). | |
| The “Tango,” Executed to the Rear (Diagram) | Page 299 |
| The “Tango,” A North American Figure (Diagram) | “ 299 |
| The “Brazilian Maxixe,” First Figure (Diagram) | “ 300 |
| The “Brazilian Maxixe,” Third Figure (Diagram) | “ 301 |
| The “Brazilian Maxixe” | Facing Page 302 |
| Characteristic style (1)—A dip (2)—Variations (3, 4). | |
| The “Brazilian Maxixe” | ““ 303 |
| Preparation for a turn (1)—Finish of a turn (2)—Characteristic style (3)—A dip (4). |