Some typographical errors have been corrected; a list follows the text.

List of Illustrations
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Bibliography
Index: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, V, W, Z

(etext transcriber's note)

The Dance

Image not available: BALLET PANTOMIME From pose by Mlle. Louise La Gai
BALLET PANTOMIME
From pose by Mlle. Louise La Gai

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

Image not available: colophon April, 1914

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 com municate 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.

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).

The Project Gutenberg eBook of The Dance: Its Place in Art and Life

THE DANCE
ITS PLACE IN ART AND LIFE

PREFACE

CONTENTS

ILLUSTRATIONS

The Project Gutenberg eBook of The Dance: Its Place in Art and Life

THE DANCE ITS PLACE IN ART AND LIFE

PREFACE

CONTENTS

ILLUSTRATIONS

THE DANCE
ITS PLACE IN ART AND LIFE