ILLUSTRATIONS

Ballet Pantomime From Pose by Mlle. Louise La GaiFrontispiece

Tanagra FigurePage 3

Greek Vase Decoration “ 3

Tanagra Figure“ 3

Tanagra FiguresFacing Page 4

Greek Ceramics ““ 5

Greek Vase DecorationPage 8

Greek Comedy Dancing“ 9

Statuettes“ 10

Tanagra (A)—Myrina (B)—Tanagra (C).

Greek Relief DecorationsFacing Page 12

Greek Ceramic Decorations““ 13

StatuettesPage 13

Myrina (A)—Tanagra (B)—Myrina (C).

Dance of Nymphs“ 17

Tanagra FiguresFacing Page 20

Greek Comedy DancingPage 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 DancesFacing Page 48

The Tordion (1, 2)—The Pavane (3, 4, 5).

Louis XIV and A Courtier in the Ballet of NightPage 50

Seventeenth Century Court DancesFacing 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 FeetPage 66

Positions of the Arms“ 67

“Glissade”“ 68

“Assembl锓 69

“Assemblé” and Changement (Floor Plan Diagram)“ 69

“Jet锓 70

“Jeté” to the Side“ 71

“Battements”“ 72

Steps of the “Battement” Type“ 74

“Fouett锓 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 “Renvers锓 82

The “Renversé” (Concluded)“ 83

Two Forms of “Attitude”“ 84

Mechanism of Broad Jump“ 86

Classic Ballet PositionsFacing 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” PosesPage 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-DancesPage 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 NotesPage 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-ChichmatoffFacing 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 DuncanPage 244

Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, with Sr. E. CeccettiFacing 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 GroupsPage 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 WaltzFacing 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 DANCE