Chapter XXII: Epilogue: Future Aspects of the Art of Dance

As in the physical so in the spiritual world there prevails a kind of circulation of energies and life; growth, maturity and decline. Individuals seem nothing but the beginnings where the universes end, and _vice versa_. As a man mirrors the world in his soul, so a protoplasm mirrors the man. An invisible hand pushes a worm along the same road of evolution as it does an imperious Cæsar. One and the same feeling heart seems to beat in the breast of man that beats in the action of the constellations. Yet the hand of evolution that tends to adjust the equilibrium between the individual and the cosmic will gives by every new turn a new touch of perfection to the subjective and the objective parties. This tendency manifests itself in the history of individuals and races, and also in the history of art. The greatest genius of to-day is surpassed by another to-morrow.

The art of dancing, as it stands to-day, promises much encouragement for to-morrow. It is near the beginning of a new era--the era of the cosmic ideals. The past belongs to the aristocratic ideals, in which the Russian ballet reached the climax. The French were the founders of aristocratic choreography; the Russians transformed it into an aristocratic-dramatic art; to the Americans belongs the attempt at a democratic school.

‘The chief value of reaction resides in its negative, destructive element,’ says Prince Volkhonsky. ‘If, for instance, we had never seen the old ballet, with its stereotype, I do not think that the appearance of Isadora Duncan would have called forth such enthusiasm. In Isadora we greeted the deliverance.’ The chief merit of Duncan lies in destroying the aristocratic foundation of the ballet, and in attempting to find a democratic expression. She meant to find the solution in ancient Greek ideas and tried to imitate them. But she forgot that she was an outspoken American individualist and grasped only the democratic principles of a young race. All she achieved was to prove that the democratic essentials are no more satisfactory in the future æsthetic evolution of the dance than were the aristocratic traditions of the bygone centuries. The question remains, where is to be found the true basis of the coming choreography?

It is strange to contemplate what different directions the development of the dance in various countries and in various ages has taken. In ancient Egypt and Greece the primitive folk-dances developed into spectacular religious ballets, in Japan they assumed the same impressionistic character as the rest of the national art, in aristocratic France the folk-dances grew to a gilded salon art, in Italy they became acrobatic shows, while in Russia they transformed themselves into spectacular racial pantomimes. In every age and country the art of dancing followed the strongest æsthetic motives of the time. If a nation worshipped nobility it danced the aristocratic ideals, if it worshipped divine ideas it danced them accordingly. The social-political democratic ideals of the New World have exercised a great influence in this direction upon the art of the Old. Though imitating aristocratic Europe, America has not failed to add an element of its own to the æsthetic standards of the former. But had America been only democratic there would be little hope left that it could attribute anything to the future beauty, particularly to the future dance. There are, however, other elements that give encouragement to something serious and lasting, and this is the cosmic tendency in American life and art.

The chief characteristics of the American mind are to condense expressions and ideas into their shortest forms. This is most evident in the syncopated style of its music, in its language and in its architecture. Like the American ‘ragtime’ tune, an American skyscraper is the result of an impressionistic imagination. Both are crude in their present form, yet they speak a language of an un-ethnographic race and form the foundation of a new art. Instead of having a floating, graceful and, so to speak, a horizontal tendency like the æsthetic images of the Old World, the American beauty is dynamic, impressionistic and perpendicular. It shoots directly upwards and denies every tradition. The underlying motives of such a tendency are not democratic but cosmic. While a nationalistic art is always based on something traditional, something that belongs to the past evolution of a race, the cosmic art strives to unite the emotions of all humanity. The task of the latter is very much more difficult. It requires a universal mind to grasp and express what appeals to the whole world. It requires a Titanic genius to condense the æsthetic images so that in their shortest form they may say what the others would express in roundabout ways. This gives to beauty a dynamic vigor and makes it so much more universal than the art of any nation or age could be. But this requires the use of symbols, and tends to subjectivism. However, the symbols employed in this case are fundamentally different from those employed by the Orientals. Since the earliest ages the Orient has made use of symbols in art and religion. But the Oriental symbols have been mystic or philosophic in their nature. The American symbols will either be purely intellectual or they will be poetic.

The future of the art of dancing belongs to America, the country of the cosmic ideals. This is evident from its evolution since Isadora Duncan’s début. The Russian New Ballet (of Diaghileff’s group) is the best proof that the traditional racial plasticism is being transformed into a cosmic one. Compare the steps and gestures of Karsavina and Nijinsky with those of Pavlova and Volinin. Where the former have become realistically dramatic, the latter remain acrobatically academic. There is more symbolism in Karsavina’s and Nijinsky’s art than in that of Pavlova and the followers of the old ballet. But the plastic symbols of Lada are far more condensed than those of Karsavina. This is what we have termed the essential of a cosmic choreography.

The tendency of every art is from the simple to the complex and then again from the complex to the simple. The greatest dancer is the one who can express the most complex musical images in the simplest plastic forms. Dancing in the future will be nothing but a transformatory process of the time-emotions in the space-emotions. ‘Rhythm is in time what symmetry is in space--division into equal parts corresponding to each other,’ said Schopenhauer. Arthur Symons called dancing ‘thinking overheard.’ ‘It begins and ends before words have formed themselves, in a deeper consciousness than that of speech. * * * It can render birth and death, and it is always going over and over the eternal pantomime of love; it can be all the passions, all the languors; but it idealizes these mere acts, gracious or brutal, into more than a picture; for it is more than a beautiful reflection, it has in it life itself, as it shadows life; and it is farther from life than a picture. Humanity, youth, beauty, playing the part of itself, and consciously, in a travesty, more natural than nature, more artificial than art: but we lose ourselves in the boundless bewilderment of its contradictions.’ It follows that a neo-symbolism is the logical outcome of the future dance. Dancing will become an independent stage art and take the place of the obsolescent opera. But before it reaches that stage, composers will be compelled to realize the importance of the new choreography, and produce music that contains all the graphic designs, the plastic possibilities, the dynamic drama and, above all, that structure of sounds which gives ample possibility for symbolic plasticism and yet contains a message.

The real future dance will be expressionistic and subjective. Instead of copying life it will suggest its deepest depths and highest heights by combining the plastic symbols with the musical ones. It will not try to imitate nature but transpose it, as a painting transposes a landscape. Our mind is growing tired of the prevailing naked realism and its photographic effects. The realistic drama is gradually losing its æsthetic appeal. The aristocratic opera seems to belong to past centuries. Opera has lost its grip on the modern mind. Our æsthetic conception has reached the point where our subjective mind requires not imitation but inspiration. Instead of traditional beauties we require dynamic ones. We enjoy a suggestion of an æsthetic sensation more than an accurate description of it. This proves that the symbolic sensations will sooner or later take the upper hand, and symbolic dancing will be the watchword of the coming age.

Since, according to our theory, the future of the art of dancing belongs to America, we should take into consideration those primary elements of musical art that form the foundation of every dance. American art naturally lacks fundamentally national elements; it strives toward cosmic ideals instead. Miserable as is the syncopated form of American popular music it yet constitutes the musical _Volapük_ of all the nations. This same syncopated form of expression manifests itself in American architecture and in its social dancing. The broken lines, the irregular dynamics, and the restless corners here and there that we find predominant in American architecture are nothing but a transposed form of popular music. It is evident that neither one of the arts has yet found its foundation. A New York skyscraper is a silent ‘ragtime’ tune, and _vice versa_. But the ‘ragtime’ rhythm can be modulated to the same æsthetic expressions as the skyscrapers. Unconsciously the dance follows the patterns of architecture and music. The future choreography does not necessarily need to be based upon syncopated rhythm only, but upon the various factors of the style, the method of expression and the spiritual issues.

The physical and spiritual bases of every folk-art lie in the rural life. A folk-song or a folk-dance is and remains the product of idyllic village atmosphere. It mirrors the joys and sorrows, hopes and passions of the country people. It has been molded under the blue sky, in sunshine and storm. The songs of birds and the voices of nature form its æsthetic background. A village troubadour or poet is usually its creator, and simplicity is its fundamental trait. It exalts the rural atmosphere, poetry and characteristics. The place of the birth and growth of syncopated rhythm and broken symmetry is exclusively the city. It exalts the noise, rush and triviality, also the alertness and forces of the street. It suggests motion and intellectual fever. It leaves images of something artificial and fatal in the mind. The spirit of the country is different in every nation; but the spirit of the city is a similar one all over the world. It is in this very fact that we have to look for the logical foundation of the future choreography. It will emanate from no particular race, from no particular country, nor from any particular element of national art. It will come from the artificial city, the mother of cosmic idealism. The symbolism of the city is destined to take the place of the symbolism of the country. The New York plasticism will be also the plasticism of Paris and Petrograd.

The ethnographic and aristocratic era in the art of dancing has reached the climax of æsthetic development. We are entering the era of cosmic art. We begin it with the same primitive steps that our ancestors made so many centuries ago; only with this difference--that now we view the problem from a universal point of view while our forefathers beheld it from a nationalistic and aristocratic point of view. We are in the cosmic current of evolution and begin our circle where it was left by those who had passed the current of a certain race or class. The future dance will grasp beauty from a broader stretch and deeper depths than the greatest virtuosi of the past and present could do. The fundamental law of all spiritual as well as physical evolution is to bring about a better equilibrium between the individual and the universal powers.

LITERATURE FOR VOLUME X

_In English_

S. A. BARRETT: The Dream Dance of the Chippewa and Menominee Indians
(Milwaukee, Wis., 1911).

CAROLINE AND CHARLES CAFFIN: Dancing and Dancers of To-day (New York,
1912).

HAVELOCK ELLIS: The Philosophy of Dancing (Atlantic Monthly, Boston,
April, 1914).

J. E. CRAWFORD FLITCH: Modern Dancing and Dancers (London, 1912).

MARCELLA A. HINCKS: The Japanese Dance (London, 1910).

A. HOLT: How to Dance the Revived Ancient Dances (London, 1907).

TROY AND MARGARET WEST KINNEY: The Dance (New York, 1914).

CECIL J. SHARPE AND HERBERT C. MACILWAINE: The Morris Book (London,
1910).

G. VUILLIER: A History of Dancing (New York, 1898).

_In German_

W. ANGERSTEIN: Volkstänze im deutschen Mittelalter (Berlin, 1868).

F. M. BOEHME: Geschichte des Tanzes in Deutschland (Leipzig, 1886).

HANS BRANDENBURG: Der Moderne Tanz (Munich, 1913).

ÉMILE JACQUES-DALCROZE: Der Eurythmus (Dresden, 1913).

H. FLACH: Der Tanz bei den Griechen (Berlin, 1880).

G. FUCHS: Der Tanz (Stuttgart, 1906).

G. MOHR: Die deutschen Volkstänze (Leipzig, 1874).

HEINZ SCHNABEL: Kordax: Archeologische Studien (Munich, 1910).

R. VOSS: Der Tanz und seine Geschichte (Erfurt).

_In French_

CASTIL-BLAZE: Histoire littéraire, musicale, choréographique, etc.
(Paris, 1847).

AUGUSTE EHRHARD: Une vie de danseuse: Fanny Elssler (Paris, 1909).

MAURICE EMMANUEL: La danse grecque antique (Paris, 1896).

J. G. NOVERRE: Lettres sur les arts imitateurs en général (Paris,
1907).

_In Italian_

G. B. DUFORT: Trattato del ballo nobile (Naples, 1728).

_In Russian_

Bulletins of the Russian Imperial Ballet School (Petrograd,
1900–1914).

CÉSAR CUI: Istoria Russkoi Musyki (Petrograd, 1903).

S. HUDAKOV: Istoria Tanzev, 2 vols. (Petrograd, 1914).

N. RIMSKY-KORSAKOFF: Memoirs (Petrograd, 1910).

PRINCE S. VOLKHONSKY: The Ballet (Petrograd, 1913).

_In Danish_

Bulletins of the Danish National Theatre (Copenhagen, 1910–14).

TOBIAS NORLIND: Svardsdans ock Bagdans (Copenhagen, 1911).

_In Finnish and Esthonian_

Kalevala (Helsingfors, 1880).

Suomen Kansan Sävelmiä (Helsingfors, 1898).

DR. F. KREUTZWALD: Kaliwipoeg [in Esthonian] (Tartu, 1900).

INDEX FOR VOLUME X

A

_Abdallah_ (Bournoville and Paulli), 152.

Academicism (French, Italian), 171.

Academies of dancing, 151f;
(Egyptian), 17;
(Chinese), 31f, 34;
(Cadiz, Spain), 46f;
(Greek), 71;
(French), 86f, 94f, 99, 105, 151;
(Russian), 90f, 105;
(Copenhagen Ballet School), 165;
(College of Rhythmic Gymnastics, Hellerau), 234ff.

Accentuation, 238.

Accompaniment (in Spanish dances), 211.

Accordion (in English folk-dance), 116f.

_Ach, du lieber Augustin_, 131.

Acting (in relation to ballet), 250, 252.

Adam, Charles-Adolphe (as ballet composer), 151, 152, 158.

Æschylus, 55, 66.

African Bantu, iii.

African guitar, 47.

_Ai Ouchnem_, 105.

Akté, Aino, 205.

Albinus (Roman consul), 76.

Alexander I, Czar of Russia, 131, 181.

Alexis Mihailowitch, Czar, 179.

Algiers, 21.

_All in a Garden Green_ (British folk-dance), 120.

Allan, Maud, 201, 206.

Allard, Mlle. (ballet dancer), 101.

_Allemande_, 144, 146.

Alliamatula (Roman dancer), 77.

Almeiis, 18, 21ff.

Amaterasu (Japanese deity), 35f.

America (future of dancing in), 261f.

American Indians, iv, 38f.

Ammon, Temple of (Egyptian school of dancing in), 17.

_Anabasis_ (quoted), 55f.

Andalusia (folk-dancing), 106, 107f.

Andersen, Hans Christian, 167.

Androgeonia (Greek hero), 54.

Angerstein, Wilhelm (cited), 128f.

Anglin, Mlle. (ballet dancer), 91.

Anna, Empress of Russia, 90.

Anna Ivanovna, Empress of Russia, 179.

Anne of Denmark (English Queen, patron of the masque), 83, 84, 119.

[d’]Annunzio, Gabriele, 165.

Antagonism to dancing (of Western Church), 9, 103, 129;
(of Roman consuls), 76.

_Antoine et Cléopatre_ (ballet), 102.

Aphrodite, 61, 67, 69, 70;
(compared to Venera), 24;
(mysteries), 61.

Apollo, 54, 56, 57, 59, 69f;
(mysteries), 61.

Apostles, 80.

_[L’]Après-midi d’un Faun_, (Debussy), 232.

Arabesques (in Egyptian dances), 18;
(in French ballet step), 95.

Arabia (_Stomach Dance_), 3, 22;
(_Graveyard Dance_), 21;
(_Axis Dance_), 22;
(character of dancing), 46ff;
(influence of, on Spanish dances), 112.

‘Arabian Nights,’ 226.

Aragon (folk-dancing), 107f.

Arcadia, 55, 57, 60.

Architecture, 235, 265;
(development of, synchronous with dancing), 46;
(American), 263.

Areja, Francesca, 180.

Arensky, Anton Stephanovich, 183, 224.

Ariadne, 56.

Aristides, 54.

Aristophanes (cited), 52, 55, 61.

‘Ark of the Covenant,’ iii, 10, 43.

_Arkona_ (Hartmann), 152.

Armenia (folk-dancing), 138f.

Artemis, iv, 64.

Arts (primitive, in India), 24;
(common basis of), 235.

Asparazases (Indian nymphs), 26.

Aspasia (Greek dancer), 54, 70, 94.

Assemblé (French ballet step), 95, 98.

Astafieva, Seraphine, 220, 221, 224.

Astral Dance (Egyptian), iv, 13f, 63.

Athenæus (quoted), 55, 60;
(cited), 59.

Athens (dancing at festivals), 53;
(theatre of Dionysius), 64f;
(Mænad Dance), 69.

Auber, Daniel-Esprit, 103.

Augustus (Roman Emperor), 73, 75.

Aulos (Greek flute), 58.

Austria, 102.

_L’Autômne Bacchanale_, 186, 187.

Auvergne (folk-dancing), 121.

_Axis Dance_ (Arabian), 22.

B

_Baba Yaga_ (Russian ballet), 152, 179.

Bacchanalian dance, 65.

Bacchus (Greek and Roman god), 54, 65, 69, 74;
(Roman orgies), 75f.

Bach, Johann Sebastian, v, 102f;
(bourrées), 121;
(courantes), 145.

Bacon, Sir Francis (cited on masques), 83.

Bagpipes (in Morris dance), 115;
(in English Sword Dance), 116;
(in Irish jig), 120;
(in Roumanian folk-dance), 137.

Baken Amen (Egyptian tablet), 20.

Bakst, Léon, 183.

Balakireff, Mily Alexejevich, 104, 152, 171, 181, 231f, 256.

Ballerina’s tunic, 215.

Ballet (origin), 8, 10;
(18th cent.), 14;
(Russian), 23, _170ff_;
(French), _86ff_;
(defined by Noverre), 89;
(Italian), 124;
(classic), 151ff;
(Danish), 162ff;
(plots), 163.

_Ballet des Ardents_ (French court dance), 81.

_Ballet du Carrousel_ (performed at Tuileries), 86f.

Ballet slipper, 216.

Ballotté, 98.

Barefoot dancing, 197, 201.

Barrett, S. A. (cited on plot of _Dream Dance_), 39.

Barrison, Gertrude, 203.

[Le] Basque (French ballet dancer), 87.

Bathyllus (Roman dancer), 73, 74f.

Battements, 95.

Bayaderes, 25, 27, 28.

_[Les] Bayederes_ (French ballet), 153.

Beauchamp (director of French Academy of Dancing), 87.

Beaugrand, Leontine (ballerina), 159f.

Beck, Hans (Danish ballet dancer), 164.

Beerbohm, Max (quoted on Genée), 167f.

Beethoven, v, 102f, 200, 206.

Begutcheff (director of Moscow ballet), 177.

Bekeffy, 182.

Belle Fatma [La] (20th cent. Egyptian dancer), 22.

Bellicrepa saltatio (Roman dance), 73.

Bells (in Morris Dance), 114.

Benares, 25.

Benois, 183, 226, 229, 230.

Benserade, 86.

Berlin, 203f.

Berlin Museum (painting of Sword Dance), 115f.

Bernay, Mlle. (ballerina), 159.

Berri, Duchess de, 81.

Bibasis (Greek dance), 61, 62.

Bible (cited), 19; (quoted), 43, 44.

Bilibin, 183.

Birds (courtship dances of), 6.

Björnson, Björnstjerne, 104.

Blache (ballet composer), 102.

Black Forest (dance of the), 130.

Blasis, 91, 102;
(quoted on Bolero), 109.

Bogdanova (ballerina), 151, 183.

Bohemia (folk-dancing). See Slavic folk-dances.

Bolero (Spanish folk-dance), 50, 109, 112.

Bondina (Andalusian folk-dance), 106.

Borodine, Alexander, 171, 228, 256.

Botta, Bergonzio, di, 81f.

Botticelli, 45.

Bournoville, Antoine August, 104, 151, 152, 162f, 164f, 166, 168, 169.

Bourrée, 121f.

Boyars, 141, 178.

Boys (training of, as dancers), 183.

Brahma, 25.

_Brahma und Bayaderen_ (German ballet), 164.

Brahminism (relation to dancing), 25ff.

Brahms, Johannes, 125, 254.

Brandenburg, Hans, 202.

Brass instruments (in 15th cent. Italian ballet), 82f.

Brass plates (Indian), 27.

Breobrashenskaya, 183, 185, 188.

Breton dances, 121.

Brisé (ballet-step), 98.

British Museum, 18, 20.

Buckingham House (British folk-dance), 120.

Buddhism, 36.

_Bugaku Dance_ (Japanese), 38.

Bulgaria (folk-dancing). See Slavic folk-dances.

Burchard, Bishop of Worms, 129.

Burette (cited on Greek dance), 63.

Buriat dances (compared to American Indian), 39.

Butterfly Dance, 192.

Byzantium (painting of Hebrew dancing), 44;
(influence of, in Lithuanian folk-dance), 135f;
(influence on Russian ballet), 188.

C

Cabriole (in Egyptian dance), 20;
(in Bibasis), 62;
(French ballet step), 95.

Cachucha (Spanish folk-dance), 111, 156.

Cadiz, Spain (centre of ancient dancing), 10;
(dancers from, in Rome), 76.

Calcutta, 25.

Caligula (Roman emperor), 76.

Calumet (American Indian), 39.

Calzvaro, 34f.

Camargo, Mlle. (French ballet dancer), 94, 99, 100.

_Canaries_ (English and German social dance), 150.

[_The_] _Caprices of Galatea_ (ballet by Noverre), 90, 99.

Carmencita (Spanish dancer), 210.

[_Le_] _Carnaval de Venise_ (French ballet), 94, 153.

Caroles (mediæval dances), 81.

Carpæa (Greek dance), 55f.

Caryatis (Spartan dance), 54f.

Castanets (in Spanish folk-dance), 106, 107, 110, 112.

Castil-Blaze, François-Henri-Josef, quoted (on mediæval strolling
ballet), 80f;
(on French ballet), 93;
(on Camargo), 100;
(on origin of waltz), 131.

Castor and Pollux, 54.

Catherine the Great, 141.

Caucasia (folk-dancing), 140.

Cerezo, Sebastian (Spanish dancer), 109.

Cerito, Fanny (ballerina), 158f.

Cervantes (cited on Chaconne), 145.

Chaconne (Italian and Spanish social dance), 145f.

Changement de pied, 98.

Charles I, King of England, 84.

Charles II, King of England, 119, 145.

Chassé (ballet step), 94, 95.

Cheremias (Spanish instruments), 79.

China, 3, 9, 30ff;
(attitude of moralists in, toward dancing), 30;
(court dancing), 32;
(musical instruments), 32;
(dancing of, adopted in Japan), 36.

_Chinese Wedding_ (ballet by Calzevaro), 34f.

Chippewas, 39.

Chironomia (in Greek choreography), 71.

Choirs (in Egyptian temples), 17.

Chopin, Frédéric, 136, 200, 206, 221.

Choral dances (of Russian peasants), 177f.

Choreographic principle (vs. dramatic), 251.

Choreography (Chinese), 30;
(mediæval), 78ff;
(in 17th cent. France), 87f;
(French development), 94f;
(influence of democracy), 102;
(Finnish), 133;
(naturalistic school), 195ff;
(plastomimic), 247ff.

Chorley, Henry Fothergill (quoted on Elssler), 156.

Chorovody (Russian ballad folk-dance), 140f.

_Chrisis_ (ballet), 206, 207f.

Christian moralists (antagonism to dancing), 9.
See also Church, Roman.

Chronos, 59.

Chrotal (Greek instrument), 58.

Church, Roman (hostility to dancing), 81, 103, 129;
(dancing in, during Middle Ages), 78, 79f.

Cicero (quoted), 72.

[_La_] _Cinquantaine_ (French ballet), 91.

_Clary_ (French ballet), 94.

Classics, musical (dance music by), v.

[_The_] _Clemency of Titus_ (ballet by Noverre), 90.

Cleonica (Greek dancer), 70.

Cleopatra (as dancer), 17f.

_Cleopatra_ (ballet), 23.

_Cléopatre_ (ballet), 223ff.

Clermont, Comte de, 100.

Clothing (decorative purpose of, for the dance), 6.

Collins, Lottie, 189, 192f.

Comédie Française, 101.

Confucius, 33;
(honored in Japanese dance), 38.

Coördination (of intellect and nerves), 238.

Copenhagen School, 151.

Coperario, John, 84.

Copiola, Galeria (Roman dancer), 77.

_Coppélia_ (ballet), 160, 166f, 175.

Cordax (Greek Satyr dance), 61, 63f.

Corkscrew (folk-dance), 134f.

Corpus Christi (festival of, with church dancing), 78f.

_Corsaire_ (French ballet), 152.

Corybantes, 54.

Cosiers (Spanish church dancers), 79f.

Cossack folk-dances, 2.

Costume. See Dress.

Cotillion, 122.

Country Dance (English), 113, 115.

Coupé (in Egyptian dance), 20.

Coupé dessous (ballet-step), 95.

Coupé lateral (ballet-step), 95.

Courante, 86, 87f, 145f.

Court ballets (French), 83.

Court dancing (in China), 32f;
(at Jerusalem), 43, 44;
(in Seville), 47;
(in England), 83ff;
(in France), 86f, 121f;
(in Germany), 129;
(in Russia), 141f.
See also Social dancing.

Courtship dances (of birds), 6.

Covent Garden (Mlle. Sallé at), 99.

Craig, Gordon (cited on French ballet), 214.

_Crane Dance_ (Greek), 69.

Crete, 54.

Crimea (folk-dancing), 140.

Crowne, John, 83.

_Cupid and Bacchus_ (French ballet), 87.

Curetes (Cretan dancers), 54.

Cybele, 54.

Cyclops, 59.

Cymbals (in Greek dances), 71.

Czardas (Hungarian folk-dance), 125f.

D

Daedulus, 53.

Dalcroze. See Jacques-Dalcroze.

Daldans (Swedish folk-dance), 134.

Dance music (classical), v.

Dance of Baskets (in Eleusinian mysteries), 68.

Dance of Feathers (Chinese court dance), 33.

Dance of the Five Senses (modern Indian dance), 209.

Dance of the Flag (Chinese dance), 33.

Dance of the Four Dimensions (Egyptian dance), 16.

Dance of the Glasses (pseudo-Egyptian dance), 22.

Dance of the Golden Calf, 44.

Dance of Greeting (Arabian), 49.

Dance of Humanity (Chinese dance), 33.

_Dance of Innocence_ (Greek), iv.

Dance of the Knees (in Dionysian Mysteries), 68f.

Dance of the Mystic Bird (Chinese), 33.

Dance principles, 2.

Dancing defined, 2.

Dancing girls (Greek), 57.

Dancing Mandarins, 34.

‘Dancing the music,’ 248.

Danish ballet (influence on Russian), 164f.

_Dansomanie_ [_La_] (French ballet), 92, 131.

Dante (cited), iii.

_Daphnis and Chloë_, 68.

Dargason (British folk-dance), 120.

Dargomijsky, Alexander Sergeyevitch, 104, 181.

Dauberval, 89, 91, 101.

_Daughter of the Pharaoh_ (ballet), 21.

Davenant, Sir William, 84.

David, King of Israel, 10, 43, 44.

Davillier, Baron, quoted (on mediæval church dance), 79;
(on Spanish folk-dance), 106;
(on Seguidilla), 110f.

Death Dance (Fakir dance compared to), 28.

[_The_] _Death of Ajax_ (ballet by Noverre), 90.

Debussy, Claude, 232.

Degeneration (of ballet), 189ff.

Delians, 59.

Delibes, Léo, 151, 152, 167.

Delicias caditanas (Cadiz dancers in Rome), 77.

Delphic Festivals, 69.

Delsarte, François Alexandre, 207, 211f, 214.

Demetrius, 67, 69;
(Mysteries), 61.

Demi-cabriole (ballet-step), 95.

Demi-coupé (ballet-step), 95.

Democracy (effect of, on choreography), 102.

Democratic basis of dancing, 171.

Denmark (folk-dancing), 134;
(ballet), 162ff;
(influence on Russian ballet), 169.

[_Le_] _Déserteur_ (French ballet), 92.

Desmond, Olga, 22, 193, 212.

Despreaux (Parisian ballet dancer), 101.

Desrat (cited on Eleusinian Mysteries), 67.

Devadazis (Indian temple dancers), 26.

Devil’s Dance (Finnish folk-dance), 133

Diaghileff, Warslof, 219f.

Diaghileff ballet, 176, 185, 200.

Diana (Greek goddess), 54.

Didelot, Charles-Louis, 151, 154, 161, 164f, 180f.

Diodorus (cited), 13.

Dionysian Mysteries, 61, 68.

Dionysius of Syracuse, 54.

Dionysos, 56, 67, 69, 74.

Dipoda (Greek dance), 61.

Dohnányi, Ernst von, 166.

Dohrn, Wolf and Harald, 234.

Dolci (painting of Salome dance), 45.

Dominique (Parisian harlequin), 100.

_Don Juan_ (French ballet), 102.

‘Don Quixote,’ 145.

Doré (painting of church dancing in Seville), 79.

Dorians, 60.

Dostoievsky, 104.

Drama (influenced by Russian ballet), 176.

Dramatic principle (against choreographic), 251.

_Dream Dance_ (American Indians), 38ff.

Drehtanz, 129.

Dresden, 234.

Dress (in Greek dancing), 66;
(of dancers in Seville Cathedral), 79;
(in English masques), 84;
(in 18th cent. ballet), 89f;
(in ballet during French Revolution), 94;
(in Spanish folk-dances), 112f;
(of Morris dancers), 115;
(in English Sword dance), 116;
(in Hungarian folk-dance), 125;
(in Esthonian folk-dance), 127f;
(in Dutch folk-dances), 135;
(in Slavic dances), 137;
(in Minuet), 147.

Drigo, 186.

Drum (Egyptian), 22;
(Indian), 27;
(Chinese), 32;
(Japanese), 38;
(American Indian), 39f;
(in _Lou Gue_), 81;
(in Armenian folk-dance), 138.

Drury Lane, 102.

_Dryad_ [_The_] (ballet), 167.

Dryads, 80.

Dubois, Théodore, 151.

Duncan, Elizabeth, 201.

Duncan, Isadora, 22, 187, _197ff_, 204, 206, 211, 212, 213, 214,
244, 247;
(quoted), 196f;
(compared with St. Denis), 210;
(influence in Russia), 218f;
(pupils), 248.

Duncan School, 197f, 248.

Duport (Paris ballet dancer), 91, 101f.

Dupré (French ballet dancer), 87.

Dutch folk-dancing, 135.

Dynamic expression, 240.

E

Ear-training (in Jacques-Dalcroze School), 240.

Education (necessity of, for Greek dancers), 65;
(liberal, of ballet dancers), 172f.

Edward VII, King of England, 201.

Egg Dance (Dutch folk-dance), 135.

Egypt (temple dancing), iv, 8, 15ff;
(musical instruments), 8;
(relation of dancing and religion), 9, 247, 262;
(secular dancing), 15ff, 20f;
(influence of, in modern choreography), 22;
(influence of, on Hebrew dancing), 43f;
(worship of Pan), 57;
(strophic principle in choreography of), 63;
(history of, in Greek education), 65;
(influence of, on Spanish dances), 112.

Egyptian Wedding Scenes (pseudo-Egyptian dance), 22.

Electricity, 190.

Eleusinian Mysteries, 67f.

Elisseieff, Prof, (cited on Egyptian dancing), 21.

Elizabeth, Queen of England, 84, 145, 150.

Ellis, Havelock, quoted (on American Indian dances), iv;
(on relation of rhythm to life), vi;
(on modern Spanish dances), 211.

Elssler, Fanny, 151, 155ff.

Emerson, Ralph Waldo (quoted on Elssler), 155.

Emmanuel (cited on Greek choreography), 70.

Emmeleia (Greek dance), iv, 61, 62f.

Endymatia (Greek dance), 61.

England (folk-dancing), 113;
(waltz), 131f;
(social dancing), 150.

English Cathedrals (rhythmic ritual used in), viii.

Entrechat, 98;
(in Egyptian dance), 20.

Erfurt, 129.

Esclatism (Greek gymnastics), 71.

[_La_] _Esmeralda_ (Perrot and Pugni), 152.

Esthonian folk-dances, 121, 126f.

Eugenius IV, 78f.

Eurhythmics (of Jacques-Dalcroze), 234ff.

_Excelsior_ (ballet), 152.

F

Fabiol (in Spanish dance), 79f.

Fackeltanz, 128, 130.

Fakir dances, 28f.

Falkenfleth, Haagen (quoted on Jörgen-Jensen), 165.

Fandango (Spanish folk-dance), 50, 105, 106f, 112.

Farandole (French folk-dance), 121;
(as court dance), 122.

[_La_] _Farandole_ (Dubois), 152.

[La] Farruca (Spanish folk-dance), 111.

Fauns, 80.

_Faust_ (ballet by Perrot), 158.

Feodorova, Sophie, 221, 224.

Ferrabosco, Alfonso, 84.

_Festen i Albano_ (Danish ballet), 163.

Festival of the Sacred Bull (Egyptian), 15f.

Festival of the Supreme Being (French strolling ballet), 93f.

Festivals (Roman), 74, 75f.

Finland (folk-dances), 2, 121, 132;
(compared to American Indian dances), 39;
(rune tunes), 63;
(horn dance), 117;
(naturalistic school), 205.

_Fiorella_ (ballet), 163f.

_Fire Bird_ [_The_], 231.

Fire Dance, 192.

Fleure (ballet step), 98.

Fleury (quoted), 101.

Flitch, J. E. Crawford, quoted (on Fuller), 190f.

Floralia (Roman festivals), 75.

_Flore et Zéphire_ (French ballet), 152, 154.

Florence (court ballet), 90;
(folk-dance), 124.

Flower Dance, 192.

Flute (in Egyptian dance music), iv, 8;
(in Indian dance music), 27;
(in Chinese dance music), 32;
(in Japanese dance music), 38;
(in American Indian dance music), 41;
(in Arabian dance music), 49;
(in Greek dance music), 56, 58f, 61, 70;
(in Roman dance music), 74, 76;
(in 15th cent. Italian ballet), 82.

Fokina, Vera, 171, 220, 221, 224.

Fokine, vi, 219f, 220, 228, 231, 244.

Folk-dances, 266;
(rel. to sex instinct), v;
(Spanish), 105ff;
(Italian), 122ff;
(German), 128f;
(Finnish), 132f;
(Scandinavian), 133;
(Dutch), 135;
(Lithuanian), 135f;
(Polish), 136;
(Slavic), 136ff;
(Armenian), 138f;
(Russian), 139ff, 171.

Folk-songs, 265;
(Russian), 183.

Forlana (Italian folk-dance), 124.

Fouetté (French ballet step), 97.

Fouetté pirouette (in Egyptian dances), 18.

Fountain of Magic Dances (in Eleusinian Mysteries), 67.

Fox Dance (Greek), 69.

France (rhythmic church ritual), iii-f, 81;
(folk-dancing), 2, 121ff, 262;
(court dancing), 10;
(grand court ballets), 83, 86ff, 247;
(democratic influence), 102;
(waltz), 131;
(influence of, on Russian ballet), 171;
(naturalistic school), 205.

French Academy of Dancing, 94f, 99, 105.

French ballet, 86ff;
(modern criticism of), 214ff.

French Revolution, 92, 93f, 148.

Froehlich (Danish composer), 163.

Fuentes (cited on Seguidilla), 109f.

Fuller, Loie, 189, 190ff.

Fuller, Margaret (quoted on Elssler), 155.

Funeral dances (Japanese), 36;
(Greek), 54.

G

Gade, Niels W., 133, 151.

Gaita (Spanish instrument), 106.

Galcotti (ballet composer), 152.

Galeazzo, Visconti, Duke of Milan, 10, 81.

Galen (quoted), 54.

Galeotti, Vincenzo Tomaselli, 162.

Galicia (church dancing), 78;
(folk-dancing), 106.

Galliard, 149f.

Gardel, Maximilian (ballet composer), 14, 89, 91, 131, 148, 151, 162.

[El] Garrotin (Spanish folk-dance), 111.

Gautier, Théophile, 152, 158;
(quoted on Elssler), 157.

Gavotte, 70, 86, 148.

Gedeonoff, 181.

Geltzer (Russian ballet dancer), 185.

Genée, Adeline, 151, 167.

Generalization, theory of (in ballet), 216f.

Germany, v;
(folk-dancing), 128f;
(the waltz), 131f;
(social dancing), 150;
(influence of Duncan), 201.

Gesture (relation between, and music), 240.
See also Pantomime.

_Ghiselle_ (French ballet), 152, 158.

Ghost Dance (American Indian dance), 38, 40f.

Gia (Chinese dance), 32.

Gilchrist, Connie, 189.

Glazounoff, Alexander Constantovich, 183, 186, 224.

Glière, Reinhold, 206, 207, 254, 259.

Glinka, Mikail Ivanovich, 104, 181, 224, 254.

Glissade (ballet-step), 97f.

Gluck, Christoph Willibald, 102f, 121, 148, 152, 200.

Gogol, 104, 171.

Golden Calf (in mediæval ballet), 80.

Goulu [La] (ballet dancer), 192.

Grahn, Lucile (ballerina), 163f.

Grand ballets (of French court), 83, 86ff.

_Gratiereness Hulding_ (Danish ballet), 162.

_Graveyard Dance_ (Oriental), 21f.

Gravity (in naturalistic dancing), 196f, 215.

Greece (philosophers of, quoted on dancing), iii;
(religious dancing), iv, 9, 10, 52ff, 59;
(writers of, cited on Spanish dancing), 46f;
(its choreography), _52–71_;
(festival dancing), 54f;
(folk-dancing), 121.

Greek dancing (modern ‘revivals’ of), 195f;
(Jacques-Dalcroze system), 245, 247.

Greek Church (dancing in), iii.

Greek Mysteries, 61.

Gregory, Johann (ballet master in Russia), 179.

Gretchaninoff, Alexander, 255.

_Gretna Green_ (ballet), 152.

Grétry, André Erneste Modeste, 148.

Griboyedoff, Teleshova, 178.

Grieg, Edvard, 104, 133, 201, 205, 206.

Grisi, Carlotta, 151, 158.

Grouping (decorative), 235.

Guerrero, Rosario, 210.

Guild dances (German), 129.

_Guillaume Tell_ (French ballet), 92.

Guimard, Madeleine (French ballet dancer), 91, 94, 99, 100f.

Guitar (Egyptian), 8;
(African), 47;
(in Spanish folk-dance), 107, 110.

_Gustave Vasa_ (French ballet), 102.

Gymnastics (rhythmic), 234ff.

Gymnopædia, 59f.

H

Hailii (Finnish folk-dance), 133.

Handel, George Frederick, 99;
(bourées), 121;
(courantes), 145.

Harlequin, Parisian (Dominique), 100.

Harp (in Egyptian dance music), 8;
(in American Indian dance music), 41;
(in Greek dance music), 53, 56;
(in Roman dance music), 76;
(in Esthonian folk-dance music), 127;
(in Finnish dance music), 133.

Hartmann, Johann Peter Emil, 133, 151, 152, 163.

Hatton (English dancer), 150.

Hawasis, 20f.

Haydn, Joseph, v.

Hebrews, iii, 43ff.
See also Jewish Marriage Dances, etc.

Helen of Sparta, iv.

Hellerau (College of Rhythmic Gymnastics), 234ff.

Hempua (Finnish folk-dance), 133.

Henri IV, King of France (patron of dancing), 86.

Henrietta Maria, Queen of England, 84.

Henry VII, King of England, 84.

Herculaneum, 57.

_Hercules in Love_ (French ballet), 87.

Hermes, Egyptian god (Thoth), 13.

_Héro et Leandre_ (French ballet), 94.

Herodotus (cited), 13.

Hesiod (cited), 52, 65.

Heteræ (Greek), 69, 70.

Hieroglyphs, 12ff.

High Kickers, 189.

Highland Fling (Scotch folk-dance), 118.

Hilferding, 180.

Hincks, Marcella A. (cited on Japanese dancing), 35.

Historical Ballet (Chinese), 33.

Homer (cited), 52, 53f, 56f, 57, 65.

Hoppe, Johann Ferdinand, 164.

Hora (Roumanian folk-dance), 137f.

Horace (cited), 72.

_Horatii_ (French ballet), 90.

Hormos (Greek dance), 61, 64.

Horn (in Finnish dance music), 133.

Horn Dance (English folk-dance), 117f.

Hornpipe (Scotch folk-dance), 119.

Hovey, Mrs. Richard, 195f, 212, 214.

Huang-Ta, 30.

_Humpty-Dumpty_ (ballet), 190.

Hungary (folk-dancing), 2, 124ff.

_Hymn to Apollo_, 56.

_Hymnea_ (Greek dance), 61.

_Hyporchema_ (Greek dance), 55, 59.

I

Ibsen, Henrik, 104.

Idealism (classic), 157.

Ilia Murometz (Russian folk-dance), 140.

Iliad (cited), 53f, 127.

Impatiencem (17th-cent. ballet), 87.

Imperial Ballet School (Russian), 90f, 105, 172, 181.

Imperial Dramatic Dancing School (Russian), 180.

Improvisation (course in Jacques-Dalcroze school), 240.

India (relation of dancing and religion), 9;
(choreographic art), 24ff;
(effect of music on dancing), 25;
(dances of, in European imitation), 209.

Indians. See American Indian.

Indulgences (sold by clergy for dancing), 81.

Ingham, Ethel (quoted), 234f.

Ingham, Percy B. (quoted), 242.

Innocence, Dance of (Egyptian), iv.

Innsbruck, 129.

Instruments (in Egyptian dance music), 8, 16.

Ionic Movements, 56.

_Iphigenia in Aulis_ (Gluck), 152.

Ippolitoff-Ivanoff, Mikail Mikailovitch, 256.

Ireland (folk-dancing), 119f.

Irvin, Beatrice, 206.

Isabella of Aragon, 81.

Isis cult, 15f.

Istomina (Russian ballerina), 178, 181.

Italy, v, 102;
(folk-dances), 2, 122ff;
(court dancing), 10;
(mediæval strolling ballets), 80f;
(influence on Russian ballet), 171.

‘Ivan the Terrible’ (Russian folk-dance), 140, 141.

Ives, Simon (composer of masque music), 83.

Ivi-Men (Chinese dance), 32.

J

_Jack Sheppard_ (ballet), 190.

Jacques-Dalcroze, Émile, 234ff, 247, 249;
(eurhythmics of, compared with Greek dancing), 71.

Jacques-Dalcroze School, 197f, 200.

Jaernefelt, Armas, 205.

[_El_] _Jaleo_ (Spanish folk-dance), 111.

James I, King of England, 84.

Japan (pantomimic character of dancing), 3;
(dance of, adopted in China), 33f;
(funeral dances), 35ff;
(European choreographic imitations), 208;
(folk-dances), 262.

[_de_] _Jaulnaye_ (cited on Roman dancers), 73.

Java (pantomimic choreography), 3.

Jerusalem, Temple of, 44.

Jeté, 94, 95;
(in Egyptian dance), 20;
(in Bibasis), 62.

Jewish marriage dances (in Morocco), 44.

Jewish moralists (antagonism to dancing), 9.

Jig (Irish folk-dance), 119f.

Jota (Spanish dance), 50, 105, 107f.

Jones, Inigo, English architect, 83, 84.

Jonson, Ben, 83, 84.

Jörgen-Jensen, Elna (ballet dancer), 165ff.

_Judgment of Paris_ [_The_] (ballet by Noverre), 90.

Jupiter, 54.

Juvenal, 74.

K

Kaakuria (Finnish folk-dance), 133.

Kaara Jaan (Esthonian folk-dance), 126f.

Kagura (Japanese dance), 38.

Kaiterma (Cossack dance), 140.

Kalevala, 257.

Kalewipoeg, 121, 127.

Kalmuk dances (compared to American Indian dances), 39.

Kamarienskaya (Russian folk-dance), 140, 142.

Karsavina, Tamara, 171, 176, 183, 188, 220, 221, 222, 226, 227f,
229, 231, 248.

Kasatchy (Russian folk-dance), 140, 141f.

_Kia-King_ (ballet by Titus), 34.

Kinney, Troy and Margaret West (quoted on Arabian dances), 47ff;
(quoted on _Fandango_), 107f;
(quoted on _La Farruca_), 111;
(quoted on modern Spanish dances), 210f.

Kirchoff (cited on Greek dance), 63.

Kolla (Slavic folk-dance), 137.

Kolossova, Eugeny, 179.

Kon-Fu-Tse (Chinese moralist), 30.

Kosloff (Russian ballet dancer), 221.

Kostroma (folk-dancing in), 140.

Kreutzer, Rodolphe, 102.

Krohn, [Dr.] Ilmari, 132.

Kshesinskaya, Mathilda, 151, 179, 183, 185, 188.

Kshesinsky, Felix, 182.

Kuljak (Esthonian folk-dance), 126f.

Kuula, Toiwo, 205.

Kyasht, Lydia, 185, 188.

L

Lacedæmonian dance, 59f.
See also Spartan dance.

Lada, 244, 253ff.

Lancelot (quoted), 137f.

Lande (ballet director), 180.

Lange-Müller, Wilhelm, 205.

Laniere, Nicholas, 84.

Lanner, Katty, 159.

Lantern Festival (in China), 35.

Larcher, Pierre J., 163.

_Laurette_ (ballet), 152.

Lawes, William, 83.

‘Leap with Torches’ (in Eleusinian mysteries), 67.

_Légende de Joseph_ (Strauss), 232.

Leggatt, 182.

Leicester, Earl of, 150.

Lesginka (Cossack dance), 140.

Lessing, 161.

Lessogoroff, 180.

Lettish folk-dances, 121.

Levinsohn, A. (quoted on Duncan School), 198;
(quoted on the old ballet), 215.

Liadova (ballerina), 151.

Ligne, Princess de, 100.

Li-Kaong-Ti (Chinese monarch), 31.

_Lily_ (ballet by San-Leon), 34f.

Lind, Letti, 189.

Liszt, Franz, 125.

Lithuania (folk-dancing), 121, 135f.

_Little Mermaid_ [_The_] (ballet), 167.

Littré (cited), 88.

Livingston (cited), iii.

Livry, Emma, 159.

Livy (cited), 74.

Locatelli, Pietro, 180.

Lopokova, Lydia, 183, 185, 188.

Loti, Pierre (cited on Indian dancing), 28.

_Lou Gue_ (mediæval ballet), 80f.

Louis XIV, 86f, 145.

Louis XV, 86f, 88, 145, 147, 148.

Louis, Pierre, 207.

_Love’s Triumph Callipolis_ (masque by Ben Jonson), 84.

Lubke (cited on ballet dancing), 173.

_Lucas et Laurette_ (French ballet), 94.

Lucceia (Roman dancer), 77.

Lucian (quoted), iii;
(cited), 14, 52, 54, 63, 64, 65.

Ludiones (Roman bards), 74.

Lully, Jean-Baptiste, 86, 87;
(sarabandes), 147;
(gavottes), 148.

Lupercalia (Roman festival), 75.

Lutes (in 15th cent. Italian ballet), 82

Lyre, iv;
(Egyptian), 8, 13;
(Hebrew), 44;
(in Greek dance music), 57, 58;
(in 15th cent. Italian ballet), 82.

‘Lysistrata’ (comedy by Aristophanes), 61.

Lysistrata (Greek dance), 61.

M

MacDowell, Edward, 254, 256.

MacDowell Festival (Peterboro, N. H.), 117.

Mænad Dance (Greek), 69.

Maeterlinck, Maurice, 257f.

Mahabharata (Indian epic), 127.

Maillard, Mlle. (ballet dancer), 92.

_Malakavel_ (French ballet), 102.

[La] Mancha (its folk-dances), 109.

Mandarin dances (Chinese), 34.

Maneros (dancing Pharaoh), 13.

Marathon games, 54.

Marie Antoinette, 148.

Marriage ceremonies, masques performed at, 83.
See also Jewish marriage dances.

Mars, 74.

_Mars et Venus_ (French ballet), 153.

_Marseillaise_ (ballet), 92f.

Martial (cited), 77.

Masai (war dancing), 5.

_Masque of Beauty_ (Ben Jonson), 83.

_Masque of Blackness_ (Ben Jonson), 83.

_Masque of Cassandra_, 86.

_Masque of Castillo_ (John Crowne). 83

_Masque of Owles_, 84.

Masques (English), 83.

Mathematics (relation of, to dancing and architecture), vi.

Mauri, Rosetta (ballerina), 159.

Mazurka, 136.

Mediævalism (relation to dancing), v.
See also Middle Ages.

Medici, Catherine de’, 10, 86, 121.

Mek na snut (Egyptian pirouette), 20.

Melartin, Erik, 205.

Melkatusta (Finnish folk-dance), 132.

Memphis (temple dances to Osiris), 15f.

Merchant Taylor’s Hall (masques performed at), 83.

Merikanto, 205.

Messertanz (of Nuremberg), 129.

Mexicans, iii.

Meyerbeer, Giacomo, 103, 151.

Miassine, Leonide, 232.

Middle Ages (choreography of), 78ff, 247.

Milan School, 151.

Military dance. See War dance.

Milon (French composer and ballet master), 91, 94, 101.

Mimii (Roman dancers), 74.

Minerva, 54.

Minuet (comparison of, to Greek dances), 70;
(in _Lou Gue_), 80;
(in 17th-cent. French court), 86, 147f.

Miriam (Biblical character), 19.

Mirror Dance, 192.

Mohammedans, 21.

Molière, 86.

Mongolian tribes (dancing of, compared with Indians), 28;
(use of Pyrrhic dance by), 60.

Monteverdi, 82.

Moors, 46;
(influence of, on Spanish dances), 50f, 105, 106, 112.

Mordkin, Mikail, 185, 187, 220, 221, 222, 248.

Moreau (painting of Salome dance), 45.

Morocco (Almeiis dancing), 21.

Morris Dances, 113ff.

Moscow (Imperial Ballet School), 172;
(opera house), 175.

Moses, 43, 44.

Moujiks, 172, 178.

Mount Ida, 54.

Moussorgsky, Modest, 104, 171, 181, 224.

Movement (rel. to sound), 238.

Mozart, v, 101, 102f, 206.

Müller, Max (cited), 60, 62.

Munich (guild dance), 129.

Muravieva (ballerina), 151.

Murcia (folk-dances of), 106.

Muses (Egyptian), 13;
(Greek), 10, 54, 57.

Museums. See British Museum, Petrograd Museum, Naples Museum.

Music (of Japanese), 38;
(in Greek dances), 58;
(influenced by Russian ballet), 176;
(as underlying principle of dancing), 198;
(in relation to eurhythmics), 235, 236f, 242;
(relation to gesture), 240, 248;
(in rel. to modern ballet), 249ff;
(syncopated, of America), 265.

Musical notation (Arabic), 17, 47;
(Egyptian), 17;
(Spanish), 17;
(Chinese), 33.

Muyniera (Galician folk-dance), 106.

Mysteries. See Eleusinian Mysteries, Dionysian Mysteries.

Mysteries of Demetrius, 69.

N

Naples Museum, 69.

Napoleon, 102, 148.

Nationalism (expressed in folk-dancing), 3, 113;
(rel. to arts), 104ff;
(in Scandinavia), 104;
(in Russia), 104f;
(in Irish folk-dance), 119f;
(in Finnish folk-dances), 132f.

Naturalistic School, 195ff, 232f.

Nature (expression of, in dancing), 196.

Nausicaa, 52.

Nautch Dance, 209.

Nautch girls, 26.

Naxos, 54.

Neo-Hellenism, 245.

Neoptolemus, 60.

Nero, 74, 75.

Nicomedes of Pithynia, 55.

Nielsen, Augusta, 164.

Nijinsky, Waslaw, 220, 221, 222, 224, 226, 229, 248.

Nijny Novgorod, 140.

Nile (centre of ancient dancing), 10.

_Nina_ (French ballet), 94.

Notation. See Musical notation.

Noverre, Jean Georges, vi, 10, 87, 89, 91, 99, 151, 152, 180, 196.

Novikoff (Russian ballet dancer), 185.

Novitzkaya (ballerina), 151, 181.

Nude Bayaderes, 189.

Nudity (in Egyptian dances), 18;
(in Greek dances), 54f;
(in modern degenerate dances), 193.

Nuitter, Charles Louis Étienne (as ballet composer), 151, 152.

Numa (mythical founder of Roman sacred dance), 10, 73.

Nuremberg (its guild dance), 129.

_Nut Cracker Suite_ (Tschaikowsky), 185.

Nymphs, dances of (in Dionysian Mysteries), 68f.

O

Oberammergau Passion Play (comparison with Chinese ‘Historical
Ballet’), 33.

Obertass (Polish dance), 136.

Oboe (in Indian dance), 27.

Odyssey (cited), 52.

[_L’_]_Oiseau de Feu_ (ballet), 231.

Ojibways, 39.

_Olaf den Hellige_ (Danish ballet), 163.

Olympic games, 54.

Opera (influenced by Russian ballet), 176;
(in rel. to modern ballet), 265.

Opera houses, 175.
See also Paris Opéra; Moscow (opera house).

[_L’_]_Oracle_ (ballet), 92.

‘Oranges and Lemons’ (British folk-dance), 120.

‘Orchestra’ (in Greek dance), 63.

Orchestration (in 15th-cent. ballets), 82.

Orient, dancing in, 3.
See also China, India, Japan, etc.

Oriental dances (European imitations), 208f.

_Orpheus’ Descent into Hell_ (ballet by Noverre), 90.

_Orpheus and Euridice_ (17th-cent. ballet), 179.

Osiris cult, 15f.

Ostrovsky, 104f, 171, 177.

[La] Otero (Spanish dancer), 210, 211.

Owl Dance (Greek), 69.

P

Paësiello, Giovanni, v.

Paimensoitaja (Finnish folk-dance), 133.

Painting, 235;
(influenced by Russian ballet), 176;
(in relation to eurhythmics), 239.

Pallas, 74, 75.

Pan (Greek and Egyptian deity), 57;
(Roman), 74.

Pantin (amateur stage at), 101.

Pantomime (in Chinese dancing), 31ff;
(in Japanese dancing), 36ff;
(in American Indian dances), 41f;
(Arabian), 47f;
(Roman), 74, 76f;
(mediæval sacred), 81;
(in Spanish folk-dance), 111;
(in Roumanian folk-dance), 138;
(in Salome dance), 191;
(used by Duncan), 199;
(in rel. to music), 249.

[_Le_] _Papillon_ (ballet), 159, 186.

Paris (Italian court pantomime introduced), 10;
(‘Fatima’ sensation), 22;
(ecclesiastical attitude toward dancing), 81;
(18th-cent. ballet), 91;
(popularity of the _Psyche_ ballet), 92;
(Camargo), 100;
(Taglioni), 153.

Paris Opéra, 91, 100.

Paris School, 151.

Pas bourrée, 97.

Pas coupé, 95.

Pas d’allemande, 20.

Pas de basque, 97;
(in Passepied), 149.

Pas de bourrée emboîté, 97.

Pas de cheval (in Egyptian dances), 18.

Pas marché, 95.

Pas sauté, 98.

Passepied, 149.

Paul, Adolf, 257.

Paul, Czar, 178f, 181.

_Paul et Virginie_ (French ballet), 92.

Paulli, Simon Holger, 152.

Pavana (Murcian folk-dance), 106.

Pavane, 70;
(characteristics), 87;
(in 17th-cent. French court), 86, 144.

_Pavilion d’Armide_ (ballet), 226, 229.

Pavlowa, Anna, vi, 171, 175f, 183, 185, 186f, 187, 215, 220, 222, 247.

Pecour (ballet dancer), 87, 88.

_Peer Gynt Suite_ (as ballet), 201.

[_La_] _Peri_ (ballet), 158.

Pericles, 70.

Perrot (ballet dancer and composer), 152, 154, 158.

Persian Graveyard Dance, 21.

Peter the Great, 179.

Petipa, Marius, vi, 21, 151, 159, 182f, 196, 219;
(quoted on Petrograd Imperial Ballet School), 173f.

Petipa school, 185.

Petit battements, 95.

[_Les_] _Petits Riens_ (Noverre and Mozart), 91.

Petrograd (Museum), 13;
(Imperial Ballet School), 172;
(opera house), 175.

_Petrouchka_ (Stravinsky), 229ff.

Pharaohs (dancing in the court of), 17.

Philip of Macedonia, 55.

Philippus (Roman consul), 76.

Philosophic symbolism (in Indian dance), 29.

Phœnicians, 57.

Physical exercises, 239.

Pipe (Egyptian), 8, 18.

Pipes (in _Graveyard Dance_), 22;
(in 15th-cent. Italian ballet), 82.

Pirouette, 94, 97, 150, 163;
(in Egyptian dancing), 18, 20.

Plaasovaya (Russian folk-dance), 140.

Plastomimic choreography, 247ff.

Plato (quoted), iv;
(cited), 52, 58, 67, 69.

Plots (for ballets), 250.

Plutarch (cited), iv, 14, 45, 67.

Poetry, 235.

Pointes, 163, 215.

Poland (folk-dancing), 136.

Pollux, 54.

Polo (Moorish dance), 106.

Polonaise (Polish folk-dance), 136.

Polowetsi dance (Cossack), 140.

Portugal (mediæval strolling ballets), 80f.

Positions. See Steps.

Poushkin, 178.

Prévost, Mme., 100.

Priapus, 54.

Price, Waldemar (Danish ballet dancer), 164.

Primitive dances (rel. to sexual selection), 6.

Primitive peoples, 3ff.

_Prince Igor_, 228.

Professional dancing, 7;
(Egyptian), 18.

Provence, 80f, 122, 131.

Prussia (_Fackeltanz_), 128.

Pskoff, 140.

_Psyche_ (French ballet), 92.

Psychology, 1ff, 24, 45, 136, 139.

Pugni, Cesare (ballet composer), 152.

_Pygmalion and Galatea_ (ballet), 99.

Pylades (Roman dancer), 73, 74f.

Pyrrhic dance, 60f.

Pythian games, 54.

Q

Quadrille (French social dance), 122.

Quintilian (quoted), 72.

R

Rabinoff, Max, 188.

Racial characteristics, 11.

‘Ragtime,’ 263.

Rainbow Dance, 192.

Ramble (Indian goddess of dancing), 24f.

Realism, 157, 249f.

_Réception d’une jeune Nymphe à la Court de Terpsichore_, 152.

Reed pipes. See Pipes.

Reger, Max, 205.

Regnard (quoted), 88.

Reinach, Théodore (cited on Greek arts), 69.

René of Provence (author of mediæval ballet), 80.

Reno (painter of Salome dance), 45.

Rheinländer (German dance), 131.

Rhythm, 1, 2;
(in naturalistic dancing), 196, 198;
(as basis of all arts), 235;
(in Jacques-Dalcroze system), 239, 244;
(in ballet), 250.

Rhythmic gymnastics, 234ff, 240, 249.

Richelieu, 86, 100.

Rigaudon, 148f.

Rimsky-Korsakoff, Nicolai, 151, 152, 171, 183, 224, 226, 254.

_Rinaldo and Armida_ (ballet by Noverre), 90, 99.

Risti Tants (Esthonian folk-dance), 126ff.

_Robert of Normandie_ (ballet), 164.

Robespierre, 93.

Robinson, Louis (cited on dance instinct), 3.

Rodin (quoted), 196.

Romaika (Slavic folk-dance), 137.

Rome (dancing in), 3, 72ff, 247;
(sacred dancing), 9;
(imitation of Greek dances), 10;
(Pyrrhic dance), 60.

Roman Church. See Church.

Romulus, 73.

Rondes (similarity to Eleusinian Mysteries), 67;
(French folk-dance), 121.

_Roses of Love_ (ballet by Noverre), 90.

Rossini, 101, 103, 151.

Rouen, 100.

Roumania (folk-dance), 137f.

Round. See Ronde.

Royal Academy of Dancing (French), 86.

Rubinstein, Anton, 183, 256;
(composed ‘Tarantella’), 124.

Rubinstein, Ida, 45.

Ruggera (Italian folk-dancing), 124.

Rune tunes (Finnish), 63.

Russia (Imperial Ballet), 92;
(influence of, on choreography), 102;
(nationalistic tendencies), 104f;
(folk-dancing), 139ff, 262;
(influences on ballet), 169;
(ballets of opera house), 175;
(influence of Duncan school), 200, 206, 218f.

Russian Imperial Ballet School, 90f, 105, 172.

Russian Imperial Dramatic Dancing School, 180.

Ruthenia (folk-dancing). See Slavic folk-dances.

S

Sacchetto, Rita, 203, 212.

_Sacre du Printemps_ (Stravinsky), 231.

Sacred dancing (in rel. to folk-lore), 9;
(Egyptian), 15;
(Indian), 26;
(Japanese), 38;
(American Indian), 39, 41f;
(Greek), 59, 67ff;
(Roman), 73f.

Sadler, Michael T. H. (quoted on Jacques-Dalcroze School), 235f.

Sahara Graveyard Dance, 21.

Sailor’s Dance (Dutch), 135.

St. Basil (cited), iii.

St. Carlos (celebrated by strolling ballet), 80.

St. Denis, Ruth, 208, 212.

Saint-Léon, 159.

St. Matthew (quoted), 44.

St. Petersburg (court ballet), 90, 161.
See also Petrograd.

Saint-Saëns, Camille, 186.

St. Vitus’ Dance, 129.

_Sakuntala_ (French ballet), 152.

Sallé, Mlle., 94, 99, 100.

_Salmacida Spolia_ (Sir William Davenant), 84.

Salome dances, 44f, 191.

_Salome_ (Richard Strauss), 45.

_Saltarello_ (Italian folk-dance), 124.

Sangalli, Rita, 159.

Sappho, 70, 94.

Sarabande, 146.

Sarasate, Pablo, 108.

Satyr Dance (in Dionysian Mysteries), 68, 69.

_Sauvages de la Mer du Sud_, [_Les_] (French ballet), 94.

Savage peoples. See Primitive peoples.

Savinskaya, 206.

Saxony (folk-dancing), 130.

Scaliger, Joseph Justa (cited), 54.

Scandinavia (folk-dances), 2, 133;
(nationalistic tendencies), 104f;
(waltz), 131;
(naturalistic school), 205.

Schafftertanz (of Munich), 129.

_Scheherezade_ (Rimsky-Korsakoff), 152, 226.

Schiller, 166, 250.

Schirjajeff, 182.

Schliemann (Egyptologist), cited, 17.

Schmoller (Saxonian folk-dance), 130.

Schnitzler, Arthur, 166.

Schönberg, Arnold, 205.

Schools of dancing, (Petipa), 185;
(Duncan), 197;
(Jacques-Dalcroze), 197f.
See Academies.

Schopenhauer (cited), 250;
(quoted), 64.

Schleiftänze, 129.

Schreittänze. 129.

Schubert, Franz, 103f, 254.

Scotch Reel, 118f.

Scotland (folk-dancing), 118f.

Scribe, Eugène. 103.

Schuhplatteltanz (Bavarian folk-dance), 129f.

Schumann, Robert, 206.

Sculpture (in rel. to dancing), 173, 196, 235.

Seguidilla (Spanish dance), 50.

Sensationalism, 190.

Seroff, Alexander Nikolayevitch, 104, 171, 181.

Serpentine Dance, 189, 190f.

Servia (folk-dancing).
See Slavic folk-dances.

Setche, Egyptologist (cited), 14.

Seville (church dancing), iv, 78;
(court dancing), 47.

Sex instinct (in rel. to folk-dancing), v, 11, 134, 139.

Shakespeare (cited on the jig), 119.

Sharp, Cecil (quoted on Morris dances), 113f.

Shean Treuse (Scotch folk-dance), 118.

Shintoism (Japanese religion), 36.

Shirley, James, 83.

Sibelius, Jean, 205, 254, 256, 257f.

Siberia (folk-dancing), 140.

Siciliana (Italian folk-dance), 124.

[_Le_] _Sicilien_ (ballet), 153.

_Sieba_ (ballet), 152.

Siebensprung (Swabian folk-dance), 130.

Singing (in Finnish dances), 133.

Singing ballet, 177f.

Singing Sirens, 57.

Skirt Dance, 189, 212.

Skoliasmos (in Dionysian mysteries), 68f.

Skralat (Swedish folk-dance), 133.

Slavic folk-dances, 136ff.

_Sleeping Beauty_ (Tschaikowsky), 152, 185.

Snake dances (Lithuanian), 135;
(American Indian), 38, 41, 135.

_Snegourotchka_ (Rimsky-Korsakoff). See _Snow Maiden_.

_Snow Maiden_ (Rimsky-Korsakoff), 152, 177, 183f.

Social dancing (Greek), 54f;
(Polish), 136;
(in 17th cent.), 144ff.
See also Court dancing.

Socrates, 54, 56.

Sokolova (ballerina), 151, 183.

Solomon, Hebrew king, 43, 44.

Sophocles, 62.

Sound (in relation to movement), 238

[_La_] _Source_ (Delibes), 152.

Spain (religious dancing), iv;
(folk-dancing), 2, 105ff, 210ff;
(choreographic art of Moors), 46, 50f;
(mediæval strolling ballets), 80f.

Spartan dance, 54f, 60.

_Spectre de la Rose_ (ballet), 221, 223, 229.

Spendiaroff, 256.

Spinning top principle, 216.

Stage dancing (in Middle Ages), 81, 148.
See also Professional dancing.

Steps, 2;
(in American Indian dances), 42;
(in courante), 88;
(in classic French ballet), 95f;
(Bolero), 109;
(Seguidilla), 110;
(Hungarian folk-dances), 125f;
(Rigaudon), 149;
(Bournoville’s reform), 163.

Stephania (Roman dancer), 77.

Stewart-Richardson, Lady Constance, 206.

Stockholm (ballet dancing), 161.

Stockholm school, 151.

_Stomach Dance_ (Arabian dance), 3, 21, 22.

Stone Age, 5.

Stramboe, Adolph F., 164.

Strassburg, 129.

Strauss, Johann, 132.

Strauss, Richard, 204f, 232.

Stravinsky, Igor, 185, 229ff.

Strindberg, August, 165.

String instruments (Indian), 27.

Strolling ballets (mediæval), 80f;
(in French Revolution), 93f.

Strophic principle, 63.

Stuck (painter of Salome dance), 45.

Stuttgart (court), 90, 153.

Subra, Mlle. (ballerina), 159.

Su-Chu-Fu (dancing academy), 34.

Suetonius (cited), 76.

_Sun’s Darling_ (English masque), 84.

Svendsen, Johann, 133, 205.

Svetloff (cited), 218.

_Swan, The_ (Saint-Saëns), 186.

_Swanhilde_ (ballet), 167.

_Swan Lake_ (Russian ballet), 152, 184f.

Swabia (folk-dancing), 130.

Sweden (influence on Russian ballet), 169.
See also Scandinavia.

Sword Dance (English), 21, 33, 113, 115ff.

_La Sylphide_ (Delibes), 152, 153, 154, 156, 163.

[_Les_] _Sylphides_, 175, 221.

_Sylvia_ (Delibes), 152.

Symbolism (in Indian dancing), 29, 263f;
(in Hungarian folk-dancing), 126;
(in Lada’s dances), 254f;
(in modern ballet), 258, 265.

Symons, Arthur (quoted), 264f.

Symphonic music (as basis for dancing), 200, 206.

Syrinx (Egyptian instrument), iv.

Szolo (Hungarian folk-dance), 126.

T

Tabor (in Morris dance), 115.

Tacitus (cited), 76.

Taglioni, Maria, 11, 151, 152ff, 156, 157, 193.

Taglioni, Salvatore, 151, 152, 161.

Ta-gien (Chinese dance), 32.

Ta-gu (Chinese dance), 32.

Ta-knen (Chinese dance), 32.

Talmud, 43.

Ta-mao (Chinese dance), 32.

Tambourine (in Hebrew dance), 19;
(in Indian dance), 27;
(with bells, Chinese), 32;
(in Greek dances), 71;
(in Spanish dance), 79f, 106;
(in Tarantella), 122.

Taneieff, Sergei Ivanovich, 224.

Tarantella (Italian folk-dance), 122ff.

Tartar tribes, 140.

Tascara (Spanish folk-dance), 111f.

Taubentanz (Black Forest), 130.

Ta-u (Chinese dance), 32.

Tcherepnin, 185, 226, 229.

Technique (Duncan), 199;
(instrumental), 237;
(eurhythmic), 239.

Telemachus, 53.

_Telemaque_ (French ballet), 92.

Teleshova (ballerina), 151, 181.

Telethusa (Roman dancer), 77.

_Tempe Restored_ (Aurelian Townsend), 84f.

Temple dancing (Hebraic), 43, 44;
(Greek), 54f;
(Esthonian), 127.
See also Sacred dancing.

Terpsichore, 10, 57.

_Terpsichore_ (ballet by Handel), 99.

Teu-Kung (Chinese dancing teacher), 31.

Thackeray (quoted on Taglioni), 154.

Thales, 59.

Théatre des Arts, 92.

Theatre of Dionysius, 64f.

Thebes, 19.

Theseus, iv, 54, 69.

They (Chinese monarch), 30.

Tiberius (Roman emperor), 76.

Tichomiroff, 221.

Time, 240f.

Time-marker (in Greek dancing), 70f.

Time-values, 241.

Titans, 59.

Titus (Roman emperor), 34.

Toe-dance, 215.

Toledo (church dancing), iv, 78.

_Toreadoren_ (ballet), 164.

Torra (Murcian folk-dance), 106.

Tourdion (social dance), 150.

Townsend, Aurelian, 84f.

Trepak (Russian folk-dance), 140.

Trescona (Florentine folk-dance), 124.

Triangle (in English Horn dance), 117.

Tripoli (Almeiis dancers in), 21.

_Triumph of Love_, 87.

_Triumph of Peace_ (James Shirley), 83.

Trouhanova, Natasha, 45, 244, 256f.

Trumpets (in 15th-cent. Italian ballet), 82.

Tschaikowsky, Peter Ilyitch, 104, 151, 152, 171, 177, 183, 184, 185.

Tshamuda (Indian goddess), 26.

Tuileries, 87.

Tunic, ballerina’s, 215.

Tunis (Almeiis dancers in), 21.

Turgenieff, 104, 171;
(quoted on Elssler), 155f.

Tuta, 215.

U

Uchtomsky, Prince (cited), 28.

U-gientze (Chinese dance), 32.

Ulysses, 52.

Urbino, Duke of, 80.

V

Vafva Vadna (Swedish folk-dance), 133f.

_Valdemar_ (Danish ballet), 163, 164.

Valencia, iv, 78, 107f.

Valencian Bishop (advocate of dancing), 78.

Valentine, Gwendoline (ballet dancer), 206.

Vanka (Cossak dance), 140.

Van Staden (Colonel), 179.

Vaudoyer, J. L., 229.

Vaughan, Kate (ballet dancer), 193.

_Veie de Noue_ (in _Lou Gue_), 80.

Veils (used in Greek dancing), 66, 70.

Venera (Indian goddess), 24.

[_La_] _Ventana_ (ballet), 166.

Venus of Cailipyge, 76f.

_Verbunkes_ (Hungarian folk-dance), 126.

[_La_] _Vestale_ (ballet), 153.

Vestris brothers, 91, 101, 148, 151, 162.

Viennese court, 90.

Viennese School, 151.

Villiani, Mme. (ballet dancer), 22, 193.

Vingakersdans (Swedish folk-dance), 134.

Violin (in 15th-cent. Italian ballet), 82;
(in Spanish folk-dance), 107.

Vision of Salome (ballet), 201.

Vocal ballets, 177f.

Vocal music (dependence of dancing upon), 8;
(in Greek dances), 58.

Voisins, Comte Gilbert des, 154.

Volga, 140.

Volinin (Russian ballet dancer), 185, 187, 248.

Volkhonsky, Prince Serge (quoted), 197f, 212f, 215ff, 232, 249.

Voltaire (cited), 99.

_Volte_ (French folk-dance), 131.

Vuillier (quoted on Spanish temple dancing), 79f.

Vulcan, 53.

Vulture Dance (Greek), 69.

W

Wagnerian operas, 63.

Waldteufel, 132.

Waltz, 131f.

Walzer, 131.

War-dances (primitive), 5f;
(Pyrrhic), 60;
(Roman), 73;
(Hungarian), 126.

Warsaw (opera house), 175.

Weber, Carl Maria von, 91, 103, 229.

Weber, Louise, 192.

Weiss, Mme., 159.

Wellman, Christian, 180.

Whistles (in American Indian dances), 41;
(in Morris dance), 115.

Whitehall (masques performed at), 83.

Wiesenthal, Elsa and Grete, 202f, 212.

Wilhelm II, 130.

Wilkinson, Sir Gardner, on Egypt (cited), 18f;
(quoted), 20f.

Women (earliest appearance of, in ballet), 87.

Wood-wind instruments (Indian), 27.

Wsevoloshky, 183.

Würtemberg (folk-dancing), 130.

X

Xenophon (quoted), 55f.

Xeres, iv.

Y

Yorkshire (English sword dance of), 116.

Yu-Wang (Chinese emperor), 33.

Z

Zarzuela (Spanish comic opera), 63f, 106.

Zeus, 59.

Zorongo (Spanish folk-dance), 111.

Zulus (war dances of), 5.

Zunfttänze, 129.

Zwölfmonatstanz (Würtemberg), 130.

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in the original book; otherwise they were not changed.

Simple typographical errors were corrected; unbalanced quotation marks were remedied when the change was obvious, and otherwise left unbalanced.

The index was not checked for proper alphabetization or correct page references, with this exception: all references to pages iii–vi should be to pages vii–x. In versions of this eBook that support hyperlinks, the links have been corrected, but the displayed page numbers have not been changed in any version of this eBook.

Page 110: “Albacetex” was printed that way; probably is a misprint for “Albacete”.

Page 131: “3/4 rhythm” was printed as “3-4 rhythm” but changed here to conform with the predominant form of notation throughout the original book.

Page 275: “English Cathedrals” reference to page viii was printed as “iii-f”; changed here.