Chapter I: Preface

The pleasant responsibility of writing about one of our two overwhelming enthusiasms was accepted by us only after consultation with friends in the dancing profession.

“A book of technical instruction is not the idea,” we started to explain.

“No,” they concurred, “that would not be an undertaking for painters. Only an experienced master of dancing should write such a book, and he would not be likely to, because he would know that execution is taught only by personal criticism of a pupil’s work.”

We hastened to specify that the proposal involved no more--and no less--than an effort to share our enthusiasm with others. Appreciation of an art requires no faculties not included in the normal human equipment; more than anything else it is a matter of knowing what to look for. When a layman comes to a painter asking what it is that people find so enjoyable in classic mural decoration, the answer is not difficult. A few hours in an art museum, with some direction of his attention to line as a vehicle of beauty, acquaint him with the idea of beauty as a self-sufficient object; and he goes on his way rejoicing in the possession of a lasting process of making happiness for himself.

Great dancing, to us, always had been a gratification of the same senses that are addressed by decoration. The same suggestions, therefore, that convey the power to enjoy classic mural painting, would enable us to communicate our satisfaction in the dance. But the question arose, was our point of view on dancing in accord with its real intent, and that of its performers and composers?

Madame Cavallazi disposed of the doubt at one stroke. “The ballet,” she said, “_is_ mural decoration.”

Sanctioned by such authority, we have followed the lines above indicated, treating the dance from the standpoint of pure optical beauty. Its enjoyment, experience proves, is distinctly sharpened by acquaintance with choreographic technique. One not fairly familiar with the resources of the art, though he be conscious that the dance before his eyes is progressing, like music, in conformity with an artistic argument, is confused by the speed and seeming intricacy of steps. As a result he loses the greater part of the beauty of the succession of pictures unfolded before him. Whereas the ability to grasp the theme of a composition, and then to follow its elaboration through a vocabulary of already familiar steps, is in effect to quicken the vision. Instead of being harassed by a sensation of scrambling to keep up with the argument, the spectator finds himself with abundant time to luxuriate in every movement, every posture. And, like a connoisseur of any other art, he sees a thousand beauties unnoticed by the untrained.

To the end of furnishing the needed acquaintance with the alphabet of the art, the book includes a chapter of explanation of the salient steps of the ballet. These steps, with superficial variations and additions, form the basis also of all natural or “character” dances that can lay claim to any consideration as interpretative art. It is convenient to learn the theories of them as accepted by the great ballet academies, since those institutions alone have defined them clearly, and brought to perfection the ideals for their execution. Incidentally the school of the ballet is made the subject of considerable attention. In the first place, after getting a grasp of its ideals and intent, any one will catch the sentiment of a folk-dance in a moment. Moreover, it is in itself an important institution. During its long history it has undergone several periods of retirement from public attention, the most recent beginning about sixty years ago. From this eclipse it has already returned to the delighted gaze of Europe; as always after its absences, so far evolved beyond the standards within the memory of living men that posterity seems to have been robbed of the chance of discovering anything further. The renaissance is moving westward from St. Petersburg; London is wholly under its influence; America has felt a touch of it.

American love of animated beauty and delight in skill predestine us to be a race of ardent enthusiasts over the dance. Among us, however, there are many who have never accepted it as an art worthy of serious attention. As a gentle answer to that point of view, a historical résumé is included, wherein statesmen, philosophers and monarchs show the high respect in which the art has been held, save in occasional lapses, in all periods of civilised history.

Direct practical instruction is furnished on the subject of present-day ballroom dancing, to the extent of clear and exact directions for the performance of steps now fashionable in Europe and America. The chapter was prepared under the careful supervision of Mr. John Murray Anderson.

Neither in word nor picture does the book contain any statement not based upon the authors’ personal knowledge, or choreographic writings of unquestioned authority, or the word of dancers or ballet-masters of the utmost reliability. To these artists and to certain managers we are greatly indebted. Much of the matter has never before been printed in English; a considerable portion of it has here its first publication in any language. The illustrations of dances of modern times are made from artists in the very front rank of their respective lines. If the new material so contributed to choreographic literature proves, according to the belief of dancers who have read the manuscript, to be of value to producers, the authors will experience the gratification that comes of having been of service. But their efforts will be more directly repaid if the influence of the book hastens by a day that insistence upon a high choreographic ideal in America, and that unification of dance-lovers which must exist in order that worthy productions may be reasonably insured of recognition in proportion to their quality.

Finally, a word of thanks to those whose aid has made this book possible. Though busy, as successful people always are, they have given time and thought unsparingly to the effort, in co-operation with the authors, to make this a substantial addition to the layman’s understanding of the dancing art.

T. K. and M. W. K.

_New York, November, 1913._

CONTENTS

CHAPTER PAGE

I. THE DANCING OF ANCIENT EGYPT AND GREECE 3

_The dance a primitive emotional expression. Importance in Egyptian religious ritual. Biblical allusions. Its high place in Greek civilisation. Origin attributed to the gods. Employed in observances religious, civic, and private. Practice decreed by Lycurgus for military discipline and cultivation of national stamina. A feature of Plato’s “Ideal Republic.” Ballet in drama. Interacting influence between dance and sculpture._

II. DANCING IN ROME 22

_Simplicity of early Roman taste and manners enforced by poverty. Vulgarity with riches. Degeneration of dancing with other arts, under Empire. Acrobatics, obscenity. Ballet pantomime. Pylades and Bathyllus._

III. THE MIDDLE AGES AND THE RENAISSANCE 29

_The Christian Church lifts dance from degradation. Ballet d’action in ritual of worship. A cause of disagreements between ecclesiastical dignitaries. The Seises of Seville Cathedral preservers of dance in religious service. Moralities, etc. Mechanical effects. Ambulatory ballets._

_Rebirth of polite society; the masque. Cardinal Riario. Catherine de Medici, direct influence toward modern ballet. Elizabeth of England. Richelieu, composer. Louis XIV, ballet performer, founder of national academy._

_Dawn of stars. Sallé. Prévost. Camargo. New standards. Expression. New steps added to those derived from old dances: Gavotte, Minuet, Pavane, Saraband, Tordion, Bourrée, Passecaille, Passepied, Chaconne, Volte, Allemande, Gaillarde, and Courante. Their formality; illustrations._

IV. A GLANCE AT THE BALLET’S TECHNIQUE 59

_Visual music: dance steps are notes, an enchainement is a phrase, a dance-composition is a song, the ballet is an orchestra. Ballet dancing, as such, not based on imitation of nature; a convention, analogous to ornamental decoration. Intent: perfect beauty of line and rhythm; abstract qualities exploited. Importance of pantomime unsettled._

_Ballet dancing can be seen intelligently only by aid of acquaintance with elemental steps. Fundamental positions of feet and hands. Gliding steps: chassé, échappé, coupé, etc. Battements, grand, petit. Changement. Entrechat. Brisé. Balloné. Enchainements. Pas de Bourrée, pas de Basque._

_Turns and pirouettes. Rond de jambe. Fouetté. Sur le cou-de-pied; en l’air. Renversé. En arabesque, etc. Optical illusions._

_Phrasing. Theme. Motive._

_Standards of form. Exactness. Beneficial relaxation of formality; results of unguided emancipation._

V. THE GOLDEN AGE OF DANCING 100

_Early eighteenth century finds ballet profiting by many favourable influences. Royal patronage. Public enthusiasm and discernment. Great-minded artists in co-operation. Fortunate accidents. The Vestris, father and son. Noverre, “the Shakespeare of the dance.” Boucher, designer of stage decoration. Gluck. Costuming._

_Rivalries of Camargo and Sallé; Allard and Guimard. Coterie of great performers. French Revolution._

_Dance resumed with return of peace. An ambassador as impresario. Public controversy and enthusiasm over Taglioni and Ellsler; opposites; none to replace them; singing supersedes dancing in opera._

VI. SPANISH DANCING 121

_Gaditanae in Roman literature. Spanish dancing resists Roman corruption, Gothic brutality. Favouring influence of Moors. Attitude of the Church. Public taste and discrimination._

_Two schools, Flamenco (Gipsy origin) and Classic. The Gipsy. La Farruca, el Tango, el Garrotin; distinct character. Costume. Classic: Seguidillas family. Las Sevillanas; general character. The Fandango rarely seen. La Malagueña y el Torero. Las Malagueñas. The Bolero. Castanets. Los Panaderos. The Jota of Aragon, character, costume, etc. Other dances._

VII. ITALIAN DANCES 156

_The Forlana of Venice: Harlequin, Columbine, Dr. Pantalone. Pantomime and tableaux. The Tarantella, character, costume. The Ciociara of Romagna. Italian fondness for pantomime. The Saltarello. La Siciliana, la Ruggera, la Trescona, etc._

VIII. EUROPEAN FOLK-DANCING IN GENERAL 164

_Folk-dancing an expression of social conditions. Scotch nationalism. The Sword Dance; the Highland Fling; the Scotch Reel. Motives, basic steps. Reel of Tulloch. The Shean Treuse. England: Sailor’s Hornpipe. Morris Dances. Recent revival of old dances. Ireland: Jig, Reel and Hornpipe. Intent, steps, devices of tempo. Irish festivals; Gaelic League. Sweden: recent revival of old dances. The Skralât; Kadriljs. The Vafva Vadna; the Daldans. Holland: the Mâtelot. France: la Bourrée, la Farandole. Specimen freak dances: the Perchtentanz, the Bacchu-ber. The Schuhplatteltanz of Bavaria. Balkan region: the Kolo. Degeneration of dancing in Greece. Russia: Cossack Dance, Court Dance. Slavonic character and steps: the Czardás; the Mazurka; the Szoló; the Obertass. Temperament._

IX. ORIENTAL DANCING 196

_Symbolism, decoration, pantomime, story in the dance. Sensational mismanagement in Occidental countries. Mimetic dancing a substitute for newspapers. The Dance of Greeting; welcome, blessings, etc. Structure of Arabic choreography. Handkerchief Dance of Cafés; candour. Flour Dance. Popular narrative dances. Fantasia of Bedoui; religious outbreaks. Dancing for tourists; the Almées. Dance, Awakening of the Soul. Animate sculpture. Oriental technique. Sword Dance of Turkey. Dervishes. Lezginkà of the Caucasus. Ruth St. Denis; Nautch; Spirit of Incense; the Temple; the Five Senses. Antiquity; carvings in India and Java. Hula-Hula of Hawaii. Priestesses trained for religious dancing. Japan: dancing for all occasions. Abstractness of symbols. Dances of war._

X. THE BALLET IN ITS DARK AGE 228

_Sterilisation of ballet by struggle for technical virtuosity. Ballet in opera. Vulgarisms and counterfeits: the Can-Can; contortion; high kicking; skirt-dancing; insipid prettiness. A revival of good work; falsifications of it. Loie Fuller, silk scarf, electric lights. Serpentine and Fire dances. Imitators. World’s Fair of 1893; stigma on Oriental dancing. One class of managers. Obscure preparation of a new force._

XI. THE ROMANTIC REVOLUTION 241

_Isadora Duncan, complete idealist. Her metier. Russia: dissatisfaction with ballet. Duncan in St. Petersburg. Secession from Imperial Academy. The romantic idea; choreography, music, painting united in a radical new school. The Russian ballet. Paris, United States, England. Influence and reception. Management in America._

XII. THE RUSSIAN ACADEMY AND ITS WORKINGS 257

_Selection of pupils. Consecration to work. Contract, obligations after graduation. Advantages to the government. General education. Technical training: Italian ballet technique, music, drawing, acting, pantomime, plastic gymnastics, fencing. Care of health. Age of Academy. Russian ballet as distinguished from French-Italian; law-governed freedom. Addition to emotional scope. Recent ballet pantomimes._

XIII. SOCIAL DANCING OF TO-DAY 269

_Revived interest in dancing. New forms of dance suited to the present freedom of individual expression. Rapid changes. The Turkey Trot. New names for slightly altered dances already familiar. The Argentine Tango; significance. Detailed instruction for performance of the One-Step, the Boston, the Hesitation Waltz, the Tango, the Brazilian Maxixe. Tendencies toward revival of old court dances._

XIV. A LAYMAN’S ESTIMATE OF CONDITIONS 304

_Re-establishment of great dancing in the United States; will it take and keep a high plane? Loose standards of judgment. Dependence upon commercial management. Managers; their varied influences. Need of endowed ballet and academy. Difficulties of ballet organisation in the United States. Insufficient training of American ballet dancers. Ballet in operas; unimportance under old traditions, changing standards. Metropolitan and Russian ballet; ground gained and partly lost. Russians under other auspices. Ballet school; impositions upon it. Need of academy with dancing as primary purpose. General organisation; departures from scheme of Russian Academy._

BIBLIOGRAPHY 323

INDEX 327

ILLUSTRATIONS

BALLET PANTOMIME _From Pose by Mlle. Louise La Gai_ _Frontispiece_

TANAGRA FIGURE _Page_ 3

GREEK VASE DECORATION 3

TANAGRA FIGURE 3

TANAGRA FIGURES _Facing Page_ 4

GREEK CERAMICS 5

GREEK VASE DECORATION _Page_ 8

GREEK COMEDY DANCING 9

STATUETTES 10
_Tanagra_ (_A_)--_Myrina_ (_B_)--_Tanagra_ (_C_).

GREEK RELIEF DECORATIONS _Facing Page_ 12

GREEK CERAMIC DECORATIONS 13

STATUETTES _Page_ 13
_Myrina_ (_A_)--_Tanagra_ (_B_)--_Myrina_ (_C_).

DANCE OF NYMPHS 17

TANAGRA FIGURES _Facing Page_ 20

GREEK COMEDY DANCING _Page_ 21

DANCE OF PEASANTS 36

BALLET OF THE FOUR PARTS OF THE WORLD: _Entrance of
the Grand Khan_ 41

A FOURTEENTH CENTURY BALL 46

SEVENTEENTH CENTURY COURT DANCES _Facing Page_ 48
_The Tordion_ (1, 2)--_The Pavane_ (3, 4, 5).

LOUIS XIV AND A COURTIER IN THE BALLET OF NIGHT _Page_ 50

SEVENTEENTH CENTURY COURT DANCES _Facing Page_ 54
_The Saraband_ (1)--_The Allemand_ (3)--_The Minuet_ (2, 4,
5, 6, 7).

THE GAVOTTE 55

MME. ADELINE GENÉE AND M. ALEXANDER VOLININE 64
_Ballet Robert le Diable_ (1)--_Butterfly Dance_ (2)--_Pierrot
and Columbine_ (3).

MME. GENÉE IN HISTORICAL RE-CREATIONS AND M. VOLININE 65
_Sallé_ (1)--_The Waltz_ (2)--_Camargo_ (3)--_Guimard_ (4).

FUNDAMENTAL POSITIONS OF THE FEET _Page_ 66

POSITIONS OF THE ARMS 67

“GLISSADE” 68

“ASSEMBLÉ” 69

“ASSEMBLÉ” AND CHANGEMENT (_Floor Plan Diagram_) 69

“JETÉ” 70

“JETÉ” TO THE SIDE 71

“BATTEMENTS” 72

STEPS OF THE “BATTEMENT” TYPE 74

“FOUETTÉ” 75

START OF A “FOUETTÉ PIROUETTE” 76

“FOUETTÉ PIROUETTE” (_Continued_) 77

OPTIONAL FINISH OF A “FOUETTÉ PIROUETTE” 78

THE “PIROUETTE SUR LE COU-DE-PIED” 79

VARIOUS “PIROUETTES” 80

BEGINNING OF THE “RENVERSÉ” 82

THE “RENVERSÉ” (_Concluded_) 83

TWO FORMS OF “ATTITUDE” 84

MECHANISM OF BROAD JUMP 86

CLASSIC BALLET POSITIONS _Facing Page_ 88
_Typical moments in a renversé (1, 2, 3, 4, 5,)--Starting a
developpé (6)--Progress of a rond de jambe (7, 8, 9)._

CLASSIC BALLET POSITIONS (_Continued_) 89
_Rond de jambe (10)--Jeté tour (11)--Pas de bourrée (12)--Preparation
for a pirouette (13)--Position sur la pointe
(14)--A fouetté tour, inward (14)--A cabriole à derrière
(16)--Descent from an entrechat (17)--An arabesque (18)._

“LA MALAGUEÑA Y EL TORERO” 122

TYPICAL “FLAMENCO” POSES _Page_ 129

“FLAMENCO” POSES 133

“LAS SEVILLANAS” 137

“EL BOLERO” _Facing Page_ 138
_Typical moment in first copla (1)--Finish of a phrase (2)._

“LA JOTA ARAGONESA” 139
_Type of movement (1)--Finish of a turn (2)--A pirouette
(3)--Kneeling position (4)--Woman’s sitting position (5)._

TWO GROUPS IN “LAS SEVILLANAS” _Page_ 140

GROUPS IN “LA MALAGUEÑA Y EL TORERO” 145

MISCELLANEOUS SPANISH NOTES 147

TWO GROUPS IN “LOS PANADEROS” 149

PART OF THE “JOTA” OF ARAGON 152

“LA TARANTELLA” _Facing Page_ 156
_Opening of the dance (1)--A poor collection (2)--They
gamble for it (la Morra) (3)--She wins (4)--He wins (5)._

“LA TARANTELLA” 157
_An arabesque (1)--Finish of a phrase (2)--Typical moment
(3)--Finish of a phrase (4)._

“LA TARANTELLA” 158
_Opening of the dance (1)--A turn back-to-back (2)--A
pause after rapid foot-work (3)--Characteristic finishes of
phrases (4, 5)._

“LA FORLANA” 159
_Doctor Pantalone patronized (1)--Defied (2)--Pleads (3)--Accepts
the inevitable (4)--Is ridiculed (5)._

“LA CIOCIARA” 160
_Opening promenade (1, 2)--End of promenade (3)--He
has “made eyes” at a spectator (4)--Opening of dance
(second movement) (5)._

“LA CIOCIARA” 161
_Rustic affection (1)--Again caught in perfidy (2)--Tries
to make amends (3)--Without success (4)--Removed from
temptation (5)._

THE SCOTCH SWORD DANCE 164
_A step over the swords (1, 2)--A jump over the swords (3)--Steps
between the swords (4, 5)._

THE “SCOTCH REEL” 165
_Use of the Battement (1)--A pirouette (2)--Characteristic
style (3, 4)--A turn (5)._

THE “SHEAN TREUSE” 168
_The promenade (1, 2)--The thematic step (3)--Finish of
a phrase (4)._

THE “SAILOR’S HORNPIPE” 169
_Look-out (1)--Hoisting sail (2)--Hauling in rope (3)--Rowing
(4)--Type of step (5)--Type of step (6)--Hoisting
sail (7)._

IRISH DANCES 174
_The Jig (1, 3, 4)--The Hornpipe (2, 5)--The Reel (6, 7,
8)._

A “FOUR-HAND REEL” 175
_Preparation for woman’s turn under arms (1)--Characteristic
style (2)--A turning group figure (3)._

THE “IRISH JIG” AND PORTRAIT OF PATRICK J. LONG 178

FROM VARIOUS FOLK-DANCES _Page_ 185

THE “SCHUHPLATTELTANZ” _Facing Page_ 186
_A swing (1)--A turn (2)--A turn, man passing under
woman’s arms (3)--A swing, back-to-back (4)--The
Mirror (5)._

THE “SCHUHPLATTELTANZ” OF BAVARIA 187
_Preparing a turn (1)--A lift (2)--Starting woman’s series
of turns (3)--Start of woman’s turns (4)--Man fans her
along with hands (5)--Finish of dance (6)._

THE “KOLO” OF SERVIA 190
_Start of a turn (1)--Progress of a turn (2)--A bridge of
arms (3)--An emphasis (4)--A lift (5)._

POSES FROM SLAVONIC DANCES 191
_Coquetry (1)--Petulance (2)--Indifference (3)--Emphasis
(4)--Jocular defiance (5)._

POSES FROM SLAVONIC DANCES 192
_Negation (1)--Fear (2)--Supplication (3)--An emphasis
(4)._

POSES FROM SLAVONIC DANCES 193
_Characteristic gesture (1)--Characteristic step (2)--Characteristic
gesture (3)--Characteristic step (4)--Same, another
view (5)--Ecstasy (6)--The claim of beauty (7)._

ARABIAN “DANCE OF GREETING” 196
_Called upon to dance, she reveals herself (1)--Salutation (2)--Profile
view of same (3)._

ARABIAN “DANCE OF GREETING” (_Continued_) 197
_“For you I will dance” (4)--“From here you will put away
care” (5, 8)--“Here you may sleep” (6)--“Here am I”
(7)._

ARABIAN “DANCE OF GREETING” (_Continued_) 198
_“And should you go afar” (9)--“May you enjoy Allah’s
blessing of rain” (10)--“And the earth’s fullness” (11)._

ARABIAN “DANCE OF GREETING” (_Continued_) 199
_“May winds refresh you” (12)--“Wherever you go” (13)--“Here
is your house” (14)--“Here is peace” (15)--“And
your slave” (16)._

ARABIAN “DANCE OF MOURNING” 200
_The body approaches (1)--The body passes (2)--“I hold
my sorrow to myself” (3)._

ARABIAN “DANCE OF MOURNING” (_Continued_) 201
_“He has gone out of the house and up to Heaven” (4)--“Farewell”
(5)._

ARABIAN “DANCE OF MOURNING” (_Continued_) 202
_“He slept in my arms” (6)--“The house is empty” (7)--“Woe
is in my heart” (8)._

ARAB SLAVE GIRL’S DANCE 203

“HANDKERCHIEF DANCE” OF THE CAFÉS 206
_The handkerchiefs symbolizing the lovers are animated with
the breath of life, but kept dissociated (1)--Brought into
semi-association (2)--Separated and dropped (3)._

“HANDKERCHIEF DANCE” (_Continued_) 207
_She can dance about, between or away from them, indifferently
(4)--Made into panniers, the panniers express her
willingness to receive; turned inside out, her willingness to
give (5)--One of the two handkerchiefs is thrown to the selected
lover (6)._

“DANCE OF THE SOUL’S JOURNEY” 210
_The soulless body (1)--Asks for the light of life (2)--Vision
dawns (3)--Inexpert in life, she walks gropingly (4)._

“DANCE OF THE SOUL’S JOURNEY” (_Continued_) 211
_She draws aside the veil of the future (5)--Life is seen full
and plenteous (6)._

“DANCE OF THE SOUL’S JOURNEY” (_Continued_) 212
_But old age will come (7)--Grief will visit (8)--She shall
walk with her nose close to the camel’s foot (9)._

“DANCE OF THE SOUL’S JOURNEY” (_Continued_) 213
_Yet now, from the crown of her head (10)--To the soles of her
feet she is perfect (11)._

MISCELLANEOUS ORIENTAL NOTES _Page_ 215

“DANCE OF THE SOUL’S JOURNEY” (_Continued_) _Facing Page_ 216
_Rejoices in the perfect body (12)--And in all good things
(13)--Runs from the scene (14)._

CHARACTERISTIC PANTOMIME IN DANCING OF MODERN
EGYPT 217
_Express sorrow (1, 3)--Represents a prayer directed downward
and back: i. e., to spirits of evil (2)._

“DANCE OF THE FALCON” (EGYPTIAN) 218
_Shock as the bird strikes his quarry (1)--Rejoicing as he
overcomes it (2)._

DANCING GIRLS OF ALGIERS 219

RELIEFS ON TOWER OF THE TEMPLE OF MADURA (INDIA) _Page_ 219

PERSIAN DANCE. PRINCESS CHIRINSKI-CHICHMATOFF _Facing Page_ 220

ORIENTAL POSES 221
_Votive offering (3 poses)--Decorative motives (3 poses)--Disclosure
of person (1 pose)._

JAVANESE DANCER, MODERN 222

RELIEF CARVINGS, TEMPLE OF BOROBODUL, JAVA 223
_Dance of Greeting (1)--Dance of Worship (2)--An Arrow
Dance (3)._

“NAUTCH DANCE” 226

JAPANESE DANCE 227

ISADORA DUNCAN 242

GREEK INTERPRETATIVE DANCE 243

IMPRESSIONS OF ISADORA DUNCAN _Page_ 244

MLLE. LOPOUKOWA, MLLE. PAVLOWA, MLLE. NIJINSKA, WITH SR. E. CECCETTI _Facing Page_ 246

MLLE. LYDIA KYASHT AND M. LYTAZKIN 247

“ARABESQUE” 248

“ARROW DANCE” 249

BACCHANAL 252

MLLE. LYDIA LOPOUKOWA 253

MLLE. PAVLOWA IN A BACCHANAL 257

MLLE. LOPOUKOWA, IN BOUDOIR 258

MLLE. LOPOUKOWA, INTERPRETATIVE DANCE 259

MLLE. LOPOUKOWA, IN “LE LAC DES CYGNES” 262

M. ALEXANDER VOLININE 263

REPRESENTATIVE RUSSIAN BALLET POSES AND GROUPS _Page_ 265

REPRESENTATIVE RUSSIAN BALLET POSES AND GROUPS 267

THE “WALTZ MINUET” _Facing Page_ 272
_Characteristic style (1)--Variation, position of hands (2)--Preparation
for a turn (3)--The Mirror figure (4)._

THE “GAVOTTE” SHOWING PRESENT TENDENCIES 273
_Characteristic style (1)--Characteristic style (2)--A curtsy
(3)--Arabesque to finish a phrase (4)._

SOCIAL DANCING; POSITION OF FEET (_Diagram_) _Page_ 276

THE ONE-STEP: THE TURN (_Diagram_) 277

THE ONE-STEP: GRAPE-VINE (_Diagram_) 278

THE ONE-STEP: EIGHT (_Diagram_) 279

THE ONE-STEP: SQUARE (_Diagram_) 279

THE ONE-STEP: A FIGURE OCCUPYING THREE MEASURES (_Diagram_) 280

THE ONE-STEP: THE MURRAY ANDERSON TURN (_Diagram_) 281

THE ONE-STEP: A CROSS-OVER (_Diagram_) 282

DEVELOPMENT OF AN ARCH “À LA PIROUETTE” _Facing Page_ 282
_Cross to right (1)--Cross to left (2)--Start of turn (3)._

THE ONE-STEP 283
_The “Kitchen Sink” (1)--Position of couple (2)._

THE “BRAZILIAN MAXIXE” 283
_Characteristic position of advanced foot (3)._

THE “BOSTON,” ESSENTIAL STEP (_Diagram_) _Page_ 284

THE WALTZ _Facing Page_ 284
_A position of the couple in the Waltz-Minuet (1)--Correct
position of man’s hand on woman’s back (2)--A position
also assumed in the One-step Eight (3)--A Dip (4)._

THE WALTZ 285
_Correct position of couple (1)--Of feet, in short steps (2)--Of
feet, in Dip (3)--Another view of the Dip (4)._

THE BOSTON, STEP BACKWARD (_Diagram_) _Page_ 285

THE BOSTON, THE DIP (_Diagram_) 286

THE BOSTON, THE DIP SIMPLIFIED (_Diagram_) _Page_ 287

THE BOSTON, AN EMBELLISHMENT (_Diagram_) 288

THE BOSTON, AN EMBELLISHMENT (_Diagram_) 288

THE BOSTON, SAME, WITH TURNS (_Diagram_) 289

THE “HESITATION WALTZ,” THEME (_Diagram_) 289

THE “HESITATION WALTZ” VARIATION ON THEME (_Diagram_) 290

THE “TANGO” _Facing Page_ 290
_Characteristic style (1, 2, 4)--Woman circles man (3)._

THE “TANGO” 291
_Characteristic style._

THE “HESITATION WALTZ,” THE “LYON CHASSÉ” (_Diagram_). _Page_ 291

THE “TANGO” 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

_The Dance_