^TATENURMAL SCHOOL. T/^S AKGELEP.. ••- CaL HAND-BOOK tcd ^ OF LIGHT GYMNASTICS By LUCY B. HUNT LATE INSTRUCTOR IN GYMNASTICS AT SMITH COLLEGE NORTHAMPTON MASS. NEW EDITION BOSTON LEE AND SHEPARD PUBLI'SHERS NEW YORK CHARLES T. DILLINGHAM 1S90 Copyright, i88i, I'.Y 1-i:e and Shkpaku Corviar.HT, 1889, By Li e and Shki'Ard. A U rig Jits reserved. U31 CONTENTS. PAGE Introduction 7 Free Gymnastics . . . . . .11 Wand Exercises .21 Ring Exercises -27 Dumb-Bells -35 Percussion 46 Mutual Help Exercises . . . - 49 Bean-Bags 52 Marching 54 Chapter on Dress So Cy^inastic Music SS PREFACE. TN the preparation of this little handbook ^ of light Gymnastics, I have had in view the often-expressed want of many ; which want, so far as I can learn, no one has yet attempted to supply. It is not intended to compete with, or take the place of, the many valuable works on this su])ject by Dr. Dio Lewis and others ; but to give, in an inexpen- sive form, a condensed yet clear description of the various exercises. Most books that have been thus far pub- lished, are, by reason of illustrations and the additional subjects treated, both expensive and bulky. Taking the Dio Lewis svstcm as a founda- tion, I have, during the experience of many 5 6 Preface. years' teaching, added to, taken from, and altered various exercises, resulting in the order now published for the first time in these pages. I claim, therefore, originality in the arrange- ment, and in a greater part of the marching figures. While this book is intended and prepared for the use of my own pupils, and for teachers in colleges and seminaries, it is hoped that it will prove a convenient guide to those who wish to carry on these exercises at home. INTRODUCTION. The exercises here given having been care- fully selected, and thoroughly tested, can be practised by any person in ordinary health without injury, if the following conditions are observed : Never over-w^ork, particularly at the begin- ning, and avoid all exposure and draughts while resting between and after the exercises. Go into the gymnasium regularly, without omitting a day, and always in a dress that is correct in every particular. Attention is called to the carefully pre- pared chapter on the gymnastic suit. In all these exercises, the movements are to be performed steadily and gradually, and never with a sudden jerk. Beginning with 8 Li(jht Gymnastics. care and using but little force, increase in vigor from day to day, till all the changes are marked with that precision and dash so es- sential to their perfect performance. All movements of the head and body must be slow compared witli those of the limbs. What are called free gymnastics, being per- formed witliout apparatus of any sort, I place as the simplest form of exercise at the begin- ning of the list. The wands come next, and are much easier than the rings and dumb-bells, always provided that the wand is of the rcciuisite length, viz. ; just reaching to the armpit when placed on the floor at one's side. The rings are, in my estimation more open to objection than any other exercise, owing to the almost unavoida- ble inequalities in strengtii, and length of arm- reach, of those taking part. Great care should be shown in selecting partners, and teachers should insist tliat tliey be about equal in height, and general strength. Then there can be no possibK' danger in these exercises Introduction. 9 which, in some respects, are the most beauti- ful of all forms of gymnastic work. The Quartette exercises, when rendered with pre- cision and in perfect unison with the music, are particularly efiective. The dumb-bells, with the anvil chorus, must always be taken very slowly. The list of club exercises I shall omit from this book. While they are, for obvious reasons, very valuable, they are more difficult than many others as bringing into play for a longer time unused muscles ; and they are also extremely difficult to de- scribe without the aid of illustrations. FREE GYMNASTICS. Position : stand with heels together, hips and shoulders back, hands firmly closed and well back upon the chest. First Series. Each number fills a strain of music except when otherwise specified. No. I. Thrust right hand down twice, left twice, alternately twice, together twice. No. 2. Repeat No. i, only thrust hands out at sides instead of down. No. 3. Repeat No. i, thrusting hands di- rectly up. No. 4. Repeat No. i, thrusting hands from shoulders directly forward. No. 5. Right hand down once, left once. 12 Light Gymnastics, drum beat (the right hand a little in advance of left) once, together once, half a strain. No. 6. Same exercise, thrusting out at sides instead of down. No. 7. Same exercise, only thrusting di- rectly up. No. 8. Same exercise, only thrusting di- rectly forward from shoulder. No. 9. Right hand down once, left once, then clap hands through rest of the strain. No. 10. Same exercise, out at sides. No. II. vSame exercise, directly up. No. 12. Same exercise, out in front. 4 No. 13. Hands on the hips, step with right foot forward, then diagonally forward, directly at side, diagonally back, directly back, cross back of left, cross again still farther back ; lastly cross in front of left foot, returning to position after each step. No. 14. Repeat No. 13, with left foot. No. 15. Stamp with right foot forward three times, advancing each time, then left three times. Stamp three times back with riLdit foot, same with left. Free Gymnastics. 13 No. 1 6. Repeat No. 15. No. 17. Hands still on hips twist bod}' alternately to right and left, twice each ; four beats of music. No. 18. Bend body alternately to right and left, four beats of music finishing the strain. No. 19. Bend body alternately forward and back, twice each. J No. 20. Bend body first right, then back, left, front ; reverse, left, back, right, front, finishing the strain. No. 21. Same as No. 17, only twist the head. No. 23. Same as No. 18, only bend the head instead of the body. No. 23. Same as No. 19, w^ith head only. • No. 24. Like No. 20, bend head instead of body, right back, left, front, then reverse. No. 25. Arms extended in fr«nt, bring them forcibly back to chest eight times. No. 26. Arms again extended, raise right hand t^vice without bending the elbow, then left twice, alternately twice, together t^vice. 14 Light Gymnastics. No. 27. Hands closed on chest, thrust down, out, up, and in front, twisting the arms each thrust ; repeat. No. 28. Thrust hands from chest toward floor without bending the knees, stop on chest, then over head, rising on toes, and opening hands at each thrust, continue in half time through strain. \j No. 29. Cross left foot over right, at same time touching fingers over head ; then right foot over left, alternately in half time through the strain. No. 30. Stamp left foot, then right, charge diagonally forward with right foot, bend and straighten right knee, at the same time carry- ing arms back from horizontal in front. When the arms are extended in front, the hands should be the width of the shoulders apart. . No. 31 . Repeat this exercise on the left side. Second Series. Position same as before. No. I. Thrust right hand from ciicst down, then up, twice, same with left hand. ' • '"-^•-■-lAa-* ik^vi I \J\J 3ELES. -:- CAL. Free Gymnastics, 15 No. 2. Same alternately, right hand going down first as left goes up. Both down, then. up twice each. No. 3. Thrust right hand out at right side, ihmi cross to left alternately through the strain, twisting the l^ody when turning t" left. No. 4. Thrust left hand out at left side, then cross to riglit, twisting body at right. ^ No. 5. Thrust both hands to right and left le\Ll with shoulders, alternately through th.- strain, twisting body eacli time, but keeping feet still. No. 6. Thrust both hands out at right side four times, then to left four times. No. 7. Thrust right loot forward and down three times, stamping floor on fourth beat, same with left foot. Thrust right foot back three times, then left, stamping on fourth beat each time. Two strains of music. No. 8. Hands down at sides, raise right arm over head without bending elbow, twice, then left twice, alternately, then togethci twice. 16- Lif/Jit Gi/?n)Histics. No. 9. Arms down at sides, raise right to the side of head twice, then left twice, alternately twice, then together twice. No. 10. Arms extended in front, swing tliem back horizontally eight times. No. II. Hands down at sides, raise right sliouider twice, left twice, alternately twice, together twice. No. 12. Hands down at sides, open and shut the fingers four times, out at sides four times. No. 13. Same over head, same with arms extended in front. No. 14. Mowing movement with both arms from right to left then from left to right, bending the body forward from the hips. No. 15. Hands on hips, thrust elbows back eight times. No. 16. Bend body to right, thrust the hands forward and downward, alternatelv, four times ; the same on the left side. No. 17. Repeat No, 16. No. 18. Swing arms around, hitting chest Free Gyn uia sties. 1 7 (as teamsters warm their hands), riglit liand above and then left, eight times. No. 19. Hands on hips, stamp left foot, ' then right, step diagonally forward with riglit foot, sway back and forth, bending right and left knees alternately. No. 20. Repeat No. 19 on left side. No. 21. Repeat No. 19, stepping back in- stead of forward with right foot. No. 22. Repeat No 21, with left foot. Third Sp:ries. Position : heels together, hands on hips. No. I. vStamp seven times quickly with right, once slowly with left, once with right, then step diagonally forward with right foot, shoulders back, fill the lungs, then percuss the chest through the rest of the strain. No. 2. Repeat on left sitle. No. 3. Repeat, stepj^ing back with right foot on right side. No. 4. Repeat, stepping back on left. J No. 5. Clasp hands behind the back, raise and thrust down with force eigfht times. 18 Light Gymnastics. No. 6. Hands down at sides, twist them four times half round, same out at sides. No. 7. Repeat over head, repeat with arms extended in front. No. 8. Arms extended in front, pahns to- gether, without bending the elbows, slide right and left hands alternately through the strain. No. 9. Hands closed firmly under the arm- pits, thrust right hand down twice, left twice, alternately twice, together twice. No. 10. Hands upon shoulders, repeat No. 9, only thrusting up instead of down. No. II. Right hand down from armpit, left hand up from shoulder, alternate through four beats. No. 12. Thrust hands down from armpits, and up from shoulders alternately through oj^ strain. No. 13. Hands down at sides, carry right arm twice to the horizontal position in front, stopping suddenly with arm on a line with slioulder, left arm twice, alternately twice, toLit'ther 1\\ ice. Free (Ti/nuidsflcs. 19 .^^No. 14. Carry the arms to the perpendicu- lar, and then move them with the whole body from side to side, keeping elbows stiff through the strain. No. 15. Thrust right down, left out, right out, left up, right up, left out in front, right out in front, left down. No. 16. Repeat No. 14. Ciionus. Music, " Yankee Doodle," always. Position, heels together, hands closed on chest. No. I. Repeat No. i of first series. No. 2. Clap hands through the strain. No. 3. Percuss chest through the strain. No. 4. Hop on right foot four times, then on left four times. No. 5. Repeat No. 3, first series. No. 6. Clap hands through strain. No. 7. Percuss the chest. No. 8. Hop on right and left feet alter nately four beats, together four beats. 20 Light Gymnn sties. No. 9. Repeat No. 3, first series. No. 10. Clap the hands. No. II. Percuss tlie chest. No. 12. Take long skipping steps, right then left foot alternately through the measure. No. 13, Repeat No. 4, first series. No. 14. Clap the hands. No. 15. Percuss the chest. No. 16. Take twisted step, one foot cross- inz the otlier throuj^h the strain. Cautions. Keep the heels together and hips l)ack, un- less the exercise otherwise directs. The arnis overhead sliould always be witli ell)()v.s un- bent. Inhale before percussion. These exercises should be taken slowly and with caution at first. As tlie strengtli in- creases, greater rapidity and force should l)e employed. Music for the free gymnastics must always be eltlier in galoj:) or polka time. 'J'he j)olka is better for ihe lirsl seiies wlien taken alone; the galop for the others. WAND EXERCISES. Position : heels together, hips and shoulders well back. The wand is held in front of the right shoulder, till first signal from the piano, which consists of three chords struck with both hands, the first being the length of the other two ; then drop it horizontally in front of the body. At second signal raise the wand till the arms are extended in horizontal position in front of body, place the hands so as to divide the wand into three equal parts. At third signal, carry the wand back to sec- ond position down in front. No. I. Raise the wand to chin four times, keeping elbows high, last time carry it abov the head, then bring down under chin foul times. No. 2. Carry wand from above the head 21 22 Light Gj/mna sties. nearly to floor, four times, without bending knees or elbows, then clown back of the neck four times. No. 3. Carry wand from above the head to chin, and then back of neck, alternately four times each. No. 4. Wand over head. On first beat, carry right hand to right end of wand, on second beat, left hand to left end, then carry hand back of head to hips, six times, keeping elbows stiff. No. 5. Carry wand back from above head down nearly to floor ; and then back to hips, four times, alternately four times each. No, 6. Carry wand from above the head to right and left sides alternately eight times, keeping elbows stiff and stopping exactly over head each time. No. 7. On first beat, let go wand with left I land, place end of wand on floor between feet. On second beat place wand on floor at arms length, diagonally forward on right side. Ste[) with right foot to wand through Wa7ia Exercises, 23 rest of strain, keeping right arm, left knee and wand perfectly straight. No. 8. Repeat No. 7 on left side. No. 9. Repeat No. 7, keeping the foot sta- tionary, the knee bending with each accented beat. No. 10. Repeat No. 9 on left side. No. II. Arms horizontal in front, wand held perpendicularly, bring wand back to chest eight times keeping elbows high. No. 12. Wand and arms in same position, bring wand to right and left shoulders alter- nately, four times each. In passing the wand from one side to the other, raise the arms straight to a horizontal position in front. No. 13. Hands in front of chest, point wand diagonally forward at an angle of forty- five degrees, first to the right, then to the left alternately through strain, making the change of hands just in front of chin. No. 14. With wand pointing in the same direction as in last exercise, step diagonally forward with right and left foot alternately throu£fh strain. 24 Light Gymnastics. No. 15. Repeat No. 14, only step back instead of forward, leading with left foot in- stead of right, keeping wand pointing for. ward. No. 16. Wand horizontal over head, right hand in front, reverse position, bringing left hand in front, on half time through strain. No. 17. Same position, right face, bend forward bringing wand to perpendicular on right side, four times. No. 1 8. Repeat No. 17 on left side. No. 19. Same movement from side to side clianii^ing wand over head. No. 20. On fust beat, put left end of wand on floor in front of feet ; on second beat, carrv wand at arm's lengtli in front, charge riglit foot to wand twice, left four times, chang- ing hands and feet at same time. No. 21. Rigiit foot back four times, riglil hand on wand, same with left hand and foot. No. 22. Right foot foiward axuX back four times, left tlie same, hohhng wand in same position as last exercise Wand JExercises. 25 No. 23. Both hands on wand in front, right foot forward, left back at the same time, reverse and repeat. No, 24. Front face, place the wand per- pendicularly in front of right shoulder, left hand up, carry to front of left, with right hand up eight times. Then carry the wand from front to back of right, then from back of right to bacis: of left eight times. On the fourth time carry from back of right to front of right four times. No. 25. Wand in front of right shoulder, carry to front of left, then back of left, back of right, front of right, repeat, then reverse. No. 26. Wand in front of right shoulder, carry to back of left four times, then front of left to back of right four times. No. 27. Right face, left end of wand on floor, charge right foot to right side, then back, cross back of left foot, then in front of left, repeat with left foot. No. 28. Repeat No. 27. using right and left foot alternatelv- 26 Lhjht Gymyiastics. No. 29. Front face, place wand in front of chest, right hand down, left down alternately eight times. Repeat the exercise with wand carried down behind the back. No. 30. Step diagonally forward, wand behind the back, right end of it up at an angle of forty-five degrees ; then step left foot forward, left end of wand up. No. 31. Place wand horizontally in front, on first beat carry to perpendicular on right side, tlicn to left through the strain. No. 33. Carry wand horizontally over head, down in front, and charge with wand same as 31, only charge through strain witli right and left foot alternately through the strain. Caution. Always select a wand just long enougn to reach tlie armpit when placed on the floor at one's side. All exercises from behind the head or ])ack should be taken with caution, and avoided altogether by those with weak backs. Music. Schottisclie time is the best, but slow marches and (juicksteps cm bo used. RING EXERCISES. These exercises are performed in couples ; partners facing each other about three feet apart; the one standing on right of teacher on platform, holding both rings. First Series. No. I. On first beat of the music, tlie ring in right hand is extended, and grasped by partner's right hand, Second beat, right feet too^ether, toes touching^, on third beat left feet back at risfht ans^les with rio^ht feet, with left hands upon the hips. Turn the ring over half way and then baclv to place through rest of strain, keeping perfect time. No. 2.. Repeat No. i. only use left hand and left foot instead of rieht. 28 Liijht Gy}nnastics. No. 3. Repeat No. i, only first join both hands, on second beat right feet together, third beat step back as before, turn rings tlirough strain. No. 4. Repeat No. 3, with both hands joined and left feet touching, right feet back, turn rings through strain. No. 5. On first beat, turn back to back, on second beat left feet together, charge directly forward with right feet : liead and shoulders well thrown back pull cxcnly with ]:)artner, and turn the rings througli strain. No. 6. Repeat No. 5 with right feet to- gether, left out in front, turn rings thiough strain. No. 7. On first beat, turn face to face, on second beat raise arms above head, then lower rings without bending knees, looking alter- nately to right and left of partner tln-ough strain. Xo. 8. First beat, lift arms towards plat- form, higli up at side, the others low down at the opposite side, carry them alternately up Ring JExercises. -J'J and down through half the strain, then ])oll. together, half a strain. No. 9. First beat, turn back to back, sec- ond beat, face up and down the hall, hands at once on shoulders thrust up, out and dowi:. twice each. No. 10. Same position, thrust up, out and dowMi, once each, then repeat till strain ends. No. II. First beat, step back to position, second beat, turn face to foce, third beat, jout left foot inside partner's left, left knee pressed against partner's left, fourth beat, right foot back, long step at right angles with left. Your own right hand and ring against your right slioulder, left hand against partner's right. Thrust with vigor from shoulder to shoulder through strain. No. 12. Repeat No. 11. with right feet together instead of left, position of hands reversed. No. 13. First beat, turn back to back, charge diagonally forward with right and left feet alternatelv throusfh strain. 30 Light Gymnastics. No. 14. First beat, turn face to face, place left foot inside partner's left, short step back with right foot at right angles with the left. Rings over head held firmly, arms perfectly straight, sway alternately through the strain. No. 15. Repeat No. 14, with right feet together instead of left. No. 16. First beat, turn back to back, charge up and down the hall alternately twice each ; charge with right feet at same time, then left feet at same time, alternately through rest of strain. No. 17. First beat, turn face to face, re- peat No. 16. No. 1 8. First beat, turn back to back, raise outside, then inside arms alternately, then charge on fifth beat directly forward ; raise both hands rest of strain. No. 19. First beat, face up and down the hall, second beat, turn face to face, third beat, spring apart, right feet pointing toward each other, left feel back a short ste):) at right an- gles with the right feet. Right hands grasp- Ring Exercises. 31 ing rings, cliarge with rig) it icct to right of" partner, stopping each time suddenly when back to position. No. 30. Repeat No. 19, using right foot for left, right hand for left. No. 31. Repeat No. 19, holding rings in both hands, and charging right and left alter- nately, right foot to left side, left foot to right side. No. 22. First beat, approach partner, sec- ond beat, turn back to back, third beat, face across the hall, place left feet together, fourth beat, step out with right foot, touching shoul- ders, swav througii the strain. No. 23. Repeat No. 23, using right for left, and left for right. No. 24. First beat, turn face to lace, sec- ond l)cat. face up and down the hall, swing up outside and inside arms alternately ; turn face and body each time. This is called the mirror. No. 25. First beat, turn back to back, swing over outside and inside arms alter- nately twice, each; then together twice. 32 JJyItt G i/mnastics. No. 26. First l)cat, turn face to face, with outside arms, second beat, back to back, with outside arms, repeat with inside arms. No. 37. First beat, face across the hall, turn l)ack to back ; second 1)eat, left feet togrethcr, third beat, swinq- hands over head and step forward with right foot, bend and straighten ri'^ht knees. No. 28. Repeat No. 27, with right feet together instead of left. No. 39. First beat, turn face to face, step alternately right feet diagonally forward to left of partner, and left feet to right of part- ner through strain. Qljartette Exercises. Position : four stand together, facing each other, and at arm's lengtii. Each holds a ring in her right hand. No. I. First beat, join hands, second beat^ stej:) to the centre with right and left feet, alternately raising hands high through strain. No. 2. First beat, all step to the centre, Ring Exercises. 33 lifting the hands high, step back with rigiit and left feet alternately through strain, carry- ing rings down. No. 3. Arms lifted and held llrmly, skip througli strain, rdl keeping perfect time and leading witli right feet. No. 4. Outside couple, or couple farthest from platform, pass under the raised arms of the other couple ; and on third beat, rings on shoulders, ail thrust at same time, hands up through the strain. No. 5. The four standing facing ends of hall charge up and down the hall, lifting rings, the others char^ze directly at tlie side liftincr rings, all charge together diagonalh- forward, first wdth right then with left foot, then repeat the whole. No. 6. Lift hands towards ends of hall, then lift hands towards sides of liall. Lift all the hands twice. Repeat the whole. No. 7. Stamp first with right foot, then with left, charge diagonally forward with right foot, hands held high oyer head, sway during strain. Repeat stamping first with left foot. 34 lAijlit Gymnastics. Caution. In all exercises, turning back to back, l>c careful aiid not pull suddenly, and never let g-Q the ring before the word is given. Always stand at such a distance from next couple that there can be no hitting of rings. The rip.gs should always be strongly made, and about six inches in diameter. Music. The simplest of Strauss's waltzes must be used, or those of other composers similar in style. DUMB-BELLS. Position : Heels together, hips and shoul- ders back, bells down at sides. One-half of each strain of music is given to the exercise, the other half to what is called '• the a.ttitude." In taking these attitudes the bells are brought first to the chest ; then, unless otherwise specified, placed upon the hips. No. I. Hands down at sides, palms in front, turn bells four times, bringing them to chest on fourth accented beat. Attitude: vStep diagonally forward \\ ith riglit foot, carrying hands to hips, looking over right shoulder. No. 2. Elbows at sides, turn bells just half-way round four times. Attitude: Step diagonaih- forward with left foot, looking over left slioulder- 36 JJght Gymnastics. No. 3. Arms extended at sides, turn bells four times. Attitude: Step diagonally back with right foot, looking over right slioulder. No. 4. Arms extended over head, palms in front, turn bells four times. Attitude: Step diagonally back v^ith leff foot, looking over left shoulder. No. 5. Bells far back on chest, thrust l^oth down, out »st impi)ssil)le, from the n;.Une ol the ex- ercise, to preserve order or regularity. The sound of so many hands drowns not only the teacher's voice but the music itself. I Percussion. 47 The following order suggests what may be used with profit by moderate-sized classes, and by single individuals : — Position : Couples stand facing the same way, the one in front bending slightly for- ward with arms folded for the first exercise, keeping perfectly erect in all the others. Partner stands ready to begin on first beat of the music. No. I. Percuss the shoulders quickly, then reverse the position and repeat. No. 3. Percuss the small of the back. Reverse, and repeat. No. 3. Percuss right side, under uplifted arm. Reverse, and repeat. No. 4. Percuss left side. Reverse, and repeat. No. 5. Percuss both sides. Reverse, and repeat. No. 6. Percuss extended right arm, which is constantly turned from right to left. Re- verse, and repeat. No. 7. Percuss extended left arm. Re- verse, and repeat. 48 Light Gymnastics. No. 8. Percuss both arms. Reverse, and repeat. No. 9. Percuss chest, not too vigorously. Reverse, and repeat. Cautions. Avoid changing position in the Hne, and keep perfect time. Percuss gently at first, and always alternating the blows; viz., one hand, the left, following the right. Never use the hands simultaneously. Music: Jigs must always be used, but played only moderately fast. MUTUAL HELP EXERCISES. \ These, like percussion, are not particularly desirable for large classes, but are valuable as atTording comjolete change, and they can also be performed without the aid of music. Position : The class by threes all stand facing the teacher, with heels together and hands down at sides. No. I. The one in middle steps fonvard, with arms down at sides, hands firmly closed, and draws them slowly up to armpits, while tliose at sides with hands on wrist and shoul- ders resist forcibly. No. 2. Middle one steps back, arms ex- tended in front, draws them back to chest, then thrust them out again, the others resist- ing as before. 50 Light Gymnastics. No. 3. Middle one forward, arms thrust up, bring slowly back to shoulders, and thrust up again, others resisting. No. 4. Middle one forward, arms thrust out at sides, bend forearm w^hile others resist. No. 5. Middle one forward, arms ex- tended in front, carry back to horizontal at sides, while others resist. No. 6. Middle one forward, arms thrust up, then carry to position in front ; others re- sist. No. 7. Middle one forward, arms down at sides, those on right and left clasp hands back of middle one's neck, who is slowly lowered without bending the knees. No. 8. Middle one forward, arms down at sides, those on right and left seize hand and wrist of middle one, who slowly arches body forward and back. No. 9. Middle one forward, arms down at sides, those at right and left seize hands and armpit while middle one sits down, then change hands to top of shoulder while middle one slowly rises, resisting as before. Mutual Help Exercises. 51 No. lo. Middle one bend forward, arms folded, while the others jDercuss shoulders and back. No. II. Middle one forward while the others percuss both arms, which are con- stantly turned. Let those on right and left in turn, change with middle one, and repeat the above exercises. Caution. Stand firmly, and be careful not to let the hands slip, as there is danger of the middle one's falling in exercise No. 7. The only music required is signals, like those used at the beginning of the wand exercises. BEAN-BAGS. These bags are made of stout bed-ticking, about ten inches square, and two-thirds filled with beans. They should always be kept away from the dust as much as possible. If these exercises are to be performed by couples, partners should stand facing each other, about six feet apart. Throw the bag to partner from chest with l^oth hands, from chest with right liand, then with left. From- behind the head with both hands, then with right and left. Bag behind the back, throw with both liands, with right, with left. Stand l)ack to back, throw bag over head with both hands, with right, with left. Take two bags, throw them with right and catch them with left. Throw tliem witli left and catch them Bean-Baf/s. 53 with right. Throw them with hoth and catch them with both hands. Same exercises can be taken with three oi more bags as the skill increases. Vary the exercises by taking them in quar> tettes, standing a greater distance apart. Stand again in two rows down the hall, six feet apart and facing each other. Starting at the head with a bag in each leader's hand, let it be thrown to every other one till all have . caught it, when it must be returned in same manner. The leader getting bag first on return trip should hold up bag as signal of victory. Stand in same rows, but face up the hall, then pass bag over head to next one in line, and so on to the last, and back the same wny. Any number of bags can be used in this manner. MARCHING. Tins is the most fascinating form of all gymnastic work ; and with bright, interested leaders, an almost endless variety of exercises can be improvised be3'ond those I shall here describe. I can safely say that I alone have added a hundred changes to the first simple exercises, which I practised at school. As many as practicaljle will be given, but some are so intricate as to defy description, and can only be appreciated by being seen. Dancing steps of all kinds, and figures from quadrilles and the German can be in- troduced with beautiful cflcct. Position in Marching. In single file marches, hands should be placed on tiic hips, witli thumbs turned back, Marching, 55 head, shoulders and hips well back, chin down, and feet turned slightly out. In order to cultivate an erect and graceful carriage in walking, as well as in marching, too much attention cannot be paid to these directions. Throw the foot outward, and always rest first upon the toes more than on other parts of the foot. Those who are inclined to turn one, or both feet in, can often overcome this habit bv taking great pains during the gymnastic march. Never drag the feet, nor carry the hips forward, and always keep perfect time with the music. Good leaders should only be allowed to assist, as apart from the music, the success of the march depends upon their skill, self-possession, and above all, ability to keep those of the class wanting in time, in perfect step with the music. The position of the one at the rear is nearly as important as the leader ; for upon her devolves also the duty of keeping the class in good order, and allowing no laggards to fall out of step or line. 56 Light Gymnastics. Some of the principal stejos require a de- scription at first, as they are the foundation of all the figures used in marching. Leaping is running, only the steps are shorter, the knees more bent, and the weight thrown chiefly upon the toes. Skipping is sliding one foot before the other, the leading foot pointing in the direc- tion about to be taken, and the other foot nearly at right angles with it. The sho7't side step consists of hopping twice upon the left foot carried diagonally to the left, then twice upon the right, out at right side. The long side step. This is more difficult, and the left foot leads as before, but closely followed by the right foot just behind it ; then hop twice on the left. Now carry the right foot to the right, left behind it, then hop twice on the right. Rather long steps, almost, at the side are necessary. Short front step. This is like the short side step, only hopping twice on left, then Marching. 57 twice on right, just in front instead of at the side. The waltz step, heel and toe polka, the racquet, the Evangeline quickstep, two or three twisted steps, which cannot here be described, must all be taken if in the double march in one way. Hands may be crossed in front, or they may rest upon the shoulders of partners or neighbors ; but the leaping step must always be performed with hands closely clasped and lifted high. In pttshiug^ partners clasp hands, step four feet apart, and with unoccupied hand on hip push steadily, and march slowly in line to the foot of the hall. Pullitig differs only in starting with feet near together, hands tightly clasped, and pull- ing with full and equal strength down the hall. In all other double exercises it is right to have partners separate in front of platform, and each leader turning square corners, lead each line in single-file order up the side to upper centre, where partners again join. But in pushing and pulling, the one marching on 58 Light Gymnastics. left crosses before her partner so as to take, at the other end of liall, the same exercise with the other hand. The easiest of all marches comes first, for a description. The Single File March. As the name indicates, all the following changes are to be performed by the class, led by the teacher, or some competent leader, in single file order. First, march up, down, and across the hall with shoulders and hips thrown back, and hands on hips. This position of the hands is to give uniformity in appearance, and to aid in expanding the cliest, and should be carefully avoided except while marching. Take two or three turns about the hall to enable all to get into good position in the line, about two feet apart, and also in step witli tlie music. Cross tlic hall from side to side, six or eight times, beginning at upper end of hall and ending close by platform. Cross the hall diagonally ; repeat on the other Marching. 59 side. Turn, and march down the centre, rising on tips of toes', again down centre on the heeis ; again half way down on right heel and left toe ; the other half on left toe and right heel. March up right side of hall with body inclined to right, for half a dozen steps ; change to the left for the same time. March, bending the body forward, then bend it back. March down centre without bending knees ; again bending knees, and keeping the body perfectly erect. Take the centre of hall again, and march half way down, bending to right, with left hand behind the head, the rest of the way reverse the position. Now march with toes turned out as far as possible, change, and turn the toes in. Exaggerate these exercises, as they employ unused mus- cles very advantageously. Form large circle by joining hands ; all skip to right, then to left : march to right, then to left ; leap to right, then to left. All stand, then rise upon the toes at first beat of music, and sit down on the heels on the second. Vary 60 Light Gy7nnastics, this exercise, if the class is a large one, by forming four circles, one within the other, one leader standing alone in centre. Then re- peat the rising and sitting exercises just per- formed in large circles, only every other circle rise while the other sits. Every other circle skip, while the others leap ; then half march one way while half leap the other ; or one half leap, while the other skips. All, while in this position, stand still for a moment, then stamp alternately left and right feet with the music, and march evenly to centre. Stamp again, and all retreat evenly until extended in former position in the circles. Lift hands high, and all leap to the centre, then all march softly to centre, and back to place. Break the circles, and with leader at head form again in single file, and march half way round the hall witli arms clasped behind the back, then behind the head the other half of distance. Change to the centre of hall, leap down in single file, of course, and again with longer steps. Again with short or long side I Marching. 61 step. The heel and toe polka, waltz step, and otlier dancing steps can be at any time introduced, always remembering to put an easy step or exercise between the difficult ones. Wind the class up in what is called a " Labyrinth," which is marching in slowly diminishing circles till the leader reaches the centre, when she makes a short turn, retrac- ing her steps, closely follow^ed by the whole class. Each person must keep two feet from the one in front, and avoid contact with any. Another pretty change is to cross the up- per end of hall, marching, turn, cross, leap- ing, next march, next skip, next march, and so on until the foot of the hall is reached. March for a short time down the hall with both hands on shoulders of one in front. Repeat, taking leaping, short and long side steps. The latter step is particularly pretty, taken in this way. While the hands are still resting on shoulders various turns and curves about the hall may be taken, with quite re- 62 Light Gymnastics. markable effect ; and a capital exercise, while hands are in same position, is to keep very close together, and march after the style of convicts in the prison-yards. This will do more to give an idea of step and time than any other exercise. Vary, by taking a long step diagonally to right, another to left, keep- ing perfect step and time with the music. Regular or Double March. For this march partners should be chosen with regard to equal si/e and strength ; and in forming pains should be taken to place the tallest and strongest at the head. It is well to begin by marching arm in arm once around the hall ; then stopping for a mo- ment at the upper end, join hands and begin with any of tlie simpler exercises, such as skipping slowly down tlie centre, separating, and marching up the sides in single-fde order, where partners again meet. Take in turn leaping, pushing with both left and right hands, leaping with longer Marching. 03 steps, pulling with both left and right hands ; then the side steps, both short and long, and two or three of the dancing steps that are now understood by nearly all young ladies in school. Many easy changes with the skip- ping step can be introduced between the more ditiicult exercises ; as for instance, skip- ping down the hall face to face with partner, four feet apart ; again, and clap hands in time with the music ; again, skippiiig four steps face to face w ith partner, tiien reversing four steps, and so on to the end of the hall. Skip down the hall shoulder to shoulder wuth part- ner ; skip with the hands in front lowered, the other h'lr.ds llUed. Still another way : start shoulder to shoul- der, skip diagonally to the right four steps, then to the left four steps, meeting partner, or skip in different directiop.s at the same time four steps and turn, then skipping four 8teps toward partner, joining on the fifth. After leaving partner at foot of the hall, always turn square corners, and keep the line 64 Light Gi/mnastics. on the side in perfect order. The diagonal figure is formed by stopping at the upper corner of hall, then marching to the centre, where partners touch shoulders, separate, and again march diagonally to opposite corners. This may be repeated, and instead of touch- ing shoulders on meeting, each one passes in front of her partner, and marches on as before. This is a figure that can be made even more attractive by being performed by couples instead of singly. March down centre of hall, and at the foot both leaders tmn to the right, the next couple to the left, and so on, every other couple fol- lowing the leaders to the right. Meet at the head of hall, and march down four abreast, keeping pc'fect step and time, and a straight line must always, be preserved. Next time leap four abreast, with hands lifted, and head and shouLlcrs well back. Again, skip by fours, joining the two hands in front down low, and the other hands very iiigh. March with hands clasped and arms extended at full Marchin;/. 65 length. This is a very simple but eflective exercise, and a restful one. Next, take the side step by fours, and in this exercise better support can be given by placing hands on shoulders. The long side step should also be taken this way, and taken alternately by fours, the first four leading to the right, It is well, while taking steps four and eight abreast, to reverse at foot of the hall, and march back, reverse again at the head of hall. Other exercises that can be taken by couples, are the following: Leap backward, march backward, lifting clasped hands very high, and taking care not to step on the feet of those before. Join right hands, one skip while the other leaps. March at arm's length, march witli hands lifted high, then return under the uplifted arms, or turn and march up the hall close be- hind the line, and leap down the centre. When marching four abreast a pretty figure 66 Light G (J ui nasties. is formed by wheeling by twos at the foot oi the hall, marching up close behind the line to the upper end, where all turn face to face, and at the same time f^xce across the hall, about four feet apart. All join hands, stamp, and march to the centre, where four from the head of inner line join hands, and skip by twos down between the lines. Meanwhile all stamp and approach ■^gain, and four more