IS- Newman Catechism ON Classical Dancing REVISED SECOND EDITION Albert W. Newman Director of the Newman Normal School of Dancing, Ballet Master of the Newnnan Ballet, Official Dance Director of the Pageant Society of America, Member of the Imperial Society of Dancing Masters, London, Academie de Danse, Paris, France, etc. NEWMAN DANCE PUBLISHING CO. PHILADELPHIA, PA. Theo. Presser Co.^ Philade-phia, Pa. aljifl Work ta KeopprlfiiUij Srliiratri» to ti|e Jparnrl|tal ^rlimila anft til all inn i'tuiinita ixwh (EnllpagucB lulio arr alrtiunii to rlntate lljc (Ifrpmrl^nrfau Art COPVRK.HT 19'2'J ALBERT W. NEWMAN All riglils reserved including that of translation into foreign languages 'All Th\ Mo-ucmenis Shall be Those of Grace ALBERT W. NEWMAN BALLET MASTER The Half-tones in this Book are taken from Photographs of the Students of the Neivman Normal School of Darning FOREWORD The chief object in presenting- this work to the pro- fession is to furnish practical assistance to the student, teacher, and dancer, and to those who are taking- up the subject scientifically as a Physical Culture. It is to enable the student to acquire a finished technique and to <)l)viate the difficulties that may arise through home practice. This book contains the fundamen- tal principles of the Birth of the Dance in a condensed, complete and compre- hensive form. It contains authentic answers to the numerous questions which have been asked by the stu- dents of the Newman Normal School of Dancing during many years of my practical teaching, and are given in accordance with the Newman System of Dancing, which is based upon the foundation of the French, Italian, Russian and Greek Schools. The various subjects have been alphabetically arranged in a i)ractical form for teachers in pre})aring their examinations. This Text Book further embodies valuable infor- mation whicli has been obtained through diligent study with tiic most renowned European Masters and through personal research and ex])erience. It also contains a treatise on technique witli tletini- tions and explicit descriptions of the French Terms and their phonetic pronunciation. It is my intention to take the student through the various elementary l)ranches which constitute tlie Grammar of the (^lassie Dance, tlie foundation of every form of (hnicing. I tliorongldy believe it necessary to acquii'e a certain degree of pliysictd sti'eiigth before one can fully exjjress the emotions with ease, gr.ice and 6 absolute control of the body. Therefore, certain tech- nical difficulties must tirst be overcome which the exer- cises herein described will undoubtedly brini>' about. It is true that the most renowned cxpoiiciils of the Classio Dance, or those who exi)loit the tlu mux of Nature Danc- ing, have begun their studies witli the same methods as those employed in the old French and Italian Schools of I>allet. It is this system, in addition to the Hellenic School, that has made the Russians famous as Terpsichorean artists. So, being desirous of contributing my mite to the advancement of the Art, and in compliance with the wishes of my students, I now humbly submit this work for their approval, with the hope that they will fmd in its pages much material that will prove valuable to them. Albert AV. Newman. "Yet while we live let's merry be, and make of care a jest, Since we are taught what is right; and what is right is best." THE DANCE ^Tho dance is a physical effort in wliicli a senti- ment is expressed through the rhythmic, harmonious movements of the body; a truly natural instinct. There- fore, it must embody more than a series of graceful movements. It must make these movements mean something; then it will enthrall and be a memorable pleasure.'"^ C^ojisidering the fact that men and women of intelligence are now taking up the study of dancing scientifically, leads one to hope that it will soon receive the same prominence as it did in the days of the ancient Greeks. Then the entire nation will be benefited by its practice, both morally and physically. It should not appear conventional or artificial, as in Social Dancing, or over-elaborated step dancing, for in both these styles it is lost as a line art and should only be regarded as an amusement, or exercise, and though it still remains an enjoyable pastime, its great- est power as an educative art is lost. Isadora Duncan says: "To see in the dance no more than a frivolous or agreeable diversion is to offer an insult to the God- dess Terpsichore." -^^ Dancing has always occupied a most prominent place among the fine Arts. Being closely allied with Music, Sculpture and the Drama, it affords exceptional opportunities, with unlimited resources, particularly in the direction of emotional expression. The psycho- logical effect of dancing is as beneficial as its physical effect. Dancing has been acknowledged from time im- memorial as the Art of Grace and tlie Poetry of Motion; the most pleasing of entertainments and the rtiost ]io])nlar of jill anuisements. ' It is the one accom- ])lishment which gives to man the power to display, to the best possible advantage, the beauty of form and the exquisite grace witli which he h;is been endowed. Not only does dancinu' keep^ the figure lines trim and youtlifnl. but it ])ro(hic(^s a grace and ])oise of the body lliai llic mere acciuircment of nnisclc and llic siili- duing of (lesh can never accomi)lisli. As an exercise lliei'e is none so beneiicial, for the strengtli required for the various movements comes so graihial lliat there is no danger of ovei'strain. The ^vo^ld-^vi(lo move to revive the Classic Art of Dancing is to pre-eminently restore the intelligent and deliglitfnl impi'essions, and to preserve the traditional and inherent dramatic qual- ity. It is not to be overlooked that the dance demands as precise a technique as any other Art. Novcrre (Letters sur la Danse et les P)allets IKiO) required that "the dancers should emulate to combine the perfection of the mechanical execution with the talent of consummate actors and that their counte- nances, attitudes, gestures and all their movements shcmld depict the varial)leness of the sentiments that move the soul." Dancing requires suppleness, energy, and breath cai)acity, and necessitates practice of a sort that will produce good, firm, elastic muscle. "> Incidentally, it makes one agile and sure-footed, and through thou- sands of years has been the source of much harmless amusement. DANCING AS A PHYSICAL CULTURE Classic Dancing has much to recommend it as an intellectual and enjoyable form of Physical Culture, and it is strange that not until recent years did the Directors of Physical Training recognize it as such, and acknowledge its rare qualities. It now comprises a most im])ortant ])art of the Ti'aining Course in evei-y school and college throughout the country where Physi- cal Culture is taught. In many cases of Physical Training where appara- tus is used, the woi'k is too severe for most girls, and the consequence is spi-ained or over-trained muscles, and we know of a numbei- of cases whei'e more sei'ious results have followed. These stremious methods ])roduce protruding mus- cles and bi'utc st I'cnutli ; l)ut ik xcr gi'acc and supple- ness, 'i'licy make one si iff and awkward, and in oi-cjci- to of^'sct soiUi' of these harmful elfects, Dancing' has })een inti'oduced into many Physical Cultui'e ('oui'ses; but only as a side issue, and is pi'acticed in a dilatoiy and unfinished manner. The instruction is not explicit, and too often it is regarded by the pupil as an amuse- ment. These assertions have been substantiated by a leading authority on Physical Training, and he further states that Physical Culturists are the most ungainly dancers. This fact is also demonstrated in our own school by these students who acknowledge their inabil- ity to compete with the girls who are practicing relaxed dancing to the exclusion of the rigid, tense and con- tracte(i methods emi)]oyed in Physical Training. ADVICE TO THE BEGINNER After discovering that you possess a love for Dancing, the first and most important thing to do is to place yourself under the guidance of a thoroughly com- petent teacher. The study of Dancing has such a powerful infiuence on the mind and body that a good beginning is most essential. Always bear in mind that you are studying an Art and not a frivolous sort of thing that is here today and gone tomorrow. Buck and Wing and Jazz will never educate you in Interpre- tative Dancing or the I'lassic Ballet. Whether you are taking up dancing as your voca- tion or as an amusement, be conscientious, persevering, refined and nicxk'st in all your undertakings and by all means try to cultivate the artistic and poetic side. Do not believe in "picking it up" as some have at- tempted to do. We often encounter these unsophis- ticated girls who claim they have never had a teacher. These are self-instructed victims who only })erform a few i)et steps and movements which they have copied fi-om dancers, and are generally badly executed; all their (hiiices consist of tlie same movements, which de- notes a lack of study. I have n<>v(M- known a great dancer who was self- taught or who li;i(l not i-eceived the foundation of the Ai't from a master or his woi'ks, and wlint is more, he or she is always ])i'oud to admit it. After the stucU'iit has aciiuircd the t'uiKhunciital 10 tec'liiiiqiie tlio iiRli\i(liiality can be expressed and the imagination strengthened; but not before. All attractive appearance and a pleasing personal- ity are two of the most valuable assets to a dancer. A number of cases could here be mentioned regard- ing noted dancers who have worked against great odds, such as slight physical deformities, lack of tempera- ment, no ear for music, etc., yet by persevering and fol- lowing the instructions of a master, they surmounted these obstacles and were eventually crowned with suc- cess. Remember,^ practice brings experience; experi- ence brings confidence, and confidence brings the fin- ished artist.:. There has never been a noted ihuicer, a great mu- sician or a great artist, who has won fame without a thorough knowledge of technique. Do not be misled by the idea that you can achieve greatness without study and without the correct appli- cation and strict observance of the true fundamental rules governing the Terpsichorean Art. New-fangled ideas and all sorts of electric methods are continually springing forth, which for a time seem to attract, but then quickly sink into oblivion. The much advertised system of Nature Dancing which recjuires absolutely no technicpie, no practice and no study of any kind is simply a means of extorting money from poor victims who wish to do great tilings without any ])relimiiiary study. It has been ])roved that many of the systems of Rhythmic Exjiressioii which are from time to time being* introduced, and which are supposed to revolutionize Dancing, have so far done very little, if anything, toward producing the finished artist. "There is no royal road to success save through work." Remember that after the practical side of Dancing has been mastered, the Poetic side should be carefully considered and the imagination develo])ed. Too often, T fear, the imagination of the student is checked, rather than develo|)ed, ])y the ])ainstaking ef- forts of tlie teachei" to show "how and why" a work is a mastei'])iec(', when it would be more to his artistic salvation wei'.' jic made to feci its inllucncc. Let US recall to mind that bct'oi'c nio\'inu' the leg. 11 the step should be thoroughly understood by the brain, which will then transfer it to the muscles. The eyes must not see what the feet do ; they must be guided by the mind absolutely. It is hardly necessary to impress further on the minds of the student that all the steps and movements must be executed in strict accordance with the rhythm of the music, and students should give more time to the Port de Bras than to any other branch of the work. In order to express an emotion it is necessary to bring about a physical effort, therefore the various parts of the body must be so strengthened as to carry out the will of the mind. The exercises have been ar- ranged progressively and combined with an extensive treatise on Port de Bras, or the proper manner of arm movement, gesticulation and pantomime, the true art of expression or the language of motion. All technical terms in dancing bear French names and we cannot do better than to retain the same and learn to pro- nounce them properly. Bear in mind that the success of a dance depends upon its execution. In other words, ''It is not so much what you do, but how you do it." It is very gratifying to say that the First Edition of this work has quickly found its way into the hands of the most ])r(nninent teachers and" dancers of the world, including a number of Russian Dancers who have unanimously ])ronounced it a Text Book of ex- ceptional merit. Its rapid sale has ])rompted the writer to issue tliis Second Edition which has been greatlv enlarged and revised in accordance ^dth the rapid rise of the Standard of the Classic Ballet. The Xewman System of Classical Dancing em- bodied in this Catechism is also taught at the following Universities and Schools: Brvn :\rawr College", Swarthmorc CoUege, Ogontz School, TempU^ Cniver- sity, Lititz Seminary, Fniversitv of Pennsvlvania, (Summer School), Fniversitv of' Pittsburgh ' Girard College, Y. W. C. A., Chester, !>;,., Castle Scjiool, X. Y. IIambnrgCons(M-vat(>ry,T()r()iito,(^niada, State Xormai Scliools, Bca(]iim' and Shii)i)cnsburg, Pa., High School ( abr..niia, V. W. C. A., Tokio, Japan, and manv others' 12 ADVICE TO YOUNG TEACHERS TIr' iiR'thod ol' Icacliini;' dancing is as imi)()rlanl as ihc (lance itself. The })r()fessi()n has attracted hundreds of young; men and Avomen in the Tnited States during the past few years, whose main object has beeii to acquire as much money as possible, with the little or no knowl- edge they possess. Tliey say, "1 do not wish to be- come a great dancer; just give me a few lessons, about ten, so that I will be able to teach." The idea of "knowing enough" is sufficient, in tlu'ir minds, to teach the art of dancing intelligently. There is no more ])athetic spectacle than to see a grade teacher trying to instruct a class of children in dancing, when she is totally unable to demonstrate a movement properly. He who contemplates becoming a teacher should first be a dancer, as dancing is an art which can be better understood by a practical demonstration than by a lengthy theoretical descri])tion. In Kurope one never teaclies until he has l)een a dancer. But here in America, it seems to be just the reverse; they teach before they have actually mastered the art. It's the wrong way around, to be sure. That is why there are so many poor dancers and so many cheap and inexjierienced teachers. Yet, we hear of teachers who cannot dance and are considered fairly successful, but their success is not far-reaching. Others again, who are dancers have not the patience to teach intelligently, lacking both individuality and magnetism. Another gi'ade of teacher is the one who goes out of town to take a summer course or a so-called s])ecial teachers' course of a few lessons, which includes a diploma. Obtaining the dii)loma is the princi])al object and after I'cceiving it, study is a thing ol' the ])ast. Kemembei-, a di|)loma or a letter of recommendation will not hold youi' position uidess you can make good. M\' ad\'ice is to keej) on studving. There is no end to a r't . When Nou take up the study of dancing as your ])rofession, > ou nuist be perfectly willing to devote your 13 entire life to it, then you cannot fail; yonr success will be assured. Do not overlook the fact that dancing- will require also the study of music, and the more you understand music the better able you will be to ar- range your dances, and your interpretative work will become more intelHgent. It surely will be a great handicap if you are not a thorough musician. The one reason why Foreign Dancers, surpass our own products, is that they possess a superior knowl- edge of music, which enables them to interpret the most difficult passages with the greatest assurance and ease. Furthermore, it is of paramount importance that a thorough knowledge of the English language be ac- quired before one attemi)ts to teach any art. It seems strange that in no other calling is good English so lacking as in the Dancing Profession. This condition should not exist, as the close contact of teacher and l)upil requires full mastery of expression and an ex- tended vocabulary, as a knowledge of Dancing alone is not sufficient for success. Foreign Artists possess all these requisites, and have retained their success through their versatile powers, and higher education, which has always given them entree into the Courts of Europe. Pavlowa says, "Take all Arts that are related to Dancing and make a rule that all students in dancing should have at least an elementary training in anatomy, in sculpture, drama, architecture, painting, music and in 'general educational subjects."' Teachers, keep your students on the fundamental exercises in side and center practice. Port de P>ras and enchaiiiements as long as you ])ossibly can. Then, after all the technical difficulties have been mastered, the next important thing is to stimulate the imagination, so that the poetic side is expressed. Teach them al- ways to have high ideals and to iiiter])ret only the beau- tiful classics of the celebrated masters. Study the individuality of each ])upil and do not teacli every one alike. This will make >-our work varied and interesting, and although adhering to the genei-al I'outine of ])i'aeti('e, the exercises can be so 14 changed, from day to day, that they will appear new, by changing the rhythm oi" the nuisie, or inti'odncing different arm movements. Do not hurry, and above all, do not talk loo miieli. 'Remember, the brain can hold so much and no more. Many an over-anilntious student demands more than he can retain, and inconsequence conl'usion results and progress is retarded. I will not outline a course for teachers in detail here, for 1 feel that the teachers I am addressing have been, and are still dancers and know from personal experience exactly what to teach for the good of the student. By studying the contents of this volume, much v ('s])ccially dislingnislicd themselves bv 16 reviviiii;' tlii' Fu'iicli I'allet with a inaslerl\- and artis- tic interpretation t»t' the same, and have rei)roduced Ballets and Dances that have K)ni>,- l)een for^-otten by the general public. Give some of the intportdiif facts eoiiecniiuf/ the AvadonU' dc Da use, Paris. The Academic de Danse was I'oniuU'd by Louis Xl\' in IGGl. It was composed of the most prominent men in the Profession, who were brought together for the puri)ose of systematizing the Dancing Art, fornui- lating the various positions and arranging the steps and combination, giving to each a French Term This is known to us as the French Technique. A method of practice was also agreed upon, which has since been the means of producing the world's greatest dancers. The Academic de Danse soon became affili- ated with the Academic de Alusique. WJiat is tliis method of practice? The sequence of general study is as follows: r/^., Positions, Side Practice, Center Practice, Adage with Port de Bras, Pirouettes, etc. Elementary Steps, Ad- vanced Steps, Steps of Elevation, Batterie and Toe Work. Of what does the Dance co)isist? The Dance consists of Poses and Movements. What is a Pose? A Pose is a posture; immoval)le. What is movements Movemeiit or motion, is action; a change of posi- tion. Give the different cliaracfcrs of uiorcHK'Htf ^'lidiiig, S))i"inging, IVounding, llo|)))ing, St('p))ing, liunning, etc. By Daiitn/fi ( (lassie) do i/oii iii/d( island thai only fjic tower ext remit ics are to tie liroiiylit into actionf Decidedly not. The nn'nibcis of the entire body must move in harnionv-. The aims, the torso, the In ad, the vei'y ('.\))i'('ssioii of tlie eyes, are used as one complete whole. 17 What Ls force? Force is that which tends to either move or stop a body. What is the wosf essential flinif/ in dancbig? Tlie most essential tiling in dancing is perfect bal- ance, for ^^'ithout balance there is no harmon_y and without harmony there is no dance. Hoiv do you judge a daueerf By the personality, grace, technique and repose. DIFFFIHEXT KINDS OF DANCING. Into lioiv hiauy classes is the dance divided? Name them. The dance is divided into two classes. Theatrical or Fxliil)ition, pnd Ballroom or Social Dancing. ]]'luit is the difference hetueen Theatrical and Ballroom Dancing? Theatrical or Stage Dancing is performed for the amusement of others, generally for money. Ballroom Dancing is indulged in for one's own pleasure or pas- time. Iloir nutng kinds of Theatrical Dancing are tJiere? There ai e numerous forms of Theatrical Dancing. Almost any style, when particularly well rendered, can come under the category of Theatrical Dancing. It is a dance that is iK'rformed at the theatre or on the stage. (rice the principal fonns of Theatrical Dancing ivhich are popular to-dag, and a short outline of each. The dances which are most frequi'iilly sc rn on the stage at present are divided into several classes — the Serious, (Miaracter, Demi-Character and Comic. 'i'lie Serious is the descriptive, the Intei'pretative Style, comprising the Classic, Poetic and ()])eratic, which arc all ins])ired ])y highly dramatic and nilistic minds. '^I'hc C^hni'actcr — Cnder Ihis heading comes the Na- tional and l^'olk Dances which, ahiiough not entirely conlined to the stage, are often seen as an exhibition. 18 The Demi-Cliai actor — Daiucs that woiihl portray the aifairs of ordinary life. The Comic — The burlestjue, i;rotes(iiie and eeeeii- tric styles. Iloiv Hid 11// hinds of TJicdt Ileal Duikiikj (UC there f There are two forms, K*oiiii(l Dances and (^Quad- rilles. 117/^// is (I I! oil 11 fl Ddiiec.^ A Dance where two people take the waltz position and, by a circular proi>ressive movement, move around the room in the line of direction (from the left of the center of the r(M)m). Correct Waltz Position. Cive ilic )iani('S of some Bound Daiiees. Waltz, Polka, Schottische, Mazuika, 'i'wo-Step ; and the so-called Modeiii Dances include the ()ne-Step, Hesitation Waltz, Fox-Trot, Maxixe, Tani;o, etc. The two latter dances, althou,i>h not entirely ])erformed in the Waltz Position, would undoul)t('dl\' he classed as round dances. W'liol is Hied III hi/ a (Jiid'hiJJe? 'i'lic woi'd (Juadi'illc is taken fi'oin llic woi'ds "quad,"' a s(juar(' or four sides, and ''drill," a per- 19 foimance or exhibition. A four-sided drill, or a drill for four couples placed in a square formation. It requires four couples to dance a Quadrille, and Eight Couples to a Double Quadrille. Quadrille is often called a Square Dance on account of its forma- tion. Give the )iai)H's of a few Standard QiiadriUcs. Plain (|)uadrille, Landers, Polka Quadrille, Po- lacca. Waltz Quadrille, etc. Were there ever any forms of Social or Ballroom Dances other than Round Dances and QuadriUesf Yes, there were the stately Minuets, Pavannes, Gavottes, etc. These are often called Court Dances, as the>' were performed at Court Functions. In these dances the participants held each other by the hand or hand-in-hand, in what is now termed the Open Position. The movements were slow and stately, with a profuse display of Bows and Courtesies. MUSIC WJtal Is Musicf Music is the science and art, or rhythmic combina- tion of tones, embracing melody and harmony, and is the chief art medium through which the emotion can be expressed. Uliat docs music suf/f/rsf to the dancer? ]\lusic, with its quick, rapid passages, suggests jo\ and nieriimcnt, while slow, legato passages suggest iSloW, grave movements of the body. A thought nuist be conveyed by movement in danc- ing, just as in music the idea is expressed in tones. Harmonic consistency is the foundation of interpreta- tive expression in all forms of dancing; crudeness and carelessness lead to discord. Hare tlic diffcrcuf cJinnicters of music a)ii/ risihlc effect upon the dancer/ Yes; a light, joyous melody would proxoke a mis- chievous, smiling e\]n'essioii and a spriglitl>' move- 20 iiu'iil, whilst a slow, sad i)assai;x' would create sad, iiioiii iit'ul expression and a slow step. 1 rei>'i'et very niiieli to say that this ijriiuiple is not alwaNs adhered to by some of the great (hineers, who ol'teii disregard the character of the music for the sake of disph\ymg a cei'taiii intricate ste]). Is if iiecej^sarij to have a Ixitoivledfie of music in order to become a dancer or a Ballet Master? Yos, most emphatically, it is absolutely necessary. W'luif is ntcuiil hi/ sijiicojxiliou? Syncopation is the continuation of an unaccented into an accented note. In Dancing it is the execution of an unaccented step closely joined to an accented one. — Zorn. Wlidi is UK (lilt 1)1/ ArjX'fifiio.^ The sounding- of the notes of a chord in rapid suc- cessicni, in har]) style. What is (III t ' p-heat? An unaccented note preceding the accented one of the next measure, or a preparatory note to the accented step. Comixirc the progression of the t)irf]i of the dance iritli the l)irtli of ))nisic. l)an(('. ]\[usic. Position or Temps — compare(l willi a Note Steps ()!• Pas Melody i]ncluunement Musical l*hi'ase Number of iMicliainenieiits Xumber of IMirases (The coni])iete dance or the complete nmsical com- position.) W'luil is ineani It// the terms Lcf/olo, Atlcfiretto, Athfiro (Hid I* rest o.^ Legato UK'ans a smoolli, coiMKcted style. Allegretto, slower tlian Allegro. Moderalel)' fast. Allegi'o, JoxI'ul, (|uick, li\'ely. Presto, \'ei'y fast. 21 Compare flic cniofioiiaJ cocpressioiis in dancing tcith that of mu,s'tc. Emotion is an agilalion emanating from the Soul, and is difficult to detine or impart ; the power of con- ceiving and di\ iniiig the beautiful. However, like tal- ent, it can be improved upon through intellectual train- ing. Music is expressed through the fingers, or the voice, while dancing is expressed through movements of the bodv. RHYTHM AND TEMPO WJiat is HJii/fJnnF Kliythm is the universal force in all movements of nature, and the fundamental principle in life ; it is a natural instinct, the great "get together" element of the world, noticeable in singing, cheering, marching and (hmcing. Give a brief oiifJinc of rlii/ttini in nuisic. Rhythm in music is a succession of equally meas- ured bars. The rhythm of a composition is designated ))y numerals such as 2 4-, 3 4, 4 4, 6/8, etc., which sig- nify the number of counts in each bar or measure. TJuouf/h u'tuif source is flic rlii/flnn of tJic dunce determined:^ The rhythm of the dance is brouglit about through music. Are Dauciuf/ and Music fin' onfi/ rlii/fliniic Arfs/ Xo, rhytlim foims the l)asis of all arts — Music, Dancing, Painting, Sculi)ture and Poetry. Hon- is I he characti r of rlii/tlnn made/ The character of rh\tiim is inacU' 1)\' the dilfcrent ])ro))oi tious of time l)i't\veen the ch'inciits that com- prise its com])osition. If on' /'^' ilii/tlnn rdattd lo daiunni dud nuisic? It is 1h( natural, iiis('paral)l(' lie bctweeu nmsic and (laiiciiiu'. 22 ]]'hat is nnaiii by :2 4, 3/4, 4/4 or 0/^, otlicr than designating the rhgthmf This means that in 2 4 rliytlim each measure is divided into the value of two ([uarter notes (used in writing" music) or the equivaU'nt in notes and rests. In 3 4 the division is three quarters, in G 8 there are six eightli notes or the equivalent in each measure. What is meant by the ralac of a quarter notef A half notef The time or duration of the sound of the note. The vibration of a half note is twice as long as the quarter note. What is a bar, or a measure? First. — A bar is the vertical line that divides the staif into measures. A measure is the division of time by which the melody and motion are regulated; a rhythmical period. Second. — A division of tones arranged in small })roportions which are written by the line system, so that the foini and rhythm of the comi)osition are read- ily and easily understood, a number of these divisions following each other. The word measure is often sub- stituted for the word bar. WJtat is Tenrpof Tempo is the rate of speed in which the ccmiposi- tion is played. In every movement a certain amount of time for its execution is required, therefore the tempo is, in conse(iuence, regulated accoidingly. It is desig- nated by the terms in Italian. For example — Largo, very slow. Moderate, moderate tempo. Presto, ver\^ fast. The Italian langiiage is to music wiiat French is to dancing. Wlidf is fhr rcldfioii h( hcrcii '!'( nijxi (uiiJ h'hullnu.^ Tem])o is liic time in which the i-h>thni is pJnN'ed or rendered. Can a melody and a slep be arranged io any rJiythmf Yes, by rearranging the notes of a different rhytiim, the chai'acter of a composition is changed; and steps call be adjusted according]}'. 23 Xauir a for (hiiiccs u-nttci, to 2/4, 3/4, 4/4, 6/8 rJiijtJuH. In 2/4 iliN'tlim are Galop, One-Step, Martial Dances and Polka. In 3/4 are AValtz, .Minuet, Alazuika and Polonaise. In 4/4 are Gavotte and Schottische. In 6/8 are Tarantella, Reel and l^vo-Step. THE NEWMAN BALLET. Faust Ballet, Academy cf Music, Philadelphia. The First Organized Amateur Grand Opera Ballet in the World. Albert W. Newman, Ballet Master. 24 TECHNIQUE— EMOTION— GRACE— RE- LAXATION— REPOSE— INTERPRETA- TIVE, ESTHETIC, ATHLETIC DANCING, PANTOMIME Wliai four chincui^s should a hue artist possessf Talent, Pjiiiotion, Intelli,i»oiicx' ami Technique. Wluit do ijou uiidcrslaiid Ijij 'rccJi iiniucf Technique is "Artistic Execution" and the perfect foundation of an art. In dancing', it emliodies tlic study and practice of the French Technique, from tlie fundamental positions to the most complicated com- binations. Technique is of vital importance, yet it should not be practised to such a degree as to sacrifice the expressive and emotioutd side of the art, for then the dance becomes nothing more than a me- chanical performance. Among many of the foreign artists, where the training is conijjulsory, too much technique is often ol)served. Ulidf is emotion? --^Emotion is the soul, the sentiment, the expression necessary to inter])ret. A dance may be correctly exe- cuted from a technical standjjoint, but unless the dancer has emotional power or expression, she fails to communicate her ideas. aire a dcfiuttiou of the aoi d (jraccf Grace is beauty, ])erfection of form and absohite harmony of mind and body; the Poetry of Motion. Grace vA motion is to the eye all that melody of sound is to the ear. Wtidf is iK'ccssdi ji to /iroducc Inn uiouious itiovc- IH (' III ? Perfect l)al;ince. What do i/oii II iidi' rsl mid l)i/ iididiicc? Pahince is the pi'opei' adjuslment of the body which enables one to moxc through \arious ex'ohitioiis with ])erfect ease and gia( e. Pahmee means nmscubii* conti'ol, jM'i'fect repose and poise, which is ac(]nired h\' 25 the proper movements of the arms and torso, in accord- ance with the movements of the feet and legs. What is relaxation f Relaxation does not mean acting in a relaxed or lazy manner. It means rest after effort. Relaxation means resigning the body to the law of gravity, the mind to nature and the entire energy to deep, rhythmic breathing. What is repose? Repose is assurance or perfect self-control of the body. What is the meauhui of Aesthetic Daitcinr/f Aesthetic Dancing is that beautiful style which dis- plays to the best possible advantage harmonized arm and body movements. It is more or less a modified form of the French Ballet. Wliat is meant hy Fancy Dancinyf Fancy Dancing is the name given to those dances of the ornamental nature, consisting of dainty, simple steps and mo^'ements which were originally launched from the comentional dancing school and performed by the very young children. It is really onh' for the amateur. Give a definition of a Dance Poem, I ntcrpictatire or Classic Danciny. A Dance Poem and an Interpretative Dance are practically one and the same. It means that a story is woven around the steps and movements, and inter- preted in such an artistic mann.er that the audience can readily understand every change of position. Certain jnoyements are the means to carry out the thought which is expressed in Pantomime. The steps must be studied willi a care which makes even the elaboi-alion of BaUet Te('lini(iue a|ii)ear simple. Wlial do yon nndcrsloiid />// Athletic Ddi/elnt/F Athletic Dancing is a I'onii consisting of steps that i(M|uire great strength and sustaining powers, gener- ally taken from the Greek Sports which were founded oil natui-al movements. ::() Wliaf is a divcrfisscmcutf A Divertissomeiit is a series of (lances inserted in Operas and IMa>s, _n-i\-en as an enteiiainnieni or divei'- sion. What is a luiUciF A Ballet is a drama told in tiie Ter})sieliorean lani>uag"e, with the ])iineipal characters impersonated l;y the dancers. Wliaf is nteaut by Pautowimcf Pantomime is the mute language. Thoughts and ideals are expressed by signs, gestures, movements and facial expressions, which oft speak louder than words. It is the univ(>rsal language which is undoubtedly un- derstood by all mankind. This mode of expression be- comes even more interpretative, moi-e intelligent and more impressive when used in connection with appro- l-riate music. "Human motion, Avhich is employed as a me- dium of expression, is a langiuige whose messages are veiled but unmistakable.'' Katharine Morris, Foklne Balitt, n i York. 27 THE STAGE — TERMS THAT ARE USED ON THE STAGE It Ih quite important for tlic claiiecr to become familiar with the terms that are used upon the stage, so that the entrances and exits and the various posi- tions are more readily understood. It is the first duty of the Ballet Master to know where the dancers are to enter; where the dance is to be performed and the exact exit. The positions upon the stage are taken from the performer facing the audience. We will say that the .stage consists of four parts, down stage, or the front; up stage, or the back, and the right and tlie left side. STAGE POSITIONS. Whij do ire caU if Doini Sfuf/c and U }> SUnic? The stage Moor is built on an incline toward the rear, so that the audience is better able to see llie performers. The Academy of ]\Iusic in Philadelphia has a pilch of 18 inches, wliile other theatres have not quite so nmch. That is left to the judgment of the ar- chitect. Down Stage is toward the front, oi- footlights, and Up Stage toward the rear, or background. What is meant hij Center, Doirn aiut V p Ceiiter, Bight and Left of Center, Doirn Hir/ht and Up Hif/ht, Down Left and Up Left? Center is directly in the centoi' of the stage. Down ("enter is the center toward the foot li^hls. Up Center is the center toward the background. Right of C^Miter is in the center toward the right, and Left of Center is toward the k'ft. Down Hight is the extreme right of stage nt'arest the footlights. \j\) Kight is the extreme rear of U}) stage toward the right. Down Left is left of stage nearest to foolliglits, and Up Left is up stage toward the left. 28 LTCrllTS. ]]'liat in nicaiif hi/ Fooiluiitts, Border Lif/lit,-\ Side Li(/1its, Bunch Lights, Spot Light and Flood Lightf Footlights mean a row of liiiiits placed aloiii>- the extreme front of the stage, or at the foot of the stage. Border Lights mean a row of lights hung above the scene. Side Lights are lights at the side of the stage. Bunch Lights, a cluster of lights; Spot Light, a concentrated light which can be focused on a prominent artist or object. Flood Light, a light that covers, or Hoods, the en- tire stage. ENTRANCES. What is meant by the Center Entrance; the 1st, :'iid and :>rd entrancef The center entrance is an opening or entrance in the center of the background. The Lst entrance is on the side in front of the lirst wing. The 2nd entrance is between the 1st and 2nd wings. The 3rd entrance is in front of the 'h-d wing. '& SCKXFRV. What is meant by the Wings, Borders and Dropsf Wings are pieces of scenery ])laced at the side of the stage, reaching from the floor to the borders. Borders are stri])s of scenery which hang along the top of the setting. A Drop is a sheet of canvas ui)on which is j)ainted a snitabh' background for the setting. What IS a liox Seene.^ A i>ox Scene is an interior scene made to repre- sent a i)ra('tical I'ooni with doors, win(h)ws, fireplaces, etc. All tiic ))i('C<'S of" scenery are hoxed in and lashed together. 29 WJtat is a Set Piece? A Set Piece is a piece of scenery or furnishing for the stage made to rejjresent the real article and fast- ened to the stage with braces. Thrones, fireplaces, rocks, trees, walls, etc., would be called Set Pieces. Uliai is nitauf bij a Paint Fraiuef A Paint Frame is a huge frame upon which can- vases are stretched, ready to be painted. It is attached to ropes and can be raised or lowered at will. It is placed close to the bridge where the artist works. What is the Bridge f The Bridge in the theatre is a practical bridge lo- cated generally in the rear of the stage, up above the borders, from which the artist paints. It is also used for special lighting effects and for aerial acts. ]V]iat is meant J) if the Flies? By Plies we mean that part of the stage above the scenery, the loft, as it were, where all the drops are hung, ready to be lo^vered upon the stage. What is the Apron? The Apron is that part of the stage Hoor in front of the curtain. ;]0 THE FOOT AND THE KNEE luto Jioir ununj jxuts is flic foot diridedf Name tJiou. The foot is divided into live ])arts. The |)()iiH, or extreme ti]), the toe, Inill, instep and liecl. ]]li((f is tlie term f/inii to flic corrcd pfariiif/ of lite foot upon the fioorf Proper appiieatioii. What do i/oH iDidcrstaiid />// projxy a ppli cation f The correct manner of movini; or ])lacing- the foot into the vaiions positions. Proper api)lieation of the foot is of the same importance to the dancer as tone (piality wonld be to the singer. Wluit luiDics QIC f/ircii to the feet other than the lifjJit and left foot!' Tile execntini;- foot and the supporting foot. Whicli is the executiiui foot? The foot which is about to take a step: it is en- tirely free from the weight of the body. W'ltich is the suppoitiufi foot? The foot u])on which the entire weiglit of the body rests; tJie st i-oiig foot. What is iiicaiit bij the inside and the outside foot? The feet aie designated as tlie inside and the out- side foot b\' liie position they assume when daiiciiig witli a ])aitiiei-. Standing side ])y side, the inside foot is tile one nearest to tlie ])artner and the outside foot is the one farthest away from the parlner. aire in def/rees fJie exact position in nhieJi feet should t)e })taeed upon the jtoor. For practical dancing tlie feel are placed with the toes turned outward at an angle of between 4") and 90 degi'ees, exce]>t in i>fdlet I'ractice at the bai-, when they should be tui'iied out on a perfectly sti'aigiit liiM' of !M) degrees, 'i'liis is called the cxtrcnn' baHct position. 31 Wliy is tJii.s cxar/ge rated ijo.sitioit of 90 degrees rec- ommeiided for side irracticef So that not only the toes may turn outward, but that the entire leg from the hip down is turned to the side. Practice in this extreme position will correct im- proper placing- of the feet, such as parrot toes, etc. WJiy should tJie toes be turned outward f To give one perfect ease in executing movements directed to the side, and to enable one to balance the body on one foot while the other is performing some aerial movement. To show the ankles and legs to the best advantage. I)i tuniing the toes outward, which part of the leg must receive the most atteiitiott, and wJigf The hip must receive the greatest amount of atten- tion. Exercises must be given to turn the hips out- Avard, or to open the hips; then the entire leg will be turned to the side. Which exercises are recoiuuieiided for tuni'uig out the hips. The Plies in all the positions are particularly rec- ommended. Ill raising the foot from the floor, u'hleh part should he raised first, and. In placing the foot upon the floor, which jjarf should eoinc In contact irlth the floor first? In raising the fool, the heel should leave the floor first, and in lowering the foot, the toes must come down first. II haf /,v the most liuportanf pari of the Ic//, and ichy:' The mosl impoilaiil pari ol' iIr- leg is ihe knee. Every step is accompanied w illi a bending of the knee, sometimes very slight and a^aiii more exaggerated. The knee musl be plial)k' and kepi unik'r al)sohile con- Irol, as ('\-('rylhing dejx'nds upon ils flexible action. In u-hleh direction should the lince be turned!' The knee should invarialily be Imiied outward or to the side, except in inwai-d posilions, and must al- ways lie on a direcl line o\ci' ihc Iocs. THE TORSO, THE HEAD AND SHOULDERS Define ihe Torso in reUifioii to the dance. The torso, the trunk or the main i)art of the human hody, is that which connects and controls the move- ments which give the dance its character, any change of which would immediately alter the appearance of the (lance without changing the steps in the least. The Torso, during the dance, must at all times move in har- mony with the action of the lower extremities. It must adjust itself to the center of gravity and must invari- ahly he ke])t relaxed, pliable and in ])erfect accord with the rule of o})})osition. Hotv many positions of the body are there? There are five positions : T. Body erect, n. Body bent forward. 111. Body bent backward. 1\". Body l)ent to the side. V. Body turned at the shoulder. The head. The head is the seat of tiie intellect, or understand- ing. It enables us to control our moveuK'nts at will. The head must rest lightly upon the shoulders and al- ways be held so that it appears most natural and artis- lic. The facial ex])ression is of vital imjxu'lance to the dancer, and nnist be cultivated for pleasing personality and magnetism, etc. lion many yosHions of the h< ad are iJiereF There ai'e five ])ositions of the head: I. Head facing front. I I. Head bent downward. III. Head bent back. I \'. Head bent to side. \'. Head turned. 33 The shoulders. The shoulders are most iinpoitanl in placing the hotly, and should always be under perfect control. The shoulders enable us to move the arms in graceful move- ment. A diagonal position of the shoulders is pref- erable to one facing front, as it shows more character. THE HAND, WRIST AND ARM Is there any parficidar rule for holding the handf The fingers of the hand should be artistically curved or grouped and held rathei- close together, but the tips of the lingers do not touch. The second and third lingers are so curved that tliey almost touch the thumb (we often tell the student to hold a small coin with the thumb and the second finger). The forefinger is slightly curved and the little finger is held almost straight. The fingers should be so placed that each one can be seen by the spectator. Care should be taken not to show the palms of the hand in taking the Arm Move- ments, except when it is required to express an emo- tion. Straight fingers and keeping them ajtart is awk- ward. TT7;r// hriiif/s about a f/rdccful anii )noreiH('iitf Much depends upon a Hexed wrist, for a light wrist gives to the movement a Howing, pliable, soft appear- ance. A loose wrist tliat can wa\(' ijrcxhices a most graceful movement. Would you cousjder exereise.s for the urisf of ))iucJh importcnicef Tlie wrist is, without a doubt, tlie most important ])ai-t of the arm; a i)liablc wi'ist to the (hincer is the same as a plial)k> wrist to the ])ianoforte phiyer. Tlie wrist must l)e relaxed and under control, which will give to the movement that beautiful finish so essential to graceful gesticulation or Port de Bras. o-i ]\'lu'rc (loc.'i the action hcf/'ni in raising and lower- in (/ the liandf Tn raising- the hand, start witli the upper part of the arm — or rather, raise it from the shoulder — and in lowering the arm begin with the hand. Give tl'.e various forms of Arm Movements. Raising, lowering, turning and circular movements, bending and stretching. Fingers — Opening and closing the hand. Wliat is tJie proper irai/ to wore the arms? The arms should be kejit away from the body, per- fectly relaxed and rounded, and the hands and fore- arms turned so that elbows will be eliminated. Albert W. Newman and His Pupil Toja Brodanova. OPPOSITION What is Opposition as related to the Dance? By opposition we mean that tlie opposite hand and foot take the same relative position to the center of gravity. Opposition is to motion what harmony is to music. Sequence is to motion what melody is to music, and poise and rhythm is a combination of the two. In dancing, opposition means raise the opposite hand from the foot that is in front. From ivhence did the rule of Opposition comef It came from the natural walk. It is a natural law. As you advance with the left foot you will find that the opi)osite (right) hand will involuntarily come to the front, and vice-versa. The quicker the movement of the legs the higher the hands will be raised. When you run, the motion of the arms will be quite pro- nounced. 75 tlie ride of Opposition alwai/s observed in Dancing f Yes, always in strong or heavy movements or those that require a greater amount of muscular force. Yet, often in the lighter movements or transitions (go- ing from one position to another) the rule of opposi- tion is not ahvays observed. Are only the arms and feet to he considered in the ride of Opposition? No. The torso is also to be properly adjusted. The body is bent and the head is turned toward tlio rear crossed foot. Give the principal value of Opposition. It produces perfect balance. 36 TECHNICAL TERMS A. Ahaissc or Alxiis.scr (ali-bay-say), lowercnl to lower. To let down the lieel or lieels to the lioor after a rise on the toes. Ahaisscutoif (ah-baise-niahn), act of lowering. Practically the same as abaiiiscr. Actio)i (aks-yon), motion, action. Academie (ak-a-demi), academy, school. ^■1 cote (ah-ko-tay), to the side. A coin (ah-kwahn), to the corner. Adage (ah-dahjh), slow, stately, g-rand movements with elaborate Port de Bras (arm movements). It is particularly adapted to Pas de Deux (dances for two), oft called Adage de ''Pas de Deux." Dances where the danseur (male dancer), so supports the danseuse (female dancer), in such a manner that she is able to execute the most difficult ariel evolutions with the greatest ease. The dance should be constructed as a l)oem and should be interi)reted in ])antomimo, pos- tures, etc. Adagio is the Italian word for Adage. A droit (ah-droo-ah), to the right. A gauche (ali-gohsh ), to the left. Ailes de pigeon (el-cU'i'-pi/Jiyoii), ])ig(M)ii wing. See Ailes de pigeon. Aki)}d)() (ah-kiiu-bo), one oi' both hands on the hips. A la fin (ah-la-fanii), at the finish. AUe (pas), (i)ah-zali-la\' ), h'isurc wallviiig step. Allemande (ahl-nialmd ). This term is used in connection with tlie moveniciit of lurning the partner under the raised ami (iiaving tiie iiands joined). It is also the name ol' an Ancient Dance of Swil/ciland and GeiTuany. Allonger (ah-lawn-Jliay), to stretch out ; to h'ligtiien. Allougi', extended s'aUoiiger; to stretch one- self. 37 Altriiiatif, alternative or alternate; first one foot, then the other. Aplomb (ah-plon), jjerfeet balance, with assur- ance, self control. Arahesqut (ah-ra-besk), a posture. (JSee Arabes- que.) Arroiidl (ah-ron-dee), rounded. A curved arm or Ipo- Arrirrc (ah-re-air), backward, retiring, rear. Assembh' (ah-sahn-blay), together. Meeting. (See Assemble.) A temps (ah-tahm), movement executed on a single beat of the music ; a dance syllable. It may consist of several movements of the leg without a transfer of weight and must not exceed one beat of the music. Attitude, a posture. (See Attitude.) A terre (ah-tair), on the floor; a smooth gliding style. A vos place (ah-vo-plahs), at your place. Avaut Deux (ah-vahn-der), two advance. Avaut (ah-vahn), forAvard or in front. Avaut bras (ah-vahn-brah), forearm. Auec (a-vek), witli. B. Baisser (bais-say), to })ut down a raised foot. BaUnicr (bah-lahn-say), swaying motion of the body to and fro in any direction, or a succession of weight changes, frcmi one foot to the othtT. The sway- ing is done with the action of tlie knees and ankles. The feet can be kept apart or together, or one foot raised. A balance consists of two changes of weight. Ballon (l)alil-lon), that spi'ingy, ])liable, elastic 'quality which cveiy dancer sliould possess. BaJlouitr (bali-l(»ii-iiay ), a cireuhir movement of the foot over an imaginary l>:dl of large size. (See Pas BaUouue.) Balloltr (l)alidot-tay ), a tossing hi'rc and there like the rocking of a ship at sea. (See Pas PaUotir.) Batfrr (bah-tr), to beat, or toiicli the siipiiortiii.s,' log in midair, one or more timers. Ihithi (l>ali-tn), sliikinii,' the heels toi^'etlier while in midair, t'rcnit or baek. h'crccdii (bcr-so), eradle or rocking step used in the IIorn})ipe. Ballet (ball-lay), a stor>- tohl in the Terpsichorean Language by a chorus of dancers, with ])rincii)als, etc.; a drama in pantomime, posture and motion. Ballcf d' Action (bali-lay-dahk-tze-on), same as Ballet. Bas (bah), down. This refers to the arms. Basque (bahsk), a province in the N. W. part of Spain and the S. W. part of France, the birtli place of the Pas de Basque, one of the most artistic dance combinations. Battemeut (l)aht-niahn), l)eating. (See Grand Battements, Petit s Battemenls.) Boiteux (bwah-to), a lanu' man's stei). (See Pas Boiteux.) Bond (bon), springing movement. Bondir (bon-deer), to bound, to spring. iJound and Iicbonnd. Bote, a form of salutation for the gentleman. Place the feet in .'5rd position, lower the upper part of the body by liciidiiig forward. Have the hands hanging naturally at the side, then rise. A pre])arat()ry step to the side can be taken before lu'inging the foot into 3rd i)ositi()]i. The technical word for Bow is reverence. Bourrec (boo-i'ay), stuffing. (See Pas de Pour- ~^ ree.) Bras (hinh), the ;iriiis. (Sec Port de Pras.) Bras has (Hrah l);di), arms in 1s1 position. Brise (b|'('('-s;iy ), l)otll feci off the (loor. The one , foot ci'osses whiK' the otlicr makes a sliglit counter- ^ movement. Similaj- tf) the Kidj-ecliat, but only one foot does the ciossing. (See Prise.) 39 C. Cabriole, (kali-bree-olo), or Capriole, striking of Aw the feet or legs together during a leap. Carre (kar-ray), a square; the formation in which the figures of a square dance are arranged. Cavalier, gentleman. Change (shahnj-ay), change. Bring the raised, back foot to the front (4th Raised Position) with a hop on the supporting foot. It also means changing the relative position of the feet, Chaugemeut (shahnj-mahn), act of changing. (See Chaugeuunit de pied.) Change en I'air (shahnj-ahn-lair), changing the relative position of the feet in midair. Chalne (shayne), a iigure in which the hands are alternately given in meeting another dancer. Chalne des dames (shayne day dahni), lady's chain. Chasse (shahs-say), chasing step. One foot chases the other. (See Pas Chasse.) Chat (shah), cat. (See Pas de Chat.) Cheval (shoe-val), horse. (See Pas de Cheval.) Choregraphg (ko-ray-grali), the art of represent- ing steps and movements by means of conventional signs. A short hand method of writing dances. (See Choregraphg.) Chute (shoot), a fall or an aiidil)le step. Cin([ (sank), five. Ciseaux or Sissonne (see-so), scissors. (See Pa^ de Ciseaux.) Closed Positions, the 1st, l^rd, and •'Ah ])ositions of the feet, and J)oul)le Crossed Position. Col-de-pied (kol-de pceay ), the neck of tiu' foot or ankle. 40 Colic (kol-lay), both lei;s tiiililly held toi>x'ther in midair. Co)ttr('dau.'ody foi'waid. Iiesume erect position 1)\ placing the weight on the right foot and drawing the left foot up to the 3rd rear jxisilion. Course (kours), I'uiniing. (See Pas dc Course.) Croise (kiw-aze), crossed. 41 Cross Pass, the free foot crossing- or passing in front or in back of tlie supporting leg one or more times. It is done between counts and is finished with an extension to 2nd raised position. Cuisst (kweece), thigh. (See Temps de Cu'isse.) D. Da capo (dah-kah-po), musical term signifying- that the music is to be repeated from the beginning. It is most usually applied to movements like the ^linuet and Trio. Dal segno, musical term. When the repeat is not to be from the beginning, the words Dal segno (from the sign) are used, directing the musician to the sign whence the repeat is to be made. Dame (dahm), a lady. Danseur (dan-ser), the male dancer. Danseuse (dan-soez), the female dancer. Dais (daze), platform with canopy. Debut (day-boo), first appearance. Debojtes (day-bwah-tay.) Pass from 5th to 5th position in the closest manner possible on po'uites or Demi pointes. De cote (day-ko-tay ), at the side. Dedans (day-dahn), iiiwardl\- or in front. De face ((hiy-fes), facing fi'ont. Degage or Degagrr (day-gah-zhay), to disengage; generally accompanied by a change of weight; trans- ferring the weiglit from otic foot to the othei' in any of the positions, but usnallN" in open positions. Degagcnniil (day-gaazh-mahn), act of transfer- ring. DeJiors (dny-oi-), ontwai'dly oi- in hack. Demi (dem-nie), iiail' (lie h'liutli of the strith- with a bent knee. It is of coni-sc connecteel with open posi- tions only, raised or on the lloor. 42 Demi, clia'ni; liall" a chain, oi- just half rounrl. Demi coiitrcfcnips ((U'liu'-koiit r-taliiu). (See Cou- trefemps.) DcHii coiiroi/uc, one hand laiscd above the lu'ad. Demi pontics, not quite on the extreme tips ol' the toes. Drrouh' {da\'-rooday ), to unroll. Dcscciidrc (de-saliii-dr), to descend; moving down stage. Dessous (des-soo), under or in back. Dessus (des-see), over or in front. Deux (der), two. Deux fonps (der-tahm). A count of two steps to any dance. Denierc (der-yer), l)ehind. Drtounir (day-toor-nay), turning; making a full turn. Devaut (day-valm), in front. De voile (day-vol-lay), Hying. Developpc (day-vel-lo-pay), to unfold; to develop. (See Developpe.) Dirrrtk^scniciif (de-ver-tis-mahn), a diversion; an entertainment. Douhir (dou-blay), doubled. D(>s-a-(h)s (doli-za-doli), back to ))ack; op[)osite fi'om vis-a-vis, Droifr (di'oo-ali), right. Duo, dance for two. Kcdifr (ay-car-lay), to si)read or to separate the feet while in midair. (See Krarff.) £cha)jp(' (ay-shahij-jjay ), feet from a closed to an open jjosition (2nd position). (See ^chappe.) 43 Ecole (ay-kol), a school. Elevafion, the heiolit of the raised foot or feet from the floor. (See Elevation.) Elevatiou (grand), a great height attahied in springing'. Elevc or el err r (ail-vay), to rise on the toes of one or both feet. Emhoite (en-bwah-tay), to tit in; to join; to box. Same as dehoites. (See Pas Emhoite.) En Avant (ahn-ah-vahn), to advance, or forward. En Arriere (ahn-ah-re-air), to retire, or rear. Encliahiemeut (ahn-shayn-mahn), combination of steps. A dance phrase. Encore (ahn-kor), repeat. En dedans, inward. En dehors, outward. Entier, entirely. En I'air (ahn-lair), in midair. Enpassant (an-pahs-san), in passing; one foot passing the other or one person passing the other. En premiere (an-prem-year), in or through the first position. Enfouriianf (ahn-tonr-nant), with turn, or while turning. Enfre (ahn-tray), enl ranee of a dancer. Eittreeliat (ahn-tr-shah), weaving or braiding. Crossing and recrossing the feet during a spring. (See Entrechat.) ' '"" Epaulenieni (ay-pol-mahnt), the use of the shoul- ders in placing the body. Eiinilihrc (ckwi-lil)!-), ('(inilibi-juin or balance. Ejct elisions, to extend the foot in aiiv direct ion from a closed to an open position, reacliing for the position with the toes leading, and the leg held' perfectlv straight. {^dQ Extensions.) u F. Fermer (fair-may), to close. Finale, the end. Fleuret (fler-ay), a i'oil. In dancing it means a quiver or shake of the foot. Flexion, i>cnerally associated with liending the knees. Flora, Goddess of Flowers. Fondit (f on-dee), to sink; to bend the supporting- leg" while the other is raised. Foiiette (foo-ett-ay), whip. (See Fouetfc.) Frotter (frot-tay), to rub; the foot rubbing the floor. Frappe (frahp-pay), to beat or stamp the floor. G. Gauche (gohsh), left. Garotte (gah-vot), dance introduced in France in the IGtli Century, written in 4/4 rhythm, abounding in salutations and stately movements; a great favorite with ]\Iarie Antoinette, who danced it most artistically. Genoux (jlien-u), knee. - Glissade, glide the foot in any direction, transfer the weight and draw the other foot to it. It requires two changes of weight ; oft called a Spanish Draw Step. Glisse (gle-say), glide the foot into any position, without a transfer of weight. Grand (grand), large or great. To its fullest ex- tent. Grand IJaltentents. (See Grand Jiallenienls.) Grand Jetc dessus en tourant, Jete Turn. (See Jete.) Grave (grav), slow; majestic. (See /•*<'/.s' Grare.) H. Hop. (See .SV//^/r.) . .45 J. Jamhe (zhamb); the leg-. Jete (zhet-tay), l^ouiidiiig; bound and rebound. '(See Jete.) Jete, Tom me, a boundino- turn. L. La tete (tate), the head. Lateral, to the side. Leve (lev-ay), raised, as appUed to the free foot, which is lifted from the floor. Leve, temps, raise one leg' and hop. (See Siring Step.) M. Main (man), the hand. Malt re de Ballet, ballet master, or a composer. Mime (mcem), the name given to one who acts in Pantomime. (See Pantomime.) Moulinet (moo-lin-nay), a turnstile or mill; a form in which the dancers move around each other with hands joined and crossed. N. Nage (nahjh), swimming. (See Pas de Xage)^^ 0. Oi^en Turn, a turn in open position. Place the right foot in 2nd position, turn on same liy l>ringing the left foot all around in front of right and finish the turn with the left foot pointed in 4th position. O/jcn Position, those positions vrith the feet a])ait. (See Positions.) Ourcit (oo-vair), open, separating the legs side- ways. P. Pas (pah), a step; same as a word. Pas de deux, a dance for two ijcrsons. 4(5 Passe, passing- or passed. Passe la jamhc, passing the leg; one leg i)aysing the otluT. Pas srul, a dance executed l>y a single person. Passcpicd, passing the foot either front or in back of the other, generally on the Point cs. Pas siir Jcs poiutcs, steps on the extreme points. Penclie (panshe), leaning. Pendyl (pendnl), pendulum. Whip the foot front and back of the other, keeping the leg straight. (See Foueiie.) Pet if (pet-ee), small. Pied (pee-ay), the foot. Pique (pee-kay), a deliberate shooting forward of ^UV/'^ / the whole body from both feet on to one foot. , ^ Pirouette, one or more complete turns on the toe or ball of one foot. (See Pirouette.) Pivot e or Pivot er (piv-ot, piv-ot-ay), to turn or pivot on the one foot. (See Pivote.) Plane (plahn-ay), soaring. Plaee (plas), correct placing of the dancer. Plie or Plier (plee-av), bending the knees. (See Plir.) Pose, a pose. The body supi)orted on the one foot with the other pointed or raised. Poiiite, position assumed on the exticiiic ])oiiit of the foot. A\'hen we say "])oint the foot," there is ab- solutely no weigJit ui)on it. This is of course different with Toe Steps or steps Siir Ics pointes. Point ('tiaiif/cs, changing the relative i)osition of the feet. S])ring on I'ight foot and same time jxtiiit left foot to Demi 4tli ])osition, now make Point ('lionf/e by s])ringing on the Id't fool and point the i-igiit foot in Demi 4tii i)ositi(»n. Polonaise, a f/rand miucli. (Also sec I'as Polon- aise.) Port''' or Poller (paw4ay), to cai'ry the foot or to lift the foot into a position. Port dc llras. (See Port dc Pros.) 47 Positions cii Vair, positions in midair, or Raised Positions. Pousee (poo-say), to knock, to push. Premiere, first ])osition or the ijriii('i])al dancer in the Ballet. Prelude, opening- or introduction of a dance. R. Raecourci (rakoursi), short. Raniasse (rah-may-say), to pick up. \ / Releve (rel-a-vay), a developpe while rising ^n the other toe. {See Releve.) Renverse (rahn-ver-sajO? ^ turn in wliicli the dancer seems to be upsetting the normal balance yet retaining his equilibrium. (See Renverse.) Retomhe (re-tom-bay ), fall. Spring on both feet, then pitch forward on the one foot with the other raised. Retraverse (ray-trah-ver-say), to recross, or re- turning to your original place after having crossed to the opposite. Revereiiec, a form of salutation for the lady and gentleman. Reverse, the movement is repeated with the other foot in the other direction. Roeliinf/ Step, a step used in tlic Hornpipe. IMace the feet in 5th i)()sitiou then lifting movement of one heel, and quickly fall on the other witli a dcf/uffe. The movement of the knees from side to side ])ro(hices a rocking effect if repeated a number of times. Ronde, a circle; dancers moving around in a circle; leg describing a circle. (See Roiids dc Janihe.) Rond de Jam})e en fair, foot describes a circle in the air. (See Rond de Jamhe.) Rond de Jamhe a ierre, foot describes a circle on the floor. Roulclle, turning while in Arabesque Pose. (See Arabesque Turn.) Ruer (ru-ar), kick. 48 S. Sdiifr (so-tay), iu)p. A slii;iit spriiii;' on I lie one foot with the other raised, retuniiiig on the same foot at the same phvce. Scis'^ors Step. (See Fas dc Clscaux.) Stay Turn; the word stay is a corruption of the word Jt'/(', and is used in Kn,<;land in connection witli a J('fc Turn. StratJispi'ij^ a movement named after tlie Scotcli town of Strathspey; a point in ()i)en position and a quick drawiuii'-in movement of the foot to the knee of tile sui)porting leg-, accompanied by a hop. Souhersauf (soo-br-soo), drawing the feet up un- der the body during a (jraud EJcrafion ; a Tcuips Leve with both knees bent. Soutenu (soo-tay-nee), sustained, smooth move- ment. Sp'iu Turn, turn ciuickly on one toe. Spin Turn iu Arabesque, quick turn in Arabesque. T. Taper, to tap. Temps (tham), a syllal)le or a part of a step. Temps leve. (See Leve Temps.) Tendre (tahn-dr), to stretch; opposite of Plie. Tendu {Pas) {pah-faJni-doo). (See Pas de zcp- liire.) Trrrc a icrrc (tehi"-ah-telir ), a gliding step. Termes dc dausc, terms used in dancing. Tete (tate),head. Tlrree-Stcp-W(d1{ Tun/, a tni'ii with liirce walking steiJS. (See Turns.) Tomhe or Totnhcr (tom-ba>), railing or pitching. Torso, the trunk of the bo(l\-. ToriUJf (taw-tee-yay ), twisting or tni'ning the toes inwaid and onlwai'd; nscd in ninn\ cliai'aclcr dances. Tojir (toor), a turn. 49 Tdni cii J'-iir (loor-ah-lair), tuv)iin<;- tlic body in mid-air. Tour dc hidiiis ( toor-day-iiinii ), turn Ijy the hand. F'artners join hands and move around each oilier. Tour dejamhe, turn the leg". Tour sur place, turn at place. Touriir (too-nay), tui'iiing. Two-Siep-Walh Turn, a turn with two walking bteps. (See Turns.) Traverse (trah-ver-say), crossing, as to cross to opposite place. face. V. Vis-a-vis (ve-zah-ve), facing each other; face to Z. Zt'j>hire Pas de, a light, l)reezy step. (See Pas de ZepJtire.) Anita Preston, "The Blue Danube Waltz." 50 RULES 1. Steps arc llic nieaiis to cnvvy out a t lioiii^lit ; therefore, aftci- tlie mechanical ])ait of (lanciiig has been thoioiiuiily iiiasteroti, the spiritual s'uU' sliould predoniiiiate. 2, All (lilht'iilt stei)s should appear easy and the easy steps shoultl be performed in a very elaborate and showy manner. Dancing should never appear labor- ious. 'A. Always associate a short sle[) with a (puck one and a long step with a slow one, and remember that any stej) can be arranged to any rhythm. 4. The step and the direction in which the stej) is taken are the most important things to be considered. 5. In order to obtain true balance, the center of gravity must always be maintained. In other words, the bodv must be accui'atelv i)laced over the supporting- foot. 6. Regulate all your movements to that oi' the music; the Port de Bras and the foot work alike. 7. Turn the toes outward and in raising the foot, point the toes downward, alwa_\s showing the entire form of the foot. 8. Begin every stej) with the free foot and make the ending of one step the beginning of the next. 9. Arms must always move in opposition, excei)t in very light movements or during a transition when the law of ()])position is sometimes \-iolated. 10. Ih'iid the body and turn the head toward the rear crossed foot. 11. A raise of the one foot is generally accom- l)anied with a hop on the supporting foot. PRACTICE OF DANCING Ifoir shoiihl (I t ((iclicr shirl a Ucfinnicr iclio desires fo ham Classiedl Ddueiiif/.^ Observe carefully the cai'i-iage of the bods-, and correct any defects in tlial hne. 7'rr/r// I he slnilenl fo walk firaccfulhj hrfore (illeni pl'nn) lo /laiiee. After which, a careful study of the fundamental positions and 51 proper application of the feet should be made and the entire body strengthened by the practice of exercises designed for that purpose. How should preparatory exercises he practiced in order to derive their fidl benefits Practice the preparatory exercises at the Ijar; at first slowly, then more rapidly. What is the harf The bar is a support, or rod placed along the wall about the height of the chest, to assist the dancer in balancing the body. Grasp the same with one or both hands, as it is found necessary. Remember, it should be used only in preliminary work and vei-y lit- tle weight should rest upon it. Whij is the bar usedf To give strength, correct all physical defects and to turn the toes and the hips outward to the extreme. 75 a great deed of practice at the bar advisedf Give your reasons. No, not too much. Extreme j^ractice at the bar would be detrimental rather than beneficial. The bar practice is rather a mechanical operation and often (when done to excess) causes the nuiscles to become overstrained and knotty. This is oft observed in the professional foreign dancer and the over-ambitious student. Pavlowa tells us that the Russians were at first over-trjiined, which was no doubt caused ])y too much bar work. 0]ie hour each day at the bar is suffi- cient. I find from personal experience that one need hardly fear that our American r/irts {irith liut few ex- ceptions) will ever suffer froin too much practice. On tltc contrary, they seem to depeitd almost en- tirely upon their natural gifts and cliarnis; their per- sonality or in/liicnce, for success. How should file feel lie placed wJiile exercising at the barf The feet should be placed in the r^xtrcnie I'allet Positioji; feet at i)() degi'et's. WJidl is the ))raetlee at the bar ((died? It is called Side Practice; the foundation upon which execution is built. 52 After Side Practice, ivliai is ihc iicii prof/rcssioii? The next is Center Practice. WJiaf is )H('aiif hi/ Ccufcr Praclieef Center Practice is ))erformiii,n- all the exercises (which were previously done at the bar) in the center of the room Avitlunit any snpport. This is to improve and perfect the halaiicc /;/ what position arc tJic feet placed in sfartiiif/ Center Practiccf An advanced student bei»ins from the o\\\ i%)sition. After all the movements of the legs have been prac- ticed, icliat foUotvs in order? Next is the careful study of Port de Ijras. How sJiould ihc exercises of Port de Bras he prac- ticed? All the arm movements or Port de Bras should lie practiced in front of a mliror, until natui'al i»'race is ac(|uired. After the Preparalori/ Exercises, Hide Practice, Center Practice and Port de Bras, ivhat follows? Next in order are the Enchainenients (ahn-shayn- mahn) or Phrases, Avhicli are combinations of move- ments of the feet and arms. 'To ivhat do tlie Enchainonents lead? ICnchainements or Dance l^lirases, lead to the com- plete, or finished dance. Give an onliine i-ef/ardin// the lenf/f]i of time a ])rofcssio)i(d dancer slionld derote to work each daif. This is rather a difficult (juestion to answer as the leni>tli of pi'acticc depends eidirely upon the dancer's ])hysical endurance. At aii>" I'ate two to four hours a day, for actual practice is not too loiii^a time and would, in the course of a few years, brinn' al)ont wonderful re- sults. An honr oi* two each day, in addition to the act- ual |)iactice of t e('lini(iue, should he set aside t'oi' the stud\' of nuisic and another i)ei'iod for the study of the histoi-y of the dance, Costumes, and the French Lan- ^ua^'e. One can \ery easily devote the entire day to study and (-nly the dancer's love of the ail will bi-ini:,' about perfection. 53 Wliat exercises are uichulfd In fJn- da'thj roufiiic of a professionalf Plies, Eleve in all positions, Petit and (Iraii/I Bat- tements, Developpes, Grand Rand de Jambes, etc. Side Practice — Assembles, Coupes, Jetes, Bour- rees, Pas de Basque, Pas de Chat, Chaugement de pieds, Echappe, Ecarte, Entrechat, Brise, Pirouettes, etc., then Port de Bras for at least an hour. This is a fair out- line of the French Technique which should be followed by an hour or two of the (ireek Dancinii,' Begin this with the Plastic Poses, Komping and Plying move- ments. Playing B'all. Throwing the Lance, etc. The practice of the Greek exercises will bring about great lightness particularly of the upper part of body. Adeline Genee says: "Every day lirings its hour,s of practice, Iavo hours of real hard work, then liefore each performance 1 do twenty minutes of Side Practice before taking a single step on the stage. Even when dancing is mastered, it demands incessant work and sacrifice from the dancer who wishes to be a worthy exponent of the art. A Dancer's work is never done." She further says that dancing is the finest, and most infallible antidote to bad temper and unhappiness. 54 POSITIONS M'ltdf is inidcrstood ht/ Posit ioiisf Positions iwv 11r' a. B. C of Dancing'; tlic I'oun- dation n])on which the (huicc is built. Jloir mauii positions arc iiuircrsdlli/ iccojinizcd as ihc Fuiid(i)}i('iital Positioiisf Five positions arc recognized as the Fundamental or Tnie Positions ? WJio is respousible for having fomnilatcd these positions in their respective order f Charles Beaucliamp, Ballet Master and member of the Academic de Danse, Paris, is credited with having arranged these positions in their present order. Why is it so few positions hare Jjceii adopted and considered sufficient for tJie foundation of the Art of Danci)i(j? First, to simplify the Ait, and second, to give the most natural positions of the feet. Into how )nanii etasses are the Five Fundamental Positions placed? Into seven classes. 1st, Point Positions; 2nd, Toe Positions; 3rd, Ball Positions; 4th, Sole Positions; 5th, Heel positions; Gtli, Jhiiscd Positions; 7th, Jiurard Po- sitions. To u-Jiieh foot is tJic position ijiven, or which foot is entitled to the })ositionf To the free or executing foot. Tell Jiou- tJir Five Funda))ient(d Posit ions are taken. 1st Position ( sonirt inns ((died ^^ditar// Position) — Place tin' heels togcthci- ;nid Iniii Ihc t(/es out a1 right angles. :^nd Position — Place llic one fool to the side, the distance of a stcj), toe touching the (loor and the heel under the foot. 3rd Position — P>i'in,u the iiccl of the one loot into the hollow or middle ol' the otiici'. 55 4fh Posiiiou — ^Plaee the one foot in front of the other (as in walking) ; little toe touching the floor and the heel turned to the front, on a line with other heel. 5tli Position — B'ring the heel of the one foot to, and in front of the toe of the other. Hoiv arc tJie Five Fiuidamcuial Positions divided and sul)diridedf They are divided into Open and Closed Positions ; subdiridcd into Modifications and Variations. D'liich arc Closed Positions^ and jvhijf The Closed Positions are the 1st, 3rd and 'jth. They are called Closed because the feet are close together. Which are the Open Posifiotis, and ichy? Open Positions are the 2nd and the 4th. They are called Open Positions because the feet are apart, or open. What other names given to the Closed and Open Position'.' f Closed Positions are also called Positions of Re- pose. Open Positions are called Positions of Action. Mluit is )ncant hi/ Modifications and Wiriationsf Modifications mean the Intermediate Positions (positions that are between two Open Positions) and the Crossed Positioiis (one foot crosses the otlier). Variations me the different parts of the foot placed in the position called. The Point, Heel, Inward, Raised or Flowing Positions l)elong to the class termed Varia- tions. Modifications hear the same n lotion to tlie dance as half tones i)i music. ]^ariatio)i^ woidd be the same as a change of fingers placed upon the same hey. L.F. 56 LF.&RF 4^" POS. RF. 4^" REAR P05. L.F&R.F Newman System of Locating the Foot Positions. Iloic do icr fii/ pojudar and most graceful. Give a convenient }tietho'l of feaclilng tJie Five Positions fo ni lisle In 4 4 liigfJim, tdlilmi In tJie front and rear positions pro(i n sslrehi. Call the chiss to Attention — First Position — no music. 60 Right Foot to 2ii(l Position — 1 moasnro. to ',ln\ Position — 1 measure. " " to 4th Position — 1 measure. " '' to 5th Position — ] measure. '* " to 4th Position — 1 measure. to ovd l^isition — 1 measure. to 2nd Position — 1 measure, " " to 1st Position — .1 measure. (8 Measurks). Eepeat the same with the Left Foot — 8 measures. Rp]AR POSITIONS. Kii>lit Fool to 2nd Position — 1 measure. ^ " " to Ih'd Pear Position — 1 measure. " " to 4th Pear Position — 1 measure. " " to 5th Rear Position — 1 measure. " " to 4th Rear Position — 1 measure. " " to ord Rear Position — 1 measure. '* " to 2nd Position — 1 measure. " " to 1st Position — 1 measure. (8 Measures). Repeat the same with the Left Foot— 8 measures. PREPARATORY EXER(iSFS. After the students have acquired a thorough knowledge of the various positions, their attention should be directed to the great imi)ortance attached to the practice of the following exercises, which tend to produce firm and flexible muscles, which can be con- iractcd and relaxed at will. FXTFXSIONS. 1^x1(11(1 the foot to its full length fi'oni a closed lo an open j)osition, I'etui'ning to the closed position. vV)-'" Technically, it might be classed with the Crdiid BaHc- ^ >> woits a trrrc, with the excei)tion that the I'Jrtciisioiis are executed in I'cgnlar (even) time, while the move- ments of the rJaUrniciit are more or less syncopated. See GraufI (util I'rlif Jiath nn ufs. 61 111 all tlie Extensions the muscles are contracted, or held iirm, while reaching the position, and relaxed when returning to the closed position. BotJi knees must he kept perfeetly straight. Throughout the various exercises music written in 4/4 rhythm (Gavotte Tempo) is to be used, except when otherwise mentioned. Music 4/4. Count four to each measure, or bar. (1) (2) (3) (4) are counts. (X) means between counts. (XX) two move- ments between counts. R.F. means right foot. L.F. means left foot. Note — In the exercises which follow, each one is done 4 times with the right foot and 4 times with the left foot, then 8 times with the right and left foot alter- nating. Exereises: Attention (Feet in 1st Position). Extend the R.F. to 2nd Position (1). Return the R.F. to 1st Position (2). Repeat (3) (4) — 1 measure. Repeat 1 measure, making 4 Extensions to 2 measures. Repeat the same with the left foot — 2 meas- ures. (4 Measures). Repeat the Extensions to the side with the R.F. and L.F. alternating. For example, R.F. to 2nd Position (1), return to 1st Posit io}i (2). Same with the L.F. (3) (4). Continue this movement with the R. and L.F. for 3 more measures. Exercises: (4 Measures). • Extensions to //// Position and return to the 1st Position same number of times as first exercise. Extensions to UJi Bear Posit io)i. Extensions to Intermediate Position. Extensions to Intermediate Bear Position. Extensions to Crossed Position. \ V 62- Extensions to Crossed Bear Position. PCxloiisioiis from 1st Position to 2ud Heel Position. Extensions to //// IIccl Position. Exercises: n.F. in 3rd Point Position (1). R.F. to L^d Ileet Position ('2). Repeat same {'.->) (4). Continue for another measure. Repeat same with Ij.F. 2 measures. Same exercise with R.F. and J..F. alternating 4 measures. (8 Measures). Xote I. — Comparing this movement with a hiriguage, it would i)raetic'ally be a word of two letters; a movement consisting of 2 positions. In the 3rd Point Position the foot that is pointed is extremely close to the middle, or hollow of the other foot. Xote II. — In all exercises ending with the feet in opeu position, where a quick change follows, so that the mo\emcnt may be repeated with the other foot, a spring on the free foot is necessary. In other words, two movements are taken sinmltaneously. Exercises: From the 4tli Rear Position (1) to the 4tli Heel Po- sition (2). Repeat (o) (4). Continue another measni'e. Repeat all with L.F. — 2 measures. Then light and left foot alternating — 4 measures. (8 MEAsntEs). Exercises: R.F. in -Jnd /iinard /'osilion ( 1 ). R.F. in :^nd Heel Position (2). Repeat (.1) (4). (^ontinue another measure. Re])eat all with L.F. — 2 measures. 'i'lieii hM'\ and L.F. alternating — 4 mcasnres. (8 Mkasi-iiks). Exercises: R.F. in Jud I iiiiard Tosilion (1). I?.F. in -'nd I/rrJ f'osifion (2). 63 R.F. in Sn] Po'uif Positiou (3). R.F. in :Jiid Heel Position (4). Repeat all with the left foot — 1 measure. Again with right foot 1 measure and left foot 1 measure. Repeat this same movement by hopping on the sup- porting foot previous to each change of posi- tion of the active or free foot. Tliis will pro- duce a lightness that becomes a dancing step. This combination of 4 positions is compared to a word of 4 letters. /.s the practice of the Extensions recouunended, and ivhyf The extensions are most important, as they give the dancer poise, proper placement and correct appli- cation of the feet in all directions. They teach one to lead with the toe on the Hoor. What Ijenefif is futtlicr derived fro)n tlte practice of the Extensions!^ The Extensions, when properly performed, will give strength to the ankles and will arch the foot prop- erly; incidentally gi\ing it a better foim and ap])ear- ance. Extensions shoukl be practiced diligently every day. SIDE PRACTICE. In Side Pi-actice, or Exercises at the bar, always begin with the foot farthest from the wall (inside foot), and whenever the exercise is to be repeated with the other foot it is necessary in order to obtain the same freedom, to make a half turn, as we say, aljout face. This tiii'ii is made toward the bar, or, in other words, if the right side is towaitl the h;ir at the begiiminu- of the exercise, tlie turn will l)e toward the right, or right about face, and if the left side is toward the wall, it will be )ust the i'e\-ei-se, or a half tni'ii left. Tiiniiiiu in this manner can be done so quicklx' that thei'e will he no loss of lime, and the exercise can be continued with the other foot nnintei'rnpted. ()4 PLIKIS, OKPJJEK. 11 '//(// is HI cant by PUef Plic is the technical term for bending; bending the knees. Of what does a Plic consist? Tt consists of two movements; a downward bend and a rise. It is the preparatory movement of a spring. lloic is the Plic prupcrlij prrformcdf The Plie is performed by bending the knees which must ])e exactly over the toes (extreme Ballet position) with weight of body distributed equally on both feet. The upper part of the body must be erect and re- laxed. Describe a Plic in tlu Double ')tli Position. The 5th Position is the most difficult one in which to perform this exercise, in consequence of the narrow- ness of the base on wliicli you rest. Stand in the Double 5tli Position, turn the toes and iiips outward 90°, knees directly over the toes, body erect. Bend tlie knees and rise. Iloiv many Plies are t lie re? There is ijractically only one Plie, yet exercises have been arranged in four different classes. 1st, Plies on the soles of lioth feet. 2nd, Plies on the balls or Demi Points of both feet. 3rd, Plies on the sole of one foot with the other foot I'aised. 4tli, Plies on the ball, or Demi Point of one foot wilh tlie other i-aised. Are the Plies done in all the positions.^ Yes, the Plies arc done in all tlic vai'ious posi- tions, and should be so pi'acticed. ]]'hicli is till' best iraif to practice tJie lilies? I'lirs arc generally tlic tirst exercises given at the bai'. 'V\u' exti-eme P)'allct ])osition must be used ihronuliout ( I'cct at !)() ). The free arm should be ex- 65 tended to tlie side (shoulder hi.£>li). During the bend the arm is hjwered to the front, or in 1st Position, and on the rise extended again to the side. Alusic 4 4 — Gavotte. Flics on the soles of both feet. In all these exer- cises count (1) (2) to bend, and (3) (4) to rise. Exe- cute 4 times; in all, (4 measures). Then make quick Plies, counting (1) to bend and (2) to rise, making 8 Plies in all (4 measures). Each exercise of Plies will take 8 measures. Exercises : Flies in Double tst Position. Plies in Double 2nd Position. Plies in Double 3rd Position. Flies in Double 4tli Position. Plies in Double 5th P*ositio]i. Repeat the Plies in all the 5th Positions on the Demi Points. PLIES ON THE SOLE OF ONE FOOT. Exercises : Plies on the foot nearest to the bar with the other foot raised straight in front (4tli Raised Posi- tion, ?iV(\ Elevation), four slow Plies (4 meas- ures), and 8 quick one (4 measures). (Note — During the Plies on the one foot the other foot must be kept raised throughout.) About face aiirl repeat icifli other foot. Exercises: Plies with oilier foot raised to side, heel under the foot. Plies with other foot raised in l)ack. Plies on the one foot with other foot swinging front and back. Bend and swing foot front (1) (2). Rise and swing foot back (o) (4). Repeat in all 4 times (4 measures), ilieii 8 limes very fast (4 measures). About fa(c ami rcjical witJi oilier foot. 66 PETIT BATTEMENTS Small beatings. A beating, or i'orcibU' movement of the free foot against the snpporting one, which re- mains stationary. A Petit Battement brings into ac- tion the lower leg only, the knee acting as a hinge, the foot retnrning to the sni)|)ortiiig foot, niilde, calf or knee. The accent is not on the up-beat, or the extension, but sharply on the return to the other foot. Petit Bat- touoits can be done on the floor or from the ankle of the supporting foot. It may l)e mentioned that a Petit Battement is the basic step of the Scotch Dance. When modified so as to allow the sole of the active foot to touch the floor, it provides the shuffle step of the Irish Jig and Keels. In irliat direetion can the Petit Battemeiits be made? Petit Bettements can be made forward, side and to rear. The latter is seldom used except as a form of exercise. }Muit hcuept is derived from the praetiee of the Petit Battement 8^ They give brilliancy and freedom of movement, and with practice can be executed with a wonderful de- gree of speed. When flic Bdl fcmciif /> done on the a)ikte of the supportiiK) f(>ot, what term is f/iven to tin movement? This is called Petit Battement siir le cou-de-pied. When the free foot crosses front and had; of the ankle of the supporti^ig foot , what is this eattcd.'' This is called Petit Battement croisr snr Ic cou-de- pied ; a crossing of the foot on the ankle of tiic otlicr. ]]'Jiat is tile difference between an Extension and a Petit Battement? Extensions and Pelit /iattennnts arc closely re- hited; the onh' diffei'cncc is in tlic acceiil. The E.rlen- 67 sions are taken in even or regular time, countino- (1) to extend and (2) to return. Petit Battemoit is counted thus: Extend on the up-beat, or (X), and return on the (1), etc. Wlu'u we ,^)eak of Petit Batlemeuts, irhich form do ice getieiaUy meaiif We mean the form in which the toe of the free foot does not leave the floor, but passes over it quicklv and lightly, keeping the heel well elevated. How many classes of Battemeuts are theref There are three classes, Petit Battemeuts, or small heatings; Grand Battemeuts, or large beatmgs, and Battement Fouette. How should the Petit Battemeuts he practiced? First at the bar and from 5th Position. PETIT BATTEMENTS. Side practice: Music 4/4. Count (X) (1). Extend on (X), re- turn (1). (Note — A number of Petit Battoueuis shoukl al- ways be practiced in succession.) Exercise: Start from 5th Position. Petil Battcmcut forward. Glide 7 times forward, always returning to 5th Po- sition, then extend to side and close in 5th Pear Position; in all, '1 measures. Petit Battemoits to side (2iid Position) (X), re- turn to 5th Position (I), again to side (X), and ictuiii to 5th Hear Position (2). Pepeat ; in all, 2 measures. J'clil JJafleiuciit to 4tli Hear Position, 7 limes and one to side; close in 5th Position — 2 measures. Rei)eat the Petit Battemeuts to side, closing 5th Hear and 5th Position (front), tinishing m 5tli Position — 2 measures. About face and repeat all witii other foot 8 measures. 68 PETIT BATTKMKXT STK LE rOF-DE-IMED. .V lualiiii>' (']! the ankle of the siippoi tiiii;' foot. ]\Mise tlie flee foot across the ankle of the other, keei)iiiii' the knee of tlie raised leg turned to the side. Extend the fiee foot 7 times to the front, returning to the ankie of suppoiting foot and onee to the side, closing in oth Hear Kaised Position — '2 measures. Extend free foot to side 2nd Raised Position, 1st Elevation, closing in oth Raised P(;sition, tst Elevation. Repeat the Extension and close in 5tli Rear Raised Position, 1st Elevation. Repeat this in all 8 times- — 2 measures. Extend to 4tli Rear Position, 1st Elevation, 7 times and once to the side and close in front 5th Raised Position, 1st Elevation — 2 measures. Repeat the Petit Battemcuts sur le cou-dc-pii'd to the side, again closing front and rear of other foot — 2 measures. About face and repeat with other foot. . WJiat l)enefit is derived fro)ii tJie piactiee of the Petit Battoneiits sur le coii-de-piedf In addition to all the bcnehts derived from the Petit Battemeuts, the practice of the Petit Battetiniits sur le cou-de-pied would bring about a greater degree of accuracy and strength to the aidvle, arch and knee. PETIT BATTEMEXT CROISE SER LE CX)U-DE- PIED. A crossing in fr(. nl and in hack !»f the aiikh' of tiie sui)])oiting foot ; known as Cross Passes. Tiro Cross Passes. Exercise J. Bring the i'lee fool in fioiit of the aiikh' of the other (1); l,i-ing it in ha( k of the ankle (X), then exteiid it to 2nd l»aised Position, 2iid Ele- vatic)!! (2). ■ ' 69 Repeat in all — 4: measures. About face and repeat with other foot. Three Cross Passes. Exercise 2. ^lake three crosses to the one count or quarter note; triplets. Cross front (1) cross back (X), cross front (XX), extend to side as before {"!) . Repeat in all, 4 measures. A.bout face and repeat with other foot. Four Cross Passes. Exercise 3. Four crosses to one-quarter note equivalent to six- teenth notes. Cross front (I), cross back (X), cross front (XX), cross back (XXX), extend to side (2). Repeat in all, 4 measures. About face and repeat with other foot. MEMBERS OF THE FAUST BALLET. ■■ ■ 1 1 ^^a r.» ^^^H 1 ^^HP^HP^ ^wm **'!^ ^ 1^5 JP^. ^^^"itS ii^ j^Ji H ^^^^^F'^-'-iM IT^T ^ 3^9b u'^^R Bpif^E \p \ Lm Wit fipm ^1 ^^fcw ^^ ' \ pP ^^l ^i P' iw s KkJwiHil' ^ ii'^^ '^-1 r ■* rV J ■^ ,,Ai ^^^1 raH Hk^B^ ^. ^ S ^^^^f ^^ ^^^E^ "^l;. n It ' J \ |3| B HE^^^^^K *^''^mA ^K^L't . -• '*> 1 ^^^1 ^^^^^1 PHH £ » % jg ^^^^^ 1 B^^ _g j^J 1 1- J Ij ^K~ "^-k ^^ d in ?~* Albert W. Newman, Ballet Master. 70 ELEVE OR ELEVER ( ail-nii/.) Risiiii>,' on the toes of one or l)otli feet ; dcsii^-ned to develop strength of the toes, arch, ankle and the calf of the leg. The essential exercise for everyone who aspires to become a toe dancer. In rising on the toes keep the legs rigid and straight, sending the body ni) with the strength of the toes and ankles. Do }iot jiniij) o)t the toes and (Jo not moke the movement jertcij. Albert W. Newman. Wild I i.s the (Jiff ric nee hcficccii Lcrr cf I'Jlrr('F Lcvr means rais('(l; p( I'taiiiiiig to a raised foot (one that is off the floor), and I-'Jcrr means to rise on the points or demi points. Each of the following exercises shonld be per- formed 4 times slowly, coiiiiliiig (1) (2) to rise and (3) (4) to (lidp or Abaissr, then S times (piickly, count- ing (1) to I'ise and (2) to dro|t, etc. 71 In all these exercises the free arm should be brought to 4th Position on the rise and lowered to 3rd Ex. Pos. (shoulder hig-h on the side) on tlie Ahalsse. Side Practice. Music 4/4. Exercises: 1. Eleve in Double 1st Position. 2. Eleve in Double 2nd Position. 3. Eleve in Double 3rd Position. 4. Eleve in Double 4th Position. 5. Eleve in Double 5th Position. Note — On account of the great amount of strength necessary to perform these exercises, it is advised to take only two or three at a time, then gradually in- crease the numl)er as the student becomes stronger. Exercises: 6. Eleve on the one foot with the other raised front (4th Raised Position, 2nd Elevatio]i), 4 times slowl}^, then 8 times quickly. About face, etc. 7. Eleve on the one foot with the other foot raised to the side {2ud Raised Position, 2nd Elevation). 8. Eleve on one foot with other raised in back {4th Rear Raised Position, 2nd Elevation). 9. Eleve on supporting foot, same time swing or whip the free foot forward {4th Raised Position, 3rd Elevation), then Ahaisse on supporting foot and whip the free foot l)ack, {4th Rear Raised Position, Hrd Ele- vation), passing through the 1st Position. BODY BENDING The lieuding of the ])ody is extremely im]iortant to graceful movement and is one of the most essential (pialities of the dance. The practice of Bodif Bending will make the U))])(m- ])art of the l)ody ])liable, su])ple, elastic and adjustable to the various movements of the lower exti-emities. T regret to sav that even among 72 dancers oi' I'cjJiitt' the ui)i)er ])ai1 of the body does not always move in perfect harmony with the feet. Th.is causes the (hmcer to a])i)('ar unsteady, uncertain and iinbaUmeed. I>od>' l;ends should al\\;i\s l)e inehided in the (hiily routine of pi'aetiie, and nuist he done from the waist line entirely. Hold the bar with ht)th hands, and i'aee the wall. Each exercise should be performed 8 times, very slowly. Exercises: 1. Bend l)ackward, count (5, erect (7) (8). 2. Kend backward, count 4, look to the I'i^iit (5), look left (G), erect (7) (8). 3. Bend forward (1) (12), erect {?>) (4). 4. Bend forward (1) (2), liend ))ackward (3) (4). 5. Bend toward the ri^ht side (1) (2), erect (3) (4). Kci)eat to left side 1 Measure. 6. i>end to riuht si(U" (1) (2), l;end to left si.le (3) (4). Botai 1/ Motion. Bend foi-wai d and iiio\-e body to ri,i;iit side ( 1 ) (2), move backward or to real' (.'1) (4), nioNi- to left side ( 1 ) (2), move forward C',) (4). Keej) tin' bo(l\' bent thi'ouuhout the above exercise. Bod// Tirisi, The hips are held jx'rfectly stiai.i^ht and ))arallel with the bar, while the upjx'r j)ait of the ))ody is turned oi- twisted at 1 lie waist. Exercise : Twist l)ody to ri.uiit, brin.nin.i;' the Idt shouldei' directly in front (1) (2) (:'.). Taee and tui-n fiont (4). Repeat to left I Measui'e. Twist body to ri-iil (1) (2), to the left (3) (4). 73 Head iUove)Hri/f. Adjusting tlie head in dancing is all important. A profile or semi-profile position is preferable to one facing front. Exercises: Repeat each 8 times. L Lower head (look at tioor), raise head (look at ceiling). 2. Turn head to right and to left (looking over shoulder). 3. Bend head down to right and to left (as if lying on a ])illow). Rotary Motion. Bend (h)ok to flooi-) — (1), look to right {'!), look to ceiling (3), to left wall (4). Repeat, etc. Toja Brodanova, Russian Imperial Ballet. ARMS The action of llic arms differs from the inoveiiieut of the lei»'s, in that the hitter act as a support to the body while the arms are given greater t*reeth)m. The play of the arms is a part that requires the greatest delicacy, and is the most difficult to acquire. All movements begin at the shoulder and flow down to the hand. Inversely they begin with the hand and terminate at the shoulder. The difference between the arm movements of the Greek Dance and those of the French Ballet is very pronounced. In the latter the movements are limited to certain conventional forms which have little in- tellectual expression, but the (J reeks were more dra- matic, and gave greater mimetic value to their move- ments, thus making them more varied and less arti- ficial. Tlie Autlior has elaborated extensively upon the Zorn System of Aim Movements ])artly tiirougli a i)er- sonal request; but mainly through the desire to give to the student a system that would be practical with every form of Dancing, ])ai ticularly Interpi'etative work. The ungraceful awkward arm action exhibited by so many public performers is attributed to the various incomplete systems of our schools; however, it is very gratifying to note that since the revival of the Greek Dance, with its profusion of graceful arm movements, of which ]\Iaud Allen is such a wonderful exponent, the l^remiere Danseuse is making a closer stndy of this important branch of the Art. This is very apparent witii the K'nssians, who are now using arm movements lliat wcic ih ver known to the French Ballet. Moi'dkin sa> s, 'A'on can readily tell a medioci-c dancer by the arm inoN'cincnts." W hdl is iiKdi/l 1)1/ /'(I if (Ic /I Ids? Arm moNcmcnts or the proper cari'iage of the arms. YO Give three reasons ivhy we use the arms hi classic dancing. We use the arms, first — to give perfect balance, second — to make the dance more graceful, tJiird — to express an emotion. How many arm positions are there, accordintj to the Newman Systemf There are 5 Naturid Positions. 5 Extended or Amplified. 5 Demi-Extended. What is the difference between the Xafural and Extended Positio)isf The Natural Positions are rounded positions; posi- tions with the arms curved. The Extended Positions are those ^\dth the arms stretched or amplified, and are generally held to the side. Note — The word Natural, in connection with arm positions, is omitted in writing these positions. It is generally understood that the arms are curved or in Natural Position unless they are otherwise to be placed, then the words Extended or Demi-Extended are used. lT7m^ is the difference between Extended and Doni Extended Positions? The Demi-Extended positions are just slightly curved, while the Extended ones are straight. Are there other than the five Natural, five Ex- tended and fire Demi-Extended Positionsf Wltat are they called? Yes, tile M()difieati(n)s and l^ariafioiis. l]li })ai'ts — Upper Arm, EUxnv, Forearm, Wrist and Hand. Reference is Jnre inade to pnr/es S3, S4, 85, for a review of raliiohJe iufornnitioii refpirdi Uf/ the (irnis. PORT DF P,RAS. In foiniulatiiig the various positions numerically tin re exists a difference of opinion among the various systems in regard to certain ])ositions. Tlie Xewman System of Aim Positions is based upon a coi'i'ect mathematical roundation and the positions are num- bered according to the height in which ihc arms ai'e I'aised. This idea lirst found taxoi' with Ihe great Master, Pi-ofessor Friedrick Albeit Zorn, of the Ini perial K'ussian l^ichelieu-(}yninasium, ( )dessa, from whom the Author received jx-rsonal instruction in 1894. 77 A perpendicular hanging position is the 1st Posi- tion, and a perpendicuhir raised position is the 5th Position. The 3rd Position is just midway between the 1st and 5th Positions; the 2nd Position between tlie 1st and 3rd, and the Itli between the 3rd and 5th Posi- tions. All of the following five (Natural) positions are curved. 1st Position {Bras Bas) : Arms held down in front of liody and curved in, palms turned toward each other. 2nd Position {Demi Bras) : Arms held waist-high. Srd Position: Arms held shoulder high and in front. 4th Position : Arms held high or slightly above and to the side of the head a U formation. 5th Position- {Double Bras) : Arms held above the head, fingers almost touching; an position. How are the Extended Positions located? De- scribe them. Extended Positions (Abbreviation — Ex. Pos.) are those extended to the side and are located according to the degree of elevation; the same as the Natural Positions, except they are held perfectly straight. 1st Ex. Pos.: Arms held down and to the side close to body. 2nd Ex. Pos.: Arms held to the side waist high. 3rd Ex. Pos.: Arms held to the side shoulder high. Palms held downwai'd (not showing). 4th Ex. Pos.: In V formation (appeal). 5tli Ex. Pos.: Aims held high above tiic head, pa^ms together. This is a diving ])osi' and sehhun usimI in dancing. Note — The 4th Ex. i\)s. is a very important one, as it is the turning point of the hand. Jn raising tlie aim outside, to the 5th Position, the palms arc held downward until they reach the 4th Ex. Position, then thev are turned inward or raliu'r townid each other. 78 In raising the arms inside to 4tli Position, the pahns are hekl toward each other, and when retuiniiii;- (h)wn, outside, to 1st Position, the palms are turned outward and downward, as they i)ass the 4th Ex. Position. NcuHc (111(1 (/escribe Uie )no(Hfi<-(l (inn jxtsltlous^ or Modip'cdtioiis. Attitude — One hand in 4tli Position, other in ord Extended Position. Arahescjue — One hand in 4tli Demi-Ex. Pos., and the other in 2nd Demi-Ex. Pos., both palms turned downward. Lateral — Both hands directed to the side, shoulder high; the one arm crossing the l)ody shoulder high, and both palms downward. Lateral II if/Ji — l*oth hands directed to the side, and held high. Lateral Lok — Both hands directed to the side and held low\ Grec(jiie Pose — One Arm in 4th Pos., and the other in 2nd Pos., arms in S formation, as if pouring water into the goblet. Spanish Pose — One arm in 4tli Pos., the other in 2nd Ex. Pos. Are otiier names f/iren fo the Lateral and tlie .')th Posit'iousf Yes — the Lateral Position is often called Croise, as one arm is placed across the body. The 5tli Posi- tion is often called Couroune (ci'own) or Doable Bras. Demi Couroune means that one hand only is placed in o\h Pos. Hotv do the arms more in (/dnf/ into the rarioas posit ions f The arms move up in front of the l)ody, ]ndms in- ward and down outside, thus describing a complete circle. 79 In raising" the arms ontward, the palms are turned down. Note : There is one exception to this rule : The NewTnan System claims that as the 4th and 5th Posi- tions are so closely related, it would be well to make a distinction in the manner of getting into or reaching them. Therefore, in the 5tli Position, the hands move up outside and down inside, instead of the reverse, as in the 4th Position. In taking all the Extended Positions, the movements are practically the same; moving from oneself outward, or as the French Master says "From yourself out." What is meant by inside and outside, in reference to movinfi the arms? Inside means to the front and within the outer line of the body. Outside means to the side or outside of the body. Give a few CJiaracter Poses, or variations, accord- inrj to the Newman System. Akimbo — Outside of hands i)laced ui)oii the hips. Egyptian Pose — Hands in l)ack of head. Scotch Post — One hand in 4th Pos., the other akimbo. Ilunf/arian Pose — One hand in back of neck, the other akinilx). Eii(/Iis]i Pose — Amis folded; shoulder high. French Pose — Index fingev uiuU v chin, other hand 2nd Ex. Pos. (co(|uctte courtesy). Cotoniat Pose — Arms in L'lid I^os., extended, as in salutation or reverence. American Pose.- — Sighting; one hand o\er and above eyes, olhei- hand "Jiid \\\. Pos. 80 Hoforo l)e,uiHirni,u' \\\v ])r;icti('(' of Arm Morcincufs, the shoulder niiisl he iiiadc plialilc, as tlir siiouhh-r is the seat ol" physical power, froin whieii ueiierates all arm action. SHOULDER MOVEMENTS. ('('litre Practice. Pii/iils ttih'c positions airai/ from tile Bar; aims liaiif/iiKi at the side. Exercises: 1. Move 1 ii^'ht shoulder ii]) and down 4 times; left shoulder 4- times; both u]) and down S limes. 2. One slunilder ii}) and the other down. 3. ]\Iove right shouldei' to the froid and then back; same with left, 8 times in all, then both shoulders 8 times. Shoulder Circles. Move right shoulder iu circle 8 times. Move left shoulder in circle S times. Alove both sliouldos in circle S times. WKMST EXEKMMSES. The wiist should be made pliable as all graceful arm movements depend upon a flexible wiist. Thi'ouuliont all the Wrist Exercises the arms are Jield in .'h'd l^x. IN is. The forearm must I'emaiu sta- tionai'}'; pahns held (h)\vn\vard. Exercises: 1. Mo\(' hands up and down, l;ending at the wrist only. 2. ^[ove hands iu semi-cii'cle (do not show palms). .'). Mo\'e hands in cii'ch'. 4. Mo\"e hands in a (lunre S. Xote- Do each cNei'cise 4 tinu's slowly, then 8 times rai)id!y. 81 et;bow develop:\iexts. Exercises: Forward Circles. Hold arms shoulder high well r(niiule(l, in i'ront of body and move them in circles toward each other. Loiv Circles. Hold arms low, moving' them in circles toward each other, as in grindiiig an organ. /////// Circles. Arms in 3rd Ex. Pos. moving* them up in cir- cles toward each other. This is called Mermaid Move- ment (spreading the hair on the shoulders). Measuritifj Ribbon . Start with one hand in 4th Ex. Pos., the other in 2nd Ex. Pos. Bring tix)s of fingers toward each other, then draw them apart gracefully into the posi- tions mentioned. Reverse the position of the hands. Marie Irene Kolb, "Pas de Fleur." 82 INTERPRETATIVE ARM MOVEMENTS The t'ollowiiiii' exeroisi's aic patterned after the arm moveiiieiits emi)h)ye(l by Huth St. Denis and are all done with the arms raised at the side, shoulder high. From the Bntterlly movement to tlie Snake move- ment, the arms must be i)lial)le, supple, and graeeful, thereby ])rodueing a soft, undulating effect. All the exercises should be done slowl_\- at lirst, then in double-quick time. The palms should be turned downward and not seen by the spectator. The Duihrjlii. Arms to re])res( nt the wings of the Butterfly. Raise arms to the side, above the head, then bring them down. The movement should be made extrenu'Iy light with a flexed wrist, keei)ing the X3alms turned downward and outward. Tlir Fliiticr. The Buttei lly in the act of alighting. Arms held to side shoulder high (."hd Kx. Pos.) throughout. Palms held downward. Imitate the flutter l)y an ir- regular pressing movement of the entire aim. The Sivmi. To represent two Swans eating. Ixeach out the. arms shoulder high, draw the hand back, l)eiiding it at the wrist, toward tiie shoulder. The hand should take the foini of a Swan's head. The Wheels. Arms in Ih'd Kx. Pos. (Should( r iliuh). Imagine a wheel at the wrist and a wheel at the el- bow, the forearm ading as a ])iston lod. Tiu' wheels are turned toward the body, kee])ing tin palnis turned down. 77/ r ]]'(irrs. A decided dashing movenn nt of the aims, shoulder high, like waves dashing ;»gaiiis1 the rocks, nfter which the hands jtiact ically i( bound 1t)\\ai'(l the shonldci'. This movement should lie done with ureat force. 83 Tlx' snake. Arms held shoulder hi,i>h and by a bending at the wrist and elbow, with a slight rise and fall of the shoulder, a snake-like movement is produced. (This should be very light.) All the exercises should be performed before the mirror in order to bring forth an exact imitation. PORT I)E BRAS EXERCISES. Abbreviations. — R. A., right arm; L. A., left arm. Each exercise should be performed 4 times to 4 measures, then 8 times to 4 measures. Exercises: 1. Arm from 1st Pos. to 8rd Pos., (up inside) (1) (2). Turn hands down and outward (3), and lower them (outside) to 1st Pos., (4). Note: The turning of the hands in coming to 1st Pos. follows the lines of the American Shield, (fes- tooning). When this exercise is repeated quickly the hands remain stationary as a quick turning of the hands would not be consistent here. 2. From 1st Pos., to 3rd Ex. Pos. (1) (2). Turn hands, palms outward (3), then bring them down to 1st Pos. (4). 3. From 1st Pos. to 4th Pos. (1) (2). Turn hands (palms) outward (3), down outside to 1st Pos. (4). 4. From 1st Pos. to -Ith Pos. (up outside), (1) (2), dowu insi(h- to 1st Pos. (3) (4). From 1st Pos. to Attitude (R. A. in 4th Pos., L. A. ill 3rd Ex. Pos.), (1) (2) down (outsi(k') to 1st Pos. (.')) (4). He\-('rse the iiiovenu'iit. Both liaiids must r('a( li tlic i)ositi(»ii at tlu same time. Note: 111 positions wlicic one hand has a greater distance to uo than the other, it must move faster, so that l)oth haiuls reach the ])ositioii at the same time. 84 Ficm 1st Pos, move u\) (nitside to Ayuhcsque (R. A. ill 4tli i>cnii Kx. Pos., L. A. in 2ii(l Demi P]x. Pes.), (1) ('J), iii()\-c down outside lo 1st I'os., (:>) (4). FoiirfJi (iii'l Foiii III. Vvvy ottt'ii both hands inovc into tlu' s.une position one I'ollowiiii;' the other, as in this niovenicnt. This we term Foiitih and Foitrlli. K. A. moves \\\) inside to 4tli Pos., (1) ('i^), and as it comes down to 1st Pos., (.")) (4), the L. A. moves np to 4th Pos., etc. Rotary Motion. li. A. up inside to 4th Pos., (1) (2), and as it re- turns to 1st Pos., the L. A. is raised outside to 5th Pes., (.')) (4), etc. This movement is used in S])anish Dances with the corresponding Body Alovements, LotciaJ. Arms directed to the right side (shoulder high), (one aim crosses in front of the body) (1 ) (2). Return to the 1st Pos., (o) (4). Reverse the movement. Lateral JHf/h. Anns to the right side held higji (1) (2). Return to tlic 1st Pos., (:\) (4). Pcpcat to the left side, etc. Ldlcral Low. Arms to the right side held down low (1) (2). i^etuin to the 1st Pos., {'A) (4). Repeat to the left side. Cir('cegin all the exercises fi-om tJie oth l^)sition, hold- ing tile bar with one hand, the other placed in Ih'd Ex. Pes. Perform each exercise 8 times with one foot, then about face and 8 times with the other foot, counting (X) to raise the leg, (1) to lower il, resting' (H). Re- peat (X) CD (4). SIDE i'h'ACTH'E (at the hai-), GRAXDS BATTEMEXTS DK\ AXT (in IVont). Erom 5th Pos. to 4th Raised Pos., 4th Elevation, I'ctui'Ji to otli P(' foot, while the active I'oot is raised to the heii>ht of the knee and dose to tlie sni)])oi ting leg. It ean also l)e dehiied as a ilcrcJoppv whilst rising on the toe or (h'ini-i;ointe of the sni)])orting leg. lieleve can be performed ilcnn/f (frinit), tJccntr (side) and derrierc (rear). The following exercises lia\'e l)een especially ar- ranged by combining the I'lir, Dcvdoppc and Eleue. p]acli exercise is performed 4 times slowly, each to four counts, or one measure, then S times (juickly to 2 counts, first with one foot, then turn a])out faee and re- peat with the other foot. The free arm should be raised to 4th Pos. on the Elm'c, and lowered 1st Pos. on the /V/V, In the Hcleve drraiit the free foot is l)i ought in front of the knee of the sui)porting leg. In the Eclerc dc rofr the free foot is brought in front of the knee; on the next one it is lirought in back. In the RcU've dfrrihc the free foot is l)r(;ught in back of the other knee. REPEVE DEVAXT. Plir on sole of supprd Elevation, retaining the position on the toes of the £U])poiling foot {'.]). Hold position on (4). K'epeat, etc. in':Li<:\'p dp cut p. Repent ilih tr dc coir, bringing the fi'ee foot i" f I onl anil in hacl\' of the knee. 89 RELEVE DERRIERE. Repeat, pointing free foot to 4tli Rear Position. A very interesting exercise is a Releve dcvaiit and Releve derriere. It may be termed Releve passe, as the free foot passes the supporting leg. Point free foot to 4th Pos. witli Plie (1), Eleve and draw the free foot to knee (2), cioss pass to rear of supporting knee (X), extend free foot to ith Rear Pos, with Plie. (3), Eleve and draw free foot to the rear ot other knee. (4), Cross Pass to front of supporting knee (X). Repeat, etc. DEVELOPPE (Daij-rel-lu-pirj) Developpe means to unfold or straighten out a bent leg. It can also be referred to as a muscle devel- oping movement, particularly for the thigh muscles. It is a very valuable exercise for the correct placement of the dancer, and enables him to hold and sustain the leg at any height. It is the opening movement of many a dance, and can be most effectively performed by the Premiere Danseuse in Adage de Pas de deux while she is being supported by her partner (the danseur). Developpe is a temps and can be done forward, to the side and to the I'ear. General Directions. — Begin from the 5th Position, raising the free foot to the knee of the supporting leg, the raised knee held directly to the side; then extend the foot to ord Ek'xation, but before doing s(^ raise the knee a little higher and the ])liysicnl woi'th of this sug- gestion will soon l)e noticed. The sui)])orting leg nuist remain sti'aight. Arm moves to .'lid Ex. I\)s. as the leg is extended, returning to 1st Pos. as free foot is l)rought to 5tli Pos. A Dereloppr suggests the idea of stei)ping over a square box, while the Ballonne would be over a large ball. 90 BEVKLOin^r: DKVAXT (in front). Four slow ones, each to 4 counts or one measure, then 8 quick ones, taking;- two to each measure, (A quick devdoppe is commonly called a kick.) liaise free foot sharply to knoe of sui)i)orting' leg- (1), extend free foot to 4th Raised Position, 'M'd Klevation (2), hold Position (.')), return to .Ith Position (4). DEVELOPPE i)E COTK (to side). Same as previous exercise with the foot extended to 2nd Raised IN)sition, returning alternately to 5tli Position (front) and r)th Rear Position. Note — The leg which is extended nnist be held per- fectly straight and at the height of the waistline, or higher if possible. There are many students of the Newman Normal School who can take a devdoppe to the 4th Elevation (shoulder high) with ease. DEVET.OPPE DERRIERE (behind). To 4th Rear Raised Position, 3rd Elevation, re- turning to 5tli Rear Position. This is seldom used in Ijractical dancing, but valuable as an exercise. The following (piestions may be used for examina- tions, though the direct answers have been eliminated here, not only to coiKhMise the form, but to compel more careful stnd\' of the Catechism. (1) \\\u\\ does the term I )(rd it }>})<'■ \\\v<\\\l (2) Is one beiielited physicallx' l)y its ))ractice? (M) What pai't of the hody is most lienefited? (4) Would _\'on considei" its piactice valuable to a dance.' (live xonr I'easons. (')) (live detailed desciipt ion of a Dcrclopix'. (G) Give the directions in which a Devdoppe is made. 91 (7) AVliat is the difference between a Developpc and a Bdlloinir/ (8) AVliat does a Dt'celoppc suggest? Is it a Temps or a Pasf ({)) What is a (j[uick Developpc commonly called? (10) Give a few mistakes that are liable to occur in performing a Dereloppe. CHARACTER OF MOVEMENT Cliaracter of movement has the same relation to the dance as color to painting or expression in music. The various characters of movement are produced by the peculiar manner in which certain movements are performed. This is partially prompted by inspiration which is carried out in the nnisic and transmitted to the dancer who interprets the same through the movement of the body. In nmsic and dancing we might say that the character of movement is brought about through a physical effort. The musician can produce tones that are well connected, sustained "legaio," he can make them quick and sharp "staccato," or " })iarcafo," which is between the two. Each change reciuires moi'e or less a physical effort. In the dance the movements can be smooth or gliding, " glisser," "terre a terre," then light and springy as in the Jetes, Sautes, and all of the "BaUoii Fa in It _i/." With the artist the process is more materialistic in a way as the colors are avail- able, the mixing and blending of which is a matter of experience, tem])erament, and talent. Varied eharaeters of inorenienf in the dance biiiig forili a charming effect and per])etual interest, and should always conform to the nmsic. The ])rincii)al characters of nio\'ement are ////V//';///, sfeppiin/, niin/iiK/. hoppijir/, leaf)/i/fi and pifeliii/f/. Whether the dancer \valks, runs, glides, leaps, or whirls, the motions are spoken of as steps. The length of the step varies and is determined as follows : 92 All ciifirc step is tlu' distaiicc which separates the 4tli Hear Position from the 4th I'ositioii (front). A JJciiii Stci) is just oue-hair as hnii;-, a hall" step, from a closed to an open position or tlie reverse. A Quaifci Stcj) is half of a Demi Sfc/). A TJirce-QiKirfcr SIrp is fioni //// luar Position to Demi 4th Position (front). Tiie len.^th of the step is regulated by the rhythm and character of the music. An Entire or WJioh' Step may b(^ c()m|)ared to a whole note, a Demi Step to a half note and a QiKirtcr Step to a quarter note. There are also steps that are ecpiivalent to eighth, ,sixteenth and thirty-secondth notes. These are employed in toe dancing. (Jiiirk steps are in raridl)! i/ iniule short, diol sloir steps are made loinj. CENTER PRACTICE WALKlXd VCv might say that Walking can be (li\-ided into tliree classes, the very Stoir, the Medium and the Fast \VatJ{. Many dancing stei)s ai'e based on the niodili- cation of the walk and the run. Sometimes the dancer follows a certain rhythm which makes the walk or the run in itself a dance. It is understood that the walk- ing step used in tin' dance is ([uite dilTeiciit from the oi'diiiai.x' walk, inasnmch as it is nnide moie elaborate. One should leain to iid'li pidi ( fiilljj txjdre at- tcmplinp to dance. PAS Aldd-:. J^as Alt'' (];ali zah \;\y ) is the ordinai-_\- oi' leisure walk', taking one step to two counts. 93 PAS MARCTIE. Pas Marclu'' (pah-mar-shay) is a walk in military precision; one step to each count. PAS GRAVE. Pas Grave (pah i>i'av) is a slow, dignifiecl, majestic v.'alk; four counts to each step, used in stately dances such as the Minuet, Gavotte, etc. Begin with a deep Plic (1 ), Glide R. F. slowly for- ward, toe leading (2) (3). Transfer weight (Drgagc) onto R. F. with L. F. pointed in back (4). Repeat with other foot. The Pas Grave which was used in the Couraiite was performed thus : Begin with the 4tli Position with weight on L. F,, with R. ¥. pointed behind. Plic, raising R, F. slightly (1). Bring R. F. toward the left heel with instep of R. F. in 5th Rear Position (2). Raise R. F. slightly again in 2nd Position, describing a small circle Pond de Jamhe en de rehors outward l3), then glide R. F. forward to 4th Position (4). Ihis makes quite an elaborate movement. PAS SUR T.FS POIXTES. Pas sur les pointes are walking steps on the ex- treme points, or toe steps. Toe steps should be done with legs straight, close together, with very short, neat, stei)s. The mode of progression coming from the hips and not from the legs. The book, "Newmax Art of Toe Dancixg," will be f(mnd indispensable to the Toe Dance r and to the student of Toe Dancing. With all the ])r( ceding movements, with the ex- ception of the WaJknifi Kxeicises, the body has prac- tically remained motionhss. We have simi)ly endeav- ored to classify the i)ositi()ns in all directions, for l)oth the feet and the hands ; and have started to strengthen the muscles. Now we will liegin to move, to travel, to advance along ])rogressiv(' lines in oi-(U'i' to follow ex- actly the Newman conce])tion of llic I'irtli of the Dance. 94 DEGAGE OR DEGAGER {l)(ii/-f/(ili-:lni_i/) The term Dvyagv means transfer the weight from one foot to the oth( i*. This may ocenr in all positions; but most frequent 1\- in the ojien ones. Dnring the following movemcnls the arms should always move in harmony with the steps, antl when not otherwise mentioned, should hang gracefully, and lightly, down in front of the body. DEGAGE TO 2xD POSITION OR OPEN SIDE. BALANCE. Glide R. F. to 2nd Position and DcfjarjQ (1) (2), arms Lateral R., then Dcf/ar/r on L. F. (3) (4) arms Lateral L. Repeat in all 4 measures. Two of these Degagcs will produce a Balance Movemeid which is termed an Opiii Side Balance, as the feet are apart. DEGAGE FERME OH CLOSED SIDE BALAN(^E. Decjage R. E. to 2n(l Position (1); close L. E. to 3rd Rear Position (heel raised) (2), J^^everse (3) (4). Repeat in all 4 measures. This is also ternu'd Closed Side Indaucc as the feet are brought together. Exercise. Repeat the lirst Ejccrc'isc forwaid and backward. This is called Open Fonrard and lldcLirard l>(dance. Arms sway forward and backwai'd, llironiili llic 2iid Pjxtended Position. Repeat the 2ii(l Exci'cisi- I'oi-ward and backward. This is calh'(l Closed Foncard and Udekicard I'xihnice. In going forward close in back, .'h'd IJcai' Position. In going backward, close in front, ."h'd Position. 95 GLISSE {Gle-say) Glisse is a temps and is made by .ulidiiig the one foot in any direction. (Hi.sser is the verb for Glisse. PAS GLISSE. Pas Glisse is a gliding stop. GHde the one foot to any open position and draw the other to it. A Pas Glisse is the same as a GLISSADE OR FOLLOW STEP. Glide the foot to an open position, Degage and draw other foot to it and again Drgage. Every Glissade takes two counts, two movements, and two changes of weight. In drawing the foot, bring it to the supporting- foot in 5th Position. Arms from 3rd Extended Pos. to 1st Pos. Exercises: One Glissade to the right (R. F. to 2nd Position) (1). Draw L. F. to 5th Position (2). Repeat (3) (4). Repeat (1) (2). Rest (3) (4). Reverse all 2 Pleasures. Repeat in all 8 measures. One Glissade to the right (2nd Pos.) (1) (2). De- gage R.F. in 2nd Pos. (3). Close L. F. in 3rd Point Pos. (heel raised) (4). Reverse 1 measure. Repe.'it all 2 measures. Arms in 3rd Extended Pos., on tlie Glissade and Lst Position on Ihe Degage, Close. Repeat ihe two preceding exercises fnnrard and haekward icifh armisi in Third Exteuded Pos. In the Glissade forward close in 5th Bear Pos., and in the Giissadc hack, close in ntJi Pos. (front). STEP POINT. R. V. to 2nd pos. (1). L. F. i)oiii1('(l in 4l]i Pos. (2). Arms in Grecciue Pose (right arm raised). Re- verse this (3) (4). Repeat in all 4 measures. 96 GLISSADE AND STEP POINT (llissdfl,' to riiiht (1) {•2). .S7r/; /'on// (I',) (4). Re- verse 1 measure. Kepcat all 4 measures. Bcpcai ihc firo picvcd'nui crcrciscs (onrard (uid hacknard. hi tlic Step Poii/f tiir point is (iliraij^ hiade ill (rout. STEP RAISE. A Step Raise with a Hdiite (liop) is often called a Siviiifi Step, as one foot swings across the other. It is also called a Temps Leve or Leve Temps. Exercise: R. E. to 2nd Pos. (1). L. E. swings to 4th Demi Raised Pos. (knee bent) Saiitr (hop) on sui)porting foot (2). ]\everse (3) (4). Repeat in all 4 measures. Arms move from side to side into (lii'C(jiie Pose. aiissadc (1) {'2), Step Paisr {'A) (4) Reverse, etc. lie peat file tiro prceediiif/ e.rerei.'-'cs for ward (uid haekirard, foot always raised in front. POTXT (^FTAXOES. Point CliaiK/cs are changes of the relative ])osition of the feet or points. Px-gin with a s])riiig on tlie right foot, same time ])oiiit L. E. in 4th Position (1). Spring on L. E. and point H. E. in 4tli Position (2), practically on the same spot vacated by the L. E. Exercises. Plight slow Point ( 'Ikiii/ics, (1) (2) to each cliaiige, 4 measures. Sixtec-ii (piick I^oiiit ('hdnf/cs, (1) to each change, 4 measui'cs. 'i\vo and Thi'ic Point ('litiiificy. Two Slow ('haiiges (1) (2) for each, and three (]uick ones conntiiiL; (1) (2) (3). Rest (4). Reverse 2 measures. Rei)e;i1 in all H measures. 97 Combinations should be arranged with all the above steps. Note.— The book entitled "Newman Dance Phrases" contains hundreds of beautiful Dance Com- binations. STRATHSPEY OR POINT RAISE StratJispei/~A movement found in the Scotch Dances named after the town of Strathspey in Scotlana. It is a very effective movement. In these exercises we only have taken the Stnitlispeij to the side, then raised in front or in back of the knee of the supporting leg. But in the Scotch Dances the foot is often pointed to the front. This requires that the shoulder be also directed to the front. The dancer looking over the shoulder to the active foot. In taking the Strathspey, the correct Scotch Pose should be used, one arm in 4th Pos., the other Akimbo. Look over the shoulder to the free foot. TWO STKATIISPEYS FRONT. Exercises: 1. Hop on L. F. (X). Point R. F. to 2\\d Pos. (1) Hop again on L. F. (X). Draw R. F. up and in front of the knee of the left leg (2). Repeat (X) (3) (X) (4). Reverse 1 Measure. Repeat in all 4 measures. TWO STRATHSPEYS BACK. 2. Two StrdfJispci/s, drawing free foot in back of the knee of supporting leg each time. Repeat 1st and 2iid exercise with one Strafhspci/ only. 3. One StratJi.spei/ Front (X) (1) (X) (2). 4. One Sti-athspeii Bad- (N) (3) (X) (4). Reverse same one measure. Repeat all. 98 PAS ELEVE Pas Elevv — Elevated sk']). Can lie performed in any diree1i(in to the side, forward or l)aek\vard. Glide a. F. to 2iid Pos. (1). L. F. close in 3rd Kear Pos. (!2). Elerr (rise) on both toes (3). Ahaissr (lower the heels) (4). This is called Pas Elerc to the side. Reverse 1 Measure. Repeat all 4 Measures. Repeat the exercise forward and backward. Note. — Pas Elevc is quite an important step of the balance. Two Pas Eleves constitute a Balance. BALANCE {hah-lalni-saij) x\ swaying motion to and fro at place, wdiich can be done en avaiif (forward), en arricre (backward), a cote (to side) or cii fournant (turning). Balance con- sists of two de(/ar/es — a transferring of Aveight from one foot to the other. There are four classes of Bal- ance, Open and Closed, Balance a terre and Open and Closed Baiscd Balance. All Palaners are preceded by a step in the direction in which the movement is to be performed. In the Open and Closed Raised Fonvard and BacliWard Balance, the rear foot is raised in bal- ancing forward, and the front foot in moving backward. PAS BALLONE (l)ah bah-lon-nay) Pas B'alhnnir — a ball ste]). The extended move- ment of the leg describing an arc in the aii- in wliieli the foot seems to pass over a ball, in an\ direction. The extended movement ol" the leg slionid be em])hasized and the "di'awinu- in" movement niei'eh' sni»'i>'ested. 99 Stand R. F. in 5tli Pos., hop on L. F. (X). Carry R. F. in a circular line to 2nd Pos. and Dcgage (1), aiisse (glide) L. F. to R. F. (2). Reverse (X) (3) (4). Repeat in all 4 measures. If the circular movement is made without a De- (jcuji' it is a Temps Balloinie. SAUTE {so-tai/} Saute — a hop. A slight elevation from one foot, alighting on the same foot on the same spot. It dif- fers materially from the Spring, as in the Spring the elevation is much greater and the foot need not neces- sarily return to the same spot. You can also spring from one foot to the other. Of what does a Saute consist? Saute consists of a short, quick bend and a slight rise from the floor, dropping first on the ball, then on the sole of the same foot and on the same place. Of u-lidf importance is the Saute? It gives to the dance a remarkable degree of light- ness. What is the difference hetiveen a Hop, Spring, Pitch, Bou)id, Jump and Leap? The Hop, Spring, Pitch, Bound, Jump and Leap are all more or less related, the greatest difference would be the elevation of each and the manner in which they are taken. The I/op—TliQ slightest elevation from one foot, returning on the same foot and on the same place. The Spring — A greater elevation, more of a dart- ing ui)ward movement, returning on the same foot 100 but not necessarily ou the same spot. This is used in flying- movements. The Pitch — Tn tliis movement the force is on the retnrn to the floor on one or l)otli I'eet. In the Pitch very little ])rog'ress is made. The Bound — A l)onndiiii>- movement, or a bound and rebomid, performed from side to side, from one foot to tlie other, similar to a Jctr. The Jump — From one or l^oth feet on to both. The Leap — An elevated movement from one foot onto the other, in which the greatest distance is covered. Mordkin and Xijinsky were reno^^^led for their leaps. Marie Irene Kolb, 'Pas Seul in Faust Ballet.' ioi PAS DE CHAT {pali-(hi/j-.s/i((li ) Pas de Chat~A cat step ; a jerky, sliui I, rapid step, foot crossing in front or in back, alternately. Pas de Chat is taken to the side or forward, it is like small jumps over the waves when done forward. The ex- treme of this step is the extended leap which every male solo dancer is trying to perfect. PAS DE CHAT TO THE SIDE. Plie and spring K. F. to 2nd Pos. (X) ; immediately bring L. F. in 5th Pos dessiis or dessous (1). A num- ber of these should be practiced to the B. with the L. F. brought in front, and to the left with the R. F. in front. Repeat the above, bringing the L. F. in back, after which alternate the movement, bringing the foot front and back, etc. X Jdaline Gartman, "The Fawn." 102 The Exi ended Leap is i)roco(led l>y a slop and while ill the air slraii>liteii the k\i's out and apart as far as possible until you alight. This is called a Leop- ard Leap. DEER LEAP. Like the Leopard Leap, excepl the front leg is bent at the knee (knee held high while tiie Tool is held close to the body) and the other leg straight in back, while the dancer is in midair. Like a Deer lea])ing. A very beautiful and effective movement. PAS CHASSE {shahs-sap) ' Pas CJiasse — A chasing step. In other words, one foot chases the other out of place. Pas Cliasse can bo done in any direction. The aclual (.'basing begins when the feet are ai)ait. However, the Pas Cliasse is gen- erally performed with a preceding step in the desired direction. For example: Start l-i. F. in 5tli Pos. Plic and (ilide R. F. to 2nd Pos. (1 ). firing L. F. up to R. F. smartly and simultaneously glide R. F. again into 2nd Pos. (2). Very often two or more Chasses follow each other. CHASSE RUSSE The Cliasse Basse is done by placing the heel on the floor with the toe well raised, then chase it out of place. THE CHANGE STEP TIh' CJiaiif/c Step is a very impoilanl combina- tion which (onsists of three i)ar1s, and is nscd in March- iiii;', as well as in Dancing. It is a xci'v ancient ste]), the origin of which could no doubt ))e traced back to the early (Jreeks, wjien bai'inony ol' movcnicnt jilayed such an important factor in the educ.itiitn of Man. In march- 103 ing it is used when one finds himself out of step, and it further forms the foundation of a few Social Dances, such as the Pollva, Eedowa, Two Steps, American Three Step, etc. The Change Step can be taken in any direc- tion, also turning to right and left. It consists of a step, close, step (a movement with each foot). PAS DE POLKA Bhythm 2-4. Count (1) (X) (2). There are two Polkas, the Classic Polka and the Modified Polka, or Change Step. Classic Po^A:«.— Technically speaking it consists of a Saute, Glisse, Coupe dessous and J etc. Hop on L. F. (X). (Hide E. F. diagonally forward (1). Bring L. F.' up and cut R. F. foward (X). Spring on R. F. with L. F. raised in back on ankle of E. F. (2). Repeat with other foot. The Modified Polka.— The form of Polka which is used in Social Dancing and is done in a smooth, gliding manner. REDOWA I a step on each count The Redowa is practically the Change Step done to % rhythm (IMazurka). Count (1) (2)'(n) and take PAS DE GAVOTTE Eliylhm 4-4 count (1) (2) {:]) (4). R. F. diagonally forward (1). L. F, closed to 5th Rear Position (2). R. F. again forward ('^). Raise L. F. front and hop on R. F, (4). It is a (xlissade and Swing Step. 104 PAS DE VALSE A s])(H*inl study should be made of the N'alse (\\';dt/) and the student is referred to the Pas de Basque I'or the practice of the ehdx)rate or C^lassic ^'alse. The A'alse consists of two Open Positions, and a Closed Position, and can he taken in any direction (except continuously to one side). For a brief and con- densed description, we give the foUowing: ^lusic % rhythm (Waltz). (Vmnt (1) (2) {:]) for tirst Measure; (4) (5) (6) for second Pleasure. FORWARD VALSE. Fonnud Valse~R. F. to 4tli Pos., (1). L. F. to 4th Pos., passing through the 1st Pos., {'!). R. F. to 3rd Rear Pos, (3). L. F. to 4tli Pos., (4). R. F. to 4tli Pos., (5). L. F. to 3rd Rear Pos., (6). It takes six counts, or two measures, to make a complete Waltz Movement, or one revolution. There is no such thing as a Three Step Waltz, although it is sometimes called so. In practicing the B'ackward Valse the R. F. moves to 4th Rear Pos., (1). L. F. to 4th Rear Pos., (2). R. F. to 3rd Pos., (front) (3). L. F. to 4th Rear Pos., (4). R. F. to 4th Rear Pos., (o). L. F. to 3rd Pos. (front) ((5). WALTZ TURNING. i^i'actice the same by the Scjuare System. Imagine a square about two feet in size. Begin l)y standing with R. F. in .'h-d I*os., on the lower right hand corner of the square. R. F. to upper right hand coniei- ( 1 ). L. F. to upper left hand corner (2). R. F. to 3rd Pos., (3). L. F. to lower left cornei- (4). R. F. to lower right corner (;')). L. F. to 3rd Reai- Pos. (C). Re])eat this many times, then gradually tui'ii toward the right by taking the 2nd and 5th steps nioic in a (iicular direc- tion. In the I'iulit turn, the right foot will always be in front, and in the i-eveise turn, just the opposite, or left foot ill fi-oiit. 105 REVEESE AVALTZ. Stand L. F. in 3rd Pos., at lower left hand corner ot imaginary square. L. F. to upper left corner (1) o\ • t^ J^Pl^^^^' I'i^^'^it corner (2). L. F. to 3rd Position [6). R. h . to lower right corner (4). L. F. to lower left corner (5). R. F. to 3rd Rear Pos. (6). Then gradual turn toward the left. _ _ Note.— In order to join the right turn with the left It IS necessary to take three steps of the Waltz in a for- ward or backward direction which will bring the other toot front, and enable one to turn in the other direction ?i example, having turned to the right, start forward with R. F. m 4th Pos. (1), L. F. to 4th Pos. (2), R F 3rd Rear Pos. (3), then begin a left turn, as the left toot IS front. If one desires to go backward, after having turned right, it will be L. F. 4th Rear Pos (1) R F 4th Rear Pos. (2), L. F. closed 3rd Pos. (fi-ont) (3), then turn to the left. RONDS DE JAMBE Rond de jamhe is a circle described l)v the le^' or the foot. ■ * Rouds de jamhe are divided as follows: Petit and Grand, en deJiors (outside) and e,i dedans (inside) a terre (on floor) and en Vair (arid). Ronds de jamhe en dehors are those in which the foot describees the circle by moving fonvard. Ronds de jamhe en dedans the foot moves liackward. The outward eirele is more usuaJly employed. In the Rond de jaml)e (Petit) the thigli must 1)(. motionless, the knee directed to the side and the circnlai- movement made bv tlie lower \os.) Koturn to Ist Pos. and Kcvcrso. 7. Latvnil Pose. I)ega^i;e K. F. to 2iul Pos. (L. F. pointed to side). Aims l>atoral to riglil (1) (2). Draw L. F. to 1st Pos. xVrms return to 1st Pos. (3) (4). lieverse this. Repeat four times. Then continue the same foot work and use the Lat- eral nii>li and Ijatoral Low Arm positions. 8. Pas Eleve, Anns fourth and jourth. Pas Eleve to right, R. P. to 2nd Pos. (1). L. P. to 3rd Pos. (2). Rise on toes (3). Drop (4). 1 Bar same time, R-. A. in 4th Pos. on the rise and return to Lst on the Drop. Reverse this and the L. A. in 4th Pos. Note. — This is not done in half time. 9. K)icel, tal'iiif/ Botaiy Motion, or Spanisli Circles. Kneel on left knee and start Rotary Motion with the Arms, by moving R. A. across the body to 4th Pos. This is Right Rotary Motion. The body should also rotate; that is, bend forward to side, back and to other side. Count eight to one circle, then count four. Rise and Reverse entire movement. 10. Siving Step with Arms in Side Balance. Swing Step to right and Swing the Arms to the right side, reaching Greccpie Pose (1) (2). Reverse it (3) (4). 1 1. ('ross Balance with Forward and BacLicard I'xdance of the Arms. R. F. to 2nd I'os. (1). L. I"\ cross (fi-oiit). I'lace weight on same (2) hold (.'>). 'I'raiislVi- weight to R. F. (4). Same time Arms move aci-oss the body to the right side, passing through 5th Pos. into Lat- ci'al Low. Reverse. Ill ATTITUDE AND ARABESQUE. Attitude. — This word in the technical language of dancing has a significance which is traditional and precise. It does not mean any position, as a literal translation from the French ivoiild seem to imply. It designates a position on one foot and usually on the Demi Point, the other leg, bent and raised. The leg must be held waist high with the upper part directed to the Intermediate liear liaised Pos. and the lower part bent at the knee and held in Crossed Rear Raised Pos. One arm is held horizontal (3rd Ex. Pos.), while the other is curved above the head (4th Pos.), which brings it into opposition with the supporting foot. The body must be held upright with an arched back. Attitude is often called Mercury Position, taken from the Greek. Xotwithstanding the fact that there are several variations of the Attitude, which are brought about by the change of arm positions only, the lower extremities practically remain the same. Attitudes can be a terre and en I 'air. AVhen a terre, one toe rests on the floor in back, while the sup- porting foot is flat. Attitude is de /«ce— (facing front). The Greeks have associated the word xVttitude with the Flying Movement, as it is significant of the same. A special study of Attitudes and Arabesques should be carefully made. Practice each one very slowly, which will liriiig about perfect balance, after which they should be done con elevation (great spring in the air). R'egin the slow Attitude with a decided l)end, and gradually raise the body until six has been counted. Rise on the toe on 7 (still retaining position) and return to the floor on 8. The AHiludcs hci'e given are (^nployed in the Xew- maii Sysfon, and are ari'anged ])]-ogressively. 1. AtlihifJc, Flyiuy. — Supporting foot fm'wnrd, free leg bent at knee. Arms in 3rd Ex. Pos. (to side) to represent -w iiigs. 112 2. Attitude, Mercuri/. — The one in general use. R. F. forward. L. F. raised back, bent knee. L. A. held in 4tii Pos. E. A. in 3rd Ex. Pos. 3. AttltucU' a (Icu.r hras, I'otli arms raised in -illi Pos. The free leg in back slightly crossed. 4. Attitude Grecque. — One arm in 4tli Pos., the other in 2nd Pos. THIGH EXERCISES. That produce a perfect Attitude. Face the Bar and hold with ]>o{li hands. 1. Bend R, Leg at the knee with the lower part of leg held straight back (2nd Elevation) (1). Raise the R. Knee to the side with a jerk, to the 3rd or 4th Eleva- tion (2). Lower R. Knee to L. Knee (3). Lower R. F. to floor (4). Reverse it and continue, 8 Measures in all. Repeat entire exercise in 2 counts, 8 Measures. 2. Same as No. 1, raising the knee four times with- out di'op])ing foot to the floor. 3. Raise knee as before, higli to tlie side (1), and without lowering the knee, cross the leg very much in back, so that the foot can l)e seen on the left side (2). Return tlie knee to the R. si(h' again (3). I^owci- foot to ilic flooi- (4). I\('Vcis(', etc. 4. Same as Xo. 3. Raise the kiicc to tlic side and cross tlie leg vei-y nmeli tlu'ee times, then lowei* tiie foot. Reverse. 113 ARABESQUE. Arabesque is a special coml)iiiati<)ii of i.-ositions of the legs, arms and torso. The (hiiu-er is supi)orted on one leg while the other is lifted so that it describes a long curve, which begins at the tip of the raised hand and continues along the body to the tip of the toe of the raised leg. The raised arm is in Demi Ex. 4th Pos (Palm turned outward), the other arm in Demi Ex. 2nd Pos. (palm turned dowmvard). Arabesques, whether a terre or en Pair, are always to the side. In other words. Arabesques are always profile or demi profile. In making point Arabesques, the extended leg is held per- fectly straight. "Arabesque," Mae Daw, Sally Co., New York. 1. Aiabe,s(iHc Or/liudiic. The one in general use. B'ody supported on H. P. to side willi l.'fl loa; riusod] slightly curved to tlie left side. P. II. raised to 4th Demi Ex. Pos. (palm turned outward). P. IT. raised to 2nd Demi Ex. Pos., toward and along the left leg (palm downward). Pace towjird (he right; body curved, showing a decided bow from the 114 raised R. IT. aloiiu' the body to tlic toe of the ralsiMl lel't foot. 2. Arabesque aUouger (stretched). Legs and arms held perfectly straight. The raised leg straight to the side, waist high; the I'ight arm straight toward the I'ight, the left arm ))arallel with the left leg, body in- clined just slightly toward the right. 3. Arabesque foiidu (sinking). Same as ^/Y/^r-sYy/^p alloufier, with the supporting leg decidedly bent. 4. Arabesque penche [leau'nif/). Practically the same as the i)receding Arabesque, leaning decidedly downward toward the floor to the right, the H. H. al- most touching the floor, with the left leg raised upward, producing a vertical line downward from the raised left foot to the right hand. 5. Arabesque OpposHiou. Same foot position as Arabesque Ordiuaire, with the Left Arm raised front slightly bent (to allow the face to he seen) and dii'ected toward the right, Left Arm raised in l)ack oi' body di- rected toward the left. 6. Arabesque alter)iative form. R. F, crossed in front. R. H, raised high toward the left. Left leg- crossed and raised in back. L. i I. raised in l)ack toward left leg. Right shoulder directed fi-ont (to spectator) and look toward R. IT. 7. Arabesque croise. The same foot ])osition as the Arabesque alfeniafir(',v:\\h tlie L. 11. I'aiscd to tlic side high and the 1\'. II. down towai'd the li^lit side {'2\\d \']x. Pos.). 8. Arabesque fete fJe eerf (antlers of a stag). The same as Arabesque Ordiuaire, with botli aims held Lat- eral High toward the side of the sui)i)oi'ting foot. Some- times called Angel Arabesque. 115 THIGR EXERCISES That produce a perfect Arabesque. Face Bar as before. 1. Bend the knee as in the foregoing exercises and raise the knee to the aide (1). Straighten the leg in back as high as possible (2). Bend knee again to side (3). Lower foot to the floor (4). Reverse and repeat. 2. Same idea as No. 1, in 2 counts. Bend and stretch the leg straight in back, repeating this move- ment tliree times; then lower the foot to the floor. Reverse. 'AIDA" BALLET. ^^H HHF^^ii^-ttl BMCjyJiHpV^y|^^^Vpji^ lM|MHKk»U'C^ ■SiH^'v.iB ^^^^H^^^^B' tir^^^Ci^B^Wi' ^M NL iSMV^^sB^^H^^Ef J R j|7\j& yl^p*^ W^^ fl^^UK "^ ivl Wr 1^^^ li vittl I Ll^HKil-^^^^ fej ^H^H^ '^^^L^^'' ' Ltf ' JH^^I^^^B^I^^^^^B^^^^^^Bhf ^fl^^^^^^^^^^v'J^^'^^^l ■■MHii mi|^juiJJiLcW4^pp.i ''- ■ :^r:j;^i^^^MS^mmJ^ The First Amateur Gi.uul uy^iu wjiys de Ballet in the World. Albert W. Newman, Ballet Master. 116 TURNS Turns occupy a most ini[!()rtaiit place in IIk dance. Tlicy are used as an oinanuMit, or to brini;- a certain phrase to an end; and again they are used most promi- nently to display the wonderful dexterity of the Dancer. It is needless to say that in order to i)erfectly exe- cute many of the turns here described, an inmiense amount of practice is necessary and a great command of the balance of the body is required. A vast number of Turns have been invented, and many steps are executed while turning. Some Turns are on the ground and others are in midair. Some are progressive, others are stationary (tour sur la place) at place. The arms have a very important part to play- in the Turns, as the force used in turning comes mostly from the aims being swung across the l)ody in the direction of the Turn; the body is held erect, but not stiff. A rif/])f fiini is a turn of the body from left to right and a left turn Is jiisl the reverse. A number of Tunis done consecutively might be compared with a string of Pearls. AVe often speak of precious stones as an illustration, as each Turn should be beautifully rounded, lirilliant and spaikling in exe- cution. llie body alirai/s beyiiis llic Tuni tx'forc the aetual step lias been talxeu. It seems lalher peculiai thai tin woi-d IMiondle should invariably l)e associated with almost any turn. This is a great mistake, as a correct Pirouette is really a masterly performance. P]ven IIh' Pirouette in its correct form is often attem]if('d, bnl rarely well exe- cuted. English-speaking people liave substituted lln' word Pirouette for, what is, coii'cctly si)eaking, an JsseuiJdr soute)nis ill I nil riKiiil : a sustained lui'ii in closed ]iosi- lion, wliich ("\-ci'y dancer us(=s. The length of the French tei'in is pi<)l)al)l\' llie I'eason for snbsliluting the shorter one, bnl in this book i1 is refei-i-ed to as a 117 Firoiiette on hoth feet, and the correct Pirouette, with its variations, will be found under a special heading. Again we repeat, that the most iuiportant thing in. a perfect turn is absolute halauce. The proper placing- of the feet is necessary, and, with but few exceptions, one foot must bo placed in front of the other. Usually the foot which is in front designates the direction in which the turn is to be taken. In the right turn the right foot must be in front and in the left turn the left foot in front. This will eliminate any swaying of the body from side to side. The body mwrt always be placed directly over the supporting foot. A good suggestion, that will assist the student to retain the balance, is to pick out some object on a line with the eyes and after having made the Turn, again locate the same object. This will be the means of straightening the spinal col- umn bcnl ( 1 ). Sti-aighteii left leg, raise heel of R. F. .ind tniii (Pivote) slightly to liulit (X). Rcjicat. This should be a 119 decidedly bobbing up and down movement. Arms move to 5tli Pos. and down to 1st Pos., or Snake Movement arms held in 8rd Ex. Pos. 6. Two-Stcp Walk Turn. — A turn with two walking- steps. R. F. to 2nd Pos. Turn to right (1) by bringing L. F. around in front and place it in 4tli Eear Pos., having completed the turn (2). This turn generally precedes a bend and rise of the body {Rcnuassc). 7. Three-Step Walk Turn. — A turn with three wallv- ing steps, which can be done in any direction, in a straight line. It is a progressive turn. R. F. to 2nd Pos. (1), turn half to right by bringing L. F. to 2nd Pos. (face up stage) (2). Complete the turn by bringing R. F. to 2nd Pos. and point L. F. to side (3). Pose (4). 8. Three-Step Walk Turn, u-'itJi Point. — Same as Xo. 7, and Point the L. F. in 4th Pos. on (4). 9. Three-Step Walk Turn, with Raise. — Same as Xo. 7, and raise the L. F. front and Hop on R. F. (4). 10. Four-Sfrp Walk Turns. — Two turns making four walking steps. 11. Traveling Turns. — Same as Walking Turns. Take very small steps, keeping the legs straight. R. F. in front for the right turn and L. F. in front for the left turn. To make these turns even and smooth take the same size step and in the same direction. Take Travelinn Turns to the right with seven steps and Poiiii Ij. F. front on eight. Reverse all. There must l)e a smooth transfer of weight from one foot to the other, Vi\\\ be done on Demi Points ()!• Points. Traveling Turns arc ot'ten done to end a Solo. 12. Drroulr. — Same as Tra\'eling Tunis. A\'alk on I'oints in one direction, turning I'onnd and round and return (o place while tuniing the other way. 120 13. Double Cros.-! Tniii.—\\. F. in 'Ah Pos. Bring the R. F. aiouiid ill I'loiil to Double Crossed Pos. Rise on Demi Points, and turn to the left. Finish with F. F. ill front. 14. Rein-erse. L'pset Tiini. — Begin with K. F. pointed in 4th Pos. Arms Lateral to the left. lUing K. F. around to the right in back of the L. F. (entwine it, so to speak), arms Lateral to right and bend body toward the left. The R. F. that entwines the 1^. F. is i)la('ed on the lloor, aroniid and in front of L. 1\ l\ise on Demi Points and make a complete turn right and bend body to right with arms in (irccqne Pose (L. IF. raised). In the entwining position lioth knees are lient. Note. — A very line illustrated descri])1 ion of the Renverse will be found in the book entitled "The Dance," by the Kinneys. 15. Fairy Turn. — Turn on the extreme points (5th Pos.) with very rapid, daintv toe steps. Arms in 5th Pos. 16. Spiral Turn. — Turn on extreme points (5th Pos.). Begin by bending and gradually rise dnring the turns. Arms raised to 4th Pos. 17. Open Hop Tiiiu (])oth feet). This is, in other words, a Sn-in(/ Step 'J' urn. Ste])-ll()i) on P. F., swing L. F. across and make a lialf tui'ii to the right. Step-Hop on L. F,, swing K. F. arms in front and com])lete tiie turn to the K. 18. Half Opeu J/op 'J' urn, with lloiid ite Jatube. — Step- llop on 1\. F. Swing L. Y. across in front. ]\fake a. half tui'ii to right. Step-ilop on L. F. ('oin- plete llie tnni, and Ixoiid dv janiltc en Pair I\. F. li). II all Open Hop 'ruin, with Waltz. — Step-llo}) on H, F., and swinu' l>. I'\ aci'oss. Make half turn to light. ('om])h't(' turn with three Waltz Steps. (Stcj) L. F., back U. P. to si(h- close L. F.) '20. JJalfOpen Hop '/'urn, u/lli Con riesi/.- 'I'nni to the right <»ii Ii. I'\ with one Swing Step, making a 121 complete turn. Finish by placing L. F. in Crossed Rear Pos. (Toe on floor) and Courtesy. 21. Mooyl^h Till II. — Aims in Giecque Pose. R. 11. raised, palm turned up. L. 11. palm turned down- ward. Turn to the right with small, running steps, feet in 5th Pos. (R. F. front). 22. Arabesque Hop Tiirii. — Arabesque on R. F. and hop around toward the right, retaining the Ara- besque Position throughout. The Outward Turn is in the direction of the supporting foot and the Inward Turn toward the raised foot. Both turns can be made on the same foot. 23. Promenade. — Arabesque on R. F. Turn right by moving the heel around wath a series of lifting- movements, using the ball of the foot as a Pivote. 24. Roulette Turn. — Same as Arabesque Turn. 25. Romp Turn (stationary). Step-hop on R. F. witii left leg raised in front, knee bent, lower leg di- rected downward (1) (X). Step back on L. F. and hop with right leg raised in front (2) (X) to complete the turn. Romp Turn consists of two Romping Steps. 26. Romp Turn (progressive). Step-hop on R. F. with L. F. raised front (1) (X), making a half turn to right. Step back on L. F. in line of direc- tion. Hop and raise R. F. front, completing the turn (2) (X). 27. Jete Dessous en lountaute. — R.- F. to side (1), bring L. F. around in front of R. F. Spring on it, making a complete right turn in the air. Aliglit on L. F. with R. F. raised in front (2). A niimlx r of J etc Tunis are generally made in suc- cession and in the same (Urection. Tlie raised foot mU'St be plaeed in correct posifioii irJiilc in the air, at the knee of the other Jeci. 28. Jete Dessus en fournant. — Same as Xo. 27, with foot raised in back during the turn. 29. Ora)id Ji'tr Dcssus cii foiiruaiit. — Same as Xo. 28 except that butli k\i>s are held straight during the leap and directed to the rear (up stage). 30. .S7(/^/ Turn. — .Make a Jcfr Turn Dcs.^us to the right on (1) (2). Step on K. F. (.'5). Swing tiie L. F. across in front and hop on K. F. (4). 31. Tour (')i J\4ir. — R. F. in 5th Pos. Spring u]) and turn in midair (complete turn to tlie right). Alight in oth Pos. Tj. F. fi'ont. Several turns are often made before alighting. .■■)2. Nussia)! Turns. — Same as Tour cit VAIr, making several revolutions in the air. 33. Scotch Hop Turn. — Turn to tlie light by iiojjpin.g on R. F., with L. F. raised in front (knee l>ent). This turn may also be called Saute en tournant. 34. Cross Pass Turn, used in Scotch Dancing. Turn to right by hoi)ping on R. F., with the I.. F. raised, crossing and passing it in front and in back of right knee. 35. Strathspey Turn (turn to the right). S])ring on R. F. and Point L. F. front (1). ll(»p on H. F. and raise L. F. to knee of right leg (2), making several Straths])eys to com])lele the turn. Note. — These tliret' Iniiis are used in Scotch Danc- ing and can be made turning to tlie left 1)y hop- ])ing on the R. F. 36. Irish Turn. — Spring (ui R. F. and Point L. F. back in 3rd Rear l^ls. (1). Spring on Tj. F. and Point K*. F. back in 3r(l Rear Pos. (2). ("onlinuc and turn giadually to the rigid. 'I'liis tuin consists of Petit .Ictcs, with Point on (loor. 37. Foucllr en loumnnf. — R. I'\ l>ack, turn to right by wliip])iiiu- L. F. (straiulit leg) across R. V\ 1o the rear (up stage) (1 ). Spiiiig on R. F., complete the turn in air. still retaining raised ])osition (rear), with L. liCg, knee sliulitly bciif. 123 38. Cahrioh' Turn. — Practically the same as Foiiette eit founiant, with a Battii (strike the legs to- gether ill midair) on the return, face front. 39. (iraiid Pas de Basque cii toaniaiit. — Jete to right. Alight in 4th Rear Pos., turning body half to the right (1). Bring L. F. over and in front of the B. F. Rise on both toes and complete the right turn, or about face (2). Abaisser (drop heels) (3). Rest (4). P racticalltj the same as Assem- ble en touniaiif. Another form is as follows: — Spring and turn R. on R. F. to 4th Rear Pos. (1). Complete the turn by bringing L. F. around in front to 4tli Pos. (face audience) (2). Close R. F. in 3rd Rear Pos. (3). Rest (4). This causes a change of the relative position of the feet as in Pas de Basque. The author prefers this defini- tion. 40. Assemble Soufeiius en- touriiaiif (ahn-sahn-iilay suit-tayiiee an-tour-nant). Refer to the Pirouette on both feet. 41. As'semble en touniaiif. — Raise R. F. to side, spring and turn to the right, and alight on both feet (crossed), L. F. over the R. F. (Double Crossed Pos.) (1). Complete the turn on the Demi Pointes and in so doing, the R. F. comes in front again, when facing the audience (2). Abaisser (3). Rest (4). 42. Tire Bouehoii (corkscrew). Spring R. F. to side, with L. F. raised straight to side (1). Bring L. F. smartly in front of knee of right leg: at same time turn on l)all of R. F. to the right (2). Finish the turn face front, with L. F. crossed in back of right knee (3). Drop L. F. (4). 43. Pii'oueffe eii VA'ir. — Same as Tour en I'air. BiroUa or roJia. 44. Sphi Tuni.~ 'Vwvw ([nicklx- on the toe with the other foot I'aised close in l)ack of supporting knee. The 124 spinning" or tinning is clone with a quick move- ment of the arms from one side to the other, in the direction of the tnin. Several turns can be made in this ])osition, it' necessary. 45. Sp'ni Tunt in ^irah('.s(iit('. — Phice yourself in Ara- besciue and Spin-Turn quicklv on sui)porting foot. ASSEMBLE As^^cuihlc, together, bringing the feet from an open to a closed position (1st, 3rd or 5tli). The Assou- hlr can be made in any direction. Direction. — Right foot in 5tli x)osilion. In'iid and at same time slide (brush) the right foot with straight leg into the 2nd raised position (X). Spring upward, and alight on both feet simultaneously, in 5th Pos., right foot front (dessus). This is accompanied by a pliable bending of the knees and is called Assemble dessus. If the right foot is brought to 5tli Kear Posi- tion it is termed Assemble (lessons. There exists a slight resemblance between the Assemble and the Cliangemenf cle Pied. The ditf'erence is, that in the Assemble one foot is really more or less passive, wliile in the Chcuifiemeiit dc Pird both feet are equally active. Assemble Porfr; an Assemble to the side. A very niodilied form of an As.^oiiblr is used in Social Dancing and is sim])lv a closing (ferme) of the feet. A drawing of one foot to the other. COUPE Coupe, (ul. Pas Coupe, a cul s1e]i. A displace- ment of one fool by tlie other. A shar|) cutting move- ment of tile one loot |'i(»m an open i)osition, through a closed ])ositioii, into an open ])osition. The legs are held straight while cutting, and upon aiiulitini;-, the sup- porting leg bent. 125 A Coupe and a Cliassc, althougli related, differ slightly. In the Chaste the foot that is cut, or chased away, takes the weight of the body, while in the Coupe the foot that does the cutting takes the weight of the body. There are three Coupes: Coupe dessus (over or in front), Coupe dessous (under or in back), and Coupe lateral (side). Coupe dessus. Eaise right foot front (X). Bring it down smartly toward the left foot and cut the same (left foot) out of place to the Rear Raised Position (1). Note. — As the one foot is brought doivn the other is raised at the same time and same height. Coupe dessous. Raise the rear foot and cut the front foot forward. Coupe lateral. Raise foot to the side and cut the supporting foot to the other side. Coupe Frappe. The foot is put down with a strongly accented audible beat. Coupe Pousse. Strong knock of the foot as in the second step of the Mazurka. Coupe Relere. Same as Raised Rocking Step. Demi Coupe. Bend both knees and extend the foot to the front, back or side. It is the preparation of al- most every artistic step. PAS BALLOTTE Pas Ballotte. A tossing heic and there. It consists of a Coupe dessus and a Coupe dessous. Right foot cuts the left foot back (1), and the left foot in I'etum cuts the right fool front. — Klonni-Zoru. PAS DE zkimukm:. Pus de ZcpJiiie. A ste]) of the lightest possible character. 11 consists of a Co}i})e dessus and a Change 126 (Swiiio-Sti'|)). A Fouctfr (whip) is sometinics sub- stituted for a ('liaiii»-o. The foot that does the Foucttc touches the iloor lightly as it passes the su})porting foot ill going forward. The Fouctfr is aeeompauied with a hop on the other foot. A Pas de ZcpJiirc is also (h>ne with a Coiipr and a Tcuips lUiUointr. PAS TEXDU. Pas Tciidii (pah tahn-doo), practieally the same as Pas de Zcphirc. The leg, however, that is raised in front is held perfectly straight. ROCKING STEP. This Boclxiug Step is the one in general use and is one of the popular steps of the Hornpipe. It consists of a series of Degages with the knees directed to the side. The Degages are made with a Hglit, s])ringy movement from one foot to the other, keeping the feet in 5tli Po-sition, toes pointed downward, never leaving' the floor. Directions. — ISining on light foot, 5tli Position, raise heel of left foot (in rear) (1). Spring or pitch on left foot (in back) and raise heel of right foot front (2). Re])eat this, counting 7, then l)ring left foot in front and hop on right foot on 8th (onnt. Reverse all. Execute this same movement, turning to the right and left. Practice this movement with o Rocking Steps, then make the change. Rocking Stc]) is also called Pereeau (ber-so), cradle. IJAISI^I) l^'()('KI\(i STi:!*. Pkd'isi-d H()(l,-iiifi Step. A (h'cidcdly s))i'iiigy step wilii bent knee, oricii seen ill ('haractei Dances. Directions. — Spring on ligiil foot in r)(li ]N)sition, same time raise left fo(»t back (.Itli K'cai- Raist-d I'osi- ticm, 2nd Elevation) with knee hcnl ( 1 ). Sj)ring on h'ft foot (5th Real' Posilioii), and laisc right foot I'loiit (otli Raise<| Position, L'lid Mlcwilioii) knee bent (2). R( ix'at ill all 7 tinn s, llicii briim tlic left foot I'loiit and 127 hop on right foot on the 8th count. Repeat all with left foot leading' ami in front. This step can also be performed while turning to the right with the right foot front, and to the left with the left foot front. A very practical form of the Raised Rocking Step is to rock three times and then change by bringing other foot front on the 4th count. A Raised Rocking Step is sometimes called Coupe Releve. JETE Jete, throw. The Jete is related to the leap, which is part of the run. It consists of a leap in any direc- tion, which throws the weight of the body on the foot that is about to touch the floor. The other foot is usually more or less lifted and placed back or front of the supporting foot. In the raised movement of the foot preceding the leap, the brushing of the foot over the floor should be carefully observed. In other words, the foot actually glides with leg straight into a Raised Position while the supporting leg is bent. The free foot is not always placed in the same position; it can move into any given position, but it must be placed into the position while in the air preparatory to returning to the floor on the other foot. It can also be placed upon the floor with the toe alone touching the same. This is used also in an elaborate courtesy, which is preceded by a leai) or thi-ow (Jcfr). Jrfr can be made from both feet onto one foot or from one foot onto the other. There are three Jvtes: Jcfr (Icssns, Jcfr Jrssoiis, Jrfr rii foiirudiif. Jete dessiis. Si)ring on one foot with otiior foot raised iu back at ankle of sn])poi'tii]g fool. This will take you forward gradually Jrfr Jcssmis. S])riiig on ihc one foot with other raised in fi'oiit. 'i'liis will take yon backward. Jrfc rii foiD'iKinf , see Turns. 128 Jeie Sauic. Jctv ami hop on llio snppoitiii.u- fool. Jcte Cross Pass. Jvtv aiul Cross Pass. In the Jetc dessus the Cross Pass is done in front, and in the Jete dessous the Ci'oss Pass is in back. A hop should accompany the Cross Pass. This makes a very brilliant stei) while tnrninii,' to the right or left. Jctr and Tiro Cross Passes iritli JIaiscd Extension. Jetc, then Tiro Cross Passes, and extend free foot diagonally forward (raised) with a hop on supporting- foot. Mathilda WLhr, New York, "Spring Song." PAS DE BASQUE Hhythm 3 4 Valse. Pos (Ic ll(ts(iii(' (|tah (Ut bahsk). The step of Basque, one of the most jjojjuhir stejjs, which has many variations, and is seen in the National Dance of almost every nation (S])anish, Russian, Polish, Hungarian, Scotch, Irish, etc.), eacli of which has its own ])articu- Jar character. The foundation of the Pas dc Bas(in(' is as follows: Right foot describes an ontwaid scnii-cii'cle 129 into the 2ii(l Position (Demi Roiid df Jamhe dehors a frrrr), (1). Olissc' (glide) left foot to 4th Position, passing' the 1st, 3rd and 5th Positions (2). Close right foot in 3rd Rear Position (3). Repeat with other foot one Measnre. In repeating this movement the dancer moves gradually forward. It is therefore termed Glisse Pas de Basque Forward and it should be performed with a smooth, gliding style. Glisse Pas de Basque Baekuard. Glide right foot to 2nd Position (1). Left foot to 4th Rear Position (2). Right foot to 3rd Position (3). Jete Pas de Bascpie, is virtually the most popular form. It starts with a Jete dessous right foot (bound to the side right foot in 2nd Position, and left foot raised in front), (1). Glisse left foot to 4th Position (2). Right foot to 3rd Rear Position (3). The Jeie Pas de Basque Baekward starts with a r/ete dessus and the ether foot moves to 4th Rear Position. Pas de Basciue en Toun/aut, see under Turns. Pas de Basque Espaguole (Spanish). A Pas de Basciue in Spanish Style, (hie arm Akimbo, other in 4th Position. Pas de Basque Beleve, or Polish. Feet raised very high, one as high as the other, as if jumping- over a line to the side. Pas de Basque Russe (Russian). Spring- right foot to 2nd Position (1). Toe of left foot is brought for- waid (toes turned inward), (X). Turn the left foot outward (Torfille) and place heel on floor (2), with a slight ti'ansfer of weight. Again transfer weig-ht onto right foot, ill back (3). Arms folded. Pas de Basque Scotch , in 2 4 Rhythm. Spi'ing right foot to 2nd Position (1). Ta]) left foot front, straight leg-, very siia])])y (X), slight weight on same. Return weight to right foot (2). Arms in 4tli Position through- out. This ste]) can also lie ])erfoi'med turning and mov ing progressively around in a large circle. 130 Pas de Basque Irish, in G 8 Khythin. Fiacli step is preceded by a decided raise of the fool ; l)eiid the knees to the side and mak(> thi' eiitii-e eoniliiiiation very springy and spriglitly. Arms Akiniho. Pas dc Bas(iH(' Iliiinini'iau, same as K'lissiaii /*(/.s' dc Basque. One hand in back of neck, other Akiml)o. PAS DE BOURREE Pas de Boutree is the step of an old French Dance. Literally sjieaking- Pas de Bourree is a stuffing step, crowding a number of steps to music. It consists of 3 movements which adapt themselves in manifold forms. It invariably begins and ends with a Coupe. The first 2 steps are done witli straight legs, but in .'bd step the supporting leg is bent, while the other is extended straight to the side. Pas de Bourrer is the step Ihat liegins with the one foot and takes the (bincer in the opposite dii'eetion. Pas de Bourree Lateral, is the most poi)ular form and is also called Pas de Bourree Mode-nie. In other words, it is Pas de Bourree latereaux dessus d des- sous. Raise right foot to side, cut {Coupe) through the 3rd Position, raising left foot to 2nd Position (1 ). Left foot in Demi 2nd Position (X). Hright foot in thii'd and cut (Coupe) left foot to side (2). Hepeat all with left foot. This is called Pas de Bourree Lafer(d dessus and by several repetitions the dancer gradually moves for- ward by bringing the raised foot in l)ack (3rd Rear Position) the dancei' moves liackwaid. it can also l>e done through the r)th I'osition. A Pas de Bourrrt thiough the 1st position as pel* formed by the ilungaiians and Russians is done sur la jdaec. 1'his is called pas dc Bourrrc cii Broiilcrf. Pas de Bourrrc Furnard and Backward . ("nlting through the 3r*ii;lit foot Cdupc dessous (1), l<'ft foot to Ocmi 4tli Uaw Position 131 (X), again right foot Coupe dessous {'!). Then left foot Coupe dessous (1), right foot in Demi 4th Position (A), again left foot Coupe dessous (2). Pas de Bouiree Renverse, is like an Upset Tuiu Kaise right foot back, bring it aroniid in front, cross- ing lett toot m back and turn quicklv to the right with 3 light stamping steps. Pas de Bourree dessous eii tournaiit, is similar to a_^Pas Marclie Turn and consists of a Coupe, Pose and Join. Pas de Bourree ouverts.—^iixvt with rear left foot and move It to 2nd Position (X), right foot to 5th Posi- tion (XX), left foot in double 2nd Position (1) Ara- besque on left foot (2). FOUETTE Foiiefte is the action of the leg which makes a rapid whip-Uke movement. This is produced by the lower leg, the upper leg remaining motionless " The j'ouetfe takes different forms; the most popular is as follows: Right foot in 5tli Position Plie and spring on lett foot, same time raising right foot to side (straight leg), (1). Hop on left foot while the right foot crosses m back or front of left knee (2). It is the 2nd and 3rd steps of the Mazurka. Demi Foueffe. Eaise leg with knee l)ent, then straigliten leg in any direction. (iraud Foueffe. See (iraud Baffeuieuf Foueffe. PAS DE MAZURKA Pas de Mazurka. 3 4 Klixlhm. Glide right foot to 2iid Position (1), left foot Coupe Laferaf' {'!). Hop on left foot and Foueffe right foot liack (3). I'oflui Mdzurfui. 3, 4 Khytlmi, con.sists of two parts. First Pari is the Mazurka, as picviously described, and 132 2nd Part is the Rodowa Tiiniiiii;', wliicli is a (-liaiiiio Step. Sto]), Closo, and Ste]). /\>//.s7/ Mazurka.— A Batlii on the lirsl connt. [Spring n]), raise the right toot to the side and strike l)oth lu'els togetlu'r in the air and alight on tlie left toot (1)J. Ste]) to 2nd j.osition with I'ight foot (2) and join left foot with right foot in 3rd Kear Position (3). Pas PoJoiiaisc, same as Polish IMaznika, and is also known as Ciiui) dc TaJoii ( l\oo-de-Tahloii ) ; sti iking of the heels together. GRAND ELEVATION (hand Elerafioii is the height attained in si)ring- ing movements, used in tlie (lianf/fUKiit dc Pied, Ecartv, Euticchat, (dc. The power of the spring must come from the legs and feet only. While in mid-air the toes must be pointed downward, and the legs held straight except when otherwise mentioned. ('hanffcHiciif dc Pled (shahnj-mahn der pee-ay) or CliaiificDiiut dc Jauihc are piactically one and the same thing. It means changing the relative position of the feet or legs during the elevation. Spring upward, toes })()inted downward. Change the relative i)osition of the feet and when alighting, lower the heels to the Hoor. Start from 5tli Position (I'iglit foot fi'ont),and alight witli left foot in ."ith Posi- tion. Juliappc. S})i"ing fi'oni a (Moscd I'osilion and alight on both feet in ( )pen i'osition (gciiciallx- Double 2nd IN)sition ). Ecliappc dc Pnhitcs. Slight PVic and (Jlide both feet rapidly into DoubU' 2iid Position on the toes, both leii-s stiff. T'Jcai Ic. Si)i'ing or (Iraiid Elevation, s])reading the feet apaii 1o the side in niid-aii', and alight in ( 1osed I'osition. 133 Soiihrcsaut (soo-br-so). Grand Elevatloit, and wliile ill the air bend both knees with soles of feet to- getlier and under body. Practically speakino-, this is a Plie in the air. SISSONNE Sisso)uie (sis-sonn) ov Ciseaux (see-so). — ^Scissors. The legs resemble the opening and closing of a pair of scissors. Eight foot in 5tli Position, Pli6 (X). Spring right foot in 2nd Position, same time extend left foot to 2nd Raised Position (1). The left foot reaches the highest point at the same time the right foot alights. Lower the left foot to 5th Position (front) (2). This is called Pas de Sissuuue dessus. If the left foot is put down in back of the right, it is Pas de Sissoune dessous. Pas de SissoiH/r Double. — P//r in 5th Position (1 ). Spring upward and alight on both feet in 5th Point Position (2). Spring again and alight on left foot with right foot raised in 2iid Raised Position (3). Lower the right foot to 5th Position {dcssiis or dessous). If the weight rests upon both feet on the first syl- lable and uijon only one foot on the second syllable, it is a step and called Pas de Sissoin/e. But if" the weight remains upon tlie same supi)ort during both music syL lables it is called Tcwps de Sissoiiue. A very effective combination consists of a Sissoiiite (1), Coupe Lateral (2), Asseuible dessous (3). Repeat all or Reverse it. AILES DE PIGEON (ale der jji/Jiyon) (lra]id hlcrafioii (hiring which the calf of the right leg locals against tlie left, after which the legs are crossed in the air as in tlie Brise. Alight on right foot witli left leg raised to side, in readiness for a re{)i'titi()ii of the step upon the other foot. — Zorn. 134 A very simplified form of the AUcs dc p'u/eoi is as follows: H. F. across L. F. (1). Raise L. F. straii^'lit to side oi'd. Eh' rat ion (X), spriii"' from K. F. and strike both heels tog-ether (to the side) with straig'ht legs {battu) (XX)^\lioht on K. F. with L. F, raised straight to side again, ord. Elevation (2). CABRIOLE Cabriole. — Both feet in the air, holh beat rapidly, separating and coming together. There are two kinds — off two feet and oif one foot. Tn all CahrioJes straight legs and good Elc ration are essential. Practice at the Bar as follows : Keep right foot raised in front, spring- on left foot and strike it against the right foot, which remains at the same height. This can also be prac- ticed with the rear foot raised. After this has been mastered, turn while executing the same movement. All Cahrioles to the side or Cabriole Foiictte are usu- ally preceded by a Dctui Coiitrcfonp.s or (Hissade. Cabriole Fouette en toiunant. — One of the most brilliant turns in dancing, performed usually by the man. Step on right foot to 4th Rear Position. Wliip left foot across in front (straight leg) in the air (face U]) stage) (1). Spring on right foot, beat the legs to gether and same time turn in the air about face, alight- ing on right fooi with left foot still raised in back. This can be terminated with a (ilissade as seen in Si),'niish Dances. PLANE Planv, soaring, ai)i)lies to sucli movements as Temps dc hnif/c {anfid) re])i-esenting an angel (lying, and 'I'cinps dc Poissoii (fish), a (ish aseeiidini:' to the sui face of the watei'. Tcnijis dc (-(die. Jnni]) fi'oni both f( et and conti'act ;dl the muscles in mid air. 'I'lie body nnisl he (h'ci(h'(II\- ciiix'e*! (hiring the (iraiid /'Hcral mn, and the daiicei- shouhl appear as if actuall\' ll>ing. Try to remain stationarv in the air for a second. N 135 TEMPS (PAS) DE CUISSE Cuisse (koo-iss) pas and temps. The word Cu'isse means the thigh. Preparation— L. F. raised to side. Bend right leg while L. F. beats floor audibly Avitli the tip in 2nd Pos. Hop on R. F., and L. F. is put down again in 2nd Pos. and drawn audibly into 5th Pos. (front or back). — Klemm-Zorii. When several are made in the same direction (no transfer) it is called Temps de Cuisse; but when alter- nating feet are used and a derjar/e must be made, it is a Pas de Civisse. Temps de Cuisse. Raise rear L. F. Join in rear. Spring on R. F., in Arabesque and join L. F. in rear again. — Browning. CONTRETEMPS Coiifiefcutps, means "an accident." In music ''syncopation." It consists of several movements. A ver}-^ simple form is as follows: L. F. in 4th Position. Bend left knee. Hop on L. F. and simultaneously cany R. F. forward. Another form — L. F. in 4th Pos. Bend and Hop on L. F. C'dVYY R. F. to 2nd Position and L. F. imme- diately to oth Rear Pos. Coiificfciiijjs dessKs. — The free foot is crossed first in rear, then in front in time to the nuisic. Conirefeiiips Battus. — Beat one leg against tlie other. Demi Coufrcfetnps. — Stand in 2nd Position. Free foot is carried to Closed Raised Position, tlien into an ()])eii one and again tonchcs the su])])orling leg, eitlier back or front or front and back, in Ch)sed Raised Posi- tion, but does iiof reecirc fJic iiciaJif. There is a simi- larity between the Demi Coiif icfoHps and the Brise. 136 111 the former the beatiiii>- is usually added to finish a movement and in the latter the step bei>,ins with the beatinu'. Coiifr(f(iHj)s ciitirr. — 1\. F. in oth Pos. Hop on L. F. and i;lide l\. F. to side and (l('(/a(/r. Then exeeute a (Iciiii Coiilrcfcmps. ENTRECHAT Entrechat is taken from the Italian word ciitrcc- clare, to weave or braid. Literally speakiiiii,' it is a leaping movement, during which the feet are repeatedly crossed and recrossed in midair. It is preceded by a bend which prepares for tlie leap. In the crossing the legs are held straight witli toes pointed downward and l)(;tli feet co-operate in the extension of this move- ment. Entrechat is counted by the number of segments of broken lines, which are called cuts, — Three Cuts, Four Cuts, etc. The number is limited only by the skill of the dancer; however, six cuts arc considered quite sufficient. Entrechats are divided into two sections, the even numbers 2-4-6-8 and the odd mimbers 3-5-7. The former are terminated on both feel and the latter on one foot. The r)tli Position is the most eifectivc in which to make the crosses. Entrechats, the Pirouettes and lir'ise belong in the category of Advanced Techni(pi('. In descrilnng the execution of the Eiil nclial , the words Cross and ('hai/f/c will be used. ('ri>ss means that during tlie h'ap the ICct are crossed consi(h'ral)ly more (still retainiiig their oi-ii;inal ])osition, the same foot front). Chdiif/c means a cliange of liic ichilive 137 position of the feet. To Cross first before making- the Cluuific always gives additional brilliancy to the move- ment. A nu'tliod of practice has been devised which has brought about good results and is as follows : Be seated on a chair with leg's held out straight, feet together. Tie the ankles together with a handkerchief, just loose enough to allow the feet to cross and recross. Then be- gin your practice of Eufrechnts with a gradual in- creased number of crosses as rapidly as possible. A half hour of this practice each day will bring about surprising results. Entrechat in two or (/ (teiix, is a simple Chauge- 7)1 ent de pied. Entrechat a trois (three) ends on one foot, E. F, in 5tli Pos. Spring and Cross, then Change and alight on L. F. with R. F. raised in back. Entrechat a quatrc (four). — Feet open, close, open, close, crossing before and behind during the leap. Entrechat a cinq (five) has three changes. Entre- chat a liuit (eight) has four changes or crosses. BRISE I^rise (bree-zay). Small beatings or a crossing and recrossing of the feet in midair, one foot being more active than the other. In other words one foot really "beats" while the ther makes a slight counter move- ment. In ths respect the Brise is unlike the Entrecltat where both feet are equally active. The Hrise can be finished b_\- alighting on one or both feet. ()ne form of Bi-isr is as follows: l\aise I.. V. in back spi'ing and l)eat \j. F. in back and in front of R. F. (in the air). Aliglit ui)on the L. F. with R. F. still raised. i:^8 PIROUETTE Piroucfir, from pied; the foot, and rourttc; the wheel. A ])c'rt'()rmaiic*e of one or more vt'\-olntions on the toe or hall of one foot. The miml)er of i-evolutions made by some artists is often misleadini;', l)eing i)er formed with such i-apiditv' that it is almost impossilile to count them, and credit is ot't i;'iven for more turns than have actually been made. A Pirouette (I quatie tours (4 turns), when Avell done, is an indication of the liii>iiest ability in dancing'. Perfect Pirouettes depend gTeatly u])on the proper placing of the arms, which .<>ive most of the force neces- sary for the rotation of the body, the remainder com- ing- from the r el eve movement after the pJie. The dancer should be very precise in measuring the dura- tion of his ])irouettes, that they may end with the music. There are many forms of Pirouettes, and nearly all the positions of the free leg may be used, while the active leg executes the tuiii. The ])rincipal Pirouettes are sur le cou-tje-pied (free foot on the ankle of the su])- porting foot), a ta secoude (in 2nd Kaised Pos.) eu At- titude et Arabesque. Furthermore during the Pirou- ette the free leg may also execute ditferent movements, such as Fouefte, Poud de jaruhe, etc. Various combina- tions of movements which are known as Pirouettes Composees may be formed b\' means of vai\\ing the carriage of the nppei' paii of the body and anns b\- changing the occupation of the Tree leg in transit and ])y ending the piroue'tr in dirferent forms. Pirouettes ai-e in '1 classes according to the dii-ection of the turn. 'IMiey are called Pirouette eu Dehors (onlwai-d) and Pirouette eu Pcdaus (inward). The former is tiie most |,(.|)iihM- and is the Iniii 1(.\\ard the side of liie free foot, and the latter is the turn towai'd the suppoi-ting foot. 139 Pirouette snr le con-de-pied (dehors). Start R. F. in 3rd Pos. Rise on Demi Point of L. F. and raise R. F. front on ankle of L. F. (X). Place R. F. in 2nd Pos., and make a Plie in Double 2nd Pos., arms in Left Lat- eral Position (1). Rise again on Demi Point of L. F. and make a quick complete turn toward the right by bringing the arms forcibly across the body toward the right side (2). Place R. F. in back in 3rd Rear Pos. (3). This turn effects a changement of the feet as it starts with R. F. front and ends with it in back. Pirouette a la secoude or Grande Pirouette. Plie on L. F. and raise R. F. to 2nd Raised Pos. (stretched). Turn on Demi Point of L. F. maintaining position of the R. F. Pirouette eii Attitude et Arabesque.— A Grande Pirouette ending in Attitude or Arabesque. Pirouette with Roiid de jambe.— The free foot exe- cutes rond de jambes en Pair while the bodv turns. OLDEST NORMAL SCHOOL OF DANCING IN AMERICA. Professor Charles Newman. Rorn in Wicshadcn. (uM-niany, ISXi; died 1921. Founder of tlie Newman .\,„n,al School of DancinR 1856. Reorganized and Kstalihshcl as a National Instilntin,, in 1890, by .Allirrt W . ,\tu man. 140 MISCELLANEOUS Tcuii)s de Son flic. Strike llie soles of feet to- getlier during a leap (a character step). Tcttips (Jc Tdloiis. Strike heels toilet her in mid- air Tcinps (Ir Volutes. Toe work. Temps dc FIcchc {(irroir). Consists of a DcrcJ- oppe with each leg, but the '2ud Dcrclopj)^ must pass with the swiftness of an arrow in an ni)war(l (light, he- fore the other leg alights which has previously per- formed the tirst movement. Passe la jam be. The passing of the leg from a 4th. Kaised Position (Through 1st Pos.) into the 4th. Rear Raised Pos. Pose. A pose on stiff leg with transfer of weight preceded by a small Dcvclopiu'. Elevc Traccrsr. Toe steps to side. 1\. F. to side, L. F. 3rd Rear Pos. Keep legs together and straight, the action of the stepi)ing to come from the hips. Cossack Step. See Pas Rustique. Polonaise. A stately promenade or (irand March, used at the o|)eiiing of a Hall. Canter or (ifdiop. Imitating the gallop of a horse. Feet together. i>i,uht s])rin,u- on R. V. (X). Come down on !>. I*\ front ( 1 ). JH'pcal indclinitcix'. Trot (t( Clicral (dcf sher-vahl). Same as i'as Rustique. 141 Coquette or Pleasant Court est/. A short plie ^^^tll toe ill 5tli Eear Pos. Galop, is founded on the Chasse. Polka Polienir. R. F. forward (1) L. F. close (X) K. F. forward (2). Raise L. F. front and slide jump forward with force on right heel (X). Slide J urn p. An attempt at jumi)iiig on one or l)oth feet, but the heel only is lifted from the floor and comes down with force. The ball of the foot must re- main on the floor while sliding. Pas tortillr. An inward and outward turning, on the sole or heel of one or both feit. Pas ctHhoile. Steps on the Point rs or Dcnu Poii/tes from the 5th Rear Pos. to the 5tli (front) Pos., one foot passing the other very closely. This is called Pas emhoite en avaut (forward) or dessiis. For the Pas emboife en arriere or (lessons move foot backward. Pas (Ic Course, Running steps. Pas Piisfiqin'. R. F. 5th Pos. P>riiig R. F. to 5th Rear Pos., and make a short snappy hop; raising L. F. front at same time, very close to right leg (knee bent). Then repeat with L. F. This ste]) should be made very crisp. It is also ( aflcd ])y nian>- Fnglish Teachers a Su(l1< Ji Step, Pas h'oitcdii.r (i)as l)wah-to). Lame or limping step. Ilo). on L. F. (X). U. F. in 4th Pos. (1). Slep rorwaid on Jj. F. to 4tli Pos. (wiioh' step) (_M. Pas saiitr. A ho]) ste]). 142 Pas htly shaded. R. F. foiward risiiii;' on ball of foot (1) (1^), 1.. F. forward with a decided l)end of the left knee (."5). l^sually a Synco]iated AValk ])recedes an Arabesque. Ballet in the Opera of Martha, Academy of Music. Albert W. Newman, Ballet Master. 145 INDEX Page A. Abaisse or Abaisser, 36 Abaissement 36 Academie 36 Academie do Daiise, Paris 16 A coin 36 A cote 36 Action 36 Adage 36 A droit 36 Advice to the Begin- ner 1) Advice to Young Teachers 12 Aestlietic Dancing . . 25 A gauclie 36 Ailes de pigeon. . .'.]6, 133 Akim])o 36 A la fin 36 Alle 36, 92 Allegretto 20 Allegro 20 Allemande 36 Allonge or AUonger, 36 Alternatif 37 Angle Aral)es(ine .... 11-4 Aplomb ?)1 Aial)es(iue .'57, 113 Arabasqne llo]) 'I'nni, 121 Arms 33, 71 Page Arm Movements .... 33 Arm Positions 74 Arpegio 20 Arriere 37 Arrondi 37 Assemble 37, 124 Assemble en tonr- nant 123 Assemble soutenus en tournant iKi, 123 A temps 37 A terre 37 Athletic Dancing ... 25 Attitude 37, 111 Avant 37 Avant bras 37 Avant Deux ;j7 Avec 37 A vos place 37 B. Baisser 37 BaUance 24 Balance 37, 98 Ballet 26, 38 Ballet d 'Act ion 38 I>allon 37 Balloniir 37, 98 Balletic 37, 12."), 142 Iwilli ooui I \'inciiig ... 17 Bar ... 51 14G Pago l);ir (ill music) 2- Bas 08 Basque 38 Battre 38 Battu 38 Battemeiit 38 Battemc'iit (Grands), 8G Battenu'iit (Petit) ... 6G Berceau 38, 126 Birth of tlie Dance . . 15 Body Bending ...32, 71 Boiteux 38, 141 Bond 38 Bondir 38 Bound 100 Bourree 38, 130 Bow 38 Bras 38 Bras Bas 38 Brise 38, 137 C. Cabriole 39, Cabriole Turn ....... Canter Carre Cavalier Center I'rnclice Cliaine Cliaine dvs danics . . . Change Cliangenu 11I Changement de I Med, Chanire en Pair 134 123 140 39 y,\) 52 ;>9 39 :59 3.!) 132 39 Page Change Step lOi: Character Dancing .. 17 Character of Move- ment 91 Character Poses .... 79 (Miasse 39, 102 Chasse Knsse 102 Chat 39 Cheval 39, 140 Choregraphy 39 Chute 39 Cinq 39 Ciseaux 39, 133 Ch\ssic Dancing .... 25 (Uassic Polka 103 Closed Positions .... 39 (Mosed Side IJalniice, 94 Coda 40 Col-de-pied 39 Colle 40, 134 Comic Dam iiig ...17, 18 Contredanse 40 Contretemps 40, 135 Coquette Courtesy . . 141 Corps 40 Coryphee 40 Cossack Stei) 140 Cote 40 Cotillon 40 Cou-de-i)i('d 40 C^)up dc talon 40, 132 Coupe 40, 124 ( 'oupr l»cl('\<'' 125 Colli' 40 ( "0111 ante 40 147 Page Courbo 40 Couroime 40 Course 40, 141. Courtesy 40 Croise 40 Cross Passes 41, 68 Cross Pass Tuiii ... 122 Cuisse 41, 135 D. Da capo 41 Dais 41 Dal segno 41 Dame 41 Dance (The) 7 Dancing as a Physical Culture " 8 Dance Poem 25 Danseur 41 Danseuse 41 Deboites 4L Debut 41 De cote 41 Dedans 41 Deer Leap 102 De face 41 Degage or Do- gager 41, 04 Degagenient 41 Dehors 41 Demi 41 Demi chain 42 Demi Charnclei- Danc- inii' 17 Page Demi contretemps, 42, 135 J )emi coupe 125 Demi couronne 42 Demi Pointes 42 Deroule 42, 119 Derriere 42 Descendre 42 Dessous 42 Dessus 42 Detourne 42 Deux 42 Deux temi)s 42 Devant 42 Developpe 42, 89 De voile 42 Different Kinds of Dancing 17 Divertissement . . . 26, 42 Dos-a-Dos 42 Double 42 Double Cross Turn . . 120 Droite 42 Duo 42 E. Ecarte 42, 132 Echappe 42, 132 Ecole 43 Egyptian Turn 118 l^lbow Developments, 81 Ek'vation 59 Elevation 43 Eleve or Elever, 43, 70, 98 Eleve Traverse 140 G. 148 Paiie Pau'e Emboli e 4o, 141 Force 17 Emotion -•! Foreword '> Emotional Expres- Foni'tte 44, 87, 131 sion -1 Fonctte en tonrnant, rjl' En Arriere -!•"> Four Stop AValk En Avant -1"» Turii 119 Encliainement ...4:), i32 Frai)pe 44 Encore -1^3 French Twist i07 En dedans 43 Frotter 44 En dehors -13 En I'aii- 43 Enpassant -1-3 Ell premiere 43 ^j.^^^^^^ -j_^^^ ^_^^ Entier 43 (j.^^^^.i^^, 44 En tonrnant 43 (|.^,.(,tte 44, 10:5 Entrances -8 (jenonx 44: Entre 43 (jii^^ade 44, 95 Entrechat 43, 130 Qjig^^^ 44^ yg Epaulement 43 Q^..^^^,^, 04 E(iniliV)re 43 (}y.^^^^\ 44 Extended Leap ..... 102 Grand Elevation .... 132 Extensions 43, 60 Gi-and jete dessns en toniniil 44, 122 „ Grand Fas dc iJascine en tournant 123 Fairv Tuiii 120 Grands Battemeiil, 44, 8G Fancy Danciii.i;' 25 Grave 44, 93 Former 44 Jl. Finale 44 Fleuret 44 Flexion 44 I lall" open I I<>it 'l^ii 11, 120 Flora 44 llah)pic 143 Follow Step i)5 Hand 3:5 Foiidn 44 Head 32 Foot and tlic KiKM' . . 30 lloj) 44, 98 149 Page I. Interpretative Arm Movements 82 Interpretative Dane- . . iiig -5 Irish Turn 122 Page Measure 22 Method of Practice. . 16 Mime 45 Modified Polka 103 Moorish Turn 121 Moulinet 45 Movement IG Music 19 Jambe 45 Jete 45, 127 Jete turne 45, 122 Jump 100' K. Knee and Foot 30 Lateral 45 La tete 45 Leap 100 Legato 20 Leopard Leap 102 Leve 45, 70 Leve, temps 45 -Lights l>8 N. ^'age 45, 143 Newman, Alljert \\\, 157 Newanan Dances .... 150 Newman Enchain- ments 97 0. Open Hop Turn 120 Open Positions 45 Open Side Balance . . 94 Open Turn 45 Open Turn on One Poot 118 Opposition 35 Ouveit 45 M. -^•'•liii 45 Maitre de Uallcl 45 I\rarche 9;j i\[azurka l;}i Paddle Turn 118 I'antomime 26 Pas 45 I 'as 15alh)ll(' 125, 142 Pas l)oiteaux 141 150 Page Pas riiassi' lOJ Pas Alio l)--2 Pas Balloinu" 98 Pas de Basque 1-8 Pas de Basciue eii touriiaiit 1-') Pas de Boiinee loO Pas de Chat 101 Pas de Cheval 14i' Pas de Couraute .... 141] Pas de Course Ill Pas de deux 15 Pas de Fleurs 112 Pas de Gavotte ... 103 Pas de rii(»lnl)iec .... 113 Pas de Maziiika .... l-'H Pas de Minuet 11"2 Pas de Xage 113 Pas de r*ai tineuis . . 113 Pas de Polka 103 Pas de Quatre 112' Pas de Rigaudoii .... ll.'> Pas de Sissomie 13:] Pas de Soldate 112 Pas de Valse 101 Pas de Zrphire 12.") Pas P:iev(' !».^ Pas Emboitr Hi Pas Glisse Do Pas Grave 9:: Pas MarclK' 1);; Pas Ordinaire 113 Pas Polonaise 132 Pas Russe 112 Pas Pusticjuc HI Page Pas Saute Ill Passe IG Passe la janibc . . .1(5, 110 Passepied 16 Pas scul 16 J^as sur les Ijointes 1(), !)3 Pas Tendu 126 Pas Tombe 113 Pas Tortille Ill Penclie 46 Pendyl 16 Petit 16 Petit Battemenl .... 6C) Pied 16 Pique 16 Pirouette 16, 138 Pirouette en Pair ... 123 Pirouette o n b o t li feet 117 Pitch 100 Pivote (>]• Pivoter, Mi, 118 Pivote Reverse 118 Place -iG PlaiK' l(i, 134 i'lastic Poses 109 Plic or Pli.T M\, 61 Pointes 16, !K!, 110 Point C^ianges . . .1(5, 96 Point ivnisc 97 Polish .Ma/inka 132 Polka 103 Polka Bohenic 141 Polka Ma/uika 131 Polonaise Ki, 110 151 Page Port de Bras, 46, 52, 76, 83, 84 Porte or Porter 46 Pose 46, 140 Positions 54 Positions en Pair . .4, 47 Pousse 47 Practice of Dancing . . 50 Prelude 47 Premiere 47 Presto 20 Promenade 121 Q. Quadrille 18 R. Kaccourci 47 Ramasse 47 Redowa 103 Relaxation 25 Releve 47, 88 Renverse 47, 120 Repose 25 Retombe 47 Retraverse 47 Reverence 47 Reverse 47 Rhythm and Tempo. . 21 Rhythmic Arts 21 Rockini>" Step . . . .47, 12G Romp Turn 121 Ivonde 47 Page Ronds de jambe . .47, 105 Rotary Motion 110 Roulette 47 Roulette Tuin 121 Round Dances 18 Ruer 47 Rules 50 Russian Turn 12l' S. Saute 48, 99, 141 Scenery 28 Scissors Step 48 Scotch Hop Turn ... 122 Serious Dancing .... 17 Shoulder Movements, 80 Shoulders 33 Side Practice •J'-l, 63 Sissonne 133 Slide Jump 141 Snatch Step 141 Soubersaut 48, 133 Soutenu 48 Spin Turn 48, 123 S])in Turn in Ara- besque 48, 124 Spiral Turn 120 Spring 99 Stage Terms 27 vStay Turn 48, 122 Step Point i»5 Step Raise 9(i StrathsiH\v 48, 97 Strathspey Turn 122 152 Page Pago S^villo• Stop Tnni ... 120 Xorso ".i', 4s Syncopated Walk ... 14-1- Toitille 4S, 141 Syncopation -U Tour 48 Tour (le janibe 49 rp Tour tie mains 49 Tour en Pair 49, 12:.^ Talons (Temps de) . . 140 bourne 49 Taper 48 .p^^^^^. ^^^. ^^i.^^.^, 49 Technical Teinis .... r.G Traveling Turns .... 119 Technique 24 traverse 49 Tempo 22 r^^.^^^ ^1^ Cheval 140 Temps 48 ^^^^.j^g IK; Temps Ballonne 99 rp ^^. ^^ ^ ^ ^, ^, ^^-.^j,. Temps de colle PU ^urn 49, 119 Temps de euisse .... 135 Temps de Fleche .... 140 Temps de lange 134 '-'• Temps de Pointes . . . 140 Tp-beat 20 Temps de Poisson . . . 134 Temps de Semelle .. . 140 Temps de Sissonne.. 133 V. Temps de Talons . . . 140 Valse 104 Temps leve 48 Vis-a-vis 49 Tendre 48 Tendu (Pas) 48, 120 Termes de danse ... 48 Terre a terre 48 Walking 92 TOte 48 Waltz 104 Theatrical Dancing. . 17 Waltz Position 18 Thigh Exercises .112, 115 Wrist 33 Three S t e ]) Walk Wrist Exci-cises 80 Turn 4S, 111) Tire Bouchon 123 Tomlx' ()!• Tom I )(■!•, ''' 48, 14;i /('pliire. Pas do . .49, 125 153 JUST A FEW TESTIMONIALS J.S.Bowman Thomas McDougall Mrs R.E. Jacques R E. Jacques Mrs Ruth Fairgrieve Harriet Pittsburg!) ^ocictp for tlje SmprobemEnt of JBancing CRAJG AND FORBES STREETS H. M. ROBB J V.NCENT SEXTON PITTSBURGH. PA. William Beuchler W B. Vausmt August 1, 1922. Mr. Albert \'l. Newman, Fuller Building, Philadelphia, Pa., Dear Sir:- The members of our Society will never get through talking about our first Annual Normal School of which you were principal, and I can never express in words how grateful I am that I was able to procure your services. The Class v/as composed of teachers who have taken work in almost every Normal School in our country, but they join with me in saying, your Ballet Technique and Dances are the most finished they have ever had. We are hoping to have you with us again next year. Yours very truly. President. 154 ]\lKrn()POT.iTAX Oi'KitA IIorsK. . (\)iii!,iatiilali()iis upon the great success of your "Aida Ballets," they were most beautiful exhiliitions of the Alt. Si KGKUI Kl) BeHRKNS, Local Maiicifjer. iMKTROrOLTTAX OpERA HoUSE. 1 liave staged many Operas in Fairoix' as well as in America, but 1 have never seen anything to ec^ual your exquisite conception of Grand Opera Ballets. William Parry, Stage Manager. Chestnut Street Theatre. I can without flatter}^ say that the general effect of your dance in "Sweet Kitty Belaires" was superior to the original one at the Belasco Theatre, New York. Percy Winter, Stage Manager. B. F. Keith Theatre. Upon your return from l\raine, please see me re- garding i)utting on something during the winter. Harry Jordan. The Orpheum Playkrs, Park Theatre. After producing many dances myself, I honestly say that the "Minuet" you created far the most jirtis- tic effort 1 have ever seen. Harry McRae Webster, Stage Manager. I'll II.ADKM'IIIA Oi-KIIATIC SoCIETY. Ill presenting llic lii st Amateur fwnh'l llial e\'''r a|)i)eai'(allet. An artist like you, I am sure, will be able to work this out in an hour or so, Wassili Leps, Cotiductor, Willoic drove, Pa. Twentieth Century Club Gymnasium, Buffalo, X. Y. I enjoyed my work so much with you that 1 am sorry not to have been able to have more, i do wish more people had the chance to avail themselves of your instruction. It is a joy in itself, not to speak of the beauty of your Dance Compositions and the honor of doing- them under your instruct i(ni. IIkrta a. Toedpen, Teacher of Dancinf/. Tmperlvt^ Society of Dance Teachers, England, Albert \V, Newman's qualifications as a teacher of dancing has been proved by the Executive Council of the Imix'iial Society of England. Cecil Taylor, Pres., Chas. d'Alp.ert. Srr'i/, Loiidoii. 157 ALBERT W. NEWMAN Principal of the Normal School of the l^ittsburgh Association for the Improvement of Dancing. Originator and Deviser of the Newman Dancing. Master of Dancing of Philadalphia's 400. Ballet Master of the Newman Ballet. Pioneer of the Modern Dance in Philadelphia. Director of the Ne^^^nan Normal School of Danc- ing. Organize]' of the First Amateur Grand Opera Bal- let in the AVorld. ]\Iember of the Imperial Societ}' of Dancing Mas- ters, London. Member Academic de Danse, Paris, France. Dance Director of the Pageant Society of America. Professor of Classical Dancing, Ogontz School. Director of Dancing and Rhythmic Expression, Philadelphia Institute of Music and Allied Arts. Ballet Master of Grand Operas, Academy of Music. Dance Director of Wm. Penn High School. Composer of over 1800 Classic Dances and Ballets. Ballet Master, Philadelphia Operatic Society. Composer of the Pantomimes and Fairy Plays, "Dances of the Pyrenees," "Legend of the Golden Key," "Treasureland," ''Birth ot the Magic Doll," etc. Author of "Newman Catechism on Classical Danc- ing," "Dances of Today," "Practical Instructor of the Art of Dancing," "Newman Dance Phrases," "Newman Art of Toe Dancinu-, " "Newman Album of Classical Dances," "NcAvman Method of Nature Danc- ing." Instructor of more than 850 teachers. 158 Dance Director oi' T.ocal Theaters for more than twenty-five years. Master of Cerenioiiios of the Annual Charily Balls, Academy of Music. Composer of Special Dances for the May Day P'estivals at Bryn Mawr 'College, Ogontz School, Swarthmore College, AValnut Lane School, etc., and the May Day Exercises of Public Schools and Playgrounds. Dance Director of the Annual Charity Functions at the Bellevue-Stratford, such as Fads and I'ancies, Fashionable Follies, etc. Dance Director of the Poor l-Jichard Annual lian- quets. Formerl\' Dance Director oi' Princeton College, Neff College of Oratory, Temple University, Herr- mann's Physical Training School, Mt. Vernon Tnsti- lute, etc. Director of the Pageant of Nations, Lai ham Park. Mr. Albert W. Newman was appointed by the (^ity Authorities as the Official Dance Director of the Pag- eant at Fairmount Park, also at Franklin Field during Founders Week, and the Pageant at Doylestown. 159 NEWMAN DANCES All exceptional collection of Ilighly Artistic Dances, created by Albert W. Newman, Ballet Master, Philadelphia, carefully selected from a repertoire of more than 1800 Dances. Each and every Dance has been successfully per- formed and has found g-reat favor with large audiences. The Dances appear in a form most convenient for teaching purposes, with explicit descriptions, and com- prehensive diagrams and drawings of each step, pose and movement, readily understood by even those of very little dance experience, and especially adapted for School, Kindergarten, Playground and Exhibition Dis- pla}' AN'^ork. All the dances are solos, except those marked (G), w^hich are group dances. Interpretative, Greek and Oriental Dances. Summer Idilio (Lack), Butterfly Dance (Chopin), Autumn Enchantment (Smith), AFeditation (Herbert), Pipes of Pan (Schubert), By the Mill Stream (Smith), Serenata (Moszkowski), Humoresque (Dvorak), xVnitra's Dance (Grieg), Shepherd and Titania (Duo), (Newman), Caprice Viennois (Kreisler), Satyrn and Nixie (Jewels of the Madonna), Autumn Memoirs (Smith), Pastoral (TTeckscher), Bacchanal (Glazou- now), Greek Maid Playing Ball (Schubert), Romance (Tschaikowsky), Natoma (Herbert), Spring Song (Mendelssohn), Her First Ball (Berger), The Storm (G) (Gounod), Beautiful Blue Danube (Strauss), An Indian Idyll (Sawyer), Sacred Incense Dance (Ban- tock). Charge of the Amazons (Schubert), Orpheus and Terpsichore (Schu])ert), Egy])tiaii Snake Dance (Adams), The Hunt, The Swan ((iounod), AFaturity 160 and \'(»iitli, Oaiise d'Aiiiour, Daiisi^ dii Printemps (G), Maid of Allu'Ms ({!), i)aiur of 1I10 Trojan AFaideiis ((J), Amiiia ( Hnyplian ), Moorish C'ymbal Dance, Per- sian Dance, Dance of the "Woodnymphs, Pas de Oon- (juest. Prehistoric Dance, Grecian \r\\ Dance, Pl^yP- liaii Seaif Dance, Xantch Dance, Barcarole (Tales from TToffman), Bid nie Discourse (Vocal Dance), Dance Thinois (Tschaikowsky), (*npid and the Dove, I'avlowa-davotte (Duo), i*olka \'iolette (Duo), Flirta- tion Waltz, etc. Classic and ^Esthetic Dances. The Caress, Intermezzo No. 2, In a Canoe, Hide and Seek, Dream Waltz (Exhibition Duo), Pizzicato, Liebesfreud, Powder Puff Dance, Valse Entrancini>', That Xaui>'hty Waltz, Sparklets, Innocence, lns])ii'a- tion, Intermezzo, Danse Classiciue, Valse Impromptu, Arietta, La Grace, Polka Caprice, Wisteria, Amusette, Tanzonetta, Merriment, Valse Noble, Kainbow Dance, Awakenino' of Sprinii,-, (Miase of the Butterfly, Danse Gracieuse, Valse Poetique, In Koseland, Novellettc, Light Fantastic, American Beaut\- Waltz, Cui)i(rs Garden, May Breezes, Grace and Elegance, Pas de Zephire, Love "Waltz, Arabesque, Joys of Youth, Sim- plicity, Polkji i>rilliant, Danse Joyeuse, In Nature's Garden, Gaiety Dance, Valse Paiisicnnc, Danse au clair de lune, In the Po])i)yfield, Par Ci Par La, etc. ( ^ii.\i;a('I'Ki;isii(' 1).\.\ci:s. La Paitincur (Skating), Englisli Munting Dance (a la Genee), Polish Flirtation Dance (Trio), Polka \'iol('tt(' (Duo), DaiKc of llic Swoidsman, V\H' IIoo]) |)aiic(' ((i), IjMsso Dance (('owhoy), Cui)id and the Dove, Danse Militaire, Milkmaid Dance (G), Flag- ])ance, Stars and Striprs, Housemaid and Chevalier 161 (Duo), Dance of the Automatic Doll, Pierrot and Pier- rette, Fairy Dance, Dance of the Brownies (G), Pa- jama Dance (G), Old Maid's Dance, American Jockey Dance (G), Bow and Arrow, Skirt Dance, Society AValtz Clos", A\'hip Dance, Buck and Wing, Eccentric Dances, Cake Walk (G), Skipi:)ing Kope Dance, Scenes of Childhood (Duo), Quaker Dance (G), Last Rose of Summer, Soft Shoe Dance, Dance of the Waiters (G), Chinese Grotesque Dance, Fan Dance, etc. National Dances. Hungarian Czardas, Russian Cossack Dances, Spanish Bull Fighter's Dance, Gavotte Migiion (French), Dutch Wooden Shoe Dances, Xagasackie (Japanese), Highland Flings, Scotch Sword Dances, Irish Lilt (Duo), Alpine Dances, Tarantellas, Boleros, Hornpipes, Polish Dances, American Indian Dances, Egj^ptian Scarf Dances, Irish Jigs, Clog Hornpipes, Minuets, Gavottes, Medley of National Dances, Jota Aragonesa (G), Tyrolienne, Beethoven Minuet (Duo), Moriis Dances, Krakovienne, Swedish Dances, etc. Toe Dances. Scepter de la Rose, Paderewski's Minuet, Schelm Amor, Goody Two Shoes, Le Secret, Stars antl Stripes Forever, Skipping Rope Dance, Eccentric Dance, Toe Jazz No. 1, No. 2, No. 8, Shepherd and Titania, Dance of Peace (Solo and Group), Dying Swan (Saint- Saens), Faust P>allet (Solo), Sylvia Ballet (Solo), La (Jiaconda Ballet (Solo), Pizzicato (Delibes), Elfen Tanz (lierhert), \'a]iity (Mirror Solo, with 4 Pages), Innocence, Loin de Bal, Valse Caprice, Naila Ballet (Solo), invitation to the Dance (Weber), Duo Extra- ordinaire, In Fairy Realms, etc. 1G2 Newman Playgrox^xd Dances. Liberty Polka, Siiowflakes, ^lilitary Gavotte, Polish Skating Daiiee, Irish Lilt, Scotch Lassie Dance, ]\Iay Pole Dances, Danse des Syli)hi(les, Morris Dar.ce, Xe^^^Ilan Minuet, Dream Waltz, Bolero, Baden Baden, Italian Folk Dance, Enij,lish lireakfast Dance, High- land Folk Dance, ]\Iarch of the Vivandieres, BoiKjuet Polka, Weaver's Dance, Pas de Styrian. Ballets. Aida, Faust (Brocken Scene), Martha, Les Hugue- nots, Ballet of the Shepherds, Kainbow Ballet, Jap- anese Court Ballet, Coppelia, Xaila, Homage to Tita- nia, Ballet of the Pyrenees, Vintage Ballet, Fete of the Roses, Bohemian Girl, Cavalleria Bnsticana (In- terpolated), Fete of Seville, Coronation Festival Bal- let, Grand Ballet of the White Rose, Gipsy Ballet, Car- men, W^illiam Tell, The Birth of Peace (5 Dancers and Toe Soloist), etc. Triumphale Group Dances. Festal Divertissement (.')2 Couples), I\'oyal I'oio- naise (32 Couples), Colonial j\linuet (32 Couples), Shepherd's Dance (13 Couples), Asiatic Sun Dance (20 Ladies), Danse du Printemi)s (10 Ladies), French Folly Dance (8 Couples), Court ^liimet (IG Couples), French Court Dance (with Swords and Canes — 8 C^ouples), Bolero (IG Couples), Sequidilla (8 Couples), Jota xVragonesa (16 Ladies), Group Dances in Plays. TJir FoJloKiiifi Xiinihcrs Hare /hcii Danced !>i/ Pro/('ssio)ial Com ixuiics : K(mie() and Juliet, As ^'ou Like ll, M idsuiiiiiici-'s JS'ight Dream, l^osc <»f the IJaiiclu), I'alace of 163 the King, Sweet Kitty Belaires, School for Scandal, Under Southern Skies, Milk White Flag (all the Specialties), Don Juan, Madame Sans Gene Killar- ney, A Contented AVoman, Rosedale, The Proud Prince, The Christian, Lottery of Love, Twelfth Night, Mother Goose, Nutmeg Match, Moth and the Flame, Two Or- phans, etc. Dance Literature NEWMAN DANCE PHRASES iENCHA INEMENTS) THE KEY TO DANCE COMPOSITION OR DANCE CREATION MADE EASY. Contains hundreds of Ijtrautii'ul Dance Com- binations arranged to ever}- rh}thm. Specially adapted for Class Instruction, mak- ing it suitable for School, College, and Play- ground W ork. It opens a new field for training in Dance Composition, which makes the study of Danc- ing more Intelligent and more Comprehensive. Absclutoly Indispensable to Student and Teacher. The phrases are progressively arranged in the form of 20 lessons. Teaches You How to Compose Your Own Dances. JUST THINK OF IT! If you wish to compose a dance, select a few- phrases, join them together, and you have a new dance. This book is endorsed by the lead- ing teachers in the profession ; furthermore, they consider it to be A VALUABLE ADDITION TO DANCE LITERATURE. It also contains a description ^A the Hcautitul Interpretative Dance, "AUTU^IX EXCIIAXTM I'.XT." Price Complete, $2.00. Send for the Catalogue of Newman Dances. NEWMAN DANCE PUBLISHING CO. PHILADELPHIA. PA. IIIIIIIIMHIIIIIItlltllllllMIIIIIIIIIIIMItMi Newman Album of Classical Dances 14 Beautiful Dances With the Music. This is the first book of its kind offered. It comprises an interesting and instructive col- lection of Classical Dances described in a i)lain and comprehensive manner, which is readily understood by even those of very little dance experience. Foot Drawings and Diagrams of All the Fig- ures, and Illustrations of All the Movements. The Dances are arranged in the form of Solos, Group Dances and Ballets, making them par- ticularly attractive for Class Work. I'urthermore, they have been carefully chosen from a re])ertoire of bSOO dances and have been introduced to pleased audiences l)efore they were selected for this Album. THE MUSIC IS BY NOTED COMPOSERS AND IS WORTH MORE THAN Tl 1 1-: ACTUAL PRICI-: OE TIH'. I ',()() K. This Mammoth collection is offered. l)eauti- fully bound. Price, $3.00. Send for the Catalogue of Newman Dances. NEWMAN DANCE PUBLISHING CO. PHILADELPHIA. PA. NEWMAN ART OF TOE DANCING Published by personal request of many promi- nent Teachers and the Newman Students in general. AN INSTRUCTOR IN TOE DANCING. Fully Illustrated. It contains a series of progressive exercises that will streng-then the ankles and toes. Original Studies that will produce a perfect arch and absolute correct placement. DAILY ROUTINE OF WORK FOR THE TOE DANCER. Students have been known to acquire the art of getting on the extreme points in 6 lessons by following carefully the directions in this book. IT IS THE ONLY BOOK OF THE KIND PUBLISHED AND IS WORTH A HUN- DRED TIMES MORE THAN ITS AC- TUAL PRICE. The Newman Students have been personally congratulated for their correct placement, by such eminent artists as Fokine, Genee, Pav- lowa, etc. It also contains a description of two attractive Toe Dances, "THE SECRET" and "THE CLASSIC VALSE." Price, $3.00. Send for the Catalogue of Newman Dances. NEWMAN DANCE PUBLISHING CO. PHILADELPHIA. PA. NEWMAN DANCES OF TODAY This book iiKiy be dcpciulcd vipon as an al)so- hitc authority on Modern Society Dancing. CONTAINS MORE THAN ::. ILLLSTRA- TIONS. F.vrrv step is described by an up-to-date nu'thcid of (Hag-rams, showing exactly how the feet should move. The most stupid can learn all the latest dances in a short time l)y following" the direc- tions carefully. 0\'ER 2o,inn) COIMI'-S SOLD. Price, $1.00. NKWMAN SYSTEM OF NATURE DANCING A l)ook containin,!^' tlu' nulinionts or fundanu'iitals ot Nature Dancing, often referred to as Interpretative Dancing or Dance Poems. Tlien attain it is known as Greek or Hellenic Dancing. Tliis form of Dancing is based upon the natural movements of man. which take in Posing, Walking, Running, Romping, Leaping, Idying. etc. Xature Dancing differs materially from most styles of dancing in the respect tliat every movement, every step has a significance or meaning, it is devoid of anything that is artificial in other words ; complete stories are told in the Terpsichorean Langiaage. This books also contains a description of tlie Inter- ])retative Dance, "BY THE MILL STREAM." Price, $2.00. Send for the Catalogue of Newman Dances. NEWMAN DANCE PUBLISHING CO. PHILADELPHIA. PA. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. ^ L 006 346 964 1 UC SOUTHERN REGIONAL LIBRARY FACILIP AA 001 170 104 2