THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE CHALIF TEXT BOOK OF DANCING BOOK V TOE DANCING By the same Author THE CHALIF TEXT BOOK OF DANCING Books I, II, III, and IV MUSIC FOR EXERCISES IN DANCING Six volumes, supplementary to the Chalif Text Books MUSIC FOR TOE AND ADVANCED EXERCISES Supplementary to the volume A book on RUSSIAN FESTIVALS AND COSTUMES 500 DANCES Published Separately A mail order catalogue giving detailed descriptions of the above works will be sent on request. Brief descriptions of the same may be found at the back of this volume. THE CHALIF TEXT BOOK OF DANCING BOOK V TOE DANCING % LOUIS H. CHALIF Principal of the Chalif Russian Normal School of Dancing, New York, N. Y. "DANCE— TO LIVE" Let dancing ever be pure beauty — so shall it best interpret the aspirations of our soul. And let it be studied with all the ardor and the science worthy of so great an art. Published and for sale by the author 163 WEST 57th STREET NEW YORK Copyright, 1984 By LOUIS H. CHALIF (JIa) TO MY FRIENDS, THE TEACHERS OF DANCING, I DEDICATE THIS VOLUME 1 631 S:^?0 PREFACE In presenting this volume to the favor of the teaching and dancing profession we do not claim to cover the whole field of toe dancing, nor to say that if one merely practice all the exercises of this book one will become a beautiful toe dancer. Such a limited student would certainly not, for the beautiful toe dancer must be a beau- tiful dancer as well, and in good dancing every part of the body is included. There is not room between the front and back covers of one book to tell all that is known about teaching how to dance beautifully. That would require at least one hundred volumes. The present work deals mostly with the legs; nor does it tell all about their technique either, for the toe dancer is expected to do many "stunts" with the legs, as well as the more natural move- ments of hopping and leaping, and none of those are included here. All that we claim to teach thru the following exercises is how to strengthen the toes so that they can carry the weight of the whole body, without giving way under the strain, and how to walk and stand correctly on the points. This would seem at first glance a stupendous ac- complishment, yet strange to say it is one of the 7 THE CHALIF TEXT BOOK OF DANCING easiest things to teach, provided the pupil has naturally strong and suitably shaped feet for the work. We say easy to teach because the methods of teaching have been so well worked out by the masters of the past that all one has to do is to practice the exercises laid down, following the rules of correct execution, and presently one will be able to walk on the points with ease. The art is easy too, because the ways of using the feet and legs have become so standardized that every- one knows just what to try for, which quickens and assures progress. When one wanders into the more elusive and indefinite field of teaching arm and body movement, grace and expression, there is a different story to tell. Here one must use imagination and originality, for he is dealing with more human and diverse material. Teach- ing in this field can never become standardized because each pupil should in the end become a dif- ferent product, a different personality, expressing itself uniquely, while in toe dancing all must be alike so far as the work of the legs goes. The dancers should be different otherwise, tho, for as we have said, a toe dancer must be an artist of the whole body, and not simply march in step. So the teacher who can impart grace and draw out personality, while training the legs in stand- ardized movements, is the teacher who can pro- duce the most excellent all-around toe dancers. PREFACE He must have tremendous skill at teaching to put his pupils thru the necessary hours of mechanical technique without killing their creative souls. All the success of the toe dancer does not be- long to the teacher, however. The pupil herself must have great patience and perseverance to go thru the arduous training required. There is no royal road to toe dancing; all the talent in the world is worth nothing without the will to work. But wonders can be accomplished even by those not naturally strong if only they have this will to work. We are aware that we have repeated ourselves many times in this volume, yet have not said any- thing nearly so often as the teacher will have to say it to keep his pupils up to the mark that brings results. If we repeated as often as the teacher must repeat, a whole volume would be, "Turn out your toes, turn out your toes, please turn out your toes !" Altho this is a book chiefly about the legs, we have tried our utmost thru the intro- ductory chapters to inculcate the idea that toe dancing should not be nothing but legs ; we have tried to arouse the wish to have graceful, expres- sive toe dancing, even tho we have not the space in this volume for exercises to develop these qualities. We have illustrated with photographs rather than with drawings because we wish to show the THE CHALIF TEXT BOOK OF DANCING exercises as they can be done by a human being, even tho they may lack the absolute accuracy and extreme positions that would be possible to the artist with his pen. By using photographs we keep to our ideals of dancing, as we wish dancing to be human rather than mechanically perfect. In conclusion we wish to express our sincere appreciation and thanks to Miss Elizabeth Gil- fillan and Professor S. Columb GilFillan for the scholarly help they have given me in the prepara- tion of this book; to Miss Verna Watson, Chalif graduate, for so ably posing for pictures of the exercises ; to Mr. Gerecke, for the excellent pho- tographs of Miss Watson, and to my pupils for permitting me to use their photographs. LOUIS H. CHALIF. New York, May i, 1924. 10 DANCING AND TOE DANCING The beautiful art of dancing has the power of conferring almost infinite pleasure upon those of us who are its devotees. It brings us health and happiness, but most of all it enables us to express, in the most vital way possible, whatever artistic feeling we may have. Vital indeed, for is not dancing the one art in which the artist uses his own body and no other medium with which to ex- press himself? What could be nearer to the artist than his own body ? It is most interesting to note how all of the other arts contribute their loveliness to the dancer. Music lends its cadence to guide her feet, Sculp- ture suggests a changing maze of varying atti- tudes, Painting robes her in a costume of gor- geous hues, Poetry suggests beautiful themes for her dances, and Drama shows her how to act them. Verily we believe that Apollo must have favored Terpsichore, his Muse of Dancing, above all the other muses in his train, for she was en- dowed with all their gifts in herself. No art has more to offer in the way of variety of pictures for the eye, or of ideas to express, than has dancing. For themes it has the whole world of Nature herself to draw from, from the 11 THE CHALIF TEXT BOOK OF DANCING Stars to the tiniest blade of grass: and dancing has the emotions and aspirations of man himself, his love, religion, joy, grief, humor, satire, the experience of man thru the centuries of history and changing stages of his civilization, and the characteristic personalities and habits of the dif- ferent nationalities of past and present days, all of whom have invented dances that express them- selves : so much does Dancing know of work and play. Like other arts, it tells the truth about the world as man knows it. Finally for still further themes man uses his own imagination, by which he transcends reality in creating characters that do not exist, as nymphs and fauns, dryads, Pier- rot, Columbine, Harlequin, and so on. Or he personifies in a dancing figure the seasons, winds, waves, an ideal or an emotion. And so we have many kinds of dancing, and the future will un- doubtedly bring more, drawn from these limitless sources. Perhaps none of us can feel, or be in complete sympathy with all the forms that dancing takes, and we can express well only what we understand well. Whenever we dance we express two things — the idea that we are impersonating, plus our- selves (our own character), that is, we portray the idea as it looks to us. Those of us who are called versatile can understand and feel a variety of types of dancing, each of which finds response 12 DANCING AND TOE DANCING in one part of our nature. In Greek dancing we can perhaps best express our most exalted, noble, beautiful feelings, the highest part of our nature, the god within us, and we dance as if on the clouds of Olympus. In National dancing we come down to Mother Earth, to become mere mortals, chil- dren of the soil, with a healthy enjoyment of the simple pleasures of the moment, delighting in feats of rugged strength, conscious of an ad- miring audience. If we are able to appreciate and segregate the differences in the characters of the different nations as revealed in the music and steps, we can transplant ourselves to the va- rious countries and have our dancing suffused by the air of each land. In Character dancing, that part of our nature is uppermost which re- sponds to the character impersonated. If this be a coquette, then all our flirtatious instincts come to the fore; if it be an amusing character, then our sense of comedy holds sway ; if it be a gipsy, then our blood turns to fire in our veins, as if the savage yet surviving in us were to take posses- sion. When, as a toe dancer, we dance on the very tips with delicate little steps, all our love of lightness and exquisite refinement of move- ment is the ruling force. The same part of our mind that appreciates fine lace, china, and minia- tures, enjoys the delicacies of toe dancing. All that we have so far written has been with 13 THE CHALIF TEXT BOOK OF DANCING one object in mind — to show the tiny little place of toe dancing in the great world of dancing. TOE DANCING There is much discussion and divided feeling at the present time for and against toe dancing. Its enemies say that since it is not a child of nature it is beyond the pale, while its friends say that thru it they triumph over the laws of nature, thereby showing the superiority of man and art to nature. Another reason for its popularity is that it portrays the cute and dainty, which many people regard as the essence of femininity (just as the ingenue in the play receives all of the adoration of some, who pass by without notice the more virile characters). Again tradition makes many dancers cling to toe dancing, which was for so many years considered the highest form of the art. But the chief reason for its existence re- mains its difficulty of accomplishment. The dancer likes the satisfaction of overcoming ob- stacles, and it is a common human weakness in both dancer and spectator to place virtuosity on a higher pedestal than it deserves. A spectator of Greek or National dancing might say to him- self, "I could do that if I tried," but he would never say it of the toe dancer. Her he regards as a superior being, because she can do something he could not. A spectator may burst his gloves with 14 DANCING AND TOE DANCING applauding when he sees i6 turns in succession or a leap so high as to seemingly overcome the law of gravity. Let him enjoy himself thus if he wants to ; we are glad to see anyone happy for any reason ; but we could wish that he had a truer appreciation of dancing, which would give him the greater joy of esthetic pleasure. Dancing holds such infinite possibilities of giving pleasure that it is not dependent at all upon virtuosity. When we enjoy toe dancing, if we do enjoy it, let it be for many other reasons than its difficulty. We do enjoy it (the secret is out) if it is superbly done, with perfect ease and grace. But it is not our favorite style of dancing. How can one who believes in freedom, you may ask, and whose god is Nature ever enjoy seeing Nature perverted? We shall try to explain the dis- crepancy in this wise : The toe dancer is a man- made product, to be sure, but we like to think that she grew out of the human desire to create some- thing most exquisitely delicate, someone so light and airy that she need scarcely touch the ground. Naturally when the composer made her so light he had to poise her lightly, and this he did by raising her from the ground higher and higher, until at last only the very tips of her toes touched the floor. Then he dressed her all in frilly tarla- tan to make her look like thistledown, which was the lightest thing he knew, and called her a sprite 15 THE CHALIP TEXT BOOK OF DANCING or a fairy. Then, his imagination running riot, he had her run about on the points of her toes (only she preferred to dance). So there was his fantasy complete — his airy little sprite who danced on her toes, because it was her nature to do so. Thus he justified himself with Nature by allowing the sprite to follow her own nature in dancing on her toes. This is the true story of the birth of the toe dancer, and she is just as real herself as any of the other fairies and elves of our art, or the nymphs and fauns of ancient Greece, or the witches who ride brooms, or Cupid or Psyche. In our opinion toe dancing appears at its best in this character of a sprite, and in the tarlatan ballet costume which was invented for it orig- inally, or in a light and frivolous personage of the imagination like Columbine. But when one who is supposedly a real person in the costume of a human being dances on the points, it seems an unnatural note; and when the Greek costume, with its natural simplicity and restrained philoso- phy is worn, it seems inexcusable. We do not like these mixtures. A natural dance should have a natural costume, and an artificial dance an arti- ficial costume. We had as lief see Juno don a ballet dress as see a toe dancer in Juno's costume. Yet would we like to see more of nature in toe dancing itself than is usually found there. We 16 DANCING AND TOB DANCING would have more of the dancer's own personality, and more freedom in the use of the arms and upper half of the body. In the use of the legs we would not wish any change from the time- honored standards, except for confining extreme turning out of the legs to exercises only, and for bringing a plastic rather than a wooden strength to the legs. The artificial perfection and accuracy of the footwork must go hand in hand with the artificiality of walking on the points. When too much naturalness is brought to the footwork, the effect is not pleasant ; in fact there is then no defi- nite effect; the dancer does not appear either a sprite or a real person. So toe dancing may be regarded in the main as a finished art. The word finished or standard- ized is a fateful word that may sound the death knell of any art. Where there is not room for much growth, there may be death. But since toe dancing is so popular today let us enjoy its un- deniable witchery and charm, and bring to its study a love of its daintiness and a joyous appre- ciation of its perfected art. THE IDEAL TOE DANCER She is more than a mere adorable performer of difficult tricks. She has another quality higher than either cuteness or virtuosity, that lifts her dancing into the realm of the ideal— a quality 17 THE CHALIF TEXT BOOK OF DANCING that elevates all true art — spirituality. This it is that makes our ideal toe dancer seem not of this earth, but an airy, disembodied sprite or an in- carnation of joy itself. Those swift twinkling feet and those fairy-like flights do not belong to this every-day world of ours. We look into an- other and enchanted world when we see her dance, a world where such facts as physical bodies and floors to dance upon do not exist. Our dancing sprite spurns the ground, she dances in the trem- bling air above it, her body having no weight at all, being made entirely of foam and dew. No wonder she can play at will with those twinkling steps and fairy leaps that we mere mortals find so difficult. PAVLOV/A We realize that in praising the ideal toe dancer we have been praising Pavlowa on her toes, as who would not. How could one think of a dis- embodied sprite without thinking of Pavlowa, that "spirit of fire and dew." Pavlowa has glori- fied toe dancing, has shown what it can be, has brought to it all the virtues of all kinds of danc- ing, and of pantomime too. In her we see the paradox of a combination of the naturalness of the new school, which is a return to nature, with the fineness of that cultivated, aristocratic danc- ing which is the classical school. The three out- 18 DANCING AND TOE DANCING standing qualities that make Pavlowa justly called the "incomparable" are: the plasticity of her entire body, the majesty of her movements, and the spirituality that envelops all and makes her seem more than human. In the pantomime which accompanies her dancing step by step there is no mood, from the burning fire of the gipsy to the tragedy of the dying swan or the quietness of the dreaming lily, that she cannot feel and ex- press. She can vibrate to all the joy in the world, yet is never so exquisite as in her melancholy mood. Her pantomime is vital and compelling because it is always exprest by her body as a whole — not only in her face, but in every inch of her, from the tips of her toes to the last hair of her head — so that even those of her worshipers whose purse will not permit them a front seat, can yet read her thoughts plainly from their high place in the gallery, for her meaning shines out large in the lines of her whole body. It is because her expressiveness and beauty of imagination have a depth that cannot be fathomed, that one can see her a thousand times, and never reach the end of enjoyment of her; and that those who have for years heard her praises sung are not only not disappointed when they finally see her, but find her more wonderful than anything they had been able to imagine. We have only one regret in thinking of Pavlowa — that the generations yet 19 THE CHALIF TEXT BOOK OF DANCING unborn will not see her, the greatest dancer the world has ever seen. Remember, dear reader, that all this praise of expression, personality, beauty and intelligence (which yet does not express all that we feel*) goes to one who is at the same time doing the difficult and unnatural "stunt" of walking on the toes — a fact which adds to the wonder of it all. She seems not to be aware of the difficulties she is each moment overcoming, but only plays with hard parts, making them add to her general ex- pressiveness. Her personality and intelligence shine right thru these difficulties, as if they were not there at all. She is not hampered in the least by walking on the points ; it would seem as if she were born to walk thus. We the initiated in dancing, know however that her marvelous ease and fairy-like lightness did not come naturally or unsought. They are the result of having legs trained to be strong and pliable as fine steel, and a mind trained intelligent- ly to know beauty and lightness. So, dear reader, if you wish to dance like Pavlowa, put on your pink ballet slippers and go to the bar to strengthen your toes. You can never be another Pavlowa (and should not try to, for imitation is base), but *We do not feel that in the above we have done by any means complete justice to Pavlowa, for since this is a book on toe dancing only, we have not spoken of her marvelous interpretation of other styles of dancing, in 80 many of which she — the artist — excels. 20 DANCING AND TOE DANCING you may rise very high in the art of toe dancing if you work as hard as she does for strength and perfection, and open your mind to the great pos- sibiHties of self-expression thru toe dancing that Pavlowa has revealed. 21 TECHNIQUE Technique is nothing in itself: it is only the means to an end, and the best end is expression. There is a vast difference between the dancing of those who regard technique as an end, and those who regard it as a means. The former seem to be doing exercises before an audience, while the latter seem to be really dancing. There is as much difference between them as between the dry pianola and the interesting human pianist. Par- ticularly in toe dancing the artist must guard against losing herself in technique. Here she has so many physical difficulties to overcome that she tends to put all her thought and effort in this direction. It is the teacher's part to keep the real goal of expression before his pupil, and the surest and easiest way — in fact the only way to keep it before her — is to sincerely believe in the goal himself, for pupils always sense the teacher's thought. Freedom is the most immediate aim of tech- nique, while expression is its final aim. How can the dancer express her soul thru her body if she does not have the free use of her body? All of the good qualities of technique are included in the one quality freedom, just as so many of the vir- 22 TECHNIQUE tues of human character are included in the great virtue love. For example, how can the dancer be free to move her body about from place to place easily, or hurl it into the air and seem to hang there, as in leaping, unless she be strong? If she cannot leap and hop high it shows that her mus- cular tone is weak. How can she be free to hold her body motionless for as long as she desires or to start or stop its impetus at will unless she has aplomb f How can she be free to bend and twist her body into any shape desired, if she be not supple f How can she be free to move with the slowness of a deep river unless she have com- plete control? Or how with the rapidity of lightning, unless she have dexterity? And how can she present pleasing pictures if she have not free control of the lines of her whole body ? Thus we see the great necessity of freeing the dancer so far as possible from the physical limitations of the body — to make this merely a perfect instru- ment with which to fulfill the commands of the spirit. To forget the body amid the physical difficulties of walking on the points is a great achievement. How to have perfect freedom while walking on stilts — this is the problem of the toe dancer. Aplomb is a favorite word among dancers — a much sought after quality that confers distinction upon its possessor, separating her from her more 23 THE CHALIF TEXT BOOK OF DANCING ''sloppy" associates. The dancer who has aplomb shines out among his fellows like a first-magni- tude star. Aplomb includes a number of the vir- tues of dancing, chief among them being poise, which is a perfect control of the weight of the body at each moment, whether the dancer be standing still or moving. With perfect poise the dancer can stand on one foot as long as she wants to, or transfer the weight quickly from one foot to the other, enabling her to move lightly and easily, and to turn without getting dizzy. Bal- ancing on one foot or one point is a ''stunt" that always takes with an audience, and finds favor with us too, for this "stunt" is beautiful as well as difficult. Poise is cultivated by practicing bal- ancing on one foot with the body held motionless, or, what is more difficult, while moving the other foot and the body, going thru evolutions from one position to another. Having the weight on the inner side of the foot helps to maintain the bal- ance. There are certain other aids to balancing, one being to fasten the eye upon something sta- tionary; for example, a certain spot on the wall. Then since the spot does not move, the dancer does not, so open is the human mind to sugges- tion. Balance is largely mental. In fact a poised, calm mind is the greatest help toward poise of the body. Another great help is a good night's sleep, as many dancers have discovered. 24 TECHNIQUE Aplomb includes, besides poise, precision and clarity. The dancer who has aplomb takes each step and attitude with sureness, then holds it mo- tionless. She does not "wobble" afterwards, or readjust her foot position, or take little extra steps, or improve upon the position of her arms. She takes the position as it happens to come and by it stands or falls. (Let us hope that she stands !) If it be not perfectly taken, she does not advertise the fact by changing it, nor show by her face or otherwise that it is not just as she wanted it. She gives the impression that what- ever she does is what she meant to do. Thus she may deceive her audience into thinking that she is doing better than she is — a lie which must be forgiven since it is in the interest of the audi- ence, who have come in order to admire. Elevation, pronounced as a French word, is a necessary quality for the toe dancer. It means being well up on the points, that is with the toes absolutely perpendicular. There is a look of lightness and ease that goes with a good elevation. The dancer looks as if she were so lightly poised that she might fly away at any moment, and she has so much ease in going from a sole to a point position that one scarcely notices which position she takes. She blends her point steps and sole steps together into the harmonious sentences of the dance's story. The less proficient toe dancer, 25 THE CHALIP TEXT BOOK OP DANCING however, makes an unpleasantly noticeable differ- ence between being on the points and soles ; there is a tremendous jerk, and she is up, then a thud, and she is down again. The way to get a good elevation is to practice battements tendus and exercises to stretch the arch and ankle (if the latter is necessary to bring the foot to the proper position). The way to get a look of ease and smoothness in rising to a point position is to get elasticity in arches and ankles thru certain exercises. Another means of obtain- ing this elasticity is to do much of the natural and lyric dancing on the balls. Ballon, 2l word which dancers use to designate lightness, tho that is not its true meaning in French, means an easy and high lifting of the body from the floor, as in leaping and hopping. A dance that is done almost entirely upon the points is apt to be monotonous and stiff. The artistic toe dancer cannot only dance about upon the points gracefully, but can dance on the balls just as well, can fly about with abandon, smooth- ness and ease, can spring high off the ground, and descend again as lightly as thistledown. She can charm the beholder with a variety of steps all equally well done. Many toe dancers do not have any ballon at all. As soon as they come down from the points, their dancing is heavy and flat. They cannot hop or leap either high or grace- 26 TECHNIQUE fully, or if they do hop high, it is with an un- pleasant jerk of the ankle upon leaving the floor, instead of with a smooth and graceful upward flight. Good ballon is acquired by first strengthening the legs at the bar, then practicing enchainments containing leaping and hopping. Too great a proportion of time spent at the bar causes a wooden stiffness of legs that prevents a free flight. It is a good rule to follow, that whatever the dancer wants to do well, she must practice doing. Concentrating entirely upon strengthen- ing the feet for toe dancing does build the toe dancer more quickly, it is true, but makes her one- sided — able to do nothing but dance on the points, and that stiflly. Strength and Plasticity are both necessary to the toe dancer. It is true that with the former only, she can be a toe dancer, but it takes the latter as well to make her an artistic toe dancer, which is the only kind worth being. Let us consider first the legs. They should be really as strong as steel, yet appear to be made only of soft muscle that can "give" and bend, hav- ing a resiliency that enables the dancer to bounce up and down, or spring high upward. The legs should be alive and human, and capable of expres- sion. Pavlowa's can fairly speak the sentences of the dance. Plastic legs are the result of the 27 THE CHALIP TEXT BOOK OF DANCING right proportion of bar practice to center practice, and of doing all leg exercises with the proper ex- pressions of vigor, majesty and enthusiasm. Wooden legs come from too much bar work done in a plodding, conscientious spirit. Plastic, grace- ful resilient legs come from using only what energy is needed to do and exercise thoroly and completely : wooden legs come from the tenseness of wasted strength, a useless straining and tight- ening of the muscles for no reason whatever. Plastic legs are to wooden legs as vitalizing energy is to despairing effort. It is the teacher's part to so stimulate a class by his inspiring com- mands that they will rise above effort to energy, and thus in a few moments gain the strength and plasticity that might otherwise take hours. Strength and Suppleness must go hand in hand if there is to be control of the body. Suppleness alone may be only a "floppiness," a capacity for flinging the legs about and making contortions of the body ; but when strength is there too one has the ability to hold the position assumed as long- as desired, so enabling intelligent control of the pictorial qualities of the dance. Stretching at the joints, which makes for suppleness, is particularly necessary in toe dancing where all positions are exaggerated beyond the natural, where the legs are lifted high, and the body often bent in ex- treme degree. Alternated with stretching exer- 28 TECHNIQUE cises should be strengthening exercises, to enable the muscles that took the positions to continue their tension, while at the same time (this is a subtle point in mechanics) the muscles on the other side of the body, the limbs whose action is in the opposite direction, must also have just the right amount of action (tension) to keep the first muscles from overdoing their part with dan- ger of dislocation of the joint involved. There must be strength everywhere to control action and protect from overaction. Stretching by it- self weakens. The rule is that wherever you stretch you must strengthen also. Another rule is that stretching should be done by degrees, not all at once, to avoid the accidental tearing of weak ligaments, and to make sure that the strength keeps up with the stretching, so that muscular "tone" (a proper degree of tension) will bring control and also protect the joints. Plasticity of body and arms makes for the beauty of the dance, and should not be neglected for the training of the legs, as is apt to be done in teaching toe dancing. Training the legs too exclusively tends to stiffen and deaden the upper part of the body, causing it to be held motionless when dancing. The cure for a stiff body is plastic exercise for the whole body, as well as using body and arms in connection with all enchainments, and even sometimes with par terre leg exercises, 29 THE CHALIF TEXT BOOK OF DANCING and in insisting, when teaching a dance, upon good Hnes and poses, which of itself requires and develops plasticity of body. "But," the teacher may say, "I have to produce toe dancers in a cer- tain length of time, and if I spend too much time on training the body as a whole, the feet (which after all make the toe dancer) will be neglected.'' This is quite true. An hour's lesson is too short a time to accomplish everything in — even life it- self is too short to do all one would wish to. You will have to take your choice of producing a man- ikin in a short time, or a real live toe dancer in a longer time. The best way out of the predica- ment is to have your pupils join classes in other kinds of dancing as well as toe dancing. Best of all would be for them to join a class in Inter- pretive dancing, where they would learn relaxa- tion, and as a crowning achievement, acquire the quality of spirituality which so beautifully en- hances toe dancing. Plasticity and energy are curiously combined in toe dancing. The lower half of the body (the legs) must be energized and strong (tho plastic) while the upper part of the body, including the arms, is relaxed and devitalized, being held most lightly, in a fluid state as it were, so that it is free to express in a moment any thought or emotion that arrives. To thus divide her body into two parts is a difficult feat for the toe dancer's mind, 30 TECHNIQUE and one that she does not usually acquire for quite a while (and sometimes never!). Adagio movement, to take an Italian word used in defining musical interpretation, means ex- tremely slow movement, and in dancing means also smooth and controlled movement. A male partner often supports the toe dancer while she goes thru slow and beautiful adagio evolutions standing on one foot. But she must be able to do adagios without support, too, if she is to be reckoned a good dancer, for every good dancer must have balance and control. Then, too, all of her dancing, whether slow or fast, will be beauti- fied by her capacity for adagio, whether or not she be doing it at the moment. For adagio prac- tice brings a beautifully lyric quality of move- ment, a personal expressiveness, the ability aptly to interpret the music by drawing out each ges- ture of foot or arm to fill in with movement each note of music allotted to the movement, the faculty to build each attitude slowly with a gentle graciousness, rather than to jump into it abruptly with a crude and jerky movement. To put all in a nutshell, adagio movement means that magic quality grace, which is so potent to behold, but so elusive to describe. To acquire grace is why students practice so conscientiously their adagios, to counteract the necessary but more mechanical battements. 31 THE CHALIP TEXT BOOK OF DANCING Dexterity, meaning quickness more than any- thing else, is indispensable to the toe dancer. She must be able at times to make her feet twinkle and flash, to move like lightning from one place to another, or turn herself round and round with the fire of the inferno. People expect her to do these things, and the character of toe dancing it- self demands them too. The very act of standing on the tips of the toes suggests taking little steps, and little suggests many steps rapidly, just as a large movement suggests slowness. But rapidity must be accompanied by ease, which is an out- growth of strength. But practicing for strength alone will not bring rapidity — both must be prac- ticed. Begin by trying for strength and accuracy, then little by little (for dexterity should be a slow growth), do certain exercises faster and faster, or what is better, let them seem to do themselves faster and faster, as a result of ease. Also practice certain exercises that are especially for dexterity, like pas de Bourree, petits batte- ments sur le cou de pied, petits battements in fast tempo, etc. Beware of forcing dexterity too soon, since this brings a stiffness which is the enemy of quickness, as relaxation is its friend. In good teaching slow movement comes first, then quick movement, as an outgrowth of slowness. As we said in the previous paragraph, in order to move fast gracefully one must be able to move slowly. 32 TECHNIQUE Staccato movement (separated movement) is a bird-like quality that is most attractive in the toe dancer when she is dancing to staccato music. It is in its essence a lightning quickness alternating with pauses. Yet the movements are graceful too, if legato movement has been learned first. In dancing it is just as at the piano — the legato must be learned first, for if staccato come first, legato can never be well learned. And if the dancer learn staccato first she will be apt to be jerky always. Accuracy is a quality that must go with this artificial art of toe dancing. This man-invented art has its set of rules that must be followed if the effect man desired is to be produced. He desired something with the most exquisite polish of perfection — everything to be just so, according to the pattern : then if all be not just so the pat- tern is lost. One thing that man decided was that the dancer should step wnth the foot turned out for daintiness. Well then, she must. She must also bring her feet together so that they actually touch each other at certain times to give a neat and finished look. Certain movements she must make very small and fine. Every step has its certain way that it should be done, and it un- doubtedly appears at its best when done that way. It is just as with baseball — the rules may be highly artificial, but without the rules there is 33 THE CHALIF TEXT BOOK OF DANCING no game. When a dancer follows all the rules she surely does acquire a certain "finish." But it is a "dull finish" that does not awaken much enthusiasm if her thoughts are on details of execution while she is doing a dance. The meri- torious accuracy should be acquired as a habit from doing exercises, then not thought of while dancing. Even in teaching exercises, however, the teacher must beware of harping too much on accuracy, for herein lies the danger of killing the dancer's soul by technique. Accuracy is always taught at the expense of freedom. The student may acquire the habit of thinking so much about the disposing of her body that she can never forget about it and give her soul a chance. Clarity is one of the brightest virtues of all dancing. The word means simply that whatever the dancer does is clearly visible. Clarity shows up the differences between one step and another, one pose and another, one dance and another. Everything looks different, firstly because every- thing is different, and secondly because one can see that it is dififerent. The principal rule for clarity is to hold each position of foot or body long enough for it to register itself in the mind of the beholder. Do one thing at a time instead of blurring everything together. Another simple rule for clarity is just to follow the music. 34 TECHNIQUE The music measures off the steps for you with all the accuracy of a foot rule. All you have to do is to keep a certain step and attitude during certain notes and wait until the next notes come for the next step and attitude. Why do most peo- ple always anticipate the music, thus blurring their dancing? A third rule is to have a clear picture in the mind of how you want the step and attitude to look. Only let the mind be your leader and your dancing will be intelligible. You may already have guessed that all the com- ponent parts of aplomb are included in this pres- ent virtue of clarity. There must be perfect poise, or the dancer could not hold an attitude for its allotted length of time, and the unnecessary extra movements of correcting or improving an attitude would be incompatible with clearness and defi- niteness. Aplomb we had to mention first be- cause it is mainly poise, and poise is the first re- quisite. Without it the dancer could not even stand up, let alone dance. Harmony means the working together of all parts of the body in unison — all working in rhythm, and each taking its part in the picture that the body as a whole presents in each move- ment. The good dancer thinks of her body as being all of one piece, as it were, rather than a collection of arms and legs each of which must have something different to do. The toe dancer, 35 THE CHALIP TEXT BOOK OF DANCING especially, may get to thinking that she is nothing but a pair of legs that have a lot of difficult things to do. But she should remember that while her legs certainly have plenty to do, their crowning achievement is the honor of carrying around a beautiful living statue of a thousand and more poses, they themselves being a part of the statue. In the Chalif Method of teaching dancing, we begin at the very first lesson to teach using all parts of the body in harmony, keeping in mind certain principles of harmonious movement and posture, which are embodied in even the most sim- ple exercises. "Lines" is a subject which puts the author in a quandary as to whether to put it under the head- ing Technique, where it certainly is vitally neces- sary, representing control of the body as a whole, or under the heading Expression, where it is also vitally necessary since large lines are the largest and clearest expression there is. We have finally decided to put it here, so that even if the reader go no further, he will know a little at least of the important subject of "lines." We cannot enlarge upon the subject in a text book of toe dancing, tho it is just as important here as anywhere, for there is not space enough in one book to go into detail as to training the toe dancer's legs, and do justice to the rest of her 36 TECHNIQUE body too. Our Books III and IV deal more ex- tensively with the subject. Let it suffice to say that every attitude or arabesque should have in it lines which pass thru the whole body, making a unified composition of it, instead of consisting of unrelated legs, arms and a torso, which take any positions they happen to choose, without refer- ence to each other, and thus fail to make any dis- tinct impression of an attitude upon the beholder, and have never a trace of beauty. The good dancer thinks of her body as a whole, and molds it into whatever design her mind sees, following a plan, just as the artist lays out his figure in lines before painting it. So the dancer thinks of lines running thru her body, that may go all in the same direction, or intersect each other, usually the latter. For example a line may pass thru the head, trunk and a lifted leg, and another thru the two arms and the shoulders, these lines inter- secting at the middle of the shoulders. The most beautiful lines are straight or curved, but they may be broken at will, and with a plan, for the sake of certain desired effects. They must never be broken merely because the dancer does not know how to make them otherwise. Most be- ginners, and those persons who are called un- graceful by nature, dance with broken lines ; but all can be taught to do better. 37 THE CHALIF TEXT BOOK OF DANCING A FEW RULES OF LINES If there are to be continuous unbroken lines there must be action, continual action of twisting and bending in the trunk and neck. Think in terms of curved or straight lines. Lines should have the accuracy of geometrical diagrams. Bend sideward toward a foot which is lifted, whether it be lifted forward or back. (This rule has exceptions, e.g., the position used in jetes.) The head usually bends the same way as the trunk, continuing the curve. Lift the chest to give the slight arch of the back which beautifies nearly all attitudes. Follow, usually, the law of opposition, which is : That arm is lifted forward which is opposite to the foot that is forward. But of course in many beautiful attitudes opposition is not used. The figure should usually be turned a little to one side to give more diversity of lines and avoid a look of flatness as seen from in front. Arms should be held at shoulder level (ap- proximately) or higher, since high lines express animation and self-confidence, while low lines ex- press indifference or even melancholy. Equally important are high lines in the carriage of the head and torso. Since lines are an expression of soul, an atti- tude often comes instinctively in response to a 38 TECHNIQUE thought, and coming in such a way is apt to be a good one, worthy of studying and remembering. HABIT A digression into the field of psychology seems necessary here, to emphasize the importance of the details of technique which are to follow. Psychology tells us that habit saves us a vast amount of trouble ; in fact we could not exist with- out it. Most of the things that we do are habit- ual, and even unconscious. If we had to think about putting one foot after the other in walking, or about chewing our food, or breathing, we would have to devote all our thoughts to merely keeping alive and never be able to talk or do any creative work. Psychology tells us that repetition spells habit, as habit spells ease. What we do once we are likely to do again; having done it twice we are still more apt to repeat it, and so on until if we do it a certain amount we shall be sure to do it always. Hence habits are the blessing as well as the curse of our existence, for there be bad habits as well as good, and if we do an exercise wrong once we shall do it wrong again and so on. It behooves us then to always do it right from the very start, until a habit is formed. Particularly in toe dancing, where such an exact standard of execution has been established, we must be care- 39 THE CHALIP TEXT BOOK OF DANCING ful from the very beginning to form the habits that are prescribed. Fortunately these are good habits for all dancing. There are certain good habits of movement for each part of the body, and to simplify learning them, there are exercises for each part alone. Since there are so many good habits to acquire they could not possibly be learned all at the same time. The mind cannot think of so many things at once. When Benjamin Franklin set out to im- prove his character, he made up a list of all the virtues, and at first tried to practice them all at once, only to find that he had scant time left to attend to his business, but made no progress in character. He then decided to practice only one virtue a week, whereupon his character immedi- ately began to improve. This man of deep, scien- tific insight discovered, before the days of psy- chology, that a habit can be formed by concen- trating on one action-pattern for a certain time. So in dancing let us consciously build good habits one at a time, which will then work unconsciously and all together toward the goal of perfect dancing. DETAILS OF TECHNIQUE Having given, we hope, in the preceding pages, a broad idea of technique with its immediate aim of freedom for the final end of expression, we will 40 TECHNIQUE now proceed to give details of the proper positions and actions of various parts of the body. But as we set out on the road to perfection we should first have a comprehensive view of the body as a whole, and realize that the most important thing for artistic finish in toe dancing, or any dancing, is CORRECT POSTURE The teacher must never fear harping too much on this point, for posture pervades every move- ment of the dance ; it concerns the lines of every attitude and arabesque taken ; it gives beauty and elegance to the figure itself; it seems to increase personality even to the point of transforming an ordinary mortal into a heroine; it brings "good style," and it gives polish and a high-bred air that make a dancer shine out from among her fellows who have neglected to cultivate "presence." All do not realize the importance of good posture. Sometimes a mother may complain that too much time is spent on cultivating it at the expense of learning difficult feats. But when she will see her little daughter carrying herself like a princess, she will thank the teacher for his perseverance. Even you, dear reader, do not fully realize the great benefits of teaching good posture — unless you have tried it. So then the first thing to do is to see that your pupil take the correct position while standing at 41 THE CHALIF TEXT BOOK OF DANCING the bar. We shall describe this from the ground up. The feet should be in Fifth, Third or First Position, be turned out as far as is possible with- out straining, and the weight rest squarely on the soles of both ; but since the tendency, when turn- ing the feet far out, is to stand on their inside edges, it is well to try to stand on the outside edges, since this effort will bring the weight to the center. The toes should be prest down so as to ''bite the floor," as we say in Russian. The knees should be absolutely straight, made so by drawing the figure up to be as tall as possible and at the same time pressing the knees strongly backward, holding them close together. There should be a feeling of turning out the knees, even tho they are straight, and of narrowing the hips by bringing them inward and backward, but by no means al- lowing them to project backward, for this is a grievous fault. Old age afflicted with lumbago walks leaning forward with hips projecting back- ward, a feeble hand placed there for support : but youth is slim and straight, carrying herself as a young goddess. Old age's lines are broken; youth's lines are straight. It is most important that the hips should face forward, counteracting the tendency to twist toward the rear foot. The shoulders, too, should face squarely forward, and be held at an equal height, thus straightening out any slight sideward curvature of the spine. The 42 TECHNIQUE chest should be well lifted, and lifted with the thought of drawing the whole body up to be tall. The head should be held erect, with face looking straight forward. The legs and trunk should form a continuous straight and vertical line, the body leaning neither toward nor away from the bar, nor forward nor back, nor breaking the line at the waist. There will be no danger of violat- ing any of these rules of vertical standing if the one rule of lifting the chest to draw the body up- ward be observed. Lifting the chest also cor- rects bent knees and backward projecting hips, and broken lines in general. In fact lifting the chest cures most of the faults of bad posture; it is the panacea for all ills. So be buoyant, be alive and full of hope and ready for action! And finally, relax, that is, relax the upper part of the body and the arms, but keep the legs energized and strong. Do not allow the face to become "set" with eyes staring. The command "Relax the face!" will be beneficial. Try it. Its first result will be a smile, and the after effect a pleas- ant serenity. Soon we shall be ready for an exercise, and with it will come the difficult but important task of maintaining correct posture while doing the exercise. Of what use would beautiful poise be to the dancer if she lost it the moment she started to dance ! So the teacher must compel his pupil 43 THE CHALIF TEXT BOOK OF DANCING to maintain a buoyant erectness, and to hold the entire body motionless, except the part which works. In so doing he will first of all preserve beautiful posture; secondly will teach definite control of each separate part of the body, the mind seeming to be sent into each to take posses- sion of it; and thirdly, he will teach that saving of energy, which is the foundation of grace. The pupil will find it extremely difficult at first to move one part of the body only. When moving a leg she will want to move the shoulders or hips, or jiggle the whole body, thus jerking out of their place the beautiful lines of good posture. But she can keep quiet if she concentrates on this while relaxing too. And when she has held her body quiet for a sufficient length of time, she will have established that independence of each part of the body which is the first step toward the harmony of motion of all parts together. , "PLACING" THE LEGS is a term that dancers use for the turning out of the legs which is considered so important in all classical dancing. It seems to beautify dancing, adding a daintiness and charm; yet perhaps we only think so because we have long been accus- tomed to the idea that it does. Everyone, even the layman, knows that the toes should turn out, and notices whether they do or not. One virtue 44 TECHNIQUE turning out surely has: it helps greatly to bring freedom at the hip-joint, for all of the turning begins at this point, it being the only joint of the leg that can rotate. Students often fail to turn out the toes sufficiently in doing exercises because they do not know the following secret: they try to turn the foot from the ankle and fail to do so, whereas if they thought of turning the entire leg, they would succeed. Another thought that re- sults in turning out is "leading with the heel." Persons who are born with legs "placed," i. e., those who walk with the toes turned out, are cer- tainly saved a great deal of trouble in learning toe dancing. Extreme turning out when actually dancing is not beautiful nor desirable. We do not wish to compete with "Charlie" of the films, who walks with his feet pointed directly sideward. Yet in doing exercises at the bar we must all take this ridiculous position in order to have a surplus of turning out to fall back upon when returning to nature in dancing, to insure not returning too far, when not thinking about placing the legs. Yet for all the ease in turning out that one can acquire at the bar, one must still think of stepping with the toe out until the habit is formed. But beware of insisting upon dancing with feet turned out, without teaching exercises to make them so. This 45 THE CHALIF TEXT BOOK OF DANCING error introduces untold awkwardness and affect- edness in dancing. The best place to acquire turning out is at the bar, since more extreme positions can be taken with a support than without. But do not begin by insisting on extreme positions, for this will only cause unnecessary lameness and perhaps discouragement, and in addition will cause bent knees and a poor standing position. Let the teacher insist on accuracy at first and turning out to a certain extent, then little by little, insist on more turning out as well as on doing exercises with more force. To get additional practice in maintaining a turned out position a class may stand in Fifth Position while the teacher wanders about among them correcting faults of position, or he may deliver a lecture on the ideals of danc- ing, while they hold their position. One may be sure they will be glad when the lecture comes to an end. THE HIP-JOINT A lack of freedom here is the most frequent cause of awkwardness in dancing. Any pulling at this point seems to pull everything else out of shape, distorting the lines. The importance of this part is due to the fact that all movements of the legs start from here, whether the movement be large or small, since even a small movement 46 TECHNIQUE must be part of a large one if it is to have the much desired quality of majesty. In graceful walking the legs swing freely from the hips, whether the steps be the short ones of the lady, or the long strides of the cowboy. The toe dancer in particular must have freedom at the hip-joint, for in the exaggerated style of toe dancing she must be able to lift (and hold) a leg waist-high in any direction. These large leg movements do not look exaggerated, but only fit- ting and proper and in the character. In fact the toe dancer who does not lift her feet high is in- efifective. Her attitudes are small and cramped looking; she labels herself a beginner. Freedom at the hip-joint is acquired by any ex- ercise in which the leg is lifted high, as in Grands Battements, or in which the hip-joint is stretched, as in Plier, or in which the legs are turned out, as in all bar work. KNEES The knees should be straight, strong, supple and quick. Knees make or mar the toe dancer, for if her knees behave properly the chances are that her feet will too. Straight knees, in addition to bringing the acme of good style to the general appearance, do actual- ly bring the ankles and arches into their properly arched position. To prove this statement, point 47 THE CHALIF TEXT BOOK OF DANCING your toe to the side perpendicularly with knee bent, then keeping the toes where they are, straighten out the knee and observe the pushing out of the ankle and arch. When we emphasize straight knees we do not mean that it is wrong to bend the knees, but only that when a knee is supposed to be straight, e. g., when standing on the point or ball, it should be absolutely straight, and not almost straight, with a slight bending that implies weakness and makes a broken line that mars the beauty of the picture. A dancer stand- ing properly with straight knees expresses vigor and strength, while even slightly bent knees ex- press weakness and spoil the whole standing posi- tion, causing the lowering of the ankle and arch and even the sinking of the chest, so intimately connected are the controls of all the parts of the body. Not only must a supporting knee be straight, but often a lifted leg must be so too, par- ticularly if it be lifted backward. The way to make it straight in this latter case is to think of lifting the leg from the hip, as if there were no knee. The expression "stiff" knee should never be used, for stiffness is always abhorrent. ''Straight" knee is the word, or the phrase ''no knee at all." Strong knees usually mean strong toes and in- variably mean that the dancer has "spring" in her legs, that she is buoyant and can leap and hop 48 TECHNIQUE high, for most of the action of jumping is in the knees — a preliminary bending, then a sudden straightening. Moreover, much of the force used in rising onto the points comes from a bending and straightening of the knees, often so sHght as to be almost invisible. Supple knees, aided by supple ankles and arches, give the dancer a light, velvety step. Supple knees are knees that bend easily whenever they should bend, as in starting a jump and again on landing afterwards, to break the jar. Knees are springs to soften the dancer's impact against the ground, and if the springs are strong enough they will bend just enough to fulfil their purpose, but not enough to make the dancer look like a human frog, with bent and turned out knees. Quick knees are obviously just as important for leaping and hopping as are strong and supple knees. They must do their part with lightning rapidity, especially in those small, almost invisible movements, as in rising onto the points, when the work must be done, then the effort instantly cov- ered up and the good style of straight knees re- sumed. Another time when quick knees are needed is in the many quick little movements of the leg from the knee down, as in the little beats around the ankle, the fouettes (quick bending and straightening of a lifted leg) and all the little movements of the feet that adorn toe dancing and 49 THE CHALIF TEXT BOOK OF DANCING make the feet twinkle and flash. Quick knees mean quick feet. These good quaHties of knee action are all ac- quired by much the same exercises. In brief, Plies make strong and supple knees. Keeping the knees really straight in doing bar exercises when- ever they should be straight makes for straight knees, as also does any exercise that stretches the knees, as grands battements, or placing a foot on top of the bar, or practicing Plier on one foot with the other leg straight. Quick knees are developed mainly by practicing petits battements sur le cou de pied. THE FEET For toe dancing the feet must, of course, be strong, and properly arched and turned out. Strength will always be considered first if we realize that the whole weight of the body must be borne on those little toes, and the little bones of the arch. Nothing is so important as strength. In bringing the foot to the well arched and stretched position of the toe dancer many joints are concerned, in the ankle and the several joints of the arch and toes. The beginning of the down- ward pointing of the foot is in the ankle, which should be straightened out as far as possible, or, what better conveys the idea, should be pushed outward when pointing the toe or standing on it. 50 TECHNIQUE Many dancers and teachers do not understand the necessity of this ankle action which is so effica- cious in bringing the foot to its right position. And action here is comparatively easy and safe, for the ankle is not delicate as the arch is. The second factor in the downward pointing is the arch which continues the ankle action, in pushing outward and curving downward to make a beauti- ful curve from ankle to toe. The toes themselves should not be curved, however; they should be perfectly straight and perpendicularly placed, the dancer standing on the very tips, not on the balls, nor on the backs of the toes with toes curved under. This latter position means weak toes that will eventually give out. Remember that strong toes are perpendicularly placed, energized, and also brought all together in a bunch inside the shoe so that they may brace against each other and sustain each other. The slogan of the toes should be, "United we stand; divided we fall." Wrong practice of petits battements by bending the toes under when pushing the ankle and arch outward, weakens the toes and teaches them to curl under when standing on the points. To sum up, the correct position for standing on the points is: ankle and arch to be out, toes straight, perpendicular and bunched together, and the foot turned out so that more of the toes can take the weight, rather than turning the foot 51 THE CHAUP TEXT BOOK OF DANCING in and so putting all the weight onto the big toe, which is too much responsibility for one toe, and tends to make it give way and bend sideward, en- larging the joint. There is a certain simple but magical exercise that does everything needful for the feet. It brings enormous strength and a correct position for standing on the points. This magic exercise is petits battements, but do not imagine that its magic can work with a few executions. Thou- sands are required. An eminent physical educa- tor has said that greater and more enduring strength is developed by doing a simple exercise many, many times, than by severe exercises. The toe dancer proves this statement by the astonish- ing strength of her feet and legs, which is devel- oped little by little as she does exercises that the gymnast would consider simple. It may be said that she gains strength while doing battements or similar exercises, and spends her strength while doing the really violent exercise of standing on the points. It stands to reason therefore that a large proportion of time should be spent in exer- cises that are not on the points, so that she may not only acquire, but preserve her strength. When a dancer's toes become tired or get into bad habits of position, they should be rested for a week or two by keeping off the points, but without stop- ping practicing exercises; for petits battements 52 TECHNIQUE are the remedy for almost everything. Follow- ing the same rule beginners should be kept off the points for a very long time, the longer the better, so that they may lay a very firm foundation of strength. It is very difficult, however, to follow this ideal but slow method of teaching toe danc- ing, especially here in America, where people want to do everything quickly. Petits battements when practiced correctly, teach standing correctly on the points because the arched and turned out position and the direction of energy toward the toes are the same for both the exercise and the point position. The good habit formed by the easy exercise holds over for the difficult one. ;Some stretching is usually necessary to bring the foot to the proper position, tho a person with a naturally high arch does not need to have it stretched. Stretching should always be under- taken with great caution, for as noted before, it tends always to weaken. Quick progress may seem to be made at first by much stretching to bring the foot quickly to its position, and by too much standing on the points, but afterwards the arch's strength may give out, and premature progress end in failure or disaster. The toe dancer must be built slowly. Stretching should be done little by little, and always exercises for strength should go hand in hand. In exercises for stretching, the floor is used as an opposing 53 THE CHALIF TEXT BOOK OF DANCING force by placing the toes on the floor and pushing outward or downward, as the case may be. But it should always be borne in mind that the floor is only a temporary aid ; that eventually the foot must be able to bring itself to the properly stretched position by its own strength. Strength, as we said before, is the first and last need of the toe dancer. 54 EXPRESSION It is commonly supposed that in toe dancing there is not much chance for expression, and there is some truth in the assertion, for toe dances are often mere collections of steps that have no mean- ing in themselves, and offer no place for the strongly dramatic. Yet one should remember that it is never necessary to express concrete ideas in order to be expressive. Expression itself is too great and intangible to be confined to story telling.f There are qualities and moods that are perfectly definite as ideas, and are in themselves lovely and all-sufficient. Take for instance vivacity, capriciousness, spriteliness, languor, vim, daintiness, — these are all charm- ing manifestations of life. It is well for the dancer to use her imagination in deciding for herself what word represents to her the spirit of her dance and its music, then fill herself so full of this idea that it will color her every move- ment and fill every expression, and make not a dance of mere steps, but a beautiful and definite thing of life. Imagination can do untold wonders in dancing as in everything else in life. Whole t Every cover of the "Saturday Evening Post" may tell a story; but the highest form of art is not the depiction of action nor even of emotion, but is the depiction of character. 55 THE CHALIF TEXT BOOK OF DANCING volumes could be written about imagination, but we will omit the volumes, and merely say that imagination or the lack of it makes a dancer inter- esting or uninteresting. Whatever possibilities the dancer is able to see for herself in a dance, she will be able to show to others. And she has will- ing servants ever with her to carry out her ideas, in her arms, feet, face, head, in fact the whole body, working individually or all together to make "pictures" that are expressive of thoughts. Another factor that comes into the expressing of a dance is its companion, the music to which it is composed. The dance has always her sister music as an ally. The music inspires and influ- ences the dancer, and she can borrow its expres- sion to make it her own (which is really most un- fair to the composer of the music, and to the musi- cian who interprets it, since the dancer receives all the attention; it is another instance where "to him that hath shall be given"). The more ex- pression the musician puts into the music, the more expression the dancer seems to acquire. But let not Music be jealous of her twin sister Danc- ing, for when she inspires her to dance, she is only proving her own wondrous power. If Danc- ing has no idea, she need only give herself up to Music wholly to acquire a meaning for herself, and change herself measure by measure with the changing moods of Music, like a day in April. 56 EXPRESSION When Music plays a merry tune, Dancing can drum it out with the tips of her toes, pretending that she is making it herself, and showing its laughing cadence in her face. So give good music played by an expressive musician, and danced by a musical dancer, and who will dare say then that there isn't expression in toe dancing! Most dancers however are not merely musi- cians dancing in time, but are thinking people who reflect a certain thought, or should reflect it. The thought may be about a character to be de- picted, as a coquette, or about a mood like joy or mischief, or just a quality like daintiness. How to interpret these things, the dancer knows partly from her own instincts and partly from having observed the world around her. Nature, of course, is the great source of inspiration to us mortals. We can well afford to imitate Her if we wish to give true significant interpretations. Nature can outdo us in whatever we try to do in any field, be it mechanics or art or whatsoever. So if we are wise we will observe Nature's way of doing whatever it is we wish to do, and learn from her how to do it best. Suppose it is daintiness that we wish to depict. What is it in Nature that moves most daintily? Why, a bird, of course, as he hops about or perches on a twig. He evinces the ideal of stac- cato movement. Notice how he makes a little 57 THE CHALIF TEXT BOOK OF DANCING hop, then stops, takes another hop, and waits, cocks his head on one side to look at something out of one eye, stops, looks out of the other eye and pauses again, gives a little peck at it, waits, pecks again, hops a little farther, and so on all day long, never hurrying yet quick as a flash. Study him, little ballet girl. You will see that his movements are very graceful for all their swiftness, and most distinct and easy to be seen from being punctuated by pauses, while his steps are as light and soft as his feathery body. He is daintiness itself, even if he is only a little brown sparrow. Get down on your knees, proud little ballet girl in your elaborate dress, and study this humble little sparrow to learn how to be dainty. Suppose you wish to express the beauty of youth and innocence. What in Nature expresses it best? Why, a lamb, of course ! It has become to us the symbol of innocence, with its mild, trust- ful eyes and its guileless little white face. One cannot look at it without wanting to kiss it as a blessing on its innocence. And its playful gam- bols, by which it shows its joy at finding itself in so beautiful a world, how these gambols have amused and delighted mankind all down thru the centuries ! What could be more adorable than a lamb! The little ballet girl will do well to try to emulate its way if she be petite and chubby and adorable herself. If she succeeds she too will 58 EXPRESSION SO delight and bless the world with her innocent playfulness that no one will be able to resist her, from the enthusiastic young gentleman to the se- date matron who doesn't as a rule care for danc- ing. For all the world adores youth and inno- cence, and in this little dancer they see it un- touched by the world. But the sprite of our opening chapters remains to us the most exquisite role for the toe dancer. This lovely creature, scarcely human in her light- ness, who has strayed out of fairyland into our own, carries about her yet the atmosphere of that other and enchanted land. She charms our imag- ination and sets it free to go on journeys of its own to other worlds ; and when the dance is over, and the fairy gone, and we come back to this our world again, we still can hear the echoes from that other land, and feel ourselves refreshed, with hope renewed. This is the most that any dancer can do for us : to take us away and bring us back re- freshed. MAJESTY Whatever role the dancer take, or whatever mood she interpret, one quality her dancing must have if she is to be preeminent. That quality is the majesty that makes her the heroine or the aristocrat. If she take the role of sprite, she must be not a sprite but the sprite — the queen of 59 THE CHALIF TEXT BOOK OF DANCING all Sprites; if she be the melancholy maid, she should seem a princess in distress ; even if she be just bird-like, she should seem the leader of the flock. She must always seem the best of her kind, for is not the dancer really the best of the human race insofar as she presents strength and beauty of motion, posture and form? The qual- ity of majesty is not only a natural outgrowth of the dancer's high respect for dancing and confi- dence in herself as its worthy exponent, but this majesty is carefully cultivated in the ballet school in all branches of dancing, even in the dainty and feminine toe dancing, which would be ineffective without it. Majestic movement is taught contin- ually in the classical ballet, even in its exercises. Grands Battements, Ronds de Jambe and the like are done with a large and generous swing, as if to do them were something really worth while. The carefully cultivated erect bearing and buoy- ant, uplifted mien surely suggest the heroic, while the hurling of the body into the air in leaping, the audacious whirling of pirouettes and other difficult physical feats, certainly suggest the brav- ery and daring of a heroine. And in the quieter phases of the dance, majesty shows itself in arm movements that are large, free, generous, ample, expressing the noble thoughts of the mind. The dancer with majesty has no petty feelings and lit- tle fears to inhibit her motions. Her thoughts 60 EXPRESSION go into the world borne on free and generous ges- ture. EXPRESSION VERSUS AFFECTION Which do you like better to see, a iace with the real bloom of youth upon it, warm, red blood under a clear skin, or the kind of youth that is bought in the corner drug store, and plastered on in a set design, patterned after a chromolitho- graph of pink and white perfection, one that all the young ladies try to copy, try to look just like, so that all of them look just like each other. The color in our first young lady's face can come and go, and we never tire of watching its changes ; but the other young lady's color is set and standard- ized — when once we have seen her we know all, and need not look again. The essential difference between the color of the two young ladies is that one comes from the inside, and the other from the outside. And this is precisely the difference be- tween expression and affectation: one is nature and the other is a contraption. Expression is the feeling in the heart coming thru to the surface. It shows the difference of feelings of one breast from those that fill others. It is these differences of emotion and thought that make up different personalities, and personality is that delightful and inexhaustible study that interests the whole world. One personality may be more attractive 61 THE CHALIF TEXT BOOK OF DANCING to an audience than another, but what an audience always wants, unconsciously, to know, is what this person who is dancing before them is really like. And if she reveals her true self she will al- ways be interesting. If, however, she is so cov- ered up with standardized mannerisms (is affected, in other words), that her real self is in- visible, her audience is not much interested in her, and just sets her down as ''one of the dancers." The teacher has a responsibility in this matter of preserving individuality. He (or she) must be very careful about telling or showing pupils exactly what to do, and having them imitate him. Expressions that are perfectly natural for him to do, and which come from his heart, may not be natural for them, but instead be affectations. There is certainly very apt to be affectation in toe dancing as the result of the further fact that a certain set of mannerisms in the way of using the arms and feet, and certain little tricks of facial expression have been taught for years and years, being handed down from one teacher to another. These little ways were undoubtedly pleasing in the charming dancer who originated them, but they have grown stale from over-use, and should be discontinued. We believe that the world would welcome a change to naturalness. There is a strong tendency in dancing at present to go back to nature, which always means a revivifying, re- 62 EXPRESSION vitalizing. If any art does not go back to nature once in a while (or constantly) it becomes stale and standardized, and in danger of death. Now dancing on the points has no kinship with Nature, but the personality and individuality of the dancer are a part of Nature, and must be religiously pre- served if toe dancing is to be kept alive at all, or in existence. Even a slight return to Nature can somewhat revitalize an art. We believe that the day of the standardized Dresden Shepherdess toe dancer, with her absolute perfection, and absolute sameness of arm movement and manner is passing away. The world prefers a living personality. So, teachers, if you wish your toe dancing pupils to be cute, don't show them how, nor even tell them to be cute. Just let them alone, and the daintiness itself of walking on the points, com- bined with the daintiness of the music, will in time make each one evolve a cuteness of her own, un- consciously, which will be exactly suited to her own personality, and will be far more adorable than any little tricks you could teach her. SPONTANEITY This is the jewel that sparkles most brightly in the dancer's crown of perfection. When dancing before an audience the dancer should let herself go in such free and natural abandon that she seems to be making up her dance as she goes 63 THE CHALIP TEXT BOOK OF DANCING along. Technique and the steps should be for- gotten — oh, no, we do not mean quite that: it is always a tragedy to forget the steps — we mean that the steps should remember themselves as a result of long practice, and that the dancer should not even think hozv she does them. All of her attention should be on interpreting the spirit of the dance itself. Correctness of execution should have been acquired previously thru exercises and to some extent while practicing the dance, but all studiedness should be thrown to the winds while dancing the dance. Who likes to see an attractive young girl danc- ing with a set and anxious face, a worried face which her sister dancers can read like an open book? It seems to say, "Oh, I must be sure to finish in Fifth Position this time. Oh, dear, I did- n't. How awfully I must be doing. But at least I am turning my knees far out. It must look wonderful. I am lifting my leg backward high too. I mustn't forget to smile while I do these difficult brises. Oh, I am so exhausted, I don't know how I will ever live thru that awfully hard part that's coming next. Oh dear, I messed it all up. But this part is easy; now I will be able to turn my toes out really far," etc., etc., until at last the agony is over. Then follows more agony upon hearing indifferent applause. Yet how can any audience thrill to a dancer with such thoughts as 64 EXPRESSION these? If this same deluded dancer had chosen a dance that was not too difficult for her, and could grasp the idea of "The dance is the thing," she might have made a success instead of a fail- ure. It is undoubtedly true that her technique would have lost in accuracy thru lack of special attention, but her dancing on the whole would have gained immeasurably, for it would have risen from a mere succession of exercises to the poetry of motion, and she herself would have be- come a personality instead of a nonentity. Of course, we should regret the loss of accuracy, but the point is this : that when performing in public she should stand or fall by her present habits in technique. When she has studied longer she will have formed better habits, and will perhaps have accuracy (without thinking of it) as well as ex- pression and personality. At all stages of devel- opment she must have the two latter qualities, and should have all the other good qualities too before she dances in public. Yet in the "get ahead fast" spirit of the present day, when all artists make their debuts too early, it is comforting to remem- ber that spontaneity covers a multitude of sins. SINCERITY The last as well as the first word in talking about expression in dancing or in any art should 65 THE CHALIF TEXT BOOK OF DANCING be Sincerity. The performance must ring true. The dancer must really feel the idea of the dance, for if she does feel it she will surely express it. She will then seem the embodiment of a thought — an idea come to life. The idea will be like an inner light that shines thru the body to be seen clearly by all, and to glorify dancer and dance. It is most interesting to watch this light go out when the dancer becomes absentminded, or for- gets her steps, and then to see the light come on again when she presently recovers herself. It seems that this light is the dancer's very self, her life or soul. Actors seem to think some such thing. They use the expression "getting inside of the part" ; so dancers might say "getting inside the dance." If the dancer does get inside the dance it will almost certainly be a successful per- formance, no matter how well or poorly she may do it otherwise, for it will be a thing of life, — the dancer's own life will seem to be its propelling force — and the onlooker will feel that before him is something real and vital. Every dancer has life (or she would be a corpse) : call it soul if you like. And she must learn to put her life into her dance, or rather to relax and allow her life to flow into it, by giving herself up completely to the dance's central idea. Dancing thus in a beautiful abandon the artist 66 EXPRESSION tells the truth about the dance, about herself, and all her love for dancing, and so rejoices and re- freshes those who watch her. 67 NOTES ON TEACHING In giving the first lessons to a class in toe danc- ing, proceed very slowly, trying to form perfectly correct habits from the start. Teach the class the ideal foot positions not only by showing them with your own feet, but by walking around the class and taking hold of the foot of each one individu- ally and placing it as it should be. Grasp the heel with one of your hands and the toe with the other, then turn the foot out while stretching it down, then release the toe and use the hand to straighten the knee, if necessary. Think how well you must understand this position yourself, before attempt- ing to force it upon another ! The pupil will thus get the "feel" of the correct position even tho she cannot hold it after you let go, and will know what to try to do. This planting of the idea is most important. If more strenuous effort is needed to turn the leg out, grasp the knee with both hands and twist it. You will find that you get more exercise than the pupil does, but she will reap the benefit. This actual placing of the feet should be continued until you see that the class takes positions at least as correctly as they can, having caught the idea. Do not discourage them by telling them that after 25 years they may be 68 NOTES ON TEACHING Still trying to reach the ideal position ! (Dancers, even after they become famous often take a teach- er with them to insist upon their taking their posi- tions correctly, as well as their working with energy.) Which closed position to use (First, Third or Fifth) in teaching bar exercises depends upon the age and degree of advancement of a class. For children who are beginners in dancing the First should certainly be used, because it is the easiest to do and to understand. Soon, however, they may be promoted to Third Position, which is more beautiful, and later on perhaps, graduate to Fifth. Using Fifth Position at first would be too much of a strain on their legs. Older children or adults may use Third Position at the start or even Fifth if they have had dancing of some sort be- fore, that has prepared their legs for hard work. As soon as these more advanced pupils have ac- quired accuracy in the elementary exercises they may be given combinations of these to stimulate their interest. Inspiring a class to practice with energy is the second necessity in teaching toe technique, the first being accuracy. A class will get more bene- fit from doing an exercise a few times with great energy than many times in a half-hearted way, and will not use up as much time and strength either. When pupils practice without a teacher 69 THE CHALIF TEXT BOOK OF DANCING they do not gain so much strength, because noth- ing inspires them to use their energy. A certain pupil of ours complained that it was impossible to get lame by home practice. With energy another virtue comes very natu- rally — thoroness. This is doing an exercise com- pletely; if a foot is to be lifted, to lift it high; if to be stretched, stretching it well; if to finish in Fifth Position, not cheating by doing a "near" Fifth Position. To tell how to make the class do exercises with vim is a problem. Why do horses run when one man holds the reins, and only amble along when another drives? It is largely a matter of person- ality in both driving and teaching. But a few helps should be noted. A brisk command, be it only saying the word "and" to start the music will do more than many well phrased sentences about the advantages of doing exercises with vim. And one strong driving, or rather leading, force is en- thusiasm. Every teacher has this gift if he loves his work, even if he does not have a dominating personality. He should keep his enthusiasm fresh and vital by thinking of the ideals of dancing that he wants his pupils to express, and really wanting always to have them do better and better, and to feel his own methods of teaching improve con- stantly, so that during each successive term he may have the satisfaction of knowing that his 70 NOTES ON TEACHING class has accomplished more than ever before. Studying- dancing himself to "keep up with the times" is another great aid to the preservation of enthusiasm. Summarizing previous paragraphs, the good teacher must first of all know his subject; next he must be able to talk about it directly and clearly, and what is just as important, to execute at least correctly and gracefully, if not brilliantly, what he teaches. His own dancing must follow the fundamental laws of good posture, harmonious lines and grace, for his pupils cannot help imi- tating what they see, no matter what he may say. Emerson said to an impostor: "What you are talks so loud I can't hear what you say." Actions speak louder than words. A certain teacher with a temporarily disabled knee found that his pupils took to limping from seeing him limp. Yet even to tell and to do is not enough; the good teacher must be able to inspire others to do their best. His own inspiration must stimulate their enthu- siasm for dancing so that their talent may de- velop itself in an encouraged atmosphere. Finally the teacher must be able to observe; to really see what the class as a whole does, taking the average pupil as representing the class rather than the best or the poorest dancer in it. How can the doctor know what medicine to give before he diagnoses the case? And how can the 71 THE CHALIF TEXT BOOK OF DANCING dancing teacher know what exercise to give or to emphasize unless he sees what a class does wrong, or what principle of good dancing they are violating? The good teacher constantly studies his class, knowing that the class itself can teach him how to teach, if he can only observe well enough. Not only should he see their move- ments, but also read the unconscious expressions of their faces, which reveal their likes and dis- likes, degree of fatigue, etc. And observing is not done with the eyes only: sympathy and a knowledge of human nature help the teacher to sense what the class needs. The good teacher always plans his lesson be- forehand, but is never a slave to his plan. If on studying the class he sees where his plan could be better adapted, he does not hesitate to change it. Or if he have an inspiration to do something, he quickly considers, and then does it or not as seems best. But a plan he always has to fall back on, and the thought that he has it gives him the poise and self-assurance that are so important for governing as well as teaching a class. The teacher who does not plan, does not progress in excellence of teaching; for it is in careful thought preceding teaching that he is most apt to have new ideas, when his mind is not occupied with discipline, the pianist and other matters. The good teacher blames himself, and not the 72 NOTES ON TEACHING class, or the weather, if the class does not learn, or is not enthusiastic. He proceeds to study his own teaching, his attitude toward the class, and his mental attitude in general. He may find that he was not concentrating on his work, but was thinking about something else, perhaps worrying about it, or perhaps planning, but at any rate, not thinking of the work of the moment, so that the attention of the class drifted away from his absent leadership. Or he may find that his own enthusiasm had waned. Whatever the facts, the good teacher studies his mistakes or failures, and always learns something from them. The great teacher is he who teaches essentials and broad principles. He does not quibble over inconsequential trifles. Out of his vast knowl- edge he chooses what is vital to give out, and knows what is the important need of each mo- ment. He talks little, but whatever he does say is to the point and brings results, since he tells his class only what they are able to understand and do. He is like an artist who paints with few and large, bold strokes of his brush, each stroke play- ing a vital part in the picture. And as the artist steps away from his picture to get the general effect, so the great teacher tries to see his class as from a distance to get the true idea of their attainments and possibilities of attainment. He sizes up his pupils as to their present state of 73 THE CHALIF TEXT BOOK OP DANCING technical ability and mental grasp of dancing, decides what standard they could come up to in their present state, then compels them by the force of his enthusiasm to reach this height. He never tries to make them do what is beyond them and in so doing fail. The great teacher is great because he brings out of his pupils the best that is in them at each stage of their development. 74 BAR PRACTICE The bar is a horizontal pole about 33 inches above the floor and usually running parallel to the wall. (For smaller children build it lower, i. e., 24 to 28 inches above the floor.) The student usually stands sidewise to the bar and grasps it with one hand, while the other arm is held in Second Position. The exercises are practiced by the foot which is farther from the bar, e.g., the R foot will work when L hand holds the bar. But some exercises require that the bar be grasped by both hands. The Aim. The chief benefits of bar work are : strength, accuracy, correction of physical defects, the cultivation of a good standing position, turn- ing out of the legs, extreme elevation of the arch, and artistic finish in general. Bar practice is the best way to acquire many good habits of position and movement. A foot position at the bar is taken thus : stand- ing sidewise to the bar, step forward on the foot which is to remain in front, having this foot turned out as far as possible ; bring the other foot up behind it in Fifth Position, striking against it with considerable force, so that the second foot becomes turned out as far as the front one. We 75 THE CHALIP TEXT BOOK OF DANCING have said Fifth Position here because that is the position from which exercises in toe dancing usually start. After taking this position with force, precision and accuracy, hold it motionless- ly, avoiding the tendency to make little move- ments of adjusting and trying to turn the feet out still farther. To practice with the other foot make a half turn inward toward the bar, thus: step R foot (which has been the working foot) across over the L foot, very close to it ; rise onto the balls of the feet (or onto the points if the student has reached the stage where it can be done easily), make a half-turn toward the bar while manoeu- vering the feet in such a way as to finish with L foot either behind or in front, according to which is desired as the next starting position, and lower the heels to the floor, the feet being in Fifth Position. 76 THE CHALIF ARM POSITIONS A detailed description and illustration of these will be found in Book I of the Chalif Text Book of Dancing. Below are sketched and described their main outline only. n -f c? J- r First Position. The arms make a circle in front of the chest at the level of the middle of the chest. Second Position. The arms are raised sideways a little below shoulder-level. Third Position. The R arm makes a half-circle over and in front of the head, and the L is in Second Position. Reverse for Third Posi- tion with L arm up. Fourth Position. The R arm makes a half-circle over and in front of the head and the L is in First Position. 77 THE CHALIF TEXT BOOK OF DANCING Fifth Position. Both arms make a circle over and in front of the head. Lateral Position. One arm is in Second Position and the other in First. In combining the arm and foot positions to make the five standard attitudes of the body (ist ft. pos. with 1st arm pos., etc.) as is fully de- scribed for the first exercise of Book I, Chalif Text Book of Dancing, the Law of Opposition is followed, i.e., that arm is raised which is oppo- site to the foot which is in front. The amplified positions are indicated above. They are derived from the corresponding stand- ard positions by separating the arms farther, at the shoulder-joint, and partially straightening them. Their brief descriptions are : First. Both arms diagonally forward, a little be- low shoulder-level. Second. Both arms back of the shoulder-line and considerably below shonlder-level. 78 THE CHALIF ARM POSITIONS Third. An approximately continuous slant with the two arms. Fourth. The arm of reference is diagonally for- ward upward to side, and the other at chest- level diagonally forward to the other side. Fifth. Both arms diagonally upward in front of the shoulder plane. 79 THE FIVE STANDARD POSITIONS of the feet Taking these positions one after the other is the first exercise to be given, following immediately after teaching pupils to stand correctly. The positions will be described here with the toes turned out to i8o°, tho it is impossible for the stu- dent to reach this degree of turning out at first. In dancing, these extreme positions would not be used, but in exercises they should be. The two open positions (Second and Fourth) are taught in this exercise with one foot pointed and the other in sole position, instead of on both soles, as this form is used much oftener in danc- ing, and is much more beautiful. Aim: To teach taking positions correctly, so that exercises will be done correctly; to turn out the legs. Music: There may be no music at all, or slow music with heavy chords may be played, e.g., Chopin's Prelude in C minor. THE EXERCISE Preparation : Hold the bar with L hand. Take the correct standing position with heels together and feet turned out only as far as is natural, and 80 A Dancing Lesson Louis H. Chalif and renia Watson d-*-- < ■*.;? \J 1. -_i ^^^B^^^l^p ■Ihirif PosHuni .Uilcrim- J'milh I'osilii I V Fifth Pnsili,,,, Sccnml Sole I'cisilinii Fpiiiili Sole /■,.«//, THE FIVE STANDARD POSITIONS I'osh-ni.r I-omth I'osilii THE FIVB STANDARD POSITIONS raise the R arm thru First to Second Position, where it will remain thruout the exercise. Turn the feet outward to i8o°, if possible, so that they make a continuous straight line, the heels being together (First Position — cts 1,2); slide R foot directly sideward, in line with the L heel, keeping the toes on the floor always, but lifting the heel, turning it forward, pushing the ankle outward, and elevating the arch (Second Position — cts 3, 4) ; bring the heel of R foot to the center of L foot, both feet being now flat on the floor, close together and parallel (Third Position — cts 5, 6) ; slide R foot directly forward, lifting and turning forward the heel, pushing out the ankle, and elevating the arch, the toe being in line with L heel, so that the feet are really crossed and paral- lel, if possible (but it will not be possible) (Fourth Position — cts 7, 8) ; bring R heel to h toe, then bring the R toe backward to touch the L heel, thus placing the feet close together and parallel (Fifth Position — cts 9, 10). To make a half-turn so as to be in position to go thru the positions with the L foot, do thus: step R foot across over L foot and close to it, rise onto the balls of the feet and turn halfway around to L, and finish with heels together, grasping the bar with R hand, and bringing the L arm to Second Position (cts 11-16). While doing these foot positions the R arm 81 THE CHALIF TEXT BOOK OF DANCING may go to First, Second, Fifth, First and Second Positions. With the next phrase of the music, repeat the five positions with the L foot (i6 cts). Repeat all if desired. Go thru the five positions with the working foot in the rear for the Third, Fourth and Fifth Positions. Repeat with L foot. RULES OF EXECUTION Turn out the feet as far as you can without bending the knees, or allowing the feet to turn over on the inside. Try to stand on the outer sides of the feet, in- stead of letting the feet turn over onto their inner sides, which is what they tend to do when turned out, and which lowers and weakens the arches. By forming, from the very beginning, this habit of standing on the outsides of the feet, which brings the weight at their centers, where it should be, you will make your arches high and strong. Think of turning out the entire leg from the hip-joint, rather than turning out the feet. This thought will cause the knees to be turned out also. Try to draw the hips backward and inward to keep them from bulging sideward, but do not allow them to project backward either. This thought may sound strange and impossible, but 82 THE FIVE STANDARD POSITIONS it brings results in slenderness and compactness of appearance. In Second and Fourth Positions think also of pressing the heel forward. In First, Third and Fifth Positions see to it that the toes are pressed flat against the floor — not lifted. In Russia they say "bite the floor" with the toes. Press the knees backward to straighten them. Draw the body upward to be tall and buoyant for the same reason. Observe all the rules of correct standing as stated in the introductory chapters. 83 THE FOUR ELEVATIONS of the foot This is the first exercise to be taught to begin- ners in toe dancing, after the five positions, for it is slow and gentle, and so provides an easy and safe entrance into more vigorous work and teaches the different elevations used in dancing. 'Before starting to practice the exercise the teacher may have the students place the foot in each elevation (without music), telling the tech- nical name of each. Aim: To teach arching the instep and pushing out the ankle ; and to lead by easy stages to the proper placing of the foot. Music: Slow, melodious 4/4 time. FIRST EXERCISE Stand in Second Position with the soles of both feet flat on the floor {pied a terre). Lift R heel a little above the floor {pied a quart; ct i ), lift R heel a little higher {pied a demi; ct 2), lift it still higher {pied d trois quarts; ct 3), lift the heel still higher and allow the knee to bend so that the very tip of the toe may rest on the floor, the foot being perpendicularly placed {sur la point e, or pied a pointe; ct 4), lower the heel by descending 84 ^ first Elevation Second IMevation w^^^^'^^Z'^"^"^ Third Elevation FourtJi Elevation THE FOUR ELEVATIONS slowly thru the 4 degrees of elevation (cts 5-8). Keep the entire leg turned out, and try to press the heel forward when lifting it. The knee may be kept straight all the time to make the exercise more difficult. Repeat 4 or 8 times in all with R foot, then do the exercise with L foot, then repeat all. SECOND EXERCISE This is similar to Petit Battement Releve, to be described later. Do the above exercise in faster time, going im- mediately from the sole to the pointed position, as follows: Preparation: Stand in Second Position with the soles of both feet flat on the floor. Keeping the toes of R foot firmly on the floor, elevate the heel until the tip of the toes rests on the floor (cts I, 2), lower the heel to the floor (cts 3, 4), re- peat 8 or 16 times in all, then close the foot in Fifth Position behind to finish. Turn and do the exercise with L foot. The knee of the working foot may bend when pointing the foot, but the best stretching of the arch and ankle will occur if the student tries not to bend the knee, for then it will bend less, and in- stead the action of pointing the foot downward will be forced to take place in the ankle and arch. 85 THE CHALIF TEXT BOOK OF DANCING Forward and Backward. This second exercise should be practiced in all directions, tho not all in the same lesson necessarily. S6 DEMI-PLIER Pron. d'mee plee-ay. Bending half-way. In demi-plier the entire soles of the feet are kept on the floor always, the bending- of the knees being only as far as can be done without lifting the heels. Demi-plier is often used in combination with other exercises. The Aim and Music are the same as for Flier. EXERCISES Stand in First Position with the feet well turned out. Slowly bend the knees as far as pos- sible without lifting the heels (4 cts), rise, straightening the knees (cts 5-8). Be sure not to allow the feet to turn over forward as they will be apt to do, and do not project the hips backward. Starting from Second Position the free arm goes to First Position (cts 1-4) and returns to Second Position (cts 5-8). Repeat 4 times in this position, then practice the exercise in all four other positions. Demi-plier may be practiced in faster tempos, using 2 cts to bend and 2 cts to rise. Do it still faster, using i ct to bend and i to rise. 87 PLIER Or plies. Pron. plee-ay. Translation : To bend, or bendings. Bending the knees. Plier is practiced with and without the bar in all five positions. Plier (as well as all other exercises) should be practiced at first in soft shoes, since it is pain- ful for beginners to do the exercise in hard toe slippers unless standing on the points, which is impossible at first. Aim: To strengthen the thighs and knees, to turn out the legs, stretch them and make them supple. Music: Any sustaining melody in 4/4 or 2/4 time. PLIER IN 4 COUNTS Preparation : Stand in First Position with feet turned out as far as possible without straining the muscles, and raise the free arm thru First to Second Position. Slowly bend the knees, opening them out sideward, keeping the whole soles of the feet flat on the floor as long as possible, then lift- ing the heels, bending until finally almost sitting on the heels (cts i, 2, 3, 4). Slowly rise, bring- 88 "'uiai Demi-Plier PLIER ing the heels down to the floor when possible, fin- ishing with the knees straight (cts 5-8). During cts 1-4 slowly swing the free arm inward to First Position and during cts 5-8 turn the palm of the hand upward and reach forward, as if to ex- press giving, then open it to Second Position again. Thus the student gets the idea of using the arms expressively. The exercise should be repeated 4 times or more with the feet in First Position and then repeated in all of the other positions, but not all in one lesson, for this would tire the beginning student too much. FLIER IN 2 COUNTS Repeat the above exercise, using 2 cts to bend and 2 cts to rise. Use all positions. The arm movement is the same for all exercises of Plier. PLIER IN SLOW AND FAST TIME Bend slowly for 6 counts, then rise quickly on ct 7 and rest for ct 8. Use all positions. PLIER COMBINED WITH fiLEVER Rise onto the balls of the feet, then bend the knees (cts 1-4), rise until standing on the balls of the feet with knees straight, then lower the heels (cts 5-8). Practice in all 5 positions. 89 THE CHALIP TEXT BOOK OF DANCING PLIER ALTERNATING WITH fiLEVER Do plier as described in the first exercise (8 cts), rise onto the balls of the feet (cts 9-12), and lower the heels (cts 13-16). Practice in all positions. Follow the plan of the second exercise. PLIER IN TOE SLIPPERS Rise quickly onto the points, then slowly bend the knees until almost sitting on the heels, while remaining on the points (8 cts) slowly rise until the knees are straight, then lower the heels (cts 9-16). Practice in all five positions. This exercise may be practiced twice as fast, or bending slowly and rising quickly, as described in the second and third exercises. PLIER AT THE CENTER All of the above exercises may be practiced at the center, in which case both arms should be moved to First Position and back again to Second Position. RULES OF EXECUTION Keep the weight on the center of the feet, i.e., do not let them turn over on either side nor wabble. Turn the knees and feet out as far as possible when bending. 90 PLIER Keep the back straight and perpendicular, over- coming the tendency to lean forward. Hold the head up. Move slowly, with complete control. Finish with the knees absolutely straight. Use the arms expressively, with a free movement from the shoulder. 91 PETITS BATTEMENTS Pron. p'tee batmahN. Trans, small beatings. Technical analysis : glisse, assemble. Slide the foot out and bring it hack. The complete name of this exercise is Petits Battements Tendus a Terre, meaning small stretched beatings on the ground; but the name is usually shortened to Petits Battements, as here. And this shortening is justifiable, for ''tendu" is superfluous, since the foot should be stretched in beatings of all kinds; and "a terre" is replaced by ''petit," which has come to mean that the toes are kept on the floor, in contrast to "grand," in which they are lifted from the floor. Still another name is Petits Battements Glisses, meaning that the foot slides on the floor when beating. Petits Battements is the exercise that makes a toe dancer, more than any other one study. It is practiced in all 5 positions, and in 3 direc- tions. Beginners would better use First or Third Position. It is practiced with and without the bar, but preferably with it at first. Petits Battements executed sideward are called simples if the foot is returned to the position from which it started, and changes if it starts 92 A «•'- -"Tt CO CQ CXm ■n PETIT S BATTBMENTS from the rear and is returned to the front, and vice versa. The exercise should be practiced very slowly at first, to insure accuracy. Aim: To strengthen the toes, arches and ankles; to raise the arch and instep; to prepare for a good elevation on the points; to turn out the legs; to straighten the knees; to bring quickness of movement of the legs ; to stretch them ; to establish the habit of moving them from the hip-joint; to teach control thru keeping all but one part of the body motion- less. Music: 2/4 or 4/4 time which is quick and sharply accented. GENERAL RULES for Petits Battements in all Directions Keep the knee of the working leg straight. Keep the supporting knee straight. Make the movement short enough to permit elevating the arch, but not so short as to necessitate raising the hip. Keep the toe on the floor all the time. Press it heavily against the floor, as if pushing something heavy away from you. Push the ankle outward to help make the toes 93 THE CHALIP TEXT BOOK OF DANCING perpendicular and to leave a large open space under the foot. Elevate the arch for the same reasons. Keep the toes straight — never bend them under by catching them against the floor and push- ing the arch outward too far. Press the heel forward and the front part of the foot backward for all directions. See that on the inside of the foot you have an outward cure which is caused by following the preceding admonitions. Have the entire leg turned outward at the hip, thinking always that the turning out of the foot begins here. Think of sending a stream of strength to the tip of the toe — all the strength of the body being sent there by the shortest route. Bunch the toes all together to prepare for stand- ing on them. Make both the inward and outward movements quick, decisive and clear cut. Pause for an instant after each inward and out- ward stroke. To avoid bending the supporting knee when re- turning the foot to a closed position, elevate the entire body to an erect, buoyant carriage. Keep the whole body motionless except the work- ing leg. 94 PET ITS BATTEMENTS PETITS BATTEMENTS EXERCISES AT THE BAR IN EACH DIRECTION SEPARATELY Starting from Fifth Position in front, slide R foot to Second Position (cts 1,2), return R foot to Fifth Position in front, completing one petit battement (cts 3, 4), slide R foot to Second Po- sition (cts 5, 6), and bring it to Fifth Position be- hind, completing a petit battement change (cts 7, 8). Continue doing petits battements changes for 8, 16 or more times in all. Turn to face in the opposite direction, and re- peat the same number of times with L foot. Turn again and do petits battements forward to Fourth Position with R foot, starting from Fifth Position in front, and returning each time to this same position. Turn again and repeat with L foot. Turn and do the exercise backward to Fourth Position with R foot, starting from Fifth Posi- tion behind, and returning each time to this same position. Turn and do the same with L foot. After accuracy has been acquired these exer- cises may be done twice as fast, using i ct to slide outward and i ct to close. PETITS BATTEMENTS IN TWO DIRECTIONS Starting with R foot in Fifth Position in front, slide R foot forward and return it to the same 95 THE CHALIP TEXT BOOK OP DANCING position (ct i, 2), slide R foot to side and return it to Fifth Position behind (ct 3, 4). Repeat all as long as desired, then turn and repeat with Lfoot. Starting with R foot in Fifth Position behind, slide R foot to side and return it to the same posi- tion (cts 1,2), slide R foot back and return it to Fifth Position behind again (cts 3, 4). Repeat all as long as desired, then turn and do the exer- cise with L foot. PETITS BATTEMENTS IN THREE DIRECTIONS Starting with R foot in Fifth Position in front, slide R foot forward and return it to the same position (cts 1,2), slide it to side, returning it to Fifth Position behind (cts 3, 4), slide it back- ward, returning it to Fifth Position behind (cts 5, 6), slide it to side, returning it to Fifth Position in front (cts 7, 8). Repeat all as many times as desired, then turn and repeat with L foot. PETITS BATTEMENTS AT THE CENTER All of the above exercises may be practiced at the center, but for the sake of variety it is well to do them: ALTERNATING Moinng Porivard. Starting with R foot in Fifth Position behind, slide R foot to side and re- 96 PBTITS BATTEMENTS turn it to Fifth Position in front (ct i, 2), repeat with L foot (ct. 3, 4), and continue alternating as long as desired, moving forward little by little. Moving Backward. Starting with L foot in Fifth Position in front (as it was at the end of the forward progression), slide L foot to side and return it to Fifth Position behind (cts i, 2), repeat with R foot, and continue alternating, moving backwards little by little. ALTERNATING IN TWO DIRECTIONS Starting with R foot behind, slide it to side, re- turning in front (ct i, 2), slide R foot forward, returning it in front (ct 3, 4), and repeat all with L foot (cts 5-8). Repeat all as long as desired, moving forward little by little. Do the same exercise moving backward little by little, starting with L foot, which is in front at the end of the forward progression. PETITS BATTEMENTS IN A CROSS FORMATION Starting with R foot in Fifth Position behind, slide R foot to side, returning it to Fifth Position in front (ct i, 2), repeat the same with L foot (ct 3, 4), slide R foot backward, returning it to Fifth Position behind (ct 5, 6), slide L foot forward, returning it to Fifth Position in front (ct 7, 8). 97 THE CHALIF TEXT BOOK OF DANCING Repeat as long as desired, starting with R foot always, while moving forward gradually. Do the exercise moving backward gradually, starting with L foot. 98 PETITS BATTEMENTS RELEVES Pron. p'tee batmahN re-le-vay. Translation : Small beatings with raisings. Sliding the foot out and in, with a lowering and raising of the heel added. It is well to give this exercise before the stand- ard petits battements, since it leads up to a good execution of the latter. Aim: To force the arching of the instep; and to give the idea of doing this thoroly ; to make the instep supple and strong. Music: 2/4, 4/4 or 6/8 time. THE EXERCISE Starting with R foot in Fifth Position in front, slide R foot to side (ct i, 2), lower the R heel to the floor (cts 3, 4), raise the R heel as high as pos- sible (cts 5, 6), bring the R foot to Fifth Position behind (cts 7, 8), and repeat all, closing the foot to Fifth Position in front (cts 9-16). Repeat 16 or 32 times with R foot, then do the exercise with L foot. Forward and Backward. This exercise is prac- ticed in all 3 directions. 99 THB CHALIF TEXT BOOK OF DANCING Variation. Slide R foot to side (cts i, 2), lower the R heel (cts 3, 4), raise the R heel (cts 5, 6), lower and raise the R heel twice more (cts 7-14), and close R foot behind (cts 15, 16). Center Practice. The exercise may be prac- ticed at the center as described, or alternating the feet, moving forward, then backward, little by little. 100 PLlfiS BATTEMENTS Pron. plee-ay batmahN. Translation: Beatings with bending. Bend one knee and slide the other foot out. The toes are kept on the floor always in this exercise, and the knee is bent as much as is possi- ble without lifting the heel of the supporting foot from the floor. The prolonged positions are used. The exercise is illustrated opposite page 112. The exercise is done in all 3 directions, and may be practiced starting from First, Third or Fifth Positions. Aim: This exercise combines the benefits of plier and petits battements. Music: 2/4, 4/4 or 6/8 time. RULES OF EXECUTION Adhere closely to the three standard directions. Do not allow the supporting foot to turn over onto the inner side. Be sure that the supporting knee turns out to the side instead of forward. Straighten the supporting knee fully at the end of each execution. Hold the trunk perpendicular, not allowing it to lean forward. 101 THE CHALIF TEXT BOOK OF DANCING Be just as careful about the correctly turned out, straight kneed position of the working foot as you are in doing the standard petits batte- ments. EXERCISES These may follow the plan of exercises for petits battements, i.e., all of those exercises may be done with the bending of one knee. 1U2 PETITS BATTEMENTS DEGAGES Pron. p'tee batmaliN day-ga-zhay. Translation : Small beatings with a transfer of the weight. Lifting the foot from the floor while straighten- ing both knees. effeW^ '*■' This exercise seems to be illogically named. The word degager (meaning to t4-ansfer) may be brought into this name because the weight is transferred from both feet to one foot. The real analysis of the exercise is a preliminary plie, then a grand battement. Aim: To strengthen, quicken and make supple the knees and instep, and to teach making well accented movements. Music: 6/8, 2/4, or 4/4 time that is staccato and has a marked accent. FIRST EXERCISE Preparation: Stand in Fifth Position with R foot in front. Just before the music begins bend both knees very slightly (ct and), forcefully ex- tend R foot to side to the position of petit battle- ment, then lift it a few inches from the floor, simultaneously straightening both knees (ct i), 103 THE CHALIF TEXT BOOK OF DANCING return R foot to Fifth Position in front with foot flat on the floor and bend both knees slight- ly (ct 2). Repeat 8 or 16 times with R foot, then an equal number of times with L foot. This exercise may be practiced closing the foot behind always or behind and in front alternately. The exercise may also be practiced forward and backward, but the sideward direction is the most beneficial. SECOND EXERCISE Practice the above exercise, rising onto the ball of the supporting foot whenever extending the foot; and lower the heel, bending the knees as before, whenever closing the feet. THIRD EXERCISE Do the same exercise rising onto the point. In this case be sure not to raise the foot so high that the forceful stretching of it is lost. AT THE CENTER All forms of this exercise may be practiced starting R and L feet alternately, moving for- ward, then backward, little by little. The arms remain held in Second Position. 104 PBTITS BATTEMENTS D&GAG&S DETAILS Be sure to turn the knees out and to keep the feet flat on the floor each time before doing the extensions. Altho the exercise is "bend and ex- tend" the "extend" is the principal part, and the bend only a preparation. Great force should be put into "extend," the toes being stretched down and knees straightened out. The accent of the music being on this movement helps to make it forceful. The foot should at first slide out- ward along the floor, as in petits battements, and then be lifted a few inches only from the floor, since lifting it higher detracts from the force of the downward stretching. 105 PETITS BATTEMENTS IN QUICK TEMPO imth the accent on the inward stroke This is an exercise for an advanced class. Aim: To bring great dexterity, and quick move- ment at the hip- joint; to teach making small, fine movements of the feet; to make the in- step supple; and to develop will-power. Music: Quick 2/4 time that is strongly accented. FIRST EXERCISE Preparation : Standing in Fifth Position with R foot in front make a demi-pile, then straighten the knees while pointing R foot to side. Bring R foot inward to Fifth Position behind (ct i), slide it outward as if making a preparatory movement, then bring it inw^ard to Fifth Position in front (ct 2) and continue placing it behind and in front alternately for 32 cts in all. Do the exercise with L foot. Practice the exercise forward, closing in Fifth Position in front, and backward, closing in Fifth Position behind. DETAILS The sideward practicing of this exercise is the most beneficial, and hence should be practiced the oftenest. 106 PET ITS BATTEMENTS IN QUICK TEMPO It is important not to cheat oneself in doing this exercise. There are three ways of cheating : the first is to return the foot to Third instead of Fifth Position ; the second is f aihng to lower the heel to the floor ; and the third is failing to extend the foot far enough sideward in between the beats against the other foot. Be sure to keep the toes on the floor all the time, since this brings more action in the arch and ankle, which is so valuable for gaining strength. The knees must not bend at all. If a feeling comes that you cannot keep the exercise up any longer, say "I can," and you will continue, for this valuable little exercise has the power to bring out reserve strength and dexterity, yet is so mild in itself that it cannot be injurious. Relaxation is a help toward quickness that Nature will be apt to bring when necessity calls for it. SECOND EXERCISE Two quick pctits battemcnts and point This exercise is most valuable for preparing to do brises, cabrioles, etc. The preparation for each includes a demi-plie, as described for the first exercise. Sideward: Point R foot to side (prep, m'v't), do 2 quick petits battements with the accent on the inward stroke, which is in this case to Third Position in the rear both times (ct i, 2), point R 107 THE CHALIF TEXT BOOK OF DANCING foot to side (ct 3) and hold, with foot well arched (ct 4). Repeat 16 times or more with R foot, then repeat with L foot. Forward: Point R foot forward to start with, then do the exercise closing R foot to Fifth Posi- tion in front, then pointing it forward. Repeat with L foot. Backward: Point R foot backward to start with, then do the exercise closing the foot to Fifth Position in the rear. Repeat with L foot. 108 PETITS RONDS DE JAMBE Pron. p'tee rawhN d' zhahNb. Translation : Little circles with the leg. Circling with the foot, keeping the toes on the floor. This exercise is sometimes called Ronds de Jambe a Terre, since the toes are kept on the floor always. Aim: To acquire freedom at the hip-joint; to learn to move the leg in a circular path, smoothly ; to gain strength and flexibility for the toes, arches and ankles; to elevate the arches and straighten the knees. Music: Melodious 2/4 or 4/4 time with a sus- taining accompaniment. Since simple forms of this exercise have been minutely described in Books I and II, only a brief summary of them will be given here ; then a few more difficult versions will be described. The sim- plest forms must be taught first if the class con- sist entirely of beginners in toe dancing, or of very young children. These simple exercises are in brief : 109 THE CHALIF TEXT BOOK OF DANCING Petits Ronds de Jambe practiced in First Position, circling forward, then backward. Petits Ronds de Jambe practiced in Third and in Fifth Positions. Petits Ronds de Jambe thru First Position de- scribing a figure 8 by circling forward, then backward. Petits Ronds de Jambe circling from Fifth Posi- tion behind to Fifth in front, then from Fifth in front to Fifth behind again. The same alternating the feet, so as to move for- ward little by little, or backward. THRU FIFTH POSITION With an extra preparatory movement. Preparation: Before the music begins start from Fifth Position with R foot in front, bend both knees a little, then straighten them out, while sliding R foot out to Second Position (pointe tendu) — the first half of a petit battement — ct and) ; describe a foward circle with R foot, pass- ing it thru First and Fifth Positions and finishing in Fifth Position in front (ct i, 2). Repeat this circling as long as desired, starting each time with the preparatory sideward sliding, but omitting the preparatory bending. The exercise should be practiced backward also, the preparatory slide being to the side as before. 110 PBTITS RONDS DE JAMBE The extra preparatory movement is often used in practicing Ronds de Jambe, whether petits or grands. Its benefits are many : it makes it more natural and easy for the heel to lead in the circling, which rule of heel leading was formulated for the purpose of keeping the toe from turning in at the start. The preparatory movement also makes for more dexterity by bringing in more movements in a given length of time. It also gives a chance to start the circling with a greater impetus and so to do the exercise with more energy. RULES OF EXECUTION These are the same as for petits battements tendus, as regards keeping both knees straight, pressing the ankle and arch out- ward, keeping the toes on the floor always, turning the legs out, and in addition : Think of leading with the heel, so that the toe will surely be turned out. Make the circling smooth, then stop with pre- cision. Make the circle as large as is possible without bending the supporting knee. Finish each circle with the foot flat on the floor and well turned out. Ill PLIES RONDS DE JAMBE Pron. p'tee rawN d' zhahNb plee-ay. Small foot circles zvith h endings of the supporting knee. This exercise is sometimes called Ronds de Jambe Plies a Terre, meaning that the toes are kept on the floor while circling. The prolonged positions are used. The toes are kept on the floor always, and the supporting knee is bent only as far as one can, and still keep the whole sole of the foot on the floor. The circling may be forward or backward, and may be practiced in First, Third or Fifth Position. Aim: See aims of Plier and Petits Ronds de Jambe. Music: The same as for Petits Ronds de Jambe, but played more slowly. GENERAL RULES See General Rules for Plies Battements and Petits Ronds de Jambe. EXERCISES The preparation the same as for Petits Ronds de Jambe. Seepage no. 112 if'^. V -j£S;«ps^ I'roloiKjrd I'nsilioJis '.ml, I tit .Inferior and -Ith I'oslcrior. Grand Roiid dc Jambe Plie PLI&S RONDS DE JAM BE Any or all of the exercises in Petits Ronds de Jambe may be done bending the supporting knee. One of the most valuable forms of the exercise is circling from Fifth in front to Fifth behind, then circling from Fifth behind to Fifth in front again. Another valuable exercise is circling from Fifth in front, returning to Fifth in front, or from Fifth behind, returning to Fifth behind. The exercise may be practiced very slowly, starting forward and circling backward for 6 cts, closing behind on ct 7, resting on ct 8; then re- peat all, starting backward, circling forward and closing in front (cts 9-16). 113 PETITS RONDS DE JAMBE RELEVES Aim: To acquire strength and springiness for one foot while acquiring dexterity in circHng with the other. Also to learn a graceful and attractive way of moving the feet. Strictly speaking, this exercise should not be called petits, since the toes are lifted from the floor a little. Starting with R foot in Fifth Position in front slide it out to side (preparatory movement), make a little circle forward with the foot, at first keep- ing the toes on the floor, then lifting them a few inches only, allowing the working knee to bend slightly, and simultaneously with starting to cir- cle, rising onto the ball of the supporting foot (ct i), close the R foot to Fifth Position in front or to First Position, and at the same time lower L heel to the floor (ct 2). Continue as long as desired with R foot, then do the exercise with L foot, then backward with each foot. Note that the knee of the circling foot may be slightly bent. 114 PETITS RONDS DE JAMBE IN QUICK TEMPO An exercise for an advanced class. The movements are much the same as those for fast petits battements. The exercise may be practiced in First and Fifth Position, both being about equally bene- ficial. The description will be for First. FIRST EXERCISE Slide R foot to side (preparatory movement), describe a circle forward, passing thru First Po- sition with the entire foot flat on the floor at that point, and afterwards the heel being well lifted while the toe is at pointe tendu (ct i), describe another similar circle (ct 2), and continue for 16 or 32 cts in all. Repeat with the L foot, then do the exercise backward with each foot. DETAILS It is most important that the heel brush the floor between each circle, for this means much action in the ankle and arch, developing strength. The knee should be kept perfectly straight so that the action will come entirely from the hip-joint. 115 THE CHAUP TEXT BOOK OF DANCING The tendency is to bend the knee and make circles on the floor with the toes, without ever touching the heel to the floor. This is the lazy man's way and brings no reward in strength. To do the exercise correctly and energetically, and to keep it up after getting tired, imagine that you are stir- ring something — a delicious plum pudding per- haps. SECOND EXERCISE 2 Petit Ronds de Jambe and Point This exercise is particularly valuable on ac- count of the strong pointing. Preparation (see page i lo) : Describe 2 petits ronds de jambe forward with R foot (ct i, 2), point R foot to side, stretching the foot strongly downward (ct 3) and hold (ct 4). Repeat 8 or 16 times with R foot, then repeat with L foot. Do the exercise circling backward, with the foot pointed sideward as above. The exercise may be practiced making forward and backward circles alternately. The pointing is the climax of the exercise, and its most beneficial part for strengthening the toes. The circling should seem merely to lead up to the pointing. 116 PBTITS RONDS DE J AM BE IN QUICK TEMPO THIRD EXERCISE Point and 3 Petits Ronds de Jambe. Starting with R foot in Fifth Position in front, slide R foot to side (ct i), hold (ct 2, 3, 4), describe 3 petits ronds de jambe forward, finishing in front (cts 5, 6, 7), rest (ct 8). Re- peat all, doing the circling backward, finishing in Fifth Position behind (8 cts). Continue doing the exercise forward and backward alternately as long as desired, then do the exercise with L foot. The exercise may be practiced forward and backward alternately. FOURTH EXERCISE 3 Petits Ronds de Jambe and Rest. Preparation (see page no) : Describe a for- ward circle, keeping the toes on the floor and passing thru Fifth Position in front (ct i, 2), start to describe a third circle but finish in Fifth Position in front on ct 3; rest (ct 4). Repeat this forward circling 8 or 16 times in all with R foot, then an equal number of times with L foot. Do the exercise circling backward. It may be done circling forward and backward alternately. 117 THE CHALIF TEXT BOOK OF DANCING FIFTH EXERCISE 6 Fast Pctits Ronds de Jambe and Point. Preparation (see page no) : Do 6 fast petits ronds de jambe forward with R foot (6 cts), point R foot to side (point tendu) (ct 7), and hold (ct 8). Describe 6 fast petits ronds de jambe back- ward with R foot (6 cts), point R foot to side (point tendu) (ct 7) , and hold (ct 8) . Repeat all as long as desired, then do the exercise with L foot. Variation: Describe 6 fast forward circles and point tendu forward (8 cts) ; repeat all and finish pointing sideward (8 cts), describe 6 back- ward circles and point backward (8 cts), describe 6 backward circles and point to side (8 cts). 118 i CI. u. u K F'rcparatiun fur Fctits Buttciiiciit siir Ic con dc pied. PETITS BATTEMENTS SUR LE COU DE PIED Pron. p'tee bat-maliN siir \c cou de pyay. Small beatings on the ankle. Some teachers call this exercise Petits Batte- ments because the movement of beating is from the knee down and therefore small. Battus, little hammerings of the heel against the ankle, are included in this exercise. Altho this exercise has been already described in detail in Books II and IV, it is so important for toe dancing that it must be included in a text book of that subject, if only in the form of a shortened description. Since this exercise is done standing on one foot it should certainly be practiced at the bar first and usually, to insure a correct position and execution. In all of the ii exercises here described the supporting foot may rest on the whole sole, ball, or point, according to which degree of difficulty is desired. Beginners should use the sole position; those further advanced will gain added strength from the ball (half -point) position; while the point position should be used sparingly, for it is exhausting. 119 THE CHALIF TEXT BOOK OF DANCING Aim: To bring strength and quickness at the knee-joint. More than almost anything else a toe dancer needs strong knees, which re- sult in straight knees. Straightening the knee pushes out the arch, making the foot point straight downward so that the dancer can stand on the very tip of the toes, while the toes them- selves are straight and strong. Thus a right po- sition of the knee brings all of the other parts of the leg into place. The music is light and staccato, in 2/4 time. FIRST EXERCISE— EXTENSIONS WITHOUT BATTUS Preparation : Before the music begins stand in Fifth Position with R foot in front, make a demi- plie, then straighten out the knees while sliding R foot to side, and finally place R foot against the front of L ankle, with knee turned out and foot horizontal, i.e., not turned down. Extend R foot sideward a little above the floor, entirely straightening the knee and stretching the foot downward (ct i), bend R foot close behind L ankle with the foot horizontal again (ct 2), and repeat, finishing with the R foot bent in front (ct3. 4). Repeat all as long as desired with R foot, bend- ing it behind and in front alternately, then do the exercise with L foot. 120 PET ITS BATTBMENTS SUR LB COU DB PIED Forward. Practice the exercise extending the foot forward, starting and finishing with the foot bent in front. Backward. Do the exercise extending the foot backward, starting and finishing with the foot bent behind. DETAILS There are two possible starting positions for this exercise — having the Hfted foot horizontal, or stretched downward. We have chosen the former way because it involves a continual action of the arch and ankle in bending and stretching, which is most beneficial. The student should make sure that in both the bent and stretched positions the knee is turned absolutely to the side, the heel brought forward and toe turned back- ward. It is only when the knee is turned out to the correct degree that the thigh can be held motionless, as it should be, and all of the action be confined to the knee-joint. The movements should be short and "snappy," each position being taken with decision, then held motionless for a moment to insure clearness of execution rather than sloppiness. All of the body except the lower leg should be held motionless but relaxed. 121 THE CHALIF TEXT BOOK OP DANCING SECOND EXERCISE— BATTUS IN IRREGULAR RHYTHM The preparation for all the exercises is the same as for the first one. Make 2 quick little beats around the ankle (behind and in front* ct i), rest (ct 2). Repeat as long as desired. THIRD EXERCISE— SAME ELABORATED Repeat the previous exercise twice (cts 1-4), then do it 3 times, omitting the rests (ct 5, 6, 7), and rest (ct 8). Saying omit the rests does not convey exactly the right impression, for there should still be slight rests; the 2 beats should be done in such very quick succession that there is time to rest before the next count. FOURTH EXERCISE— 2 BATTUS AND 1 EXTENSION Make 2 very small beats on L ankle with R heel, in front and behind, the foot staying very close to the ankle (ct 1,2), extend the foot side- ward as in the first exercise, or point it strongly against the floor (ct 3), and hold (ct 4). Con- tinue as long as desired. FIFTH EXERCISE— 3 BATTUS AND 1 EXTENSION Make 3 very quick beats around the ankle in front, behind, and in front (ct i, and, 2), extend 122 PET ITS BATTEMENTS SUR LE COU DE PIED or point the foot to side (ct 3), hold (ct 4). Con- tinue as long as desired. SIXTH EXERCISE— MANY BATTUS AND EXTEND ON CT. 3 Make as many beats as possible around the ankle with R foot (ct i, 2), extend or point the foot to side (ct 3), and hold (ct 4). Continue as long as desired. SEVENTH EXERCISE— MANY BATTUS AND EXTEND ON CT. 7 Make little beats around the ankle for 6 cts, extend or point the foot to side (ct 7), and hold (ct8). The fourth, fifth, sixth, and seventh exercises should all be practiced forward and back, as well as sideward. EIGHTH EXERCISE— BATTUS ONLY Make little beats around the ankle continuously without extending or pointing the foot at all. NINTH EXERCISE— BEATINGS CALF-HIGH Lift the foot to the Medium Closed Flowing Position, i.e., place the toes of R foot just in front of the L calf, the foot being stretched down. Any of the foregoing 7 exercises may be practiced from this starting point, the knee remaining at 123 THE CHALIF TEXT BOOK OF DANCING the height it now is whenever the foot is ex- tended. TENTH EXERCISE— BEATINGS KNEE-HIGH Practice any of the foregoing 7 exercises in High Closed Flowing Position, which means that the working foot is placed against the supporting knee. In this case wherever the foot is extended it should be waist-high and a special effort should be made to turn it well outward. This is particularly valuable for the toe dancer since it develops strength in the thighs, enabling her to hold the leg high for a long time. ELEVENTH EXERCISE— HIGH BEATINGS AND EXTENSIONS Make many little beats in High Closed Flowing Position (cts i, 2), extend the foot forward waist-high (cts 3, 4), repeat all 3 times more, ex- tending the foot sideward, backward and side- ward (cts 5-16), then repeat all. DETAILS It is of the utmost importance that the very small motion around the ankle be outward and in- ward, rather than forward and backward, which, without thinking, would seem the natural way. The reason for teaching first the first exercise of this series was to cultivate the in and out 124 PETITS BATTEMENTS SUR LB COU DB PIED motion in an easy way, and so prepare for doing the same thing in the small way that is more in- tangible and difficult. As noted above, the move- ment cannot be out and in unless the knee is turned directly out sideward. But the foot should actually beat against the ankle as if it were a little hammer. There is a tendency, especially in doing the last exercise, to shake the whole body, includ- ing the thigh, and to stiffen the body as well. But this is not at all what is wanted: the body must be quiet and relaxed. A good way to get the idea of moving the lower leg only is to place the hand on the knee to hold it quiet. 125 PETITS BATTEMENTS FRAPPES Pron. p'tee batmahN f rap-pay. Translation: Struck small beatings. Small beatings, striking the foot against the floor. The exercise is practiced with and without the bar. Aim: To harden the toes and consequently make it easier to walk on them ; to strengthen and quicken the knees. Music: Well accented 2/4 time. FIRST EXERCISE The preparation is the same as for Petits Batte- ments sur le cou de pied. ( See page 1 20. ) Extend R foot sideward a few inches only from the floor and in doing so make an emphatic knock of the toe against the floor, actually making a noise (ct i), bring the foot to the back of L ankle (ct 2), and repeat, closing the foot in front and behind alternately as long as desired. Repeat the exercise with L foot. This exercise may be practiced standing on the ball of the supporting foot. SECOND EXERCISE Make 2 battus on the ankle (behind and in front) (ct i), extend the foot sideward brushing 126 PBTITS BATTBMBNTS FRAPPBS the toe against the floor (ct 2). Repeat as long as desirable, then do the exercise with L foot. DETAILS The movements of the working foot should be most decisive, not only the outward brushing, but the inward closing as well ; this foot should actual- ly strike against the stationary foot. A clock- like precision should be attained by holding each of the two positions motionless for a moment after taking it. The upper part of the leg as well as the entire body should be held motionless. 127 ECHAPPES SUR LES POINTES Pron. ay-shappay Rising onto the points, separating the feet somewhat. Echapper means to escape, or to slip. The movement was probably so named from the fact that the feet of necessity slip further apart when rising onto the points. Echappes are used not only as an exercise but with great frequency in dance compositions, for rising up and down on the points is in itself some- thing like dancing, with its rhythm and its sug- gestion of lightness and spriteliness. fichappes are practiced in all five positions. They should be done at the bar at first to insure correctness, then at the center. ;6chappes are simples or changes according to whether the heels are lowered to the same position from which they started, or whether the positions of the feet are interchanged from front to back when lowering the heels. Aim: To teach standing on the points correctly ; to bring strength and quickness of action to the feet and knees. Music: Sharply accented 2/4 time. 128 c^fe*^-,*- •♦-a fe, ■kj ^ ICHAPP^S SUR LBS POINTES PREPARATORY EXERCISE DEMI-ECHAPPE Face the bar, holding it with both hands. Standing in First Position with toes well turned out, rise onto the balls of the feet (cts i, 2), lower the heels (cts 3, 4), and repeat for 16 times in all. When rising see that the instep is well elevated ; think of pushing it outward. FIRST EXERCISE ECHAPPES SIMPLES Face the bar, holding it with both hands, while standing in First Position. Make a small demi- plie, then spring up quickly onto both points, keep- ing the feet turned out (ct i), hold (cts 2, 3, 4), lower the heels (ct 5), rest (cts 6, 7, 8). Repeat 8 or more times in all. Many teachers think it advisable to emphasize bending the knees slightly just before rising onto the points, but others believe that it is better, in the interest of straight knees, to let the students do unconsciously whatever bending is necessary, for then they will not be so apt to bend them too much in dancing. Emphasis should always be laid on having the knees straight after rising. When the class has become strong enough they may do the second and third exercises immediate- ly after this one. 129 THE CHALIF TEXT BOOK OF DANCING SECOND EXERCISE Do the above exercise twice as fast, rising onto the points for 2 cts, then lowering the heels for 2CtS. THIRD EXERCISE Do the exercise twice as fast, rising on i ct and lowering on ct 2. The three exercises above should be practiced in all five positions, tho only one or two of them in a lesson. Second position is considered the most difficult. fourth exercise echappEs changes Starting with R foot in Fifth Position behind, make a demi-plie, rise onto the points, lower the heels with R foot now in front and L foot behind in Fifth Position; rise again and finish with R foot behind as at first ; continue interchanging the position of feet as long as the exercise is practiced. This exercise may be done in the tempos of the first three exercises. FIFTH EXERCISE USING IRREGULAR RHYTHM fichappes simples or changes may be practiced thus: Rise (ct i), hold (cts 2, 3), lower (ct 4) ; or rise (ct i ) , hold (cts 2-7) , lower (ct 8) . This method conveys the idea of rising quickly. 130 &CHAPP&S SUR LBS POINTBS SIXTH EXERCISE RISING FROM BALL TO POINT POSITION Starting from any one of the five positions, rise onto the balls of the feet (ct i), rise onto the points without lowering the heels (ct 2), sink to the balls of the feet again (ct 3), lower the heels (ct 4). Repeat as many times and in as many positions as desired. Note: All of these exercises may later on be practiced with the bar held by one hand only, and at the center. RULES OF EXECUTION Rise quickly with the weight on both feet equally. Do not make it easier by first stepping on one point, then using the other foot to help bol- ster it up. Push the ankle and arch outward so that the toes may be perpendicularly placed. Try to bring the heels forward when rising. See that the knees are absolutely straight after rising. Press them backward to make them so. See that the knees are well turned out. In doing echappes changes keep the shoulders facing straight forward, making the legs rotate rather than turning the whole body. 131 GRANDS BATTEMENTS Pron. grahN batmahN. Translation: High beatings. Lifting the leg from the hip and lowering it. While grands battements do not vitally affect the toes themselves, they are very necessary to enable the toe dancer to lift her legs high and easily, so that she may take and hold the high, exaggerated positions required of her. The exercise is practiced in all five positions, in three directions, and with and without the bar, preferably with it at first. Aim: To give freedom at the hip-joint, to stretch and strengthen the legs, and straighten the knees ; to teach a quick throw- ing out of the foot, and a stretching down of the toes when raising the foot. Music: Strongly accented 2/4 or 6/8 time. RULES OF EXECUTION First do the outward movement of a petit batte- ment, then lift the leg, but do it all with one swing, i.e., lift the leg but keep the toes on the floor as long as you can. In lowering the leg touch the floor with the toes first. 132 Grands Battcments in 3 Directions The 2nd, 4th Anterior and 4th Posterior Aerial Positions sometimes called High Open Flowing Positions GRANDS BATTEMENTS Have the same arched position of foot and turn- ing out of leg as in petits battements. Keep both knees straight. Hold the body motionless. Finish with both feet flat on the floor. Be sure that the feet are in closed position in finishing. Make a short pause after each turn to a closed position, but do not try to pause in the air. Finish with aplomb, i.e., do not re-adjust, improve, fix up the position, or wiggle the feet at the end of a Grand Battement. Try to finish correctly, but if you do not, at least you can remain quiet. Make the movements forceful, quick and clearcut. At first do not try to lift the foot high, for it is not advisable to stretch the muscles too sud- denly, and it does not develop correct danc- ing. Lift it only as high as you can perfect- ly, with leg and foot turned out, both knees straight, and body motionless ; then little by little let it be lifted higher until it goes above the waistline — 120° or more. EXERCISES Any or all of the exercises of Petits Batte- ments may be done in Grand Battements, i.e., the foot being lifted instead of kept on the floor. 133 THE CHAUF TEXT BOOK OF DANCING THE EXERCISE SLOWLY Lift the leg sideward (or forward or back- ward) (ct i), and very slowly lower it to Fifth Position (cts 2-8). The exercise may be practiced in all directions and in all the forms of grand battement. 134 FLEXER LE GENOU Pron. flexay le zhe-noo. Translation : Flexing of the knee. Lifting and bending the knee. This exercise is executed sideward only, and is usually practiced in Fifth Position and accom- panied by a rising onto the ball of the supporting foot. Aim: To stretch the hip-joint and so procure more freedom there ; to strengthen the thigh and make the knees supple; to turn out the legs ; to bring strength and springiness to the feet. Music: 6/8 or quick waltz time. THE EXERCISE Starting with R foot in Fifth Position in front, bend both knees slightly, then rise onto the ball (or point) of L foot, straightening the L knee, and lift R knee sideward as high as possible with foot stretched down, the knee being bent so much that the toe almost touches the supporting leg (ct i), and lower L heel to the floor while bringing R foot down to Fifth Position behind, with foot flat on the floor (ct 2). Repeat, lower- ing the foot to Fifth Position in front. 135 THE CHALIF TEXT BOOK OF DANCING Repeat 8 or i6 times in all, then turn and do the exercise an equal number of times with L foot. A more difficult way of doing this exercise is keeping the supporting knee straight always, con- fining the up and down motion entirely to move- ment of the ankle and arch. When practiced at the center the exercise may be done alternating the feet, progressing forward and backward and, if desired, lifting the arms to Fifth Position on each ct i and lowering them to Second on each ct 2. RULES OF EXECUTION Lift the knee with much force and vim. Turn the knee out directly sideward. Think of relaxing at the hip-joint to make the knee go higher. Stretch the foot downward very hard. 136 GRANDS FOUETTlSS Pron, grahN foo-ettay. Translation : Large whipped movement. Lifting the leg zvith knee bent at first, then straightened out. Grand Fouette is like a grand battement with an added finishing touch to make it graceful — an elaborated, ornamented grand battement. The movement is called "whipped" because it is like the cracking of a whip. The exercise is usually accompanied by a rising onto the ball of the foot. It is practiced in sideward and forward direc- tions and in turning, and with and without the bar. The first part of this exercise is Flexer le Genou, and after that the knee is straightened out. Aim: All the benefits to be derived from Flexer le Genou are applicable here, and in addition this exercise aims : To develop dexterity of the knees, quickness of action at the knee- joint, and the habit of taking a foot position with grace, rather than abruptly. Music: 6/8 or quick waltz time. 137 THE CHALIF TEXT BOOK OF DANCING THE EXERCISE Starting with R foot in Fifth Position in front, Hft R knee sideward, then stretch the foot out sideward, entirely straightening the knee, but running both the movements together in one con- tinuous movement, and simultaneously rise onto the ball (or point) of L foot (ct i ) ; bring R foot down to Fifth Position behind, keeping the knee straight, and simultaneously lower L heel (ct 2) ; repeat, finishing with R foot in Fifth Position in front (cts 3, 4). Repeat all 8 or 16 times in all, then face about and do the exercise with L foot. Practice the exercise forward, starting and fin- ishing in Fifth Position in front and backward, finishing in Fifth Position behind. RULES OF EXECUTION Let the foot creep up along the back (or front) of the supporting leg as high as the knee, then throw it outward, but blend these two parts to- gether into one movement that is like the cracking of a whip and as quick as a flash. Do not let the foot "flop" at the end of the ex- tension; keep it stretched and under control, while thinking of sending strength to the toes. Either keep the supporting knee straight all the time, confining the up and down motion to the ankle and arch, or consciously bend and 138 GRANDS FOUBTT^S Straighten the supporting knee. Do not follow the half-way method of bending the supporting knee slightly all of the time, for this shows weak- ness or lack of control. 139 RONDS DE JAMBE Circles with the leg This exercise is like Petits Ronds de Jambe except that the toes are Hfted from the floor, and the working knee bent somewhat, to prevent a look of stiffness. Ronds de Jambe may be done forward (called outward — en dehors) and backward (called in- ward — en dedans), and are practiced in First, Third and Fifth Positions. Aim: The purposes are the same as for Grands Battements, and in addition more dexterity is acquired, and the leg is trained to move in a circle and quickly. Music: 2/4 time is a sustaining accompaniment, or the 6/8 time used in barcarolles. RULES OF EXECUTION See the General Rules of Petits Ronds de Jambe, and in addition : Do the movements with tremendous force and energy, giving the leg a beginning impetus that seems to carry it high forward and far outward. Remember that the heel should lead in order to turn out the leg. 140 RONDS DE JAMBE After going forward (or backward) think of throwing the knee forcefully outward. We say knee rather than foot because the knee seems to lead after the exercise is started. Bend the knee at about a 135" angle. Be sure to finish in a closed position with feet flat on the floor, and with no adjusting after- wards. Hold the body motionless. PRINCIPAL EXERCISE The preparation is the same as for Petits Ronds de Jambe. (See page no.) Lift R leg sideward high with knee straight (a grand battement; ex- tra prep, m'v't ; ct and), quickly bring the leg down and pass it thru First and Fifth Positions with the whole sole of the foot on the floor, and as a continuation of this movement, lift it high for- ward, the toes being the last thing to leave the floor, and the knee bending a little (ct i), swing the leg far outward in a circular path to Second Aerial Position, waist-high, then close it to Fifth Position behind with knee straight and foot flat on the floor (ct 2). Repeat 8 or 16 times in all, beginning each execution with a preparatory sideward lifting of the foot. Do the exercise with L foot. Do it backwards with R and L foot, again starting from Fifth Position behind, taking care 141 THE CHALIF TEXT BOOK OP DANCING to Start directly backward, and to turn the knee outward when Hfting it sideward. Do it forward and backwards alternately with R foot, then do it with L foot. OTHER EXERCISES All of the exercises of Petits Ronds de Jambe may be practiced as Ronds de Jambe. 142 DEVELOPPfiS Pron. dayvelopay. Translation : Unfolding movement. Lifting and extending the leg slowly. The exercise should be practiced at the bar first, and afterwards at the center. It is done in all three directions. Developpe is much used in adagio work (slow movements) particularly when the dancer is being supported by a male partner. Aim: To strengthen the thighs, so as to become able to hold the leg up for a long time, some- thing absolutely essential in toe dancing. To inculcate the idea that if the foot is to be turned out, the turning must take place at the hip-joint. To stretch the legs, thereby straightening the knees, and to teach holding them straight when the leg is lifted. To teach control by keeping all but one part of the body motionless. To prepare for doing grands ronds de jambe correctly. To im- prove the balance when practiced at the center. Music: Slow, melodious music in 2/4 or 4/4 time. 143 THB CHALIP TEXT BOOK OP DANCING FIRST EXERCISE Developpe a la quatri^me en Vair en avant Pron. Dayvelopay a la cat-re-em ahN I'air ahn avahN Translation: Unfolding movement forward in 4th position in the air. Preparation: Starting with R foot in Fifth Position in front, make a demi-plie, i.e., bend slightly, then straighten out the knees and point R foot forward, then lift R foot to the inside of the supporting L knee, while rising onto the ball of L foot, the lifted R knee being turned out direct- ly sideward (the position of a previous exercise, Flexer le Genou). When the music starts extend the foot forward very slowly, straightening out the knee (8 cts) , hold the leg in this lifted position (cts 9-14), lower the R toe to Fourth Position on the floor, then to Fifth Position in front, keep- ing the knee straight while doing so, and finishing with both heels lowered to the floor (cts 15, 16). Repeat four or eight times in all with R foot, then face in the opposite direction and repeat with L foot. Do the exercise to the side, a la seconde en I'air (pron. a la sgoNd ahN lair). In this case point the foot sideward after making the preparatory demi-plie. Do it backwards, a la quatrieme en Tair en arriere, pointing the foot backward after making the preparatory demi-plie. 144 D6VEL0PP&S In doing the exercise sideward or backward, both hands may hold the bar to make it a Httle easier. Note that the starting position is the same no matter in what direction the foot is to be ex- tended. SECOND EXERCISE Do the exercise extending the foot once only in each direction, i.e., forward, sideward, back- ward and sideward, repeating this succession as long as desired. THIRD EXERCISE Do the exercise rising' onto the ball of L foot (ct i), slowly straighten R foot out sideward, waist-high (cts 2-8), slowly lower R leg sideward, keeping the knee straight, until the toe touches the floor (cts 9-14), bend R foot in front of L ankle (ct 15), return R foot to Fifth Position in front, lowering L heel to the floor (ct 16). Repeat in all directions. RULES OF EXECUTION for Developpes in any direction Make the preparatory lifting of the knee a very quick movement. In this starting position make sure that the knee is turned directly sideward; that the toes are stretched down, but not so strongly as to 145 THE CHALIF TEXT BOOK OF DANCING make them turn in; that the heel is brought forward, and the foot directed backward, making a forward curve of the arch. Think that the heel should lead (except in the backward extension), to insure the legs being turned out. Think of trying to keep the knee out sideward for the same reason. Do not begin by bringing the knee forward. Try to turn out the leg so far that the foot is horizontally placed. In the backward extension see to it that the toes point upward. Lift the leg to waist-height. Straighten out the knee absolutely straight. Think of sending strength to the toes and feet, as you stretch them so that you may strengthen the feet for toe dancing as well as the thighs. 146 GRANDS RONDS DE JAMBE Pron. grahN rawN de zahN&. Translation : Large circles with the leg. Large circles in the air with the foot, without touching the floor betzveen circles. There is forward or outward (en dehors) cir- cling, and backward or inward (en dedans) circling. The exercise must be learned at the bar first to insure its correct execution, but afterwards should be practiced at the center. The first part of every Grand Rond de Jambe is a Developpe. Grands Ronds de Jambe, and especially demi- (half ) Ronds de Jambe are much used in classical and toe dancing to add grace and finish to the steps, and also to fill out the full time of the music with rhythmical movement, since moving the foot in a curved path takes a longer time than in a straight one, and gives a more beautiful ef- fect. When a toe dancer, supported by her male partner, spins around on one toe, it is a Grand Rond de Jambe that gives her the necessary im- petus. There are also other hopping turns for which this circling provides the initial force. 147 THE CHALIF TEXT BOOK OP DANCING Aim: See the aims of Developpes, which is the beginning of Grand Rond de Jambe, exe- cuted more slowly. Other aims of circling are : To train the leg to move in a circular path slowly and smoothly, and thus to bring control of movement at the hip-joint. Music: The same as for Developpes. FIRST EXERCISE The preparation is the same as for Developpes. Extend R foot forward (as in Developpes), then, keeping it waist-high, slowly swing it out- ward to the Second Aerial Position (ct i, 2, 3), while keeping the thigh as it is, bend the knee, bringing the foot near the supporting knee — the starting position for this exercise (ct 4). Repeat four or eight times in all, without lower- ing the foot, and after finishing the last circle, make a very quick grand battement forward be- fore bringing the foot down to Fifth Position in front to finish. Repeat with L foot. Do Grands Ronds de Jambe backward with R foot and with L foot, starting by extending the foot directly backward, then swinging it out side- ward, being sure to turn the heel forward when reaching the sideward position. This exercise may be done twice as slowly as described. 148 GRANDS RONDS DE JAMBE SECOND EXERCISE Do one Grand Rond de Jambe forward and one backward, thereby describing a figure eight. Repeat eight times or more, then repeat with L foot. THIRD EXERCISE Do two fast Grands Ronds de Jambe forward (cts I, 2), extend the foot forward (developpe; ct 3), hold (ct 4), and repeat all, circling back- ward, and extending the foot backward (cts 5-8). Repeat these 8 cts for eight times or more. FOURTH EXERCISE Do six fast Grands Ronds de Jambe, taking 2 cts for each (cts 1-12), slowly extend the foot to Second Aerial Position (cts 13-16), repeat three times more with R foot, then do the exercise with L foot. The exercise is practiced circling forward, ex- tending the foot forward, and circling backward, extending the foot backward. It is also practiced in combined directions. RULES OF EXECUTION All of the General Rules for Developpes apply here, and in addition: Move the leg most smoothly, not stopping at the forward or backward extension, but moving 149 THE CHALIF TEXT BOOK OF DANCING continuously except for a slight pause when the foot is bent under. Be sure to keep the foot turned out when reach- ing the sideward extension. Try to keep the foot placed horizontally, the heel being farther forward than the toes. Be sure to straighten out the knee fully in the sideward extension. You only cheat your- self out of much benefit if you cut off a cor- ner of the exercise by bending the knee too soon. Keep the supporting knee straight. Do not allow the thigh to fall below the waist- line between circles. Hold it up high all the time, even if you think you cannot. Become a heroine by enduring hardships stoically. Call out your reserve strength. 150 GRANDS RONDS DE JAMBE PLIES Large circles in the air with the foot, while bending the supporting knee This is the previous exercise with bending and straightening of the supporting knee added. An illustration of the exercise is opposite page 112, Aim: The advantages are combined of Grands Ronds de Jambe and Plier. The principal merit of this exercise lies in the fact that both thighs are strengthened simultaneously, one being lifted and the other bent. Music: The same as for Grands Ronds de Jambe. THE EXERCISE The preparation is the same as for the two previous exercises. Start to describe a circle for- ward with R foot while bending the supporting L knee as much as is easily possible, turning it out, and allowing the heel to rise from the floor (ct I, 2), when R foot reaches the sideward ex- tension (with knee still straight) straighten the supporting L knee, so that both knees have a good stretch (ct 3), keep the supporting knee straight while bending R foot under to the starting position (ct 4). Repeat four or eight times with R and L foot, then do the exercise circling backward. The second exercise also of Grands Ronds de Jambe may be practiced bending the supporting knee. 151 PETITS RONDS DE JAMBE EN L'AIR Little circles in the air, moving the leg from the knee down only The leg seems to move from the knee down only, but in reality the thigh rotates invisibly. The exercise is practiced with the knee lifted sideward. The circling is done forward and backward. Aim: Dexterity and strength at the knee-joint. Music: The same as for Petits Ronds de Jambe. FIRST EXERCISE The preparation is the same as for Developpe, except that the lower part of the leg is extended downward perpendicularly. See page 144. While keeping the knee just where it is, describe a little forward circle with the foot (ct i), repeat 13 times more (cts 2-14), extend the foot sideward, straightening the knee (ct 15), lower the foot to Fifth Position in front, keeping the knee straight (ct 16). Turn to face in the opposite direction and re- peat with L foot. Do the circling backward with R and L feet, starting with the knee lifted sideward as in the forward circling. 152 PBTITS RONDS DE JAMBB EN L'AIR SECOND EXERCISE Preparation: Lift the knee sideward with lower leg extended downward perpendicularly as before. Describe 7 little forward circles with the foot (cts 1-7), pause, with foot pointed down- ward in the preparatory position (ct 8) ; do 7 little backward circles and pause (8 cts) ; repeat all (16 cts). THIRD EXERCISE Preparation : Lift R knee sideward as before. Describe 6 little forward circles with R foot (cts 1-6), extend R foot slowly forward, waist-high (developpe — ct 7, 8) ; repeat the 6 little forward circles, then extend the foot sideward, waist-high (the 2nd 8 cts) ; do 6 little backward circles, then extend the leg backward as high as possible (3rd 8 cts) ; do 6 little forward circles and extend the foot sideward again (4th 8 cts) . Finish by bring- ing the foot down to Fifth Position behind. RULES OF EXECUTION Keep the lifted knee motionless. You may place a finger on it if you like ; this helps in getting the idea. Be sure that the knee is lifted directly sideward. Keep the foot well pointed, arched and turned out, the heel leading. 153 THE CHALIF TEXT BOOK OP DANCING Do not try to describe the circles from the ankle. Do them from the knee, and imagine that you are writing circles with the tip of the toes, there being no action in the ankle and arch. Hold the supporting knee straight, and stand erect. 154 ADAGIO A slozv exercise for the entire body At the Bar Slow 4/4 or 6/8 time music Preparation (see page 144) : Extend R foot forward very slowly, waist-high, completely straightening out the knee (4 slow cts), move the leg in a large semi-circle to side and back, finish- ing with it stretched back perfectly straight, and the trunk inclined forward, the R arm stretched forward so that arm, trunk and leg make a hori- zontal line (cts 5-8) ; rise onto the ball (or point) of the foot, then lift the trunk and bend it and the head backward, while keeping the foot lifted high backward from the hip, and raising the R irm to Fifth Position (cts 9-12) ; slowly resume an erect position, lowering the foot, closing be- hind, and bringing the arm down to Second Position. Practice the exercise once more with R foot, then do it with L foot. 155 PLIE ROND DE JAMBE ET DEGAGER Small foot circles with transferring the weight back and forward To be practiced with and without the bar. Melodious 2/4 or 4/4 time music. THE EXERCISE Starting from Fifth Position with R foot in front, sHde R foot forward, bending L knee, sHde it around to side and rather far backward, mean- while keeping L knee bent (4 cts), transfer the weight back onto R foot with R knee straight and L foot now pointed forward (ct 5, 6), transfer the weight forward onto L foot with L knee straight (ct 7), close R foot to L foot in Fifth Position behind (ct 8). During cts i, 2 the R arm remains in Second Position; during cts 3, 4 it is brought forward with palm down; during ct 5, 6 it is lifted to Fifth Position, while the trunk and head are bent far back; during cts 7, 8 the head and trunk resume an erect position and the arm is lowered to Second Position. Repeat all with R foot again, but just before beginning make an extra preparatory movement of sliding R foot out to side. 156 PU& ROND DB JAMBB ET DBGAGBR The exercise should then be repeated with L foot. DETAILS A knee when bending should of course be turned out. When the knees should be straight be sure that they are perfectly straight. Much control can be gained by making a sharp distinc- tion between bent and straight knees. Rise onto the balls of both feet when transferring the weight from one to the other. Do the exercise with precision and force of the legs and grace and relaxation of the upper part of the body. 157 SIDEWARD BENDING at the Bar Slow 3/4 time music Face the bar, holding it with both hands, the feet being in Fifth Position with R foot behind. Slide R foot to side with the instep well arched, while bending as far to R as possible and bringing L arm sideward and upward to Fifth Position (cts I, 2, 3), resume an erect position, returning R foot to Fifth Position behind and lowering L arm to Second Position (cts 4, 5, 6). It is of vital importance that both knees be kept straight, to get the benefit of the stretching of the legs. Repeat 8 times in all with R foot, then do the exercise to L. BACKWARD BENDING at the Bar Slow melodious music This exercise is most valuable for developing a good standing position and for making the back flexible. Face the bar, holding it with both hands, stand- ing on the points or balls of the feet. Bend far backward little by little, but try to keep the bend- ing in the upper part of the back. If this bending 158 BEN DINGS AT THE BAR be done correctly the head will be thrown very far back, and the chest much elevated, the stomach will be drawn in, and there will be comparatively little bending at the waist-line. The teacher can help to give the idea of pushing the chest out by placing a hand on the pupil's back between the shoulder blades. This bending should be held for some moments, then the normal position resumed slowly, the head being the last to return. Repeat 2 or 4 times in all. FORWARD AND BACKWARD BENDING at the Bar Slow melodious 4/4 time music Stand sideward to the bar with L hand grasp- ing it, R foot pointed forward in Fourth Position, the R arm being lifted to Fifth Position. While keeping both legs absolutely straight, bend far forward, bringing R arm downward and forward until it touches the R foot (4 slow cts), slowly lift the trunk, then bend it backward as far as possi- ble, and finally twist and bend it to R, meanwhile lifting R arm high forward and upward, then lowering it to Second Position (cts 5-12), resume the erect, normal position, while lifting R arm thru First to Fifth Position. Do the exercise 4 times, then face in the opposite direction and re- peat with L foot forward. 159 THE CHALIP TEXT BOOK OF DANCING TWISTING THE TRUNK at the Bar Slow 3/4 time music Stand sideward to the bar, the R hand holding It, the feet in Fourth Position with R foot in front, the feet being well turned out, and the weight resting equally on the whole soles of both. Twist as far to R as possible, bringing L; arm so far around to R as to touch the bar behind the shoulder line (cts i, 2, 3), twist so far to L as to touch the bar behind with L hand (cts 4, 5, 6). Repeat all 8 times, then face in the opposite direc- tion and do the exercise with L foot forward. 160 STRETCHING THE ARCH AND ANKLE At the Bar These exercises should be given with caution, remembering that strengthening must always go hand in hand with stretching, that overstretching any part weakens it, and that the ideal sought is for the foot to be able to stretch itself downward with its own strength, without using the mechani- cal aid of the floor as a lever. FIRST EXERCISE Melodious 2/4 or 4/4 time music Point R foot a short distance to the R with knee bent so that the foot is perpendicular to the floor (ct i), very slowly straighten out the knee w^hile keeping the toes firmly on the floor where they are (cts 2-6), close R foot to L foot in Fifth Position behind (ct 7), rest (ct 8). Repeat 8 times in all with R foot, then with L foot. The exercise may be practiced forward and backward, but sideward is the most beneficial. SECOND EXERCISE 2/4 time music Mild stretching. Preparation (see page 120) : Make many little beats around the ankle (cts I, 2), extend R foot sideward a little above the 161 THE CHALIF TEXT BOOK OF DANCING floor while rising onto L ball (ct 3), place the arch of R foot on the floor across to L, behind L foot, while bending the supporting L knee a little (ct 4), draw R foot along the floor toward R, then lift it sideward a little way, while straightening the L knee (cts 5, 6, 7), rest (ct 8). While drawing the foot along the floor, hold it against the floor with force, so that a stretching is felt in arch and ankle. Be sure the R knee is turned out directly sideward. Do the exercise 8 times or more with R foot, then with L foot. THIRD EXERCISE Slow 4/4 time music More vigorous stretching. Starting with R foot in Fifth Position behind, do a grand battement to side, closing the foot in front (cts 1-4), do a high rond de jambe starting forward and finishing with the arch placed on the floor far backward, the supporting knee being bent (prolonged plie) and the R knee straight (cts 5-8) ; keeping the feet as they are, bend backward at the waist, lift- ing the R arm thru First to Fifth Position, then hold this position, while feeling a strong stretch- ing along the entire length of the R leg (cts 9-12); rise slowly, straightening the supporting L knee and closing the R foot to Fifth Position behind (cts 13-16). Repeat 4 times in all with R foot, then 4 times with L foot. 162 STRETCHING THE ARCH AND ANKLE The way of placing the foot on the floor is im- portant. It should be only slightly turned out to obtain the most advantage. Variation. The exercise may be simplified by merely sliding the foot backward, bending the supporting knee (cts 1-4), holding this position (ct 5, 6, 7) and rising again (ct 8). FOURTH EXERCISE Without music Extreme stretching. This violent exercise should only be given in cases where the arches are so low naturally that heroic treatment is necessary to bring the foot to the proper position, and where the foot itself is strong enough to stand the treat- ment. Holding the bar with both hands, stand on the points with feet separated sideward about 24 inches and turned out, of course. Transfer the weight onto R foot, leaning to R and pushing the R ankle far outward, transfer the weight to L foot, and continue swaying onto R and L feet alternately. 163 STRETCHING AND TURNING OUT THE LEGS At the Bar Slow 4/4 time music These exercises should be given with care and not to beginners at all. They should always be preceded by grands battements or other exercises that stretch the hip-joint, to "warm up" the large muscles of the legs, and so lessen the danger of tearing muscles and ligaments by too sudden stretching. Over-ambitious students will some- times overdo this exercise, and so weaken instead of strengthen themselves. FIRST EXERCISE Sliding the foot along the bar. Face the bar, holding it with both hands. Stand with L foot close against the wall, turned out, and place the other foot on top of the bar, also turned out. Slide this foot along the bar until the legs are stretched as far apart as possible (8 cts — 2 meas.) ; resume the starting position with foot remaining on top of the bar (8 cts — 2 meas.). Repeat 4 or 8 times, then do the exercise with L foot. Keep both knees straight so as not to miss the stretching of the tendons at the back of the knees. 164 STRETCHING AND TURNING OUT THE LEGS SECOND EXERCISE Bending forward and backward. Place R foot on top of the bar, holding with L hand only. Bend forward, placing the R hand on top of the R foot (8 cts), then slowly bend far backward with R arm Hfted overhead (8 cts). Repeat sev- eral times, then do the exercise with L foot. Keep both knees straight all the time. THIRD EXERCISE Bending one knee. Hold the bar with both hands. With R foot on top of it, bend the L knee as far as possible, well turned out of course, while keep- ing the body as near to the wall as possible (4 cts) ; straighten the L knee (4 cts). The R knee should be straight all the time. Repeat 4 or 8 times, then do the exercise with L foot. When bending thus, the students, taking turns, may push each other against the wall to turn the legs still farther out. To get the most force the pushing should be done by placing the front of the thigh against the student's back. FOURTH EXERCISE Bending both knees. Hold the bar with both bands, standing in First Position with feet flat against the wall. Bend both knees while being pushed against the wall. Straighten the knees and rest for a moment, then go through the agony again. 165 THE CHALIF TEXT BOOK OF DANCING FIFTH EXERCISE A large Degage. Hold the bar with both hands, standing with the feet very far apart. Transfer the weight to R foot, bending the supporting knee as much as possible, while keeping the L knee straight, and both feet flat on the floor (4 cts) ; rise, straightening this knee, then transfer the weight to L foot, bending the L knee (4 cts). Continue this large swaying from one foot to the other as long as desired. SIXTH EXERCISE Without music. Knee and shoulder together. The teacher, stand- ing behind the pupil, may grasp her shoulder with one hand, and the opposite knee with the other hand, and try to bring them together. This exer- cise should not be done until grands battements backward have been practiced to "warm up." SEVENTH EXERCISE Stretching the leg backward. Stand sidewise to the bar, holding it with L hand, lift the R leg backward and place it on the bar behind. Keep the head up and chest lifted. Stand thus for as long as you can endure it, then do the exercise with L foot. 166 STRETCHING AND TURNING OUT THE LEGS EIGHTH EXERCISE Stretching the backs of the legs. Stand rather far away from the bar, grasping it with both hands, standing with the feet close together, i.e., not turned out. Without bending the knees or lifting the heels sway forward until the chest al- most rests against the bar. Rise again, and re- peat as many times as desired. NINTH EXERCISE Face the bar holding it with both hands. Slide R foot as far back as possible, keeping the sole flat on the floor with foot directed forward, not turned. Hold this position for a few moments, then close the foot to First Position and do the exercise with L foot. 167 BOURRfiE A TERRE SUR LES POINTES Pron. booray a-tair, siir leh pwaNt. Quick little steps on the points, moving sideward. These steps are also often executed moving for- ward or backward. The feet are usually crost and kept as close together as possible. These are the steps most often used in toe dancing. Pavlowa's Swan Dance, for example, contains almost nothing else. Aim: To bring dexterity to the feet ; to straighten the knees; to impart fine and delicate foot movement; to teach combining slow arm movements with quick foot movements. Music: Melodious music with runs in either the melody or accompaniment. PREPARATORY EXERCISE At the Bar. Face the bar, holding it with both hands. Standing on the points in Fifth Position R foot in front, do many quick little steps in place on the points, keeping the feet in this crost po- sition (32 cts). After resting a moment repeat the exercise with L foot in front. 168 BOURR&E A TERRE FIRST EXERCISE At the Bar. Face the bar, holding it with both hands, standing in Fifth Position, with L foot in front. Rise onto the points and move sideward to R, with a chain of very short steps, keeping L foot in front, and the feet as close together and as much crost as possible, with legs well turned out, and let the hands slide along the bar (8 or i6 cts). Lower the heels to rest for a moment, then repeat, moving to L, keeping R foot in front. The reason for having the L foot in front when moving to R is that this position makes it easier to keep the feet crost. SECOND EXERCISE At the Center. Practice the above exercise at the center, using the arms as follows: Raise them slowly to First Position, then to Third Position with R arm up, while bending at the waist very slightly to L, and letting the eyes follow the move- ments of the R arm, so that at the end the head is bent to L and back, with face turned to look diagonally upward to the R ( i6 or 32 cts). When repeating the exercise to L reverse the position of the arms, passing them thru First Position in doing so. THIRD EXERCISE Finishing on one Point. Do the second exercise to R, and at the very last moment stand on R 169 THE CHALIF TEXT BOOK OF DANCING point with L foot lifted backward from the hip, and the arms opened to Third Position AmpHfied, with palms down. Repeat all to L. This exercise may also be done moving to R for 8 cts or 4 cts and the same to L. FOURTH EXERCISE In Two's. Children enjoy this exercise very much. One child does the third exercise while the other walks behind her, with hands joined with hers, the joined hands being held high. They then change places and do the exercise again. FIFTH EXERCISE Moving Backwards. They dance in two's again, one child moving backwards on the points, with feet crost and bending backwards somewhat, while the other child walks backwards behind her, with arms lifted to catch her if she falls. They then change places. This is an advanced and rather dangerous exer- cise that should not be given too soon. RULES OF EXECUTION Keep the feet crost so that you will look lady- like, graceful and dainty. Doing these steps in an open position looks most awkward. Take short, frequent steps instead of long slow ones. Crowd in just as many steps as you 170 BOURR^E A TBRRB can — the more the better. Try to make them so small as to be almost invisible, so that you seem verily to glide from one place to an- other. Think of expressing lightness and airiness. Keep both legs well turned out, or you will be rated as a rank amateur. Keep the knees straight, or you will look like a ,cripple. The action should come from the hip-joints, tho it is true that the knees do bend and straighten almost invisibly to break the jar of the step. The whole effect, how- ever, should be of straight, strong knees. Draw yourself up to be tall and buoyant, and so help to straighten out your knees, as well as give an impression of lightness, and add to your personality and effectiveness. Never settle down — leave that to the old ladies. Move your arms with slow and easy grace, let- ting them swim thru the air. Hold them slightly relaxed, and move them so slowly that they seem to grow from one position to the next. Think of beautiful lines, and try to "make pictures" with yourself. If you find that you have to stump along with bent knees and slow, halting steps — each step seeming to be the last you can take before you collapse utterly — discontinue the exer- 171 THE CHALIP TEXT BOOK OF DANCING cise. Try it again the following week, after you have done a few thousand more petits battements. FLEXIONS DE GENOUX ALTERNATIFS SUR LES POINTES Pron. flexy-awN de zhnooz al-tair-na-teef sur lay pwaNt Translation : Lifting the feet alternately The Aim of this exercise is to teach lifting the feet in the correct and beautiful way that is needed in toe dancing. The music is in staccato 2/4 time. Face the bar, holding it with both hands, stand- ing on the points in Fifth Position with R foot behind. While remaining on L point lift R foot close behind L leg, calf-high, with knee turned out, and hold the position (cts 1-4), step in place on R point, simultaneously lifting L foot close in front of R leg, calf-high, with knee turned out, and hold the position (cts 5-8). Continue this slow alternate lifting of the feet 3 times more with each foot, then do the exercise twice as fast, using 2 cts only for each lifting. The exercise may then be continued at a faster rate, using i ct only for each lifting, in which case the foot need not be lifted as high. 172 BOURR&E A TERRB PAS DE BOURRfiE CHANGE SUR LES POINTES Staccato 2/4 time music Face the bar, holding it with both hands. Preparation : Standing in Fifth Position with R foot behind, make a small demi-plie, rise onto both points, then lift R foot close behind L foot, calf-high with knee turned out. Take 3 very short steps on the points thus : step R foot across behind L foot (ct i), step L foot to L (ct and), step R foot across in front of L foot, simultane- ously lifting L foot close behind R foot, calf-high (ct 2). On ct 2 bend at the waist to R. Repeat starting L foot and continue starting R and L feet alternately as long as desirable. 173 RELEVES SUR LA POINTE Pron. re-le-vay. Trans : Raisings Rising onto one point This is an advanced exercise that should not be given until the feet have become very strong. Releves may first be practiced in combination with Echappes to avoid repeated risings onto one point. They should be done at the bar first for ease and correctness. The Aim and Music are the same as for Echappes. TWO fiCHAPPfiS ET RELEVE At the Bar Face the bar, placing both hands on it. Stand in Fifth Position with R foot in front. Demi-plie and rise onto both points (ct i), lower the heels in the same position (ct 2), repeat, interchanging the position of the feet (ct 3, 4), rise onto L point, and simultaneously lift R foot close behind L foot, calf-high, with knee well turned out side- ward (ct 5), hold (ct 6, 7), lower both heels to Fifth Position, R foot being in front (ct 8). Repeat, lifting L foot and continue lifting R and L feet alternately. Note that when seemingly rising onto one point, 174 i^ ^ RELBV&S SUR LA POINTS one really rises onto both, but one of them is lifted so soon afterwards that the rising onto it is not apparent. One can feel, however, that it is easier than really rising onto one point. Whenever R foot is lifted, bend sideward to R and a little backward, and bend to L when L foot is lifted. Bending thus at the bar will help to form the desirable habit of bending the body when dancing on the toes. ECHAPPfiS ET RELEVfiS ALTERNATIFS At the bar Face the bar, holding it with both hands, the feet being in Fifth Position with R foot behind. Bend the knees slightly, then rise onto both points, separating the feet sideward a Httle way (ct i), lower the heels with the position of the feet in- terchanged (ct 2), rise onto R point, bending L foot close behind R ankle with knee turned out (ct 3), lower the heel, finishing in Fifth Position with L foot behind (ct 4). Repeat all, this time lifting R foot behind L ankle (cts 5-8). Do the entire exercise 8 times or more. RELEVES SUR LA POINTS ALTERNATIFS At the bar or center Face the bar, holding it with both hands, and stand in First Position with the feet well turned out. Bend the knees slightly (prep, m'v't), rise 175 THE CHALIP TEXT BOOK OF DANCING onto both points but immediately afterward bend L foot behind R ankle and close to it (ct i ), lower the heels to First Position (ct 2), repeat bending R foot behind L ankle (cts 3, 4), and repeat all as long as desired. This exercise looks like a rising onto one point, for the help that the other foot gives is concealed. RELEVfiS FROM FIFTH POSITION Stand in Fifth Position with R foot in front. Rise onto both points, immediately afterward lift- ing L foot behind R ankle (ct i), lower the heels to their former position (ct 2), repeat, bending R foot in front of L ankle (cts 3, 4), and continue repeating all as long as desired, without changing the relative position of the feet. The exercise may be practiced with L foot in front always. RELEVfiS SUR LA POINTE AU QUATRIEM ARRIERE EN L'AIR At the bar or center Face the bar, holding it with both hands, make a small bend with both knees, and rise on R toe, lifting L foot high backward with knee straight. Keep L foot thus while rising 4 or 8 times onto R point ( 16 or 32 cts) , and close to Fifth Position in the rear. After doing an echappe change re- 176 RELEV&S SUR LA POINTS peat with L foot. Try to maintain a good car- riage of the body, with chest lifted. At the center this exercise is practiced moving diagonally backward little by little, the body being inclined forward with R arm extended forward. 177 TOURS SUR LES POINTES Pron. toor siir lay pwaNt A turn on both paints It is considered an easy turning because, being on both points, it requires less balance and less strength. Aim: To bring quickness, smoothness and free- dom in turning; to bring dexterity and con- trol to dancing in general ; to cure a tendency to dizziness; to impart lightness. Music: Waltz, for slow turning, or 2/4 or 6/8 tarantella time for quicker turning. FIRST EXERCISE Pausing after each turn. Preparation : Stand in Third or Fifth Position with R foot in front. Make an outward demi-rond de jambe with R foot (preparatory movement), make a gentle leap to R on the ball of R foot, immediately afterward step on the fall of L foot across over R foot and very close to it, then instantly afterward rise onto both points (ct i), turn on the points completely around to R (cts 2, 3), lower both heels to the floor in Third or Fifth Position with R foot in front (ct 4), and pause (cts 5, 6), completing 2 measures of waltz time. 178 TOURS SUR LBS POINTES Repeat i or 3 times more to R, starting R foot, then, after a pause in the music, in which the R foot is brought behind, the turning is repeated an equal number of times to the L, each turn starting with a demi-rond de jambe with L foot. Note that in dancing, this flat-footed finish of the turn would not be used unless there were only one turn. In a succession of turns the dancer would finish on one point, as will be described next. SECOND EXERCISE Turning without pausing. Starting with R foot to R, make the turnings on both points as in the previous exercise (cts i, 2), but finish on L point with R foot bent close in front of L ankle on ct 3 if waltz time is used, or on 2 for 2/4 time. There are no pauses between turns here. Just before starting the next turn to R, lower L heel incon- spicuously, to get a better impetus for the next turn, and at the same time make the demi-rond de jambe for the next turn. Make 4 or 8 of these turns to R, using 4 or 8 measures of music, then after changing the weight to R foot, make an equal number of turns to L, starting L foot. Another form of this exercise is making 3 or 7 turns to R, then stepping to R and pointing L foot forward. 179 THE CHALIF TEXT BOOK OF DANCING THIRD EXERCISE Turning with vibrations. This is like the second exercise except for taking many quick little steps on the points while turning, the steps being so small as to be almost invisible. These steps may- be likened to the quivering vibrations made by a violinist on the strings of his violin. The effect in dancing is also a quivering that gives brilliancy and adds excitement. POSITIONS OF BODY AND ARMS While there are many arm positions that are correct, there is only one posture for the head and trunk. Before starting to turn to R the face looks to R. On ct i, when starting to turn, the head and trunk are bent to L and back, the face looking toward the audience ; on ct 2, when finish- ing the turn, the body is erect and the head turned to look forward or even a little to R. Yet when the turns come in very quick succession the trunk moves only very slightly, or not at all, while the head is turned as usual. The position of arms depends upon how many turns there are and how quickly they come. For one turn only or a succession of very slow turns, Fifth Position is undoubtedly the most beautiful. Another beautiful position for slow turning is to have (on ct i) the arms crost lightly on the chest, with palms in, wrists drooping, fingers 180 TOURS SUR LBS POINTES curved and lightly touching the chest. Thus a beautiful picture is presented to the audience. On ct 2 the arms open slowly to Second Position. If the turning be a little faster, but not really fast, the arms may open a little way toward Sec- ond Position on ct i and be crost in First Posi- tion on ct 2. These movements should be made small. If the turning be very fast the arms should be as inconspicuous as possible. If they make too large or too many movements it looks as if the air were filled with arms. We will describe first the most beautiful way to use them, in which they are inconspicuous without being dead and motion- less. This way, which is hard to learn but easy and natural to do when learned, is as follows: On ct I move the arms to Lateral Position on the R while turning the head to L; on ct 2 move the arms to Lateral Position on the L while turning the head to R. When swinging the arms to R on ct I do it with vigor, to give an impetus for turn- ing, then move them very gently to L on finishing the turn. RULES OF EXECUTION Move in a straight line. Do not omit the demi-rond de jambe. Do not make a step instead of a leap at the first. 181 THE CHALIF TEXT BOOK OF DANCING When taking the first step (the leap) turn the toe directly sideward to insure making a com- plete turn afterwards. Have the feet very close together and the knees straight when turning. Finish a turn with the free foot actually touching the other ankle, the toes stretched down, and the knee turned outward, thus giving an im- pression of neatness and accuracy. Do not omit the bending of the head and trunk. 182 PIROUETTES SUR LE COU DE PIED Sur les pointes Turning on the L point, while moving and turning to R The turns are usually done in a circle or a diagonal line. After a class is sufficiently far advanced to do the turns easily they may practice them, one pupil at a time, to make the lesson interesting with the excitement of rivalry. Aim: To bring dexterity to the entire body by learning to move it quickly; to improve the balance by thus learning to control the weight of the body ; and to overcome a tend- ency to dizziness. PREPARATORY EXERCISE 4/4 time or a gavotte This is practiced with the class standing in lines facing forward, as usual. The turning is here made easier by having steps in between each turn to avoid dizziness. Step R foot to R (ct i), draw L toe along the floor toward R foot, then step on L foot across in front of R foot (ct 2) make a small outward demi-rond de jambe with R foot (prep, m'v't), 183 THE CHALIF TEXT BOOK OF DANCING make a gentle leap on R foot to R, and immediate- ly step on the ball of L foot across in front of R foot and close to it (ct 3), rise onto L point, turning completely around to R, while bending R foot close in front of L ankle (ct 4). During cts I, 2 the arms are in Second Position, the trunk bending to L, the face looking down at the L toe ; during cts 3, 4 the arms go to Fifth Position. Repeat 4 or 8 times in all to R, finishing the last pirouette with both feet flat on the floor in Fifth Position, R foot in front. Repeat all to L and R alternately. DETAILS The secret of turning quickly and easily is to rise onto both points as if doing echappe, but lift the R foot so quickly afterwards that the appear- ance is of rising onto one point, yet one has the strength of rising on both. As the R foot is lifted from the floor it gives a push that helps give the impetus for turning. Of course the knee of the lifted foot should be well turned out. When starting to turn, the head and trunk re- main bent to L somewhat, the face being turned to look over L shoulder toward the audience. THE EXERCISE Begin at once with the turning of the prepara- tory exercise without any steps in between, i.e., 184 PIROUETTES SUR LE COU DE PIED using 2 cts for each turn, and making 7 turns to R (14 cts), and finishing with an assemble to prepare to change the impetus to the L, thus: make a Httle leap on R foot to R, landing with the feet in Fifth Position, L foot in front (ct 15), rest (ct 16). For simplicity's sake, omit the assemble and instead step R foot to R and point L foot for- ward. The arms are opened toward Second Po- sition on each ct i and crost in First Position on ct 2, or used in some other way described under ''Tours sur les Pointes." There will not be time to bend the body when these turns are done fast, but the head at least should be full of action in turning. RULES OF EXECUTION Adhere strictly to your lines of direction. Be sure to begin each turn with a demi-rond de jambe. Start each turn with a leap instead of a step, to give lightness and brilliancy. Finish each turn with the free foot placed neatly against the front of the ankle. The next demi-rond de jambe will look very pretty when started from this ankle position. 185 PIROUETTES SUR LE COU DE PIED Sur les pointes Turning on R point when moving and turning to R These are sometimes called ankle turns, be- cause each foot in turn is placed against the other ankle. The Aim is the same as that for the pre- vious turning. THE EXERCISE 2/4 or 6/8 tarantella time Make a small demi-plie on L foot and a small outward demi-rond de jambe with R foot, then step to R on R point, simultaneously bending L foot in front of R ankle, and starting to turn to R (ct i), step on the ball of L foot, completing the turn and finishing with R foot bent in front of L ankle (ct 2) repeat all 6 times more (cts 3- 14), make a little leap on R foot to R, landing with the feet in Fifth Position, L foot in front (assemble — ct 15) ; rest (ct 16). For the sake of simplicity, the L foot is sometimes bent behind the ankle instead of in front. The arms are used as in the previous exercise. Repeat to L, R, and L. These turns may be practiced by one pupil at a time, going in a circle or in a diagonal line, mak- 186 PIROUETTES SUR LB CPU DB PIED ing 1 6 turns, or each one doing as many as she can. DETAILS In this turn the weight is never on both feet, as it is for an instant in the previous exercise, and there is no leap here, since the first step is taken on the point itself. But there is a preparatory rond de jambe. The free foot should be kept very close to the supporting ankle with knee turned out and foot stretched down. The arms are used as in the previous exercise, and the rules of execution are the same, with the few differences noted above. 187 TOUR ARABESQUE A pivot turn on the point, while holding an arabesque The turn is given here with a glissade preced- ing it, to provide an impetus as w^ell as to make a graceful phrase of dancing steps. The music may be melodious 4/4 time. THE EXERCISE Preparation : Stand in Fifth Position with R foot in front, and lift the arms thru First to Third Position. Step to R on the ball of R foot, and immediately step L foot in Fifth Position in front, lowering both heels to the floor (cts and, i), step on R point to R, and turn slowly once or twice around to R on the point, the L foot being lifted backward from the hip (Fourth Aerial Position) (cts 2, 3), bring L foot down to Fifth Position behind, lowering both heels to the floor (ct 4). If the student can keep on turning on ct 4, the foot need not be lowered at all. Just before start- ing to turn, bring the arms to First Position, in- conspicuously, then open them to Third Position again with the thought that the opening of the R arm helps to turn the body. Finish with arms in Second Position. Repeat all to L, starting L foot and alternate R and L feet as long as desired. 188 TOUR ARABESQUE RULES OF EXECUTION Try to turn as slowly as you can, i.e., take only a little impetus, and you will not be so apt to lose your balance. To help keep the balance, think that the shoulders turn the body. A lifted chest will also help. Since the beauty of the exercise is in the ara- besque itself, try to take the position per- fectly. There should be a curving line made by the head, trunk, and backward lifted leg, and another by the two arms. The head and trunk should be bent to L as well as backward when turning to R. Beware of throwing the lifted arm too far back, and so spoiling the picture. Also beware of bending the arms too much. They should make curves — not angles. Do not lean forward with head down. Be sure to lift the leg backward from the hip — not from the knee. The knee should bend only a little or not at all. 189 EXERCISES PLASTIQUES At the Center PETITS BATTEMENTS WITH SIDEWARD BENDING Slow waltz time Aim: This exercise is fiot only for plasticity but strengthens the legs as well. Preparation: Stand in Fifth Position with R foot behind, turned out, and raise the arms thru First to Second Position. Slide R foot to side, keeping the toes firmly on the floor, bend at the waist to R as far as possible and then still farther, to get a long stretch along the L side of the body (ct I, 2, 3) ; bring R foot up to L foot in Fifth Position in front and resume an erect position of the body (ct 4, 5, 6). During cts i, 2, 3 the arms go to Fourth Position with L arm up and the face is turned to R to look over the R shoulder at the pointed toe; during cts 4, 5, 6 the arms open to Second Position. Repeat with L foot and continue alternating R and L feet while moving forward little by little. Repeat the exercise moving backward little by little, starting with L foot, since it was in front at the end of the forward progression. 190 EXERCISES PLASTIQUES DETAILS The pointings of the feet must be made with firmness and force, the toes sliding outward as if pushing something heavy along the floor. This foot must be returned to the stationary foot with a clear-cut, decisive movement, and afterwards there must be no motion whatever of adjusting the feet to a more correct Fifth Position. A mo- tionless ending brings aplomb, i.e., clearness and sureness. If one should fail to take the position correctly with feet close together it would be bet- ter to remain in the incorrect position than to move ; but it would be best of all to take a correct position and hold it. Both knees should be abso- lutely straight thruout the exercise, to get the full benefit of the stretching of the legs. Altho the legs must be kept energized and strong, the upper part of the body and arms must be most relaxed, so as to move smoothly and slow- ly and with grace. The arms should be drawn slowly thru the air, as if the air were water and oflfered resistance. DfiGAGER FORWARD AND BACK Transferring the weight fonvard and hackivard Aim: The twisting in this exercise makes it par- ticularly valuable for developing plasticity. Music: Slow, melodious 4/4 or 3/4 time. 191 THE CHALIF TEXT BOOK OF DANCING Preparation : Point R foot in Fourth Position forward, lift the arms thru First to Third Posi- tion with R arm up, bend at the waist to R and back, and turn the shoulders so far to L that the face looks toward the audience over R shoulder. Bend both knees considerably, being sure to turn them out, and have both feet placed flat on the floor ; gradually transfer the weight forward onto R foot, straightening both knees and leav- ing L foot pointed backward (4 or 8 cts, accord- ing to the music used). Repeat the bending of the knees and transfer the weight back onto L foot, leaving R foot pointed forward (4 or 8 cts). During the transfer forward the arms go thru First Position to Third with L arm up and the trunk and head bend rather far to L as well as somewhat backward. When transferring the weight backward move the arms thru First Posi- tion and return to the preparatory position for this exercise. Continue repeating all as long as desired, then, while the music pauses, reverse the position of the feet, and repeat the exercise with L foot forward and R foot back. PAS DE BOURRfiE CHANGfi WITH BENDING Waltz time Stand with R foot in Fifth Position in front and arms in Second Position, then lift R foot 192 EXERCISES PLASTIQUES sideward (prep, m'v't), step R foot across behind (ct i), step L foot to L (ct 2), step R foot across in front (ct 3), point L foot to L (ct4), hold (cts 5, 6), and point L foot across behind R foot and hold (cts 7-12). During ct i, 2, 3 the arms go thru First to Second Position; during ct 4, 5, 6 they remain in Second Position, while the trunk bends so far to L and forward as to bring the L hand near to the L foot; during cts 7-12 the arms go thru Fifth and to Second Position, while the trunk is raised, then twisted and bent to R, and backward. Repeat all, starting lift L foot sideward, and continue starting R and L feet alternately. WALKING FORWARD, THEN BACKWARD with arm movements Waltz time Stand with R foot in Fifth Position behind and arms in Second Position. Slide R foot to side, then slide it thru First Position and forward (preparatory movements), step forward on R foot (ct i), remain on R foot with L foot pointed backward (knee straight and foot arched), while moving the arms thru First to Third Position with L arm up, and bending the head and trunk to R (cts 2-6). X 193 THE CHALIF TEXT BOOK OF DANCING Repeat with L foot, making the preparatory movements of sHding- L foot thru First to Second and Thru First to Fourth in front (all these movements being done in quick succession), then stepping forward on L foot on ct i . Continue alternating R and L feet, while mov- ing forward, for 8 times in all. Moving backward. Step back on R foot (ct i), remain on R foot with L foot pointed forward, while bringing the arms thru First to Third Po- sition with R arm up, and inclining the body to L and a little backward, so as to make a continuous slanting line of the trunk and forward pointed foot, and lifting the chest to give majesty to the pose. Repeat with L foot, starting by sliding L foot thru First to Second Position, and to First and to Fourth Position behind, then stepping backward on ct I. When stepping either forward or backward be sure that the toe of the working foot is turned out. BENDING BACKWARD AND FORWARD Slow 4/4 time music Preparation : Stand on L foot, facing forward with R foot pointed forward. Bend far back- ward, lifting the arms thru First to Fifth and to Second Position (cts 1-6), sway forward onto R 194 EXERCISES PLASTIQUES foot, bending R knee considerably, leaning for- ward so that the body continues the slanting of the L leg, and extend the L arm forward and R arm back, both palms down (cts 7, 8). Repeat 4 times in all, then do the exercise with L foot in front. Note that the backward bending is slow and the forward bending faster. RONDS DE JAMBE PLIES with arm movements Slow waltz time music This exercise is most valuable for improving the balance. Preparation (see page 1 10) : Lift the arms thru First to Second Position. Slide R foot forward, then in a circular path far backward while bend- ing the L supporting knee, and extending R arm forward and L arm backward, both at shoulder level (2 meas.) ; while keeping L knee bent and R foot extended far backward with knee straight, raise the arms thru First to Fifth Position, then lower them to Second Position, while bending the trunk somewhat backward, then far to R (3rd and 4th meas.). On the last ct of the music rise, bringing R foot up to L foot in Fifth Position behind. Repeat, starting by transferring the weight back onto R foot, then sliding L foot backward in a circular path. Continue alternating R and 195 THE CHAUF TEXT BOOK OF DANCING L feet, while gradually moving backward. This exercise is not done moving forward. VARIATION Melodious 4/4 time music Starting with R foot in Fifth Position in front, make a preparatory outward sliding to side, then describe 3 quick ronds de jambe forward (cts i, 2, 3), then bend the L supporting knee while describ- ing a circle backward with R foot (ct 4). While keeping L knee bent and R foot stretched back, go thru the arm and body movements of the pre- vious exercise. 196 COMBINATIONS OF EXERCISES The remainder of this book will consist of a few combinations of the exercises described in this volume. We do not pretend to give them all, since they are almost infinite in number. The ingenious teacher can invent many more for himself. Most of these exercises should be done first at the bar and afterwards at the center as described, or alternating the feet while moving forward, then backward, when at the center. COMBINATIONS CONTAINING PLIER AND DEMI-PLIER Melodious 2/4 or 4/4 time music DEMI-PLl£ ET PETIT BATTEMENT Starting with R foot in Fifth Position in front, bend both knees as far as possible without lifting the heels (cts 1,2), rise (cts 3, 4), slide R foot to side (cts 5, 6), return it to Fifth Position in front (cts 7, 8) . Repeat 8 times in all with R foot, then 8 times with L foot. The exercise may be practiced closing behind, or in front and behind alternately. 197 THE CHALIF TEXT BOOK OF DANCING DEMI-PLIE, PETIT BATTEMENT ET 3 PETITS RONDS DE JAMBE Starting with R foot in Fifth Position in front, bend both knees as far as possible without Hf ting the heels (4 cts), straighten the knees while slid- ing R foot to side (cts 5-8), after making an extra prep, m'v't to side describe 3 forward circles on the floor, passing R foot thru First and Fifth Po- sitions each time, using 2 cts for each circle, fin- ishing in Fifth Position in front (cts 1-6), rest (cts 7, 8). Repeat all, circling backward and fin- ishing in Fifth Position behind. DEMI-PU£ ET ROND DE JAMBE PU£ Starting with R foot in Fifth Position in front, bend both knees without lifting the heels from the floor (cts I, 2), rise (cts 3, 4), after making an extra preparatory slide to side describe a circle on the floor from front to back with R foot while bending L knee (cts 5, 6), close R foot to Fifth Position behind, straightening L knee (cts 7, 8). Repeat, circling from back to front and con- tinue circling backward and forward alternately. DEMI-PLlfi ET POINTE_ Starting with R foot in Fifth Position in front, bend both knees a little (preparatory movement), slide R foot to side, pushing the toes along the floor with great force, and straightening the sup- 198 PLIER IN COMBINATIONS porting knee (ct i ), hold this position of the foot, keeping it strongly energized with knees straight (cts 2-y), close R foot to Fifth Position behind, bending both knees a little as a preparation for the next pointing (ct 8) ; repeat the sliding to side, this time closing in front, then continue closing behind and in front alternately as long as desired. The exercise may be practiced forward and backward, but sideward is the most beneficial. At the center alternate the feet, moving for- ward, then backward. DEMI-PLlfi, POINTE, ASSEMBLE Strongly accented 2/4 time music Starting with R foot in Fifth Position in front, bend both knees a little (ct i ), slide R foot to side while straightening both knees (ct 2), close R foot to Fifth Position behind (ct 3), rest (ct 4), repeat all, finishing in Fifth Position in front. Continue finishing behind and in front alternately for 16 times in all, then do the exercise with L foot. PLlfiS ET PETITS BATTEMENTS Standing in First, Third or Fifth Position, R foot in front, rise onto the points (8 cts), then bend the knees till almost sitting on the heels (cts 1-4), rise (cts 5, 6, 7), and lower the heels (ct 8). Do 4 slow petits battements to side with R foot 199 THE CHALIF TEXT BOOK OF DANCING (using 2 cts to extend and 2 cts to close), return- ing to Fifth in front each time, to give a good idea of turning out the foot, or closing behind and in front alternately (16 cts). Repeat all, then do the exercise with L foot. PLIER ET GRAND BATTEMENT Starting with R foot in Fifth Position in front, rise onto the points, bend the knees (4 cts), rise, then lower the heels (cts 5-8), and do 4 grands battements forward with R foot (cts 9-16). Re- peat all, doing the grands battements backward, and repeat once more, doing them sideward. Do the exercise with L foot. 200 COMBINATIONS CONTAINING PETITS RONDS DE JAMBE 2/4 or 4/4 time music THE PREPARATION for all exercises in this group that begin with petit rond de jambe is as follows: Stand with R foot in Fifth Position in front. Before the music begins make a demi-plie, then straighten out the knees while pointing R foot to side. Begin each repetition of the exercise by making a preparatory slide to R with R foot, but omitting the preparatory bending. The preparation for all exercises beginning petit battement is : Starting with R foot in Fifth Position in front, make a small demi-plie, then straighten both knees while sliding R foot to side on ct I. When repeating the exercise omit the demi-plie. PETIT ROND DE JAMBE ET PETIT BATTEMENT with the working knee bent Preparation (see above) : Describe a circle forward, finishing in Fifth Position in front (ct I, 2), slide R foot to side, bending the knee to bring the foot to a perpendicular position (ct 3), 201 THE CHALIP TEXT BOOK OF DANCING and close the foot in front (ct 4). Repeat as long as desired with R foot, then with L foot. The exercise should then be practiced back- ward, starting from Fifth Position behind. PETIT ROND DE JAMBE ET POINTE Preparation (see page 201): Slide forward, around to side, backward, and close in Fifth Posi- tion behind — a large rond de jambe on the floor (cts 1-4) , point R foot to R with knee bent slightly at first, then straightened out so as to elevate and stretch the arch (ct 5, 6), close R foot to Fifth Position behind (ct 7), and rest (ct 8). Repeat; starting, slide R foot backward. Continue circling backward and forward alter- nately as long as desired, then do the exercise with L foot. PETIT BATTEMENT ET PETIT ROND DE JAMBE Preparation (see page 201) : Slide R foot to side (ct i), return it to original position in front (ct 2), after making a quick slide to side with R foot (prep, m'v't — ct and) do a petit rond de jambe forward, finishing in Fifth Position be- hind (ct 3, 4). Repeat, doing the petit battement as before but circling backward, finishing with the foot in front. 202 PET ITS RONDS DB J AM BE IN COMBINATIONS Continue circling forward and backward alter- nately. 2 PETITS BATTEMENTS ET 2 PETITS RONDS DE JAMBE Preparation (see page 201) : Do i petit batte- ment to side, closing in front (cts i, 2), i petit battement forward, closing in front (cts 3, 4), I petit rond de jambe, starting forward and clos- ing behind (cts 5, 6), repeat petit rond de jambe closing in front (cts 7, 8). Repeat all as long as desirable. 4 PETITS BATTEMENTS AND 4 PETITS RONDS DE JAMBE Starting with R foot in Fifth Position in front, do a petit battement to side, closing in front (cts i, 2), petit battement forward, closing in front (cts 3, 4), petit battement to side, closing behind (cts 5, 6), petit battement backward closing behind (cts 7, 8), slide to side (prep, m'v't, ct and), i forward petit rond de jambe closing in front (cts 9, 10), slide to side (prep, m'v't, ct and), i backward petit rond de jambe, closing behind (cts II, 12), and repeat the last 4 cts (cts 13-16). 1 PETIT BATTEMENT ET 3 PETITS RONDS DE JAMBE Preparation (see page 201) : Do i slow petit battement to side, closing behind (cts 1-4), 203 THE CHALIF TEXT BOOK OF DANCING slide to side quickly (prep, m'v't, ct and), make 3 backward petits ronds de jambe, finishing be- hind (ct 5, 6, 7), and pause (ct 8). Repeat finishing the petit battement in front and making the rond de jambes forward, finish- ing in front. Continue circling forward and back- ward alternately. PETIT BATTEMENT RELEVfi ET 3 PETITS RONDS DE JAMBE Starting with R foot in front in Fifth Position make a demi-plie (preparation — ct and), slide R foot to side straightening both knees (ct i ), lower R heel to the floor (ct 2), raise the heel (ct 3), close the foot to Fifth Position in front (ct 4), after making a preparatory slide to side describe 3 forward circles on the floor, finishing in Fifth Position in front (ct 5, 6, 7), rest (ct 8). Re- peat all, but circling backward and finishing in Fifth Position behind. Repeat all 8 times with R foot, then with L foot. PETIT ROND DE JAMBE AND 3 QUICK PETITS BATTEMENTS Preparation (see page 201) : Make a large cir- cle to Fifth Position behind, keeping the toes on the floor (ct and i, 2, 3), rest (ct 4), make the extra preparatory movement of sliding R foot 204 PETIT S RONDS DB J AM BE IN COMBINATIONS out to the side (ct and), then take 3 very quick petits battements with the accent inward, the first time bringing the foot to Fifth Position behind, the second time in front, and the third time be- hind (ct and 5, 6, 7), rest (ct 8). Repeat, starting the circHng backward and fin- ishing it in front. Repeat all as many times as desired with R foot, then do the exercise with L foot. ROND DE JAMBE PLifi ET PETIT BATTEMENT Preparation (see page 201 ) : Slide R foot for- ward to Fourth Position, then describe an arc backward to Fourth Position (cts 1,2), and close in Fifth Position behind (ct 3), meanwhile keep- ing the toes always on the floor, and bending the supporting knee during cts 1,2 and straightening it on ct 3, pause (ct 4). Slide R foot to side (ct 5, 6), and close R foot to Fifth Position in front (ct 7, 8). Repeat with R foot as long as desired, then with L foot. At the Center alternate the feet, moving for- ward, then backward. DEMI-PLlfi. POINTE, ET 3 PETITS RONDS DE JAMBE Starting with R foot in Fifth Position in front, bend both knees a little (preparatory movement), slide R foot to side with energy, straightening 205 THE CHALIF TEXT BOOK OF DANCING both knees (ct i), hold this sideward pointing (ct 2, 3, 4), describe 3 forward circles on the floor with R foot, passing thru First Position with each, and finishing in Fifth Position in front (ct 5, 6, 7), bend both knees a little, as a preparatory movement (ct 8) . Repeat all, but making the cir- cles backward and finishing behind. Continue doing the exercise forward and back- ward alternately as long as desired. DEMI-PLlfi, POINTE, ET PETIT. ROND DE JAMBE PLlfi At the center Starting from Fifth Position with R foot be- hind, bend both knees a little (preparation), slide R foot to side, straightening its knee and straightening the supporting knee also (ct i), hold (cts 2, 3, 4), slowly describe a forward circle with R foot, while bending the supporting knee, and finish with R foot in Fifth Position in front, both knees straight (cts 5-8). Repeat with L foot and continue alternating R and L feet, while moving forward little by little ; then do the exercise moving backward, cir- cling backward and finishing with foot behind each time. 206 COMBINATIONS CONTAINING PETITS BATTEMENTS AND GRANDS BATTEMENTS 2/4 or 4/4 time music THE PREPARATION In all exercises that begin with petit battement or pointe the first execution should begin with a demi-plie on ct "and," the feet being in Fifth Position with R foot in front, then the knees should straighten out on ct i, simultaneously with beginning the exercise. 2 SLOW AND 3 FAST PETITS BATTEMENTS Preparation (see above) : Slide R foot to side (ct i), close it in front (ct 2), repeat all, closing it behind (cts 3, 4), after making a preparatory outward slide do 3 petits battements twice as fast, with the accent on the inward stroke, closing the foot in front, behind, and in front (ct 5, 6, 7), and rest (ct 8). Repeat, starting from this clos- ing position (in front), and repeat all as many times as desired; then do the exercise with L foot. Variation: This exercise may also be done making one very slow petit battement to 4 cts, and 3 fast ones (ct 5, 6, 7) ; rest (ct 8). 207 THE CHALIF TEXT BOOK OF DANCING 1 SLOW AND 3 FAST PETITS BATTEMENTS Preparation (see page 207) : Slide R foot to side (ct I ), return it to Fifth Position in front (ct 2), after making an extra preparatory slide to side do 3 very quick petits battements with the accent inward, closing the foot behind, in front and behind (cts and, 3, and 4) 2 meas. Repeat with R foot as long as desired, then do the exercise with L foot. POINT AND 3 QUICK PETITS BATTEMENTS Preparation (see page 207) : Slide R foot out sideward with the working knee bent so that the foot is placed perpendicularly (ct i), straighten out the knee while keeping the toes as they are (cts 2, 3, 4), do 3 quick petits battements with the accent on the inward stroke, closing the foot in front, behind and in front (cts 5, 6, 7), rest (ct8). At the Center alternate the feet by starting with R foot behind and closing in front, behind and in front, while moving forward. PETIT BATTEMENT AND GRAND BATTEMENT COMBINED Preparation (see page 207) : Slide R foot to side with considerable force (ct i), hold (ct 2), lift R foot high sideward, keeping the knee straight (ct 3), and close R foot in front in Fifth 208 GRANDS BATTEMENTS IN COMBINATIONS Position (ct 4). Do the exercise 8 or 16 times, then repeat with L foot. The closing may be in front and behind alternately. Practice the exercise forward, then backward. In Combined Directions. The exercise may be practiced sideward and forward, or sideward and backward, or forward, sideward, backward, side- ward. At the Center the exercise may be practiced in most of the forms given above, alternating the feet, while moving forward, then backward, little by little. PETIT BATTEMENT AND GRAND BATTEMENT ALTERNATELY Preparation (see page 207) : Do a Petit Batte- ment to side, returning the foot to Fifth Position in front (cts i, 2), do a Grand Battement to side, returning to Fifth Position in front (cts 3, 4), and repeat all, returning the foot to Fifth Posi- tion behind each time (cts 5-8). Continue finish- ing behind and in front alternately as long as de- sired, then do the exercise with L foot. The exercise is practiced forward and back, and in all the other forms given in the preceding exercise. FRAPPfi AND GRAND BATTEMENT Preparation (see page 207) : Point R foot to side twice, striking the toe against the floor with 209 THE CHALIP TEXT BOOK OF DANCING emphasis, the knee being straight (cts 1,2), lift R foot sideward waist-high (Second Aerial Posi- tion (ct 3), and hold this extension (ct 4). Re- peat 8 times or more, then repeat with L foot. forward and Backward. The exercise is prac- ticed in all directions, and in combined directions. 3 PETITS RONDS DE JAMBE ET GRAND BATTEMENT Preparation (see page 201 ) : Make 3 forward petits ronds de jambe with R foot, passing thru First and Fifth Positions in front each time (ct I, 2, 3), finishing on ct 3 in Fifth Position in front; rest (ct 4), lift R foot sideward (ct 5, 6), close it to Fifth Position in the rear (ct 7) and rest (ct 8). Repeat all, circling backward, starting with the preparatory sliding to side, as before, and finish- ing in Fifth Position in front. Continue circling forward and back, alternate- ly. Repeat as long as desired with R foot, then do the exercise with L foot. To make the exercise more beneficial but diffi- cult, rise onto L point when doing the grand batte- ment. 3 PETITS RONDS DE JAMBE, DEMI-PLlfi, GRAND BATTEMENT Preparation (see page 201): Do 3 forward petits ronds de jambe (ct i, 2, 3), closing on ct 3 210 GRANDS BATTEMENTS IN COMBINATIONS in Fifth Position in front with the knees slightly bent; lift R foot high sideward, straightening the knee, and rising onto the ball of L foot (ct 5), hold (ct 6, 7, 8). Repeat 8 or 16 times with R foot, then do the exercise with L foot. 211 COMBINATIONS CONTAINING PETITS BATTEMENTS SUR LE COU DE PIED Staccato 2/4 time music THE PREPARATION for all exercises starting with petits battements sur le COU de pied is as follows : Before the music begins stand in Fifth Position with R foot in front, make a demi-plie, then straighten out the knees while sliding R foot to side, and finally bend R foot in front of L ankle with knee well turned out. PETITS BATTEMENTS SUR LE COU DE PIED ET POINTE Preparation (see above) : Make 2 quick little beats on the ankle, behind and in front, then pause (cts and, i, 2), repeat these beatings (cts and, 3, 4), point right foot to side strongly (ct 5), hold (cts 6, 7, 8). Repeat as long as de- sired with R foot, then do the exercise with L foot. The exercise should be practiced forward and back, and in combined directions. It may also be practiced twice as fast as described. 212 PBTITS BATTBMENTS SUR LB COU DB PIBD PETITS BATTEMENTS SUR LE COU DE PIED ET POINTE Preparation (see page 207) : Point R foot to side and hold (cts 1-4), make 8 groups of 2 little beats around the L ankle with R heel thus : after closing, R foot to the front of L ankle, strike R heel behind and in front in very quick succession, then pause (ct 5) ; repeat these 2 beats 7 times more (cts 6-12), extend R foot sideward a few inches from the floor (cts 13, 14), close in front (cts 15, 16). Repeat all as long as desired with R foot, then repeat with L foot. Forward and Back. This exercise may be prac- ticed with the pointing forward or back, the beat- ing being done in the manner above. Variation. There may be a rising onto the ball or point when making beats around the ankle, and a lowering of the heel when pointing. POINTE ET PETITS BATTEMENTS SUR LE COU DE PIED Preparation (see page 207) : Point R foot to R (ct i) ; after bending it in front of L ankle, make many quick little beats around the ankle with R heel (cts 2-7), rest (ct 8). Repeat, starting to point from the ankle position. Repeat as long as desired with R foot, then re- peat with L foot. 213 THE CHALIF TEXT BOOK OP DANCING PETIT BATTEMENT TENDU AND PETITS BATTEMENTS SUR LE COU DE PIED Preparation (see page 207) : Slide R foot to side with knee bent so that the foot is pointed perpendicularly (ct i), while keeping the toes on the floor straighten out the knee (ct 2, 3, 4), and make many little beats around L ankle with R heel (cts 5-7), rest (ct8), extend R foot sideward a little above the floor and hold (cts 9, 10), close in front (ct 11), rest (cts 12-16). Repeat as long as desired, then do the exercise with L foot. At the Center alternate the feet by starting in Fifth Position behind and closing in front. VARIATION Do the above exercise more slowly, thus : point R foot to side with bent knee (ct i), straighten the knee (ct 2-6), place R foot against the front of L ankle (ct 7), rest (ct 8), make little beats around the ankle (cts 9-14), extend R foot side- ward (ct 15), and close behind (ct 16). 2 PETITS BATTEMENTS DEGAG£S ET PETITS BATTEMENTS SUR LE COU DE PIED Starting with R foot in Fifth Position in front, bend both knees a little with feet flat on the floor (ct and), extend R foot to side a few inches from the floor, simultaneously straightening L knee (ct i), return to the starting position (ct 2), ex- 214 PETITS BATTEMENTS SUR LE COU DE PIED tend R foot to side again (ct 3), bend it in front of L ankle with knee turned out, and simultane- ously rise onto the ball or point of L foot (ct 4), make many little beats around L ankle with R heel (ct 5, 6), extend R foot to side (ct 7), close it to L foot in Fifth Position behind, and lower both heels to the floor, bending the knees a little, preparatory to repeating the exercise (ct 8). Repeat with R foot as long as desired, then do the exercise with L foot. 2 BATTEMENTS FRAPPfiS ET BATTU Preparation: Standing with R foot in Fifth Position in front make a demi-plie and rise, plac- ing R foot against the front of L ankle. Strike R toe against the floor at the side twice (cts 1,2), strike R foot against the front of L ankle, simul- taneously rising onto the ball (or point) of L foot (ct 3), rest (ct 4). Repeat 8 times or more with R foot, lowering L heel when starting each execu- tion, then do the exercise with L foot. BATTEMENTS FRAPPES ET BATTUS Preparation (see page 207) : Point R foot to side twice with considerable force (ct 1,2), close R foot to the front of L ankle (ct 3), make little beats around the ankle with R heel (cts 4, 5), ex- tend R foot to side a few inches from the floor 215 THE CHALIF TEXT BOOK OF DANCING (ct 6), close R foot to Fifth Position in front (ct7), rest (ct8). Repeat as long as desired with R foot, then re- peat with L foot. The exercise may be practiced at the center, starting R and L feet alternately while moving forward little by little. BATTEMENTS FRAPPfiS ET BATTUS Preparation (see page 207) : Slide R foot out sideward (ct i, 2), tap the floor twice at the side with R point, keeping the knee straight (ct 3, 4), place R foot firmly against the front of L ankle and hold it there for a moment (ct 5, 6), make many little beats with R foot in front and behind the L ankle, moving R foot in and out at the knee- joint in doing so (cts 7-12), extend R foot side- ward (cts 13, 14), close R foot in front (cts 15, 16). Repeat 3 or 7 times more with R foot, then re- peat an equal number of times with L foot. At the Center the exercise may be repeated as de- scribed above, or alternating R and L feet, mov- ing forward, then backward, little by little. PETIT BATTEMENT. ROND DE JAMBE ET PETITvS BATTEMENTS SUR LE COU DE PIED Starting with R foot in Fifth Position in front, do a petit battement to side closing in front (cts 216 PETITS BATTEMBNTS SUR LB COU DB PIBD I, 2), extend the foot to side a few inches above the floor (prep, m'v't, ct and), make a small circle forward in the air, finishing with the foot placed against the front of the ankle (cts 3, 4), make small beatings on the ankle, alternately back and front (ct 5), extend the foot to side a little above the floor (ct 6), and close behind in Fifth Posi- tion (ct 7), rest (ct 8). PETIT ROND DE JAMBE PLIE, PETIT BATTEMENT, ET PETITS BATTE- MENTS SUR LE COU DE PIED Preparation (see page 201) : Describe a circle from front to back, keeping the toes on the floor, bending the supporting knee and finishing in Fifth Position behind, with both knees straight (cts 1-4), slide R foot to side (cts 5, 6), bend R foot in front of L ankle, rising onto the ball or point of L foot (cts 7, 8), make many little beats around the ankle (cts 9-14), extend R foot to side a little above the floor (ct 15), close R foot to Fifth Position in front, lowering both heels to the floor (ct 16). Repeat as long as desired with R foot, then with L foot. The exercise may be practiced circling back- ward, or forward and backward alternately. 217 COMBINATIONS CONTAINING DfiVELOPPfiS AND GRANDS RONDS DE JAMBE PETIT BATTEMENT D£GAG£, D6VEL0PP£ Melodious, smooth 4/4 or 2/4 time music Starting with R foot in Fifth Position in front, bend both knees sHghtly (ct i), slide R foot to side, then lift it a little above the floor, while straightening both knees (ct 2), lift R knee side- ward, while rising onto the ball of L foot (ct 3), hold (ct 4) ; slowly straighten R foot out side- ward, waist-high (cts 5-8). Repeat as long as desired with R foot, then repeat with L foot. DEMI-PLlfi, POINTE, DfiVELOPPE This is a variation of the previous exercise. Starting with R foot in Fifth Position in front, bend both knees a little (preparatory movement), point R foot to side, straightening the supporting knee (ct i ), hold (ct 2), lift R knee sideward with foot near to the supporting knee (ct 3, 4), stretch R foot out sideward (ct 5, 6, 7), rising onto L point on ct 7, and close R foot behind in Fifth Po- sition, finishing with both feet flat on the floor (ct 8). 218 GRANDS RONDS DE J AM BE IN COMBINATIONS Repeat as long as desired, then do the exercise with L foot. At the Center move forward (then backward), starting with R and L feet alternately, closing in front when moving forward and vice versa. 3 PETITS RONDS DE JAMBE ET DfiVELOPPE Preparation (see page 201) : Describe 3 for- ward circles on the floor with R foot, finishing in Fifth Position in front (cts 1-6), lift R knee side- ward with foot near the supporting knee, while rising onto the ball or point of L foot (cts 7, 8), slowly straighten R foot out sideward, waist-high (cts 9-14), close R foot to Fifth Position in front, lowering both heels to the floor (cts 15, 16). Re- peat 8 times with R foot, then with L foot. This exercise may be practiced extending the foot in any direction. FLEXER LE GENOU TWICE ET D£VEL0PPE 6/8 or quick waltz time Starting with R foot in Fifth Position in front, rise onto the ball (or point) of L foot, lifting R knee high sideward with foot near the supporting knee (ct i), lower L heel, bringing R foot down to Fifth Position behind (ct 2), repeat all, finish- ing with R foot in front (ct 3, 4) ; rise onto L ball (or point) while lifting R knee sideward as be- 219 THE CHALIF TEXT BOOK OF DANCING fore (on ct 5), then very slowly extending R foot sideward, waist-high, straightening out the knee (ct 6, 7), bring R foot down to Fifth Position in front, keeping the knee straight and lowering both heels to the floor (ct 8). Repeat 4 or 8 times with R foot, then repeat with L foot. Variation. The exercise may be done with flexer le genou only once to give more time for de- veloppe. 2 GRANDS RONDS DE JAMBE AND 4 TEMPS DE CUISSE At the bar or center 6/8 or 2/4 time music Starting with R foot in Fifth Position behind, lift R foot sideward (prep, m'v't) describe a for- ward circle in the air with R foot, finishing in Fifth Position behind (cts i, 2), repeat all (cts 3, 4), swing R leg high forward with a free mo- tion at the hip (ct 5), swing it high backward (ct 6), swing it forward and backward again (cts 7, 8) . Repeat all 3 or 7 times more, starting each execution by swinging the foot forward, without first closing to Fifth Position. Do the exercise 8 or more times with L foot. 220 GRANDS RONDS DB J AM BE IN COMBINATIONS 7 LITTLE RONDS DE JAMBE FROM THE KNEE DOWN AND D:£VEL0PP£ Melodious 4/4 time music Preparation: Starting with R foot in Fifth Position in front, make a demi-plie, then straighten L knee, while pointing R foot forward, then lifting R knee sideward with the lower leg extended downward perpendicularly. Describe 7 little forward circles, moving the leg from the knee down (7 cts), rest (ct 8), very slowly ex- tend R foot forward, waist-high, straightening out the knee (8 cts). Repeat the 7 forward cir- cles and rest as above (8 cts), extend the foot sideward, waist-high (8 cts). Describe 7 little circles backward from the knee down and rest (8 cts), extend the foot backward as high as possible (8 cts). Describe 7 little circles forward and rest (8 cts), extend the foot sideward (8 cts). Note that the circling is done backward only when the leg is to be extended backward. The knee should always have the same sideward lifted po- sition no matter in what direction the extension is to be. The exercise is done 4 times or more with R foot, then with L foot. Variation: Do the above exercise circling 3 times (3 cts), resting on ct 4, then extending the foot during cts 5-8. 221 THE CHALIF TEXT BOOK OF DANCING GRAND ROND DE JAMBE ET BATTUS Melodious 4/4 time music The preparation is the same as for the previous exercise. Describe a forward circle with R foot, waist-high, finishing with the foot bent under as in the starting position (cts 1-4), make many Httle beats with R foot against the inside of L knee (cts 5-8). Repeat 7 times more with R foot, then do the exercise with L foot. Practice the exercise circHng backward. Practice it circHng forward and backward al- ternately. PETITS BATTEMENTS SUR LE COU DE PIED ET GRAND ROND DE JAMBE 2/4 or 4/4 time music Preparation (see page 212) : Make many little beats around L ankle with R foot (8 cts), after lifting R foot higher, so that it is near L knee, describe a forward grand rond de jambe with R foot (8 cts), make many little beats against L knee with R foot (cts 1-14), lift R foot sideward, then close it to Fifth Position in front (cts 15, 16). Repeat with R foot, then do the exercise with L foot. Practice the exercise circling backward. 222 COMBINATIONS CONTAINING fiCHAPPES SUR LES POINTES Strongly accented 2/4 time music DEMI-PLIER ET fiCHAPPfi CHANGfi Starting with R foot in Fifth Position in front, bending both knees without Hfting the heels from the floor (4 cts), rise (cts 5-8), rise onto both points (cts 9-12), lower the heels, having inter- changed the position of the feet (ct 13-16). Re- peat as long as desired. 1 PETIT BATTEMENT ET 1 fiCHAPPfi Starting with R foot in front in Fifth Position slide R foot to side (ct i), and return it to Fifth Position behind (ct 2), rise onto the points (ct 3), and lower the heels, having interchanged the posi- tion of the feet so that R foot is now in front (ct 4). Repeat all 8 or 16 times, then do the exercise with L foot. 2 PETITS BATTEMENTS ET 1 fiCHAPPfi At the bar Starting with R foot in Fifth Position, in front, make a demi-plie, then straighten the knees, slid- ing R foot to side (ct and, i), close it in Fifth Position in front (ct 2), slide it to side (ct 3), close in Fifth Position behind (ct 4), rise onto 223 THE CHALIF TEXT BOOK OF DANCING both points (ct 5), hold (ct 6, 7), lower the heels (ct8). Repeat as long as desired with R foot, then do the exercise with L foot. At the center Slide R foot to side (ct i ), close in front (ct 2), repeat with L foot (ct 3, 4), rise onto the points (ct 5, 6, 7), and lower the heels (ct 8). Continue starting R and L feet alternately as long as desired. PETITS BATTEMENTS ET ECHAPPfiS I petit battement to side, closing in front (cts i, 2), rise onto the points with the feet separated (echappe) (ct 3), lower the heels with the feet in the same position (ct 4), i petit battement for- ward, closing in front (cts 5, 6), rise onto the points (ct 7), lower the heels without changing the position of the feet (ct 8). i petit battement to side, closing behind (cts 9, 10), rise and sink (cts II, 12), I petit battement backward, closing behind (cts 13, 14), and rise and sink (cts 15, 16), Repeat several times, then face in opposite di- rection so as to use the other foot for petit batte- ment. 2 BATTEMENTS FRAPPES ET 2 fiCHAPPfiS Preparation (see page 207) : Point R toe to R twice with considerable force (ct i, 2), bring R 224 £CHAPP^S IN COMBINATIONS foot back to Fifth Position in front, both soles being flat on the floor (ct 3), rest (ct 4), rise onto the points (ct 5), lower the heels with feet in Fifth Position as before (ct 6), and repeat this rising (ct 7, 8). Repeat as long as desired with R foot, then re- peat the exercise with L foot. PETIT BATTEMENT RELEV£, 2 fiCHAPPfiS Starting with R foot in Fifth Position in front, slide R foot to side (ct i), lower R heel (ct 2), raise R heel (ct 3), close R foot to Fifth Position behind (ct 4), rise onto the points (ct 5), lower the heels (ct 6), and repeat this rising (ct 7, 8). Repeat, closing R foot in front. Repeat all, starting R foot as long as desired, then do the exercise with L foot. ROND DE JAMBE PLIE, ECHAPPfi CHANGfi Start with R foot in Fifth Position in front. Describe a circle to Fifth Position behind with R foot, keeping the toes on the floor and bending the supporting knee (ct i, 2, 3), pause (ct 4), rise onto the points (ct 5, 6), and lower the heels, having interchanged the position of the feet (ct 7, 8). Repeat 8 or more times, starting with R foot, then face in the opposite direction and re- peat an equal number of times with L foot. 225 THE CHAUF TEXT BOOK OF DANCING The exercise may be practiced circling back- ward. 3 PETITS RONDS DE JAMBE, 1 PETIT BATTEMENT, 2 fiCHAFPfiS Beginning with R foot in Fifth Position in front, do 3 forward petits ronds de jambe with R foot, starting with a preparatory pointing to side (ct I, 2, 3), finishing in Fifth Position in front on ct 3, hold (ct 4), slide R foot to side (ct 5, 6), close R foot behind (ct 7, 8), and rise onto the points twice, interchanging the position of the feet each time (cts 8-16). Repeat 8 or 16 times, then do the exercise with L foot. This exercise may be practiced circling back- ward, starting with the foot behind, or circling forward and backward alternately. 3 PETITS RONDS DE JAMBE, 1 PETIT BATTEMENT, 3 fiCHAPPfiS, POINTE Starting with R foot in Fifth Position in front, make a preparatory sliding to side, then describe 3 circles forward on the floor, finishing in Fifth Position in front (ct i, 2, 3), rest (ct 4), slide R foot to side and rest (cts 5, 6), return it to Fifth Position in front and rest (cts 7, 8), rise onto the points (ct 9), lower the heels with the position of the feet interchanged (ct 10), repeat this rising twice more (cts 11- 14), lower Lheel to the floor 226 ^CHAPP£S IN COMBINATIONS while pointing R foot to side (ct 15), rest (ct 16). Repeat the exercise doing the circling back- ward, and continue doing it forward and back- ward alternately. 3 PETITS RONDS DE JAMBE ET 2 fiCHAPPES CHANGES At the Bar. Starting with R foot in Fifth Posi- tion in front, do a preparatory slide to side, then describe 3 forward circles on the floor, finishing in Fifth Position in front (ct i, 2, 3), rest (ct 4), rise onto the points (ct 5), lower the heels with the position of the feet interchanged (ct 6), and repeat this rising (cts 7, 8). Repeat as many times as desired, then repeat doing the circling backward, finishing behind. Do the exercise with L foot. At the Center. Do the exercise alternating the feet, circling forward and finishing in front while moving forward, and vice versa when moving backward. 7 PETITS RONDS DE JAMBE, 4 ECHAPPES Stand with R foot in Fifth Position in front, then slide R foot to side (preparatory movement), describe 7 quick petits ronds de jambe forward, finishing in Fifth Position in front (7 cts), rest (ct 8), rise onto the points (ct 9), lower the heels, having interchanged the position of the feet (ct 227 THE CHALIF TEXT BOOK OP DANCING lo), and repeat this rising 3 times more (cts 11-16). Repeat all, doing the circling backward, finish- ing in Fifth Position behind (16 cts). Continue doing the exercise forward and backward alter- nately; then do the exercise with L foot. PETITS BATTEMENTS SUR LE COU DE PIED ET fiCHAPPES Preparation (see page 212) : Make many quick little beats around the ankle with R heel (cts 1-6), point R toe to R rather forcibly (ct 7), close R foot to L foot in Fifth Position behind (ct 8), rise onto both points (ct 9), lower the heels (ct 10), and repeat this rising twice more (ct 11-14), ex- tend R foot sideward and close in front of L ankle (cts 15, 16). Repeat, starting R foot, as many times as de- sired, then do the exercise with L foot. PETITS BATTEMENTS SUR LE COU DE PIED ET fiCHAPPES To be practiced at the center Preparation (see page 207) : Point R foot to R and hold (cts i, 2), make many little beats around L ankle with R heel (cts 3-6), point R foot to side again (ct 7), close it to Fifth Position in front (ct 8), rise onto both points (ct 9), lower the heels (ct 10), repeat this 228 £CHAPP£S IN COMBINATIONS rising twice more (cts 11-14), rise onto L point, bending R foot in front of L ankle (ct 15), and lower both heels to the floor, R foot being in Fifth Position in front (ct 16). Repeat all, starting L foot, and continue start- ing R and L feet alternately while moving for- ward little by little. PAS DE BOURREE CHANGE ET ECHAPPE At the bar or center 2/4 time music Before the music starts stand with the feet in Fifth Position, R foot in front, make a demi-plic and rise, sliding R foot to side, then bending it be- hind L ankle. Take 3 very short steps to L thus : step R foot behind L foot (ct i), step L foot to L (ct and), step R foot in front of L foot in Fifth Position (ct 2), rise onto the points (ct 3), and lower the heels without changing the posi- tion of the feet (ct 4). If practiced at the cen- ter, during cts 1,2 the arms are in Second Posi- tion and during cts 3, 4 in Fifth Position, at which time the shoulders should face partially to L, the trunk and head being twisted and bent to R a little. Repeat starting step L foot across behind, moving to R (cts 5-8). Continue starting R and L feet alternately as long as desired. 229 THE CHALIF TEXT BOOK OF DANCING This exercise may be made more difficult by taking the first 2 steps of pas de Bourree on the points. 2 PAS DE BOURRfiE CHANGES ET 2 £CHAPP£S At the bar or center 6/8 tarantella time music One or both hands may hold the bar. The preparation is the same as for the previous exer- cise. Do 3 little steps thus: step on R point across behind L foot (ct i), step on L point to L (ct and), step on the ball of R foot across in front of L foot, simultaneously lifting L foot behind R ankle (ct 2), repeat all, starting step L foot across behind, and finishing in Fifth Sole Position (cts 3, and, 4), rise onto both points (ct 5), lower the heels, interchanging the posi- tion of the feet (ct 6), and repeat this rising (cts 7, 8). Repeat all 8 or 16 times, starting R foot always. 230 COMBINATIONS CONTAINING RELEVES SUR LA POINTE PETITS BATTEMENTS ET FLEXER LE GENOU 2/4 or 6/8 time music Preparation (see page 207) : Slide R foot to side (ct i), bring it to Fifth Position in front (ct 2), slide it forward (ct 3), return it to Fifth Posi- tion in front (ct 4), rise onto L point, simultan- eously lifting R knee high sideward with foot close to the supporting knee (ct 5), hold (ct 6, 7), lower the foot to Fifth Position behind (ct 8). Repeat as long as desired with R foot, then do the exercise with L foot. Be sure to make the movement of rising onto the point and lifting the knee very clear-cut and decisive. There should be no extra motions whatever of either foot in taking the position, and afterward it should be held absolutely mo- tionless. FRAPPfi RELEV£ 2/4 time music Preparation (see page 207) : Point R toe to side twice with considerable force (cts i, 2), bend it close behind L ankle with knee turned out, and simultaneously rise onto L point (ct 3), hold 231 THE CHALIF TEXT BOOK OF DANCING (ct 4), extend R foot to side (cts 5, 6), close it to Fifth Position in front, lowering both heels to the floor (cts 7, 8). Repeat with R foot as long as desirable, then do the exercise with L foot. 2 PETITS RONDS DE JAMBE AND RELEVfi SUR LA POINTS 2/4 or 4/4 time music Starting with R foot in front slide R foot to side (prep, m'v't), describe 3 little forward cir- cles on the floor, finishing in Fifth Position in front (cts I, 2, 3), rest (ct 4), rise onto L point lifting R knee sideward and hold (cts 5, 6, 7), close in front lowering the heels to the floor (ct 8). Repeat 8 times or more with R foot, then with L foot. The exercise may be done circling backward. PLl£ ROND DE JAMBE, RELEV£, ET PETITS BATTEMENTS SUR LE COU DE PIED Starting with R foot in Fifth Position in front, describe a circle on the floor with the toes, from front to Fourth Position behind, while bending the supporting knee (cts 1-4), suddenly rise onto L point (or ball) , placing R foot against the back of L ankle (ct 5), hold (cts 6, 7, 8), remaining on the L point make many little beats around the 232 RBLEVES IN COMBINATIONS ankle with R foot (cts 9-14), extend R foot side- ward a little above the floor (ct 15), close R foot in Fifth Position in front, lower both heels to the floor (ct 16). Repeat 4 times or more with R foot, then the same number of times with L foot. The exercise may also be practiced circling backward, or circling forward and backward al- ternately. PLl£ ROND DE JAMBE ET RELEVfi SUR LA POINTE Slow, melodious 4/4 or 2/4 time music Starting with R foot in Fifth Position in front, describe a large circle on the floor with R foot, from front to back, while bending the supporting knee (cts 1-4) ; while keeping L knee bent and R foot stretched far back, the arch resting against the floor, bend far back at the waist (cts 5-8), suddenly straighten L knee and rise onto L point, lifting R foot high backward with knee straight, then hold this position (cts 9-12) ; remaining on L point bend R foot under, bringing it near to L knee, then extend R foot forward (developpe — cts 13, 14, 15) ; bring R foot down to Fifth Posi- tion in front, lowering both heels to the floor (ct 16). During cts 1-2 the R arm remains in Sec- ond Position ; during cts 3-4 it goes to First Posi- tion with palm down; during cts 5-8 it is lifted 233 THE CHALIP TEXT BOOK OF DANCING to Fifth Position; it remains there during cts 9-12, and is lowered to Second Position during cts 12-16. The exercise may be repeated with R foot, then done twice with L foot. PAS DE BOURRfiE CHANGfi ET RELEVfiS SUR LES POINTES At the bar or center 2/4, 6/8 or waltz time Face the bar, holding it with both hands. Preparation: standing in Fifth Position, R foot in front, make a demi-plie and straighten the knees, lifting R foot sideward. Take 3 very short steps on the balls of the feet, thus: step R foot across behind L foot (ct i), step L foot to L (ct 2), step R foot across in front of L foot (ct 3), pause (ct 4), step L foot to L and imme- diately rise onto the point, R foot being lifted backward from the hip (Fourth Aerial Position) (ct 5), lower L heel (ct 6), and repeat this rising (ct 7), step on R foot, lifting L foot sideward (ct8). After making a quick change of weight, repeat the exercise, starting step L foot across behind R foot. . When practicing the exercise at the center the arms should go thru First to Second Position 234 RELUViS IN COMBINATIONS when doing pas de Bourree, and to Third Posi- tion Amplified with L arm up when rising onto L point and vice versa. 2 PAS DE BOURREE CHANGES ET 2 RELEVfiS 2/4 time music This is the same as the previous exercise ex- cept that here 2 pas de Bourree are done to the time taken for one before. Step R foot across behind (ct i), step L foot to L (ct and), step R foot across in front (ct 2), repeat starting L foot (ct 3, and, 4), and rise onto R point twice (ct 5-8). Repeat, starting L foot, and continue starting R and L feet alternately as long as desired. 235 fiCHAPPES ET RELEVfiS SUR LES POINTES At the center Music : Sharply accented 2/4 or 6/8 time fiCHAPPfiS ET RELEVfiS ALTERNATIFS Starting with R foot in Fifth Position in front rise onto the points and lower the heels without changing the position of the feet (cts i, 2), rise onto L point, bending R foot behind L ankle (ct 3), lower both heels to the floor in Fifth Position with L foot in front (ct 4). On ct 3 the shoul- ders turn somewhat to R. Both hands hold the skirt. Repeat all bending L foot behind, and continue lifting R and L feet alternately, while moving backwards little by little. 3 ECHAPPES SIMPLES AND 1 ECHAPPE CHANGE This exercise may be practiced holding the bar with both hands or at the center. In the latter case there may be a slight turning of the shoul- ders from side to side, as follows: Start with R foot in front and shoulders facing a little to R. Maintain this position for the 3 simple echappes, 236 &CHAPP&S IN RELBV£S then turn the shoulders a little to L when doing echappe change. Both hands hold the skirt. 2 £CHAPP£S SIMPLES AND 2 CHANGfiS In this case the shoulders should face forward all the time. £CHAPP£S FORWARD AND BACK Do 8 echappes changes, moving forward little by little, and repeat the same moving backward. RELEVfiS ALTERNATIFS Sur les pointes At the center When used in a dance these steps are executed moving backwards only, but when practiced as an exercise it is well to do them moving forward too. Starting with R foot in Fifth Position in front, bend both knees slightly, rise onto both points and instantly afterward lift R foot close behind L leg, calf-high, with knee turned out sideward (ct I ), lower the heels with R foot behind, repeat all, lifting L foot backward (cts 3, 4). During cts 1,2 the shoulders turn to R, the trunk bend- ing to R, and during cts 3, 4 this position is re- versed. Both hands hold the skirt. An equally 237 THE CHALIF TEXT BOOK OF DANCING charming efifect is produced by bending to L when standing on L point, and vice versa. Repeat, moving backward as long as desired, then do the exercise moving forward, starting with R foot in Fifth Position behind, then bend- ing it in front. RELEVfiS BATTEMENTS SUR LES POINTES AU QUATRIEME, EN AVANT ET EN ARRlfiRE At the center Rise onto R point while swinging L foot for- ward (ct i), lower R heel (ct and), rise onto R point, swinging L foot backward (ct 2), and lower R heel (ct and). Have the arms in Third Position Amplified, R up. Repeat 4 times in all, then do the exercise on L foot. When rising on R point the dancer should be facing diagonally forward R, and vice versa. fiCHAPPfiS EN TOURNANT Starting with R foot in Fifth Position in front, bend both knees a little, then rise onto both points and making about an eighth of a turn to R (ct i), lower the heels in the same position (ct 2), repeat 7 times more, turning in place to R little by little, and keeping R foot in front always (cts 3-16). Both hands hold the skirt. 238 &CHAPP&S AND RELBV&S This turning may be done to the L, keeping L foot in front always. The exercise should also be practiced making a complete turn with 4 echappes. 2 £CHAPP£S SIMPLES, AND 2 RELEVfiS Sur les pointes Starting with R foot in front do 2 echappes without changing the position of the feet (cts 1-4), rise onto L point, bending R foot behind L ankle or calf (ct 5), lower both heels to Fifth Position with L foot in front (ct 6), repeat these last 2 cts, rising onto R point and bending L foot behind (cts 7-8). Repeat all as many times as desired. Whenever lifting L foot in front turn the shoulders a little to L, and vice versa. 4 ECHAPPES CHANGES AND 4 ALTERNATING RELEVfiS Starting with R foot in Fifth Position behind, do 4 echappes changes moving forward (8 cts), bend R foot in front of L foot, calf-high, while rising onto L point (ct 9), lower both heels to the floor, R foot being in Fifth Position in front (ct 10), bend L foot in front of R ankle while rising onto R point (ct 11), lower the heels with 239 THE CHALIF TEXT BOOK OP DANCING L foot in front (ct 12), repeat the last 4 cts (cts 13-16). Repeat all, continuing to move forward, then do the exercise moving backward, but continuing to bend the foot in front. 240 MORE EXERCISES AT THE CENTER 1 GLISSADE, CHANGEMENT DE PIEDS ET BOURRfiE A TERRE Sur les pointes 2/4 or 6/8 time music Starting with R foot in Fifth Position in front, rise onto the ball of L foot while sliding R foot to R (preparatory movements), transfer the weight to R foot (ct i), bring L foot to R foot in Fifth Position in front, lowering both heels to the floor (ct 2), jump straight upward from both feet and land with their positions inter- changed (ct 3), rise onto both points (ct 4), move sideward to R with many little steps on the points (cts 5, 6, 7), stand on R point with L foot lifted backward (ct 8). During cts i, 2 the arms are in Third Position with R arm up; dur- ing cts 3, 4 in Second Position; and during cts 5-8 they go thru First to Third Position with R arm up. Repeat all to L, starting L foot and continue starting R and L feet alternately for as long as desired. 241 THE CHALIF TEXT BOOK OF DANCING 3 PAS DE BOURRfiE CHANGES ET 1 EchappE 6/8 or 2/4 time music Starting with R foot in Fifth Position in front, slide R foot to side, lifting it a few inches from the floor (preparatory movement), step on R point across behind L foot, step on L point to L, step on the ball of R foot across in front of L foot, while bending L foot behind R ankle (cts I, and, 2), repeat all twice more, starting L and R feet (cts 3-6), rise onto both points (ct 7), lower the heels without changing the position of the feet (ct 8). During the 3 pas de Bourrees the arms are used in Third Position from side to side, the L arm being lifted first, the trunk and head bending to R, L and R, and the shoulders turning a little from side to side. On the echappe the arms are lifted to Fifth Position, while the trunk remains as it is, i. e., facing a little to L and bending to R. Repeat all, starting R and L feet alternately, and beginning each execution with a quick pre- paratory sideward lifting of the foot. 2 PAS DE BOURREE CHANGES, TOUR OUVERT 2/4 time music Starting with R foot in Fifth Position in front and arms in Second Position, bend both knees 242 CENTER EXERCISES a little, then straighten them out, lifting R foot sideward (preparation), step on R point across behind, L point to L and on the ball of R foot across in front, finishing with L foot bent behind R ankle (cts, and i, and, 2), repeat, starting L, foot (cts 3, and, 4), swing R foot backward in a large half-circle in the air, while hopping on L foot, then step R foot across behind L foot and close to it, turn completely around to R on the balls of both feet, finishing with R foot lifted forward (cts 5, 6), step diagonally forward R on R point, with L foot lifted backward and hold (cts 7, 8). During cts 1-4 the arms remain in Second Position; during cts 5, 6 they are in Fourth Position, R up, the trunk and head bend- ing to L and back ; during cts 7, 8 the arms are in Third Position Amplified, R up. Repeat all, starting L foot and continue start- ing R and L feet alternately. GLISSADE, ASSEMBLE, ]£CHAPP£ 2/4 or 6/8 time music Preparation: Standing with R foot in Fifth Position in front, raise the arms thru First to Third Position. Rise onto the balls of the feet, slide on R foot to R, then bring L foot up to it in Fifth Position in front, lowering both heels to the floor (cts i, 2), hop gently on L foot, while 243 THE CHALIF TEXT BOOK OF DANCING swinging R foot forward in a half-circle in the air, and land on both feet in Fifth Position with R foot in front (cts 3, 4), rise onto the points (cts 5, 6), and lower the heels (cts 7, 8). The arms are used in Third Position with R up and the reverse, and in Fifth and in Second Posi- tions. Repeat, starting R and L feet alternately as long as desired. ECHAPPfi ET TOUR SUR LES POINTES Starting from Fifth Position with R foot in front rise onto the points (ct i), lower the heels without changing the position of the feet (ct 2), after making a little demi-rond de jambe with R foot, leap on R foot to R, step L foot across over R foot, rise onto the points and turn completely around to R (ct 3), lower the heels in Fifth Posi- tion with R foot in front (ct 4). Repeat all 3 or 7 times more to R, then an equal number of times to L, and repeat all if desirable. 2 ]£CHAPP£S ET 2 TOURS SUR LES POINTES Do 2 echappes changes, 2 tours sur les pointes to R and repeat all 3 times more to R, then repeat all, moving to L. 244 CENTER EXERCISES 2 tours sur les pointes et bourrEe a terre 2/4 or Waltz time Do 2 tours sur les pointes as above, moving to R, starting R foot (2 meas.) ; continue moving to R, with little steps on the points, the feet being crossed, finishing on the last ct standing on R point with L foot lifted backward or, for simplic- ity's sake, finishing in Fifth Position on the soles of both feet (2 meas.). The arms are used in Second and crossed First Position. When turn- ing, then, go thru First to Third Position, R up. Repeat all to L and R alternately. 3 TOURS SUR LES POINTES ET POINTE 2/4 or Waltz time Do 3 tours sur les pointes as above to R start- ing R foot (3 meas.), step R foot to R and point L toe across in front (4 meas.). The arms arc used in Second and a crossed First Position when turning, and when pointing are in Third Posi- tion, R up, the trunk and head bending to L. Re- peat, starting L foot to L and continue starting R and L feet alternately. BALANCE EN AVANT ET EN ARRIERRE Sur les pointes Rise onto the points, the feet being in Fifth Position with R foot in front. Step forward on 245 THE CHALIF TEXT BOOK OF DANCING R point bending L foot close behind R foot, calf- high, with knee turned out (cts 1,2), step back on L point, bending R foot close in front of L foot, calf-high with knee turned out (cts 3, 4). Both hands hold the skirt and the trunk and head bend to L and to R. Repeat 8 times in all, then after a pause, do the exercise with L foot forward and R foot back. 2 PAS DE BOURRfiE CHANGES AND STEP ON ONE POINT Do pas de Bourree change starting step R foot across behind, taking the first 2 steps on the points and the third on the ball (ct i, and, 2), repeat L foot (cts 3, and, 4), step diagonally for- ward on R foot with L foot lifted backward (ct 5), hold this position (cts 6, 7, 8). During cts I, 2 the arms are in Third Position, L up, the trunk bending to R during cts 3, 4 this position reversed, and on ct 5 is reversed again, but the R arm is then in Amplified Third Position. Repeat all, starting L and R feet alternately. 1 POLKA, POINT, 2 fiCHAPPES Do a polka step diagonally forward R on the balls of the feet, starting R foot (cts i, and, 2), point L toe to L (ct 3), close L foot to R foot in Fifth Position in front (ct 4), do 2 echappes 246 CENTER EXERCISES without changing the position of the feet (cts 5-8). Repeat 3 times more, starting L and R feet alternately, moving forward in a zigzag. Repeat all moving backwards in a zigzag. PAS DE BOURRfiE COUPE ET 2 PIROUETTES 2/4 time music Preparation : Stand in Fifth Position, R foot in front, facing diagonally forward L, with arms in Second Position. Bend L knee a little, while lifting R foot forward (preparatory movement), bring R foot down to L foot, rise onto the points, and take several little steps in place on the points (cts I, and,), drop onto the ball of R foot, lifting L foot backward (ct 2), bring L foot down to R foot, and repeat the little steps on the points (ct 3), drop onto the ball of L foot, lifting R foot forward (ct 4), and do 2 pirouettes on the points to R, starting each with a demi-rond de jambe with R foot (cts 5-8). Finish the second turn with the weight on R foot and L foot pointed forward. During cts 1,2 the R arm swings in- ward to First Position, the trunk bending to R and forward; during ct 3, 4 the R arm opens to Second Position, the trunk bending to L and back a little; during each turn the arms go from Sec- ond to Fifth Position, the trunk bending to L and 247 THE CHALIF TEXT BOOK OF DANCING back, and the face looking toward audience over L shoulder. Finish with arms in Lateral Position to R and trunk bending to L. Repeat to L, starting L foot, and continue al- ternating R and h feet as long as desired. POLKA, BRIS£, RELEVfi Polka music Do a polka step diagonally forward R on the balls of the feet (cts i, and, 2), step L foot across in front of R foot (ct 3), hop high on L foot, striking the calves of the legs together in the air, the legs being well turned out (ct 4), step diagonally forward R on R foot, and instantly rise onto the point with L foot lifted high back- ward (ct 5), lower the heel of R foot (ct 6), and repeat this rising and lowering while keeping L foot lifted backward (cts 7, 8). The arms are used in Lateral Position to R, in Fifth Position and in Third Position, R up. Repeat to L, starting L foot, and continue al- ternating R and L feet as long as desired. jet£ and PETITS BATTEMENTS SUR LE COU DE PIED At the center 2/4 or 6/8 time music Starting with R foot in Fifth Position behind, leap on R foot to R (ct i), make many little 248 CENTER EXERCISES beats with L foot around R ankle, and finish with L foot extended sideward (ct 2), repeat to L (cts 3, 4) and continue alternating as long as desired. Whenever leaping to R the trunk bends to L, the arms being in Lateral Position to R, and whenever leaping to L this position is reversed. THE SAME WITH BOURREE CHANGE AND RELEVfi SUR LA POINTE ADDED Do the above exercise to R (cts i, 2), step L foot across behind R foot, step R foot to R, and step L foot across in front of R foot (cts 3, and, 4), step on R point to R (ct 5), lower the heel (ct 6), repeat this rising (cts 7, 8). The arms are used in Lateral Position to R at first, then they open to Second Position, then go to Third Position with R arm up. Repeat to L, starting L foot and continue alternating as long as desired. THE SAME WITH 2 PIROUETTES ADDED Do the first 4 counts of the preceding exercise, then continue moving to R with 2 pirouettes to R, each time turning on both points for an in- stant, finishing on L point with R foot bent in front of L ankle (cts 5-8). Repeat 4 times in all to R, finish the last 249 THE CHALIF TEXT BOOK OF DANCING pirouette with the feet in Fifth Position, then re- peat all to L. ENTRECHAT A QUATRE AND fiCHAPPfi SUR LES POINTES Strongly accented 2/4 or 6/8 time music Entrechat (to be described fully in a later vol- ume) is a jumping straight upward from both feet, and interchanging their position at least twice while in the air. When the changing is done only twice the movement is called entrechat a quatre. In these present exercises only this variety of entrechat will be used. Standing with R foot in Fifth Position in front, make a preparatory demi-plie, spring up into the air, interchange the position of the feet twice (i. e., forward and back) and land in their orig- inal position (cts and, i), rest (ct 2), do an echappe sur les pointes without changing the posi- tion of the feet (cts 3, 4). Repeat all as long as desired. The hands may hold the skirt, or the arms be held in Second Position. ENTRECHAT A QUATRE, fiCHAPPfi AND 2 RELEVfiS Do the previous exercise once (cts 1-4), rise onto R point, bending L foot in front of R ankle or calf (ct 5), lower both heels to Fifth Position 250 CENTER EXERCISES with L foot in front (ct 6), rise onto L point bending R foot in front (ct 7), lower the heels with R foot in front (ct 8). Repeat all as long as desired. On ct 5 the shoulders should turn a little to L, and on ct 7 to R. 2 ENTRECHATS A QUATRE AND 3 ECHAPPfiS Starting with R foot in front, bend the knees slightly, then do an entrechat, finishing with the feet in the same position (ct i), without pausing repeat this entrechat (ct 2), do 3 echappes changes (cts 3-8), finishing with L foot in front. Repeat all, starting from this closing position, and continue the exercise as long as desired. ENTRECHAT AND ECHAPPE TWICE, 4 RELEVES ON ONE FOOT Do entrechat echappe as described in a pre- vious exercise (4 cts), repeat (cts 5-8), rise onto R point 4 times while keeping L foot lifted high backward from the hip (cts 9-16). Upon lowering the heel after the last rising, bring L foot down to R foot in Fifth Position behind. During cts 1-8 the arms are in Second Position or both hands hold the skirt, and during cts 9-16 in Third Position Amplified, R arm up. 251 PLANNING LESSONS from this hook The ideal lesson in toe dancing contains a spe- cial exercise for giving strength and freedom to each part of the legs and torso separately, then plastic exercises for all parts together. Some form of the following exercises should always be given : Plier to strengthen the thighs and knees. Petits Battements to strengthen the feet. Grands Battements, or other exercises in lift- ing the leg, for freedom at the hip-joint. Ronds de Jambe (petits or grands) for smooth motion at the hip-joint. Petits Battements sur le Cou de Pied for quick action at the knee-joint. Bending exercises for the torso. Plastic exercises for the entire body. Exercises at the center. These consist of a repetition of many or all of the exercises just practiced at the bar. For the sake of variety these may be practiced alternating the feet, moving forward, then backwards. Other exercises should follow to bring dexter- ity, balance and various qualities of good dancing. 252 SAMPLE LESSONS A dance should finish the lesson to arouse in- terest by supplying a reason for the exercises. It should not be started with the first lesson, but may be taught early in the course by having pupils dance it on the balls of the feet at first. Then when their feet become strong enough they may do the same dance on the points. SAMPLE LESSON No. i A first lesson for very young children who are beginners in dancing, to be practiced for 3 or preferably 5 consecutive lessons. PART 1—At the Bar 1. Correct standing position with heels together and toes turned outward to 90°. Page 41. 2. Arm positions, using one arm at a time, mov- ing the arm from the stationary position (in front of the thigh) to First, Second, Third and Third Amplified Positions, the teacher naming the positions as they take them. 3. The 5 standard foot positions in front, then in the rear. Page 80. 4. The 4 elevations of the foot, ist exercise. Add the 2nd exercise during the 2nd and following lessons. Page 84. 5. Demi-Plier 8 times in First and 8 times in Second Position, using 2 cts to bend and 2 cts to rise. Page 87. 253 THE CHALIP TEXT BOOK OP DANCING 6. Plies Battements 8 times forward and 8 times backward with each foot. Page lOi. 7. Sideward bending with pointing the foot. Page 158. 8. Demi-Echappe 8 or 16 times, holding bar with both hands. Page 129. PART II— At the Center 9-15. Repeat the above exercises at the center. 16. Plastic Exercise. Page 190. 17. The Courtesy. See Book I of the Chalif Text Book of Dancing. 18. Studies in Rhythm by Clapping the Hands. The object of this exercise is to teach listening to the music. The pianist may play 2/4 time while the children clap their hands on ct i of each measure, then once to each count. She may then play 4/4 time and waltz or mazurka time while they clap on the first, then on every count of the measure. A most valuable exercise is clapping on ct I and ct 3 of waltz or 6/8 time music. The children may keep time with the feet in- stead of clapping, by beating the ball of the foot against the floor while the heel remains always on the floor. When 3/4 time is used, do thus: beat with the ball of the foot, finishing with foot lifted but heel on the floor (ct i), turn the toe in (ct 2), turn it out (ct 3.) 19. March out to Polonaise music. See Book IV. 254 SAMPLE LESSONS SAMPLE LESSON No. 2 For beginners in toe dancing who are not ex- tremely young and have had some dancing be- fore. To be practiced for 3 or 5 consecutive lessons. PART I— At the Bar 1. Demi-Plier 8 times in Third and 8 times in Fourth Position. Page 87. 2. Petits Battement releves in Second Position. Page 99. 3. Petits Battements in all 3 directions. Page 92. 4. Plier in First and Second Positions, 8 times in each. Page 88. 5. Petits Battements sur le Cou de Pied, ist exercise. Page 119. 6. Grands Battements in Second Aerial Posi- tion. Page 132. 7. Petits Ronds de Jambe Plies. Page 112. 8. Twisting at the bar. Page 160. 9. fichappes sur les pointes, holding the bar with both hands. Page 129. PART II— At the Center 10-17. Repeat the above 8 exercises. 18. Pas de Bourrees Changes. See Book II, page 142. 19. Point twice and Pas de Bourree Change. Book II, page 145. 255 THE CHALIF TEXT BOOK OF DANCING 20. Tour sur les pointes (this volume, page 178), but executed on the balls of the feet. 21. Plastic Exercise. Page 191. SAMPLE LESSON No. 3 This and the following sample lessons are not to be used as first lessons for classes. Each will be somewhat more difficult than the one preceding it, and each should be practiced for 4 or 5 con- secutive lessons. PART 1—At the Bar 1. Demi-Plier in Fifth Position. Page 87. 2. Stretching the arch and ankle, ist exercise. Page 161. Petits Battements 16 times in each of the 3 directions. Page 92. Rond de Jambe Plie and Petit Battement. Page 205. 5. Petits Battements Degages. Page 103. 6. Petits Battements sur le cou de pied, 2nd and 3rd exercises. Page 122. Petit Battement and Grand Battement in Second Position, the next lesson in Fourth Position forward and backward. Page 209. Forward and backward bending and twist- ing at the bar. Pages 159, 160. Petit Battement and Echappe. Page 223. 256 SAMPLE LESSONS PART II— At the Center 10-17. Repeat the above 8 exercises. 18. Pas de Bourree Change and fichappe. Page 229. 19. ;£chappe and Tour sur les pointes. Page 244. 20. 2 Echappes and 2 Tours sur les pointes. Page 244. 21. Plastic Exercise. Page 192. 22. Begin a simple toe dance, e.g., "La Mort de Papillon" (or some other of similar sim- plicity). SAMPLE LESSON No. 4 PART I— At the Bar 1. Demi-Plier in Fifth Position and Petit Bat- tement. Page 197. 2. Petits Battements in quick tempo. Page 106. 3. Petit Rond de Jambe and Point. Page 202. 4. Petits Battements Frappes. Page 126. Dur ing the following lessons add some battus be- fore extending the foot. Page 126. 5. Stretching the Arch and Ankle, 2nd exercise. During the following lessons practice the 3rd exercise. Page 161. 6. Flexer le Genou. Page 135. 257 THE CHALIF TEXT BOOK OF DANCING 7. Forward and backward, sideward bending and twisting of the trunk. Pages 158-160. 8. Stretching and turning out the legs, ist exer- cise. Later substitute the 2nd and 3rd exer- cises, etc. Page 164. 9. Grands Fouettes. Page 137. 10. Bourree a Terre, preparatory and ist exer- cises. Page 168. PART II— At the Center 11-19. Repeat the above 10 exercises. 20. 2 Pas de Bourree and Echappes. Page 230. 21. Practice the original polka, dancing on the balls of the feet, as described in Book II, page 163. The Polka is hop, slide, change, leap. 22. Polka, point and 2 echappes. Page 246. 23. 3 Tours sur les pointes and point. Page 245. 24 2 Tours sur les pointes and Bourree a Terre. Page 245. 25. Plastic Exercise. Page 194. 26. A dance of medium difficulty (grade 2). SAMPLE LESSON No. 5 PART I— At the Bar 1. Demi-Plier and Plie Rond de Jambe from front to back. Page 198. 2. Petits Ronds de Jambe Releves. Page 1 14. 258 SAMPLE LESSONS 3. Grands Battements in Second and Fourth Position in front alternately. Page 132. Repeat lifting the foot to Second and Fourth Position behind alternately. Page 132. 4. Developpe forward only. On the 3rd repeti- tion of this lesson add Developpe backward and sideward. Page 143. 5. Backward bending at the bar. Page 158. 6. Petits Battements sur le cou de pied, 4th exercise. Page 122. 7. Stretching the arch, 3rd exercise. Page 162. 8. Petits Ronds de Jambe in quick tempo. Page 115. 9. Echappes sur les pointes, 2nd and 3rd exer- cises. Page 130. 10. Petits Battements sideward, forward, side- ward, backward. Page 96. 11. 2 Echappes and i Releve sur les pointes. Page 174. 12. Pas de Bourree sur les pointes. Page 173. 13. Flexions de Genoux alternatifs sur les pointes. Page 172. PART ll—Af the Center 14-26. Do the above 12 exercises at the center. 27. Bourree a Terre sur les pointes, 3rd exercise. Later add 4th and 5th exercises. Page 168. 259 THE CHALIF TEXT BOOK OF DANCING 28. fichappes en tournant, at first using 8 of them to turn, then 4. Page 238. 29. Balance forward and backward on the points. Page 245. 30. Plastic Exercise. Page 193. Dance (grade 2-3). SAMPLE LESSON No. 6 PART I— At the Bar 1. Plier and elever in Fifth Position on the points. Page 90. 2. Petit Battement and Grand Battement. Page 208. 3. 3 fast Petits Ronds de Jambe and rest and Plie Rond de Jambe from front to back. 4. Grands Ronds de Jambe, ist exercise. Page 147. After 4 or 5 lessons substitute Grands Ronds de Jambe Plies. Page 151. 5. Petits Battements sur le Cou de Pied, 5th and 6th exercises. Pages 122, 123. 6. Petit Battement, Petit Rond de Jambe and Petits Battements sur le Cou de Pied. Page 216. 7. Stretching the arch and ankle, 3rd and 4th exercises. Page 162. 8. Petits Battements sur le Cou de Pied and Grand Rond de Jambe. Page 222. 260 SAMPLE LESSONS g. Releves sur la pointe, with free foot lifted backward. Page 176. 10. 2 slow and 3 fast Petits Battements. Page 207. 11. 2 Pas de Bourree Changes and step forward on I point. Page 246. 12. 7 Ronds de Jambe from the knee down and Developpe, in combined directions. Page 221. PART II— At the Center 13-24. Repeat the above 12 exercises. 25. Polka, Brise, Releve. Page 248. 26. 2 fichappes and 2 Releves. Page 239. 27. I Echappe and i Releve, moving backwards. Page 236. 28. 8 Releves alternating, moving backwards. Page 237. 29. 7 Pirouettes sur la pointe and point the free foot forward. Page 186. 30. fichappe and entrechat. Page 250. 31. Plastic Exercise. Page 195. Dance (grade 3-4). 261 SOME OF I HE PUPILS of The CHALIF SCHOOL Harriet Hoctor 265 Ciiacc Cody 266 Marley 267 Grace Cody 268 Harriet Hoctur 269 Lorraine Main'illc 270 Ilanict Iluctor 271 Id dine Roiix 272 Harriet Hoc tor 273 ^ N 274 Harriet Iloctor 275 % 9-^ ■ p ¥ % r X "' ./ \ Marley 276 Marlcy 277 *-£■ 4 % :H4 'it Mari/arcl MonHli"" ""' li>h,a,:l ChulU Harriet Hoctor 280 Harriet lloctor 281 Harriet Iloclur 282 ^ _jr> 283 Olga Popoff 284 Olga Popoff 285 s ;:^ 286 s C3^ 53 287 # i f!> ^ J ^irghiia Bcanhlcy 288 DoroUiy Nelson 289 Grace Cody 290 Syhia Ovcrbiick, Evelyn Oidcott and Marlon 291 Margaret Montgomery 292 Margaret Montgomery 293 French Patton Harvie 294 Grace Cody 29S it: 296 Harriet Hoctor 297 1 .._ \ \ b> • 2 O ^ O ■^ ►^ An>ie Simpson 300 r. lillM'^^n --mvii^ii:;iii-^;j-!..€^jj!j4^mig The; Chauf Studios 163-5 West 57 th Street, Netv York 301 INDEX PAGE Accuracy 33 Adagio 155 Adagio Movement 31 Aplomb 23 Arm Positions, The Chalif 77 Backward Bending 158 Ballon 26 Bar Practice 75 Bourree a Terre sur les pointes 168 Center Exercises 241 Clarity 34 Correct Posture 41 Combinations Containing Developpes and Grands Ronds de Jambe 218 Combinations Containing Echappes sur les pointes 223 Combinations Containing Petits Battements and Grands Battements 207 Combinations Containing Petits Battements sur le Cou de Pied 212 Combinations Containing Petits Ronds de Jambe.. 201 Combinations Containing Plier and Demi-Plier.. 197 Combinations Containing Releves sur la pointe... 231 Combinations of Exercises 197 Dancing and Toe Dancing... 11 Demi-Plier 87 Details of Technique 40 Developpes 143 Dexterity 32 PAGE Echappes et Releves Al- ^ ternatifs 236 fichappes et Releves sur les pointes 128 Echappes sur les pointes.. 128 Elevation 25 Elevations, The Four 84 Expression 55 Expression versus Affecta- tion 61 Feet 50 Flexer le Genou 135 Flexions de Genoux Al- ternatifs sur les pointes. 172 Foot Positions, The Five Standard 80 Forward and Backward Bending 159 Freedom 22 Grands Battements 132 Grands Fouettes 137 Grands Ronds de Jambe... 147 Grands Ronds de Jambe Plies 151 Habit 39 Harmony 35 Hip-Joint 46 Knees 47 Lines 36 Majesty 59 Pas de Bourree Change sur les pointes 173 Pavlowa 18 Petits Battements 92 303 THE CHALIP TEXT BOOK OF DANCING PAGE Petits Battements Degages 103 Petits Battements Frappes 126 Petits Battements in Quick Tempo 106 Petits Battements Releves. 99 Petits Battements sur le Cou de Pied 119 Petits Ronds de Jambe 109 Petits Ronds de Jambe en lair 152 Petits Ronds de Jambe in Quick Tempo 115 Petits Ronds de Jambe Re- leves 114 Pirouettes sur le cou de pied 183, 186 "Placing"' the Legs 44 Plastic Exercises 190 Plasticity of Body 20 Plier 88 Plies Battements 101 Plies Ronds de Jambe.... 112 Plies Rondes de Jambe et Degager 156 PAGfi Releves sur la pointe 174 Ronds de Jambe 140 Rules of Lines 38 Sample Lessons 253 Sincerity 65 Sideward Bending 158 Spontaneity 63 Staccato Movement ZZ Strength and Plasticity 27 Strength and Suppleness . . 28 Stretching and Turning Out the Legs 163 Stretching the Arch and Ankle 161 Teaching 68 Technique 22 Toe Dancing 14 Tour Arabesque 188 Tours sur les pointes 178 Twisting the Trunk 160 304 WORKS OF LOUIS H. CHALIF Published and far sale only by The CHALIF RUSSIAN NORMAL SCHOOL OF DANCING 163-5 WEST 57TH ST., NEW YORK A complete mail order catalogue giving details of all publications, will be sent on request. THE CHALIF TEXT BOOKS OF DANCING Book I. The fundamental positions and exercises which are the simple beginnings of the Chalif Method. 173 pp., 6 half-tone illus., many diagrams. Price, $3. Book II. A continuation. More simple exercises of inter- mediate grade, a disquisition on the use of the arms, with exercises for them, and the pedagogy of the standard ball- room dances. 204 pp., 38 half-tone illus. Price, $3. Book III. A digression into the field of the so-called Greek dancing. Introductory chapters on the beauty and significance of Greek dancing. 80 exercises which are as beautiful as the dances themselves, with 20 variations of them, making up a total of 100 exercises. 222 pp., 28 half-tone illus. from poses by the author himself, 4 line cuts. Price, $3. Book IV. Carries on the work of Books I and II bv exer- cises of a higher grade, though not very diflficult. With the five standard arabesques and 70 enchainments given, a vast amount of teaching material is provided. Price, $3. Book V, on Toe Dancing, contains a clear method of teach- ing it and a vast number of exercises. Russian Festivals and Costumes for Pageant and Dance, also by Louis H. Chalif, gives most authentic and valuable material, both in pictures (half-tones from photographs) and in descriptive text. Religious and other celebrations, games, customs and Folk arts are illustrated and explained. 180 pp., about 150 illus. Price, $3. 305 MUSIC FOR EXERCISES IN DANCING Junior Part: for all exercises in Text Books I and II. There are 3 different collections of music to accompany these exer- cises, the object being to enable the teacher to escape mo- notony. The volumes are called the 4th, 5th (or Russian) and 6th Collections. Attractive classical selections make up the 4th and 6th, while the 5th is drawn mainly from Russian peasant or Folk tunes, very quaint and appealing. Each col- lection, $3. Senior Part: for the exercises in Book IV. Price, $2.50. Music for Greek Exercises: for accompanying all the exer- cises in Book III. Price, $3. Music for Toe and Advanced Exercises: 54 selections of classical music arranged according to tempo, and just as usable for simple exercises as for the advanced ones which are described therein in considerable detail, making it both Text and Music Book in one. Price, $4. When bought with Text Book V, the price is $3. New Music Collections will be published from time to time. Zorn's Grammar of the Art of Dancing is for sale at the Chalif School. 500 Dances, of all types, by Louis H. Chalif, are published and for sale. They are complete, with music, and descriptions so clear and detailed that they may be learned from descrip- tion alone, and without the student having seen the dance performed. With a few exceptions, they are, each, $3. 50 cents each for Folk dances. There is: A dance for every class. A dance for every occasion. A dance for every personality. 306 The CHALIF Normal School of Dancing 163-5 West 57th Street, New York LOUIS H. CHALIF, Principal offers courses throughout the year for Teachers of Dancing and Physical Cul- ture, Recreation Leaders and Exhibition Dancers in Esthetic, Interpretive, Greek, National, Characteristic, Folk, Contra, and the Best of the Newest Ballroom Dances A National Institution is the truest title by which this School can be described, for it has come to be in a class by itself as regards at- tendance and number of courses, while its rep- utation for sincere art, for training the arms and the whole body, for beautiful, racially au- thentic and universally popular dances and for brilliant instruction has won for it a rank and ungrudged honor which are the basis of its more than flourishing growth. 307 There are four classes of people from whom it draws students ; the first is the Dancing Teachers These derive from their courses: i. A thor- ough training in the basis of all dancing, bring- ing understanding of its laws, strength and skill for its movements, and grace and temperamental expression. 2. An unusually large and diversi- fied repertory of dances from the higher branches, all of which are compositions or ar- rangements by Mr. Chalif. 3. The teacher se- cures a complete equipment of the modern ballroom dances, both standardized New York forms, and every latest approvable novelty. 4. A thorough training in Pedagogy is imparted, by a teacher who is exceptionally successful in bringing results. Physical Culture Teachers Are the next class of students in attendance. They secure here for their School, Y. W. C. A., Y. M. C. A. or Turnverein gymnasium, that ele- ment of artistic enjoyment and education which is so rapidly becoming one of the main features of gymnastic training. Moreover, dancing is of high value for physical health and dexterity. Our compositions are taught, by our students and their pupils, in the gymnasia of Universities, Turnvereins, private schools, etc., in every city of America and in Europe as well. 308 Public School, Playground and Settlement Teachers Attend for similar reasons to the above, find- ing Chalif dancing of great value for artistic training, intellectual stimulus, recreation, health and coordination, and as attractive to the bare- footed urchin as it is to the lady of society. . . . Lastly, Exhibition Dancers Find Chalif dancing a medium by which their artistic gifts may be developed to the theatre's degree of perfection without the years of study required by the classic ballet. One of our pupils became in the year after her graduation a solo dancer in one of the famous ballets of Paris. Courses Instruction is by the Principal personally, prac- tically always. Classes the day long and every day in all the branches of dancing and in differ- ent grades, are held each year for 8 weeks dur- ing June and July and for fortnights during the Christmas and Easter holidays. Especially pop- ular is the regular normal course, leading to diploma and furnishing the complete equipment, practical, theoretical and pedagogic, of the danc- ing teacher. Daily classes continue throughout most of the year, and in the winter there are also weekly ses- 309 sions on Saturday mornings and at other con- venient times for teachers, as well as numerous classes for children, and adult amateurs. More definite announcements are impossible in a book, but current catalogs will be sent with pleasure on application. Building All instruction is given in the home newly erected for the Chalif School (as well as for select rental purposes) opposite Carnegie Hall. It is a six-story, fire-proof structure, contain- ing four halls, elevators and every convenience. It possesses a remarkable beauty of design and coloring, both without and within, where the furnishing too is of the most artistic. The classes are most often held in a delightful Roof Parlor, where light and color combine to in- spire but not outshine the dancers. Altogether the building is unparalleled for its purposes in America, and a striking evidence of the success which this school has met with through giving the best instruction. For all information please address LOUIS H. CHALIF, Principal, 163-5 West 57th St., New York City The Chalif Normal School of Dancing ELIZABETH GILFILLAN, Musical Director 310 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. }0t DEC 7197-^ r OISCHAKGE APR S 197 JR; ACM/!Y OA t HAY27200B r\d Form L9-Series 4939 GV1751. C35C 1914 5 j 3 1158 00427 0970 W^