"The Dance: Its Place in Art and Life" by Margaret West Kinney, Troy Kinney. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
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Troy 1871-1938 Kinney. The Dance: Its Place in Art and Life
The Dance: Its Place in Art and Life
Table of Contents
PREFACE
ILLUSTRATIONS
The Dance
CHAPTER I. THE DANCING OF ANCIENT EGYPT AND GREECE
CHAPTER II. DANCING IN ROME
CHAPTER III. THE MIDDLE AGES AND THE RENAISSANCE
CHAPTER IV. A GLANCE AT THE BALLET’S TECHNIQUE
CHAPTER V. THE GOLDEN AGE OF DANCING
CHAPTER VI. SPANISH DANCING
CHAPTER VII. ITALIAN DANCES
CHAPTER VIII. EUROPEAN FOLK-DANCING IN GENERAL
CHAPTER IX. ORIENTAL DANCING
CHAPTER X. THE BALLET IN ITS DARK AGE
CHAPTER XI. THE ROMANTIC REVOLUTION
CHAPTER XII. THE RUSSIAN ACADEMY AND ITS WORKINGS
CHAPTER XIII. SOCIAL DANCING OF TO-DAY
THE ONE-STEP
THE HESITATION WALTZ
THE ARGENTINE TANGO
CHAPTER XIV. A LAYMAN’S ESTIMATE OF CONDITIONS
BIBLIOGRAPHY
INDEX
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Margaret West Kinney, Troy Kinney
Published by Good Press, 2021
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[A] See also page 101.
Though exact data of the steps of popular dances are lacking, literary allusions record dance names and general character in great number. A complete catalogue of them would offer little inspiration to the lay student or the professional; no more than a hint of their broad scope is necessary. Dances suggesting the life of animals were plentiful. Some were underlaid with a symbolic significance, as that of the crane, the bird’s confused wanderings representing the efforts of Theseus to find his way out of the labyrinth, the legend in its turn probably having some relation to life and the tricks it plays on its possessors. The fox was a favourite subject, and the lion was not overlooked. Though the author of Chanticler may have been the first to avail himself of the grotesqueries of poultry, the Greeks danced owls and vultures. Similar to the Oriental Danse du Ventre was the Kolia, probably brought across from Egypt. Another suggestion of North Africa was known in Greek language as the Dance of Spilled Meal—what more reasonable than to infer that it was the same in scheme as the Flour Dance of present-day Algeria? The flour or meal that identifies this performance is spread on the floor, and a more or less involved design traced in it. What follows is interesting chiefly as a test of a species of virtuosity: the dancer’s object is, in her successive turns across and about the design, to plant her feet always within the same spaces, the loose meal exposing any failure. Rapidity of tempo and involution of step may raise the difficulties to a point beyond the reach of any but the most skilful. The children’s game of Hop-scotch is a degenerated kinsman of the dance in and over a design.
