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ILLUSTRATIONS
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| Ballet Pantomime From Pose by Mlle. Louise La Gai | Frontispiece |
| Tanagra Figure | Page 3 |
| Greek Vase Decoration | “ 3 |
| Tanagra Figure | “ 3 |
| Tanagra Figures | Facing Page 4 |
| Greek Ceramics | ““ 5 |
| Greek Vase Decoration | Page 8 |
| Greek Comedy Dancing | “ 9 |
| Statuettes | “ 10 |
| Tanagra (A)—Myrina (B)—Tanagra (C). | |
| Greek Relief Decorations | Facing Page 12 |
| Greek Ceramic Decorations | ““ 13 |
| Statuettes | Page 13 |
| Myrina (A)—Tanagra (B)—Myrina (C). | |
| Dance of Nymphs | “ 17 |
| Tanagra Figures | Facing Page 20 |
| Greek Comedy Dancing | Page 21 |
| Dance of Peasants | “ 36 |
| Ballet of the Four Parts of the World: Entrance of the Grand Khan | “ 41 |
| A Fourteenth Century Ball | “ 46 |
| Seventeenth Century Court Dances | Facing Page 48 |
| The Tordion (1, 2)—The Pavane (3, 4, 5). | |
| Louis XIV and A Courtier in the Ballet of Night | Page 50 |
| Seventeenth Century Court Dances | Facing Page 54 |
| The Saraband (1)—The Allemand (3)—The Minuet (2, 4, 5, 6, 7). | |
| The Gavotte | ““ 55 |
| Mme. Adeline Genée and M. Alexander Volinine | ““ 64 |
| Ballet Robert le Diable (1)—Butterfly Dance (2)—Pierrot and Columbine (3). | |
| Mme. Genée in Historical Re-Creations and M. Volinine | ““ 65 |
| Sallé (1)—The Waltz (2)—Camargo (3)—Guimard (4). | |
| Fundamental Positions of the Feet | Page 66 |
| Positions of the Arms | “ 67 |
| “Glissade” | “ 68 |
| “Assemblé” | “ 69 |
| “Assemblé” and Changement (Floor Plan Diagram) | “ 69 |
| “Jeté” | “ 70 |
| “Jeté” to the Side | “ 71 |
| “Battements” | “ 72 |
| Steps of the “Battement” Type | “ 74 |
| “Fouetté” | “ 75 |
| Start of A “Fouetté Pirouette” | “ 76 |
| “Fouetté Pirouette” (Continued) | “ 77 |
| Optional Finish of a “Fouetté Pirouette” | “ 78 |
| The “Pirouette Sur le Cou-de-Pied” | “ 79 |
| Various “Pirouettes” | “ 80 |
| Beginning of the “Renversé” | “ 82 |
| The “Renversé” (Concluded) | “ 83 |
| Two Forms of “Attitude” | “ 84 |
| Mechanism of Broad Jump | “ 86 |
| Classic Ballet Positions | Facing Page 88 |
| Typical moments in a renversé (1, 2, 3, 4, 5,)—Starting a developpé (6)—Progress of a rond de jambe (7, 8, 9). | |
| Classic Ballet Positions (Continued) | ““ 89 |
| Rond de jambe (10)—Jeté tour (11)—Pas de bourrée (12)—Preparation for a pirouette (13)—Position sur la pointe (14)—A fouetté tour, inward (14)—A cabriole à derrière (16)—Descent from an entrechat (17)—An arabesque (18). | |
| “La Malagueña y el Torero” | ““ 122 |
| Typical “Flamenco” Poses | Page 129 |
| “Flamenco” Poses | “ 133 |
| “Las Sevillanas” | “ 137 |
| “El Bolero” | Facing Page 138 |
| Typical moment in first copla (1)—Finish of a phrase (2). | |
| “La Jota Aragonesa” | ““ 139 |
| Type of movement (1)—Finish of a turn (2)—A pirouette (3)—Kneeling position (4)—Woman’s sitting position (5). | |
| Two Groups in “Las Sevillanas” | Page 140 |
| Groups in “La Malagueña y el Torero” | “ 145 |
| Miscellaneous Spanish Notes | “ 147 |
| Two Groups in “Los Panaderos” | “ 149 |
| Part of the “Jota” of Aragon | “ 152 |
| “La Tarantella” | Facing Page 156 |
| Opening of the dance (1)—A poor collection (2)—They gamble for it (la Morra) (3)—She wins (4)—He wins (5). | |
| “La Tarantella” | ““ 157 |
| An arabesque (1)—Finish of a phrase (2)—Typical moment (3)—Finish of a phrase (4). | |
| “La Tarantella” | ““ 158 |
| Opening of the dance (1)—A turn back-to-back (2)—A pause after rapid foot-work (3)—Characteristic finishes of phrases (4, 5). | |
| “La Forlana” | ““ 159 |
| Doctor Pantalone patronized (1)—Defied (2)—Pleads (3)—Accepts the inevitable (4)—Is ridiculed (5). | |
| “La Ciociara” | ““ 160 |
| Opening promenade (1, 2)—End of promenade (3)—He has “made eyes” at a spectator (4)—Opening of dance (second movement) (5). | |
| “La Ciociara” | ““ 161 |
| Rustic affection (1)—Again caught in perfidy (2)—Tries to make amends (3)—Without success (4)—Removed from temptation (5). | |
| The Scotch Sword Dance | ““ 164 |
| A step over the swords (1, 2)—A jump over the swords (3)—Steps between the swords (4, 5). | |
| The “Scotch Reel” | ““ 165 |
| Use of the Battement (1)—A pirouette (2)—Characteristic style (3, 4)—A turn (5). | |
| The “Shean Treuse” | ““ 168 |
| The promenade (1, 2)—The thematic step (3)—Finish of a phrase (4). | |
| The “Sailor’s Hornpipe” | ““ 169 |
| Look-out (1)—Hoisting sail (2)—Hauling in rope (3)—Rowing (4)—Type of step (5)—Type of step (6)—Hoisting sail (7). | |
| Irish Dances | ““ 174 |
| The Jig (1, 3, 4)—The Hornpipe (2, 5)—The Reel (6, 7, 8). | |
| A “Four-Hand Reel” | ““ 175 |
| Preparation for woman’s turn under arms (1)—Characteristic style (2)—A turning group figure (3). | |
| The “Irish Jig” and Portrait of Patrick J. Long | ““ 178 |
| From Various Folk-Dances | Page 185 |
| The “Schuhplatteltanz” | Facing Page 186 |
| A swing (1)—A turn (2)—A turn, man passing under woman’s arms (3)—A swing, back-to-back (4)—The Mirror (5). | |
| The “Schuhplatteltanz” of Bavaria | ““ 187 |
| Preparing a turn (1)—A lift (2)—Starting woman’s series of turns (3)—Start of woman’s turns (4)—Man fans her along with hands (5)—Finish of dance (6). | |
| The “Kolo” of Servia | ““ 190 |
| Start of a turn (1)—Progress of a turn (2)—A bridge of arms (3)—An emphasis (4)—A lift (5). | |
| Poses from Slavonic Dances | ““ 191 |
| Coquetry (1)—Petulance (2)—Indifference (3)—Emphasis (4)—Jocular defiance (5). | |
| Poses from Slavonic Dances | ““ 192 |
| Negation (1)—Fear (2)—Supplication (3)—An emphasis (4). | |
| Poses from Slavonic Dances | ““ 193 |
| Characteristic gesture (1)—Characteristic step (2)—Characteristic gesture (3)—Characteristic step (4)—Same, another view (5)—Ecstasy (6)—The claim of beauty (7). | |
| Arabian “Dance of Greeting” | ““ 196 |
| Called upon to dance, she reveals herself (1)—Salutation (2)—Profile view of same (3). | |
| Arabian “Dance of Greeting” (Continued) | ““ 197 |
| “For you I will dance” (4)—“From here you will put away care” (5, 8)—“Here you may sleep” (6)—“Here am I” (7). | |
| Arabian “Dance of Greeting” (Continued) | ““ 198 |
| “And should you go afar” (9)—“May you enjoy Allah’s blessing of rain” (10)—“And the earth’s fullness” (11). | |
| Arabian “Dance of Greeting” (Continued) | ““ 199 |
| “May winds refresh you” (12)—“Wherever you go” (13)—“Here is your house” (14)—“Here is peace” (15)—“And your slave” (16). | |
| Arabian “Dance of Mourning” | ““ 200 |
| The body approaches (1)—The body passes (2)—“I hold my sorrow to myself” (3). | |
| Arabian “Dance of Mourning” (Continued) | ““ 201 |
| “He has gone out of the house and up to Heaven” (4)—“Farewell” (5). | |
| Arabian “Dance of Mourning” (Continued) | ““ 202 |
| “He slept in my arms” (6)—“The house is empty” (7)—“Woe is in my heart” (8). | |
| Arab Slave Girl’s Dance | ““ 203 |
| “Handkerchief Dance” of the Cafés | ““ 206 |
| The handkerchiefs symbolizing the lovers are animated with the breath of life, but kept dissociated (1)—Brought into semi-association (2)—Separated and dropped (3). | |
| “Handkerchief Dance” (Continued) | ““ 207 |
| She can dance about, between or away from them, indifferently (4)—Made into panniers, the panniers express her willingness to receive; turned inside out, her willingness to give (5)—One of the two handkerchiefs is thrown to the selected lover (6). | |
| “Dance of the Soul’s Journey” | ““ 210 |
| The soulless body (1)—Asks for the light of life (2)—Vision dawns (3)—Inexpert in life, she walks gropingly (4). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 211 |
| She draws aside the veil of the future (5)—Life is seen full and plenteous (6). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 212 |
| But old age will come (7)—Grief will visit (8)—She shall walk with her nose close to the camel’s foot (9). | |
| “Dance of the Soul’s Journey” (Continued) | ““ 213 |
| Yet now, from the crown of her head (10)—To the soles of her feet she is perfect (11). | |
| Miscellaneous Oriental Notes | Page 215 |
| “Dance of the Soul’s Journey” (Continued) | Facing Page 216 |
| Rejoices in the perfect body (12)—And in all good things (13)—Runs from the scene (14). | |
| Characteristic Pantomime in Dancing of Modern Egypt | ““ 217 |
| Express sorrow (1, 3)—Represents a prayer directed downward and back: i. e., to spirits of evil (2). | |
| “Dance of the Falcon” (Egyptian) | ““ 218 |
| Shock as the bird strikes his quarry (1)—Rejoicing as he overcomes it (2). | |
| Dancing Girls of Algiers | ““ 219 |
| Reliefs on Tower of the Temple of Madura (India) | Page 219 |
| Persian Dance. Princess Chirinski-Chichmatoff | Facing Page 220 |
| Oriental Poses | ““ 221 |
| Votive offering (3 poses)—Decorative motives (3 poses)—Disclosure of person (1 pose). | |
| Javanese Dancer, Modern | ““ 222 |
| Relief Carvings, Temple of Borobodul, Java | ““ 223 |
| Dance of Greeting (1)—Dance of Worship (2)—An Arrow Dance (3). | |
| “Nautch Dance” | ““ 226 |
| Japanese Dance | ““ 227 |
| Isadora Duncan | ““ 242 |
| Greek Interpretative Dance | ““ 243 |
| Impressions of Isadora Duncan | Page 244 |
| Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, with Sr. E. Ceccetti | Facing Page 246 |
| Mlle. Lydia Kyasht and M. Lytazkin | ““ 247 |
| “Arabesque” | ““ 248 |
| “Arrow Dance” | ““ 249 |
| Bacchanal | ““ 252 |
| Mlle. Lydia Lopoukowa | ““ 253 |
| Mlle. Pavlowa in a Bacchanal | ““ 257 |
| Mlle. Lopoukowa, in Boudoir | ““ 258 |
| Mlle. Lopoukowa, Interpretative Dance | ““ 259 |
| Mlle. Lopoukowa, In “Le Lac Des Cygnes” | ““ 262 |
| M. Alexander Volinine | ““ 263 |
| Representative Russian Ballet Poses and Groups | Page 265 |
| Representative Russian Ballet Poses and Groups | “ 267 |
| The “Waltz Minuet” | Facing Page 272 |
| Characteristic style (1)—Variation, position of hands (2)—Preparation for a turn (3)—The Mirror figure (4). | |
| The “Gavotte” Showing Present Tendencies | ““ 273 |
| Characteristic style (1)—Characteristic style (2)—A curtsy (3)—Arabesque to finish a phrase (4). | |
| Social Dancing; Position of Feet (Diagram) | Page 276 |
| The One-Step: The Turn (Diagram) | “ 277 |
| The One-Step: Grape-Vine (Diagram) | “ 278 |
| The One-Step: Eight (Diagram) | “ 279 |
| The One-Step: Square (Diagram) | “ 279 |
| The One-Step: A Figure Occupying Three Measures (Diagram) | “ 280 |
| The One-Step: The Murray Anderson Turn (Diagram) | “ 281 |
| The One-Step: A Cross-Over (Diagram) | “ 282 |
| Development of an Arch “À La Pirouette” | Facing Page 282 |
| Cross to right (1)—Cross to left (2)—Start of turn (3). | |
| The One-Step | ““ 283 |
| The “Kitchen Sink” (1)—Position of couple (2). | |
| The “Brazilian Maxixe” | ““ 283 |
| Characteristic position of advanced foot (3). | |
| The “Boston,” Essential Step (Diagram) | Page 284 |
| The Waltz | Facing Page 284 |
| A position of the couple in the Waltz-Minuet (1)—Correct position of man’s hand on woman’s back (2)—A position also assumed in the One-step Eight (3)—A Dip (4). | |
| The Waltz | ““ 285 |
| Correct position of couple (1)—Of feet, in short steps (2)—Of feet, in Dip (3)—Another view of the Dip (4). | |
| The Boston, Step Backward (Diagram) | Page 285 |
| The Boston, The Dip (Diagram) | “ 286 |
| The Boston, The Dip Simplified (Diagram) | Page 287 |
| The Boston, An Embellishment (Diagram) | “ 288 |
| The Boston, An Embellishment (Diagram) | “ 288 |
| The Boston, Same, with Turns (Diagram) | “ 289 |
| The “Hesitation Waltz,” Theme (Diagram) | “ 289 |
| The “Hesitation Waltz” Variation on Theme (Diagram) | “ 290 |
| The “Tango” | Facing Page 290 |
| Characteristic style (1, 2, 4)—Woman circles man (3). | |
| The “Tango” | ““ 291 |
| Characteristic style. | |
| The “Hesitation Waltz,” the “Lyon Chassé” (Diagram). | Page 291 |
| The “Tango” | Facing Page 294 |
| The “Tango” | ““ 295 |
| The reverse (1)—The regular Tango walking step (2)—Style of movement (3)—Position of hands sometimes assumed to emphasize the end of a phrase (4). | |
| The “Tango,” The “Corte” (Diagram) | Page 295 |
| The “Tango,” The Scissors (Diagram) | “ 295 |
| The “Tango,” The Scissors Variation (Diagram) | “ 296 |
| The “Tango,” The Media Luna (Diagram) | “ 296 |
| The “Tango” | Facing Page 296 |
| The corte (1)—Characteristic style (2)—A variation (3)—Start of a turn (4). | |
| A “Tango” Step | ““ 297 |
| Man’s foot displaces woman’s (1)—Woman’s foot displaces man’s (2)—Each displaces the other’s foot (3). | |
| The “Tango,” The Eight (Diagram) | Page 297 |
| The “Tango,” A Waltz Turn (Diagram) | “ 297 |
| The “Tango,” An Easy Step (Diagram) | “ 298 |
| A North American Figure in the “Tango” | Facing Page 298 |
| Preparation (1)—After the twist (2)—Finishing with a Dip (3). | |
| The “Tango,” Executed to the Rear (Diagram) | Page 299 |
| The “Tango,” A North American Figure (Diagram) | “ 299 |
| The “Brazilian Maxixe,” First Figure (Diagram) | “ 300 |
| The “Brazilian Maxixe,” Third Figure (Diagram) | “ 301 |
| The “Brazilian Maxixe” | Facing Page 302 |
| Characteristic style (1)—A dip (2)—Variations (3, 4). | |
| The “Brazilian Maxixe” | ““ 303 |
| Preparation for a turn (1)—Finish of a turn (2)—Characteristic style (3)—A dip (4). |
