Grammar of the art of dancing, theoretical and practical; lessons in the arts of dancing and dance writing (choregraphy) with drawings, musical examples, choregraphic symbols, and special music scores
Sfe Kf) ■^7u3^C?T%J m^&^R ss i^SrJ^ W&^^<X^B<t^^Q " tA^^'^^^itfCtS^ct^^/ GRAMMAR OF THE ART OF DANCING THEORETICAL AND PRACTICAL Lessons in the Arts of Dancing and Dance Writing (Choregraphy) With Drawings, Musical Examples, Choregraphic Symbols and Special Music Scores Translated from the German of Friedrich Albert Zorn n Teacher of Dancing at the Imperial Russian Richelieu Gymnasium, Odessa, and Member of the German Academy of the Art of Teaching Dancing Edited bv Alfonso Josephs Sheafe er of Dancing, Member A. N. A. M. of D. y BOSI'»v, MASSACHUSETTS 1905 Copyright 1905 by Alfonso Josephs Sheafe #?i c 77>f Heintxemann Press Boston Mass. To the American National Association of Masters of Dancing of the United States and Canada this work is respectfully dedicated I <i ~> 1 Foreword ZORN'S GRAMMAR is too well known to friends of the art which it de- scribes to need any introduction; still an explanation of the particular differences between this and other editions and the reasons therefor may not be out of place. The work was originally published under the direct patronage of the German ademy of the Art of Teaching Dancing, in Berlin, and the reader will find a very clear and concise history of the conception and execution of it in the Author s Preface which follows. The plan upon which the work has been written is made plain by the text itself The original edition was in three parts, consisting of the Grammar, which con- tained the text, the Atlas, which contained the illustrations, scores and choregraphy, arid the " Notenheft," which contained the full score of the musical examples, arranged for fin and piano. 'The arrangement of this translation is unique. It differs from the German edition in the fact that the Atlas has been incorporated in the text, by distributing the various cuts, diagrams, scores and choregraphic symbols at their proper pL; This plan will undoubtedly be more convenient for the reader than the original one with a separate Atlas. The editor has also compiled an alphabetical index of more than a thousand entries, which he believes will be of great service in rendering the book more practical as a work of reference. A glossary of foreign words and phrases used in dancing and music has also been compiled for this edition. Tht F..nnr dtiirn it atknrxledgt hit gratitude fir tht ail* and ctnuitnlitui aniitance tf bis translattr, Mr. Benjamin P. Ctalti tf But**, It tchtie untiring txirtitn and enlhusiastie ttiftralitn tht atturacy tf thi •■ ii target} da*. The assiilante tf it tafatU a traailaftr h itldtm ahtaiaalU and is greatly af predated. vii Vlll GRAMMAR OF THE ART OF DANCING At the Convention of the American National Association of Masters of Dancing held at Columbus, Ohio, June 12— IJ, IQ05, the dedication of this edition of the Grammar was accepted and the work adopted as the standard of authority. The resolution also strongly recommends the book as a text-book for students and teachers. The Appendix, which relates to deportment, has been purposely omitted for the reason that, while it is the duty of teachers of dancing to pay some attention to that subject in the course of their instruction, it does not in itself, technically, form a part of the art of dancing. Again, rules of deportment are largely local in their application and of too transient a nature to be of authority after a lapse of twenty years. Social customs are, for the most part, creatures of fashion, and fashion is too fickle a goddess to submit to the tyranny of settled rules. Herr Zorn himself expresses the belief that persons who contemplate teaching dancing will get more practical ideas regarding deportment from their experience as teachers than it would be possible to obtain from any book. And now having set forth the principal points of this edition and the fact that it has been prepared to supply a great and increasing de?nand, the Editor wishes, in conclusion, to register the hope that the movement toward abandoning the use of French technical terms will be given up. These terms now form the only common ground upon which the dancing profession of the world can meet, and to discontinue them would be to indefinitely postpone the date of a possible Universal Academy. Let us not only learn these terms which have acquired such important technical significance^ but let us use them. Of course there is no call for a pedantic display of them in teaching social dances, and such a use of them would be in poor taste, but it would be a distorted allegiance to the mother tongue to so far over- look our manifest advantages as to insist upon the substitution of our own language for terms that have for centuries been accepted without cavil by other nations who do not speak French. In truth, what has the English speaking dancing world done for the art that entitles it to make so radical a change? Would it not be more logical to first GRAMMAR OK THK ART OK DANCING IX determine the true meaning of the expressions which we seek to discontinue? The Editor, for one, thinks so, and that should his colleagues closely study the works of the foreign masters, they would agree with him. Let us rather seek to increase the common bonds of the profession than endeavour to destroy them, for by that method, and by no other, can dancing attain that rank among the arts beautiful to which it is so certainly entitled. The Editor Brttkline Massachusetts October fpof Author's Preface TO the average reader, the following pages will probably reveal a vast amount of re- search and labour, but the specialist in the subject should not, merely because the names, definitions and principles involved are treated in a different manner from what is usual, allow that fact to prejudice him or cause him to cast the work aside as of no value. Let him rather give it a fair and conscientious examination, and undoubtedly much that may at first glance appear to be fanciful will be satisfactorily demonstrated to be true. In preparing this work, the author has carefully considered all probable objections, has scrupulously examined all obtainable, authorities upon dancing, many of which were in foreign languages, and has made many journeys, regardless of expense, in order to consult with noted specialists. In 1885 he held a personal conference with ballet-master P. Taglioni in Berlin, and he has for many years been in correspondence with that great teacher and ballet-master, Arthur dc St. Leon; and now after fifty years of experience he has received the favourable judgment of Herr A. Freising, teacher of dancing at the Royal Academy in Berlin, upon the result of his studies as set forth in this book. The Grammar is highly commended in the report of the members of the Royal Academy, May 24-25, 1885, and the author has been thereby induced to prepare a ^cd and enlarged edition of the work, in which he has received the valuable assistance of Hen A. Freising, president, and of Herr Otto Stoige, ballet-master and teacher of dancing at the University of Koenigsburg. He takes this opportunity to tender to those gentlemen his heartfelt gratitude. Also, to Herr Bernhard Klemm of Leipsic, the author offers his warmest thanks for valuable advice and the kind permission to quote from his atechism." The Author earnestly recommends this Preface to the attention of readers, for it contains a key to the Grammar, without which a proper understanding of the subject cannot be gained. xi XU GRAMMAR OF THE ART OF DANCING Notwithstanding the favourable criticism of specialists, the author is well aware that the work is still incomplete, and he will gratefully receive any reasonable suggestions and incorporate them in a future edition, should he be favoured by a demand for one. He believes, however, that the present work will be found quite satisfactory to those who study it carefully. Those estimable choregraphs, Sultzer, Roller, Carlo Blasis, Arthur de St. Leon, and Bernhard Klemm express the hope that their system, the one most generally adopted by lovers of the art, might be improved and enlarged, thus elevating an art which is worthy, aesthetically, to stand in the first rank in matters of taste. To bring about such a result has ever been the ideal of the author. Those great masters who have preceded us have accomplished much with the means at their disposal, and have left us far richer material than they found, but it devolves upon us who have had the good fortune to inherit the fruits of their labours to improve that inheritance, that our legacy to posterity may be greater still. It would indeed be a false admiration that would deter us from advancing along the paths which have been left open to us, and the consideration that the publication of our experiences and discoveries might injure our personal advantages should be cast aside as unworthy of our attention. Let us rather emulate the example of our predecessors and di- rect our endeavours to the improvement of our art for the benefit of all who are interested. Dancing is incontestably one of the fine arts, and not the least of them. It borrows from each of the others that which is most beautiful and blends all into a still more lovely unity. It presents, in vivid form, the highest ideals of the sculptor and the painter, by means of the most graceful attitudes and movements of the human body under the inspir- ing influence of music; and the ballet, which has been brought to so high a point of per- fection, is an indisputable evidence of its artistic possibilities and value. There is now lacking only a proper system of describing dances, by which they may be perpetuated and handed down to posterity — a script analogous to that by which the compositions of Mozart, Haydn, Beethoven, Meyerbeer, Wagner and Rubenstein have been preserved. Where, let us ask, would music stand to-day without its script? Perhaps that result which has always beckoned to the author like a good genius, lend- ing him strength and courage when he has been cast down, may soon be accomplished, and he may yet live to see examples of his ideas upon the subject published in practical form. GRAMMAR OF THE ART OK DANCING xill The author considers his system of script appropriate for the representation of any dance or ballet, and that any such composition, so written, would at least be sufficiently intelligible to students of the "Grammar" for them to determine whether they had acquired sufficient skill to execute it. The author would feel amply compensated for his life's work, were his system to be accepted, and he is confident that the application of his ideas would be of signal benefit to the art. In preparing this "Grammar " the author has been many times most forcibly reminded of the imperative need of an academy of the art of dancing to which questions of doubt- ful authority might be submitted and final decisions as to the best methods and solutions be made. These findings might be promulgated through the agency of a journal or other medium, which should circulate among interested persons, and which would in a large measure overcome the influence and wanton speculations of those who masquerade as teachers, but who have no actual knowledge of the art of dancing. If the unworthy designs and demoralizing influence of such persons could be counter- acted, the dancing profession would have advanced a great step toward that position in the public esteem to which it is entitled. In a copy of the German magazine "Uber Land und Meer," which found its way to the author in Russia, he accidentally read of the formation of the German Academy of the Art of Teaching Dancing in Berlin, and, having investigated the matter, he had the great honour and pleasure of being elected a member. He has much for which to thank that society, and association with its different mem- bers has been of immense practical benefit to him. Their kindly words and friendly interest have added greatly to his strength and confidence, and the members of the Acad- ■ have not only urged but aided him to complete this work at as early a date as pos- sible. At the annual meeting of the Academy, 29th and 30th May, 1887, it was resolved that each member of the association should procure a copy of the "Grammar" and after a careful and thorough examination submit a written report of his findings to the Academy, from which symposium such suggestions or additions as might bethought beneficial should be embodied in an Appendix, or if of sufficient importance to warrant it, in another edi- tion of the " Grammar." The combined endeavours of so many competent masters could hardly fail to greatly enhance the technical value of the work. XIV GRAMMAR OF THE ART OF DANCING The author has used the term Choregraphy and not Choreography for the reason that the former word is given in the Dictionary of Noel and Chapsal, published in 1857, which con- tains the most reliable information respecting dance terms. The same form of the word was used by two of the most distinguished of our recent choregraphs, Carlo Blasis and Arthur de St. Leon. The term "grammar," which is ordinarily applied to a system of language, has been selected as a fit title for this work because of the analogy of the author's system with the system of teaching language. The term "catechism" was originally applied to religious instruction in the form of questions and answers, but the recent application of the term to other than religious sub- jects has changed its significance and it is now applied to that form of instruction regard- less of its subject. This "Grammar" has been put forth with the object and hope of elevating and extend- ing the scientific art of dancing, and to accomplish that purpose the author has exercised his utmost strength and all of his faculties. He will consider himself not only fortunate but amply rewarded for the fifty years of labour which it has cost him, if this book meets with a favourable reception and recognition; for such will be an indication that the goal toward which he has striven so earnestly and so long has not only been discovered but in some small measure approached. Friedrich Albert Zorn. Odessa, 1887. Contents Friedrich Albert Zorn Frontispiece Foreword ............ vii Author's Preface ........... xi INTRODUCTION 3 aNG as a Branch of Education ....... 6 The Classification of Dances 9 CHAPTER I Method — Grammar — Carriage 15-17 CHAPTER II Positions of the Feet 18-39 Simple Positions — Sole Positions — Open and Closed Positions — Crossed Po- sitions — Ball and Point Positions — Choregraphy of the Principal Positions — Raising Positions — Heel Positions — Flowing Positions — Measure of Height — Half-High Closed Flowing Positions — High Closed Flowing Positions — Open Flowing Positions — Air Positions (Positions tn r Air) — Inward Turned Positions — Bended and Stretched Positions — Intermediate Positions — Half- Intermediate Positions — Double Intermediate Positions — Crossed Positions — Prolonged Positions — Parallel Positions. CHAPTER III Movements ...... 40-43 The Simple Movements — Chorcgraphic Signs for Movements. CHAPTER IV Preparatory Fxercises 44~54 Bending Exercises (PUrr) — Raisings (Elirvations) — Combined Bondings and Raisings — Beating Exercises (Battrments) — Gliding (Glisser) — Carrying (Ptrter) — Crossing Before and Behind (Dessus tt Dessous) — Direction of Movements — Beatings for Social Dancing. xv XVI CONTENTS CHAPTER V The Apportionment of Time. Measure of Speed (Tempo) — Metronome — Explanation of Musical Terms- Sentences and Phrases (Enchainements) — Dance Music. CHAPTER VI The Beatings Raising and Lowering Exercises — Small Changed Crossed Beatings (Petits Battements Croises Changes) — Small Alternate Beatings (Petits Battements Alter- natifs) — Large Beatings (Grands Battements). 55-6 1 62-73 CHAPTER VII Turning Exercises ......... Foot-Circles (Ronds de yambe) — Accessory Qualities of Movement. 74-81 CHAPTER VIII Carriage and Movement of the Upper Body and Arms French System of Arm-Positions — Zorn's System of Arm-Positions — The Car- riage of the Arms (Port de Bras) — The Principal Arm-Positions — The Inter- mediate Arm-Positions — Crossed Arm-Positions — Supported Arm-Positions — Closed Arm-Positions — Open Arm-Positions — Narrowed and Amplified Arm- Positions — Opposition — Supported Arm-Positions (Demi-Bras) — Mimic or Character Arm-Positions — Arm Movements — Carriage of the Arms (Port de Bras) — The Simple Arm Movements — Hand Circles (Ronds de Bras) — Pre- senting and Giving the Hand — Positions of the Hands — Shrugging the Shoul- ders— Carriage and Movement of the Head (Tenue et Mouvements de la Tete) — Movements of the Trunk and Shoulders (Mouvements de Torse et Epaulements) — Harmony (Coincidence) — Attitude — Group — Tableau — Choregraphy. 82-105 CHAPTER IX Compound Movements ......... Classification — Music-Syllable — Dance-Syllable — Step — Temps — Pas- Definitions of Various Dance Terms (Termes de Danse) — Grace. I06-109 CHAPTER X Technical Steps and Movements ........ Steps (Pas) — Necessary Attributes — Military March (Marche Miiitaire) — Secondary Attributes of Steps — The Meaning of the Term Pas — The Names of the Steps — Walking Steps (Pas All'es) — Changement of the Feet (Cbange- ment de Pieds) — Order of Steps in Instructing — Raising Steps (Pas Elev'es) — IIO-164 CONTENTS XVH Raising-Marching Steps (Pas Marches Elrvis) — The Steps upon the Points (Pas sur Us Pointes) — Running Steps (Pas de Cturse) — Courante Step (Temps de Courante) — Changements of the Legs or Feet (Changements de Jambes ou Pieds) — Escaping Syllables (Temps Echappes) — Falling Syllables (Temps Tomb'es) — Spreading Syllables (Temps Ecartes) — Collecting Step or Syllable (Pas ou Temps Assemble) — Throwing Steps (Fas Jetes) — Scissor Syllable and Scissor Step (Temps et Pas de Sissonne ou Ciseaux) — Double Scissor Step or Syllable (Pas ou Temps dt Sissonne Double) — Hunting or Chasing Steps (Pas Chassis) — Gliding Steps (Pas Gliss'es — Glissades) — Gliding Half-Steps (Demi-Glisses) — Whip Syl- lables ( Temps Fouettes) — Cutting Steps (Pas Coupes) — Cutting Half-Steps (Demi- Coupes) — Tossing Steps (Pas Ballotes) — Stuffing Steps (Pas de Bourr'ee) — Stretched or Zephyr Steps (Pas Tendus ou Pas de Zephire) — Basque Steps (Pas de Basque) — Ball Steps (Pas Ballonnes) — Ball Syllables (Temps Ballonnes) — Twisting Steps (Pas Tortill'es) — Body Turns (Tours de Corps) — Turn of the Trunk cr Rump (Tour de Torse) — Choregraphy of Turning — Occupation of the Free Leg in Turning — Turns in the Air (Tours en I 'Air) — The Pirouette (La Pirouette) — Thigh-Beating Syllables (Temps de Cuisse) — The Beating Steps (Les Pas Battus) — Changement of the Legs (Changements de Jambes) — Crossed Jump (Capriole ou Entrechat) — Half Counter-Beating (Demi-Contretemps) — Whole Counter- Beating ( Contretemps Entier) — Broken Syllables and Steps ( Temps et Pas Bris'es) — Pigeon- Wing Steps (Ailts de Pigeon — Pistolets). CHAPTER XI Periodical Enchainment of Dance Steps and Syllables . . . 165-173 CHAPTER XII The Choregraphy of the Ficure 174-177 CHAPTER XIII The Contra Dance and Quadrille 178-205 Theory of the Quadrille Positions — The First Person in a Quadrille — Figure and Strophe or Couplet — Division of Time — Measure — Signal (Ritournel/e) — Prelude — Original Steps — The French Contra-Dance (La Contredanse Fran- caise) — Pantalon — L'Ete — La Poule — La Trenis — Les Trois Crochets ou La Ctquille — La Pastourelle — Let Graces — La Final* — La Rose — Pas de Galop — Moulinet dts Dames — Grandes Rondes — Rondes Oppos'ees — La Guirlande — The Polonaise (La Polonaise). CHAPTER XIV The Miniet 206-216 Minuet of the Queen (Mtnuet de la Rant) — Minuet of the Court (Menuet dt la Ctur) — Minuet Steps (Pat dt Menuet) — Execution of the Minuet of the Court. XV111 CONTENTS CHAPTER XV The Gavotte 217-223 Couplet and Figure — Execution of the Gavotte  — The Star of Four Couples (L'Etoile a ^uatre Couples) — The Galop Waltz — Reverse Galop [Galop a I'Envers) — The Pursuit (La Poursuitc) — The Waltz (La False) — The Two-Syllable Waltz (La False a Deux Temps) — The Three or Six Step Waltz (La False a Trols ou a Six Temps)— The Reverse Waltz (La False a V Envers) —The Polka (La Polka) — The Redowa (Rejdovak) — Redowaczka (Redowatschka) — Mazurka- Polka or Polka-Mazur — The Tyrolienne — Hop- Waltz (False Sautillee) — Bal- ance Waltz (False Balanc'ee) — The 5-4 Waltz (False en Cinq Temps) — The Varsovianna (La Farsouvienne) — Krakoviak (Cracovienne) — Mazurka-Waltz (False de Mazourka) — Galop-Polka or Glide-Polka (U Esmeralda) — Schottische, Rheinlander, Bavarian Polka — Hungarian Waltz (False Hongroise) — The Ma- zurka (La Mazourka) — Technical Steps of the Mazurka — Mazurka Figures — Instructions Regarding Cotillion and Mazurka Figures — Space — Large and Small Circles- — Introduction — Selection of Figures. CHAPTER XVII Concluding Remarks .......... 267-277 Object of the Grammar — Choregraphic Description of the Cachucha. Index ............. 279 Glossary ............. 297 Introduction Introduction TO thoroughly understand an art, it is necessary to learn its source and to follow its development to the highest possible and attainable point of perfection ; there- by reaching the capability of judging what is still to be accomplished and the best method of going about it. The source of dancing lies in the nature of mankind. If in good humour, one moves quicklv, and if the feeling is more pronounced the movements are correspondingly height- ened and one jumps and raises himself involuntarily. This is natural dancing; it is to be found in all zones, at all times and among all nations. To do away with dancing entirely, as is the wish of some persons, it would be necessary to change human nature. It is quite comprehensible that these natural expressions of pleasure or spiritual excite- ment vary in accordance with the temperament of the individual, and that he who has the greatest nobility of mind will present the most noble expressions. Expressions of joy are truer mirrors of the mind than those of the more severe emotions. As mankind began to form societies, to divide into nations, and to follow different courses of civilization, there grew up different dances, dependent upon and indicative of national characteristics; and when these nations changed place, occupation, political institutions, etc., their dances were correspondingly affected. This same process is operative to-day, and the statement which is made by many persons, that the character and civilization of a given man, or indeed of an entire nation, may be known by his or its dancing, is not all incorrect. It is not the purpose of this work to record the history of the dance from ancient to modern times, for that has been most worthily accomplished by such writers as Albert -winski, in his " History of the Art of Dancing," Rudolph Voss, in "The Dance and >ry," and Franz M. Rahlme, in his "History of Dancing in Germany." There are many others who might be mentioned, but even these are seldom read. 3 4 GRAMMAR OF THE ART OF DANCING Dancing, like every other art, has its childhood, its blossom time, its climax and its decay; but these periods are more uncertain than those of other arts, because of the lack of a generally accepted and efficient system of describing the accomplishments of the masters. Without such a script even the works of our present generation cannot be preserved for posterity. By means of the script of music we have retained the compositions of the early and middle ages and are enabled to reproduce, note by note, the masterpieces of the last three centuries; but what is left us of the works of the choregraphs of old — of the last century — even of the last few decades? Only a few programs and incomplete descriptions which serve rather to accentuate the extent of our loss than to aid us in reconstructing the works of which they treat. If a ballet-master, even to-day, desires to produce the composition of another, there is only one way to do so. He must go where it is executed. And if he desires to reproduce one of his own that was presented five years before, he has nearly the same difficulty as at the original production, for the dancers are not the same. He must show them every step, because it is impossible to supply them with written parts with which they could practice alone. In 1852, A. de St. Leon, first dancer and ballet-master at the Grand Opera in Paris, published the first numbers of his "Stenochoregraphy," employing with rare discrimination all the facilities and influence of his position, and thus opening the way to elevating the art in a most signal manner. His Majesty the Emperor Nicholas of Russia found oppor- tunity, notwithstanding the serious duties of his kingly calling, to read the first part of the work, and by accepting its dedication proved conclusively that he appreciated the value of the invention. It is greatly to be regretted that that gifted artist and author has been too soon taken from us, but he left us splendid material for perfecting the system set forth in his letters and published works. An Academy of the Art of Dancing was founded in Paris by Louis XIV, in 1661, and was liberally endowed by that magnificent monarch. Little remains of the institution, how- ever, save the names of its then thirteen members. The German Academy of the Art of Teaching Dancing was founded in 1873 by several very thoroughly educated dancing masters, and if, as we most sincerely hope, that associa- GRAMMAR OF THE ART OF DANCING 5 tion succeeds in its objects, it will not be the first time that small enterprises with modest means have eventually accomplished great things. y There is a pressing need of firmly established rules, by means of which the art may be edified, and in formulating such precepts the members of the new Academy will, doubtless, strive to merit the approval and esteem of all who are interested in the dance. It is certain that the purpose is commendable, and that the new Academy is composed of sincere and able teachers. The following names are a sure guarantee of the character of the Academy : A. Freising, Teacher of Dancing at the Royal University in Berlin, Presi- dent; Otto Stoige, Ballet-Master in Koenigsburg in Prussia; Knoll, Senior, Ballet-Master in Hamburg; Bernardelli, Teacher of Dancing at the University of Leipsic, and many others of prominence. Without governmental recognition and the establishment of the Academy as a board of examiners for those persons who desire to teach dancing, the association can never attain to sufficient authority to restrain unworthy persons from teaching. Inasmuch as the Academy has submitted this work to a most rigid examination and has adopted it as the standard for teaching (May 25, 188 5), it is unnecessary to state that examina- tions upon the theory of dancing will be based upon the principles laid down therein. GRAMMAR OF THE ART OF DANCING Dancing as a Branch of Education The importance of dancing as a factor in education is almost universally conceded, not- withstanding that many persons of unquestionable learning and good intention unhesi- tatingly condemn it and seek to substitute gymnastics in its place. It is true that gymnastics develop the physical powers, increase courage and endurance, improve health and render one more robust, but they tend toward coarseness and impress one with a certain recklessness and lack of delicacy, unless taught by persons who are properly informed as to the true art of movement. It would, however, be impossible to teach dancing by means of gymnastics, or gym- nastics by means of dancing, although their combination is quite practicable and useful. Schiller says, "To couple the strong with the delicate makes an agreeable combination." Still, those who are opposed to dancing are not wholly wrong, for if we contemplate the salon and the theatrical dances of to-day, we are compelled to admit that, with few excep- tions, we find them objectionable to good taste. We have retained but little of that elegant deportment and that exquisite delicacy which marked the dances of the 18th century, and we frequently witness upon our stage indecencies of a most flagrant character, which are so earnestly applauded by the majority of the spectators that the "artists" are led to believe that they have done something highly commendable; while the less scrupulous managers and directors encourage such exhibitions on account of the returns which they guarantee. The same state of affairs exists in the dance-halls, for custom has so shortened the vision of the majority that even the least criticism of this nature is astonishing to them, true though it is. One has but to examine in an unbiased manner most of our round dances, noting the nonsensical running and racing therein, and the still more objectionable hugging which is not only possible but actually a la mode in certain places, to realize why it is that clergy- men, physicians, parents, and conscientious educators and governesses disapprove of so degenerate a style. The Lanciers Quadrille came into favor in 1856, and was generally hailed as a step toward better taste, but the supposition has not been confirmed by experience, for that beau- GRAMMAR OF THE ART OF DANCING 7 tiful dance has been long since banished from our orders and we dance worse, if possible, than before its introduction. Dancing teachers there are and always have been who realize the dignity and responsi- bility of their profession, and who, in so far as possible, resolutely oppose objectionable taste; but the great majority practice for a livelihood and dare not struggle too persistently against common customs lest such resistance react upon their schools, and pupils who might otherwise be theirs bestow their patronage upon masters who are less severe. Unfortun- ately, there are teachers who lend themselves readily to every caprice of custom or fashion that they may line their pockets, regardless of its ethical or aesthetic value or result. Proper dancing gives one that grace which should form a part of all our movements, and which, although advantageous to all, is absolutely essential to those who are obliged to go through the world unaided! Upon meeting a person for the first time we are involuntarily impressed by his presence and manners, and as there is frequently neither opportunity nor time to become more inti- mately or fully acquainted, our treatment of him must necessarily be gauged by the impres- sion thus obtained. First impressions, therefore, are never of indifference, whether favourable or other- wise. Carefully kept and tasteful clothing, cleanliness and good manners, and above all, lack of affectation or conceit, never fail to create good impressions, but an elegant carriage and a pleasing appearance should neither be regarded as the only valuable traits, nor should they be held to compensate for vice or ignorance; for indeed, unless they be in harmony with nobility of thought and action, they can but form a mask that will, sooner or later, be torn away and disclose the real person in his true ugliness. Modern society demands of all who enter it, a certain attention to appearance and behaviour, which if neglected reacts in a most serious manner upon the delinquent, often destroying what might, with such slight concessions as it demands, be a most successful career, and dancing and deportment are as important accomplishments for girls as for boys. That grace which comes from dancing, however, does not depend solely upon the good fortune of finding a competent and conscientious teacher, for unless one possesses a natural aptitude or talent he can never accomplish more than commonplace results. There are in most places worthy dancing teachers, but it is often hard to distinguish them from those of lesser merit, as they usually refrain from thrusting themselves into 8 GRAMMAR OF THE ART OF DANCING prominence, and instead of glorifying their achievements by means of disparaging others, wait modestly until their services are demanded. Still there are places where, although there are many persons to whom instruction would be welcome, there is no teacher of dancing, and for these persons there is nothing better than the books — many of which are of value — which have been carefully written upon the subject. It is of course entirely impossible to write in such a manner as to equal the effects of proper vivid instruction, but where that is unobtainable, written instruction is better than none. No system of written instruction is so effective or appropriate as choregraphy, and the time required to understand the script is far from wasted. It rests with that art alone to elevate dancing to a fitting place among the arts beautiful, for by that, and that alone, is it possible to so describe the dance as to withstand criticism. If, therefore, we can promulgate a system containing proper rules for position and move- ment, and physical and aesthetic development, such as will receive the approval of the critics, it is certain that we shall be aided by the best masters, whose cooperation and backing will insure our ultimate success. We already have the works of Blasis, St. Leon and Klemm, which contain the quint- essence of previous authority, but it appears that these are not given that study which they deserve. It should never suffice that a teacher of dancing earn a living, nor that a ballet-master please the public; each should strive to elevate his art and raise its morals. Dancing is of no small importance viewed from a hygienic standpoint. Indeed, the exercise it provides is of peculiar physical benefit, particularly for the gentler sex. This does not necessarily refer to the style of dancing now in vogue, but rather to the method known as "pedal calisthenics," which contains those strengthening and developing exercises that produce greater physical strength without destroying feminine grace. Those physicians who forbid young persons to dance have usually a clearer understand- ing of the abuse than of the truly useful aspect of the exercise. It is only to be expected that if persons who are still growing and weakly avoid all exertion during the year and then dance immoderately a whole evening, and, becoming overheated, indulge freely in cold drinks and ices, they will become ill. If, however, they limit their dancing to a regular attendance at a reliable and worthy dancing-school, the exercise cannot fail to be beneficial. GRAMMAR OF THE ART OF DANCING The Classification of Dances Dancing is generally divided into two grand divisions, namely, social and theatrical, or salon and show dances. The social or salon dance, having been devised solely for social pleasure, is of such a nature that persons who do not make dancing a profession may acquire a knowledge of it. Nearly every country possesses its peculiar dances, of which the French Minuet and Contra-dance may be considered the greatest, for they are replete with grace and modesty. The " waltz position" in the so-called round dances should be conscientiously regarded. It is to be regretted that the round dances, such as the Waltz, Galop, and Polka, are generally preferred to others, for they do not merit the distinction, from the standpoint either of art or of grace. This liking for that form of dancing is quite unaccountable, but as it would be futile for the dancing profession to attempt to stem the tide of public favour, it has been obliged to overcome its artistic scruples and teach what it must dislike. Impartially considered, the so-called "waltz position" is wholly objectionable, as it places the lady absolutely within the power of her partner. Such an attitude would never be tolerated beyond the duration of the music of the dance. After the Minuet, the Mazurka, which is the national dance of Poland, may be prop- erly called the queen of social dances, for it affords every gentleman opportunity to display his peculiar talents and grace in such a manner as not to overexert himself; at the same rime permitting the ladies to exhibit the most perfect grace. Again, the figure may be as widely varied as that of the Cotillion, thus offering never-ending charm and novelty. Column and line dances are now out of style, although they afford much pleasure and make an agreeable change. In that class we have Ecossaise, Triolet, Tempete, Anglaise, and others. All of them belong to the class of "social choir dances," which is still further divisible into the figure and the round dances. Bernhard Klemm, in his " Catechism," gives the more minute division into dances of periodical and of full figure which is quite logical. There are besides the "social choir dances," certain "social show dances" which may b« danced by cither one, two or four persons. It is true that these are usually representa- tive of the manners and customs of certain peoples, but as they arise from and form a part IO GRAMMAR OF THE ART OF DANCING of the national life which they typify, they are not technically "show" or "theatrical" dances. This class contains such dances as the Gavotte, Cancan, Cachucha, Gitana, Fandango, Tyrolienne, Styrian, Hungarian, Cossack, Cracovienne, Russian, and others too numerous to mention. Any of these may, however, be raised to the class of " theatrical " dances if properly arranged to accord with stage requirements and executed with sufficient skill. The second division comprises all those dances which are executed by professional dancers upon the stage, and which are, properly, Theatre dances. They are divided into five degrees. Those of the lowest degree are styled "Grotesque." Their character is unsteady or, perhaps better, of an adventurous nature. Their movements are often imposing, but de- mand skill rather than gracefulness. Those of the second degree are called "Comic," and are less unsteady than those of the first. They generally represent the customs, pastimes, or romances of the lower classes. The third degree is known technically as " Demi-caractere." They exemplify affairs of ordinary life by representing upon the comic stage a love-story or a plot in which the characters are from the common people. This class is replete with grace and elegance. The fourth degree contains what are known as the " Serious" dances. They represent such characters as are found upon the tragic stage. The highest possible degree' of skill and elegance is displayed in these dances. They include solos, pas de deux, pas de trois, etc., and represent emotions or ideas. They demand the exercise of the entire art of posi- tion and movement. The fifth degree is of a still higher order, representing entire tragedies. These dances are known as "Pantomimic," and are so divided into acts as to convey the entire idea with- out the agency of words. Such dances may be properly termed " Ballets," and our century has been especially rich in that class. The ladies have particularly excelled in this degree. Most prominent among the artists of this class we may mention Carmargo, Marie Taglioni (mother and daughter), Fanny Ellsler, Fanny Cerito, Carlotta Grisi, Nadeschda Bogdanowa, and Messrs. Pecour, Beauchamp, Didelot, Noverre, Vestris (father and son), Blasis, Perrot, Bournonville, Philip and Paul Taglioni, A. de St. Leon, Petitpas, Lepitre, Laucherry, and Manzotti. The amounts expended introducing a single ballet at this time are astounding, and in them so much elaboration and ingenuity is called into play that the spectator may easily GRAMMAR OF THE ART OF DANCING II imagine himself transported to fairyland, and he awakens to reality only at the conclusion, as from a beautiful dream. It is much to be deplored that up to this time there has been no adequate or satisfac- tory script, by means of which these magnificent masterpieces might be preserved for future generations, and it is the object of this "Grammar" to supply that demand; the complete realization of which will yet necessarily require much time and labour. The acquisition of such a script would enable ballet-masters to so describe the single parts — and indeed the entire compositions — that they could be read as easily as one reads a sheet of music. Thus it would be possible not only to communicate their achievements to persons at a distance, but also to transmit them in intelligible form to posterity. Grammar UNlVERSi OF Chapter I METHOD THE first condition of success or of accomplishment in science or in art is a method based upon the natural principles of the subject and so ad- justed to the capabilities of the student as to lead from the base to the acme of perfection, without unnecessary waste of time. Without such a method or system, and without the necessary speci- fic names for even the most minute details and objects, progress in the Art of Dancing will be rendered well nigh impossible, on account of the numberless diffi- culties and apparent contradictions that must naturally arise. Such a system should be devised as will lead the student easily and gradually from the simpler to the more complicated portions in such a manner as to enable him not only to comprehend but to demonstrate as he goes. A competent teacher is not often at a loss to thoroughly communicate his ideas. The first necessity is, therefore, what we may term a Grammar of the Art of Dancing which shall contain a system analagous to those employed in teaching language or drawing, and which shall so clearly define the principles of the dance, that, while it does not exceed the comprehension of a child, it shall be none the less valuable and useful to teachers and to professional dancers. A grammar of this sort will quickly be appreciated by educators and by dancers, and, indeed, by the general public, as a means of promoting correct principles, and at the same rime of leading to an understanding of the true objects of conscientious dancing-masters and of overcoming the present degradation of dancing in society and upon the stage. May it not also, perhaps, induce careless and indifferent teachers to work more diligently for their own improvement, by raising the standard of professional requirement through the enlightenment of the public? From the foregoing one may plainly discern the object of the author and his ideal of the nature of a Grammar of Dancing. Time and experience alone can determine the degree of success with which he has performed his task. '5 i6 GRAMMAR OF THE ART OF DANCING GRAMMAR 1 . Dancing is the expression of pleasure or of other sentiments by means of prescribed movements, which are regulated by music, either imagined or expressed. 2. Its factors are Position, Movement, Figure and Measure. 3. Before or after a movement, a Position may be either correct or incorrect. 4- Transition from one position to another is accomplished by means of Movements which are either simple or compound. 5. The lines described upon the floor by the dancers constitute the Figure. 6. The division of the movements into periods of equal duration to correspond with the music is called Measure. 7. To compare dancing to language, the positions correspond to vowels; simple movements to consonants; compound movements to syllables; steps to words; enchainments to phrases or sentences; and the combinations of enchainments to pa- ragraphs. Simple figures correspond to verses, compound figures to stanzas, and the connection of compound figures or strophes, as in a Quadrille, to an entire poem. Fig. i. Fig. 2. Fig 3. CARRIAGE 8. Before dealing with the various positions we must refer to the carriage of the body, for good carriage is the first essential to a dancer. The head must be held straight, and the eyes directed neither up or down, but to the face of the person opposite, the neck per- pendicular, the chest expanded and thrust forward, the shoulders back and down, the abdomen drawn in, the legs turned out- ward from the toes, the knees stretched, and the arms hanging naturally at the sides [Fig- 4 Hold the fingers as shown in Fig. 4 and touch the side line of the leg with the Fig. 4. Fig. 5. Fig. 6. thumb and first and second fingers. It is GRAMMAR OF THE ART OF DANCING 17 as incorrect to force the position, as in Fig. 2, as it-is to neglect it, as in Fig. 3. The cor- rectness of the position may be determined by the position of the arms: if proper, the arms hang naturally in such a way that the fingers touch the middle of the sides of the legs. If incorrect, the hands will hang either before or behind that point. 9. Three positions of the hand and fingers have been proposed [Figs. 4, 5 and 6]. All are good, ac- cording to the circle of the arms. 10. The curvature of the arm should correspond to an arc of a retjular circle, from the shoulder to the tip of the little finger. The more fully the arm is stretched the more the fingers must be stretched. In Fig. 7 the little finger is bended properly; in Pig. 8 too much; and in Fig. 9 not enough. There is a mathematical correctness of beauty, and perception thereof is as keen a sense as musical perception. A circle not exactly round is as much an offence to the eye as a false chord or note is to the ear. Taste can be so far debased as to accustom itself to im- proper positions, but it is the object of art to enable one to perceive the difference and to distinguish the correct from the incorrect. The positions and movements of the arms are given in §§268 and 320. Fig. 7. Fit;. 8. Fig. 9. Chapter II POSITIONS OF THE FEET AS the modern art of dancing has been largely evolved and fostered in France, the ,. French terms and expressions are more or less used in all countries where dancing is practiced; and while in this Grammar the English terms will be employed wherever prac- ticable, the French equivalents are given where they differ from the English, and teachers should in all cases acquire a knowledge of them. Simple Positions 11. There are generally accepted five principal positions of the legs. These are sub- ject to numberless variations, which are still further qualified, as in the sole, ball, point, heel and flowing positions which follow. 