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PUBLIC LIBRARY THE BRANCH L BRAR ES

793.38 Reth
Aesthetic dancing

Dance

33333031678945

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AESTHETIC DANCING

7? 3
I?

PREPARED BY

EMIL RATH

DIRECTOR NORMAL COLLEGE, NORTH AMERICAN GYMNASTIC

UNION, INDIANAPOLIS

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NEW YORK
THE A. S. BARNES £QMPANY

FOREWORD

THIS, the first effort of the author, is an endeavor to
place in the hands of teachers of physical education a
book which may assist them in presenting to girls'
and women's classes the fascinating and graceful
rhythmic movements of classic and aesthetic dancing.
It is an effort to extend the work begun by the late
Mr. Melvin B. Gilbert, who was the first to arrange
these artistic steps and movements into pleasing dances
suitable for gymnastic purposes, thereby contributing a
most valuable class of exercises to physical education.

Whereas the physical education of today, in its
broad interpretation, is comparatively modern, dancing
is rather a primitive activity. It appears in crude
form, crude from our present viewpoint, in the life of
primitive peoples, when on sad, joyous, and various
other occasions dances chiefly of an imitative character
were performed by members of a tribe to the accom-
paniment of equally crude music. From these early
beginnings dancing has incessantly continued to de-
velop. Forms of stepping and springing, and other
bodily movements peculiar to the dances of certain
tribes, were imitated by others; new forms and com-
binations were invented and passed on to future gener-
ations; the pleasing and exhilarating activities were
preserved, and with time the more complicated were
preferred to the simple and easy.

The evolution of folk and national dances from the
dawn of civilization to the present is similar to the

I ill]

THE N&W YOU* PgBLIC LIBRARY
CIRCULATION DWaftTWBNr

121 EAST Mth SIfitfl

ESTHETIC DANCING

development of the folk songs. Both were at first
vague and ill-defined, varying in different localities,
altered at the whim of any performer, finally crystal-
lizing into a set form. The folk dance as we know it
today is a titled composition with clearly defined steps
and movements and with special music.

Eventually, the manifold movements involved in
the earliest dance compositions were arranged by some
adept performer into a system, which was the begin-
ning of classic dancing. Many nations have contrib-
uted toward this; some of the steps of today may be
traced to their originators by the name they bear.
Nor has this process ceased. What was conceived by
Italians and Frenchmen has been elaborated by Ger-
mans, Americans, and Russians, the Russian dances
giving ample demonstration of the inherent artistic
as well as the hygienic value of classic dancing.

Studied for its physical value, dancing may be
defined or regarded as an exercise demanding consider-
able endurance and a high degree of co-ordination.
As exercises of endurance, many dances produce a
high working total which probably is not much less
than that caused by running medium distances. The
great number of times that the entire body weight is
lifted, the many trunk twistings and bendings occur-
ring, and the additional number of the rather mild
arm and head movements, produce an endless number
of muscular contractions and relaxations, a vigorous
functional increase of the heart activity, circulation,
and respiration, and consequently increased metabolism.

The many positions of the arms and feet, particu-
larly in arm and foot combinations, or when in addition

trunk and head movements are performed, demand

[iv]

FOREWORD

accuracy in controlling the direction of the single move-
ments and a highly developed degree of co-ordination
in the resulting complex movements. This co-ordina-
tion is developed gradually as the dancing progresses
in difficulty. It gives the pupil that consciousness of
power expressed in graceful carriage and apparent in
the general bearing.

With the development of this subjective power
of neuro-muscular control, the constant wave-like
alterations of bodily positions are performed with a
correspondingly decreasing effort. They acquire a
semi-automatic character, the volitional element essen-
tial to voluntary movements being considerably sub-
dued. The various changes in posture follow upon a
stimulus supplied by some guiding musical rhythm.
This rhythm is the directing spirit and sways and
moves the dancer much as the fallen leaves are whirled
about, carried up and down and hither and thither by
an evening breeze.

Music and rhythmic bodily movement are twin
sisters of art, as they have come into existence simul-
taneously. Karl Biicher has endeavored to show this
in his authoritative work on rhythm, "Arbeit und
Rhythmus." Dancing and music have developed to-
gether to a great extent. Dancing has, in fact, done
much to aid the development of music by supplying
novel movements as suggestions for new forms of
musical composition. But eventually music, with con-
fidence in its own power, grew bolder, and traversed
a path of its own, leading to the higher compositions
which charm us at symphony concerts today. On the
other hand, the dance had to be contented for many
years with ordinary musical accompaniment suitable

ESTHETIC DANCING

to its characteristic movements. Yet today we see
in the artistic work of Isadora Duncan, Maud Allen,
and others the use of a form of dancing which strives
to portray in movements what the music master ex-
presses in his compositions — interpretative dancing.
Whether all musical compositions are possible of
such interpretation or not does not concern us. That
many of them lend themselves exquisitely to this
purpose, the above named dancers have amply demon-
strated. Certainly the dancer experiences just as
much artistic satisfaction in his work as the musician
feels in the harmony of an orchestration, or the connois-
seur in the colors and shadings of a picture or in the
attitude and perfect lines of a statue.

Dancing is rapidly becoming a universal and popular
art-form of expression. In all countries there seems
to be taking place a renaissance of dancing, a reawaken-
ing of the love for rhythmic movements. This new
spirit seems destined to burst the prosaic bonds of our
present day materialism, by giving the inner life of the
people a medium for artistic expression based upon
universal, age-old, all-permeating rhythm — dancing in
its various forms. If the writer can do anything to
popularize aesthetic and classic dancing among girls
and women, and even among men, he will be amply
repaid for his labors.

In concluding I express my thanks to Miss Olive
Knorr and Miss Elsa Hein, who were so kind and
patient in posing for the illustrations in this book.

TABLE OF CONTENTS

PAGE

Remarks on Procedure 3

Positions of the Feet 9

Positions of the Arms 12

/Esthetic Arm Movements 14

Simple Arm Movements 14

Sequences of Arm Movements 18

Combined Sequences 26

^Esthetic Movements with the Pirouette 31

./Esthetic Movements with Leaping 32

^Esthetic Movements with Stepping and Pointing 32

Six- and Eight-movement Sequences of Arm Exercises 33

Dance Steps 35

Gliding and Closing 35

Step-courtesy 38

Stepping and Pointing 40

Coupe Saute 44

Glide Polka 48

Schottische Step (Caprice and Gavotte) 50

Polka Steps 52

Heel and Toe Polka 54

Polka Turn 54

Pas de Zephyre (Swing-hop) 56

Arabesque (Balance-hop) 60

Arabesque Turn 62

Pirouette (the Cross-step Turn) 65

Waltz Balance Step 67

Mazurka Balance Step 68

Mazurka Hop 70

Mazurka Turn 73

Redowa Polka 73

Three-step Turn 75

Spinning Step 79

Jete Saute (Leap-hop) 80

Pas de Basque 85

Front and Rear Cross Polka 96

Pas de Sissonne (Scissor Step) 97

Waltz Step 102

Waltz Turn 104

Jete and Assemble (Leap and Close) 106

Jete Assemble (Closing Leap) 107

Accompaniments :

LaCzarine Mazurka 119

Pizzicato-Polka 122

Venus Reigen Walzer 125

Impromptu Schottische 128

Barcarolle (Aesthetic Movements) 131

[rii]

LIST OF ILLUSTRATIONS

Fig. 1. Hands at waist (front support). First position of

the feet Facing page 4

Fig. 2. Pointing left in second, or Stepping right in second.

Arms third amplified, palms forward ..." " 4

Fig. 3. Third position of the feet (left in front). Left arm

in fifth, right in third amplified " " 10

Fig. 4. Stepping left forward in intermediate, or Pointing
right backward in intermediate. Upper trunk
bent backward. Arms in third amplified, palms
upward " " 10

Fig. 5. Point left forward (fourth position of the feet).

Bend trunk left. Arms in right lateral ... " "16

Fig. 6. The fifth position of the feet, left in front. The

first position of the arms " "16

Fig. ?A. Right foot raised in low fifth in rear. Right hand

at waist, left arm in fifth position .... " "22
Fig. IB. Right foot raised in low fifth in rear. Right hand

at waist, left arm in fifth position .... " "22
Fig. 8. Right foot raised (half-high) forward in fourth.

Arms in left intermediate 28

Fig. 9. The second position of the arms " "28

Fig. 10. The third position of the arms " "34

Fig. 11. The fourth position of the arms " "34

Fig. 12. The fifth position of the arms " "40

Fig. 13. The third amplified position of the arms . . 40

Fig. 14. The left intermediate position of the arms . . 46

Fig. 15. The left intermediate amplified position of the

arms "46

Fig. 16. The left lateral position of the arms . . . . "52

Fig. 17. Pointing left in second. Arms right lateral (look

at foot) 52

Fig. 18. Step left or point right in second. Bend trunk
right. Left arm in high fifth, right in third

amplified 58

Fig. 19. Step left forward in intermediate. Bend trunk
right and slightly backward. Left arm in fifth
and right in third amplified. Turn head right 58

Fig. 20. Pointing left forward in intermediate and bend-
ing right knee. Bending trunk forward over
pointing foot. Left hand over foot, right arm

in third amplified " "64

[ix]

ILLUSTRATIONS

Fig. 21. Step right or point left in second position. Turn
trunk right and bend slightly backward. Arms
in right intermediate position Facing page 64

Fig. 22. Point left back inward and bend knees (courtesy).
Bend runk right. Arms in right lateral posi-
tion " "70

Fig. 23A. The first movement of the heel and toe polka.
(Right hand at waist, left arm in low inter-
mediate amplified or left hand over foot) . 70

Fig. 23e. The second movement of the heel and toe polka.

(Right hand at waist, left arm in fifth) . . " 76

Fig. 24. Arabesque left forward. Arms left intermediate

amplified 76

Fig. 25. Pas de zephyre right back-outward. Arms right

lateral 82

Fig. 26. The second movement of the waltz balance step,
(Left arm in fifth and right backward in inter-
mediate amplified)

Fig. 27. The first movement of the spinning step ... 88

Fig. 28. The first movement of the arabesque turn . . " " 88

PROPERTY OF THE
CITY OF NEW YORK.

ESTHETIC DANCING

REMARKS ON PROCEDURE

METHODS of teaching the aesthetic movements and the
steps are contained in the arrangement of the material
itself. Thus, for example, the simple arm exercises
(p. 14), and likewise the sequences (p. 18), are followed
by a number of leg, trunk, and head exercises which are
to be progressively combined. The reverse process is
suggested in the dance steps (and should be employed if
not indicated) becauselh these stress is to be placed upon

the accurate execution 6f the; sleos before movements

* t -> » ' . > , •

of the head, trunk, %&d of the arms are added ; whereas in

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the former a faultless performance of the arm movements
was essential before movements of the other parts could
be combined with them without marring the exercise.
The simple exercises are placed under the numeral I.

A number of these/exereiseasJiottl5,^erefore, be taken up

• *» * ,* °> . *. *,"'• * *

in various rhy thms* after each §tep>;has been taught, and

i i

before proceeding to the liext step. This does not refer
to the first few steps which must be mastered in order to
have material for combinations. In this manner all the
fundamental steps should be covered, adding first the
simpler and later the more difficult arm movements, then
the various combinations under I with a progressive com-
bination of the arm movements, and finally the combina-
tions under II (and III) with the arm movements.

The dance steps, furthermore, may be practiced
in various tactic formations, without and with move-
ments of other parts of the body. This variation not
only maintains interest in the work, but also gives

13}

AESTHETIC DANCING

rise to new and pretty forms of presenting an already
known step, either for the purpose of improving its
execution, or to utilize it in couple dances or dances
of threes, fours, etc. The formation most commonly
made use of, and the most practical for the purpose of
presenting a step, is a column of front ranks in open
order. The other formations employed are:

The open long flank rank, in which the pupils are
about two to three steps apart, standing behind each
other around the gymnasium.

The open front circle formation, i.e., all facing inward.

A column of front couples (or larger ranks).

A square composed of four members, which, how-
ever, is not so frequently used.

.' " • •

TACTIC FORMATIONS

V*' N«X

A Column of Front Ranks in Open Order The Long Flank Rank in Open Order
Two steps distance between members Two steps distance between members

\ V

The Front Circle in Open Order The Column of Front Couples (or

Two steps distance between members Larger Ranks)

The distance in steps is equal to the
number of members in the rank

[4]

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REMARKS ON PROCEDURE

Steps generally performed forward and less frequently,
or not at all, backward, are most conveniently practiced
in the long flank rank formation; e.g., the arabesque, the
pas de zephyre, the heel and toe polka, etc.

The front circle is a formation offering many prof-
itable possibilities in addition to those of the front
column in open order. It possesses many other advan-
tages. Steps are performed sideward, forward, and
backward in this position; e.g., the mazurka hop, the
forward and backward pas de basque. The individuals
may be counted off to ones and twos and perform steps
in divided order, that is, in opposite and unlike direc-
tion to each other; e.g.,

(a) No. 1, four polka hops forward and backward.
No. 2, eight polka hops in place (sideward left and right).

(b) No. 1, four arabesque forward and four polka
hops backward.

No. 2, vice versa.

No. 2, three mazurka hops and a jete saute saute
left, then right sideward.

From the combinations given, other examples of
this kind can be easily arranged.

. In the column of front couples the dance steps are
generally either begun with the outer or inner foot;
occasionally also with the same foot. In this formation
the execution may be forward, diagonally forward and
backward outward, sideward (outward from each other),
backward, and, if the step is preceded or begun by a
facing of the individuals toward each other, sideward
in the line of march, or in opposite direction.

SUGGESTIONS. The couples have the inner hands

AESTHETIC DANCING

grasped shoulder or head high, and their outer hands
at the waist or at the side.

(a) Two schottische steps forward, two pas de
zephyre forward, and four running steps backward.

(b) Four arabesque diagonally forward outward and
inward, with slight facing toward and from partner, and
two glide polkas sideward in the line of march. Substitute
polka or heel and toe polka forward for the glide polka.

(c) Face partner and two mazurkas, a pirouette, and
a mazurka balance step in the line of march and in oppo-
site direction (with the other hands grasped) ; face forward
and eight waltz steps forward (or face forward, two waltz
steps forward, three steps forward and point and pause,
taken twice). The different round dances may be inter-
woven into combinations performed in this formation.

It is, furthermore, to be borne in mind that, beside
the usual execution of steps sideward, forward, and
backward, in the open order formation of the front
column, they may also be performed on the lines of a
square, a cross, a V, an inverted V, and a circle. The
execution of four glides on the lines of a square is
described on page 37.

The following example presents the manner of
arranging a step for performance on the lines of a cross :

Face left and four (two) polka hops forward and
backward ; repeat three times. Any other suitable step,
or combination of steps, may supplace the polka hops.

Illustrations of a step given on the lines of a V or
inverted V are the following:

(a) Moderate waltz time. Pas de zephyre left

diagonally forward (one measure) and waltz balance

step right in same direction (one measure); glide left

(and close) backward on same line (one measure) and pas

[6]

REMARKS ON PROCEDURE

de zephyre backward left ; that is, step left backward, hop,
and swing right leg forward (one measure). The same
right diagonally forward and return (four measures).

(b) Three mazurka hops left diagonally backward
and mazurka balance step (four measures) ; return with
three mazurka hops right diagonally forward and two
stamps (four measures); the same right diagonally
backward and return.

Circles of various sizes, depending upon the number
of steps employed in the execution, are described to the
left and right, generally forward, but also backward and
sideward; e.g., circle left, the left side being turned toward
the center, in eight polka hops forward, or four schottische
steps forward, etc. ; the backward execution would be in
a circle right; or circle left in eight glides left sideward,
or eight mazurka hops left sideward. In these exercises
the back is turned toward the center of the circle. If the
same exercises are performed to the left in a circle right
the face will be turned toward the center of the circle.

The use of these various lines during demonstra-
tions adds to the appearance of the work. They are
frequently employed in dance compositions.

The musical rhythms employed in the teaching of
the steps and their combinations are indicated by the
following metronomic values, which, however, may be
varied to meet the ideas of the instructor.

Two step IM.M. J. = 100-108 Mazurka f M.M. J= 132-140
Polka f M.M. J= 108-116 Waltz 4
March I M.M. J= 116-120 fast M.M. J. =92-96

Gallop f M.M. J= 132-140 moderate M.M. J. = 60-68

Schottische|M.M.J= 144-152 slow M.M. J=116
Gavotte I M.M. J= 108-1 12

I?}

AESTHETIC DANCING

The following compositions are suggested for accom-
paniment. Those starred (*) are given in this book,
pages 119 to 132.

Polka Time

Live and Love W. G. Votteler H. J. Votteler & Son, Cleveland

Motor March Geo. Rosey J. H. Remick & Co., New York

*Pizzicato Polka Johann Strauss Oliver Ditson Co., Boston

Waltz Time

Amoureuse (Slow) R. Berger Boosey & Co., New York

Reine Valse (Slow) P.Schwartz \Vill Rossiter, Chicago, 111.

Waltz Dream (Moderate) Oscar Straus Jos. W. Stern & Co., New York

Estudiantino (Moderate) E. Waldteufel McKinley Music Co., Chicago

Faust Waltz (Fast) C. Coote Oliver Ditson Co., Boston

*Venus Reigen (Fast) Jos. Gungl Oliver Ditson Co., Boston

Mazurka Time

Orchids Charlotte Blake Remick & Co., Detroit

*La Czarine Louis Ganne Oliver Ditson Co., Boston

Schottische to Gavotte Time

Benita Caprice M. B. Gilbert Bates & Bendix, Boston

Caprice R. King Oliver Ditson Co., Boston

Cupid's Garden M. C. Eugene T. B. Haines & Co., New York

In the Shadows Lincke

*Impromptu Schottische Julia Niebergall Normal College, Indianapolis

The aesthetic movements are adapted to slow music
(adagio), in which the arms are to be slowly and grace-
fully moved from one position to another, and, after
good control has been acquired, to faster music, as, for
example, a movement in each measure of moderate, and
later, fast waltz time. Compositions from the follow-
ing list may be selected :

Selections from "Venezia," Ethelbert Nevin.

Melody in F, Rubinstein.

* Barcarolle, from Tales of Hoffmann, Offenbach.

Amoureuse Waltz, R. Berger.

Other compositions from those given above.

POSITIONS OF THE FEET

With the descriptions of the separate steps the
reader will notice that most technical terms are accom-
panied by their corresponding gymnastic terms. They
have been suggested for those who do not wish to make
use of the frequently difficult technical terms. This
method is, however, not continued consistently in the
combinations, as it would lead to a clumsily constructed
terminology. Those wishing to use the gymnastic
nomenclature entirely will find this easily possible from
the suggestions given.

Attention needs further to be called to the fact that
all exercises, aesthetic movements, preparatory dance
steps, fundamental steps, and combinations are given
only to the left. That each execution left is followed
by that right is self-evident. In some instances side
and direction have even been omitted. Here it must
be understood that the description given refers only
to the execution of one side, usually left, as this is
most customary. The direction can be determined by
the nature of the step.

POSITIONS OF THE FEET

There are five principal positions of the feet used
in dancing. To employ them for physical training
purposes slight modifications are made, particularly
in the execution of some of the transfers, or steppings
into open positions (i.e., positions in which the feet
are apart). To clearly understand the terminology
used, the following terms should be understood:

POINTING consists of foot placing, with ankle
straightened, into a designated position, touching the
floor lightly with the toes. (See page 40.)

[9]

.ESTHETIC DANCING

STRIDING. The foot is moved about twice its length
and fully placed- on the floor (sole position) so that
the body weight will be equally distributed. (Seldom
occurring in dance steps.)

STEPPING. This is like the preceding, but the weight
is completely transferred, so that the stationary foot is
thoroughly extended and resting on the toes.

FIRST POSITION. (1st.) Heels together, toes turned
outward to an angle of about 45-55°; weight more on
the balls than on the heels; knees straight and touching.
(Fig. 1.)

SECOND POSITION. (2nd.) This is obtained by a
sideward movement of the foot. In pointing, the
foot is somewhat turned outward, but in striding or
stepping into 2nd the moving foot is directed as in the
1st position. The heels are on a line directed side-
ward. (Fig. 2.)

THIRD POSITION. (3rd.) It is designated as left
3rd in front (in rear), or left anterior (posterior) 3rd.
The left heel is brought to the instep of the right foot;
feet at right angle to each other. (Fig. 3.)

The open 3rd is generally termed the INTERMEDIATE
POSITION. It is indicated by direction, as, forward
outward, or backward outward, in which pointing, strid-
ing, and stepping take place. (Fig. 4.)

FOURTH POSITION. (4th.) This consists of a move-
ment (pointing, stepping, striding) forward or back-
ward, and is designated as 4th in front (anterior) and
4th in rear (posterior). The heels are on a line which
is directed forward and backward. (Fig. 5.)

FIFTH POSITION. (5th.) As a sole position, weight
on both feet, it will not be used. It occurs, however,
frequently as a pointing and flowing (raised) position.

POSITIONS OF THE FEET

It is named as the 3rd and 4th; viz., left in 5th in front
(anterior 5th) when the foot is forward, in which posi-
tion the heel of the left foot is touching the toes of the
right. In a pointing position, when the heels are raised
from the floor by extending the ankle and bending the
knee, the left toes touch the floor at the place where
the heel was. The same takes place in the 5th position
in rear, the legs being crossed. (Fig. 6.)

The Flowing (Raised) Positions

THE LOW POSITION. The foot is raised so that the
toes of the pointing foot are slightly above the height
of the ankle.

THE HALF HIGH POSITION. The toes of the extended
foot are about knee high.

THE HIGH POSITION. The leg is raised hip high.

THE SUPER HIGH POSITION will probably seldom
occur in dance steps used for gymnastic purposes, but
may be used as a preparatory exercise to supple the
hip joint.

Different positions of the feet may occur in the
raised positions, but have been omitted as the ankle is
always to be extended when the feet are raised.

In the closed positions (1st, 3rd, and 5th) the toes
of the raised foot point to the place occupied by the
heel of the same foot in the sole position; e.g., Fig.
7 a and b. The 3rd and 5th are taken in front (an-
teriorly) and in rear (posteriorly).

In the open positions (2nd, intermediate, and 4th)
the toes point in the direction indicated with the knee
well turned outward. The intermediate and 4th are
taken in front and in rear. (Fig. 8.)

[w]

AESTHETIC DANCING

POSITIONS OF THE ARMS

In all open positions the hand is narrowed by draw-
ing the thumb inward and dipping the middle finger,
bringing them almost parallel to each other. In the
closed positions the tip of the thumb is moved toward
the middle finger at about the first distal joint; they
need not, however, touch. A low or high position sig-
nifies a position slightly below or above the ordinary.

FIRST POSITION. The arms hang loosely at the
side when used in aesthetic movements, but are slightly
rounded in front of the body, fingers almost touching
(a closed position), when this position is indicated in
a dance step. (Fig. 6.)

SECOND POSITION. This is an open position (i.e.,
hands slightly more than shoulder-width apart, palms
toward each other) ; the gently bent arms are directed
obliquely forward downward and outward. (Fig. 9.)

THIRD POSITION. This is a closed position, the arms
being rounded to a circle, finger tips almost touching in
a plane about level with the shoulders, palms toward
the body. The low 3rd would be slightly below this
height. (Fig. 10.)

FOURTH POSITION. This is an open position. The
arms are raised, slightly curved, obliquely fore-upward
and outward, palms toward each other and slightly
more than shoulder-width apart. (Fig. 11.)

FIFTH POSITION. This is a closed position, finger
tips almost touching, and palms turned toward each
other. The arms are rounded to a circle which is
rather in front than above the head. If directly
above the head it may be termed a high 5th position.
(Fig. 12.)
[12]

POSITIONS OF THE ARMS

THIRD AMPLIFIED POSITION. Arms are sideward, a
little lower than shoulder line, and slightly bent at
elbows to prevent the impression of rigidity. Palms
are generally forward, but they may be downward or
upward. (Fig. 13.)

INTERMEDIATE POSITION. Named according to the
arm uppermost; as, left intermediate. The left arm is
in the 5th and the right in low 3rd or high 1st position.
(Fig. 14.)

INTERMEDIATE AMPLIFIED POSITION. Named ac-
cording to the forward arm; as, left intermediate ampli-
fied. The left arm is raised obliquely forward and
outward, slightly above shoulder level, the right ob-
liquely backward downward and outward. High : the
forward arm is obliquely fore-upward and outward.
Both arms are in one line. Low: when the forward
arm is below shoulder line. The palms are generally
turned downward; for some characteristic movements
upward. (Fig. 15.)

LATERAL POSITION. This is named according to
the side toward which the arms are raised. One arm
is in the 3rd (low or ordinary) and the other in 3rd
amplified position. (Fig. 16.)

HANDS AT WAIST (FRONT SUPPORT). The back of
the fingers, close to the knuckles, especially of the
index and middle fingers, is placed on the hips and
slightly in front, so that the wrist will be curved some-
what upward and outward and the elbows directed
sideward or slightly backward. (Fig. 1.)

[13]

AESTHETIC DANCING

AESTHETIC MOVEMENTS

I. Simple Arm Movements

1. ARM RAISING TO 3RD AMPLIFIED POSITION

Arms to 3rd amplified — raise, lower

The movement begins from the position of the
arms at the side of the body. Raise: both arms are
raised forward, hands almost touching and the arms well
rounded, to a low 3rd position; i.e., a rounded position
below shoulder-height. The palms are turned toward
each other. The movement continues from here to
the 3rd amplified with the back of the slightly bent
wrists leading. In the terminating position the palms
are turned forward. If desired, the palms may be
downward or upward. This should be indicated.
(See description of arm positions.) At first slowly,
later with increasing speed. If difficulty in accurate
execution occurs take it left, right, in alternation, and
finally simultaneously. Lower: the arms are lowered
directly downward, the wrist again slightly bent but
leading with the palmar side. These and all similar
movements to follow should be of a flowing nature,
the gently bent arm and wrist dragging the hand after
them. Exaggerated wrist bending does not add to,
but, on the contrary, detracts from the beauty of the
execution. Combined with:

Raising heels (rising on toes), turning head, bend-
ing trunk slightly sideward.

Pointing into 2nd position and turning head.

Alternated with pointing and dance steps adaptable
to the rhythm employed.

For commands for pointing exercises see descrip-
tion of dance steps, page 40.
[14]

.ESTHETIC MOVEMENTS

2. ARM RAISING TO THE INTERMEDIATE AMPLIFIED
(ORDINARY, HIGH, OR Low POSITION)

Arms to left (right) intermediate amplified - - raise,

lower

The arms, again beginning from the side of the
body, move gracefully curved toward a low 3rd posi-
tion with palms turned toward each other and then
straighten with the dorsal side of the gently bent
wrists leading into the indicated position. (See de-
scription of arm positions.) The palms are turned
downward (generally) as the position is reached. The
arms are lowered directly downward, the slightly bent
wrist leading. Alternated with:

Pointing and dance steps adaptable to the rhythm
employed. Combined with:

Heel raising, pointing in intermediate position, head
turning toward forward hand, trunk lowering toward
forward arm.

The trunk is turned about i to the side indicated
and at the same time lowered with the spine straight
in the direction of the arm. The movement takes
place chiefly in the hip joint.

3. ALTERNATIONS OF 1 AND 2

Raise arms to 3rd amplified and to left intermediate
amplified positions alternately — one, two, three, four
(or raise, lower, etc.)

These alternated movements are then combined as
suggested under the single exercises.

[15]

AESTHETIC DANCING

4. ARM MOVEMENTS FROM HANDS AT THE WAIST

(FRONT SUPPORT)

(a) Arm raising to the 5th position. Raise left arm
to (high) 5th position — raise, lower

The arm is raised by moving the hand from its
position at the waist in a straight line to the indicated
position. (See description of arm positions.)

To acquire perfect execution it may be practiced
left, right, in alternation, and then simultaneously.

Alternated with pointing and dance steps adaptable
to the employed rhythm.

Combined with heel raising, trunk turning, and
bending sideward.

(b) Arm raising to intermediate amplified position
This is similar to the raising from the side of the

body. See 2 for combinations.

positions alternately

Combinations are suggested under the single
exercises.

5. ARM MOVEMENTS FROM THE SRD AMPLIFIED

POSITION

(a) Move arms to 3rd position — one, two

The palmar side of the wrist leads in the move-
ment, regardless whether the palms are directed for-
ward, downward, or upward in the starting position.
In the return movement the back of the slightly bent
wrist leads. It may be practiced left, right, in alter-
nation, and simultaneously.

When one arm is moved to low 3rd with both in the
[16]

ESTHETIC MOVEMENTS

starting position the lateral position (see description
of arm positions) is obtained. Combined with:

Knee bending; pointing in 4th and 2nd position
with one arm moving.

Knee raising forward.

Leg raising (of similar side as arm) forward, side-
ward, and backward.

Head turning toward moving arm.

Trunk bending sideward both toward and from
the moving arm (one arm), and forward (with both
arms).

(b) Raise arms to 5th position — one, two

The form of execution resembles the previous ex-
ercise; i.e., the palmar side of the wrist leads. The
return movement is also the same; i.e., the back of the
wrist leads. It is practiced left, right, alternately, and
simultaneously. Combined with:

Head turning and lowering backward.

Trunk bending sideward (one arm).

(d) Circle arms outward through 1st and 3rd positions
to 3rd amplified position - - one, two

The arms are lowered as previously described, pass
through the 1st position, and are raised to the 3rd
position, the wrists gently bent on one. On two they
are moved to 3rd amplified again, dorsal side of the
wrist leading. It may be given left, right, alternately,
and simultaneously.

Single arm circling combined with bending trunk
sideward to the same and opposite side of the arm

circling.

[17]

ESTHETIC DANCING

(e) Circle arms inward through 5th and 3rd position
to 3rd amplified position — one, two

The arms are raised to 5th as described and then
lowered directly downward to 3rd without turning
the hand on one, and moved from here to 3rd amplified
on two. Combined as the previous exercise.

(f) Alternations of one of the above with any other

Arm circling may also be practiced from the posi-
tion at the side of the body as :

Outward — passing through 5th to 3rd amplified
position and to the side.

Inward — passing through 3rd amplified to 5th
position and then to the side.

II. Sequences of Arm Movements

These exercises may be alternated with dance steps
adaptable to the rhythm employed for the arm move-
ments. It is advisable to use this method of teaching
arm movements singly, before combining them with leg
and trunk exercises, so that they will be correctly per-
formed before adding the latter; e.g., Raise arms to 3rd
amplified position —- one. Move left arm to 3rd position
-two. Return — three and four. Two glides to the left
-five and six; step to left- -seven; cross right in rear
and bend knees, courtesy — eight. Given in moderately
fast waltz time. The arm exercise may be executed
twice (to left and right) and the dance steps likewise.
The return to the first foot position in this alternation
occurs on the first arm movement. At first, however,
exercises may be arranged in which the dance step

ESTHETIC MOVEMENTS

terminates in the first position before the arm move-
ment begins; i.e., on the fourth, or, if repeated, eighth
count, as, three glides to the left (right) and close.

When the arm movements are fairly well mastered
the exercises given in column A are added, which then
may again be alternated with dance steps until satis-
factorily executed, whereupon those in column B are
added. Definite progression need not be followed,
for it may be found that with some classes the exercises
in column B may be begun before entirely completing
those of column A. Alternating these exercises, in
the procedure of teaching, with dance steps or leg
exercises of two and four counts is to be recommended,
however, so that the class advances equally in dancing
and in aesthetic movements. This will enable pupils
to combine arm movements with difficult steps more
readily.

It is, furthermore, to be observed that a stepping or
pointing movement signified to be executed on one
has its return movement on four; this is omitted in the
description to save space; while if performed on two
its return movement occurs on three. The latter also
applies to the trunk and head exercises. Any devia-
tion from this rule in the following descriptions will
be indicated.

1. Raise arms to 3rd amplified — one. Move left arm to
low 3rd — two. Return — three and four

If the previously described simple exercises have
been learned, this one will offer little difficulty. Exag-
gerated movements must be avoided. After practic-
ing left and right take both arms alternately and then
simultaneously. This procedure, which may be varied

[19}

.ESTHETIC DANCING

and adapted to the skill of the class, may be used in all
the sequences following.

EXAMPLES OF COMBINATIONS (WITH THE LEFT ARM)

(a)
(b)
(c)

Lower trunk forward on 2

Bend trunk left on 2

Bend trunk right on 2

Point left forward (4th) on 1

Or step right backward on 1
(e) Step left forward (4th) on 1

Or point right backward on 1
(/) Step left forward into intermedi-
ate on 1
(g) Point left sideward (in 2nd) on 1

Or step right sideward on 1

(h) Point left back-inward on 1

And point left in 4th or 2nd on 2

And bend trunk left on 2. (Fig. 5)

Add: Turn head left on 2

And bend trunk right on 2

Add: Turn head right or left on 2

And bend trunk right on 2

| turn right (on ball of left foot) on 2

* Turn-bend trunk slightly left on 2

Add: Look at pointing foot on 2.

(Fig. 17)

Bend trunk right on 2
Add: Turn head right on 2

Combine, moving both arms:

(0 Lower trunk forward on 2
(j) Point left forward on 1

Or step right backward on 1

Bend trunk left on 2

Commands, examples:

(a) Step left forward (or point right sideward, etc.) and
raise arms to 3rd amplified — one (or raise). Bend
trunk right and move left arm to 3rd position — two (or
bend). Return- -three and four (or straighten, lower).

(b) Raise arms to 3rd amplified — one. Lower trunk
forward and move arms to 3rd - - two. Return — three
and four.

2. Raise arms to 3rd amplified — one. Raise left arm to
5th (Fig. 3) — two. Return — three and four

For the execution of the raising movement to 5th
see ARM MOVEMENTS FROM SRD AMPLIFIED POSITION.

* The trunk is turned about | turn to the left and then slightly bent in
the direction of the pointing foot. (Fig. 17.)

[20]

AESTHETIC MOVEMENTS

EXAMPLES OF COMBINATIONS
A B

(a) Lower trunk forward (half) on 2

(b) Bend trunk right on 2 And look at hand

(rf) * Turn trunk left and bend back-
ward on 2
(e) Place left foot backward (in 4th) And bend trunk to right on 2

on 1
Or step right forward (in 4th) on 1 Add: Head turning right or looking

at hand on 2
(/) Point right forward (4th) on 1 As under e

Or step right backward (4th) on 1
(g) Step to left (in 2nd) on 1 As under e. (Fig. 18)

Or point right in 2nd on 1

(/?) Step left forward in intermediate As under e
(obliquely forward outward)
on 1

Or point right backward in inter- As under d on 2
mediate on 1 \ turn right on 2 (executed on ball of

left foot)

Combine, raising both arms, with:

Suitable exercises of the above, as e.

Trunk bending forward and backward on two.

Stepping forward or pointing backward on one and
trunk bending backward on two.

Combinations in which pointing with or without
trunk and head exercises are executed on two may be
arranged from the above if desired.

3. Raise arms to 3rd amplified — one. Circle left arm
outward through 1st and 3rd — two. Return -
three (the arm again moves to 3rd amplified) and four
For the description of the circling see ARM MOVE-
MENTS FROM 3RD AMPLIFIED POSITION.

EXAMPLES OF COMBINATIONS
A B

(a) Lower trunk forward on 2

Bend trunk left on 2 And point left in 4th or 2nd on 2

* Turn the trunk £ to the left and simultaneously bend slightly backward.

]

AESTHETIC DANCING

(rf) Point left forward (4th) on 1

Or step right backward on 1
(e) Step left forward (4th) on 1

Or point right backward on 1
(/) Step left forward intermediate

on 1
(g) Point left sideward (in 2nd) on 1

Or step right sideward on 1

(h) Point left back-inward on 1

And bend trunk left on 2

Add: Turn head left on 2

And bend trunk right on 2

Add : Turn head right or left on 2

And bend trunk right on 2

| turn right (on ball of left foot) on 2

Turn-bend trunk slightly left on 2.

(Fig. 17)

Add: Look at pointing foot on 2
Bend trunk right on 2
Add: Turn head right on 2

Combine, circling both arms:

(0 Lower trunk forward on 2
(j) Point left forward on 1

Or step right backward on 1

Bend trunk left on 2

4. Raise arms to 3rd amplified — one. Circle left arm
inward through 5th and 3rd — two. Return — three
(the arm again moves to 3rd amplified) and four

For description of the circling see ARM MOVEMENTS

FROM 3RD AMPLIFIED POSITION.

EXAMPLES OF COMBINATIONS

And look at hand

(a) Lower trunk forward (half) on 2
(6) Bend trunk right on 2

(d) Turn-bend trunk right and back-

ward on 2

(e) Place left foot backward (in 4th) And bend trunk to right on 2

on 1
Or step right forward (in 4th) on 1 Add: Head turning right, or looking

at hand on 2
As under e

As under e

(/) Point right forward (in 4th) on 1
Or step left backward (4th) on 1
(g) Step to left (in 2nd) on 1

Or point right in 2nd on 1

(/i) Step left forward in intermediate As under e and d
(obliquely forward outward)
on 1

Or point right backward in inter-
mediate on 1

£ turn right on 2 (executed on ball of
left foot)

AESTHETIC MOVEMENTS

Combine, circling both arms, with:

Suitable exercises of the above, as e.

Trunk bending forward and backward on two.

Stepping forward or pointing backward on one and
trunk bending backward on two.

Combinations in which pointing with or without
trunk and head exercises are executed on two may be
arranged from the above if desired.

5. Raise arms to left intermediate amplified — one. Raise
left arm to 5th — two. Return — three and four

This exercise is performed left, right, and in alter-
nation, but seldom simultaneously.

Some examples are suggested; others may be
arranged.

EXAMPLES OF COMBINATIONS

A B

(a) Pointing left forward in interme- And bend trunk backward (opposite

diate position on 1 direction to the step) on 2 *

(b) Step left in intermediate position Look at hand on 2

on 1 Turn head over opposite shoulder on

2. (Fig. 19)

ward

The combination under a may be changed as follows :

Point left forward in intermediate position and
bend right knee - - one. Bend trunk forward, toward
pointing foot, and lower left hand over foot — two.
Return — three and four. As Fig. 20, excepting that
the right arm is in 3rd amplified.

* This is chiefly a bending backward of the upper trunk (i.e., of the
thoracic spine); the lumbar spine should not take part in the movement.

[»3\

ESTHETIC DANCING

6. Raise arms to 3rd amplified — one. Move arms to
left intermediate position (Fig. 14) — two. Return
— three and four

After raising arms to 3rd amplified on one, the left
arm is raised with the palmar side of the slightly bent
wrist leading into the indicated position, which may be
the ordinary or the high intermediate; i.e., the left arm
is in the ordinary or the high 5th position. Simul-
taneously the right arm moves in a like manner to a
corresponding position in front of the body about mid-
way between waist and shoulder and well out from the
body. The hands are vertical to each other.

Raising the upper arm to a high position requires
a corresponding raising of the lower arm. (For the
intermediate position see description of arm positions,
page 13.)

EXAMPLES OF COMBINATIONS
The ordinary and high positions may be alternated.

A B

(a) Bend trunk right on 2 And look at hand

(b) Turn trunk right on 2

ward on 2

(d) Place left foot backward (in 4th) And bend trunk to right on 2

on 1

Or step right forward (in 4th) on 1 Add: Head turning right, or looking

at hand on 2

(e) Point right forward (in 4th) on 1 As under d
Or step left backward (4th) on 1

(/) Step to left (in 2nd) on 1 Turn trunk left and bend backward

slightly on 2
Or point right in 2nd on 1 Add: Head turning right. Fig. 21

showing right intermediate

(g) Step left forward in intermediate As under d and c
(obliquely forward outward)
on 1

Or point right backward in inter- f turn right on 2 (executed on ball
mediate on 1 of left foot)

ESTHETIC MOVEMENTS

Combinations in which pointing with or without
trunk and head exercises are executed on two may be
arranged from the above if desired.

7. Raise arms to left intermediate amplified — one.

Circle left arm outward to 5th — two and three.
Lower arms — four

From the left intermediate position the left arm
is lowered toward 1st position, the gently bent wrist
leading with the palmar side, on two, and, continuing
the circling, is raised to 5th position, with the back of
the wrist leading, on three. On four the hand is turned
palm downward and both arms lowered through the
intermediate amplified position to the side.

8. Raise arms to left intermediate amplified — one.

Circle left arm inward through 5th and 3rd to inter-
mediate — two and three. Lower arms — four

The circling is the opposite from the seventh exer-
cise, the arm moving first to 5th and then to 3rd on
two and returning to the intermediate amplified position
on three.

EXAMPLE OF COMBINATIONS
A B

Step or point in intermediate position Bend trunk backward (opposite di-
on 1 rection to the stepping leg) on 2

9. Raise both arms toward high 1st and move right arm

backward and raise left to 5th - - one and two.
Lower left to intermediate amplified — three. Lower
both arms — four

When alternated the fourth movement leads directly
to the circling of the right arm to 5th and of the left
into the backward intermediate amplified position.

ESTHETIC DANCING

EXAMPLES OF COMBINATIONS
A B

Step left forward in intermediate on 1 Bend trunk backward in opposite
and replace foot on 4 direction to the stepping leg on 1

and straighten on 2

This execution may be varied by raising the right
arm to 3rd amplified, instead of backward to the inter-
mediate amplified position on one and two, and the left
to 3rd amplified instead of to the intermediate ampli-
fied position on three.

Stepping may then be performed to the left (on
one and four) and the trunk bending sideward to the
right on one and two.

10. Raise arms to 3rd amplified — one. Raise left arm
to 5th — two. Move arms to left intermediate ampli-
fied- -three. Lower arms -four

On two one or both arms may be raised to 5th
position.

This exercise may be varied by moving arms to
left intermediate instead of 5th on two.

Alternated with dance steps and four-movement
leg exercises.

HI. Combined Sequences

1. Raise arms to 3rd amplified — one. Move left arm
to low 3rd — two. Return — three and four

EXAMPLES OF COMBINATIONS
A B

(a) Bend trunk to the left on 1
Straighten and bend to right on 2

(b) Point left in 2nd on 1; in 4th on 2 Bend trunk to the left on 2

back-inward on 2 Add: And turn head right

(d) As c. Add: And bend knees Add: And turn head right on 2

(courtesy) on 2. (Fig. 22)

[26]

ESTHETIC MOVEMENTS

(e) As b, but step to the right (or As a

forward right) on 1
(/) As c, but step to the right on 1 As b

Add: And bend knees

2. Raise arms to 3rd amplified — one. Raise left arm
to 5th (Fig. 3) — two. Return — three and four

EXAMPLES OF COMBINATIONS

(a)

Bend trunk to the left on 1
Straighten and bend to right on 2
Step to the left on 1. Point right

forward (in 4th) on 2
(c) Step to the right on 1. Point left

back-inward on 2

Look at hand on 2

Bend trunk right on 2

Bend trunk right on 2
Add: Look at hand

EXAMPLES WITH RAISING BOTH ARMS TO STH POSITION

(</) As c

(e) Step to left (1) and pirouette (2), step to left (3) and close (4)

This should be practiced first with raising arms to 3rd and 1st positions

3. Raise arms to 3rd amplified — one. Circle left arm
outward through 1st and 3rd - - two. Return to
3rd amplified- -three. Lower arms- -four

EXAMPLES OF COMBINATIONS

(a) Bend trunk left on 1. Straighten

and bend right on 2. Return
on 3 and 4

(b) Bend trunk left on 1. Circle

trunk forward and to the right
oblique forward position on 2.
Return on 3 and 4 *

the right so trunk will be bent
to right on 2. Straighten on 3

(rf) Step to right on 1. Point left for-
ward (4th) on 2

(e) Step to right on 1. Point left
back-inward on 2

Bend trunk to left on 2

Bend trunk to right on 2

* After the bending of the trunk to the left, on one, it is lowered obliquely
left forward and moved horizontally to the right oblique forward position
on two, returned to the first position on three, and straightened on four. In
the next exercise the circling is continued until the trunk is bent right side-
ward on two and straightened on three.

l*7\

.ESTHETIC DANCING

4. Raise arms to 3rd amplified — one. Circle left arm

inward through 5th and 3rd- -two. Return to 3rd
amplified — three. Lower arms -—four

Combinations with this exercise may be easily
arranged from the suggestions under the previous
exercises.

5. Raise arms to left intermediate amplified — one.

Raise left arm to 5th — two. Return — three and
four

Combine with:

(a) Step left in intermediate on one. Raise right
leg backward on two. Return on three said four. Add:
Slight trunk bending backward and looking at hand
in 5th on two.

(b) Step right backward into intermediate position
on one, bend right knee, bend trunk forward over left
foot, and lower left hand over foot instead of raising
arm to 5th on two. Return on three and four.

6. Raise arms to 3rd amplified — one. Move arms to

left intermediate position (Fig. 14) — two. Return
— three and four

EXAMPLES OF COMBINATIONS
A B

(a) Step to left on 1. Point right for- Bend trunk right on 2

ward on 2, or raise right leg for-
ward on 2. (Fig. 8)

(b) Step to left on 1. Point right Turn-bend trunk to right (slightly

sideward on 2 forward) on 2, looking at right foot

back-inward on 2 Turn-bend trunk left backward

(slightly) on 2

Bend trunk to left on 1. Straighten
and bend to right on 2. Return
on 3 and 4

•c:

*»-*»

•^ -i

- r-

AESTHETIC MOVEMENTS

Arrange exercises beginning with pointing instead
of stepping; also by executing the first two movements
under A to left and right continuously and adapting
the arm movements to it.

7. Raise arms to left intermediate amplified — one.

Circle left arm outward to 5th — two and three.
Lower arms — four

Combine with :

Step right backward in intermediate position —
one. Bend right knee and bend trunk forward over
left foot — two. Move trunk to right and straighten
knee and trunk — three. Replace foot — four.

8. Raise both arms toward 1st position, move right arm

backward, and circle left to 5th position - - one and
two. Lower left to intermediate amplified position
— three and four. Circle left outward to 5th posi-
tion — five and six. Lower arms — seven and eight.
Slow execution

Combine with:

Step left into intermediate position — one and two.
Transfer weight to right, bend right knee, lower trunk
forward over left foot- -three and four. Circle trunk
to right and straighten trunk and leg — five and six.
Replace foot — seven and eight.

The arm movements executed on one and two
should be practiced left and right in alternation and
continuously. They may then be combined with
stepping left and right forward into intermediate

position.

[29}

ESTHETIC DANCING

9. Raise arms to 3rd amplified — one. Raise left arm

to 5th - - two. Move arms to intermediate ampli-
fied - - three. Lower arms — four

On two one or both arms may be raised to 5th posi-
tion. Combine with:

Step to right — one. Point left back-inward — two.
Point left forward in intermediate position (and bend
right knee) — three. Replace left foot — four. Add:
Bend trunk right on two. Bend trunk forward over
left foot on three and straighten on four.

Vary the arm exercise by assuming left intermediate
position instead of the 5th of one or both arms on
two.

Combine with the same movements as above.

10. Raise arms to 3rd amplified position — one. Salu-

tation left from chin * - - two. Return — three and
four

Combine with:

(a) Step left forward in intermediate position on
one and return on four. Add: Bend trunk backward
toward the rear leg on two and straighten on three.

(b) Step to right on one. Point left back-inward
on two. Return on three and four. Add: Bend trunk
right on two and straighten on three.

* The index finger is brought to the chin and again moved about nine to
twelve inches from it; here it pauses momentarily. The head is slightly
turned left so that this small movement will be executed obliquely forward
outward.

ESTHETIC MOVEMENTS

11. Raise arms to 3rd amplified position — one. Open
salutation * — two and three. Lower arms — four

Combine with:

Step to left — one. Point right back-inward —
two and three. Close right — four. Add: Bend trunk
left on two and three. Straighten on four.

On two a cross step right with bending right knee
may be taken.

Other combinations may be arranged.

12. ^Esthetic movements with the pirouette

In arranging combinations of the pirouette the
movement following it usually consists of stepping
to the side and then pointing forward, sideward, or
back-inward; this last may be combined with bending
the knees.

The whole exercise is performed in four counts to
each side.

The arm movements given under the pirouette
(p. 66) may be added as described there. These are
followed by a movement of the arms into 3rd ampli-
fied on the step to the side, and some position suitable
to the pointing which occurs on the fourth count.

EXAMPLE: Pirouette to the left, arms moving from
low 3rd amplified position to 3rd - - one and two; step to
the left, raise arms to 3rd amplified position - - three ; and

* From the 3rd amplified position the arms are slowly lowered toward the
side and raised to a high 1st position, hands together and palms turned down-
ward. The hands are then turned palms upward and moved outward so
that the arms will be directed obliquely fore-downward and somewhat out-
ward. This is executed on two and three. Later the exercise may be varied
by executing this part more rapidly and then adapting it to different leg
exercises.

ESTHETIC DANCING

point right back-inward, bend trunk left, and raise
arms to 5th position — four.

Other leg and arm movements terminating in a
similar manner — i.e., in an open position of the feet
— may be arranged.

13. ^Esthetic movements with leaping

Leap to the left, point right back-inward, bend
knees and trunk forward, and swing arms to 3rd am-
plified and to 1st position — one. Straighten knees,
trunk, and arms to 3rd amplified, palms upward —
two. Right — three and four.

This exercise may be varied readily by changing
the arm position. It may be preceded or followed by
another leg exercise of two counts combined with arm
movements, or by the pirouette with different arm
movements.

14. ^Esthetic movements with stepping and pointing

Three steps forward, backward, or sideward, using
the front or rear cross step with the latter, and then
pointing in some direction, may be combined with
appropriate arm movements selected from the preced-
ing. To the pointing, trunk exercises should be added.
An exercise of this kind requires eight counts when
executed left and right.

EXAMPLE : Three steps to the left with a front (or
rear) cross step and raise arms to 3rd amplified position
on one, move right arm to 3rd position on two, and move
to 3rd amplified position on three. Point right forward
and move arms to intermediate position on four. Right
onfwe to eight. Add trunk bending sideward on four and
on eight; also slight knee bending on two and six.
[32]

AESTHETIC MOVEMENTS

The arm movements may be varied as follows:

(a) The right arm is raised to 5th position on
two.

(b) Both arms are moved to 3rd position on two.

IV. Six- and Eight-Movement Sequences of Arm

Exercises

1. Raise arms to 3rd amplified — one. Raise arms to
5th position — two. Return to 3rd amplified — three.
Raise arms to 5th position — four. Return to 3rd
amplified — five. Lower arms — six.

Variations of this exercise can be arranged along
the following suggestions :

(a) Raise one arm to 5th on two and four.

(b) Raise arms to intermediate position on two
and four.

(d) Raise arms to intermediate position on four.

(e) Lower arms to intermediate amplified position
on three and five.

(/) Raise arms to intermediate position on two and
four and intermediate amplified position on three. And
so forth. Combine with:

Step to the left — one. Point right back-inward
and bend trunk left — two. Point right sideward —
three. Point right forward and bend trunk right
— four. Point right sideward — five. Transfer and
close left — six.

Previously learned combinations may be readily
arranged in this manner with the above suggested
exercises.

133]

AESTHETIC DANCING

The six-movement sequences are easiest composed
by performing the second position twice as illustrated
in the example given, and the eight-movement se-
quences by executing the second position three times.

When arranging the six-movement sequences to
music two of the movements will have to receive a
double time value; i.e., two counts, if the others are
receiving one count, in order to have them fit musical
phrases. The following example will illustrate:

Step left in intermediate position and raise arms to
3rd amplified position - — one. Raise arms to 5th posi-
tion-— two. Lower arms slowly to 3rd amplified and
bend upper trunk backward - - three and four. (Fig. 4.)
Transfer weight, bend right knee, bend trunk forward
toward left foot and lower left arm to low intermediate
amplified (hand over foot) - -five and six. (Fig. 20.)
Straighten trunk and leg, close left, and circle arm
through 1st to 3rd amplified position — seven. Lower
arms - - eight.

The two counts are usually given to large move-
ments, particularly those requiring transfers and large
trunk bendings, and should, if in any way possible, be
added to the 3rd and 4th movement.

2. Raise arms to 3rd amplified position — one. Move
arms to right (left) intermediate position — two.
Return to 3rd amplified position -— three. Move left
arm to 3rd (arms in right lateral position) — four.
Return to 3rd amplified position — five. Move arms
to right intermediate position — six. Return to 3rd
amplified position — seven. Lower arms — eight

Variations of this exercise, like the previous one,
are easily arranged. A few are suggested:
134]

DANCE STEPS

(a) Raise arms (or one arm) to 5th position on two
and six.

(b) Raise arms to 5th position on four.

(d) As e, but the 5th position on four.

These exercises are to be combined with pointing,
stepping, walking, or running, J and | turns, and trunk
and head exercises in similar manner as those of the
four-movement combined sequences.

EXAMPLES : (a) Point left sideward - - one. Turn
trunk right and bend slightly left and backward (Fig.

21) — two. Return trunk — three. Point left back-in-
ward, bend knees (courtesy), and bend trunk right (Fig.

22) — four. Return to 3rd position — five. Repeat the
second movement — six. Return to 3rd position —
seven. Close left - - eight.

(b) As a, but perform a transfer and } turn right
(in place of courtesy, etc.) on four and return on five.

DANCE STEPS

GlissS, chasse, chasse left and Assemble (Three Glides
to the Left, the last unfinished, and Close)

(The hands are at the waist)
Command, Glide (7), glide (2), glide (3), close (4)

1. Slide left sideward on the ball of the foot slightly
bending both knees with transferring the weight.
Straighten the knees, simultaneously closing with the
right foot in the first position and rising on the toes.

The momentary closing with the right foot is executed
on the last part of the count, on about the third quarter
of a dotted half note when given in waltz time.

[35]

AESTHETIC DANCING

2. Upon closing with the right foot immediately
repeat as described under 1, so that the closing of the
right foot and the sliding sideward of the left resembles
the chasing away of the left foot by the right.

3. The movements under 2 are repeated.

4. Assemble. The right foot closes firmly to the
left in the first position. Encourage graceful bending
and straightening of the knees during the gliding.
Frequently occurring faults are sliding with stiff knees,
pointing the foot sideward in the direction of the exer-
cise during gliding, and turning trunk toward the side
of the glide.

Tempo. Fast waltz time is the most suitable
rhythm to teach this step with, each measure equalling
one count. Later it may be given in f and fast f time
with two counts to each measure. This demands
faster execution and consequently more control.

Arm movements. Repeat the combination with
arms in 3rd amplified during the first three counts,
placing the hands at the waist during the fourth count.

Four Glides to the Left

Vary the above combination by adding an unfinished
glide (gliding again to the left); i.e., the right foot does
not close as described above, but is rapidly raised to low
first on the last part of the fourth count, thus preparing
for the execution to the right.

Tempo. This requires a slower rhythm at first
than when using the assemble, because of the inhibi-
tion required to control the momentum and change the
movement to the opposite direction. Later the same
rhythms may be used as given above.
[36]

DANCE STEPS

Three Glides and Close, Left and Right Sideward,

executed on a Right Square

To the description of this exercise to the left as pre-
viously given a J turn right is executed with the closing
of the right foot. The three glides are then executed
to the right and the J turn right is again added, but
this time to the closing of the left foot. A repetition
completes the square. The turn is always made at
the corners of the square and is always to the right
on a right square, which begins with executing the
combination to the left. Execution on a left square
(facing left) begins with an execution of the combination
to the right.

Tempo. The rhythm is the same as that of the
preceding exercises in gliding.

Arm movements. Raise arms to 3rd amplified or
5th position and place hands at waist on four. Two
different positions may be assumed, e.g., the 5th posi-
tion on one side of the square, and the 3rd amplified
position on the next side.

Four Glides Left and Right Sideward, on a

Right Square

This resembles the execution of the previous exercise,
to which is added an unfinished glide.

Tempo. The rhythmical progression would be
moderate to fast waltz, -f-, and £ time. The arm move-
ments of the previous exercise may be added.

Three Glides Left Sideward

This is executed only in mazurka (seldom in slow
waltz) time and its execution is easily understood, as
it is the same as that of four glides with, one glide

(37]

AESTHETIC DANCING

omitted. It is also executed upon squares or diagonal

lines.

Arm movements. They may be added as in previ-
ous exercises.

Step Left Sideward and Peasant Courtesy

(Hands at waist.) Abbreviated: Step-courtesy

Command, Step left sideward — one. Cross right foot
in rear (point back-inward) and bend knees

- two. (Fig. 22.)

The stepping foot is raised ankle high with toes
pointing, and then placed two foot-lengths distant on
the floor, transferring the weight. The right is raised
similarly, placed crosswise (back-inward) behind the
left into open 5th position, and both knees are bent
about half-deep. This is generally called peasant
courtesy for short, although the characteristic part of
the courtesy is crossing behind in 5th and bending
knees with grasping the skirt and slightly raising and
lowering the arms and then returning to position.
When combined with arm movements it loses the
nature of the courtesy. The shoulders must be kept
turned forward. The following exercises may be pro-
gressively and gradually added to the step-courtesy.

Arm and other movements.

1. Raise arms to 3rd amplified on one. Move right
arm inward to the left lateral position on two. Do not
return the hands to waist. In commanding it, name
the leg movement and then add the arm movements.

2. Raise the right arm to 5th position instead of
moving it to the lateral position on two.

[38]

DANCE STEPS

3. Hands at waist. Raise right arm to 3rd ampli-
fied on one. Move right arm inward to 3rd on two.
With the beginning of the step-courtesy to the right,
the right hand is placed at the waist while the left arm
is raised to 3rd amplified.

4. As the previous exercise, but raise right arm to
5th position instead of to 3rd.

5. Raise both arms to 3rd amplified - - one. Circle
both arms outward through 3rd — two — and to 3rd
amplified with the step right. Do not return the
hands to the waist.

6. As the previous exercise, but circle arms inward
through 5th position.

7. The step-courtesy left with bending trunk to the
same side on two.

8. With adding head movements to 2, 4, and 6;
e.g., with looking at the hand on second and fourth
count. Appropriate head exercises may be added to
the other examples.

9. Exercises 1, 2, 3, and 4 with bending trunk to
the same side on two.

10. Exercise 5 with bending trunk forward on two.

To the arm and the trunk movements of the step-
courtesy the exercises of the head may be gradually
added. The complex combinations may be postponed
until the class has mastered the simpler combinations
of other steps.

Tempo. The step-courtesy with its various com-
binations is best performed in waltz time, each cour-
tesy requiring two measures (two counts), one count
for each measure. This tempo should be varied from
fast to moderate again to fast, adapted, respectively, to
the simple steps and then to the combined movements

[39]

AESTHETIC DANCING

which are gradually taken faster. Later it may be
taken in polka and | time.

These exercises may also be executed without
bending the knees when crossing one leg behind; e.g.,
step left sideward — one; point right back-inward —
two. Combinations of this with the preceding step
may be given from the examples found on pages 46
and 47.

Stepping and Pointing

Command, Step left sideward — one. Point right for-
ward (in 4th position) — two. (Fig. 5)

Step with transferring the weight, as in the step-
courtesy; on two, or a little preceding, raise the right
foot into low 3rd position in front and straighten the
leg forward, knee turned outward, toes pointing ankle
high; gently touch the floor with the toes, the heel
well forward and the knees still turned outward.
Faults: Thrusting the foot against the floor; omitting
knee-bending and straightening.

Preparatory exercises. If difficulty is encountered
in acquiring accurate execution on command, the
exercise may be taught progressively as follows:

(a) Step to left — one. Raise right foot in 3rd in
front — two. Straighten right leg forward (as described
above) — three. Touch the floor lightly with toes — four.
Right — fwe to eight. This is taken in schottische
time.

(b) Repeat, combining movements one and two of
previous exercise on one and movements three and four
on two. This is best performed in moderate and fast
waltz time.

Trunk bending to the right may be added to the

[40]

DANCE STEPS

pointing right forward as soon as it is performed with
control.

Variations. Pointing in 4th position is followed by
that into 2nd position (sideward). (Fig. 2.) The step-
ping is the same, but the pointing occurs sideward into
2nd position. The foot, with extended ankle, is di-
rected sideward and the knee turned well outward. To
this is added slight turning of the trunk to the point-
ing foot, accompanied by an equally slight lateral trunk
bending toward the same side when hands are at waist
or arms in the lateral position. (Fig. 17.) Pointing
into 4th and 2nd position is then repeated with step-
ping forward and backward a definite number of steps.
For instance:

Step forward and point in 4th or 2nd position, four
times.

Step sideward and point in 4th or 2nd position, four
times.

Step backward and point in 4th or 2nd position,
four times.

The number of steps may be increased or decreased
and adapted to music. Appropriate trunk movements
should always be included in the execution.

Tempo. These steps are executed according to
musical rhythm progressing from fast waltz time, using
two measures for each step and each pointing, so that
a pause of one measure occurs in each position, to
polka time applied in the same manner, but substi-
tuting counts for measures; this is followed by mod-
erate to fast waltz and polka time without a pause in
each position.

Other variations of stepping and pointing are
obtained by taking several steps in some direc-

.ESTHETIC DANCING

tion before pointing. An odd number of steps
is most appropriate as it leads to a left and right
execution.

EXAMPLES : Three steps forward and point in 4th or
2nd position and pause; executed in two measures of
mazurka time (one count for each step and the pointing)
with a pause during the second and third count of the
second measure (rapid marching or running) ; later in
polka or march time without a pause.

The same exercise is performed stepping backward
and sideward left (right) with a rear or front cross-step
and adapted to the same rhythm. Instead of three,
five steps may be taken in the directions named. This
necessitates a front and rear cross-step when stepping
sideward and is performed in mazurka time without
pausing after pointing. Slow waltz time is also fre-
quently used, progressing to moderate waltz time (three
steps to a measure), in which case the steps may be
executed in running.

In stepping or marching forward the ankle is
thoroughly extended and in the transfer the toes are
placed first upon the floor. The same is true of back-
ward marching or stepping, excepting that here the
knee is also bent as the foot is raised directly backward
preceding the step. The sideward execution is similar
to the forward. The cross-step terminates either in
5th in front (front cross-step) or 5th in rear (rear cross-
step), and not beyond it. In running forward the for-
ward leg is extended as in stepping. As the body
attains its moment of flight, propelled from the rear
leg, the rear foot is raised backward, with ankle ex-
tended. Running sideward and backward resembles
the marching and stepping in these directions with

DANCE STEPS

the same difference, however, as occurs between the
forward marching and running.

Arm and other movements. Arm movements are
added to all the above exercises as follows:

During the stepping (one, three, or five steps) the
arms are in the 3rd amplified position.

During the pointing:

1. Arms in the lateral position.

2. One arm in the 5th position and the other hand
at waist.

3. Arms in the intermediate position.

4. Both arms in the 5th position. (Not used in
pointing sideward.)

The side toward which the arm movements are per-
formed is determined by the forward foot. The hand
(or arm) corresponding to the forward foot is always
in the lowest position. Thus with one arm in the 5th
position and the other hand at the waist, the hand at
the waist corresponds to the forward foot. If the oppo-
site is desired it will be termed a reverse position, as,
reverse intermediate, reverse lateral. Appropriate head
and trunk exercises should be progressively added to
the above.

Variations of the arm movements are arranged by
altering the arm positions during the stepping (three or
more steps) instead of maintaining one position. Ex-
amples are given under III, Combined Sequences of
Arm Exercises, on page 32, exercise 14. The leg move-
ments should, however, here be emphasized. The
complex combinations need not be taken up until some
of the simpler exercises which follow have been taught.

Combinations. They consist of stepping and
pointing alternated and combined with glides and

(43]

ESTHETIC DANCING

step-courtesies. Examples are given on pages 46
and 47.

Lateral Coupe Saute. (The Side Cut-Hop)

The left foot is raised sideward to the second posi-
tion in preparation.

Command, Cut — one. Hop — two

1. Displace the right foot with the left, raising the
right into half -high (or low) second, with leg thoroughly
extended, toes pointing. 2. Hop on the left foot,
retaining the right leg in the obtained position. This
is continued from one foot to the other. By adding
a hop the exercise may be adapted to mazurka
rhythm.

Tempo. Schottische, polka, and |. Mazurka, when
performed with two hops.

Arm and other movements. Arms are raised to 3rd
amplified in preparation.

1. Move left arm to 3rd position with the coupe
saute left.

2. Raise left arm to 5th position with the coupe
saute left.

3. Raise both arms to 5th position with the coupe
saute left.

Always return to the 3rd amplified position with the
coupe saute right. The same movements are then
repeated with the cut and hop right, returning to the
3rd amplified position with the cut and hop left. They
are executed left and right by moving the arm into the
indicated position on the cut and returning it on the
hop.

Appropriate head exercises, turning head in oppo-
[44]

DANCE STEPS

site direction, looking at hand in 5th position, should
be added to those of the arms.

Combinations. For combinations see pages 46 and
47.

Coupe Saute Dessus Dessous (The Front and

Rear Cut-Hop)

The left leg is raised forward to the low 4th posi-
tion in preparation.

Command, Cut — one. Hop — two

1. The right foot is displaced by the left and raised
backward into half-high or low 4th position with the
knee turned outward and slightly bent, the ankle
extended. 2. Hop on the left foot, retaining the right
in the obtained position. The movements are re-
versed when performing the rear cut-hop (on three and
four). The exercise may begin from the intermediate
position.

Tempo. The same as in the side cut-hop.

Arm and other movements. Raise arms to inter-
mediate amplified (Fig. 15) in preparation.

1. Move left arm to 3rd position with the coupe
saute left.

2. Raise the left arm to 5th position with the coupe

saute left.

Return to the intermediate amplified position with

the rear cut-hop right. The two exercises are best
adapted to the cut-hop executed from intermediate to
intermediate (open 3rd) position.

Raise arms to 3rd amplified position in prepa-
ration.

3. Raise both arms to 5th position with the coupe
saute left. Return with the rear cut-hop right.

[45]

AESTHETIC DANCING

The same movements are then repeated right with
the right front cut-hop, returning with the rear cut-
hop left.

Head exercises harmonizing with the arm move-
ments should be added as soon as possible; e.g., when
arms are in a lateral position the head should be turned,
looking over the opposite shoulder; when in the 5th
position, lowered backward, so as to be looking at the
hand; when only one arm is in the 5th position the
head may be lowered or turned. For combinations
see pages 46 and 47.

Lateral Coupe Coup6 and Dessus Dessous

The side and the front and rear cut may also be
executed consecutively a certain number of counts; i.e.,
without the hops.

To the continuous side-cut (they are indicated as
three, four, etc., side-cuts) the lateral swing of the
arms may be added.

Tempo. Coupe saute as well as the continuous
coupe is best executed in schottische time and later in
polka time. The coupe saute may be adapted to
mazurka time by executing coupe saute saute (double
cut-hop) from the side and also from the front and
rear.

Combinations. The coupe saute (lateral, front,
and rear) are alternated and combined with glides,
step-courtesies, and stepping and pointing.

EXAMPLES OF COMBINATIONS

No. of Musical Counting
STEPS measures tempo

required

1. (a) Three glides and close, left and right 8 Fast M = 1 count

(6) Four step-courtesies 8 Waltz

DANCE STEPS

STEPS

No. of Musical
measures tempo
required

2. (a) As a of 1 8
(6) Step in 2nd pos. (1), point in 2nd or

4th pos. (2), left, right and repeat 8

3. (a) Four glides (last glide is unfinished),

left and right 8

(b) Repeat b of exercise 1. Also of 2 8

4. (a) As a of 1 4
(b) Four lateral coupe saute 4

5. (a) Step in 2nd pos. (1), point in 4th or

2nd pos. (2), pause (3), left and
right 2

(b) Two lateral coupe (1) saute (2)

saute (3) or front and rear 2

6. (a) Three steps forw. (3), point in 4th

or 2nd (4), pause (5-6). The
same backward 4

(b) Four coupe saute saute (double cut-
hop) lateral or front and rear 4

7. (a) As a of 6, but sidew. with a rear

cross-step 4

(6) As b of exercise 6 4

8. (a) Three steps sidew. with rear cross-

step (1-3), point right in 4th or
2nd pos. (4), pause (5-6) 2

(6) Two coupe saute saute 2

9. (a) Two glides and a step-courtesy, left

and right 8

(b) Two glides, step in 2nd and point in

4th or 2nd, left and right 8

10. (a) Two step-courtesies 4
(b) Four glides left 4

11. (a) Step in 2nd, point in 4th or 2nd, left

and right 4

(b) As b of exercise 10 4

12. Repeat exercise 10 (also exercise 11) 4

13. (a) Three glides to the left 1
(b) Step left in 2nd, point right in 4th or

2nd, pause 1

14. (a) Lateral coupe saute saute, left and

right 2

(b) Three glides, left and right 2

Repeat exercises 1-14 with arm
movements added:

1. To the first part of the step, i.e., to a

2. To the second part of the step, i.e., to b

3. To both parts of the step

Fast
Waltz

Counting

M = 1 count

Polka M = 2 counts

Mazurka M = 3 counts

Fast
Waltz

M = 1 count

Polka
Mazurka

M = 2 counts
M = 3 counts

1 47]

.ESTHETIC DANCING

For appropriate arm movements and their progres-
sive adaptation refer to the description.

Other pleasing combinations may be arranged. Each
step of a combination should, of course, be thoroughly
learned before combined. This should be borne in
mind of all the following combinations.

Glide Polka
Preparatory exercises. Hands at waist.

1. Stamp three times in place on one to three and
bring the right foot to left ankle on four.

2. As 1, with a side stamp on one and on three
(rather small).

3. As 2, but on toes.

4. Same as 3, but glide left sideward on one.

5. Same as 4, but cut (coupe) with right after the
glide.

6. Same as 5, but leap on to the left foot after the
cut. (Fig. la.)

These exercises are first practiced in schottische
rhythm, then in slow polka rhythm, one measure to
each polka step, gradually leading into the regular
polka time. It may then be counted — one-and-two
(pause); three-and-four (pause), continuously instead of
counting from one to four and five to eight for polka
left and right. The description given below follows this
counting.

7. Same as 6, two glides sideward left preceding it.

8. Glide polka left and right on a right square (see
page 37).

Glide polka left sideward.

On one and two the two glides (see page 35 for
execution) of the polka are executed left sideward.
[48]

DANCE STEPS

After the completion of the second glide (on three)
the left foot again glides to 2nd position, and the
right is brought to 1st position, displacing the left
which is raised sideward, toes pointing about ankle
high. The knee of the right leg is slightly bent. This
is followed (on four) by a small leap on the left foot,
ankle and knee gently bending as it alights. The right
foot is raised to the ankle of the left leg, toes pointing
downward, and the knee turned slightly outward, body
erect, in preparation for the glide polka right. Faults:
Turning trunk in direction of glide; foot turned out
too far.

Tempo. Polka.

Arm and other movements.

1. Arms in 3rd amplified position.

2. Arms in 3rd amplified on one and two, and in the
opposite lateral position on three and four.

3. The same arm in 5th position on three and four.
On the glide polka left the left arm is moved into

the indicated positions.

4. Turn head to the side of the polka on three and
four and return on one and two (with arms lateral).

5. Look at the hand raised in 5th on three and four
and return on one and two.

COMBINATIONS IN POLKA TIME. (M = 2 COUNTS)

j No. of counts

required

1. Glide polka left and right sideward and 8

(a) Step (in various directions) and point in 2nd or 4th, four

times 8

(b) Step-courtesy, four times 8

2. Glide polka on a right square, 16

and a step of equal time value from pages 46 and 47 16

3. Glide polka left sideward 4

and half of the steps 1 a-c 4

[49]

AESTHETIC DANCING

TT ^ No. of counts

required

1. Glide polka left and right sideward and

(a) half of I, 1 a and 1 c

(b) half of I, 1 b and 1 c

2. Glide polka left sideward and

(a) one measure of I, 1 a and 16 4

(b) one measure of I, 1 b and 1 c

(d) one measure of I, 1 c and la 4

Arm movements. Hands at waist during glide
polka, and arms 3rd amplified to lateral, or one arm in
5th, with I, la, 6, and c.

Schottische Step. (Caprice and Gavotte)
The first six preparatory exercises are the same as
those of the glide polka.

1. As 6 of the glide polka. The exercises preced-
ing this may be reviewed.

2. Add the hop and extension of the leg on four.
Retain the schottische tempo.

The extension of the leg is in high 4th, similar to
that of the pas de zephyre. The glide, cut, and leap
should not be too distinct. The caprice resembles
the schottische step, omitting the glide, cut, and leap,
and replacing them by stepping. The hop and extension
is, however, retained. The gavotte is similar to the
caprice, but the hop is also omitted, so that the last
movement merely consists of an extension in high 4th.
These steps are executed forward and sideward, and
occasionally backward. In the sideward movement
the change from one side to the other is made on the
fourth count; i.e., on the hop and extend. The foot
raised in 4th describes a part of a circle to the opposite
side to prepare for the step toward that side.

* Attention is called to the fact that all combinations under II are of an
advanced nature, and should not be taken until most of those under I of the
different steps have been mastered.

(50}

DANCE STEPS

Tempo. These steps are only executed in the
tempi from which they derive their names; i.e.,
schottische and gavotte, there being a gradual increase
in the rhythm from the gavotte to the schottische.

Arm movements.

1. Both arms held in 3rd amplified.

2. As 1, but the right arm is moved inward to the
low 3rd position on the hop during the step to the left,
and the left arm in the execution to the right.

3. Both arms are moved to 3rd position on the hop,
and returned on the other parts of the step.

4. As 2, but raise left arm to 5th and look at hand,
instead of moving right arm to 3rd position (right
remains in 3rd amplified).

5. As 3, with arms in left intermediate position on
the fourth count (the hop) with the schottische (caprice
or gavotte) to the left. (Fig. 8.)

COMBINATIONS. (M = 4 COUNTS)

_ No. of counts

required

1. Gavotte left and right sideward and 8
(a) slow step (1-2), courtesy (3-4), left and right 8
(6) slow step and point (various directions), left and right 8

2. Schottische left and right sideward and 8
(a) 1 a or 1 b 8
(6) four coupe saute (front and rear) 8
(c) three running steps, hop, and leg-swing forward executed

twice (forward, backward) 8

1. Schottische left and right sideward and 8

(a) two coupe saute and four coupe (lateral, or front and rear) 8

(b) two coupe saute and four running steps (forward, back-

ward) 8

swing 8

2. Repeat these combinations, substituting the "Front cross

schottische step" left and right. The leg beginning the
step crosses in front; the step left will therefore lead to
the right

AESTHETIC DANCING

The direction of the schottische step should be
varied and the other steps adapted accordingly.

Arm movements.

1. Hands at waist during the (gavotte) schottische,
and arms 3rd amplified to lateral with I, 1 a, b, and 2 b.
Left arm in 5th, right in 3rd amplified to arms in 3rd
amplified with I, 2 b.

2. Arms 3rd amplified to lateral during schottische,
and left arm in 5th, right in 3rd amplified to arms 3rd
amplified with II, 1 a and b. Left arm in 5th, right
arm in 3rd amplified to arms 3rd amplified to lateral
position with II, 1 c.

Other arm movements may be selected from the
description of the particular step. All arm movements
given for the combinations which follow are merely
suggestions and should be enlarged upon.

The Esthetic and Other Polkas

Preparatory exercises.

1. Stamp left -- one. Right — two. Left — three.
Raise right foot in 1st position, striking the ankle -
four. (Slow polka time.)

2. As 1, with stepping sideward (stamping) on one
and three. The second step is smaller than the first.

3. As 2, executed on toes (no stamping).

4. As 3, but swing the foot in a half circle on one
and turn trunk slightly toward that side (the aesthetic
polka). Increase tempo to polka rhythm and count
one-and-two.

The polka hop.

5. As 4, a hop preceding the step.

DANCE STEPS

The Esthetic Polka. (Exercise 4.)

On one the left foot is slightly raised over the floor
in a half circle outward, toes and knee well turned
outward and extended, leading to the step, which is
of ordinary size. The right foot follows immediately
(on and) in posterior 3rd. On two the left foot takes
another small step to the left and the right is raised
in preparation for the polka to the right. The body
turns toward the side of the polka. In the polka for-
ward there is no turning of the body, and the leg is
extended directly forward, while in the backward polka
the body is slightly turned and the stepping leg de-
scribes a part of a circle in moving backward. In the
polka hop a hop precedes the stepping.

Tempo. Polka, and, when easy of execution, gallop
time.

Arm movements. Hands at the waist.

1. Polka left and raise right arm to 3rd amplified
position; return on polka right.

2. Right hand at the waist, left arm in 3rd ampli-
fied (starting position). Polka left and move left arm
to 3rd position; return on polka right. Same begin-
ning right. Also raising arm to 5th position.

3. As 2, but both arms raised to 3rd amplified
(starting position).

4. Arms 3rd amplified (starting position). Move
left arm to 3rd (5th) position on polka left. Return
left arm and move right arm to 3rd position on polka
right. Left arm must be in 3rd amplified before start-
ing to move the right.

5. As 4, but move arms to right intermediate posi-
tion on the polka left.

[53}

ESTHETIC DANCING

Heel and toe polka. After the above polka step
has been mastered let the following movements pre-
cede the polka:

Place left heel obliquely forward outward (inter-
mediate position) and hop — one; right knee is slightly
bent and body slightly turned to the left. (Fig. 23 a.)
Place left in 5th in rear and hop — two; in this move-
ment the right leg straightens again. (Fig. 23 b.)
Polka hop left on three and four in an indicated direction.

Arm movements.

1. Hands at waist (starting position). Left arm
low intermediate amplified position on placing heel
forward outward, hand over foot. (Fig. 23 a.) Return
left hand to the waist when pointing in 5th in rear.
(Polka with hands at waist.)

2. As 1, raising left arm to 5th position on placing
foot in 5th in rear; place hands at the waist during
polka. (Fig. 23 b.)

3. Arms in 3rd amplified (starting position). As 2,
but return the left arm to 3rd amplified on the polka.

4. As 3, but move left arm to 3rd position (arms in
lateral position), and return to 3rd amplified position
on the polka.

5. As 4, but move arms to right intermediate posi-
tion during polka left.

The polka turn. (Either the polka hop or the
sesthethic polka may be used.)

Preparatory exercises. Class is in flank circle
formation with right side toward the center.

1. Polka left and right forward and a whole turn
right in two polka steps.

2. As 1, face left about, begin right and turn left.

3. As 1, but backward and turn left.
(54]

DANCE STEPS

4. As 2, but backward and turn right.

Then follows the front circle or open order forma-
tion with:

5. Two polkas in place (i.e., sideward left and right)
and polka turn left (toward left side).

The polka turns are executed forward, backward,
and sideward. A half turn in the indicated direction
occurs on each polka step, so that two steps are required
to complete the turn. It is not to be executed in
place. The body moves in the direction of the step,
which in 5 is toward the side. The second and fourth
step are to be very small, or may occur in place.

Combinations. (M = 2 Counts)

1. Four aesthetic polkas, in place, forward, in
place, and backward. One arm 3rd amplified to 3rd
or 5th position; both arms 3rd amplified to lateral
position.

2. As 1, but polka hops.

3. As 1, but heel and toe polkas (two of each).
Alternate arms over foot, 5th, to 3rd amplified or
3rd position.

4. Four aesthetic polkas or polka hops and

(a) A step from pages 46 and 47 of the same time
value.

(b) Glide polka left and right

sideward
(c) Heel and toe polka left and

Arms 3rd amplified
to lateral position.

right (any direction)
5. Two aesthetic polkas or polka hops and two
measures of the steps 4 a-c.

[55]

ESTHETIC DANCING

1. Four aesthetic polkas or polka hops and

(a) Step-courtesy twice and step and point twice.

(b) Step and point twice and two coupe saute
(front and rear).

(d) Polka turn and two step-courtesies.

(e) Polka turn and step and point twice.
(/) Polka turn and two coupe saute.

(g) Two coupe saute and four coupe (front and rear).

2. Two aesthetic polkas or polka hops and

(a) Step-courtesy and step and point.

(b) Lateral coupe saute and step-courtesy.

amplified to lateral or intermediate position, and twice
3rd amplified to lateral or intermediate position with
1 a, ft, c, and g and 2 a. Intermediate to intermediate,
and 3rd amplified to 5th position with 1 d and e.
Intermediate to intermediate, and 5th to 3rd amplified
position with 1 /.

Pas de Zephyr e (Swing-Hop)
Preparatory exercises for simple pas de zephyre.

1. Step left in 2nd — one. Raise right to 1st
position - - two. (One measure.)

2. As 1 in one movement — one. Hop on left —
two.

3. As 1 in one movement — one. Extend right in
fourth — two. (Fig. 8.)

4. Combine 2 and 3; i.e., hop and extend right on
two.

DANCE STEPS

Preparatory exercises for the finished pas de
zephyre.

1. Step left in 2nd — one. Extend right in 4th
(passing through 1st) — two. (One measure of | time.)

2. Movements under 1 executed on one. Pause —
two. (Waltz.)

3. Same as 2 with hopping on left foot on two.

4. Same as 3 with slight flexion and extension of
raised leg.

The pas de zephyre is indicated by the stepping
foot. The above exercises lead to pas de zephyre left.

On one, step left sideward and immediately raise the
right foot, with toes pointed, toward the ankle of the
left, and extend the leg in 4th with the foot about knee
high. The raising of the foot toward the ankle is a
transitional movement and is not indicated. On the
second count, hop on the left foot and slightly flex
and extend the right knee, keeping it turned outward.
The trunk is bent a trifle toward the right. The
finished pas de zephyre should be mainly used.

Tempo. The pas de zephyre is executed in the
following tempi:

Polka. Fast waltz, two measures for each step.
Schottische. Moderate to slow waltz, one measure
to each step. Mazurka, the hop occurring on the
third count.

Arm movements. Arms to 3rd amplified as start-
ing position.

1. On the pas de zephyre left the right arm is
moved inward to 3rd position so both are in the lateral
position, and returned to 3rd amplified position on the
pas de zephyre right.

[57]

.ESTHETIC DANCING

2. As 1, executed to right, the left arm moving to
lateral position.

3. 1 and 2 in alternation; i.e., arms in 3rd ampli-
fied position on one and in left lateral position on two;
repeated on three and four with arms in right lateral
position.

4. On the pas de zephyre left the left arm is raised
to 5th position and returned on the pas de zephyre right.
(Look at hand in 5th.)

5. On the pas de zephyre right raise the right arm
to 5th position and return on the pas de zephyre
left.

6. 4 and 5 in alternation, first passing through 3rd
amplified position as in exercise 3.

7. On the pas de zephyre left raise the left arm to
5th and the right to high 1st or 3rd position (Fig. 8),
return to 3rd amplified position, and execute the oppo-
site movements on the pas de zephyre right.

I
Combinations in Polka Time

Two pas de zephyre left and right and

(a) Step-courtesy twice.

(b) Step and point (4th or 2nd) twice.

(d) Two aesthetic polkas or polka hops, left and
right.

(e) Heel and toe polka left sideward.

The last two exercises are also executed forward
and backward.

The examples a and b may also be given in fast
waltz time, one measure equalling one count.
[58]

T— I

DANCE STEPS

Combinations in Schottische Time

(/) Schottische left sideward.

(g) Three running steps sideward (forward) and
hop with leg-swing forward.

(A) Four running steps forward (backward),
(z) Front and rear cut-hop.
(j) Four front and rear cuts.

Arm movements.

Pas de zephyre with hands at the side, arms 3rd
amplified to lateral, or one arm in 5th position.

Arms 3rd amplified to lateral position with a, b, c,
and d.

Left arm in low intermediate amplified, to 5th posi-
tion, to 3rd amplified position on polka with e.

Arms 3rd amplified to lateral or intermediate posi-
tion (on the hop) with / and g.

Arms 3rd amplified position with h and j.

Arms right lateral to right intermediate position
with i.

II
Combinations in Polka Time

1. Two pas de zephyre with arms 3rd amplified to
lateral position (also reverse lateral), or one arm to
5th, or arms 3rd amplified to intermediate position
and

(a) Two glides left sideward and step-courtesy.

(b) Two glides left sideward and step and point.

a, &, and c.

[59]

.ESTHETIC DANCING

2. Two pas de zephyre, pas de zephyre turn,* and

(a) 1 a, 6, and c repeated twice.

(b) Two glide polkas left and right sideward.

3. The pas de zephyre turn, and 1 a, b, and c.
To be adapted to various directions.

Combinations in Schottische Time

Pas de zephyre turn, two pas de zephyre (arms lat-
eral to lateral position), and

(a) Two schottische steps (also front cross schot-
tische).

(b) Four coupe saute (front and rear).

With arms 3rd amplified to high 3rd position.
Adapt to direction.

The Arabesque (Balance-Hop)
Preparatory exercises.

1 . Step left obliquely forward outward — one. Raise
right leg obliquely backward outward, knee slightly
bent — two. (Fig. 24.) Return — three and four.
Polka time.

* The pas de zephyre left and right sideward may be executed with a
whole turn left (when beginning left) as follows, and thereby vary the com-
bination:

Step left with £ turn left (one), hop on left and swing right leg forward
with a I turn left (two), step right with | turn left (three), and hop on right
and swing left leg forward with \ turn left (four). Small steps should be
taken. This is not to be confused with the regular pas de zephyre turn,
which is much more difficult, but is a simplified form of it and will be used
in this manner in combinations.

[60]

DANCE STEPS

2. Arabesque on one and two; i.e., the same as 1
with a hop on the second count. The rear foot should be
raised about knee high, ankle thoroughly extended, and
the knee slightly bent and well turned outward. The
trunk and head are slightly bent toward the raised
leg. The hop leads to a slight flexion of the knee again.
The arabesque is executed forward (i.e., fore-outward)
and occasionally sideward, leading, when continued,
from a left to the right execution. In teaching it may
be alternated as above with the closing step, pas de
zephyre, balance step, or any other step adaptable.
The same procedure may be used when adding an arm
exercise for the first time. The exercise may be varied
by gliding instead of stepping on one (glide arabesque,
or glide balance-hop).

Tempo. Fast waltz is the simplest tempo (each
measure equalling one count), or polka (one measure
for the arabesque, two when alternated as above).
Schottische, slow waltz, and mazurka, the last two with
one measure to each step. It requires considerable
inhibition in the mazurka time, and brings the hop
on the third count of the measure.

Arm and other movements. To the arabesque
(1 and 2) from hands at waist, add :

1. With same arm in intermediate amplified posi-
tion on one and two, replacing the hand on three and
four. The other hand remains at the waist.

2. As 1, but in 4th position.

3. As 1, but with the arm in the 5th position, by
raising, (a) the hand directly upward, (6) the arm
through intermediate amplified position.

To a add: Head turning, looking backward over
shoulder.

AESTHETIC DANCING

To b add : Looking at hand.

4. With both arms in 3rd amplified position on
one and two.

5. With both arms in intermediate amplified on
one and two. (Fig. 24.)

6. As 4, with raising, (a) the same, (ft) the opposite
arm, (c) both arms to 5th position on two, (d) both to
intermediate position, (e) both to reverse intermediate
position on two.

1. As 5, with raising, (d) the same, (ft) the opposite
arm to 5th position, (c) both arms to intermediate,
(d) both to reverse intermediate position on two.

The arabesque turn. (Fig 28.) It is executed with
three or two hops and in its ordinary execution, i.e.,
with the one hop. With three hops it is performed in
polka or schottische time, as follows : -J- turn left on the
arabesque left — one (Fig. 28) ; hop on left with |
turn left — two; repeat the hop and turn twice, com-
pleting the whole turn — three and four. The two hops
require mazurka time and an increased turn on each
hop so as to complete the whole turn in the step and
two hops. It may, however, also be done with just
the one hop, when the hop occurs on the third count.
The last form is also used in waltz time.

The arabesque half-turn is self-explanatory. It is
mainly performed with a single, but sometimes with a
double, hop.

EXAMPLES OF COMBINATIONS
I

Steps which lead to the left and right execution (i.e., bilateral steps) will
be designated by the number to be taken and the direction, it being under-
stood that two of such steps means a left and right execution, four a left, right,
left, and right execution, etc.

[6s]

DANCE STEPS

No. of measures
required

1. (a) Four arabesque forward and

(b) Four aesthetic polkas or polka hops, or
pas de zephyre backward 4

2. (a) Arabesque left and right sidewrard and 2
(b) Two polka hops, or pas de zephyre,

or two step-courtesies 2

3. Three arabesque forward, arabesque half-

turn right (and repeat) 4

4. Two arabesque forward, step-courtesy left

sideward and arabesque half-turn right 4

5. As 4, but polka hop, or step and point in-

stead of step-courtesy 4

6. (a) Four arabesque forward and 2
(b) Four pas de zephyre backward 2

7. (a) As 6 a 2
(b) Three running steps backward, hop and

swing right leg forward and repeat 2

8. As 7, but arabesque half-turn right as 2

fourth arabesque, and then execute b
forward instead of backward 2

9. (a) Two arabesque forward, arabesque

turn left with three hops, and 2

(6) as 7 b 2

Musical
tempo

Polka
M = 2 c.

Counting
8

8
4

Schottische
M = 4c.

8
8
8
8

8
8

Arm movements. Hands at waist, or arms inter-
mediate amplified position on arabesque and 3rd ampli-
fied to lateral position with 1, 2, 3, 4, and 5.

Arms intermediate amplified to 3rd position, or
front arm in 5th, and rear in intermediate amplified
position on arabesque, and 3rd amplified to interme-
diate position on 6, 7, 8, and 9.

THREE OR MORE PART COMBINATIONS OF SCHOTTISCHE TIME

No. of counts
required

Arabesque left fore-outward, pas de zephyre right back-out-
ward (Figs. 24 and 25), repeat both, and schottische left and
right sideward

As 1, but two pas de zephyre instead of the last schottische
As 1, but front and rear cut-hop (or four cuts) in place of the

last schottische

4. As 1, but only one arabesque and pas de zephyre, and then
schottische sideward, or three running steps and hop with
leg-swing

2.
3.

16
16

ESTHETIC DANCING
OF POLKA TIME. MEASURE = 2 COUNTS

No. of counts
required

1. Two lateral coupe saute, step and point (2nd or 4th), and

step-courtesy in place 8

2. Glide polka left sideward instead of coupe saute 8

3. Two pas de zephyre in place, aesthetic polka left sideward, and

step-courtesy sideward 8

4. As 3, but polka hop (instead of the aesthetic polka), and then

step and point (any position) 8

5. (a) Arabesque left fore-outward, pas de zephyre right back-

outward, and two polka hops in place 8

(b) Glide polka left sideward instead of two polka hops 8

hops 8

6. Two heel and toe polka hops in place, and then any one step

from 1 to 5 16

7. Arabesque turn left and right, and any step from 1 to 5 16
1 and5c may also be executed in fast waltz time; 1 measure =

1 count

Arm movements. Schottische : Arms 3rd amplified
to 5th position, and 3rd amplified to lateral position,
with 1 (Fig. 25), 2, 3, and 4.

Polka: Lateral to lateral and 3rd amplified to 5th
position with 1. 3rd amplified to lateral and 3rd
amplified to lateral position with 2.

3rd amplified to lateral position with 3 and 4.

3rd amplified to right intermediate, 3rd amplified
to lateral position three times with 5.

Left arm in 5th and right in intermediate amplified
position (Fig. 28), etc., with 7.

OF MAZURKA TIME. MEASURE = 3 COUNTS

No. of counts
required

1. (a) Heel, toe, and heel placing (as in heel and toe polka) with

three hops on right foot (1-3), coupe saute saute (4-6) 6
(b) Arabesque right forward, hopping twice, and three steps

backward (1-6) 6

2. (a) As 1 a 6
(b) Three steps forward (1-3), step forward, point in 2nd or

4th, and pause (4-6), return by three steps backward 6

3. (a) As 1 a 6
(b) Three steps right sideward (1-3), step left sideward (this

leads to opposite direction) and point or courtesy (4-6) 6

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DANCE STEPS

No. of counts
required

4. (a) As 1 a 6
(b) Arabesque right forward, hopping twice (1-3), and three

steps left sideward (4-6) 6

The step may be arranged so that the stepping will be
forward and backward. The arabesque turn may be
substituted

5. (a) Arabesque left fore-outward, hopping twice, and three

cuts (1-6) 6

(b} Five steps left sideward (cross in rear and front on 2 and

4), and point right in 2nd or 4th position 6

6. (a) As 5 a 6
(b) Arabesque turn left and three glides right sideward (this

leads to execution right) 6

Arm movements. Arms low intermediate amplified
position, left arm 5th position and return; arms right
lateral position; 3rd amplified to 5th position and 3rd
amplified, with 1 and 4.

Arms low intermediate amplified position, left arm
5th position and return; arms right lateral position;
3rd amplified to intermediate position, with 2 and 3.

Arms 3rd amplified to 5th position; 3rd amplified
position; to 5th position, with 5.

Arms 3rd amplified to 5th position, 3rd amplified
position; left arm to 5th position; arms 3rd amplified
position, with 6.

The Pirouette. (The Cross-Step Turn)
Preparatory exercises.

1. Step left in 2nd — one. Cross right foot in
front — two. Return — three and four. Fast waltz
or polka.

2. As 1, with a | turn left on one and return on
three. Close on four. Same rhythm.

3. As 2, with rising on toes on two and sinking on
three. Return on four and five and pause on six.
Mazurka.

[65]

AESTHETIC DANCING

4. The pirouette: £ turn left and step left forward

— one. Cross right foot in front with rising on toes
and I turn left; sink on right foot (left pointing in 4th)

— two and three. Replace left foot — four. Fast
waltz; polka.

5. As 4 in mazurka time, adding: Step left in 2nd,
close right and rise and sink (four to six), instead of
closing left on four.

The foot placing crosswise in the pirouette should
be on a line running transversely through the stepping
foot (through left in the above development) and not
too close to the foot. Rise high on toes with head
erect and sink gently on the rear foot. It is executed
sideward and backward and in the oblique directions.

Tempo. Mazurka. Fast waltz and polka, using
four counts for a slow pirouette and later two counts.
Proceed to gallop (one measure) and later execute it
in one measure of waltz time.

Arm movements. To the fifth exercise add: From
arms in the right lateral position as a starting position :

1. Low 3rd amplified (one) and high 1st position
on the turn (two and three), 3rd amplified (four), and
lateral position on the side-step, etc. (four to six).

2. As 1, with arms in 3rd position on the turn.

3. As 1, with arms in 5th position on the turn.

4. As 1, with arms in high left intermediate position
on the turn.

EXAMPLES OF COMBINATIONS

I No. of measures Musical

required tempo Counting

1. (a) The 5th exercise in the preparatory

exercises and 2 Mazurka 6

(b) An exercise of the same time value

from pages 64 and 65 2 6

A number of these examples should be
thoroughly learned before begin-
ning the following
[66}

DANCE STEPS

No. of measures Musical

required tempo Counting

2. Slow pirouette (1-4) and glide polka left 2 Polka 4

sideward (or heel and toe polka in

place of polka) 2 4

3. Pirouette (1-2) and step-courtesy in place

three times (3-8) (or step and point) 4 8

4. Pirouette and three aesthetic polkas or

polka hops in place (or three pas de

zephyre) 4 8

5. (a) Three arabesque forward and pirouette 4 8
(b) Three pas de zephyre backward and

pirouette 4 8

6. Arabesque fore-outward, pas de zephyre

back-outward, pirouette, and pas de

zephyre 4 8

7. Slow pirouette (1-4) and schottische left

sideward (5-8) or two pas de zephyre

in place (5-8) 2 Schottische 8

8. Slow pirouette (1-4), two pas de zephyre

in place (5-8), slow pirouette (9-12),

and schottische left sideward (13-16) 4 16

Arm movements.

1. Hands at waist on the pirouette, and arms 3rd
amplified to lateral position with 2, 3, and 4.

2. One arm in 5th, or arms in 3rd or 5th position
on the pirouette, and arms 3rd to intermediate ampli-
fied position, or arms intermediate amplified to forward
arm in 5th position, or arms 3rd amplified to inter-
mediate amplified position on the arabesque, and arms
3rd amplified to lateral or one arm to 5th position on
the schottische and the pas de zephyre.

The Waltz Balance Step

Command, Step left fore-outward - - one. Follow with

right in 3rd (later in 5th) in rear and rise on toes —

two. (Fig. 26.) Sink — three
Step right back-outward — one. Follow with left in 3rd

(later in 5th) in front and rise on toes — two. Sink -

three. In mazurka time

[67]

AESTHETIC DANCING

The exercise is best executed (diagonally) forward
and backward. A slight knee flexion and extension
precedes the rising on toes, which should be as high
as possible. Sink softly. The body sways gently in
the direction opposite to the step. It may also be
executed sideward to and fro.

Tempo. Mazurka. Slow waltz. It may also be
adapted to the schottische tempo by rising on two and
three and sinking on four. Likewise to polka rhythm
by following and rising on last part of one and sinking
on two.

Arm movements. To left fore-outward add:

1. Raise left arm to 5th position. Return on the
backward step.

2. Raise left arm through intermediate amplified
to 5th position. Return on the backward step. Add:
Looking at hand.

3. Both arms in intermediate amplified on the for-
ward, and lateral position on the backward step.

4. Both arms from 3rd amplified as starting posi-
tion to 5th position and return on the backward step.
Add: Looking at hand.

5. As 3, with left arm moving to 5th position on the
forward step. (Fig. 26.)

6. As 3, with arms in the right intermediate posi-
tion on the backward step.

7. Combine 5 and 6.

The Mazurka Balance Step

Command, Step left in 2nd — one. Point right in 4th

and rise - - two. Sink — three. Same right
The body should rise on the ball of the rear foot

and the weight not be transferred to the pointing foot.
[68]

DANCE STEPS

The body bends a trifle in the direction opposite to the
step. It is only executed sideward to and fro.
Tempo. Same as waltz balance step.

Arm and other movements.

1. Arms in 3rd amplified position on one and in
lateral position on two and three. Add: Turn head in
opposite direction.

2. As 1, with hand over foot on two and three; also
one arm to 5th, look at hand.

3. With the opposite hand at waist, raise the same
arm to 3rd amplified on one and to 5th position on two
and three. Add: Looking at hand.

4. As 1, with arms in intermediate amplified posi-
tion on two and three.

Combinations in Mazurka Time

No. of counts
required

Two waltz (or mazurka) balance steps and
(a) Three steps forward and point
To be executed in various directions

Arms 3rd amplified 6
to lateral, 5th, or 6
intermediate pos.

(b) Three glides left and right (indicate direction), hands at waist 6

2. Three waltz or mazurka balance steps and 9
(a) a step of one measure under 1 a-d 3
(£>) a pirouette 3

3. As 1, pirouette (arms in 3rd position) and one balance step 12

Exercises 1, a, c, and rf, and 3 may be easily arranged
in schottische time by slight variations. Schottische,
caprice, and gavotte steps should also be used. Like-
wise four pas de zephyre.

ESTHETIC DANCING

Combinations in Polka Time

1. To two balance steps add:

(a) Two coupe saute, or aes-

thetic polka

(b) Two polka hops, or polka

turn

arabesque (turn)

(d) One glide polka, or heel

and toe polka

One arm moving
from 3rd amplified
position to 3rd or
5th position.

(e) Pirouette and balance step. Arms 3rd am-
plified to 3rd or 5th and 3rd amplified to intermediate
position.

(/) Pirouette and one step of a, b, or c.

2. Three balance steps and the pirouette. Arms
3rd amplified to intermediate, 3rd amplified to 5th
position.

To be executed in various directions.

Either waltz or mazurka balance step may be used
when it is not definitely stated in the combination.

The Mazurka Hop
Preparatory exercises.

1. Step left in 2nd — one. Close right in 1st-
two. Raise left in 2nd — three.

2. As 1, but execute two and three on the second
count. Bring left foot to right ankle on three.

3. As 2, with a glide on one.

4. As 3, with a cut on two.
(70}

59 '

DANCE STEPS

5. As 4 with a hop on three. (This is the mazurka

hop.)

The progressive steps may be practiced to one side
(three measures) followed by three stamps leading to

the other side.

A slight knee flexion precedes the glide. The body

is also gently bent to the side indicated by the step,
but exaggerated trunk bending gives the step an awk-
ward appearance. There is no turning of the trunk
in the sideward movement. The head, however, may
be turned in the direction of the step. The leg is
thoroughly extended when raised in 2nd, with the foot
ankle high. It may also be executed diagonally for-
ward and backward with the displaced leg raised in
the direction of the execution. In the latter execution
the tendency to turn the trunk should be avoided. The
leg is, of course, raised in the direction of the step.
In the high mazurka the raised leg is knee high and the
foot is brought to the knee when bending the leg on
three.

Tempo. Usually mazurka and waltz rhythm. It is,
however, occasionally adapted to polka and -§- time by
executing the 2nd and 3rd movements on one count.

Arm movements. To the left sideward and left
diagonally forward mazurka add:

1. The right arm in 5th position.

2. The arms in right lateral position.

3. The arms in right intermediate position.

To the left (diagonally) backward mazurka add:

1. Right arms in 5th position.

2. Right arm in 5th and left backward to inter-
mediate amplified position.

[

AESTHETIC DANCING

Combinations in Mazurka Time

Three mazurkas sideward, forward, or backward, and

(a) Three stamps, or step and point.

(b) Three glides (last unfinished).

(cT) Arabesque or arabesque turn (hopping twice).

Arm movements. Hands at the waist or one arm
in 5th position with mazurka, and 3rd amplified to 5th
position with c and rf.

Combinations of Three or More Parts in Mazurka

Time

1. Two mazurka sideward and add the following:

(a) Three steps (any direction), point in 2nd or
4th position, and pause (or five steps and point without
pause).

(b) Pirouette and a balance step to the same side.

(d) Pirouette and coupe saute saute, or arabesque
(with and without hopping twice).

(e) Pirouette and arabesque turn, hopping twice.
(/) Place heel in intermediate, toe in 5th in rear,

and heel in intermediate position with three hops on
right foot and then one of the steps following the pirou-
ette (b to e).

2. A mazurka and pirouette sideward and

(a) A mazurka followed by one of the steps follow-
ing the pirouette (b to e).

(b) Repeat/.

[72]

DANCE STEPS

3. Mazurka, pirouette, mazurka left sideward, and
rear cross step left, side step right, and front cross step
left.

Repeat these combinations, substituting the ma-
zurka backward or forward (obliquely) for the side-
ward execution.

Arm movements. One arm in the 5th position with
the mazurka and

Arms 3rd amplified to 5th, 3rd amplified with one
arm in 5th position (toward side of the step) with 1,

c, rf, and e.

Arms 3rd amplified to intermediate position with 1 a.

Arms 3rd amplified to intermediate or 5th position
with 1 b.

Arms low intermediate amplified, to front arm in 5th,
to low intermediate amplified position with 1 /.

One arm in 5th, to 3rd, to 5th position, and change
of arm position on the step right with 3.

The mazurka turn. The mazurka turn consists of
two mazurka hops with J turn in the indicated direc-
tion on the third count; i.e., on the hop of each mazurka.
As preparatory exercises, hopping on the right with left
foot raised in 3rd position in rear and with J and later J
turn left on each hop may be practiced. The above
combinations may be repeated substituting the mazurka
turn for two mazurka hops.

The Redowa Polka
Preparatory exercises.

1. Step left fore-outward (or sideward) — one. Dis-
place left with right, raising left foot ankle high — two.
Replace left (close left in first) — three. (Three steps.)
The same right. Mazurka time.

[73]

.ESTHETIC DANCING

2. As 1, but glide on one.

3. As 2, but cut on two. Emphasize the displacing.

4. As 3, but leap on left in 5th in front on three
(right raised to 5th in rear).

What was said in the description of the mazurka
also applies to the redowa polka, except that it is only
executed sideward and forward (i.e., obliquely fore-
outward as given in the preparatory exercises).

Tempo. It is usually executed in mazurka time, but
may be adapted to polka or | rhythm by performing the
glide and cut on one-and, followed by the leap on two.

Arm and other movements.

1. On the redowa polka left, raise right arm to 5th
position, with left hand at the waist, look in the direc-
tion of the step, and replace on the step right.

2. As 1, replace right hand and raise left arm to
5th position on the step right.

Arms in 3rd amplified as starting position:

3. On the step left, move the left arm to 3rd (or 5th)
position, return on step right.

4. On the step left, move the left arm to 3rd (or 5th)
position, return, and the same on the step right with
right arm.

Combinations in Mazurka Time

1. Two redowa polkas followed by
(a) Two coupe saute saute
(6) Two arabesque (hopping

twice) I With left arm in the

arabesque turn amplified position.

(d) Two balance steps
[74]

DANCE STEPS

To be performed in various directions.

2. Three redowa polkas and a pirouette.

3. Three redowa polkas and an arabesque, or
arabesque turn.

4. Three redowa polkas and a mazurka (vice versa).

5. One redowa polka and one of the steps under
1 a-d.

6. One redowa polka and one of the steps under 2-4.

Repeat suitable exercises from the combinations
of three or more parts in mazurka time, on page 72,
and substitute the redowa polka for one of the steps.
Arrange the execution in various directions.

The Three-Step Turn

Command, Step left in 2nd — one. J turn left on left
foot and step right in 2nd — two. J turn left on the
right foot and step left in 2nd — three. Close with
right — four

Instead of closing on four, the right foot may cross
behind, point in 4th, or be raised in 4th with a hop on
the left.

The turn should be executed on the ball of the foot.
The free leg should be extended, toes pointing, and
move about four to six inches above the floor on a part
of a circle.

Tempo. Simplest in fast waltz, then in march and
polka rhythm.

Mazurka, particularly in combinations.

Arm movements. With arms in 3rd amplified
position during the turn and in

(a) lateral position.

AESTHETIC DANCING

intermediate position on the fourth count.
(c) 3rd amplified, one arm in 5th and one arm in 3rd
amplified position on the fourth count.

Combinations in Polka Time

Two three-step turns left and right sideward with
a hop and leg-swing forward on four and eight (eight
counts), hands at the waist, and

(a) Glide polka left and right sideward; arms 3rd
amplified to lateral position.

(6) Four step-courtesies sideward (or step and
point); arms 3rd amplified to lateral position.

(d) Heel and toe polka left and right sideward
(forward or backward); arms 3rd amplified to lateral
position on each.

(e) Four polka hops or aesthetic polkas (any direc-
tion) ; arms left lateral to right lateral position.

(/) Four pas de zephyre, arms 3rd amplified to
one arm in 5th position, or four arabesque (different
direction), arms 3rd amplified to 5th position.

(g) Two polkas and a polka turn, arms interme-
diate to intermediate position.

(A) Two pas de zephyre and a pas de zephyre half-
turn in two pas de zephyre.

(z) Arabesque and pas de zephyre and repeat.

(f) Four balance steps, arms 3rd amplified to 5th
position.

1. Two three-step turns, as above, and Exercises
2 to 6 on page 67.
[76]

DANCE STEPS

2. To one three-step turn with hop and leg-swing
(arms 3rd amplified to lateral or one arm in 5th posi-
tion) add:

Half of one of the examples from I a to j.

Combinations of Three or More Parts in Mazurka Time

1. Three-step turn left, mazurka right, three-step
turn right sideward, and a mazurka balance step left
sideward.

2. As 1, but an arabesque in place of balance step.

3. As 1, but an arabesque turn in place of balance step.
Arm movements for 1 to 3 : Arms 3rd amplified, left

intermediate, 3rd amplified, left intermediate position.

4. Mazurka left, three-step turn left, mazurka
right sideward, and pirouette right.

Arm movements: (a) Left hand at waist, right
arm in 5th position; (6) arms in 3rd amplified position;
(c) opposite of a; (d) arms 3rd amplified to 5th position.

5. Repeat 1 to 4, substituting the redowa polka
for the last step of the combination. (Arms in reverse
intermediate position; i.e., right intermediate position
on step left.)

Combinations in Gavotte (or Schottische) Time

Two three-step turns with a hop and leg-swing
forward on four and eight (eight counts) and

(a) Two schottische (also cross), caprice, or gavotte
steps (various directions).

(b) Two step-courtesies (four counts each), or step
and point.

[77]

ESTHETIC DANCING

(d) Two balance steps.

(e) Four pas de zephyre or arabesque (various
directions).

(/) Two pas de zephyre and a pas de zephyre half-
turn.

Arm movements. Arms 3rd amplified to lateral
position with the three-step turn, etc., and from 3rd
amplified raise one arm to 5th position with a and /.

Two three-step turns with hop, etc., as above, and

(g) Arabesque, pas de zephyre (backward), and two
pas de zephyre.

(h) Arabesque, pas de zephyre (backward), and
repeat.

(0 Schottische (caprice, gavotte) and slow pirouette
in four counts.

(j) Pirouette (slow) and step-courtesy or point
(slow).

(k) Three running steps forward, hop and swing leg
forward, and pirouette.

Arm movements. From 3rd amplified, raise one arm
to 5th on the three- step turns, etc., and then: Inter-
mediate amplified to lateral position, taken twice, on g
and h.

3rd amplified to lateral, and 3rd amplified to 5th
position on i and k.

3rd amplified to 5th, and 3rd amplified to lateral
position on j.

These combinations may be varied by taking one
three-step turn, etc., and half of the steps under a to k,

selecting the most appropriate ones. After a certain
[78]

DANCE STEPS

number of these combinations have been learned, arm
movements should be added.

The Spinning Step

Execution. On part of preceding measure push from
ball of right foot and then execute a | turn left and
step left forward (on one). (Fig. 27.) Place right foot
sideward on toe and with slight pressure from it rise
on the ball of the left foot and execute a | turn left
(on and). Sink, completing the | turn (on two). Re-
peat foot placing right sideward, rising on ball of the
left foot with the | turn and sinking until completely
around (whole turn left). This requires two measures
or four counts of polka time.

The knee of the stationary leg is slightly flexed and
extended as the body rises and sinks on the ball of the
foot. The free foot is swung in a circle touching from
the floor at each quarter of the circle and remaining
mostly behind and to the side of the body, and at no
time in front of it. The body should remain well poised
and slightly bent backward over the stationary leg.

Tempo. Polka and | rhythms. Waltz and ma-
zurka, one measure to the whole turn, may also be used.

Arm and other movements.

1. With one arm in intermediate amplified, 4th, or
5th position. (Fig. 27.)

2. With both arms in intermediate amplified position.

3. With the rear arm in intermediate amplified and
the forward arm in the 4th or 5th position.

To these arm movements the following head move-
ments are added:

(a) Looking at the hand of the forward arm.

(b) Turning head over the opposite shoulder.

[79\

ESTHETIC DANCING

Combinations in Polka Time

The spinning step left and right (eight counts) and
(a) Step (or three steps) and point (eight counts in
various directions).

(6) Step-courtesy eight counts.

(d) Four polka hops left and right, or two and a
polka turn (various directions).

(e) Heel and toe polka (various directions).

(/) Four pas de zephyre, or two and a pas de
zephyre turn (various directions). Arms 3rd ampli-
fied to lateral position on a to /.

(g) Four arabesque (various directions). Arms 3rd
to intermediate amplified, also reverse intermediate

amplified position.

(h) One of the steps under a, b, rf, /, or g, executed
left, right, and left, and pirouette right. Arms 3rd
amplified to 5th position.

(i) The spinning step left (left arm in 5th, right in
intermediate amplified position), and half of one of the
exercises given under a to g.

Jete Saute. (Leap-Hop)

Preparatory exercises.

1. Step left in 2nd — one. Raise right in 5th posi-
tion in rear — two.

2. Step left in 2nd and raise right in 5th — one.
Pause — two.

3. Leap to the left and raise right in 5th — one.

Pause — two.

[80]

DANCE STEPS

4. Leap to the left, brushing floor with the ball of the
left foot, and raise right in 5th — one. Pause — two.
(Fig. la and Ib.)

5. Same as 4 - - one. Hop (saute) - two.

Jete saute left is executed by brushing lightly over
the floor with the left foot, thoroughly extending knee
and ankle in the direction indicated, and then leaping
on it with joints slightly flexed. The right foot is
immediately raised in the 5th position in rear, the knee
turned out, on the first count. Hop on the left foot
on the second count, with the right foot held in posi-
tion. The distance of the leap is about equal to the
ordinary step. It is executed sideward (into 2nd) and
obliquely fore-outward into intermediate position.

Tempo. Polka, gallop, and schottische time are
the musical rhythms to which the jete saute is adapt-
able. It may, however, be executed in mazurka tempo
by adding an extra hop (jete saute saute, or double leap-
hop). This latter rhythm is the best to begin with.

Arm and other movements. From one or both
arms in the 3rd amplified position:

1. With jete saute left, move left arm inward to 3rd
position. With jete saute right, return left arm to 3rd
amplified position.

2. Same as 1, moving left arm to 5th instead of 3rd
position.

3. With jete left, move left arm to lateral or 5th and
return to 3rd amplified position on the saute; move
right arm to lateral or 5th position with the jete right
and return with the saute.

Add : (a) Turning head left when left arm moves to
3rd position.

(b) Looking at hand when arm is raised to 5th position.

[81]

ESTHETIC DANCING

Combinations in Mazurka Time

1. Three jete saute saute and

(a) A pirouette.

(b) A mazurka.

(d) A redowa polka.

(e) A spinning step or three-step turn.
(/) An arabesque turn.

2. Two jete saute saute and

(a) Step, point, and pause (twice), or three steps,
point, and pause (various directions).

(b) Two coupe saute saute (double cut-hop).

(rf) Two waltz or mazurka balance steps.

(e) Two three-step turns (or spinning steps).

(/) Two redowa polka.

Arm movements. Hands at waist on 1 and

Right arm in 5th position with a, c, rf, e, and /.

Left arm in 5th position with b.

Hands at waist on 2 and

3rd amplified to lateral position with a, fr, and c.

3rd amplified to intermediate position with d.

Left, then right, arm in 5th position with e and /.

Two jete saute saute, a pirouette, and one of the
steps from I a to/. This will lead to the execution right.

Arm movements. Arms 3rd amplified to lateral
position on the jete saute saute and 3rd amplified to

5th position (pirouette) ; and as under I, 2.

[82]

•^

»*• ••-

^ ~^

>^ ^

\- s

C-l

—

DANCE STEPS

Combinations in Polka Time

1. Three jete saute (left arm 5th to 3rd amplified
position) and

(a) A pirouette.

(b) A balance step.

(d) A coupe saute.

(e) An aesthetic polka or polka hop.

Arm movements. Left arm 3rd amplified to 5th
position, or both arms 3rd amplified to lateral position.

2. Two jete saute (arms 3rd amplified to lateral
position) and

(a) Step and point (various directions) twice.

(b) Step-courtesy or coupe saute twice.

(d) Two polkas or a polka turn.

(e) A heel and toe polka.

(f) Two pas de zephyre or a pas de zephyre turn.
(#) Two arabesque.

(h) A spinning step or two balance steps.

(0 A three-step turn with hop and leg-swing.

Arm movements. Arms 3rd amplified to one arm
in 5th position with a, c, d, e, /, g, and i.

Arms 3rd amplified to lateral position with b.

Left arm in 5th, right in intermediate amplified
position, or 3rd amplified to 5th position, with h.

Two jete saute (arms 3rd amplified, one in 5th posi-
tion), a pirouette (arms in 3rd position), and one of the
steps under I a, b, d, /, and g.

l*3l

ESTHETIC DANCING

Combinations in Schottische (to Gavotte) Time

Four jete saute and

(a) Two schottische (caprice or gavotte) steps.
(ft) Two balance steps.

(d) Two pas de zephyre and two coupe saute (front
and rear).

(e) Four arabesque or four pas de zephyre forward.
(/) One arabesque and three pas de zephyre.

(g) Two pas de zephyre and a pas de zephyre turn.

Arm movements. Hands at waist with the jete
saute and

Arms 3rd amplified to lateral position with a, ft, c, rf,
and g.

Arms 3rd to intermediate amplified or 3rd amplified
to lateral position with e.

Arms 3rd to intermediate amplified and 3rd ampli-
fied to lateral position with /.

Four jete saute and

(a) A front cross schottische and a pirouette (slow).

(ft) A balance step and a pirouette.

(rf) Two pas de zephyre and a pirouette.

(e) Arabesque forward, pas de zephyre backward,
and a pirouette.

In the exercises a to d the pirouette may also be
placed first. From the examples given exercises begin-
ning with two jete saute may easily be arranged.

Arm movements. Arms 3rd amplified, one to 5th
position, with the jete saute and
[84]

DANCE STEPS

Arms 3rd amplified to lateral, 3rd amplified to high
1st position with a to d.

Arms 3rd to intermediate amplified, 3rd amplified to
intermediate, and 3rd position with e.

Lateral Pas de Basque

Preparatory exercises. From left in low 2nd posi-
tion:

1. Step left in 1st position — one. Step right in
2nd position - - two. Close left and raise right in 2nd
position - - three.

2. As 1, but leap into 1st position and raise right in
5th in rear on one.

3. As 2, but glide right into 2nd position on two.

4. As 3, but cut and bend knee of supporting leg on
three. In mazurka rhythm.

The knee should gently flex when leaping on left
foot, and the glide to the side on the ball of the foot
begun from this flexed position. The displacement
brings the right leg into a thoroughly extended posi-
tion in low 2nd, while the left knee is again slightly
flexed. The exercise is performed on the ball of the
foot.

Tempo. Mazurka to waltz time.

Polka and | time. In the last two rhythms the
movements described under first and second counts are
combined and performed on the first count of the meas-
ure, and the third movement on the second count of
the measure.

Arm movements. Changing arms from 3rd ampli-
fied to lateral position (or intermediate position) on the
step to one side are most suitable. Begin with one
arm, first the same, then the arm opposite to the step.

[85]

AESTHETIC DANCING

Combinations in Mazurka Time

Two lateral pas de basque and

(a) Three steps left sideward (or forward or back-
ward), point in 2nd or 4th, and pause.

(ft) Three steps right sideward (beginning with a
rear cross-step), point, and pause.

(d) Two arabesque forward, or an arabesque and
an arabesque turn.

(e) Two pas de zephyre.

Arm movements. Hands at waist on lateral pas de
basque and

Arms 3rd amplified to one arm in 5th or lateral posi-
tion with a, ft, c, rf, and e.

Two lateral pas de basque and

(a) A pirouette and a jete saute saute.

(ft) A pirouette and an arabesque or arabesque turn.

Arm movements. Arms 3rd amplified to lateral
position on each lateral pas de basque and

Arms 3rd amplified to 5th, 3rd amplified to lateral
position with a.

Arms 3rd amplified to 5th, 3rd amplified to inter-
mediate position with ft and c.

Combinations in Polka Time

Three lateral pas de basque and
(a) A pirouette,
(ft) A step-courtesy or point.
[86]

DANCE STEPS

(d) An arabesque.

Arm movements. Arm opposite to the step from
3rd amplified to lateral position with the lateral pas de
basque and

Same arm to 5th or 4th position with a, c, and d
(other hand at waist).

Same arm to 3rd amplified position with b.

Two lateral pas de basque and

(a) A heel and toe polka.

(b) Two polkas, two pas de zephyre, etc.

(d) A pirouette and some appropriate step.

Arm movements. Arms 3rd amplified to lateral
position with each pas de basque and

Arms in low intermediate amplified, left to 5th,
both 3rd amplified position with a.

Arms low 3rd amplified (3rd amplified to lateral)
position with b.

Left arm in 5th, right in intermediate amplified
position; or arms 3rd amplified, 5th, 3rd amplified, and
lateral position with c.

Arms 3rd amplified and 5th, etc., position with rf.

The Forward Pas de Basque
Preparatory exercises.

1. Step left into 2nd — one. Step right forward
inward (crosswise) and raise left foot — two. Replace
left foot — three. Same right.

2. As 1, but glide right forward inward on two.

[87]

ESTHETIC DANCING

3. As 2, but leap to left, knee bent, instead of step-
ping, on one.

4. As 3, but place left foot in 5th in rear on three.

5. As 4, but cut with left instead of placing it in 5th
in rear.

6. As 5 with ronde de jambe (swinging foot on part
of a circle) on the leap.

In mazurka time, adapting the tempo to the ability
of the class. The entire execution should be on the
ball of the foot with gentle knee flexion in all the falling
movements. The leg is completely extended in de-
scribing the ronde de jambe. The trunk turns slightly
in the direction of the step and bends gently to the
opposite side. The head is kept turned straight
forward.

Tempo. Mazurka and increase to waltz.

Polka and f time produce the demi pas de basque,
in which the first two movements are combined and
executed in one count (i.e., on the first) and the third
movement on the second count of the measure.

Arm movements.

1. Right arm moves from 3rd amplified to 3rd posi-
tion on the step left, and returns to 3rd amplified on
the step right.

2. Arms move from 3rd amplified to lateral position.

3. Left arm to 5th position in preparation; to 3rd
amplified position on the step left and to 3rd position
on the step right; then again to 5th position.

4. From 3rd amplified position of both arms, one
(then both) moves to 5th position and returns to 3rd
amplified position on each step.

5. From 3rd amplified position of both arms, both

move to left intermediate position and return to 3rd
[88]

DANCE STEPS

amplified position on the step left; then the same on
the step right.

6. Left arm in 3rd amplified position in preparation.
It moves to the 3rd position on the step left and returns
on the step right.

7. Both arms in 3rd amplified position in prepara-
tion. Arms move to right lateral position on the step
left and left lateral position on the step right.

The head is generally kept turned forward, but may
be turned toward the hand when one is raised in 5th
position.

Combinations in Mazurka Time

1. Three pas de basque forward and
(a) A balance step.

(6) An arabesque.

(d) An arabesque turn.

(e) A redowa polka.
(/) A spinning step.
(</) A mazurka.

(h) A pirouette.

2. Two pas de basque forward with a single arm
movement and two steps of a to h with a single arm
movement.

The second spinning step and arabesque turn are
taken in opposite direction to the first.

Also three steps, point and pause, or five steps and
point (indicate direction).

Two pas de basque forward, a pirouette, and

(a) One of the steps under I a-/.

[89]

AESTHETIC DANCING

(b) A three-step turn.

(e) Coupe saute saute (front or rear).

Arm movements. Arms 3rd amplified to lateral
or intermediate position on each pas de basque, and
select appropriate arm exercises for a to e.

Combinations in % or Polka Time

1. Three pas de basque forward and

a, b, c (one saute or two jete), or /z, of I under com-
binations in mazurka time.

2. Two pas de basque and

(a) Two of the steps under a; e.g., two balance
steps or arabesque.

(b) Two step-courtesies.

Add appropriate movements of one arm.

Two pas de basque forward with 5th or 7th arm
exercise (see pages 88 and 89) and

(a) A balance step and a pirouette.

(b) An arabesque and a pirouette.

(e) Pas de zephyre and pirouette.

Arm movements. 3rd amplified to 5th position

(twice) on a, 6, and c.
1 90]

DANCE STEPS

3rd amplified to lateral, 3rd amplified to 3rd posi-
tion on d and e.

The Backward Pas de Basque

Preparatory exercises. Left foot is placed in inter-
mediate position in preparation.

1. Step on left in 5th in front — one. Step right
diagonally backward — two. Follow with left in 5th in
front — three. Raise right leg backward and swing in
a circle forward to the raised intermediate position -
four. To be practiced in polka time with constant
increase in tempo to schottische.

2. As 1, but glide right diagonally backward on
two.

3. As 2, but leap in 5th in front, right raised to low
1st position on one.

4. As 3, but cut on three.

5. As 4, but emphasize the ronde de jambe after
the cut.

6. As 5, but combine the cut and ronde de jambe
into one movement on the third count, and execute in
mazurka rhythm.

After the fifth exercise has been learned it should be
thoroughly practiced in schottische time (fast) before
the sixth exercise is taken up in mazurka rhythm.
When this has been mastered the execution in f and
polka time may follow.

The execution is similar to the forward pas de
basque. There is a slight turning of the trunk in
the opposite direction of the step and the head is con-
stantly kept forward. The entire step is executed on
the ball of the foot with gentle knee flexion and exten-
sion on the falling movements.

[91]

ESTHETIC DANCING

Attention is also called to another mode of execut-
ing the pas de basque backward, and which is precisely
similar in development and performance to the pas de
basque forward, with the following change: the foot
sliding crosswise moves backward inward in the pas de
basque backward, while it moves forward in the pas de
basque forward. Wherever the pas de basque backward
is named in the following combinations, either execution
may be used. The best adaptable arm movements are
from 3rd amplified to lateral position.

Tempo. Schottische (rather fast) for the above pre-
paratory exercises; mazurka to waltz; -| and polka. In
polka and | rhythm the first two movements (leap and
glide) are combined as in the forward step.

Arm movements.

1. With left arm moving from 3rd amplified to 3rd
position on execution left and to 3rd amplified position
on execution to the other side.

2. Left arm in 5th position on the step right and in
3rd position on the step left (through 3rd amplified
position).

3. Both arms from 3rd amplified to lateral position
(of the opposite side) on each step; turn head in oppo-
site direction.

4. From both arms in 3rd amplified, the right moves
to 5th position on the step left. (Look at the hand in
5th position.)

5. Both arms move from 3rd amplified to right
intermediate position on the step left.

[92]

DANCE STEPS

Combinations in Mazurka Time

1. The pas de basque backward and

(a) Coupe saute saute right (front) or three
coupe.

(ft) Mazurka balance.

(d) Pirouette.

(e) Mazurka.

Arm movements. Arm exercises 1 or 2 with the
pas de basque and

One arm in 3rd position on a, ft, and rf.
One arm in 3rd amplified position on c.
One arm in 5th position on e.

2. Two pas de basque backward and

(a) Three steps (in various directions), point, and
pause.

(ft) Two coupe saute saute (front and rear).

(d) Two mazurka balance steps.

(e) Two arabesque, or pas de zephyre.
(/) Two lateral pas de basque.

Arm movements. First or second arm exercise with
pas de basque and

Both arms 3rd amplified to intermediate position
with a and d.

Both arms 3rd amplified, then lateral position with
ft and c.

Both arms low 3rd amplified (3rd amplified to
lateral) position with e.

One arm 3rd amplified to 3rd position with /.

[fill

ESTHETIC DANCING

Two pas de basque backward and

(a) Coupe saute saute (front) and mazurka.

(b) Coupe saute saute (front) and arabesque turn.

(d) Coupe saute saute (front) and pirouette.

(e) Pirouette backward and a balance step.

(/) Pirouette backward and jete saute saute (in 2nd
or intermediate position).

(g) Pirouette backward and arabesque or pas de
zephyre.

(A) Pirouette backward and spinning step.

(0 Pirouette backward and redowa polka.

(7) Pirouette backward and arabesque turn.

Arm movements. Arm exercises 3 and 4 with the
pas de basque and

Arms low 3rd amplified, or 3rd amplified to 5th, and
intermediate position with a, 6, and d.

Arms low 3rd amplified or 3rd amplified to 5th
position and right arm in 5th, left in intermediate
amplified position with c, 6, and h.

Arms in 5th or intermediate position and through
3rd amplified to lateral position with e, /, and g.

Arms in 5th or intermediate position and right arm
in 5th position, left hand at the waist, on i and j.

Combinations in Polka or % Time

Two pas de basque backward and

(a) Two coupe saute (front and rear) or four coupe.

(b) Seven steps right sideward, beginning with
front cross step left.

[94]

DANCE STEPS

(d) Two step-courtesies or point in 5th in rear.

(e) Two pas de zephyre or arabesque.
(/) Two jete saute in 2nd or four jete.

(g) A spinning step or arabesque turn (three
hops).

(h) A heel and toe polka.

Arm movements. Hands at waist with the pas de
basque and

Arms in low 3rd amplified position with a, 6, and c.

Left arm in 3rd amplified, right in 5th position with
b and c.

Arms 3rd amplified to lateral position with rf, e,
and /.

Right arm in 5th position, left hand at the waist,
with g.

Arms in low left intermediate amplified, left in 5th,
both in low 3rd amplified position with h.

Two pas de basque backward and
(a) Coupe saute (front) and pirouette.
(6) Two front cross glides left (the last unfinished)
and pirouette.

(d) Heel and toe polka, or jete saute, and coupe
saute.

(e) Pirouette, and jete saute, or coupe saute.
(/) Pirouette, and arabesque, or pas de zephyre.
(g) Pirouette, and step-courtesy, or point in 5th in

rear.

/ESTHETIC DANCING

Arm movements. Arm exercise 5 with pas de

basque and

Arms 3rd amplified to 5th, and 3rd amplified to low
3rd or 1st position with a.

Left arm 3rd amplified, right in fifth, and 3rd am-
plified to low 3rd or 1st position with b.

Arms 3rd amplified to 5th, and 3rd amplified to 5th,
or reverse intermediate (lateral) position with c and d.

Arms 3rd amplified to low 3rd, and 3rd amplified to
lateral position with e, /, and g.

The Front and Rear Cross Polka

The front cross polka is similar to the pas de basque
backward, as developed by the preparatory exercises on
page 91, possessing the same elements, but differs in
the direction of the execution. It is performed directly
sideward (instead of diagonally backward) and begins
with a jete left in 5th in front (leap into 5th in front on
one), followed by a glide right sideward (on and) and
then by the cut (on two). The exercise brings the
dancer a little forward with each step. It is executed
in mazurka, |, and polka rhythms, preferably in polka
time.

The progression of the arm movements combined
with the step is the same as given under the pas de
basque backward. The combinations in polka and f
time given under the latter step may also be easily
readapted to the front cross polka by substituting it
for the pas de basque. Combination exercises of the
two steps may be practiced in alternation. The rear
cross polka differs from the front cross polka only in
the leap which is made into 5th in rear instead of 5th in
[96]

DANCE STEPS

front. It moves the dancer gradually backward with
each step.

The arm movements of the pas de basque backward
may be progressively added to this step. The rhythm
is the same as that for the front cross polka, and the
combinations in polka and | time, given under the pas
de basque backward, are readily altered by substitut-
ing the rear cross polka for the pas de basque. Some
of the parts of these combinations will, however, have
to be changed.

The Pas de Sissonne. (Scissor Step)
Execution.

1. Execution left from 5th in rear: Hop on right
and place left foot on toe in 5th in rear — one. Hop
on right and extend left in high intermediate — two.
Continue in polka time.

2. Execution left from 5th in front differs from the
preceding only by beginning from placing foot on toe
in 5th in front.

3. Execution left from 5th in rear and front requires
four counts and is a combination of the preceding
two.

4. Alternate pas de sissonne from in rear. This
step requires four counts. As 1 on one and two, then
leap upon left (executing a catch step), the leap taking
the place of the hop, in 1st position and simultaneously
place right foot on toes in 5th in rear on three. Hop
on left and extend right in high intermediate — four.
Continue changing.

5. Alternate pas de sissonne from in rear and front.
The leap on the left foot described in exercise 4 occurs

' 1 97]

AESTHETIC DANCING

after the execution described under 3. This exercise
requires eight counts.

This execution gives a fair idea of the step. The
hopping movement should not be too high and the leg
should be thoroughly extended.

Tempo. Polka to schottische; mazurka. Here
the first hop is performed on count one and the second on
count three of a measure. The pause occurs after the first
hop with the foot rising slowly.

Arm and other movements.

1. Arms are held in the left intermediate amplified
position on the execution left.

2. Arms are held in the right lateral position on the
execution left.

3. Arms are held in the right intermediate position
on the execution left.

4. Arms are held in the left intermediate amplified
position on the hop on the execution left and in (a) the
right lateral position when the left leg is being raised,
(b) in the right intermediate position.

The head should be turned toward the leg that is

raised.

Combinations in % or Polka Time

1. Two pas de sissonne left from 5th in rear and

(a) Four falling steps* left in 5th in front, moving
right sideward.

(b) Four glides left in 5th in front, the last unfin-
ished (front cross glides), moving right sideward.

* A number of falling steps may be practiced in preparation for the
step in this combination. The falling step consists of a leap left in 5th in
front and a side-step right. The entire body weight falls on the foot leap-
ing in 5th in front or a trifle beyond it, with slightly bent knee. The other
foot is placed a short distance sideward on the toes, with the knee, which is
lS>8]

DANCE STEPS

(d) Two front cross polkas, or two pas de basque
backward.

(e) Two rear cross polkas, or two pas de basque for-
ward.

(/) Two arabesque forward.

(g) Two coupe saute (front and rear).

(h) Two pas de basque sideward.

Arm movements. One arm low intermediate posi-
tion, or hands at waist, with the pas de sissonne and

Left arm 3rd amplified and right in 5th, or both
arms in 3rd amplified position with a, b, and c.

Arms right lateral to left lateral position with d.

Arms left lateral to right lateral, or both arms in 3rd
amplified position with e.

Both arms in 3rd amplified, left then right arm to
5th position with /, g, and h.

2. Two pas de sissonne left from 5th in rear and

(a) A heel and toe polka left sideward.

(b) A glide polka left sideward.

(d) An arabesque turn left (three hops).

(e) A polka turn left.

(/) A three-step turn left, hop, and leg-swing
forward.

Arm movements. One arm low intermediate posi-
tion, or hands at waist with the pas de sissonne and

Left arm in low intermediate or 5th position and
both arms in 3rd amplified position with a.

Arms 3rd amplified to right lateral position with b.

also bent, straightening as it assumes the weight in preparation for another
falling step. The knee of the side-stepping leg does not straighten
completely.

[99]

ESTHETIC DANCING

Arms 3rd amplified to left lateral position with /.
Left arm in 5th, right in intermediate amplified posi-
tion with c and d.

Arms in 3rd amplified or 5th position with e.

3. As 1, but only one pas de sissonne and only one
of the steps under a-h.

4. All the exercises under 1 and 2 may be repeated
with:

(a) Pas de sissonne left from 5th in rear and 5th in
front, or vice versa. (See execution of pas de sissonne.)

(b) Alternate pas de sissonne from 5th in rear.
(See execution.)

4. b and c applied to the exercises under 1 a to h and
2 a to / must be begun with the right foot and taken
right and left, as the alternate pas de sissonne leads to

the execution right.

1. Two pas de sissonne left from 5th in rear and

(a) Two falling steps left (last unfinished) — five
and six, and pirouette right — seven and eight.

(b) As a, but cross glides instead of falling step, the
last unfinished, and pirouette right.

(c) As a or b, but moving diagonally backward,
(rf) Front cross polka left and a pirouette right.
(e) Rear cross polka left and a pirouette right.

(/) Arabesque left forward and a pirouette right
backward.

(g) Coupe saute (front) and a pirouette right.
(h) Pas de basque sideward and a pirouette right,
(z) Pas de basque backward (also forward) and a

pirouette right.
[100]

DANCE STEPS

2. Repeat the combinations under 1 with

(a) Pas de sissonne left from 5th in rear and 5th in
front.

(6) Alternate pas de sissonne (left and right) from
5th in rear.

This last variation leads to the execution right of the
steps under 1.

Arm movements. Arm exercises 3 and 4 with the
pas de sissonne and

Arms 3rd amplified, or left arm 3rd amplified and
right in 5th, to arms in 3rd position with a, b, and c.

Arms low 3rd amplified, then 5th position, or arms
left lateral and then 5th position, with d to L

Left arm in 5th, right intermediate amplified to 3rd
position with / and g.

Combinations in Schottische Time

The following examples of combinations in £ and
polka time may be adapted to schottische time:

I, 4 c, using the exercises given below:
Two schottische steps; two front cross schottische.

1 g, /, a, 6, and c.

2 d, /, and c.

Combinations in Mazurka Time

Two pas de sissonne, (a) left from 5th in rear; (b)
left from 5th in rear and from 5th in front; (c) from
5th in rear in alternation (left and right), and

(a) Two arabesque (hop twice).

(6) Two coupe saute saute (front and rear).

Ifoi]

AESTHETIC DANCING

Arm movements. Arms in right lateral position
with the pas de sissonne left and

Left arm in 5th, right in intermediate amplified
position, change position through 3rd position, with a.

Left arm in 5th, right in intermediate amplified, to
low 3rd position with b.

Arms low 3rd amplified, then to right lateral position
with c.

Arms left lateral to low 3rd amplified position with d.

As under I and

(d) Pirouette left and arabesque or arabesque turn.

(b) Pirouette left and coupe saute saute (front).

(rf) Pirouette left and a pas de basque forward.

(e) Pirouette left and a pas de basque backward.
(/) Pirouette left and a redowa polka.

Arm movements. The fourth arm exercise with
the pas de sissonne and

Arms to 1st, to 5th, or right intermediate position,
with a and b.

Arms to 3rd, to left intermediate position, with c
and d.

Arms to 5th, to low 3rd amplified position, with e
and /.

The Waltz Step

For preparatory exercises practice those given
under the lateral pas de basque and add moving for-
ward with this step. Then follows the waltz step for-
ward : Leap left forward — one. Glide right forward
[102 }

DANCE STEPS

(beyond the left foot) — two. Cut left (displacing right)
— three. The same right.

The waltz step backward is executed in the same
manner in the opposite direction; i.e., leap backward
on one.

The leap is rather small, but the glide is the size of
an ordinary step. The exercise is performed on the ball
of the foot, with slight knee-bending on each movement.
When first learning the step it is well to have a pro-
nounced leap, glide, and cut, but as better control is
acquired the movements should be blended so that the
elements will lose their distinctness. Do not confuse
the forward waltz step with the pas de basque forward,
which closely resembles it.

Arms in 3rd amplified and raising them to left
lateral or intermediate position on the step left may
be added, though it is usually performed without arm
movements.

In practicing it change from mazurka to waltz

time.

Examples of Combinations

Three waltz steps forward and

(a) A balance step.

(b) An arabesque. 6> £

(d) An arabesque turn.

(e) A mazurka hop.
(/) A pirouette. ! >

Two waltz steps forward (arms 3rd amplified posi-
tion) and two of I a to e, arms 3rd amplified to inter-
mediate position, or

[103]

AESTHETIC DANCING

(a) An arabesque and a pirouette.

(b) A pas de zephyre and a pirouette.

(d) A pirouette and an arabesque turn.

Arm movements. Arms lateral to 3rd position
with a and b.

Arms in 5th to left intermediate amplified position
with c and d.

The Waltz Turn

Preparatory exercises. Review the preparatory
exercises suggested for the waltz step.

1. Leap forward on right, raise left in 5th in rear —
one. Glide left sideward — two. Cut right and raise
left in 4th in rear - - three. (One measure.) Leap left
backward and raise right in 5th in front — four. Glide
right sideward - -five. Cut left and raise right in 4th
in front — six. (One measure.)

2. As 1 on a right square; i.e., with J turn right on
the glide.

3. On right and left square, changing on command.

4. Flank circle, left side toward center. Waltz
step left and right forward, and waltz turn left (whole
turn), in two waltz steps. The same backward.

5. Face left about and repeat 4 (forward and back-
ward), beginning right.

6. Open order: The waltz turn left sideward and
two waltz balance steps in place.

The exercise in the flank circle formation may be
preceded by the waltz step straight forward and back-
ward without turning.

DANCE STEPS

Combinations in Moderate Waltz Time

Two balance steps, a waltz turn (four measures),
and

(a) Three balance steps and step right and close
left. (The direction of the step right depends upon
the direction of the combination and should be toward
the starting place. It is executed on the first, and the
"close left" on the third count of the last measure.)

(6) Three pas de zephyre and finish as in a.

Arm movements. Arms 3rd amplified to lateral
position (three times), arms 3rd amplified to inter-
mediate position (three times), to 3rd amplified, with
a to c.

1. Two balance steps, a waltz turn (four measures),
and

An arabesque forward, pas de zephyre backward,
arabesque forward, and finish as in I a.

2. Arabesque forward, pas de zephyre backward, a
waltz turn (four measures), and

(a) Repeat I a to c.

(b) Step-courtesy (two measures) and slow pirouette
(two measures).

Arm movements. Arms 3rd amplified, palms up,
to lateral position, to 5th position (on the waltz turn)
and then

Arms left intermediate amplified, right lateral, left

{105}

ESTHETIC DANCING

5th, both in 3rd amplified, palms up, position with 1.

Left intermediate amplified, right lateral, both low
3rd amplified position with 2, and then

3rd amplified to lateral, then 3rd amplified to 5th
position with b.

Arms in 5th (with pirouette) with c.

Jet6 and Assemble. (Leap and Close)
Preparatory exercises. Start from 3rd position in
front.

1. Slide left foot sideward, pointing, and bend
right knee - - one. Straighten knee and return to 3rd
in rear — two. Fast waltz or polka time.

2. The first movement of 1 — one. Straighten
knee, raise right heel, and raise left foot in low 2nd -
two. Lower to 3rd in rear — three. Mazurka time.

3. Combine one and two of the second exercise into
one movement - - one. Lower to 3rd in rear - - two.
Fast waltz or polka time.

4. Leap left in 2nd and raise right in 5th in rear —
one. Straighten right leg into low 2nd and raise left
heel, lower right foot into 1st position and lower
heel (jete and assemble) — two. The first part of the
second count slightly precedes the beginning of this
count.

These exercises may just as well be practiced from
the 1st as from the 3rd position.

The jete is executed by brushing lightly over the
floor with the left foot, thoroughly extending the knee
and ankle in the direction indicated, and then leaping
on it with knee slightly flexed. The right foot is im-
mediately raised in 5th in rear, knee turned out. The
distance of the leap, which is generally executed side-

[106]

DANCE STEPS

ward, is about equal to the ordinary step. This is
performed on one and is followed by rising on toes of
left foot, swinging the right foot sideward, ankle high,
thoroughly extending knee and ankle on the last half
of this beat; i.e., on and. On two bring the right foot
to 5th in front, with the lowering of the left heel. For
gymnastic purposes it is best to bring the free foot to
3rd in front, or, preferably, to the 1st position.

Tempo. Moderate waltz, which may be adapted to
the ability of the class, increasing or decreasing the
speed as the occasion requires, is the best rhythm to
teach this step in. Two measures are required for each
execution, one for the leap and one for the assemble.
After a fluent execution has been acquired, proceed to
moderate -f and polka rhythm and gradually progress
in speed.

Jete Assemble. (The Closing Leap)

It consists of the jete as described above, with
simultaneously drawing the other foot after it into the
5th position in front or rear, so that both feet alight
together. In alighting the knees are bent slightly and
turned outward. It is executed in one count. Finish-
ing in the 1st position is here also to be preferred to
that in the 5th position.

Tempo. Mazurka rhythm (one jete assemble to a
measure) is most suitable to begin with, and then
progress to waltz, |, and polka time, as it is used to
terminate combinations in various rhythms.

With both of these closing steps the arms usually
move through 3rd amplified to the 1st position, unless
some definite position is desired as a finish.

[107]

AESTHETIC DANCING

Combinations in Fast Waltz Time

(a) Three step-courtesies (each two measures) and
jete and assemble (two measures).

(6) Three arabesque forward (two measures each)
and jete and assemble.

(d) Three waltz balance steps (two measures each)
and jete and assemble.

(e) Three mazurka balance steps (two measures
each) and jete and assemble.

(/) Three pas de basque forward (two measures
each) and jete and assemble.

(g) Three pas de sissonne from in rear or front (two
measures each) and jete and assemble.

(h) Pas de sissonne from in rear, front, and rear
(two measures each) and jete and assemble.

(/) Alternate pas de sissonne from in rear (two
measures each) and jete and assemble.

In beginning these combinations it is advisable to
combine two of the suggested steps with two jete and
assemble instead of in the manner given, as this offers
more practice of the jete and assemble.

Arm movements.

(a) Arms 3rd amplified to lateral position three
times; low 3rd amplified position with the jete and
assemble.

(6) From 3rd position the forward arm moves to
5th and the backward arm to intermediate amplified
position, or arms 3rd amplified to reverse intermediate

[108]

DANCE STEPS

position, three times; low 3rd amplified position with
the jete and assemble.

(c), (e), and (/). Arms 3rd amplified to intermedi-
ate or reverse lateral position; low 3rd amplified posi-
tion with the jete and assemble.

(d) Front arm 5th, rear arm intermediate amplified,
to right lateral position and return; low 3rd amplified
with the jete and assemble.

(<?), (A), and (/). Left intermediate amplified to
right intermediate to intermediate amplified position;
low 3rd amplified with the jete and assemble.

(a) Repeat the combinations of I and add a pirou-
ette, as follows:

(1) Two of the steps named, pirouette, and jete
and assemble.

(2) One of the steps named, pirouette, one of the
steps, and jete and assemble.

(3) Pirouette, two of the steps named, and jete
and assemble.

Example of 1 : Two pas de zephyre, pirouette, and
jete and assemble.

Example of 2: Pas de basque, pirouette, pas de
basque, and jete and assemble.

Example of 3: Pirouette, two pas de sissonne from
in rear, and jete and assemble.

(b) Three-step turn, hop and leg-swing forward,
pirouette, and jete and assemble.

Arm movements.

(a) and (c). Arm exercises as given under I with

[ 109}

ESTHETIC DANCING

arms 3rd amplified to 3rd or 5th position with the
pirouette.

(b) Arms 3rd amplified to left lateral or left inter-
mediate position; 3rd amplified to 5th ; low 3rd ampli-
fied position.

Ill

(a) A step from I b-i, pirouette, step-courtesy, and
jete and assemble.

(b) A step from I c-z, pirouette, arabesque forward,
and jete and assemble.

(d) A step from I a-i (excepting/), pirouette, pas de
basque forward, and jete and assemble.

(e) Pas de zephyre left sideward, pirouette left
(cross right in front), a step from I a, b, d, e, or /, and
jete and assemble.

(/) Arabesque left forward, pirouette (cross right in
front), a step from I a, 6, rf, e, or /, and jete and
assemble.

In these combinations the jete and assemble is
to be alternated with the jete assemble (with arms in
1st position). A slight pause follows when using the
latter step. The steps may, furthermore, be varied
by finishing with a jete and point, either into 4th or
2nd position, with arms 3rd amplified to lateral or inter-
mediate position, instead of jete and assemble.

Arm movements.

(a) Arm exercises as given under I, 3rd amplified to
5th, 3rd amplified to lateral, low 3rd amplified position.

(6) Arm exercises as given under I, 3rd amplified to
3rd, 3rd amplified to 5th, low 3rd position.

[no]

DANCE STEPS

(d) Arm exercises as given under I, 3rd amplified to
intermediate, 3rd amplified to reverse lateral, low 3rd
amplified position.

(e) Arms 3rd amplified to lateral or reverse lateral;
directly to 5th position; arm exercises as under I; low
3rd amplified position.

(/) Arms 3rd amplified to 3rd or 5th; raise to 5th
position; arm exercises as under I; low 3rd amplified
position.

Combinations in Schottische Time

Schottische left and right (indicate direction) and
(a) Slow step-courtesy (one measure) and jete and

assemble (one measure).

(6) A balance step (one measure) and jete and

assemble (one measure).

(d) Two pas de zephyre (one measure) and jete and
assemble (one measure).

(e) Two jete saute (one measure) and jete and
assemble (one measure).

(/) Pas de zephyre, coupe saute (front), and jete
and assemble.

(g) Slow pirouette and jete and assemble.

Arm movements. Arms 3rd amplified to lateral
or one arm in 5th position with the Schottische and

(a) Arms 3rd amplified to lateral position; low 3rd
amplified position with the jete and assemble.

[717]

AESTHETIC DANCING

Arms 3rd amplified to 5th position; low 3rd
amplified position with the jete and assemble.

(d) Arms 3rd amplified to lateral or intermediate
position twice; low 3rd amplified position with the jete
and assemble.

(e) Arms 3rd amplified to left (right) in 5th position;
low 3rd amplified position with the jete and assemble.

(/) Arms 3rd amplified to left lateral or to left in
5th, then to right in 5th and left intermediate amplified
position; low 3rd amplified position with the jete and
assemble.

(g) Arms 3rd amplified to 5th position with the
pirouette; low 3rd amplified position with the jete and
assemble.

Ill

(a) Schottische left (indicate direction), slow pirou-
ette right, two jete saute, and jete and assemble.

(b) Schottische left (indicate direction), slow pirou-
ette right, two arabesque, and jete and assemble.

(d) Two pas de zephyre, slow pirouette left, step-
courtesy, and jete and assemble.

(e) Two pas de zephyre, slow pirouette left, a bal-
ance step, and jete and assemble.

(/) Two pas de zephyre, slow pirouette left, two
arabesque, and jete and assemble.

(g) Two pas de zephyre, slow pirouette left, two jete

saute, and jete and assemble.
1

DANCE STEPS

(h) Pas de zephyre and coupe saute, slow pirouette
left, two jete saute, and jete and assemble.

(0 Pas de zephyre and coupe saute, slow pirouette
left, a balance step, and jete and assemble.

Arm movements.

(a), (ft), (c) Arms 3rd amplified to left interme-
diate; 3rd amplified to 5th; 3rd amplified to lateral
position twice; low 3rd amplified position.

(d) Arms 3rd amplified to intermediate position
twice; 3rd amplified to 5th; 3rd amplified to lateral;
low 3rd amplified position.

(e) and (/) Arms 3rd amplified to intermediate
position twice; 3rd amplified to 5th; 3rd amplified to
lateral; low 3rd amplified position.

(g) Arms 3rd amplified to intermediate position
twice; 3rd amplified to 5th; 3rd amplified to left arm
in 5th position; low 3rd amplified position.

(h) and (i) Arms 3rd amplified to right lateral or to
left in 5th, right in intermediate amplified; 3rd ampli-
fied to 5th; 3rd amplified to lateral; low 3rd amplified
position.

Combinations in % and Polka Time

(a) Three aesthetic polkas (or polka hops, in vari-
ous directions) and jete assemble.

(ft) Three lateral pas de basque, and jete assemble.

(d) Three rear or front cross polkas, or backward
pas de basque, and jete assemble.

AESTHETIC DANCING

(e) Heel and toe polka (indicate direction), repeat
heel and toe placing, and jete assemble.

(/) Repeat I a-i of waltz time (page 108) in polka
tempo (two waltz measures, i.e., two counts = one
measure polka time).

Arm movements.

(a) and (d). Arms 3rd amplified to reverse lateral
position three times; in 1st position with the jete
assemble.

(b) and (c) Arms 3rd amplified to lateral position
three times; in 1st position with the jete assemble.

(e) Arms in left low intermediate amplified, left in
5th, reverse lateral position; repeat low intermediate
amplified to 5th position; finish in 1st position.

(a) Two measures of I a, c, rf, or e, pirouette, and
jete assemble.

(b) One measure of I a, c, rf, or e, pirouette, repeat
the measure, and jete assemble.

(c) Combine the pirouette with steps under I a-i of
waltz time (page 108) as suggested under II of waltz
time (page 109).

(d) A glide or heel and toe polka, a measure of I a-/,
and jete assemble.

(e) A glide or heel and toe polka, a pirouette, and
jete assemble.

(/) A polka turn, a polka step, and jete assemble.

(g) Arabesque turn (three hops), arabesque for-
ward, and jete assemble.

(K) Arabesque turn (three hops), an appropriate
step under I a-/, and jete assemble.
[114]

DANCE STEPS

(0 A spinning step, a polka hop, and jete assemble.

0') A spinning step, a step from I a-/, and jete
assemble.

(k) Pas de zephyre turn, a step from I a-/, and
jete assemble.

(/) Two measures of e, /, g, h, or i, pirouette, and
jete assemble.

Arm movements.

(a), (6), and (c) Arm exercises as under I and arms
3rd amplified to 3rd or 5th position with the pirouette.

(d) Arms 3rd amplified to lateral position; arm
exercise as under I; finish in 1st position.

(e) Arms 3rd amplified to lateral; 3rd amplified to
5th; finish in 1st position.

(/) Arms left intermediate to right intermediate;
3rd amplified to right lateral; finish in 1st position.

(g) and (i) Left arm in 5th, right in intermediate
amplified; 3rd to opposite position; finish in 1st
position.

(A) and (j) Arms 3rd amplified to 5th position;
arm exercise as under I; finish in 1st position.

(/c) Arms 3rd amplified and lateral to lateral posi-
tion; arm exercise as under I; finish in 1st position.

(/) Corresponding arm exercises; 3rd amplified to
5th position with the pirouette; finish in 1st position.

Ill

Combinations may be arranged in the manner sug-
gested under III of waltz time. (Page 110.) In these
combinations the two forms of assemble are also to
be alternated. The jete and point, as suggested under
waltz time, may likewise occasionally take the place of
an assemble.

[115]

ESTHETIC DANCING

Combinations in Mazurka Time

(a) Three mazurka hops and jete on one and assemble
on two.

(b) Three balance steps, or step, point, and pause,
and jete and assemble.

(d) Three coupe saute saute (front, rear, front), and
jete and assemble.

(e) Three pas de basque forward, and jete and
assemble.

(/) Three pas de basque backward, and jete and
assemble.

(g) Three redowa polka forward, and jete and
assemble.

Arm movements.

(a) Right arm in 5th position, left hand at the
waist; right arm 3rd amplified with the jete and
assemble.

(6), (d), (e), and (/) Arms 3rd amplified to lateral or
intermediate position three times; low 3rd amplified
position with the jete and assemble.

(c) Arms 3rd amplified to left (right) in 5th posi-
tion three times; low 3rd amplified position with the
jete and assemble.

(g) As a, and change three times; left arm low 3rd
amplified position with the jete and assemble.

Two measures of I a-g, pirouette, and jete and
assemble.

Two measures of I a-g, arabesque turn or spinning
step, and jete and assemble.
1 1*6]

DANCE STEPS

One measure of I a-g, pirouette, repeat first measure
or the pirouette, and jete and assemble.

One measure of I a-g, waltz turn (two measures),
and jete and assemble.

Arm movements. Arm exercises as under I and

3rd amplified to 3rd or 5th position with the pirou-
ette, arabesque turn, and spinning step, intermediate
to intermediate position with the waltz turn.

3rd to intermediate amplified position with the
arabesque turn and the spinning step.

3rd to front arm in 5th, rear arm in intermediate
amplified position with the spinning step and the
arabesque turn.

Ill

(a) Mazurka hop left, pirouette left, one measure
of I b-g, and jete and assemble.

(b) Jete saute saute, pirouette left, one measure of
I a, b, d-g, and jete and assemble.

(rf) As a to c of III, but arabesque turn in place of
the pirouette.

(e) As a to c of III, but spinning step in place of the
pirouette.

(/) Pirouette, arabesque turn, one measure of I a-g,
and jete and assemble.

(g) One measure of I a-g, arabesque turn, pirouette,
and jete and assemble.

Arm movements.

(a) and (b) Arms right intermediate; 3rd amplified
to 3rd position; arm exercises as under I; low 3rd
amplified position.

ESTHETIC DANCING

(c) Arms 3rd amplified to right (left) lateral; 3rd
amplified to 3rd position; arm exercises as under I;
low 3rd amplified position.

(d) and (e) Arms 3rd amplified to 3rd or 5th posi-
tion with the arabesque turn and the spinning step.

(/) Arms 3rd amplified to 3rd; to left in 5th, right
in intermediate amplified position; arm exercises as
under I ; low 3rd amplified position.

(g) Arm exercises as under I; 3rd to left in 5th,
right in intermediate amplified position; arms 3rd
amplified to 5th; low 3rd amplified position.

[118]

119

EXAMPLES OF EXERCISES ADAPTED TO LA CZAKINE

I. Heel, toe, and heel placing left with three hops on right, arms in right lat-
eral pos., 1 M. Coupe1 sautd saute" left with arms in 3d amplified position,

1 M. The same right, 2 M.

II. a) As 1, left and right, 4 M. Then 3 mazurka hops left sideward and 2
stamps with right arm in 5th, left hand at waist, and both at waist on
stamps, 4 M. Repeat all but begin right, b) The same but arabesque
turn left with left arm in 5th and right in intermediate amplified in place
of the stamps.

III. As 1, left and right, 4 M. Then 3 steps left sideward, point right side-
ward ,and pause; arms in 3d amplified and in left intermediate position,

2 M. The same to right, 2 M. The same with stepping forward and
backward. The same, but deep courtesy, arms lateral in place of pointing.

LA CZARINE

(MAZURKA RUSSE)

Edited by
HANS LIGHTER

Louis GANNE

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122

EXAMPLES OF EXERCISES ADAPTED TO PIZZICATO-POLKA

II.

III.

Polka hop left and right sideward with arms changing from lateral to lat-
eral pos. (1-4), 2 M. Glide polka left sideward, arms in 3d amp. position
(5-8), 2 M. The same right, 4 M.

Arabesque left forward, left arm in 5th and right 3d amp. (1-2), 1 M. Pas
de Zephyre right backward, change arm positions (3-4), 1 M. Two step-
courtesies with arms moving from 3d amplified to lateral position (5-8),
2 M. Two glides left sideward, arms 3d amplified and step-courtesy left
sideward with arms moving to left lateral (9-12), 2 M. The glides and
step-courtesy right, 2 M. Repeat all beginning right, 8 M. The same but
arabesque with arms in 5th after the glides instead of the step-courtesy.
a) Jete" saute" left and right sideward with arras moving from lateral to lat-
eral position, (1-4) 2 M. Three-step turn left sideward with arms in 3d am-
plified ( also from 3d amp. to 5th) and courtesy with arms in lateral posi-
tion (5-8), 2 M. The same to right, 4 M. b) Repeat with pirouette and
step-courtesy instead of three-step turn, c) Repeat a and b with pas de
sissonne from 5th in front and rear with arms in lateral position instead of
the jete* saute*.

PIZZICATO-POLKA

Piu moderate

JOHANN and JOSEF STRAUSS

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124

125

EXAMPLES OF EXERCISES ADAPTED TO VENUS REIGEN WALTZ

(FAST RHYTHM)

I. Step left sideward and raise arms to 3d amp. pos., 1 M. Place right foot
back inward and raise right arm to 5th, 1 M. The same to right, 2 M.
Two glides left sideward, arms in 3d amp. pos., 2 M. Step-courtesy left
sideward, arms in lat. pos., 2 M. 8 meas. in all. Repeat all, beginning
right, 8 M.

II. Step left sideward and raise arms to 3d amp. pos., 1 M. Point right for-
ward and raise left arm to 5th pos. (look at hand), 1 M. The same to
the right, 2 M. Pirouette left sideward, arms moving from 3d amp. to
3d pos., 2 M. Step left sideward, arms in 3d amp. pos., 1 M. Hop left,
swing right leg forward (pas de zephyre) and move arms to lateral pos.,

1 M. 8 meas. in all. Repeat all beginning right, 8 M.

III. As 2, but two glides left sideward, arms 3d amp. instead of the pirouette.

IV. Pirouette left sideward, arms moving from 3d amp. to 5th pos., 2 M.

Step-courtesy left sideward, arms moving from 3d amp. to lateral pos.,

2 M. Arabesque right forward (oblique), with right arm raised to 5th.,
2 M. (One M. for step and one for the hop.) Pas de zephyre left backward
(step left backward and hop) and change arm position, look at hand in 5th
pos., 2 M. 8 meas. in all. Repeat all beginning right., 8 M.

VENUS REIGEN WALZER

JOSEF GUNGL, Op. 63

dolce.

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II.

III.

EXAMPLES OF EXERCISES ADAPTED TO THE
IMPROMPTU SCHOTTISCHE

Schottische left and right obliquely left forward, arms moving from 3rd am-
plified to lateral position (1-8), 2 M. Three pas de zephyre back to starting
place, arms in 3rd amplified position, palms upward, and step back and
close, raising arms to 5th position (1-8), 2 M. The same right, 4 M.

Coupe" saute", front and rear, and repeat, the left arm moving from arms in
3rd amplified to fifth position on front coupe" saute" and return on rear coupe*
saute' (1-8), 2 M. Slow pirouette left, arms moving from 3rd amplified to
6th position and return (1-4), 1 M. Slow step-courtesy left, arms in lat-
eral position (1-4), 1 M. Same right, 4 M.

Pas de zephyre left and right forward with arms in 3rd position on left,
and in 3rd amplified position, palms upward, on right pas de zephyre (1-4),
1 M. Arabesque turn left (three hops), left arm in 5th and right in 3rd
amplified position (1-4), 1 M. Repeat, starting right and moving back-
ward, 2 M. Three step turn left with hop and leg-swing forward, arms in
3rd amplified and left arm in 5th position on the hop (1-4), 1 M. Coupe"
saute", front and rear, with changing arm position twice from previous po-
sition (1-4), 1 M. Repeat last two measures to right, 2 M. Repeat all, 8 M.

IMPROMPTU SCHOTTISCHE

JULIA NlEBBKGALL

INTRODUCTION

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131

AESTHETIC MOVEMENTS ADAPTED TO BARCAROLLE

A movement is performed to each three eighth notes, or their equivalent, which
are counted as one count. Two movements occur to each measure.

I. Step left sideward and raise arms to 3rd amplified position (1). Bend
trunk right and raise left arm to fifth position (2), 1 M. Return move-
ments (3 and 4), 1 M.

II. Step left sideward and raise arms to 3rd amplified position (1). Place right
foot back-inward, bend trunk left, raise right arm to 5th position, and
look at hand (2), 1 M. Return movements (3 and 4), 1 M.

III. Point left forward in intermediate position and raise arms to left interme-
diate amplified position (1). Place left foot back-inward, bend both knees,
bend trunk forward, and lower arms to 3rd position (2), 1 M. Return
movements (3 and 4), 1 M. The arms circle through 3rd to intermediate
amplified position.

In adapting exercises of this nature to waltz rhythm each movement ( count ) re-
quires one measure, and each measure is counted as one count. Select
waltzes of moderate and later fast rhythm.

SERENADE
Moderate

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THE N9W

LIBRARY

INDEX

PAGE

^Esthetic Arm Movements 14

Arabesque (Balance-hop) 60

Arabesque Turn 62

Arm Movements, ^Esthetic 14

Arm Movements, Sequences of 18

Arm Positions 12

Assemble 35

Balance-hop (Arabesque) 60

Balance Step, Mazurka 68

Balance Step, Waltz 67

Basque, Pas de 85

Caprice 50

Closing, Gliding and 35

Closing Leap 107

Combinations:

Coupe Saute with previous steps 44

Glide Polka with previous steps 48

Schottische (Caprice, Gavotte) with previous steps 50

Polka Steps with previous steps 52

Pas de Zephyre with previous steps 56

Arabesque with previous steps 60

Pirouette with previous steps 65

Waltz Balance Step and Mazurka Balance Step with previous steps 67

Mazurka Hop with previous steps 70

Redowa Polka with previous steps 73

Three-step Turn with previous steps 75

Spinning Step with previous steps 79

Jete Saute with previous steps 80

Pas de Basque with previous steps 85

Pas de Sissonne with previous steps 97

Waltz Step with previous steps 102

Waltz Turn with previous steps 104

Jete and Assemble and Jete Assemble with previous steps 106

Combined Sequences of Arm Movements 26

Coupe Saute 44

Cross Polka 96

Cross-step Turn (Pirouette) 65

Cut-hop (Coupe Saute) 44

Dance Steps 35

Flowing (Raised) Positions 11

Foot Positions 9

Formations, Tactic 4

Front and Rear Cross-polka 96

Gavotte. 50

Glide Polka 48

Gliding and Closing 35

[135]

INDEX

PAGE

Heel and Toe Polka 54

Hop, Leap 80

Hop, Mazurka 70

Jete and Assemble (Leap and Close) 106

Jete Assemble (Closing Leap) 107

Jete Saute (Leap-hop) 80

Leap and Close 106

Leap-hop 80

Leaping 80

Mazurka Balance Step 68

Mazurka Hop 70

Mazurka Turn 73

Pas de Basque 85

Pas de Sissonne (Scissor Step) 97

Pas de Zephyre 56

Pirouette 65

Pirouette (the Cross-step Turn) 65

Pointing, Stepping and 40

Polka, Front and Rear Cross 96

Polka, Glide 48

Polka, Heel and Toe 54

Polka, Redowa 73

Polka Steps 52

Polka Turn 54

Positions, Flowing (Raised) 11

Positions of the Arms 12

Positions of the Feet 9

Raised, Positions of the Feet 9

Redowa Polka 73

Saute, Jete 80

Schottische Step 50

Scissor Step (Pas de Sissonne) 97

Sequences of Arm Movements 18

Sissonne, Pas de 97

Spinning Step 79

Step-courtesy

Stepping and Pointing 40

Tactic Formations

Three-step Turn 75

Turn, Arabesque 62

Turn, Cross-step 65

Turn, Mazurka 73

Turn, Polka 54

Turn, Three-step 75

Turn, Waltz 104

Waltz Balance Step 67

Waltz Step 102

Waltz Turn 104

Zephyre, Pas de

[136]

..<• «••«•»•»«»

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