Show e 1 lk t I vc i I VJ 1 r f f. f tJ l fr at r I 1 fi J fr J 1 1 I Y g G it 4 I 1 I I I I j II I How ow Some ore o of the e Latest Interpretive Dances r AEI ry r J v t. t a l ri f. f r T a r 1 1 V t K v 1 r c 7 Ir rr h S 1 r Jf 1 1 r k i F r fr 1 t 7 yeti t M V x 4 A K R r 3 y Y ro 7 i ry Are R Reflecting the Modern T Tendency Toward l me e 7 Jr r Q f Y R. R tn r. r l' l 7 Y w i r. r 1 h k t 7 Jp M r yam r a I l i v oS w L Y Tl c. c 4 k s C h r N rZ J Yv t A fv r i J the e Fantastic Shown by These Very p f 4 4 t Unus Unusual al Photographs r k h a l i r Y w 1 I h wJ F Fj j oj n. n I Miss BUSS I i I II 11 I 1 a Y t 1 A x p r I II Leno Lenora a r im I ll y Z Y f I and I Hughes k S' S 1 aA i I I Her Partner Partner t I Maurice Dancing U Wy tl- tl the Ballroom B Which Is Causing t a Se SeT I I II I T r almost goes without saying ayIn that to be able IT I to essay some of the very latest interpretive J illustrated illustrated illus illus- dances such as arc are photographically traced herewith one needs to be a well trained ed contortionist rather lather than a schooled dancer And Arid for the very reason that so o few of us have been trained from babyhood to become contortionists ti lists it is probable that the number of competent interpreters in interpreters of the new contortion dancing as it has bas been called caned is going to be extremely limited A majority of us must be content to sit and watch and marvel a and d perhaps try to guess the- the particular idea or theme which the dancers rs are striving to express through h the interpretive me medium me- me of tremendously violent calisthenics comer r faults and contortions The la latest st interpretive dances ances arc are declared for one thing to reflect the he mo modern ern tendency toward the fantastic Over O in London for or instance Maurice l has been introducing a new specialty which it was promised would make America sit up and take notice as soon as it vas was presented in inthis inthis this country It is called caned the ballroom dance The photograph above and the one on the tho right were snapped during a rendition of the tho bal ballroom room dance by Maurice ice and his new newest newest est dancing partner Lenora Hughes wh who by the tho way is is isa a a native of New York city And the tho dance itself which calls caBs for or e. e extreme agility and suppleness as well wen as grace is said to be interpretive interpretive interpretive inter inter- of the fantastic spirit of the modern ballroom ballroom ball ball- room rather than of any materialistic tion In no other way is it possible to account forthe for forthe forthe the somewhat startling finale in which Maurice swings his partner off her feet fec as shown in the large largo centre photograph One Ono interpretation of of course is that in the hands of a capable partner Miss Hug Hughes Hugles es felt as light as a feather and in imagination actually danced on air I. I Dancing t to Express Emotions On the seashore border bordering ng the north coast of ot Wales the pupils of the Margaret Morris school have been doing some exceedingly interesting dancing and posing as the photographs at t the e I bottom of this page suggest According to Miss Morris dancing is a physical exercise and a training in in painting and design Dancing ex- ex ex expresses I presses any experience of life It is the natural outward sign of our emotion i And then too there is the contortion of the new bubble dance as interpreted outdoors ors at atHelen atHelen Helen Mailers Hollers home borne on Long Island The d dancers 1 I II I who posed for the photograph shown here here- are I two of Miss bliss Moller's Moller rs r's s most accomplished interI interpreters inter inter- I E of the classic Grecian dances t. t I Much has been said lately about hm I otherwise the science of right rhythm in life A school devoted to the expounding of this new science has been opened in New York M. M Jaques invented eurhythmics otherwise rhythmic mic dancing to plastic music and nd its educational value h much discussion abroad as well wen b here J T has been described as Its re as the intro due due- f r r 1 L i A lI J or f Y J Is d r G 1 f f 1 f r ti tir 1 iti r v tt r A 7 I c. c J l. l v fj M R UD l J t. t D I. I f I 4 t i ii I. I r 1 I J. J 1 f- f J i y x Y A fott fo tt jt Of 1 J D f f 0 M n i. i f 1 f ja jar u r t. t 1 Y le L c oy F l. l l ly 7 iI l V I it ity y 1 i. i S t j s S W I tion of the body into musical training which had i tended to become intellectual fid fi- fi from fim purely apart m r Y d deep breathing deep breathing vocal exercises and the quick quick- fr fin of virtuosi f i The childrens children's classes consist in the most f U fascinating of games A group of perhaps 12 ranging from 4 to 10 years old seat themselves legged cross-legged on the floor shut their eyes and a listen to what the teacher plays on the piano As Aa cyst aJ J Jt w t r 5 a y e r D W 1 5 j h F y Jr Nr 4 r k fi 4 N 5 S. S c cf The TheN e Startling Finale t of the Ballroom t f Dance in Which Maurice Swings His Hist 15 1 S p Partner Off Her Feet t as Though Wf 4 A 5 ter Air She Were Dancing on t i fit 1 r r t S h. h f. f t I i J T Vv a SV I. I J c. c T JU v f. f I 1 r S SC C o 5 t c. c 4 0 of 1 p r f 4 r w 4 x f fh h q hf IC G yS t f y r ryr r N y yr eY r 3 P S i rF r- r 9 S T. T y yf V f AC Newspaper Peature J P t r. r Service 1820 o. o I 1 J J w 1 I r d 1 1 they attend eyes shut mind concentrated si silent ent and relaxed the feeling called up by the music forms its own thought which is represented by each pupil in turn through the medium of the body In this involuntary way they learn the differences between key signatures tempi major and minor sharps and flats etc Thus quite subconsciously subconsciously subconsciously sub sub- consciously without any effort feeling only the pleasure of freedom of movement the tho child begins begins begins be be- gins to know something about that mysterious trinity in unity unity Feeling Feeling Thought Form which Form which is himself 41 After a few w weeks of this way of listening and interpreting the mu tc played by the teacher the children themselves play and interpret each others' others music and at this stage the elder students J 1 s Y F w r l t t cS f F is Rw F t S r it ita v a f. j I I y I t w r 4 f H 1 4 z ir t. t R I Ki 4 N tr j 3 t. t yr J f. f M f ft t- t J i It J I 1 1 p An t ti t y s Outdoor Interpretation Interpretation- of the Bubble Dance at al Miss Helen hollers Moller's Home on Long island bc begin n the study of the tha anatomy of music Bat But v. v since the anatomy of music and the anatomy of j the body are im-ep im inseparable both these studies a are t c generally started together for the education oft the student cannot be considered bal bai balanced sneed as long as he be remains a n stranger either to the mechanism of the medium through which he be expresses himself or or orto to the construction of ot othis his own body the instrument t or agent of that i ex Anatomical Dancing The spectator of these exercises in anatomy must realize that whether they appear to him bim dull dun and ugly or full fun of interest and beauty th they i really are the scales and five-finger five exercises exercise of eurhythmics the skeleton upon which upon which the system is built and must be accepted as such From childhood onward the student is taught to know no separation or division between th the within of himself and the without thought and action are areto are areto to be bc simultaneous effortless free iroe and according to the nature of f his feeling so will be the quality of his thought and the character of his action So what was originally started as an aid t to v correcting faults in rhythm among music pupils pupils' has bas developed into a science that many think is destined to play an important part in the tion of future generations i 4 i theLi the I. I Pupils of b Li S Margaret l Morris lo ris il J School Learning 3 r r New Rhythmic Dancing on the Seashore c cof of North r 1 Wales f 4 t 0 5 sj V w Y Jr t. t S 4 1 S. S 4 t X v Aa l V. V 1 vH sU 15 fe OI OIl ii i IS S 5 V t r 4 1 2 wv r t 1 I |