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Show THE TIER ALP "REPUBLICAN, SALT LATTP rrrvm FT AH, SUNDAY, MARCH -- ... 2 5, 1916 Bride's" Dance and Many Other Strange Manifestations of Europe's Conflict Are Accompanied by New Emphasis in National Dances that Range the Races of the Whole Earth--Wh- y How the "War Mile. Manty's Startling: Finish Her War Time Dance, "Tho D- - '.h of the Black Eagle." I the Grotesque HasBecom Inevitable, '4. ' .7 Roshinara, . ; In Ono of tho Odd Posc3 of a Burmese Dance. '" -- v .N.'.U"- - ' I.,. A. V V?- - J - - I : A- - ' V.:;.. A X :T v A. , - 'X - - 1 f (J V rim sounds Russian, but It la worn r a P1 who was born at Prague, and whoso Bohemian dances ro known at Vienna, and later ln Australia, before there was a wr to try tho nerves, theof emo- tions and tho patlenco the world. 1 his youns woman cli vldes her "war bride" dance Into seven parts or phases, tho first una student, discuss- ATIITEII influences of the pTeat war whllf It was still bo new a war that rr"Ph?cy becamo hazard- ous, declared: "There is not one art that will escapo tho effects of this war that will not bo definitely af- Particularly, of course, it will affect the more emotional arts." Tho speaker was thinking of danc- tnsc Had music. Time has f alfllled every expectation of tho war'a Influence on the dance, even if tho stranso angles of tho actual change could not hive been foretoM, and even if many of them come as somewhat of a surprise. In iceneral the Influence of tho war has be:n to raphislze nationalism, in art us In other matters, and In the case of the dance It has taken tho form of exacjteratlon. or at leist of emphasis, as If tho emotionalism o the tlm was as eaer to say. "I am Flamse!" as "I am Russian!" or I m Spanish!" and to say the thins sail In each cas with high struns Intensity. Tho rational danrs ar In many In tho Interpretation Instances off nitlro studenfs. and especially In a war tlrno Is the native expression certain to l ard?nt. whether the rountry reflected Is In tho actlro conflict or merely It afar. Hut rr.oro frequently tho dar.cers. public and private, will bo found rarcrlns: tho races of tho world In thU nationalistic furore. Just as certain Kncjlsh rroups are dolnr. nvery dancer with a repertory of national dances Is ted : Ik . " : . . .. ,' ? . - . , . - V- y v . . . , . - r, , 5 , !v-7, rX i u'here, so far as audiences area concry cerned, seems to have been for the heightened coloring, tno more bizarre effect all because tales of human disaster have made the idyllic seem too tame. 'Society dancers," like Miss Mol :er of New York, may insist on ab- -tract beauty of physical expression 'n her "barefoot poems," but her ""Victory"' has in it a fling of exulta- -- The N..: :-:-v---2 -:- Dance of Is Danced in s - VXVV - a3 Shown in an English Rendering of the Dances of tho Nations. M'VvuVsV4 ... ' , of .... - - , V - i ' ' I. . - - Sj Jr J Sl W Vsi:;.; :.. . w' ". v - - ' ' .'v - 1 - ... . - - - ' : W,.r, " t -- V ' .'a1.' ,m f 1 maining three parts culminate in the tragedy of bad news from the brave young husband at tho front and In a not less tragic elation at the sublimity of sacrifice. Mile. Manty's "Black Eagle" dance, usually spoken of as The Death of tho Black Eagle," ends in a picturesque. not to say a hazardous fall, to which war naturally adds an association. It was not devised as a par tisan dance when it wa3 iirst given in Paris and London, but spectators now are prone to look for partisan suggestions ln every phase of expression. It is an fnevita- -blo tendency of human nature, both that there should be recognition of the world's situation and that onlookers should watch for the signs. Theoretically such a War should drive the world to madness. Yet the world still Jances. and audiences uro till critical, If not analytical. Tnc great difference every- - IK Jki-'?.-rj;N:- -- of which la. naturally, expressive of Joy at a prospective meeting with her lover. Part two shows her stirred by tho cries of war. In part three she is betrothed, and in part four she is wedded. The re- A Russian Dance y K-- - 'iC;;: r:;- - ' Margaret Morris's Dance of the Greek Maiden. o t t .w. . 'J t - r- - t I x Kx ' c T4 yj. C t : ''v"K in . the race Interpretations nation! dances, in tho strict senso. aro net tho only sort that reflect tho direct action of tho war. There nre scores of special nnd peculiar manifestations, som of them trivial, somo of them straining for a now symbolism. pnsslonitoly patrlotlc. some wildly descriptive of local conditions as new 33 tho submarine. -Tho war bride's" danc Is said to hav been Invented by Vlasta Kovotna. Tho name r .... . i of tho hour. L .v v. v IV likely to bo found recostumlns: and , xv. v. ' ss i w . s-?- B-i- - - , "i ,. & . to V4 Vr-C On the Right, Tartala Valencia's Egyptian "Dance of the Incense. ;j, -; S: on that spells once more the war- time mood. In a tranquil contrast that is al- most thrilling, Is the slow, statuesque harmonic posture dancing of Tartala Valencia, whose Egyptian and other dances have not, the writer believes, been seen in America, but are hinted in picture and description. "After the war" may mean as much to dancing as to any other human activity or expression. In that devoutly to be wished for time ingenuity will require new incitement to invention, for ingenuity is being heavily taxed to fill the sensational interval. How feverishly ingenious the inventors have been may be suggested by the pictures on this page. On the Left, Miss Moller, Onpot.v Tinnier " Victory." Below, Zofia Tnt.o-mreti'nf- CVR v- Plane, in Her r - ) ; V V ' i S V X ' ill'' ' 1 I J i |