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Show THE HER xVLD-- GAZINE SECTION. in Odd . n 7rw7 JUK7JAA7 . i i f : ... - , ( ...... . -- rVCaJJU UAA A V a 'I T U VA" J s r R v Dancing--- - Y 6. x'vhy er cial OBBoriamhes for the Expression of Die iirnonons. n - - S r v v' ' ""f ' .ti - . - 1 . J " . ... toauence i7i e Km if ft. tea i fir tr f W 1 ... r A .i a i ism JL.,'JUa - MAGAZINE SECTION; EPUBLTCAN, SALT LAKE CITY, UTAH, SUNDAY, AUGUST "20, 1916. R - &' 1 ; I I s ,V'?t:vf'., - 7- h s t ;-- 4 ; j , - 'v..';"- r.-rV- 1 j v St? !: v r- - , c.' - ' V.' " i " ; i - K". 'j : " - ' ' ,'. ' 't - ' j . . ' - '" . V. j' t f ;. . . . " !.' - A , . . . A J '' - r-.s- .yy, . -- 1 'J 7 vrV 4' r . r M-t- : , - ' ;f v r , ' .i - ' - lv Vrr i sin vr '' - VV -- ltX- ;f - X.-.7- ; ' -- - , , -- "C - 2- - , , ! ' V t - t . By Lois Kyra. you share the conception most in the Occident that dancing means grace, poise and te.i::ty and nothing else, you need to knotv not only how I tlance with my hnnds. but why. Dancinsr, which Justifies itself an an art. must be more than mere rhythm. It must bo poetry; yot poetry is merely rhythm unless there be expression in its intis'c. The orientals know this, and from them wc are beginning to realize how Impossible It Is for us to develop IF popular classfcal dancing that reaches into the realms of art, alongside music, foetry and painting, without the use of the hands. There Is serxauousness in the legs, grace and beauty of l'ne poise and music in the body, but the dancer w ho seeks to convey "expression can do so only with her arms. The iega talk; the arms modulate and give meaning. And it should not be hard to understand why this is so. The arm is pliable. It has a freer movement than the leg. The angle of the elbow, the slightest raising or lowering of the fhonlders, the contortions of the wrist, can be made to express a meaning so distinctive that no one can fail to understand. And the hand', the hngrrshow can a dancer neglect the training of these In the development of her art? The , .1 , 1 . , --Jr - " Miss Kyra Makes Her Hands Do Everything but Talk. gent practice, and usually the ser- - but look to your arms; the feet will vices of an instructor are required, follow gracefully onco the rhythm Is It were better not to use the hands set by the upper part of the body. than to use them clumsily and with- out reason. Every movement should have a distinctive meaning, should Shells Used in Warfare add something to the interpretation, "Weeping should modify or intensify the cmo- - TN several of tho war bulletins it tion sought to be imparted to the has been mentioned that matory shells have been used. The arms, the hands, the Angers, This long word only means "weep-mabe made the vocal cords of a ng," and that, is precisely the effect s silent language Interpretative of of the shells when they burst, thoughts and one's emotions, ing soldiers' eyes to "water." This but the dancer who does not por- - prevents them from seeing properly tray this art with- intelligence and and from firing their rifles accurate-feelin- g just "mumbles her words." ly. These shells, in all probability, If you are learning to dance and contain ammonia and mustard oil, sub-thn these are the 3'our Instructor does not know about use of hands and arms, take a stances for causing eyes to water. Asohj-xiatincourse in gases also have the Delsarte, but same are inv instructors learning this effect, though not to anything jiortant thing, and if everjr school- - like so great a degree. The weeping - tuated. Harmony can bo main' ; , , tained only through a flowing, ... J soft line movement preserved by a well' ' ' . of the enbalanced ji , :y How times tiro body. many have people ?een dancers of whom they have remarked, "Why. she forms nil arms"? To be all arms is tot strike a jarring note in dan-rinbut to manipulate them in a ;r.x7 way to make them part of the picture la another thing. are exercises for the arms dumb are not dumb if they have of There a dancer that must be studied for aans hours a day. Arras without strength t.7:When I first began to study I d!d are a dance. When a in not pretty a not real,zo to.w important part ?cIm o enable the A'1 t mad. the mistake that many do of - " ". j., Ignoring theT upper part of my body, and In line. This means a severe t Kn n t n r n n t . . . Orient . . v 1.. II 111.11 L'UW n.iAr viv. V J V a mucipS. ana ir me 3 st5U w,th Abolian Yon Heloyet. the arms are "loverlooked the effect is in Syrian dancing genius. I soon tli'cov. harmonious. in tho ered that without a training ;ss:;;s'-.:?.7-. In the East one the mystcrv graceful use of arms one's dancing of this movement learns ' 7m'" of the upper part becomes just a travesty on the art. an tod for Eastern dancer In the fascinating dances of the w swa-Ran unies Irom ncr hips arms to use h their Orient the women some rare like on a slender flower up sway-lnthe greatest advantage. Their stem. beauty, and the wonderful eccen Then again there are the quick. trie gestures that they have learned r;; inre rhfldhond. lend a unioue charm fleeting movements so sharp and fast that the muscles must be taut and J O. .v i to their dancing. to make them without strong producWith the coming of the rage for - a contusion or curves and angles. classlcal dancing the use of the arms ,ni ;! -In thls cn? there must be either nnd theJr real relation to dancing is rnminsT to bR morft and more accen- - curves or' angles, but the two must not be combined. Combined they mean nothing. Performed nt the ' 1 r riht time, in the right way, they interpret the dancer's meaning as no Hands and Arms Paired in a Strange Figure, other movement could. There are times when In dancing amis. In fact, it Is possible for the claiming, and never making a decent I do not move my feet for many sec- - tleer dancer to interpret nearly a gesture with his hands and arms? It onrls, but dance entirely with my whole dance with but little foot would be utterly unnatural. Some nationalities are more free work, and if you will watch the classic dnnccr3 of today you will dis- - with gesture than others, but no rover that more and more work is matter to what nation you belong being given to the upper part of the gesture plays a part in your daily life and conversation. Why should it. not body. What would be the result If an enter then into dancing and mean actor walked about the stage de- - much to it? Americans are noted among the graceful oriental people thG use of their arms. Showing Two of Miss Kyra's Many anawkward orierltal will say to you that Extraordinary Arm after being hero a Ume Cm quite Contortions. understand what is meant by one's saying she feels "all hands and 77:!-,7.:7j7- - y--:'arms," for he will tell you that the hands and arms of many of cur race V-1 certainly do seem to bo always in tho . r-- ... 1 . " , 7r'v - 2-7- - , ; g, ;'.'V.7 - I'-'-- -- y caus-one'- ;- - x - . fr - """B V. V oth g l. ... ls g girl could begin to study classic shells, which give off a bluish vapor dancing now I firmly believe we when they burst, alro attack the nos- nUUlU J- L- C 1U J I 1 tV. VVU VJL C5 lilt; II U11U JLJU J U. tlliU L V UUOU 11 would in time outdo the oriental women in this grace. Let your feet it is impossible for a soldier to use take care of themselves In dancing, his rifle. v . best-know- old-fashion- iV ::. s. lachry-beholder- of sneezing, during which, of course, "Hand Conversations.' One of Miss Kyra's . . iuunjVw rui1'" .Liju.iiwji f- 77 r "' '"T"! 'ir ri -- r n noiwiiww n p r-- v7lir ,v' -- ; i f T -- .'7 7. i - " uti-rpri y yy v ir-- - if "T77r;. -- -- 77t: h, 1 -- vj ( - ; - M - A At scoy v.y y 1 fr I ! 1 - Sr 1 1 ' the east What shall I do with my hands?" That would be absolutely, out of the question; they never think of their arms and hands, simply because they have always been trained to use them intelligently and gracefully. 1 '4 ' ' ' , , W'-- . " 4 1 y-1 m Atri yK v ,( .4 j'. yi . " - - . yi r ' r i l : w, 'l t '..7 y trust that :yf 'A ' - I ' - . ' t v" V ' .st - vj- - .f .7 -- Jfc - , v n s V7 4 s. r - " y--y r -;- s-' J ' ,'7t, f y ' . s ; ',. , - 4 - x- ' 'K v, ,r4 V.NX'V ' . - t 7 " ; , ss . - ' X.-IV- 1 K ! J , l S I j . .. t 1 - x i - , v y , - J ' - v- v -, j jI J(. ' - . ' s ' -- ; ' s. --s, a V i v y, .s,( sw; vv "; : - - , s.s ,V v s i ' ' , " 7-a- - ?7".: ,s'-'V'IJ.5'-C- s 7,r7 - u ; : ' - ,v . - 7 ' v-:- 7s 7 X '7: , ss,j v 7- -s V i;" .s.' ,? V V" , ' fi',W, s ,,' ' ' -- v s? 7( yA - s -'-- .4 ? . , ... -- , .ts7;x ''s i . - ' 71 4 yy s? . 7' e - , ' i', 7 , , . . 7-,- 7 s77C . v- ambi- tious young dancers will not put a false on my construction . t mi ji auvice. me proper. the effective use of ine hands and arm?. in dancing can be acquired only Inconstant and intelli- - X? - I . i 1 p - .-i -- ; V7r K', asks,-- ' yy 7 r way. You will never hear a daughter of HI- 7; - . 7-,N- - "77' ikr , J S ft J - x Y 1 ' s v-- 7 - '"j i 4 A "4 - i 7' A -- sA o 77 i |