CONTENTS OF VOLUME TENPAGEIntroduction by Anna PavlowaviiCHAPTERI.The Psychology of Dancing1Æsthetic basis of the dance; national character expressed in dances; ‘survival value’ of dancing; primitive dance and sexual selection; professionalism in dancing—Music and the dance; religion and the dance; historic analysis of folk-dancing and ballet.II.Dancing in Ancient Egypt12Earliest Egyptian records of dancing; hieroglyphic evidence; the Astral dance; Egyptian court and temple rituals; festival of the Sacred Bull—Music of the Egyptian dances; Egyptian dance technique; points of similarity between Egyptian and modern dancing; Hawasis and Almeiis; the Graveyard Dance; modern imitations.III.Dancing in India24Lack of art sense among the Hindoos; dancing and the Brahmin religion; the Apsarazases, Bayaderes and Devadazis; Hindoo music and the dance; dancing in modern India; Fakir dances; philosophic symbolism of the Indian dance.IV.Dances of the Chinese, the Japanese and the American Indians30Influence of the Chinese moral teachings; general characteristics of Chinese dancing; court and social dances of ancient China; Yu-Vang’s ‘historical ballet’; modern Chinese dancing; dancing Mandarins; modern imitations; the Lantern Festival—Japan: the legend of Amaterasu; emotional variety of the Japanese dance; pantomime and mimicry; general characteristics and classification of Japanese dances—The American Indians: The Dream dance; the Ghost dance; the Snake dance.V.Dances of the Hebrews and Arabs43Biblical allusions; sacred dances; the Salome episode and its modern influence—The Arabs; Moorish florescence in the Middle Ages; characteristics of the Moorish dances; the dance in daily life; the harem, the Dance of Greeting; pictorial quality of the Arab dances.VI.Dancing in Ancient Greece52Homeric testimony; importance of the dance in Greek life; Xenophon’s description; Greek religion and the dance; Terpsichore—Dancing of youths, educational value; Greek dance music; Hyporchema and Saltation; Gymnopœdia; the Pyrrhic dance; the Dipoda and the Babasis; the Emmeleia; The Cordax; the Hormos—Greek theatres; comparison of periods; the Eleusinian mysteries; the Dionysian mysteries; the Heteræ; technique.VII.Dancing in the Roman Empire72Æsthetic subservience to Greece; Pylades and Bathyllus; theBellicrepa saltatio; the Ludiones; the Roman pantomime; the Lupercalia and Floralia; Bacchantic orgies; the Augustinian age; importations from Cadiz; famous dancers.VIII.Dancing in the Middle Ages78The mediæval eclipse; ecclesiastical dancing in Spain; the strolling ballets of Spain and Italy; suppression of dancing by the church; dances of the mediæval nobility; Renaissance court ballets; the English masques; famous masques of the seventeenth century.IX.The Grand Ballet of France86Louis XIV and the ballet; the Pavane and the Courante; reforms under Louis XV; Noverre and theballet d’action; Auguste Vestris and others; famous ballets of the period—the Revolution and the Consulate; the French technique, the foundation of ‘choreographic grammar’; the ‘five positions’; the ballet steps—Famousdanseuses; Sallé, Camargo; Madeleine Guimard; Allard.X.The Folk-Dances of Europe104The rise of nationalism—The Spanish folk-dances: the Fandango; the Jota; the Bolero; the Seguidilla; other Spanish folk-dances; general characteristics; costumes—England: the Morris dance; the Country dance; the Sword dance; the Horn dance—Scotland: Scotch Reel, Hornpipe, etc.—Ireland: the Jig; British social dances—France: Rondo, Bourrée and Farandole—Italy: the Tarantella, etc.—Hungary: the Czardas, Szolo and related dances; the Esthonians—Germany: theFackeltanz, etc.—Finland; Scandinavia and Holland—The Lithuanians, Poles and Southern Slavs; the Roumanians and Armenians—The Russians: ballad dances; the Kasatchy and Kamarienskaya; conclusion.XI.The Celebrated Social Dances of the Past144ThePavaneand theCourante; theAllemandeand theSarabande; theMinuetand theGavotte; theRigaudonand other dances—The Waltz.XII.The Classic Ballet of the Nineteenth Century151Aims and tendencies of the nineteenth century—Maria Taglioni—Fanny Elssler—Carlotta Grisi and Fanny Cerito; decadence of the classic ballet.XIII.The Ballet in Scandinavia161The Danish ballet and Boumoville’s reform; Lucile Grahn, Augusta Nielsen, etc.—Mrs. Elna Jörgen-Jensen; Adeline Genée; the mission of the Danish ballet.XIV.The Russian Ballet170Nationalism of the Russian ballet; pedagogic principles of the Russian school; French and Russian schools compared—Begutcheff and Ostrowsky; history of the Russian ballet—Didelot and the Imperial ballet school; Petipa and his reforms—Tschaikowsky’s ‘Snow-Maiden’ and other ballets; Pavlowa and other famousballerinas; Mordkin; Volinin, Kyasht, Lopokova.XV.The Era of Degeneration189Nineteenth-century decadence; sensationalism—Loie Fuller and the Serpentine Dance—Louise Weber, Lottie Collins and others.XVI.The Naturalistic School of Dancing195The ‘return to nature’; Isadora Duncan—Duncan’s influence: Maud Allan; Duncan’s German followers—Modern music and the dance; the Russian naturalists; Glière’s ‘Chrisis’—Pictorial nationalism: Ruth St. Denis—Modern Spanish dancers; ramifications of the naturalistic idea.XVII.The New Russian Ballet214The old ballet argumentsproandcon—The new movement: Diaghileff and Fokine; the advent of Diaghileff’s company; the ballets of Diaghileff’s company; ‘Spectre of the Rose,’ ‘Cleopatra,’Le Pavilion d’Armide, ‘Scheherezade’—Nijinsky and Karsavina—Stravinsky’s ballets: ‘Petrouchka,’ ‘The Fire-Bird,’ etc.; other ballets and arrangements.XVIII.The Eurhythmics of Jacques-Dalcroze234Jacques-Dalcroze and his creed; essentials of the ‘Eurhythmic’ system—Body-rhythm; the plastic expression of musical ideas; merits and shortcomings of the Dalcroze system—Speculation on the value of Eurhythmics to the dance.XIX.Plastomimic Choreography247The defects of the new Russian and other modern schools; the new ideals; Prince Volkhonsky’s theories—Lada and choreographic symbolism—The question of appropriate music.Epilogue:Future Aspects of the Dance261