CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE MUSIC L!S?vARY Cornell University Library GV1595.G97 The healthful art of dancing, 3 1924 019 277 429 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924019277429 THE HEALTHFUL ART OF DANCING The Healthful Art of Dancing By LUTHER H. GULICK, M. D. Author of "The Efficient Life," and " Mind and Work" lUtutrated from photoffraphs Garden City New York DOUBLEDAY, PAGE & COMPANY 1911 ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN COPYRIGHT, IQIO, BY DOUBLEDAY, PAGE & COMPANY PUBLISHED, SEPTEMBER, I9IO PREFACE In "The Efficient Life" and "Mind and Work" I discuss the truth and importance of the optimis- tic point of view, and among other things urge more attention to judicious exercise and the wholesome expression of happy feeUngs. In this little book I aim to give a constructive treatment of one of the resources for the expression of the joy of life, a resource that is related to health, vigour, and beauty — dancing. Ltjtheb H. Gxtlick. CONTENTS CHAPTER PAGE I. The Point of View .... 3 Division I — Conduct II, Dancing as a Part of Education . . 13 III. The Practical Conduct of Folk Dancing as a Recreative Measure in a Great City 31 ' IV. The Results of Experience .... 55 Division II — Physiology and Psychology V. The Physiology of Dancing ^ ■ ■ 99 VI. Exercise Must Be Interesting . . . 116 VII. The Place and Limitations of Folk Dancing as an Agency in Physical Training • • • 130 VIII. Athletics for Girls — Biological Con- siderations 147 viii The Healthful Art of Dancing CHAPTER PAGE IX. Neuro-muscular Coordinations Having Educational Value 163 X. The Return of the Dance .... 187 Division III — Philosophy XI. Folk Dancing as an Art 203 ^^ XII. Elements of the Dance 215 "^ Xni. Rhythm 227 APPENDIX REPORT OF THE COMMITTEE ON POLK DANCING, PLAYGROUND ASSOCIATION OF AMERICA ILLUSTRATIONS "The Highland Fling" as an Exercise for Efficiency Frontispiece PACING PAGE Russian Peasant Dance 6 Greek Zachlorn Dance 7 Reap the Flax 14 The Roofs of the New York Public Schools as Being Used for Dancing 15 Hungarian Solo or Czardas 16 Group of Girls Dancing on a Cement Platform Opening into the Girls' Outdoor Gymnasium, at Chicago 17 Bean Setting 18 London Bridge 19 This is the Way We Wash Our Hands ... 20 When I Was a Teacher 21 Ostrich Dance 24 Keys of Canterbury 25 Keys of Canterbury 28 Three Dukes A-riding 28 Bacca Pipe 29 Swedish Singing Game 32 Swedish "Klapdans" 33 ix X ILLUSTRATIONS FACING PAGE All In 84 Enjoyed by Old as Well as Young in Sweden . 35 Miss Elizabeth Burchenal 52 The Irish Jig 53 Girls of the Manhattan Trade School ... 64 Greek Play Given at Manhattan Trade School for Girls 65 The May-pole Dance at Central Park, New York City 66 Children Forming a Daisy 67 Private Dancing Class at Chicago Beach Hotel 70 Greek Dance 71 Sailors' Hornpipe 78 School Children — Pageant 79 Norwegian Spring Dance 82 Irish Lilt 83 Boys from a Chicago University Dancing a Swedish College Students' Dance . . . 88, 89 Irish Lilt 92 Tyroleon Dance 93 "The Czardas" 102 Mr. Chalif in a Russian Dance 103 Normal Students of St. Cloud, Minn., Danc- ing a Morris Dance Out-of-doors . . . 110 Private Class of Miss Hinman's in Chicago . Ill The Spirit of the Dance 114, 115 130, 131 ILLUSTRATIONS xi TACING PAGE Dances Being Evolved by Children to ' Fit Hurdy Gurdy Music .... Children Dancing in the Street . . . Highland Fling Reap the Flax Kamarno Reap the Flax Highland Fling "The Farmer in the Dell" 131 Esthetic Dancing, Boston Normal School of Gymnastics 146, 147 A Dutch Kermess 194 Virata Dance 195 Orsa 196 Typical Scene in Swedish Household . . . 196 La Cachucha — A Spanish Dance .... 197 A Festival — Midsummer Night's Dream . . 208 Midsummer Night Pole 209 Daily Occurrence on the Green at Naas at 8:30 p. M 210 A Midsummer Night's Dance 211 Ernest Thompson Seton's Boys' Camp . . . 216 Ernest Thompson Seton's Boys' Camp — Per- forming the Snake Dance 217 Isadora Duncan 220 Isadora Duncan and the Dancing Chorus . . 221 THE POINT OF VIEW The Healthful Art of Dancing I THE POINT OF VIEW CHILDREN have always danced. Dance games such as "All Around the Mulberry Bush" have contributed their share of happiness in the lives of the children of the world. Young people have always danced. The Virginia Reel, for example, has added its share of wholesomeness in the social rela- tions of young people, and has revived in the memories of the old recollections of happy youthful relationships expressed through this group dance. The peoples of the world have always 4 The Healthful Art of Dancing danced. The feelings of a tribe, a people, are expressed in the war dances of the Indians, in the wonderful funeral dance pageants of ancient Greece. Seasons and weather; birth, marriage, and death; trades and professions — all the vivid parts of life have been represented by each people in a particular dance form. y. Dancing is the most universal of the arts. Practically every one possesses the capacity of learning to express feeling through the dance. Dancing is not only the most universal , of the arts, but the mother of all art. Out of the rhythm of body-movements has grown the sense of rhythm and balance that under- lies art as portrayed in music, sculpture, architecture, painting. ^ Dancing is a language, particularly of the feelings. Like other forms of language, it is a means, not an end; a vehicle, not a load; a possibility, not a value. It may The Point of View 5 express that which is good or that which is bad, the pure or the impure. The value lies in the "worthwhileness" of that which is said. In America we have so completely for- gotten the deeper possibilities of the dance that the word in general use has come to have but one meaning, namely, a man and a woman holding each other and performing an exceedingly simple whirling movement to music set in four-four or three-four time. While our American nation includes in it representatives from most of the peoples under the sun, we possess less of the folk music, the folk dances, folk lore, folk games, folk festivals of the world than do any of the peoples of which we are made. The reason lies partly in that these folk expres- sions are social inheritances carried by a community as a whole; when individuals migrate the social customs are lost. But, whatever be the cause of our poverty in 6 The Healthful Art of Dancing these directions, our need of social customs is great, and the growing movement toward a restoration of them in forms suited to the present day is promising. I believe that America is to be the land of the greatest, most potential, and perhaps the last blending of human stock and also of social inheritances. Hitherto we have welcomed the wholesome individual or family immigrant and have magnified his economic value to us and our economic value to him; but we have not understood, cared for, or even thought about the precious social heritage that the immigrant might give us — a heritage of art, of story, of music, of the dance. We are in the midst of a great move- ment to resurrect the valuable parts of the race inheritances. As an illustration of the extent to which the movement has already taken practical form let me mention that in New York City selected folk dances The Point of View 7 are now being taught to girls in the public schools as a required part of the curriculum, and that such dances were taught last winter (1908-1909) to over thirty thousand girls in the elementary schools. It will take but a generation of work in this direction to bring us again in full possession of our own. The spread of the folk dance is significant because of the effect that it has upon the two-step and waltz. All over America the society dances are being modified; they are being made more elaborate, more inter- esting. This book aims to present criteria and standards regarding the place of folk danc- ing ,in every-day American life — in the school, on the playgroxmds and in the home. It aims to interpret the movement, to show that which is good and why it is good, and to indicate for the purpose of introducing this element into American life practical 8 The Healthful Art of Dancing measures that experience has proved suc- cessful. Some of the material here presented has already been used elsewhere under the following titles: "Exercise Must Be Interesting," being the Presidential address read at a meeting of the American Physical Education Associ- ation held December 26, 1906; "The Place and Limitations of Folk Dancing as an Agency in Physical Training," a paper read before the Second International Congress of School Hygiene, held in London, England, August, 1907; "Dancing as a Part of Edu- cation," appearing in The World's Work, October, 1907; "Neuromuscular Coordina- tions Having Educational Value," appear- ing in the New York Medical Journal of October 17, 1908; "The Girls' Branch of the Public Schools Athletic League of New York City," an article in the Proceed- ings of the Second Annual Playground Con- The Point of View 9 gress held in New York City, September, 1908. Some of the discussions in the book overlap in subject matter, but I have allowed them to stand as they are because each one presents the subject from a particular and a different point of view. If we can enrich childhood by giving to our children dance games; if we can give young people wholesome, interesting, and beautiful group activities; if we can add to the social resources for the leisure time of adults — r then this movement for the resurrection of the folk dance will be worth while, for it will help to make life more vivid, happy, and wholesome. Division I CONDUCT II DANCING AS A PART OF EDUCATION* Happy Results of Rhythmic Play by New York School Children THE history of the movement for danc- ing in the public schools of New York is as simple as it is short. In 1905 an organization was formed for the purpose of providing for the schoolgirls of New York what the Public Schools Athletic League was already providing for one hun- dred thousand schoolboys of the city — interesting and helpful recreation that would have a real part in their lives outside of school hours. It set out to cope with one *TIiis article, written in collaboration with Harry J. Smith, appeared origin- ally in Tke World's Work for October, Z907. It is a general consideration o{ the folk -dance movement as initiated and carried out by the Girls' Branch of the Public Schools Athletic League of New York City. Details as to organiza- tion, principles, methods and results will be found in Chapter IV. 13 14 The Healthful Art of Dancing of the biggest problems of this city of cliff- dwellings. Manhattan children — and this is true of the children of all congested cities — have almost no place in which to play except the streets ; but of all the children in the world, city children have the greatest need for healthy play. It is a matter of the very first importance that they should have a chance to gain muscular control and bodily dex- terity — for the ordinary conditions of their life do not provide that — to say nothing of the vigour and stimulation that comes with right exercise to all the functions of the body — the work of stomach and heart, lungs and brain. Five hours a day in the schoolroom, and then the crowded, ill-ventilated tenement or apartment house, with perhaps a game of tag or hop-scotch or jump-rope in the midst of the hubbub and dirt of the street, make up the life of the average city child. Dancing as a Part of Education 15 Some school buildings possess gymna- siums and playgrounds, but out of school hours they do nobody any good. Here was the opportunity, if only the right form of organization and alliance with the educa- tional system of the city could be secured. Such an alliance had already been secured by the Public Schools Athletic League, and the Girls' Branch followed. Under suitable provisions for control and regulation, the school board granted it the privilege of utilizing the splendid new gymnasium equip- ment. The next question was one of method — how to get the best results out of the oppor- tunity. Experience has demonstrated over and over again that a hundred children cannot be turned loose on a tiny city play- ground or on the floor of a gymnasium with any assurance of all being benefited by it. The benefit is never equally distributed. The stronger and bigger children will 16 The Healthful Art of Dancing inevitably take possession, monopolizing the floor space for their games and athletic "stunts," while the shyer, more retiring, and less developed children will stand uneasily about the edges, looking on or playing some quiet, inactive game in a corner. Yet these are the very children who most need the exercise. Organized play of some sort, play under control, is the only possible solution, for organized play is freer than "free play." We are only beginning to learn what freedom means. It is not the privilege of doing, irrespective of everybody else, what one wants to do. That would make the tramp the ideally free man. Freedom lies in the recognition and joyful acceptance of relationships. In organized play, where every child is a unit in a larger, mutually responsible, and mutually responsive whole, all reach a higher and more significant stage of individual freedom than is pos- Dancing as a Part of Education 17 sible on the unorganized, free-for-all play- ground. The problem to be worked out, then, was to find the form of organized play which would bring the greatest amount of good to each child. Careful tests have proved that it could not be found in gym- nastics. There one has the element of control, but it's not play. Gymnastics have their place, and an important one, in the routine of the school day. They offset some of the unavoidable, bad effects of the schoolroom life — the constant bend- ing over desks which tends to produce rounded shoulders and narrow chest, the enforced bodily inactivity, the imperfect ventilation; but gymnastic exercises are primarily for the body. Play is for the whole child — for his heart, mind, and imagination, as well as for his arms, legs, and chest. Play is far more important than mere 18 The Healthful Art of Dancing muscular activity. It is the most natu- ral and the most potent expression of the child's personality. The future lies in it. When the proposal was made to take up dancing in the schools as an exercise for girls, three things were said in its favour, and all were worth considering. The first was that in the limited space of the gym- nasium, the roof playground, or the school basement, a larger number of children could be handled at once in a dance than in any other way. The second was that in a given space there was more real, all- around physical exercise in dancing than in gymnastics or any team game. And the last was that in the few instances where it had already been tried elsewhere, the children had become enthusiastic about it. That was a strong argument; for it must never be forgotten that the object of the undertaking was primarily to develop the SSBB Bafiir ■ ■■ wimmM Dancing as a Part of Education 19 play spirit. Anything perfunctory would therefore defeat its own ends. So the experiment was made merely as an experiment. A teacher was secured who loved the work and who believed in it, and a few after-school classes for little girls in the lower grades and for those in the gram- mar schools were started. A number of New York women of influence and position gave it their support. It needed that kind of backing — moral, social, and financial — and such women as Miss Grace Dodge, Miss Catherine Leverich, Mrs. Clarence Mackay, and Mrs. James Speyer deserve a large share of the credit for the success of the enterprise. It was a new departure, and it took real conviction and hard work to win a place for it and to get it under way. Less than a year has passed, but already the number of classes has grown to 68, and between two and three thousand children are getting instruction. More than 175 20 The Healthful Art of Dancing teachers, all of them from the regular staff of the public schools, have voluntarily taken hold of the work, without pay, giving up hours of their scanty leisure to it — and a New York teacher's out-of-school leisure is a precious commodity. These classes come after school. The roof playground, high above the chimneys and dangling clotheslines of the neighbour- hood, is a favourite place for them, unless the weather forbids. There is a piano up there that can be rolled in and out, and clear open air and sunshine — good things in New York — are all about. As soon as school is out, the children come trooping up, laughing and expectant. Books, lunch-boxes, and wraps are thrown gaily aside; some of the more ambitious girls, who want to do the thing properly, hustle into tennis shoes and deftly hop out of their skirts, standing forth in "gym" bloomers, the admiration of all eyes. Then Dancing as a Part of Education 21 the line is formed, the teacher gives a few directions, and the piano strikes up. It would be hard to describe the dances them- selves. One has to see them to get an idea of the kind of spell they possess for the children — how every muscle of their bodies responds accurately and eagerly to the exhil- arating, well-cadenced rhythm of the music ; how the dancers move back and forth, gliding, hopping, or tripping, crossing and recrossing, now fast, now slow, according to some intricate scheme at which an out- sider can only stare in wonder; with how much zest and abandon all the mimicry of the Swedish and Russian folk-dances is entered into — the slaps on the face (that do not slap), the quaint cajolery, the digni- fied ceremoniousness, the whole gamut of mimic social life. The music, too, is always appropriate. It is the music that has grown up with the dance and belongs to it — the strange 22 The Healthful Art of Dancing harmonies and peculiar rhythm of a Slavic chardos; the spirited, sharply accented air, with the bagpipe drone imitated in the bass, of the "Highland Fling." The fun does not last for more than twenty minutes, and another group of girls, waiting their turns, take up the places of the dancers. But the children have some- thing to carry home with them — a really significant experience. The noisy, crowded street and the dingy tenement will be hap- pier places because of the healthy, full- blooded rhythm that still pulsates through their bodies — and through their souls, too ; for it means that they have a new feeling about life: it is "the little white bird" that is going to keep on singing in their hearts. At least that is what those of us who have watched developments closely are beginning to believe. And if this is true in New York, the very storm centre of our civilization, the place where our national Dancing as a Part of Education 23 ideals are most relentlessly brought to bay, where every fallacy is most pitilessly forced to light in the working out of a new social order, then it is certain that the movement will reach out to the children of other cities as well. For all those who have interested them- selves in this new movement, it has been a revelation. The school-teachers who first volunteered to give up an hour a week of their precious time to learning folk-dances and to teaching them to squads of children did so because they thought it would be a good thing for the girls. Many of them have since declared that the dancing-hour is the hour in the week to which they them- selves most eagerly look forward; that it does them more good, and somehow means more to them than anything else they have undertaken. The ancient Greeks understood the signif- icance of these things better than we. In 24 The Healthful Art of Dancing their eyes the body and the mind were a unity, inseparable, interdependent, to be developed and perfected together, and in no other way. In the education of every Athenian youth, music, athletic training, and dancing had a part. The theory is beautifully stated in one of Plato's dialogues : "Rhythm and harmony are made familiar to the souls of the youths, that they may grow more gentle and graceful and har- monious, and so be of service both in words and in deeds; for the whole life of man stands in need of grace and of harmony." Rhythm is a fundamental principle of life, perhaps the most fundamental. The stars swing through heaven in rhythmical rela- tions with one another; the sea rises and falls in rhythm; the human heart keeps its measured pulsations in the very centre of our being. All our normal bodily func- tions work best in rhythm. In poetry, in music, in everything that man knows that Courtesy of Miss Hinman Photograph by Florence Stevens game: keys of canterbury action: "o, sir, i will accept of you a broidered gown " Courtesy cj AJ.ss Hu.man Photograph by Florence Stevens game: keys of canterbury action: "walking round holding up gown" Dancing as a Part of Education 25 is highest and most beautiful, in all the supreme products of his imagination, there is still to be found some expression of this eternal principle. Yet it is not the intellect, the part of us that understands, so much as it is the body, the part of us that feels, which responds and vibrates in the most vivid unison with this principle. And it is the body which has always first sought to show it forth, to make assertion of it, to put itself actively into sympathy with it. Dancing is an expression of this "desire. It is the most primitive of the arts. The rudest savages practise it, making it an essential element in every religious observ- ance, in every festival of the tribe. Their emotions inevitably take form — give them- selves concreteness and actuality — through the dance. Marriage, death, harvest, spring, rain, every stirring event of tribal existence is so celebrated. It is a universal language. 26 The Healthful Art of Dancing Now it is a commonplace of psychology that, after a fashion, every child repeats in his own individual development the long history of the development of the human race. He is the human race in miniature. Logic would lead us to expect that the emotional life of the child would seek to embody itself in some of the same forms that are normal and instinctive to uncivilized peoples. And this is exactly what we find to be true. Childhood is the time when the physical nature is most sensitive to rhythmical move- ment. Children love even the meaningless swing of "Ene, me-ne, ml-ne, mo!" The words which the Australian uses in his tribal dances, so anthropologists tell us, often make no coherent sense at all; for everything has been sacrificed to the rhythmic accent. Dancing as a Part of Education 27 Our modern little folk, so hilariously singing: "A tisket, a tasket, a green and yellow basket," have no idea what those magic words may portend, or what they have to do with sending "a letter to my love." That does not matter at all. They can never keep still when the hand- organ man comes around. It is a pretty sight to see a crowd of happy youngsters on the city street, dancing and skipping for joy about the hurdy-gurdy. And they invent dancing games and songs for them- selves, this small race of poets and mimics, never minding what the sense may be, if only they get a chance for active rhythmical expression. Surely this is the golden time in a man's life, if there ever is one, for the cultivation and development of this wonderful sense — 28 The Healthful Art of Dancing a sense which, if it is once given its due, opens up many avenues into what is beauti- ful and noble. So far the scheme has been formally adopted in New York only for girls. Whether, under present conditions, equally good results could be obtained in classes for boys is not altogether clear, though some of the more vigorous hornpipes and flings have been tried with them with great success. But there is the right moment for the beginning of any new movement. At present the schoolboys of New York have a highly organized system of athletic games which is bringing splendid results, both for those who are naturally athletic and for those who would keep altogether on the outside. An innovation may not be desir- able at this time. Neither is it yet certain just what dances will prove the best suited for our American conditions. Some of the spirited and char- Courtesy 0/ Miss Hinman Pkotojryaph by Florence Stevens game: keys of canterbury action: "and walk along with me anywhere" Courtesy 0/ Miss Hinman Photograph by Florence Stevens game: three dukes a-riding action: "you're all too black and dirty" Dancing as a Part of Education 29 acteristic folk-dances of Sweden and Russia have so far seemed to make the very greatest appeal to the children. Great care is always taken to have the accompanying music appropriate and distinctive, for the music and the dance are organically related. Adaptations and changes there must of course be. The dances are intended to meet the needs of American children; they must relate themselves to American condi- tions; and much of their value would be lost through too strict an adherence to the traditional letter of the performance. Our national temperament, enthusiastic and spontaneous, needs just such an outlet for its surplus emotional energy. But one thing is certain: any such growth must be from within. There would be small use in instituting a festival if there were no inner festival spirit. In the New Orleans Mardi Gras, in the Harvest Homes of some Western cities, with their pageants and ceremonies. 30 The Healthful Art of Dancing in the Carnival at Quebec, in the vividly remembered Dewey Reception in New York, in the religious and national observ- ances of all European countries, we see rational and appropriate expression of this spirit. There is every reason for believing that a country in which the children had been given a chance to develop their natural instinct for rhythmical and harmonious activity would have a national life far richer, deeper, and more beautiful than one where the main emphasis in education was upon bare intellectual training for the purposes of "practical success." It is at least worth thinking about. Ill THE PRACTICAL CONDUCT OF FOLK DANCING AS A RECREATIVE MEASURE IN A GREAT CITY IN THE previous chapter a general account has been given of the work of the Girls' Branch of the Public Schools Athletic League of New York City. The subject is now to be discussed in a more technical and detailed manner. Folk dancing is here considered from the standpoint of a special set of conditions, namely, those surrounding the exercise and recreation of girls in the public schools of New York City. When the subject is considered from other standpoints, for instance from the social standpoint, other dances than those indicated here will obviously be needed. 31 32 The Healthful Art of Dancing The Virginia Reel, while it possesses small value as exercise, does possess high social utility. THE girls' branch OF THE PUBLIC SCHOOLS ATHLETIC LEAGUE* The problems involved in athletics for girls are far more difficult than are those that are involved in athletics for boys, because in connection with the latter there is a long history of experimentation which has demonstrated conclusively many impor- tant facts. Athletics for girls rest upon a relatively new and as yet to a large extent experimental basis. The emphasis in the girls' athletic exer- cises is now chiefly placed upon those events in which classes or groups as a whole com- pete. The exploitation of the individual is generally avoided, both in dancing and * Prepared for the Second Congress of the Playground Association of America. w O m J K G) ►J O o h IS « o H m fe , O 2 ^ P to << Q -< 3 in As a Recreative Measure 33 in the athletics. Throwing the basket ball for instance is the only event in which the individual appears as such. It is believed by the ladies who are directing the work of the Girls' Branch that one of the most important lessons which girls need to learn — and one for which but small opportunity is afforded them for learning — relates to the nature and advantage of cooperation, of team work. During ^practically all of woman's history she has been primarily identified with the home, rather than with the community. Her identification with the community has come through her husband and her children. Hence it has been both necessary and inevit- able that those qualities which depend upon such individualistic action should have been most developed. But in the new era, which is already upon us, the same demands with reference to the larger movements of the community are being made upon women as 34 The Healthful Art of Dancing have been made upon men; yet the same opportimities are not being given to women for learning the lessons of cooperation. Boys have their team games, their gangs, whereby in rough though effective way they learn the laws of united action in ways which hitherto have been closed to girls. The simple games advocated by the Girls' Branch depend upon the cooperative endeav- ours of a group of individuals and they are thus indicative of the newer movement that belongs to our century. The necessity for this work does not merely or mainly rest upon a demand for physical vigour, quickness, health, and skill developed by the exercises; it rests fully as much upon the moral qualities involved in the team play. The social aim is thus quite as prominent as is the physical one. The contests are arranged between classes in schools. They are not performed in public, but are carried on either in private 1- mm 1 /'" /:" _ ii,,^^Ki*./- — ——■•■ ; "■- 1 ^IIT°TMiil h -i^^ ■ .: ■< ' 9mJ''^mlkM^<.:k^r.:.:i^ : :-■■' ^WUj; * b.-^'' ^^^^^S^^^r •^'^^^S^^^"'*'''-'^-'-'^ .1 "''■'^ ,,■ .fllP^-/' ^^^■^^^*.r"'^^^a«c-^":'^"~ ^ M '4^fl 'mm^ 1'^%^^ ^^i i^^HH^Hi T^^^Baf^f'' .^^^^^^jJO^^^Tt^VJ^^eS #.-' .^1 ™'i**- '«""'■-*■>*' .r^^!^^2SPCPPPB^^^^-4'^''9QiES^ As a Recreative Measure 35 or before an audience of the school, consist- ing of the parents and friends of the contest- ants. In the development of athletics for boys public competition has been a large factor. Whether or not it will ultimately become equally a factor in athletics for girls it is as yet too early to say, but the convic- tion is very strong among the Board of Directors of the Girls' Branch that the time has not yet arrived for the general pub- lic display of competitive athletic sports. Exception was made in such a case as the exhibition for the playground congress, because in no other way did it seem possible to adequately propagate the idea which is back of the movement. But even there school was not pitted against school. The intense rivalries and jealousies which are so often aroused by such competitions, the exceeding exaltation of victory and the bitterness of public defeat were avoided. In the athletic sports of the girls, as well 36 The Healthful Art of Dancing as in the folk dances which are character- istic of all the work done , by the Girls' Branch, there are certain fundamental prin- ciples of selection. These are: 1. All the individuals shall take part. 2. No one individual shall be placed in a position which is so important as to render other individuals relatively subordinate. 3. The exercises shall be of a measur- ably all-round character, involving not merely all parts of the body, but they shall develop the qualities of skill, quickness of perception, readiness to meet emergencies, and the like. During the early days of the Girls' Branch experimental work was carried on along three lines — athletics, gymnastics, folk dancing; and a careful record was kept as to their utility. It soon became evident that of these three, folk dancing was the most interesting; that by a judicious selection of dances a larger number of chil- As a Recreative Measure 37 dren could secure exercise in limited space and time than in either of the other forms of exercise; and that the folk dances afforded opportunity for cooperation with other activities of school and home in a way not afforded by either of the other activities. Gymnastics as compared with athletics showed similar differences, except when in the hands of teachers having exceptional skill and enthusiasm. The athletics proved to be the more interesting. The daily gymnastics of the children in the school- room seemed to be measurably adequate for the accomplishment of the ends for which school gymnastics primarily exist, which are: to combat the effects of the sedentary life of the child and the effects upon posture of the school desk. Athletics, while they do not have in them those exercises that tend to correct the effects of the school desk, do primarily affect the vital functions of 38 The Healthful Art of Dancing respiration, circulation, and digestion in a way that is most beneficial. Accordingly the work of the Girls' Branch has centred upon athletics and folk dancing. Principles of selection. A study of the various dances used by the peoples in differ- ent parts of the world quickly revealed the fact that many of the dances were not suited .to the objects sought by the directors of the Girls' Branch. In some of the dances, for example, but few individuals are danc- ing at a time, the rest remaining still. This means a waste of time. An excellent exam- ple of this is the Virginia Reel, known also as Sir Roger de Coverley, a dance interesting in itself, admirable from the social stand- point, but lacking from the standpoint of physical exercise. Therefore, one of the first principles of selection was the picking out of those dances in which most of the individuals are active most of the time. Then, again, some folk dances require As a Recreative Measure 39 for their performance more space than is commonly available in the gymnasium, the school basement, or the schoolyard. Thus space, as well as time considerations, are in- volved in the selection of each dance. Those dances are chosen which can be done by the largest number in the most limited space. As far as possible dances have been selected which involve large movement of the trunk, arms, and limbs. This requirement at once removes from the pos- sibility of use such a large group of dances as that represented predominantly by the dances from Java, which in large measure concern themselves with small movements of the wrist. Another consideration is that the body positions in the dances shall be graceful and such that do not tend in any way to the forming of habits of movement or posture that are disadvantageous from the stand- point of health. As an illustration of the 40 The Healthful Art of Dancing dances that have been avoided on this account may be cited those Indian dances in which for a considerable portion of the time the body is bent forward, the individual dancing with bent knees and in a crouching position. While it has not been possible to avoid such positions altogether, no dances have been selected in which these postures are predominant. Another most important consideration is that the dances shall be suflBciently simple for children to learn without an undue amount of training. It has also been found necessary to avoid using a large number of folk dances because of their unsuitability from the emotional standpoint. For example, the love dances of the East, however beneficial they may be from the standpoint of the body movements, are entirely unsuitable from the stand- point of their emotional content and their relation to the morals of our civilization. As a Recreative Measure 41 It will thus be seen that the range of available folk dances meeting the various conditions is comparatively small. While the Girls' Branch does teach folk dancing, it does not by any means advocate an indis- criminate teaching of all the folk dances of all the peoples. The work consists only in teaching those folk dances meeting the physiological, moral, and social require- ments that have been mentioned. In the consideration of these questions, it is believed, the dangers of dancing have been met to a large extent. It is recognized that there are many people who are not only fearful of dancing, but who see in it genuine evil. That to which those persons object is also objected to by those who have the management of the Girls' Branch. The experience of the last few years indi- cates clearly that the joyous freedom of the dances which are suitable from the various standpoints mentioned tends to 42 The Healthful Art of Dancing minimize rather than to increase the dangers that were anticipated from the start. The attractiveness of the dance hall has been lessened for those who can have ia school the beautiful old-world folk dances. Another and an entirely different aspect of the case is also important. The parents, as they come to school and see their children taking part in the dances of the various races, have come to feel that there exist between themselves, their children and the historic past of their peoples ties which for- merly had not been appreciated. On the other hand, the children who are doing the dances which their parents have done as children and as young people, coming to understand something of the meaning of the dances, have had interpreted to them in a way which it is hardly possible to accom- plish by any other means their ancestral history. These dances constitute a real tie between the old and the new. As a Recreative Measure 43 The conservative treatment that has been given to these folk dances has resulted in an entire absence of that criticism which is so commonly made against dancing. It was expected when the folk dancing was undertaken by the Girls' Branch that there would be a considerable body of conscien- tious people who would seriously object to it. But when the basis of selection of the dances was seen and the fact was realized that the dancing was tied up with the school and the home life, that the dances were selected with regard to suita- bility from the moral and social, as well as the physiological standpoints, the critics have not merely refrained from criticizing but have joined those who were in support of the movement. Dancing, like every other form of art, has its grave possibilities of danger. The success of the movement in its early stages in New York, which has been 44 The Healthful Art of Dancing so marked, has been due, not only to the wisdom of the Board of Directors of the Girls' Branch, but also to the fact that these directors were ladies of such standing in the community as to warrant confidence that what they would advocate would be thoroughly judi- cious and conservative. The ladies con- stituting the first board of management were as follows: Mrs. Richard Aldrich Mrs. Archibald Alexander Mrs. Francis M. Bacon, Jr. Miss Jessie H. Bancroft Miss Josephine Beiderhase Mrs. Wm. C. Demorest Mrs. George Dickson Mrs. Cleveland H. Dodge Miss Martha L. Draper Mrs. Charles Fairchild Mrs. Charles Farnsworth Mrs. Daniel Guggenheim Mrs. S. R. Guggenheim Mrs. Edward G. Janeway Mrs. John Bradley Lord Mrs. Clarence H. Mackay Mrs. Charles F. Naething Mrs. Henry Parsons Mrs. Henry Phipps Miss Julia Richman Mrs. Earl Sheffield Mrs. Lorillard Spencer Mrs. James Speyer Miss Margaret Stimson Mrs. I. N. Phelps Stokes Mrs. Felix Warburg Miss Evangeline Whitney Mrs. Egerton L. Winthrop Miss Catherine S. Leverich As a Recreative Measure 45 The first discussion as to the importance of learning those lessons of subordination of the individual and cooperation of the group was formulated by Miss Grace H. Dodge at the initial meeting of the organization. The Girls' Branch, like the Public Schools Athletic League itself, was at first entirely a volunteer body, having no official relation to the Department of Education. It still exists in that position; but in the course of study as adopted by the Board of Education during the winter of 1907-1908 many of the steps involved in the folk dances taught by the Girls' Branch are taught also in the grades. Hence the children come to the classes for folk dancing measurably pre- pared to take up the work systematically without having to do the detailed introduc- tory work which formerly was necessary. The steps of the folk dances which have been adopted as part of the course of study are optional, so that in any school where 46 The Healthful Art of Dancing the principal or teachers prefer on any grounds to devote the entire time to formal gymnastics, they are at liberty to do so. In this way it has been possible to avoid antagonizing those who have conscientious scruples against work of this kind. The work has been carried on in the main through the grade teachers. It is obviously impossible for a private organi- zation to furnish instructors for any large part of the three hundred thousand girls in the public schools of New York City. Accordingly, the policy was adopted of offering to the grade teachers instruction in folk dancing one hour a week, provided they in turn would teach the girls of their own classes or schools for an equal period of time. During the first year, which was largely experimental, about two hundred girls were thus brought under instruction, during the second year something over three thousand, and during the third year As a Recreative Measure 47 over seven thousand. The latter figure does not include the very much larger number of those who received instruction of a more or less similar nature in connection with their regular physical-training courses. It is also important to note that instruc- tion in these folk dances has been adopted as a part of the physical-training work in the New York City high schools for girls. Thus it will not be many years before a large part of the young people of the city will have had, through the schools, that instruction in folk dancing which has been the birthright of practically all peoples of the earth, and which we in America have so far failed to include as a part of the heritage of the children. The Girls' Branch was fortunate to secure the services of Miss Elizabeth Burchenal, whose skill in the selection of dances and whose enthusiasm as a teacher have been a large factor in the success of the move- 48 The Healthful Art of Dancing ment. The cooperation of the Board of Ed- ucation in this work is indicated not only by the adoption in the course of study of many of the steps which are a part of these folk dances, but also by the appointment of an assistant inspector of athletics who gives her whole time to the organization of this work. The careful consideration which was given to this large group of problems is indicated by the following statement from the Girls' Branch and by the letters from the President of the Board of Education, the City Super- intendent of Schools, and the President of the Public Schools Athletic League. EXHIBITIONS OF FOLK DANCING AND ATH- LETIC COMPETITIONS Recommendations of the Girls' Branch of the Public Schools Athletic League of New York City In the development of the good which we see in the physical exercise for girls, includ- ing folk dancing and athletics, we recognize that there are certain real dangers. Our As a Recreative Measure 49 problem is to secure the good results without fostering the evil possibilities. We believe that the dangers may be avoided, at leais^^ in large measure, by the following steps: 1. By having the folk dancing for school and social purposes only. It does not seem to us wise to cultivate in girls the idea that they can earn money by exhibiting their dancing. We do think that the exhibition of folk dancing at the schools on the occasions of parents' meetings and at school functions where the friends of the girls are invited is not only desirable, but useful; but we feel so strongly that when such exhi- bitions form part of pay entertainments the idea of the stage may be introduced and may become prominent, as to lead us to say that it would be better to eliminate these dances entirely, rather than to cultivate this idea. 2. By having the work of such nature that it can be done by large classes; for, the exhibition of one or even a few girls in special work leans in the same way toward the stage. We feel strongly that the trend of our work should not foster this idea. 3. In the folk dance the use of the national costumes of the country from which the dance is taken adds to its beauty, but we believe it would be better that such cos- 50 The Healthful Art of Dancing tumes should not be used. If paid for by the girls themselves it would introduce a social class distinction between those who could afford to buy them and those who could not. This would be unfortunate. If the costumes are paid for by the teachers, they would make a further demand on their resources. This, we think, would be equally unfortunate and is far from our wish. The chief artistic element in the costume is that of unity, giving to all the members of a class that impression of homogeneity which is one of the basal principles of art. The same effect can be accomplished by the use of a simple decora- tion, such as a uniform coloured ribbon in the hair, a sash, a scarf, which might be made of cheesecloth or some other inexpen- sive material which would not be a burden of expense to any girl. The use of the costumes also tends to make the folk dancing more of an exhibition when it really is merely a form of exercise. Whenever possible it is desirable that the girls wear bloomers and suitable shoes, which allow greater freedom in exercising. 4. From the first we have clearly realized and have tried to guard against that noto- riety which is one of the serious dangers of As a Recreative Measure 51 athletics. We believe firmly in wholesome exercise and in a reasonable degree of competition, but wish to avoid the notoriety which would inevitably attend inter-school games. We believe that the competitive spirit can be adequately exercised by games between teams within classes, and between the classes within the school. Therefore, we deplore all competition of basketball and other games of a similar nature between teams from separate schools; but this, of course, would not interfere in any way with the meeting together for social purposes and in the participation in friendly sport of pupils from different schools when undeJ the auspices of their own teachers or parents ' Catherine S.Leverich,Pres Signed: I Grace H. Dodge Martha Lincoln Draper j Laura Drake Gill J Annie W. S. Low Committee / Kathryn Mackay on Recom- \ Fannie Griscom Parsons mendations 1 Caroline S. Spencer 1 Ellin P. Speyer I Edith M. Phelps-Stokes Emmeline Winthrop Jessie H. Bancroft , Julia Richman 52 The Healthful Art of Dancing Department of Education, The City of New York, Office of the City Superintendent of Schools, 500 Park Avenue May 20, 1907. Miss Catherine S. Leverich, President, Girls' Branch, Public Schools Athletic League. Dear Madam: I have read with care the suggestion it is proposed to send under the auspices of the Public Schools Athletic League to principals of schools with regard to exhibitions in folk dancing. I most heartily endorse every recommen- dation made in this communication. The communication is returned. Very truly yours, William H. Maxwell, City Superintendent. Board of Education, Park Avenue and Fifty-ninth Street New York, May 9, 1907. Miss Catherine S. Leverich, President, Girls' Branch, Public Schools Athletic League. Dear Madam: While I have been greatly interested in the work of the Girls' Branch of the Public - rtolo^raph by Alice Bonghton MISS ELIZABETH BUHCHENAL As a Recreative Measure 53 Schools Athletic League, I have been afraid that there might be danger in some cases of the instruction in folk dancing resulting in directing the attention of the children to performing in public and to stage dancing. The recommendations of the Girls' Branch, which I have just read, seem to me therefore most judicious, and I trust will be generally followed. Very truly yours, Egebton L. Winthkop, Jr., President, Board of Education Public Schools Athletic League of the City of New York, 20 Nassau Street New York, May 15, 1907. Miss Catherine S. Leverich, 500 Park Ave- nue, New York City. My dear Miss Leverich : I have carefully considered the recom- mendations of the Girls' Branch of the Public Schools Athletic League which you forwarded to me in your letter of the 14th inst. In a matter of this kind I should allow my judgment to be controlled by that of ladies such as those which compose your 54 The Healthful Art of Dancing Executive Committee, as I think they are more competent than any man can be to determine what is best for the girls. The suggestion of your committee that costumes should not be used, except some simple decoration to secure uniformity ; that exhibi- tion should not be given in large classes, and that the exhibition should be made as a form of physical exercise, rather than an exhibition of dancing, has my decided approval. Very truly yours, Geokge W. Wingate, President, Public Schools Athletic League. IV THE RESULTS OF EXPERIENCE SO FAR in this study of dancing the argument has been based chiefly on theoretical considerations. The strongest arguments, however, for or against, are found in the test of experience. Many a measure which has promised well from a priori considerations has been found to fail at some quite unsuspected point when put to this, the crucial test. In order to secure records of experience at first hand that might be presented in this connection, facts were sought from a number of persons who either were using the folk dances, or, as principals of schools, were in a position to watch the effects of the dancing. The following let- 55 56 The Healthful Art of Dancing ter was the means of securing the desired information : Dear Friend: In connection with a publication that T hope to issue soon, I wish to have a brief series of statements of the actual results that have been achieved through folk dancing. I do not mean a discussion of the importance of recreation, or of anything on the theoretical side. What I need is a statement of what the effect has been upon the girls who did the dancing: 1. Did it make them more healthy? 2. Did they become happier ? 3. What dances did they perform? 4. How many girls took part in them ? 5. In what way did the social effect of these dances show itself ? The tests which are of the greatest value with reference to the use of folk dancing are not those conducted by the trained teacher under the favourable conditions found in well-to-do homes or schools. The real test is found when the dancing is taught The Results of Experience 57 by relatively untrained teachers, with poor facilities, to those whose lives are not already grounded in aesthetic appreciation. Accord- ingly, the answers that were given by the principals of schools in New York City seem to me to be of peculiar interest : OflBce of the Principal of Public School No. 177, Borough of Manhattan. March 15, 1909. 1. In my opinion, the dancing made the girls more healthy. It developed them physically and made the awkward ones more graceful. 2. I am enclosing a letter which will testify that the dancmg certainly made the children happy, when withdrawal from the class had this effect upon the child. A little circumstance in this connection will interest you. One of the most graceful dancers in the Mountain Dance is a little dark-haired sprite. I had occasion to inter- view her one day, and found in the course of my talk with her, that she lives in a cellar; I remarked that it must be dark. She 58 The Healthful Art of Dancing informed me that it wasn't, it had a window in the back and one in the front. All that this optimistic little lady knew of "the heights" came to her in her Mountain Dance. In it she was the little leader, quite like an elf dancing along in her red scarf thrown around her. 3. Klapdans Russian Dance Strasak Hungarian Solo Mountain Dance Irish Jig Chain Dance Oxdans Ace of Diamonds Carousel Komarno Morris Dance Tarantella 4. There were about three hundred girls in all. 5. The social effect of these dances was evidenced when the children were brought together. They were eager to help one another, and when the time of a contest drew near, in order to win the trophy for their particular section, they met outside of school to practise the dances. They became very much attached to their partners. When visiting their friends they were frequently asked to dance for them, It gave them great pleasure to entertain people at their homes in this way. Signed, Mary L. Brady, Principal. The Results of Experience 59 Deab Miss Brady: My daughter Leah was very happy when she thought she would belong to the dancing class. It made me happy to see her so glad. But when she came back rejected she was the picture of misery. She was crying her life away. I feel very, very sorry for her myself. She does not know anything about dancing as I do not let her play outside, but she could learn dancing as she is bright in everything. Therefore, dear Miss Brady, if you would accept her, I would be very very grateful to you. I remain. Yours respectfully, Mbs. L. Shapiro. Manhattan Trade School for Girls. I have always felt that folk dancing was one of the best means of training girls to better physical condition. I know this from my own experience as my father had me so taught in dancing school as there was no gymnasium in the town. In the Manhattan Trade School, where I have had a chance of having more extensive dancing than I myself knew, I feel still more the valuable adjunct which we have in reproducing this interesting exercise. 60 The Healthful Art of Dancing The Bohemian, Hungarian and Russian dances, which you mention in your article, we use here. We also have dances of a more lesthetic character. The fact that these dances bring into play the various muscles, added to the fact that they have in them the worth-while element which ordinary movements do not have, makes them valuable on their physical side alone. The students thoroughly enjoy them, and are happy in giving them. They are so much more anxious to make these move- ments a success — that is, to perfect them — than they are movements for themselves alone, that they are of greater value. One of the difficulties we have at the School is a lack of accuracy in the children. Each department has to try to overcome this. The Art Department and the Aca- demic Department unite in efforts to over- come this bad defect, and they find that the very fact of an effort to make the dances a complete success tends to bear also on the greater accuracy of the child. The group action helps the girls to work together and has its social value. With the class of girls with which we deal there are often bad ideals of what dancing is. We find the folk dancing tends to The Results of Experience 61 elevate these notions and to give an appre- ciation of what real dancing may mean, and also brings sometimes a distaste for more vulgar forms of dance-hall entertain- ments. Thus we get a moral effect as well. There is nothing that I feel to be more uplifting in life than to obtain true happi- ness through right action. I have often wished to tell Mr. Simon Patten, who wrote the "New Basis of Civilization," that I feel that the sort of happiness which the girls obtain in dancing at the school is realizing his ideal that the new basis will be brought about through our learning how to cause happiness, and through happiness lead to right action. We find the folk dancing in groups to be a valuable means of pleasure at the noon hour for it combines enjoyment with learning to work together, and not to disturb others. Signed, Mary Schenck Woolman, The Manhattan Trade School, 209, 213 East 23d St., N. Y. City. New York Public School No. 131. The children of my school are very young — we have no grade higher than the 62 The Healthful Art of Dancing fourth year — hence, the children of our club are only eight or nine years of age. The yards of our school building are small and dark, with very low ceilings. The only advantage we possess is a piano in the yard. We started a class in folk dancing and games two years ago as an experiment. The work has been so suc- cessful that we no longer regard it as an experiment. Because of our limited yard space we can have only from forty to fifty children in the club — and to be a member is one of the coveted prizes of the school. We have to choose the children from the highest grade and as these children can remain only six months or in rare cases a year in the club, owing to the fact that they must leave to go to the higher grade schools, I am not able to observe the effect of this work on their health. I can answer most emphatically, however, that this club is a source of great pleasure to the children. The day when the "Good Times Club" meets is the red-letter day of the week. May I tell you of one or two little incidents which have come under my immediate notice ? We choose the children from among the The Results of Experience 63 "A" students. Naturally, we get a lot of awkward children but as our object in teaching the folk dances to the children is to provide recreation for them and not to attain perfection in dancing, we do not consider this. We had one child in the club who was particularly awkward and seemed incapable of learning the dances or even keeping time to music. After much labour with this child, the teacher finally said, " Yetta, you cannot learn these dances, so you'll have to leave the club." The next afternoon about 3:30, I passed through the yard, which was very dark at that time. I saw a little tot with the tears streaming down her cheeks, dancing all by herself. On inquiry, Yetta told me that her teacher said she couldn't belong to the club because she couldn't learn the dances and so she was practising the steps by her- self, "because I do so want I should stay in the club." Needless to say that the child remained in the club and that we got a deeper insight into what this recreation means to our children. Another afternoon I was walking through our crowded district when an organ- grinder appeared. Immediately children of all ages — even to little babies of two — 64 The Healthful Art of Dancing boys and girls — were dancing the folk dances. A prettier sight or happier children I have rarely seen. One of the happiest days of the club was May Day in Central Park. Many of the children then saw grass for the first time, and to be allowed to dance upon it! This was an experience long to be remem- bered. As to the social effect, I feel that this is deep and lasting. In the games there is a class spirit developed which has a good effect, each child trying to do her best for the good of the class. In the annual con- tests, we find that the children are learning that only one side can win, and to take the defeat pleasantly. Many of the dances are too intricate for our little folks — those that have been taught are the following: Oxdans Tarantella German Polka Shean Trews Comarinskaia Two Swedish Steps Hungarian Solo Song Games Csardas Carousel Strasak Komarno I See You I feel that I have not been able to give you much information, but I wish to be counted The Results of Experience 65 among those who are enthusiastically in favour of folk dancing. Signed, Ellen Phillips, Principal. One of my little tots in the dancing club said to me this week, "I belong to another club — oh, it's lovely — it's called 'The Red Ribbons.'" Naturally, I was very much interested to hear of this other club. It seems that last year we had a little firl in our club called Dora Hoeflich, and )ora has started this Red Ribbon Club. Dora is ten! The children meet evenings at Dora's home and " Dora learns us such a lot of dances — more than school ! We have to pay Dora a cent a week, for Dora is the president and I am the truant oflBcer to get all the girls in. When we get enough money, we are going to ride away and get ice-cream soda. Dora says we save so slow, we'll soon have to pay two cents!" How like a woman's club, to get its members and then raise its dues! Dora's mother and father, I understand, are delighted to spend the evening watching the children dance. This is a little glimpse of what these athletic clubs mean to the children of brick walls, lower East Side. Ellen Phillips. 66 The Healthful Art of Dancing Public School 15, Manhattan, 728 Fifth St. Two years ago the folk -dancing class was formed. The young teachers who had been under Miss Burchenal's instruction selected children from all the 5th year classes (5A and 5B) to make up the folk-dancing club. At first, the children chosen were the pupils who were at the head of their classes, as the play opportunity would be considered the very best sort of reward. It proved to be so, and the proudest girl in the class is the one who, because of her high standard, can say, "I am a member of the Burchenal Athletic Club in No. 15." We find in many instances a wayward, troublesome, idle girl often spurring up to a high standard in her class lessons and deportment, in order to be permitted to enter the folk-dancing class. Our school reaches only to 6B and then the girls are transferred to 8th grade elemen- tary schools in the neighbourhood. The greatest reluctance is shown when the time comes for their transfer, chiefly because they must give up their membership in the Burchenal Athletic Club. Are the children happier ? It has surely The Results of Experience 67 helped to develop a spirit of fun in 'these children. They are all, in No. 15, Jewish children — not merry by nature, rather depressed and quiet, I think, perhaps because of the race's long subjection to other nations, but here in the dancing classes my greatest delight is to come upon them in their after- noon practice time and see their merry, happy faces and hear the tone of joy in their voices. As I walk through the crowded streets in the afternoon leaving school, I see the happy influence of the club, for I find the big sisters teaching the little ones the steps of the newest dance right out in the crowded thoroughfare. One afternoon I saw a tiny tot of not more than two years imitating the big sister as she held out her poor little bedraggled skirt and stepped through the stately mazes of the minuet. The children are perfectly happy when they are required to remain after school for dance practice. The parents, too, are so pleased and delighted because their little girls have a place to play, and they learn such pretty dances. Sometimes at an exhibition of the folk dancing I have a Russian mother or an Hungarian moved to laughter and tears both as she watched her little one with the 68 The Healthful Art of Dancinsr & others, going through the dances of her native country. I know of only one instance where a child's parents removed her from the class because of the bad effect on her health, and in this case the child was suffering from some heart disease. Each term there are sixty girls in the club, with about forty always taking part in the dances and contests. The dances performed are as follows: Highland Fling Frykdalspolska Shean Trews Csardas Irish Jig Oxdans Irish Lilt Strasak Lot ist Tod Komarno Klappdans, Comarinskaia Trollen Baby Polka Minuet I, personally, as principal of this large school in the city's most crowded district, feel that the influence of the Girls' Athletic League has been a most gracious one, put- ting happiness and joy into the lives of these little creatures who for the most part are doomed to live without play. May the work that you are interested in as Chairman of the Playground Extension The Results of Experience 69 Committee succeed far beyond anything we have yet hoped for, and may playgrounds be extended all over this great city, for the good of our little folks who are housed in the crowded tenements or jostled in the busy, dirty streets. Margaret Knox, Principal. February 16, 1909. Last winter (1908) Miss Hofer gave a very interesting course in folk dancing to our Training Class for Playground Directors. The dances were much enjoyed by the members of the class, who were enthusiastic over them. We used these dances on our playgrounds the following summer with more or less success. Many of the dances given by Miss Hofer were too elaborate to be practical and the very simple games and dances were much the most popular, a game or dance beginning with a few children and growing gradually, being more popular than those which brought all the children into activity at once. The dances were opposed on almost every ground at first, and liked better and better as they grew more familiar. The leader- ship and personality of the director counted much. We found several dances and games, 70 The Healthful Art of Dancing brought us by the children themselves from the streets, the most popular of the games. The music and words of these games I am sending to Miss Burchenal. You ask what we feel is the effect of these dances ; I think we all agreed (the general director of the games, the individual directors of the grounds and myself as supervisor) that the effect of the dance was beneficial. Physically, it improved the children in poise, lightness of step and grace. Socially, it broadened their interest in each other and enlarged their vision. Morally, it brought much happiness, kindness, spirit and less selfishness. In fact, we could see improvement in every direction. This relates entirely to the girls; with a few exceptions the boys never took part. At one of the grounds a number of small boys seemed to enjoy the dances, but this was unusual. Mary B. Stewart, Supervisor Children's Playground Association, Baltimore, Md. There was this difference in the folk dances and games. The dances if used often became tiresome — interest fagged — while there was always a demand for games, Courtesy oj" Miss Hinin.in GREEK DANCE The Results of Experience 71 certain games being played for weeks at a time. The gain in skill, endurance, alert- ness and ability to connect individual inter- ests with group interest was due almost entirely to the games. Girls who through timidity or lack of knowledge of the game, or both, often stood on the outskirts, got a good deal of pleasure out of dancing the folk dances which did not call for the initiative that many games demand. Some of our girls really blos- somed out in the folk dances. Anna M. Morgan Rutgers Preparatory School, New Brunswick, N.J. I find it necessary to do a great deal of choosing and selecting, rejecting at least ten dances for every one which I have found usable. Those which I have used are to be recommended chiefly for three things. First, they are simple to comprehend and to execute, therefore being practical for large classes. Second, they are sufficiently vigorous to stimulate circulation and to bring into play most of the larger muscles. Third, the general character of the dances is such as to promote a spirit of fun, good fel- lowship, and happiness throughout the class. 72 The Healthful Art of Dancing Those of my teachers who are engaged in kindergarten work find valuable material in the folk games and songs, which appeal to the child's dramatic instinct. Personally, I have had no experience in working with very small children — with classes of older women, the folk dances are a great rejuv- enator. Saka S. Sargent Glencoe, 111. In regard to the folk dances, I have used them constantly in our gymnasium with university girls since I returned from Sweden in 1898 and I have had nothing but the very best results. I find that the girls are more interested in them than in the more artistic dancing such as the Gilbert work; this is partly due, I think, to the fact that more girls can adapt themselves to this form of dancing without appearing awkward than they can to the artistic work — then, too, the element of recreation in all of these folk dances is very attractive to the pupils. I find that the physical effect is good — nearly every muscle of the body being brought into play some time during the dance. They nave the tendency to break up social cliques which are so often found The Results of Experience 73 in large gymnasium classes. I jfind, too, that there is a greater amount of exhilaration resulting from these dances than from most of the ordinary gymnastic games. In my summer work I have noticed with much interest of late that the demand for these dances is increasing each year — this demand coming largely from public school teachers who are not regular gymnastic teachers, but who are realizing the value of them for public school work. Anne Bakr Clapp University of Nebraska, Lincoln, Neb. In my other classes, we teach aesthetic as well as folk dancing and, judging from limited experience, I should say that the aesthetic work is better for physical develop- ment and is more interestmg to each individ- ual, but that the moment we turn to folk dancing there is more gaiety and sociability in the class. The dancing in groups brings together members of a class who might dance side by side all winter in the sesthe- ic dancing, without speaking to each other, but in the folk dancing, all become acquainted. I should call it an excellent mixer. 74 The Healthful Art of Dancing It certainly makes girls and middle- aged women happier. My classes have performed : Clap Clap Bow Ace of Diamonds Shoemakers Strasak Bleking Gilbert School Dances Helen Storrow 417 Beacon St., Boston, Mass. I think the first requisite in dances for the young is simplicity; second, they should cultivate the imagination; but neither of these at the expense of grace and correct poise. I find that so many simple dances contain elements that are crude, awkward and even ungainly. The attitude and posi- tion of the body have a reacting effect upon the mind and character, and there is never a physical reason of sufficient importance that can justify the use of the crude. Such folk dances, therefore, as can instruct or uplift and that contain the incentive to joyous abandonment will produce healthful, happy childhood; they will bring to the adult glimpses of childish days and a momentary return to youth. In conclusion, I think everything depends upon the charac- ter of the dance. That they are healthful The Results of Experience 75 would seem to be unquestionable; their moral eflFect, with the suggestions indicated, will be to uplift, and the social instincts of courtesy and grace can be developed just in proportion as these two characteristics are emphasized in the dance itself. . . . Clara G. Baer, The Tulane University of Louisiana. H. Sophie Newcomb, Memorial College, New Orleans, La. Dancing is taught in all the leading settlements in Chicago ; that is, Hull House, The Commons, Northwestern University Settlement, etc. This is a combination of ball-room and folk dancing. During the twelve years I taught the dancing at Hull House the two most strik- ing results were: first, the men gained the American attitude of respect for women, which they knew nothing of in their life in the other country; and second, they learned the value of self-respect. By letting the young people come for one evening a week in a clean, well-aired hall, with good music, good floor, and rules of politeness and formality maintained, thej lose their desire to go elsewhere for this necessary social intercourse. They here gain healthy 76 The Healthful Art of Dancing exercise, social intercourse in a pleasant setting and enough social technique to make them self-respecting. There seems to be no better, quicker, or surer way of obtaining our first hold on the young people we want most to bring off the street. These young men and women who crave social life seem to have no proper way open to them. It was astonishing to find how many young men and women were given better positions by their employers after attending class for a month or two. They had added a bit of "reliability" to their character. The children's classes at the settlements show immediate results in the new interest felt in the old home life of their parents. We always teach the foreigners their own dances as far as possible. This new bond of sympathy and respect is alone worth a winter's work. One settlement to which I went had been unable to affect the young people in their attitude of disrespect — almost of shame in which they held their families. One evening I brought a number of young people from the University of Chicago, and we danced their own folk dances. We threw all the life into them that we could, describing which part of the country the dances came from, and how that The Results of Experience 77 special country had much to be proud of in its wonderful variety of beautiful folk dances. During the evening the boys whistled tunes they had learned at home, and before we knew it they were showing us several dances their grandparents knew, and we all played their ring games, and the entire attitude of the young set changed toward their elders. Somethmg their parents knew was of value after all. I am emphasizing this point of value in the folk dancing for girls and boys because the other results are evident to the most casual observer — that of concentrated joy, healthy exercise, grace, interest, control, and the wonderful feeling of self-respect that comes to each child when he has finished a dance and can produce it passably well. FOLK DANCING IN THE PRIVATE SCHOOLS: Folk dancing is in the curriculum as a regular study in the following schools in Chicago, under my personal direction: Chicago Latin School for Girls — each group of twelve pupils has one half-hour a week. This has been so for the last four years. University School for Girls — each group 78 The Healthful Art of Dancing of eight girls has forty minutes. This has been so for four years. The Kenwood Institute — groups of fif- teen girls who have one half-hour a week each. This work has been going on for the last three years. The Electa School — groups of twenty girls who have one half-hour per week. This work has been going on for two years. The University of Chicago Elementary School — Each grade from the first to the eighth has three-quarters of an hour lesson, in groups of thirty-two, with the exception of the first grade which has only a half-hour lesson. These grades contain boys and girls. In the sixth, seventh, and eighth grades the girls of each grade are given an extra three-quarters of an hour per week for more advanced gymnastic dancing, where they do the Spanish and French dances, which are impossible to teach with the boys. The University of Chicago High School — all the Freshmen and all the Sopho- mores are required to take dancing once a week. They are divided into groups of fifty and their period is three-quarters of an hour. Once a week, on Friday afternoons, the two gymnasiums are thrown together The Results of Experience 79 and the whole high school is given an hour and a half of informal dancing followed by a cotillion. I began this work in Professor Dewey's small school, called the "Dewey School," nine years ago, and went with him into the University, now called the University of Chicago Elementary School. The work in the high school is in its sixth year. It was introduced by Dean Owen to meet the problems of girls' societies and fraternities and those who were not members, and to insure social intercourse between Jew and Gentile, rich and poor. The results obtained by teaching folk dancing and gymnastic dancing in the private schools are as follows: Concentra- tion of attention, gained by necessity for quick grasp of direction. Alertness, neces- sary for application of direction. Leads to excellent coordination of physical and mental powers. Results in rhythmic move- ment and so in grace and harmony of motion. Its value mentally lies in increase of concentration, of alertness ; physically, in gain in mental control of physical organism. Wonderful exercise full of keen interest, which calls for the most absolute concentra- tion of the day. One girl said to me to-day. 80 The Healthful Art of Dancing "Dancing is in itself happiness; it gives to me an outlet for expression that nothing else affords." They actually do their steps everywhere, in the halls, on the sidewalks and then in the evening for their families. I asked the girls to-day as they passed out of one class to express in a few words what gymnastic dancing meant in their lives. The following are some of the an- swers : "The folk dances are not only delightful in themselves, but are interesting in the way they express the different character of the nations. The soft grace of the southern, and the stiff, jerky motions of the northern exhibit such a variety that one never tires of them." "Fancy dancing has meant everything to me. It has improved my ball-room dancing and given me a sense of rhythm." "Dancing has helped me in all athletics to do whatever I had to do more easily; for example, to walk better and to do more things and not get tired." " Gymnastic dancing means more to me than anything else in the way of exercise. I love it, adore it; it makes me feel so joyful. I think it is absolutely wonderful. It is so exhilarating. I cannot say enough about it." The Results of Experience 81 "Gymnastic dancing is my favourite kind of exercise, and I look forward to each lesson with keen interest." The work in the Elementary School con- sists of appropriate folk dances, which correlate with their history, art and music. Thus, in the first grade we lay great stress on rhythm. Under Miss Allen in the kindergarten the children have a splendid start in the work, and in the first grade they become capable of distinguishing the four necessary rhythms — that is, waltz, two-step, polka and gallop, and clap them accurately. They learn the steps which lead to the execution of these dances and do simple ring games, such as "Shoemaker," "Silent Circle." They also begin work on the time and place for bows, shaking hands, etc. We review this work, and add to it up to the fourth grade, where they have accom- plished the waltz, two-step, gallop and barn dance, eight or ten ring games, and have acquired the technique of manners — they are now an established habit. In the fourth grade they take their first folk dance of any length — the English " Sailor's Hornpipe." At this time they are interested in England and her colonies and 82 The Healthful Art of Dancing have read about the great navigators; consequently the dance is full of meaning to them. In the fifth grade the "Spinning Dance" is worked out. This depicts the process of spinning from the gathering of the flax to the testmg of the cloth and correlates with their textile work. They also take the Vingaker's Barn Dance from Sweden, which is illustrative of their reading about the peoples of the Scandinavian Peninsula. In the sixth grade the boys and girls enjoy the "Highland Fling," which gives them a tremendous amount of physical exercise, and they like the concentration demanded. They take up here the intergrade parties, and begin to put into practice the formalities they have learned to use toward one another. They meet people well, can introduce, take care of a visitor with responsibility, and are given opportunities of serving on com- mittees. The girls in this grade have an extra period each week of three-quarters of an hour by themselves. In this we have the loveliest time! The little girls wear bloomers and ballet slippers, and for three- quarters of an hour dance to their heart's content the Cachucha, the Highland Fling, Courtesy of Miss Hinman NORWEGIAN SPRING DANCE The Results of Experience 83 Re Jane, Mountain March, and as they all declare, it is their "favourite study." Each little girl looks forward to this day and hour all week long. The seventh grade use the big " Weaving Dance," because of the training in unison gained by this group work. They, of course, continue their work oq the waltz and two- step and folk dances. The girls of this grade have an extra three-quarters of an hour each week, and take more advanced dances than the sixth grade. In the eighth grade we try to develop the real spirit of social intercourse. They learn the Lilt, the Buck and Wing and two or three short dances which take different numbered groups, like the Virginia Reel in groups of six, the Vingaker Barn Dance, taking two girls and a boy, and the Gaiety, which takes a girl and a boy. The first year we had dancing in this grade it was most discouraging. There were a number of big, over-grown boys who thought it a disgrace to possess any manners ; who could not and would not learn to dance if there were any possible way out of it. The girls danced badly and were dreadfully "silly." It took all the first year to gain the interest, and consequently the good work 84 The Healthful Art of Dancing of the class, and it was one of the hardest years I have ever gone through. The following year gave us better results, because we had enough children come up from the seventh grade, who had had the work with me the year before, and had learned to respect and enjoy it. Each consecutive year has found the work easier to handle, until now the work runs smoothly, and they are a responsible and responsive group. The pleasant part of this is that the result is felt Iby the entire school, as their attitude toward each other and every one else is very much more "livable." During Christmas vacation several mem- bers of the seventh grade met me, volun- tarily, at a settlement near our Stock Yards, to help entertain at an old people's party. Three times as many boys came as girls and when we gathered in the dressing room for a consultation as to what we should dance, we found there were not enough girls to go round. The nice boys cheerfully sug- gested taking the girl's part, although they had never practised in that way. So we ran hastily through the dances to see if we could make the right turns. Then out they ran on to the stage, utterly unconscious of doing anything unusual. They had on The Results of Experience 85 sweaters and high skating shoes (you know what boys in the seventh grade are generally like), and it was amusing to see them hop around doing the girls' parts in some of the folk dances. But the old people enjoyed it, and nodded and tapped in time with the good old tunes. The boys realized the enjoyment they were giving and worked doubly hard to make it go. One little girl had looked into the dressing room when we were rehearsing and, seeing the boys doing the "Highland Fling," said she knew that dance. So when the boys finished their dance, we asked her to come out of the gallery and show us her steps, which she did, much to the joy of our boys and the old people. We then asked all to join in one big circle, and, do you know, almost all of those dear old people rose, and we did lovely simple marchmg figures, where these boys of mine marched hand in hand with those they had been trying to entertain, and we ended by playing a simple ring game. Now this whole situation would have been made impossible if these boys had not gained througn our training this idea, of social life, the appreciation of these people through a knowledge of their national dances, and the feeling that they actu- 86 The Healthful Art of Dancing ally possessed something that would give pleasure. In the University of Chicago High School six years ago, there were several conditions which instead of improving were constantly being emphasized and spreading, such as the fraternities and sororities. These gained a place of importance in the young people's minds to an extent that made the carrying out of any new plan almost impossible without the sanction or applause of these select bodies. Those who ' belonged " were taken up with social duties inside their little group, and those outside wished to be "in" to such an alarming extent that they dared not associate with the unchosen, as it might spoil their slender chance of being taken "in ' later. This worked both ways for evil, for it shut those in w|ao were in, and it cut those out of everything who were out ; and as Miss Jane Addams says : " We know instinctively that if we grow contemptuous of our fellows, and consciously limit our intercourse to certain kinds of people whom we have previously decided to respect, we not only tremendously circumscribe our range of life but limit the scope of our ethics." Then there was the problem of taking the The Results of Experience 87 Jew into any social life. The fraternities and sororities looked to the most exclusive "society" to point out the right step, and they (the leading societies) closed their doors to the Jews. Then of course no one outside dared enjoy the friendship of their fellow-students for the simple reason that no one "outside" wanted to appear different. Added to these two conditions, the boy and girl who came to school in an automo- bile, dressed well, and could entertain, were sought after by all the "societies"; and the boy and girl unhampered by worldly riches found a hard road to hoe unless they were athletic, musical or dramatic to a sufficient degree to be a desirable addition to the society. Our young people were building for them- selves the worst condition of things, socially, imaginable. To meet the three foregoing problems — to break down the upper and lower class barriers, to give each child an equal right to social life, to take the running of the social events out of the hands of 6 per cent, of the school and place it within the reach of 90 per cent. — we intro- duced folk dancing and an open social hour. The first year (six years ago) was trying 88 The Healthful Art of Dancing and most difficult. In the first place, a surprising number of boys and girls did not dance well enough to feel any joy in coming to the "open hour." Only 10 per cent, of the school danced with ease; to be exact, only one boy out of the entire high school of five hundred pupils could really waltz correctly. The other boys danced the two- step waltz. To remedy this condition, we put in dancing as a required period once a week for all Freshmen and Sopho- mores in groups of forty to fifty. This plan worked well — for now every one must know how to dance; they cannot escape it ; and all the young people enjoy it now that they really know how. We give them line work of clogs and jigs, and have those who first succeed in learnmg the steps pass out of line and help those who are hav- mg trouble. This breaks down all feeling of self-consciousness, and also allows the class to keep more even. These classes at first were shunned by all the boys, and they made every possible excuse to escape them during the first and even into the second year, but now they come to more classes than they should; in fact, they come in whenever they have a study period unless we watch very carefully. Courtesy of Miss Himnnn BOYS FROM A CHICAGO UNIVERSITY DANCING A SWEDISH COLLEGE STUDENTS* DANCE. THIS DANCE REPRESENTS THE HAZING OR INITIATION OF A FRESHMAN BY A SOPHOMORE (oX DANCE) Cijuriesy o/Aliss Hintnan BOYS FROM A CHICAGO UNIVERSITY DANCING A SWEDISH COLLEGE STUDENTS' DANCE. THIS DANCE REPRESENTS THE HAZING OR INITIATION OF A FRESHMAN BY A SOPHOMORE (ox DANCE) The Results of Experience 89 The Juniors and Seniors, who are not supposed to take this work, register for it and one of the Seniors said to me the other day: "Do you remember when I was a Freshman, several of our class thought it silly to dance and tried to get out of it? I succeeded in being excused and have been sorry all this year and last. May I come in now ? None of the boys nowadays seem to dislike it, and I simply must learn." The day we opened our first Friday after- noon "Open Hour" the room was crowded with young people who had come to see what this was going to be like. The fra- ternities and sororities were there in full, and one fraternity had brought with them girls from another high school. Several things were made very plain to Dean Owen and myself that day: first, no one outside of our school would be allowed to come; second, they must come at a given time, remain through the hour, and not merely come in for one dance with some special girl and then go out ; third, they must dance with any partner chance gave them in the cotillion. We found they slipped by the undesirable non-sorority girls and somehow managed to gain one of their chosen mem- bers for every figure. Later, we succeeded 90 The Healthful Art of Dancing in making them understand that we were running these dances for the entire school and not for the select few. Several times did we do one figure trying to make it come out honestly. We were at last successful, but the leading fraternity gave the word they would never come again to one of these dances, " because they did not come there to dance with any one, but with those they liked"; and sure enough at the next dance we were without the "leading lights." Of course, we slowly grew smaller and smaller, for all the fraternities and sororities stopped one after another; and then those that were left were ashamed to attend or support a school activity that the leaders had passed by. They, too, slowly dropped out, and by Christmas we had fallen off from one hundred and twenty-five to twelve couples. These twelve couples remained, because they enjoyed dancing for the sake of dancing, not because they were danc- ing with a certain person. Gradually this right-minded and steady group grew and grew, until to-day we are the leading activity, have become so large that we have to open both gymnasiums, and we have maintained absolutely the simple rules with which we opened. The young people from the fra- The Results of Experience 91 ternities and sororities slowly came back, not as groups, but singly, as individuals. We have a few boys and girls show their special folk dances quite often — that is, the Oxdans, the Roy Clog, Buck and Wing, and the Dublin Jig, which is their favourite. Each week the committee, having entire charge of the afternoon, even to the leading of the figures, is made up of young people from all four years. They introduce the new comers, watch to see that all are having a good time, and really feel the responsibil- bility of the afternoon. This hour has accomplished more for the social atmosphere of the school than can be shown. It has really met and conquered the problems which we hoped it would. The social classes in and around Chicago partially fill the void caused by the Public Schools' failure to realize that dancing is part of a child's heritage. We conduct from thirty to thirty-five classes per week, each containing between twelve and eighty pupils. In the girls' classes bloomers and ballet slippers are worn, and for one hour they have the most glorious time of the week. The energy they joyfully expend and the almost absolute concentration with the 92 The Healthful Art of Dancing wonderful means of expression it affords, is unsurpassed by any otner winter activity. One mother writes as follows : "Gymnastic dancing introduced into a home of four daughters, has been not only a distinct benefit to the health, but a joy to the whole group. One small child was shut in by self-consciousness as by a stone wall; the love of rhythmic motion gave her free- dom, enabling her to mingle with her mates and take part in simple public exercises, quite simply and with ease. In the case of an older girl suffering from the nervous strain of a city school, dancing and basket- ball with the giving up of one study restored perfect health. As a winter recreation tak- mg the place of lawn games of summer, gymnastic dancing is invaluable, affording wholesome merriment and a pleasant change from the round-table games which require only mental alertness similar to the school and office work of the day." This from a small girl in one of the private classes : "Gymnastic dancing means so much that I cannot express it. It is interesting to me to see and try to do dances that people all over the world have done maybe hun- dreds of years ago. Then, too, it is so Courtesy of Miss Hmynan TYROLEAN DANCE The Results of Experience 93 much fun and exercise. It is not only fun, it is something deeper than mere fun. I love it with all my neart." This from a member of a ladies' class : "The lessons I have taken in folk danc- ing have given me more pleasure and abso- lute joy than any other study I have ever had. The combination of exercises and music, wherein the body can express the rhythm which the music brings out, brings a positive exhilaration. Then I find that the dancing requires more concentration than almost anything else, as one must think of the head, the hands, and the body, and still keep in time with the music. Alto- gether I vote that dancing brings joy and happiness." This from a little lame girl in one of the social classes: "I do not know what it is about my dancing lessons that fascinates me; all I know is that there is no hour in the whole week more enjoyable than the one I spend at the Woodlawn Parish House." This from one of the guests of the after- noon: "Dancing to me means an outlet for all the poetic emotions which arise within me." 94 The Healthful Art of Dancing This from a mother of one of our children, who herself is in a mother's class: " Gymnastic dancing has, I think, helped me to feel nearer my dear little dancing girl.". This from a young woman about twenty- five: "Gymnastic dancing holds more real enjoyment for me than anything else I have ever taken up. I look forward to the one hour I have of it on Thursdays. I seem to forget all my troubles and think of nothing but music and the poetry of motion." THE NORMAL COURSE The Normal Course has filled in Chicago a condition that may be peculiar to us, but I hardly believe so. Our well-educated young women, who come from cultured homes, are not satisfied to ornament the fireside, but long to be in touch with the life of to-day. We select girls who have a mental grasp of educational problems and are alive to the world as it is. Their work carries them through two years. They do actual assisting every day at all the big classes, read books and write papers on how this work applies to the education of The Results of Experience 95 the child, also learning where each dance comes from, its history, what influences the different countries in their social life, etc., and each carries a class of her own in some settlement. They are trained to be good teachers, good organizers, an addition to any faculty, but they are not trained to be solo dancers and fancy dancers. They can execute their work well, they know their technique, but first and foremost, they can teach simply and clearly, and keep upper- most in their minds the education of the child. It is the only school in the world of its kind. We cannot take all who apply, which gives us the right to choose the very best from those who wish to join. Our Freshman class numbers twenty. This is the school's fifth year. It is almost impossible to overestimate what this work has meant to the girls. They were not content with the fulfilment of their family or personal obligations, but are striving to respond to the new demand for the welfare of the child of the city or country. Mary W. Hinman. February 18th, 1909. Division II PHYSIOLOGY AND PSYCHOLOGY V THE PHYSIOLOGY OF DANCING ONE has only to see an experienced dancer going through with any of the more vigorous and characteristic folk dances of the world to realize at once the general characteristics of the exercise involved. The weight of the body is almost always carried by the legs; the body is bent and turned in many directions; the arms are constantly in motion; and most of the work is done by the muscles which carry the body and move the trunk. These movements are ryhthmical in character and involve usually much repetition. The effects of learning to dance are quite different from the effects of dancing itself. What I am describing are the effects of the danc- 99 100 The Healthful Art of Dancing ing, not the effects of the mental applica- tion involved in learning. Circulation. Perhaps the most imme- diate and noticeable effect is upon the heart. The ordinary pulse rate of a per- son standing at rest is about 75-80. The ordinary pulse rate of a person doing active dancing is from 100 to 130, varying of course, with the person and the vigour of the dance. Evidently the circulation of the blood in the entire body has been greatly quickened; the contraction of the large muscular masses in the thighs and body has pressed the blood in the small veins onward toward the heart; the twist- ings and turnings of the body have had a material effect in pushing onward the circulation of the blood of the vessels in the abdominal cavity; the deeper breath- ing movements involved have aided in what is called "the aspiration of the thorax," which consists in the sucking of the blood The Physiology of Dancing 101 into the trunk during inspiration and forc- ing out during expiration. This, a second- ary force of circulation, is the aid which the act of breathing gives to the circula- tion. The heart itself has been stimu- lated in several ways to beat more rapidly; the blood being poured in from the muscu- lar system acts as a stimulus. It is prob- able, too, that with the stimulus from the brain which causes the muscles to contract there is sent out a stimulus which causes the heart to beat more rapidly and eflBciently. We have thus a number of factors com- bining to increase the efficiency of the circulation. The blood is pressed on by muscular contraction; it is sucked into the thorax by respiratory movements; and is pressed out of the abdominal cavity by the bending movements. The heart is the primary factor in the circulation and the number of contractions and the volume of blood expelled at each contraction increase. 102 The Healthful Art of Dancing It is to be noted — and this is most important — that these particular effects on the circulation do not follow from all kinds of exercise but only from certain kinds. A person may write on the type- writer as rapidly as possible without secur- ing the effects upon the circulation which I have described. He may take a wad of paper in the hand and squeeze it as hard as possible and do it repeatedly until the forearm becomes painful, but the circulation will not be affected in any great degree. The forms of exercise which bring about extensive changes in the circulation call into play the large muscle masses of the body for a large number of consecutive contractions. The contraction of the smaller muscles of the body, while of importance from other standpoints, are relatively unimportant from the one which we are now discussing. The general law is this : The ejects of exercise on the organic Courtesy o/ Mr Chaiif "the czardas" hungarian peasant solo dance MR. CHALIF IN A RUSSIAN DANCE The Physiology of Dancing 103 functions of the body are in proportion to the number of foot-pounds of energy expended, and not to the amount of effort or will or energy put into contractions. For instance, a person going up two or three flights of stairs expends a large amount of energy. He lifts his body -weight some scores of feet. The effect upon the circulation is great as compared with the effect of swing- ing a light pair of Indian clubs or doing anything else involving light exercise or exercise of merely the smaller groups of muscles. We see many schemes of exercise in which the great bulk of the work is done by the arms. The implements are wands, dumb- bells, Indian clubs and chest-weights. Many of the movements are complex and often beautifully done, involving both grace and skill, but the smaller muscular groups of the arm and shoulder are chiefly called into play, so that the total effect upon 104 The Healthful Art of Dancing the circulation and respiration is relatively slight. The small muscles do not need much blood nor are they effective in press- ing the blood current onward. The large muscles need for their eflScient contraction large supplies of blood — that is, each muscle must hav« blood in proportion to its size and vigour. Therefore to have the large effects upon circulation, we must have contraction of the large muscular masses of the body. Dancing is therefore one of the most serviceable forms of exercise to increase organic vigour, for it involves many move- ments of practically all of the large muscu- lar masses of the body. It is not only the circulation of the blood which is affected by this exercise of the large muscular masses. The lymph circulation is also affected. The lymph bathes all the cells of the body, holds in suspension the nourishment which they need and The Physiology of Dancing 105 takes from them their waste products. It is dependent to a large extent on mus- cular movements for its moving power. The contraction of the large muscles of the body aids in a striking way the increase of its circulation. The jarring and jolt- ing of the body which occurs in so many of the dances is a great factor in promoting this, particularly in the abdominal organs. Respiration. The need of the tissues for additional supplies of oxygen when contracting vigorously is the ultimate occa- sion for that increased breathing which we always observe when exercising vigor- ously the large muscles. Hard running, swimming, dancing, rowing or paddling always increase the amplitude and the frequency of the respiratory movements. Movements, although equally vigorous, of the smaller muscles of the body, such as those of the hand, do not correspondingly increase the respiratory movements. The 106 The Healthful Art of Dancing amount of oxgyen which is demanded by the contraction of the smaller muscles is so small as to be satisfied without notice- able increase in breathing. On the other hand when the large muscle masses of the thighs and body are brought into play, the breathing becomes deeper and faster. There is an intimate relation, as has been already indicated, between the circulation and respiration. Some of the increase in the rapidity of the respira- tory movements may be due to the heart inadequately performing its functions. There may be an embarrassment due to overcharging on one side of the heart, resulting in an uncomfortable acceleration of breathing. But among those accus- tomed to exercise, no such conditions obtain. The muscle cells as they contract pour into the plasma surrounding them the carbon dioxid which has been formed The Physiology of Dancing 107 during the muscular contraction and in turn take from this plasma the oxygen which they need to continue their vigour. This plasma is collected and pressed onward by the circulation till it is thrown back into the blood stream. At the same time oxygen is being taken and carried to the parts needing it. This is the reason why many consecutive contractions of the large muscular masses of the body result in deep and rapid breathing when contrac- tions of the smaller muscles do not. The one produces large amounts of carbon dioxid and needs large quantities of oxygen; the other does not. The quantity of oxy- gen absorbed that is taken from the air of the lungs into the blood plasma and into the haemoglobin varies in proportion to the need of oxygen in the body, rather than in proportion to the quantity of air inhaled and exhaled with each breath. One may by deliberate eflPort breathe with 108 The Healthful Art of Dancing rapidity and amplitude, making the lungs more than usually free from carbon dioxid. This, however, will not raise the oxygen absorption in the body. The oxygen tension in the blood plasma remains measurably con- stant. The way to increase oxygen absorp- tion by the tissues is to do work that increases the breaking down of oxygen compounds. Thus, when more demand for oxygen is created, deep breathing results, and this deep breathing is eifective in promoting oxygen absorption. We thus see the fal- lacy of expecting to rejuvenate the tissues of the body by voluntary deep breathing. Such deep breathing may have useful effect in strengthening the accessory muscles of respiration; or by means of the wide excur- sions of the diaphragm moving the abdom- inal contents back and forth and thus affecting their vigour, but its usefulness is not primarily related to increased absorption of oxygen. The large excursions of the The Physiology of Dancing 109 diaphragm stimulate the secondary cir- culation in the organs which are below it. The abdominal organs are alternately pressed upon and released. Exercise, because it increases breathing, stimulates the activity of the diaphragm and thus greatly accelerates the circulation of the organs below it. Digestion. The most eflScient single means that we have for promoting the effi- ciency of the digestive organs is to perform labour which makes the body demand increased nourishment. Here again we are thrown back upon the need for contrac- tion of the large muscular masses. This is the reason why tramping, rowing, run- ning and other forms of vigorous exercise are so likely to increase one's hunger, whereas practice with a musical instrument, prolonged writing either with the pen or typewriter, or any other exercise which involves the smaller muscles of the body. 110 The Healthful Art of Dancing are not. Exercise of the large muscular masses of the body uses up large quantities of energy. The body responds by calling upon the digestive organs for more effi- cient service. A secondary factor in increasing the efficiency of the digestion is the jarring, twisting and jolting of one part of the body upon another, such as occur in walk- ing, running and dancing, or in horseback riding. Man is not naturally a sedentary creature. Peristalsis is carried on partly by means of the stimuli which are furnished when the body is active. This is why constipation is such a frequent accom- paniment of those who live sedentary lives. The intestine lacks one of the stimuli which has been its natural aid dur- ing all ages in which man has been an active worker. Then again, when a man exercises vigorously he eats more in bulk. This tends to increase the mass of matter The Physiology of Dancing 111 in the intestinal tract which in turn is a stimulus to the peristaltic activity. We have two specific ways by which these large muscles when exercised vigor- ously many times, affect digestion. First, by increasing the amount of nourishment by a larger consumption of food, and second, by increasing the peristaltic activ- ity of the bowels, by exercise and by increas- ing the bulk of material upon which the intestines, particularly the colon, work. Temperature Control. When the body exercises vigorously — that is, when the large muscular masses of the body are con- tracted vigorously many times, the tem- perature of all muscles involved is raised. The temperature of the blood coming from those muscles is therefore higher than it was when entering the muscles. Thus it comes about presently that the temperature of the entire body is raised and there is a general feeling of warmth. 112 The Healthful Art of Dancing It is necessary that the temperature of the body should not vary to any great extent. Accordingly the temperature-regulating ap- paratus is at once called into play. Mois- ture is poured out on the surface of the skin which by evaporation keeps the body from getting too warm. This temperature- regulating apparatus is our chief defense against colds. This is as capable of being educated as is any other part of the body, but its education, like that of every other part, is dependent upon use. It is neces- sary for us, if we are to be able to with- stand variations in temperature, to accus- tom our bodies to changes in temperature, to heat as well as cold. These changes in temperature may be from subjective causes, as those produced by exercise, or may be caused by changes of the external temperature. It is my personal belief that because of the close association of the emotional life The Physiology of Dancing 113 with the circulation in general, that individ- ual has well-regulated circulation whose temperature-regulating apparatus works most eflSciently. He is less liable to abnormal disturbances of the emotions, such as explosive bursts of anger and the like, than is he who is not accustomed to sudden temperature variation. Vigorous exercise of the large muscular masses is thus one of the potent means for maintain- ing a balanced life. In referring to colds it is not meant that the temperature-regu- lating apparatus is the only defense, but its vigorous action is one of our principal defenses. Carriage. One of the most notable effects on persons who have taken courses in good dancing schools is their grace of carriage and of movement. While it is not true that the amount of attention given to carriage in the dancing schools is as great as that given in military training. 114 The Healthful Art of Dancing it is undoubtedly true that the grace of move- njent acquired through dancing far exceeds that acquired in military schools. It is not true that mere strength of back is the primary requisite in erect carriage. The first essential is good habits, and these can only be established by long-continued, self -directed activities. My personal obser- vation has shown no single thing more conducive to good carriage than is the training of young people in the forms of dancing which involve it. Exercise for a few minutes a day in good posture cannot be expected to overcome the results of stand- ing and sitting the rest of the day in bad positions, but the interest of the individual is apt to be so profoundly awakened by the dancing that the thoughts and feelings are carried during the rest of the day. This explains the profound effects of dancing upon carriage. The dancer loves the art and keeps it constantly in mind H o !z; men whose throw is as efficient as that of men* and there are women who have inherited all the other special powers in which man Is supposed to excel. But it remains true tha); the average woman cannot throw as can the average man. She cannot throw as the aver&,gc man can, any more than the average man can tbjow as well with his left hand as with his right. The average man is handicapped in Ichrow- ing with his left arm; just so the woman is handicapped in throwing with either arm. It does not mean that women cannot learn to throw straight and easily, but it does mean that her throw has not the forceful swing that the boy gets almost without training, or with very little training. Most forms of athletics are fundamentally Athletics for Girls 157 masculine. The girl in her plays is ripen- ing those activities that are fundamentally feminine. For women were not predominantly the hunters and fighters. They cared for the home. They carried on the industries. They wove the cloth and made the cloth- ing, manufactured the baskets, prepared the food, tilled the soil, cared for the domestic animals, reared the children, and performed the other numerous duties that centred about the home. There was never a time when women had to run, throw or strike as a chief measure of their usefulness. It was not the women who could run, throw, and strike best who survived. The women who were the best mothers, who were most true to their homes, who were the best workers, were those that survived. So athletics have never been either a test of or a large factor in the survival of women. Athletics do not test womanliness as they test manliness. 158 The Healthful Art of Dancing The qualities of womanliness are less related to success in athletics than are the qualities of manliness. A curious illustration of this fact came to my attention some years ago. One of the small New York City high schools, that on Staten Island, held an athletic field day for its girls. There were seven events, con- ducted under conditions practically identical with conditions for similar events that are held annually at Vassar College. Those high-school girls on their first field day made better records in four of the events, so I am told, than had ever been made by the stu- dents at Vassar College ! The reason is that progress in growth toward womanhood does not mean progress toward increased effi- ciency to do athletic sports. It is not at all an uncommon occurrence for a team of girls of about twelve years to defeat a basket- ball team of young women of college age. The little girls are more athletic. Their Athletics for Girls 159 bodies have not yet differentiated into the form of the adult woman. The adult woman's body is less adapted for athletic sports than is that of the girl. We will assume without discussion that education does have considerable effect upon the persons educated. If we should allow a girl to pursue only masculine activi- ties straight along, these would tend to push her in a masculine direction. We believe that the training of girls in womanly ways does tend to develop them in womanliness. To force either boys or girls to the exclusive use, or the predominant use, of plays and games which have chiefly been related to the other sex, would be a fundamental error. I do not mean that in mature life there are any admirable qualities of mind or character possessed by woman that man should not acquire, or that there are any such char- acteristics possessed by man that woman should not strive after; but during the years 160 The Healthful Art of Dancing when character is being formed, it must be shaped according to the fundamental characteristics of each sex. We do not want womanish men nor mannish women. Each sex must first be fundamentally true to its own kind. The essential need for the girl is not to be brave and loyal to the crowd. It is required of her first that she be loyal to the home. We first ask of the boy that he shall be loyal to the crowd, straight and true. That is the evolutional stage. With these considerations in mind we may formulate certain preliminary con- ditions to the solution of our educational problem. The aptitudes that, present in the boy, create athletic sports which involve the old, racially necessary movements of running, striking, and throwing are absent in the girl. Consequently it is false reason- ing to assume that in order to develop the bodies of girls to a corresponding degree Athletics for Girls 161 of excellence with those of healthy boys, we must use the same means. It is undoubt- edly true that women must learn group loyalty and cooperation, and that these requirements are as important in our present social life as the physical well-being and strength of women. But women must learn these lessons in their own ways. A considerable number of girls and women profit greatly by athletic sports, but it is certain that for the great majority of girls athletic sports do not have the compelling interest that they have for boys. Therefore sports cannot be counted upon as educa- tional factors in the development of women to the same extent as for men. So far as the subject has been experi- mented with, dancing seems to be the form of exercise best adapted to the abilities and needs of girls, and bids fair to take the place in the average girl's education that athletics take in the life of the average boy. 162 The Healthful Art of Dancing Dancing is here used in the large, old sense — the sense in which it was used among the ancient Greeks. The two-step and the waltz do not constitute any large part of the dancing curriculum. IX NEUROMUSCULAR COORDINATIONS HAVING EDUCATIONAL VALUE* THIS paper does not treat of the entire subject of muscular exercise. It aims only at one of the specific objects of exercise. In order to define the subject it may be well to state the four headings under which we are accustomed to classify the major objects for which muscular exercise is taken, namely: 1. Exercise for therapeutic purposes. Under this heading come orthopsedic exer- cises, exercises to develop cardiac power, the reeducation and development of a paralyzed member or of a tabetic, etc. 2. Exercise for organic or hygienic pur- * Reprinted from the New York Medical Journal for October 17, 1908. 163 164 The Healthful Art of Dancing poses, the general purpose being to increase the general functions of the body, such as circulation, respiration, digestion. This is ordinarily spoken of as "general exercise." 3. General neuromuscular education. This consists of the bringing to complete function those general neuromuscular coor- dinations that are desirable for the indi- vidual to possess. 5. Special neuromuscular education, which may be needed for some specific activity or occupation, such as playing the piano, typewriting, playing billiards, hand- writing. This classification does not include those forms of exercise that are taken incidentally in the earning of one's daily bread or in the pursuit of happiness. This paper relates, then, exclusively to the third heading, namely, general neuromus- cular education. It aims specifically to answer the following question: Are there Neuromuscular Coordinations 165 any neuromuscular coordinations which exceed in value from the pedagogical stand- point any other coordinations ? Or, to state the question in a different way, have neuro- muscular coordinations an equal value from the educational standpoint ? If they have not equal value, which coordinations are thfe most important, and what are the criteria by which we can select the coordina- tions that are the most important ? I am not referring to that training by which the individual is equipped for specific acts that may be necessary during later life, such as playing the violin, writing, using tools, or any specific acts whatever. I am referring to a general basis of education. It is only in recent years that students have given us the neurological data which support the findings of experience in our answer to this question. One of the best studies is the brilliant one of Hughlings Jackson, with his three-level theory of 166 The Healthful Art of Dancing epilepsy in its relation to cord and brain. Frederick Burke, in his notable study enti- tled "From Fundamental to Accessory in the Development of the Nervous System and of Movements," formulated and defended with brilliancy one of the essential theses, namely, that in the development of the human being the different parts of the ner- vous system come to function in a more or less definite sequence, those of a more fundamental character antedating those of a more accessory character. We must not forget the brilliant work of Clouston on the Neuroses of Development. Before attempting to answer the question it may be advantageous to illustrate in a concrete way the nature of the problems involved. It is conceivable that an individual might be trained to operate the muscles which control the eyes independently. Would such specialized discipline be of advantage euromuscular Coordinations 167 or disadvantage to the individual ? It is possible, by some means of suitably prepared gymnastic exercises, to train the individual so that he can coordinate movements which to the untrained are entirely impossible, for example, to move the arms in opposite circles. I may move my right arm at the shoulder joint, involving, of course, scapula movements through various right-angled positions. It is an exceedingly simple matter to have the left arm do these move- ments at the same time and in the same way as they are done by the right arm. It is possible to train the individual so that the identical movement shall be involved, but one arm with a movement behind the other, the completed series being finished by the leading arm one count or one movement ahead. The children's trick of patting the abdomen and rubbing the top of the head, and then attempting to change the move- ments of each hand suddenly, so that the 168 The Healthful Art of Dancing hand that was patting commences to rub and the hand that was rubbing begins to pat, illustrates another exceedingly simple coor- dination which it is difficult for the person who has not learned it to accomplish. Some years ago a large volume was writ- ten, describing a new system of gymnastics by De Laspe, the fundamental assumption of which was that it was simpler to move one joint than to move two. Therefore, every child should be trained to use each joint of the body in all ways possible. He should then begin to use each joint of the body in all possible combinations with every other single joint of the body. After these two-joint coordinations in all possible re- lations had been accomplished, he should then proceed to train his neuromuscular apparatus so that three joints might be used at once in all possible relations to each other. This process was to be kept up until the individual could do anything Neuromuscular Coordinations 169 with his body of which it was capable. A few illustrations are given at the back part of the large work, showing the kind of move- ment that would be involved by the pure chance combinations or permutations of movements involved in seventeen joints at once. They remind one slightly of an individual during an epileptic seizure, that is, the movements were absolutely unrelated to each other. In the light of this book, I would restate the question as follows: Are there any neuromuscular coordinations which tend more strongly than do any other neuro- muscular coordinations toward a whole- some development not only of body control, but of the central organ of body control — the nervous system ? Are there movements that serve better than others to bring about that growth of tangential fibres which Flechsig has shown to be related to intelli- gence, and to that relation of dendrite to 170 The Healthful Art of Dancing axon and synapsis that promote or afford the basis for wholesome living ? An analysis of the muscular movements made by a child immediately after birth indicates definite and useful coordinations already functioning with a considerable degree of perfection. Breathing is suddenly established. This in itself is an exceedingly complex act, involving constant readjust- ment with the different positions of the body, the relations of the spine to the ribs, and the ribs to the abdominal wall, which vary with the changes in abdominal pressure which are due to gravity. Breathing in the horizontal, prone position is not an identi- cal act with breathing in the vertical posi- tion. In any position it is a most highly complex series of acts. We find this neuro- muscular mechanism ready to use upon the birth of the child. The hand, actuated as it is by forty muscles, moving twenty-seven joints, func- Neuromuscular Coordinations 171 tions vigorously as a whole; and since Robinson called our attention to the fact, I presume that all of us have demonstrated for ourselves the high degree of grasping ability that is present in the hand of the new-bom child. Sucking and swallowing are acts involving coordinations of muscular groups that are not closely related ana- tomically. The child lies on his back and kicks, breathes and cries. All of this means that there are thousands of neuromuscular coor- dinations all ready to use. The coor- dinations involving the use of the eyes are not perfect at birth, but it takes a relatively small degree of practice — I do not, of course, refer to conscious practice — to develop that control which results in the coordinated action of the eyes. Eye move- ments as related to neck movements are quickly acquired. The muscles controlling individual vertebrae are never isolated so 172 The Healthful Art of Dancing as to be actuated by the individual, but they can be used serially, as shown by many individuals who have acquired the power to bend in any part of the spine without bending any other part, or to bend with a wave-like motion, the centre of motion extending from one end of the spine to the other. Standing erect involves most delicate and constant adjustment of nearly all the muscles of the legs, trunk, and neck. While in this position, the movement of one arm for- ward makes it necessary for the individual to readjust his balance, thereby compelling readjustment of tension from all the groups of muscles involved. In running, jumping, throwing, striking, and in all of the large body activities, practically all the muscles function. They function rather auto- matically, not as automatically as does the heart nor as automatically as the process of breathing, but they function automatically Neuromuscular Coordinations 173 in the sense that the individual does not think of the muscle, of the part to be used but thinks of the object to be accomplished. It is a physiological unit which is working. An examination of the great variety of neuromuscular coordinations that children learn in their ordinary, unguided daily play indicates that the fundamental fact with reference to the progressive coordina- tion of these successive sets of movements is physiological and not anatomical. The body is serving its function with reference to accomplishing given results. This is done by throwing into action successively coordinations which are more or less auto- matic. Those acts which are "ready to use," that are done at birth, are performed without anything more than the preliminary movements made by the child during gesta- tion. They require, some of them, no practice; others, very little. The older the child becomes, the more complete the 174 The Healthful Art of Dancing repertoire of coordinations becomes, the less are the coordinations ready to use, and hence the more is practice necessary. If we view the body as a functional unit it simplifies the case. That study of anatomy which consists of merely a knowledge of the different systems is superficial and unreal as compared with that knowledge of anatomy which sees muscles, ligaments, and bones as having been developed by having to do specific acts. The act is the fundamental thing which determines the structure rather than the reverse. It is because the hand had to bring the object to the mouth of the individ- ual, for example, that we may account for the insertion of the biceps on the radius rather than on the ulna. Insertion on the ulna would have given the biceps a far greater power as a flexor of the forearm, but one of the particular acts for which the biceps is adapted and which, perhaps, we Neuromuscular Coordinations 175 may assume was one of the acts which helped to produce it, was that act by which the individual reached for an object with the hand prone and grasped it, then bringing it to the mouth, supinated the hand, in order that the palm might bring its contents to the mouth. So the biceps was attached in such a way as to flex the forearm upon the upper arm, at the same time that it was acting as a supinator. This illustration of the priority of use is one that might be carried over into the neurological field. Let us turn now from muscular acts for physical ends to those muscular coordina- tions which are done for psychic purposes — the expression of anger, fear, hope, and so on. These demand complexity of coor- dination following and flowing into each other, never being twice exactly alike, for the conditions which arouse the emotions vary, and the expressive acts of the emotion 176 The Healthful Art of Dancing itself vary correspondingly. A set of such incomprehensibly complex series of coor- dinations as is involved in the muscles of the face, of the throat, of the hands, of the back, demands the genius of art to portray — coordinations involving not merely the neuromuscular, but the neuro- glandular system, involving the intestinal tract, as Mosso has shown, the bladder, and probably all the organs of the body. The whole body expresses the emotion — it is a unitary physiological act, rather than one which is built up by the laborious construc- tion of adding one joint movement to another. Most of the activities of modern life are built of those neuromuscular coordinations which have in former times been useful to the race, that is, by great biological units. Even in such technical accomplishments as playing the piano or the violin, using the typewriter, riding a bicycle, and using the Neuromuscular Coordinations 177 scalpel, we are using racially old movements almost entirely. That which is purely new constitutes but an incidental part, although, of course, a necessary part of the total act. Even here the combination is one of physiological units or wholes, rather than of individual muscles or individual joints; that is, it is a physiological association as contrasted with an anatomical association of muscular activities. Turning now to the functioning of the body with reference to psychic states, the feel- ings which actuate us to-day differ in their objects to some extent from those which actuated us during the prehistoric days of man's life; but we cannot conceive of the fundamental psychic or emotional states as having changed. The study of the stock market is a new thing to think about or to feel about, but it is with the same old emo- tions of love, hate, fear, ambition, desire, in wonderfully complex ways, that we get 178 The Healthful Art of Dancing the modern phenomenon; that is, here again we are using certain fundamental, unitary acts as contrasted with incidental or isolated mental faculties. The emotions themselves are fundamentally old, even though their application be to new things. The way in which these emotions take their form in the body is also unchanged, and is the same among all the peoples of all the earth. We speak of thinking and willing, old complex acts — remaining essentially the same, even though we apply them to new things. Thinking, in so far as it is motor, is associated with the rehearsal of the muscular acts thought of. These are at bottom racially old neuromuscular coordinations. For example, even in such a complex matter as viewing a landscape we form our judgment of distance by eye movements. I might go on and show how the recon- struction of our conception of the education Neuromuscular Coordinations 179 of the body, from one of associating ana- tomical groups to viewing it as a physiolog- ical whole, is at present reconstructing psy- chology. It is but recently that we have ceased to hear of a faculty of attention, a faculty of memory, of will, and the like; whereas we now know that there are as many different kinds of attention as there are different kinds of things to give atten- tion to, and that there are as many different kinds of memory as there are different kinds of things to remember. With this crumb- ling of the faculty psychology there has fallen that theory of education which has aimed to train each faculty by itself and then adjust it to the other faculties. This is precisely the fate of that conception of physical education which aimed to train each muscle or joint and then coordinate it with the others. Thus we find a violent contrast between that which is logical and that which is 180 The Healthful Art of Dancing pedagogical. It is logical to build up mus- cular movements, but we find it to be against the whole tendency of children. We find that normal children learn the successive acts involved in plays and games with ease, that feeble-minded children may be meas- ured in their feeble-mindedness pretty accurately by the extent to which they have learned those neuromuscular coordinations that have been common to our kind. We cannot think of man becoming funda- mentally different with reference to the relation of structure and function from what he is now. He will continue to live a life of love, of hope, of fear, of desire, as he is living now; and he will express these old emotions in ways which are intel- ligible now. Therefore, for the child to learn his plays and games, his running, jumping, striking — all that play which involves skill of hand, coordination of eye and hand — is fundamental with reference Neuromuscular Coordinations 181 to his psychic activity, for he functions as a whole. It may be true that the time will come when man may no longer need to run or even to walk, but we cannot conceive of a time coming when the adult man will not need to have learned to walk when he was at the proper age, because of the bear- ings of this upon his neuromuscular system. His failing to learn to walk might be to his nervous development, somewhat as the cut- ting off of a tadpole's tail is to its subse- quent development, or better, the omission of the gillslits in the human embryo. Adult man has no use for gillslits, but if the gillslits were lacking in the embryo, the blood circulation in man could not have developed in its present form. Thus we see that not merely general neuromuscular coordinations should be taught to children, but specific ones, highly complex ones, racially old ones. To do the opposite tends toward the breaking down 182 The Healthful Art of Dancing of the structure that has been built up through all the ages. To train the eyes to move independently would be to move away from sanity and wholesomeness. It would tend to break up that coordination of impressions and the unity of that act which we regard as visual thinking. These coordinations are historically old. They are the kind of movements that have meant success. They are the kind of move- ments because of which our forefathers sur- vived. The man who could run and jump and throw was better fitted to survive than the man who could not do these things with an equal degree of skill. Upon this basis the whole emotional and intellectual life is built. This accounts to some extent for the fact that the kinds of coordinations of which I have spoken — athletic sports, plays and games — are interesting to chil- dren as formal gymnastics are not inter- esting. Neuromuscular Coordinations 183 Thus, true physical education is not to be accomplished by the teaching of segre- gated muscular movements, but by the orderly development of increasingly com- plex movements which are racially old, which involve good posture of the body, which train the individual to express pre- dominantly emotions consistent with modern life. These movements are to be expressed in terms of physiological acts to be accom- plished, certain wholes, rather than as anatomical parts to be moved. I have tried to show: 1. The unitary character of our neuro- muscular as well as other acts; 2. That they exist in racially old com- binations ; 3. That we inherit these coordinations, or at least a strong tendency toward them; 4. That mental, moral, ethical, social life is built on them. 184 The Healthful Art of Dancing We should therefore in our physical instruction educate: 1. In physiological units; 2. Toward racially old and inherited tendencies. This paper is already so long that I can but suggest what should be discussed under the general heading of the nature of the curriculum through which the child should be led. This consists first of the unguided plays of babyhood. During this period no instruc- tion is necessary. Opportunity for free activity, rolling, kicking, and the like, is enough. The impulse within the child will lead him to perfect such mechanisms as are then developing. Following these come the games and sports of childhood. Here the child needs help. In old com- munities, suitable games are passed on from generation to generation of child-life without Neuromuscular Coordinations 185 adult aid; but in a country like ours, particularly in our great cities, made up largely of peoples from different countries, different villages, these play traditions are lost. They need to be restored to children by skilful teaching; not by formal instruc- tion, but by that informal leadership which the well-equipped adult can give. The old rhythmical movements which have been found among all the primitive peoples and in all civilizations have crystal- lized in the dance. These folk dances express in extraordinarily complete form man's history — the sowing of grain in the spring, the reaping in the fall, the chase. In fact, all of man's life has been portrayed and crystallized in these art forms, which we in America have allowed to die. They must be resurrected and given again to the chil- dren as part of their birthright, as a funda- mental part of their education — not merely muscular education, but emotional educa- 186 The Healthful Art of Dancing tion — for in these great plays and games of the world it is the whole individual that is called into activity. In this fact lies their extraordinary interest and value. It is true that because of the school desk with its deforming tendencies we need to have special exercises that shall tend to overcome these deforming effects ; but aside from this, the general curriculum of neuro- muscular activities involved in physical education should be that based upon the physiological unit type found in these plays, dances, and games. THE RETURN OF THE DANCE THE search for traditional dances of European peoples is a curiously disap- pointing one. Cities and villages on the well-established lines of travel sometimes indeed have these dances, but in these cases they are preserved mainly for exhibi- tion to the traveller for financial con- siderations. For example — the Tyrolean dances sometimes seen in the Bois du Bologne restaurant in Paris: they were entertainments for the foreigner rather than the play of the people. It is not merely that these social occasions are protected from public view, but that the dances themselves have long since been dropped and forgotten. When one leaves the beaten 187 188 The Healthful Art of Dancing track and pursues his search in communities where the traveller is wellnigh unknown, the search is almost as hopeless. The advertisement of a Kermess in a little, out-of-the-way village in Germany was promising, but in actual fact it was nothing but an all-day dance-hall waltz with heavy beer-drinking accompaniment. The old quaint costumes peculiar to the locality would have been as out of place as in any other ballroom. The old dances were gone — completely gone. Their memory even excited neither pride nor enthusiasm. The former customs, costumes and dances were generally regarded as old-fashioned, queer and provincial. The wealthier classes have long been making a strenuous en- deavour to have the peasants in the vicinity of Marburg, Germany, continue the use of their picturesque costume. The peas- ants themselves, however, object; and in spite of the fact that there are various The Return of the Dance 189 inducements, financial and otherwise, offered to those who wear the old forms of dress, these unique and picturesque gar- ments are rapidly disappearing from use. This is a general state of affairs and is not limited to one section or country. Friends have said that the endeavour in which we are engaged to preserve those of the folk dances which are beautiful and wholesome, was so thoroughly against all these signs of the times that it was use- less and futile. A more extended study of the situation indicates that the case is not a discouraging one — that our endeavour is but a part of a world-wide movement in intelligent and artistic circles — that it fits in with both a need and a demand — and that its success is inevitable. The reasons which have led to this conclu- sion are as follows: Most children in their teens pass through a period which we call the "awkward age." 190 The Healthful Art of Dancing Boys, particularly, discover that they have hands and feet, discover in a new sense that these are npt merely convenient appendages with which to handle things or to move oneself about with. The boy sitting "in company" will place his feet forward and then backward, will cross his knees, uncross them, will put his hands in his pockets and then pull them out, will have one hand in front and the other behind, then have both in front and both behind. This awkwardness and con- scious endeavour to adjust and readjust so as to do a thing in proper form, applies not merely to the hands and feet. This is merely the most visible form in which the awkwardness and self-consciousness show themselves. The feelings themselves reach out more or less consciously to include mental activities, the expression of feel- ing, affection, dislike, pride, self-assertion. During this stage there is usually a con- The Return of the Dance 191 scious endeavour not to betray one's feel- ings. During childhood we expect children to act spontaneously and naturally, and during adult life, when it is well bred and well balanced, we also expect spontaneity and naturalness, but the spontaneity of adult life is usually attained through the deliberate and conscious choice of that which is in accordance with good social custom. During the "awkward age" the indi- vidual is extraordinarily sensitive to those things which are queer and different. A boy who is still kept in short trousers when the rest of his playmates are in long trousers, suffers torment which is altogether in excess of any reasonable importance which may attach to this difference. It is of little account to the boy that his mother and father and sisters and aunts all say that he is not of the right age yet to have long trousers. If the rest of the boys have 192 The Healthful Art of Dancing long trousers it makes him feel queer and different not to have them. The real world in which he lives is the world of "Boydom" — the public opinion which affects him most strongly is the public opinion of his crowd. The "consciousness of kind" is gripping him more firmly than it has ever gripped him before and is making him conform to the standards of his own world. This is one of the most cohesive social forces of the world. It is a force to which we are all susceptible. To wear a hat that is distinctively out of style, which is two or three years out of date as compared with the hats which our friends are wearing, annoys any of us, A coat may be in good condition, com- fortable and suitable, but if it is markedly different in form and colour to the coats which the friends in our world are wearing, it hurts us to wear it. If in our world the men wear their The Return of the Dance 193 hair short and parted, it takes a man of extraordinary difference to wear his hair long and braided. As the child goes through the "awkward age," and comes out into adult life, he feels another and almost equally powerful force gripping him, and that is the force which makes him want to emphasize his own individuality, the fact that he is a separate person, that he is not a mere duplicate of the rest, that he is a special and particular person. This is the feeling which makes us all feel strangely and per- haps offended when we meet some one else who has purchased a suit exactly like ours. I am told that a woman rarely feels complirnented at meeting another woman who has a hat or a suit exactly the same in goods and pattern as her own. By means of a little different cut, a different use of ornament on a person, a different combination of goods and in a hundred 194 The Healthful Art of Dancing other ways, we seek more or less uncon- sciously to assert our separateness. There is a delicate balance then between these two forces. We are unwilling to be so different as to be queer and we are unwilling to be so like as to be common. We wish to observe all those special per- sonal habits which distinguish us from the rest, provided they are not so different that people class us among the freaks. This, which is so true and obvious with reference to the individual, is in certain ways as true with reference to communities. The whole civilized world is now going through a stage which is curiously like the "awkward age" of the adolescent child. Japanese men have wellnigh for- saken those interesting forms of hair dress- ing which have been characteristic of Japanese manhood for hundreds of years. They are endeavouring, more or less uncon- sciously, to express their citizenship in The Return of the Dance 195 the world. Local costumes, belonging to small communities or other special groups of people, are rapidly being dropped in favour of those costumes which are more generally used. Communities are afraid of being queer, of being provincial, of not belonging to the great world. They drop their local ceremonies which have for hundreds of years been carried on in connection with birth, marriage, death, the advent of spring, the gathering in of the crops, the coming of the May. The traveller sees less and less of that which is picturesque and different. If there were nothing but this to say on this subject it would be hopeless and discouraging, but we have already entered upon the stage in the community life cor- responding to the adult desire to be different as well as to be like, and all over the civilized world there are intelligent groups of people, led by those of artistic insight, who see the 196 The Healthful Art of Dancing meaning of these old folk customs and ceremonies and who are deliberately asso- ciating themselves together to preserve these art forms in ways which may fit into modern life. In Skansen, Sweden, for example, the government is officially pre- serving and propagating the old folk customs, games and dances. Folk-lore societies everywhere are preserving the arts of the past for the use of the future; and our own endeavour in New York City to select from folk dances of the world those which fit modern occasions, and teach them to oncoming generations, has already met with brilliant and extended success. Thus these two deep desires, one for the expression of individual life, and the other for the expression of community life, is coming to consciousness. The funda- mental need of human nature for aesthetic self-expression, and of the community for aesthetic forms in which to express various Courtesy of Miss Mri^ha)n game: oesa. PhotO'^raph by Axel Eliassons Koyist/