The morning news. [volume] (Savannah, Ga.) 1887-1900, 1890-10-12

could have been taught, if the lessons had
begun IN girlhood, TO bead the spine as Car.
mencita can. II her movements were not
so rapid their analogy TO those Of tbs or
binary contortionist would be percepdble.
Then she had been well trained. She talks
good deal about inspiration-says that
she has only the general idea Of "A dance in
her mind when she goes upon the stage-out
careful work under a thoroughly compe-
tent teacher has made her what she is. To
lapse into IA descriptive "buli," she does
very clever sleight of hand work with
her body. She stands, let us say.
with her arms extended as one of
the pictures shows her. Then she bends
backward, oh so far backward, till you
think her head will certainly fall off. 5 i'd
denly she turns her body little to one side,
but so quickly and with such a deceptive
wave Of the hands that your heart comes
up into your mouth, for you think that her
body has whirled clear around on her spine
as an axis.
She can do a hundred such tricks as that.
The positions which she really assumes are
not thousandth part 30 miraculous as
those she makes one think she has assumed.
As TO her kicking, well, it is graceful
enough. and not at all improper, but l will
defy anybody to fix his attention upon that
part of the performance. The spectator
with any soul at all will watch Carmencita's
body, not her legs. That body, writhing
with a thousand undul itions, has not only
the grace but the charm of a serpent And
here again it Is trickery although thoroughly
artistic and, therefore, pardonable. Her 1.-the
form bends and sways In a truly wonderful
fashion, but the suggestions and the optical
delusions are much more marvellous. She
is dressed to help all these pretty articles.
Her bodice often has bright scales like
golden serpent; and belt OF yellow trim
ming on the skirt just under the one she
lifts with her hands, seems to revolve
around like hoop OF fame.
She reverses the ordinary rules of the
dance You will see tho average "pre-
miere" hold her body steady and kick her
legs. Carmencitas legs Us q rule are the
steadiest part of her.
As to the various dances she has in her
repertory, have underworld to learn what
they were and have failed. | discovered
their Spanish names, but that don't help
me- AS to the difference between them, it
is all a mass of mystery to the untutored.
The combinations of gyrations and kicks are
too bewildering to be understood or described
by man who never tried anything more
than the Virginia Reel
Carmencita's grace is that of motion
| rather than position. cannot say that
admire all her poses. She has queer way
of getting into some of them with snau
that would break lie s talented young lady
In two. And her motions. as have said.
are so deceptive, so nearly impossible to fol.
low. IL 1t were possible to get instantane-
Gus photographs of her most rapid twists
and filings, am inclined to believe that
they would be as surprising to lovers Of tbs
dance as the pictures of the running horse
were TO "old sports some years ago
And her movements are so rapid and sc
varied BY the way. | wonder IL she has
ever read Herbert Spencer's "PrincipIes Of
Psychology" Mr. Spencer pays her
colossal compliment "a long way in advanc
of her debut. He says that tho sizs Of th'
brain Ia the chain of our ancestors back &
the first one who had any, has increased il
a general way with the amount and VARIETY
Of the motion they generated. According
to that, Carmencita's brain should be as biz
as a balloon.