Wood County reporter. [volume] (Grand Rapids [i.e. Wisconsin Rapids], Wis.) 1857-1923, 1890-07-10
THE ART OF DANCING.
The Barbaric Shuttle and its Modern
OutgrOwth.
Grace and Skill as Combined on the
Stage-SchOOls of the Ballot.
Striking Illustrations.

While the majority of the dances of
savage tribes consist mainly of sudden
leaps, violent writings and turns, accom-
panied by horrible twitches and contor-
lions of the facial muscles, says the Phila-
delphia Press, thus bringing about an e1-
haustlon Of che muscular powers of the
whole body, resulting in violent excita-
bility and high nervous tension, which
among the spinning Dervishes, for in
stance, and In the ecstatic religious wor-
ship of other uncivilized species, amour is
for the time to something like madness,
yet there can be no doubt that some traces
of the characterize movements of these hunt
ing, war and religious exercises still sur
vive In the smooth ceremonious dances of
the present day. For, although dancing
has been raised as an art by civilization, it
is certainly nothing more than relic of
barbarism. Granted that the difference
between the rude gyrations and antics of
those savage tribes and the dreamy Gid
ing movement of our modern waltz or the
airy flights and dizzy whirls and pirouet-
les Of our prem ired danseuses is immeas-
urable, yet the fundamental idea is sub
stantially the same, namely, the represen-
CetoAoIi VI luuldll EctSSlCIlS dl1u clIlO-
lions through the movements of
the human body. To be sure, we cannot
speak of expression of feeling or emotion
in the ordinary dances of our modern ball
room. 1t is often merely a social form of
duty, and therefore lacking in any sense of
real enjoyment. which the delightful
rhythm Of the graceful swaying and bend
ing of the body, and the series of move
ments and steps, all adjusted to the sound
of accompanying music, affords to the dam
Ger or to the spectator.
It is different with the dance that has
been elevated to the art, as with our mod
ern ballet. Here everything speaks to the
initiated an ineligible language. Desire
and expectation, temptation and denial
in short, every human feeling and passion,
may be expressed gracefully, inteligiby
and charmingly to the eye by pantomimic
action. Every motion and gesture is an
instrument of this divine language There
is hardly limit to the variety of charm
ing attitudes which d graceful and artistic
performer can assume. And endless are
good ballet lends ITSELF
In recent times, however, the ballet no
longer holds the same prominence which
it did in the earlier stages of history,
which can be traced back to the latter part
of the fifteenth century, when it was first
produced on q considerable scale in the
splendid courts of Italy. where they had
grown weary of the old forms of court
dances and other stand entertainments in
vogue at the time, and were eager for
novelties and plquant innovations. In
those days kings, princes and courtiers
took an active part in court ballets, which
ordinarily were divided into acts and
scenes like other theatrical prices, thus
| presenting In themselves a story told only
| by pantOmlm1c action, accompanied by
music and enhanced by the accessories of
painting sculpture and movable scenry
| 1t soon became a common amusement on
great occasions at all the European courts.
! and was sustained and participated in
longest by the royal families of France
in which country it has been held in high
favor ever since, and as may be seen from
the technical language of dancing, been
brought to greatest perfection.
Nowadays the ballet is more commonly,
simply Incidental In theatrical representa-
tions. 1t is usually employed as a lyrical
lnterlude or as mere advertisements and
is therefore seldom intended to assist the
dramatic action of piece.
1t is prominent feature of the major
ity of operettas, where it is interpolated
on every fitting and uniting occasion
But its dominating sphere is In spectacu-
lar productions. Here this silent language
OF the undulating movements of the form
furnishes US as a rule quite relief from
the monotonous inanity of the accompany
ing text, and the picturesque grouping
and harmonious blending of colors pre-
sent to us a series of ever pleasing and
delightful pictures.
1t is difficult to tell from what circles of
society the votaries of the ballet are re-
cruited. The majority of those who ap-
pear on our stages are French and Italian
| girls. 1t seems that the American girl in
general has little ambition in that direc-
| tlon which doubtless accounts also for the
fact that there are no. ballet schools of any
| consequence in this country. The only one
which fosters the art of ballet dancing is
in New York, conducted by the erstwhie
| celebrated premiere danseuse, Madame
Bonfante Now and then it occurs that
professors of the ordinary dancing acad-
emies chance on ''prodigy,' who evinces
remarkable talent for higher form of
dancing, among his young, still short
skirted pupils. So in this way there are
often American girls won for the pursuit
of ballet-dancing. Also among the stage
chorus girls there is one now and then
discovered who displays an Unborn adapt
| ability for the art, and is then promptly
placed under adequate training and tu-
ition.
1t is different in Europe. There the
| regular ballet schools. which are gener-
ally under the supervision or directly sup
ported by the court and other large the
alters solicit pupils who are still in their
childhood The beginning of their tuition
ranges from the age of 6 to 10 years As
a rule they receive their instruction free of
charge. That the process of acquiring the
difficult art is very hard and tedious one
may be readily understood 1t is also
obvious that the progress is necessarily
slow. Years of hard and constant practices
are usually required before proficiency is
attained. For months the tyros have to 90
from three to four hours every day through
a wearlsolnc and monotonous series of drills
and callsthenlc exercises before an attempt
Is made to "trip on the light fantastic
toe. TIE promotion is gradual and de-
ponds entirely on the merit which the pupil
displays. In the ranks of the ballet the re-
crults rise, not according to age and
length of service, but according to ability
Comparatively few manage to get beyond
the middle of the steep ladder. The ma
iority remain the rank of Coryphees. A.
loon as the elves have acquired some de-
gree of agility and have learned to feel at
| home in their flimsy fnery and short wavy
skirts they are introduced to the realm of
| their SubSpoupnf car Ger and uSad for orrO11D-