The Wilmington daily Republican. (Wilmington, Del.) 1890-1902, 1892-11-02
odalisque Omene's Barefoot Dancing.
She avoids high kicking altogether,
but her whole body moves with rhyth-
mic grace.

OdaIisque Omene's Barefoot Dancing.
She avoids high kicking altogether,
but her whole body moves with rhyth
mic grace.
With rings on her toes, ~
Bracelets on her ankles.
Descriptions OF the curious dances
of tho Harem soon to he presented In
our city.
Let the vlolns blend in their softest
sweetest, most senSuuus. strains on the
approach of the fair odalisque. She
brings with her the intoxicating
incense OF the Orient, the sug.
gestivc grace and the manners OF
the harem. the beaute de diable that
turns mems heads. She approaches
nolselessly. with graceful, catlike
treld-a veilad vision, half concealed.
wholly suggested She quickly throws
aside the heavy shawl she wears, re-
vealinE her body, covered by shirt
of dluphanous silken gauze, through
which the pink skin can be OWNED
Over her shoulders she wears Il little
IouaVe jacket of blue silk lavishly
embroidered with gold. Heavy Tul-
lsh necklaces encircle her fair throat.
Loose gauze trousers cover her legs
and extend down TO her bare ankles,
upon which rest narrow bands of sill
yer and gold. She wears no tights I'M
der this drlpery for In her dance she
muet have tho utmost freedom of mo.
ton. Roman sash Is tied loosely
around her hips. hanging in low
knot down the front.
SHE KICKS OFF HER SLIPPERS.
As she walks down toward the CEN
tre of the stnge, 1t is observed that she
wears dainty red slippers, but these she
kicks OF, exposing her beautifully
formed feet. The nails of her toes,
like those of her fingers, AFRO tinged Il
deep carmine, and diamond ring
gllstens on one OF her toes Omene
has appeared in New York at the Union
Square theatre. Palmer's Theatre, and
the Eden Musee. Before coming to
this country she had long engage
ment at the Divan Japonal5 in Pnris.
where her dancing made II sensation.
SHE DOES NOT KICK.
0mene's dancing is wholly unlike the
usual stage performance. 1t ia alb
solutely devoid of high Kicking, and
the feet play In It an unobtrusive and
comparatively insignificant part. II
purports to be nothing more than the
poetry of motion. AS she approaches
the footlights she removes the heavy
VEIL edged with turquoi ses. she had
WI u ONtl JhO pOktlo vi
face, and shows her white teeth In a
dazzling smile. A little negress in
attendance steps forward and hands
her n small hoop with an empty glass
resting upon the lower portion of tho
circle. The dance begins. Round and
round her head Omene twlrlS tho hoop
her whole body swaylng In rhythmic
motion, first slowly, grad ually In.
creaslng, until she finally returns tho
| hoop to the slave.
She then takes jlngling tambour-
| Inc and glides down over the floor.
In pantomime she shows woman
| playing In the garden, u snake ap-
proaches; she tremhles with terror;
the venomous reptile Is killed; she
rises to celebrate her dellvernnce, shak-
Ing tho gold-embruidered fez from her
head and placing the tambourine In
its place; her body writhes and every
muscle dances, while her head drOops
backward. 1t Is the Dance du yontre
with Infinite variations, curiosity to
see, an immpossibillty to describe.
AwoNDERFUL MOVEMENT.
The movement that follows is per-
haps tho most difficult Of all. While
the body motion continues. her head
begins to twirl around. Her short
yellow hair flies In the wind as her
head revolves, like a top spinning OF
her shoulders, to the furlously fast
time OF the music II makes one diz