The morning news. [volume] (Savannah, Ga.) 1887-1900, 1897-05-09
TO REVIVE OLD DANCES.
The French Trying to obtain a Terp-
sichOrean Novelty.
From the New York Herald

From the New York Herald.
There is craze at present for return
to the past. There is modern mania for
"reminiscences. Novelty is sought in re-
suscitation of the old. Libraries and nu-
seums are ransacked, the dust is shaken
from public and private archives coun-
tries far and near are explored. and all
Tor the sake of bringing back to light
some ancient fad some art or diversion
or fashion which our ancestors had aban-
doned. And so it is quite in keeping that
there should be revival of the dances of
century ago. France is taking the lead.
lt is nigh time that she should. The
dance is one of the most ancient, most
universal and most delightful of human
arts. 1t is we'll nigh coeVal with the race
Yet 1t does not steadily improve with age.
1t has its periods of decadence and de-
generation. Such period is upon us
now. With rare exceptions the dances
or society are mere incoherent leaps and
pumps, With neither character nor grace.
AS to the stage dances, they are becom-
ing more and more mere acrobatic exer-
cises. Strength and audacity rather than
suppleness and intelligence are the de-
mandS made upon the legs, while the
arms are too often reduced to the mechan-
ical functions of balancing pole to keep
the dancer in equilibrium while perform
ing his "feats."
The exact contrary should be sought to
justify the best and highest definition of
the dance, which should be an aggregation
of attitudes and movements meant to ex-
press sentiment and passion A reaction
against this decadence is called for The
public taste seems to be in favor of such
reaction FOR several years past it has
been encouraging the attempts which
have been made in this line 1t has ap-
plauded and upheld the renaissance of the
m he b = -.
p asse-pied, the gaillarde, the courante, the
pavane, the sarabande and other terp-
sAchorean delights of our forefathers
Among the most earnest leaders of the
neAY movement is Mdle. Laura Fonta
formerly one of the most brilliant stars
Of khe Paris opera, who in leaving the
stage has not deserted her art. A dancer
of the good old school, she has preserved.
and he now teaches, those traditions of
style which she herself 80 successfully
eXempAihed. She prefers character to aero
batism, and expression to tour de force.
Now style, character, expression are the
earmarlns of those old-time dances which
she has done so much to bring back into
vogue.
Twenty years ago, even before she left
the stage, Mdlle. F'onta commenced her
worthy campaign at Count Osmond's
house. She soon became the indispensi-
Bile organizer of all diversions of this sort.
DuDllC
instruction; M. Gambetta, when president
of the chamber; the Countess of Ferro-
nays, and the Theater Francois in the
production of such plays as '@The Bour-
geois GentiIhomme," 'fOedipus Rex" etc.
avaiAed themselves of her services.
But her most remarkable, her most won
derful creation dates from 1881, when she
collaborated with NJ. Bourgault-Ducou-
dray In the reconstruction of the Greek
dances from the popular melodies which
the learned musician brought with him
from mission to Greece and the Orient
Assisted by her sister, Mdlle Augustine
Fonta, she arranged in marvellous fashion
at the studio of the painter ARGOS a dance
called The Canephores," or basket-bear-
ers, which action was set and eadenced.
not to musical rhythm, but to the reci-
tafion of Greek verses by NJ. Emile Le.
grand, the Henenist.
In short, she is looked upon as an an
thoTity in these matters. M. Bourgault-
Dueaudray was glad to call in the aid Of
such collaboration at the Bodiniere IN
aid IN his project of exhibiting the ancient
dances I'm their relations to musical ey-
preston"
1t iS not merely an agreeable. but also
an instructive afternoon that the profess.
or OF the conservatory is aiming to OFFER
In these spectacles, which are now occn-
pying the attention of the French re.
public. 80