The Savannah morning news. (Savannah, Ga.) 1900-current, 1902-03-09

tiny pupil is not sent here to acquire
the art of the dance merely as an ac-
complishment. She is to be a worker
in the hive of life, and at this tender
age is already training for a stage ca
reer.
She soon appears dressed in the Bon
fanti costume for all feminine pupils
a low, short-sleeved bodice, fluffy,
abbreviated skirt and heelless sandals
tied on ballet fashion with ribbons.
why must they all dress like this?"
asks madame, astonished at the ques-
tton. why, because nobody can learn
to dance properly in high shoes, tight
corsets and long skirts. After you
have learned you may wear them; but
before-oh, nol'
nonfanti's Methods.
With little Miss Beryl Morse as ex-
ponent of her skill, the dancing mis-
tress proceeds with the lesson, calling
the mischievous pupil to order with the
word, "Cambrez." 1t rings out like the
military Attention" and results in a,
harmonious posing of the body, from
the top of the head to the tips of the
toes. A half hour of difficult steps fol-
low, the chil6 yet taking them with
astonishing ease, and at the sudden
command whirling round on the ends
of her toes to change position.
At the bar, which, facing the wall.
the little pupil grasps with both hands.
there are other exercises. The feet are
placed heel to heel, the toes on a line
with the sides of the body; and at
zone, two, three, four, five," every at
titude changes. At one instant a little
black-covered leg waves out sidewise
with graceful dip of the foot. The
teacher lifts it with deft hands and
carefully guides it to a backward move
nent, and for moment the clever pu-
phi is poised like young ATLANTA in
flight. ,Awl
1t is all a revelation of what the
dance should be, and when the long
hours lesson is over the visitor Yon-
ders If the little child is not very tired.
But not bit of it. Miss Beryl Morse
goes away still dancing, and shrielking
out such cheerful good-bys that you
are inclined to believe the Bonfanti
methods not only make a child strong,
but happy.
The clever pupils of this modest
school are not all of tender years A
gentleman of sixty, who comes alone
for the purpose of keeping down an en-
croaching embonpoint, which threatens
to make his life miserable has learned
at this age the difficult feat of standing
on the tips of the toes. Mothers come
to practice the pas seul with their
ing tried every other form of physical
culture, aspire only to emerge like the
chrysalis from an awkward shell into
lines of grace.
Taught as Mime. Bonfanti teaches
them, the old ballet exercises are death
to awkwardness. All the muscles are
forced to act in unison, the first re-
suit being gracious poise of the torso.
The head lifts with a lighter grace the
chest rises, the abdomen is kept prop
erly in, and the back presents an easy
straightness- Then the pupil learns to
command the members of the BODY.
every movement of the feet needing an
accompanying gesture with hands ana
arms. In short, if you dance la Bon
fanti you must dance with every bit Of
you, toes, fingers, face and all.
Mime. Bonfanti does not approve OF
the high kick, that obnoxious feature
which has crept into modern dancing,
and which many professors include Ia
their teaching. She decla .es it injuri-
GUS to health, a sudden dislocation of
the hip and the displacement of alb
dominal organs being necessary for its
accomplishment. Besides, she points
out to you, the moment the foot is lift
ed above the hip, grace is lost, and the
dancr becomes a mere contortionist.
On the other hand, the slow and
rhythmic movements of the old classic
school are an aid to physical Develop
ment, if only from the fact that they
cannot be acquired in a single lesson
like the high kick.
Make up your mind" she says as
you go away, that anything you learn
quickly is worthless. The dance, more
than anyother art, requires time. pa
thence and health to sustain it. And il
YOU begin by dislocating your hip,
where will you be after awhile?7
Nina Fitch.