The San Francisco call., 1904-11-06


linated under the skies of the
DPharaohs; it manifested itself at
first in sacred sciences, severe
and hieratic: in the professions Of
Apis.
In the course of ages it became in
terwoven with all the expressions of
popular life, rejecting the passions of
man and translating the most secret
movements of the soul into physical
action. From the solemnity of reli-
gious rites, from the fury of warfare.
it passed to the gayety of pastoral
sports, the dignity and grace of pol
iShed society.
AS early as the year 2545 B. c. we
find traces of the choregraphic art;
no antique race gave themselves up
so eagerly to it as the Greeks; gait.
movements, even immobility, were
alike subject to its laws. This art
was SO esteemed in Greece that chorus
masters or leaders were recruited
among the first citizens of the COM
monwealth. Their dances were very
numerous and all derived from three
fundamental types, the sacred, the
military and the profane. In the
Hormos, a sacred de- rec in honor of
Diana, all the youth of the two sexes
performed it unclothed, but without
offense to modesty, their attitudes be-
ing chaste and beautiful. Such was
not the case in regard to profane
dances. which were often marred by
buffoonery and even by indecency.
Ritual dances were highly honored
by the Hebrews; David danced before
the ark of the covenant in the choir
of the temple at Jerusalem; the Levites
sang as they danced to the sound of
stringed and wind instruments. We
have also many other instances of
public ceremonies, such as when Da-
vfd has slain Goliath. and Judith
bringing back the head of Holofernes;
they were all welcomed by dances.
The arts of Greece soon degenerated
after their migration to Rome; after
centuries of folly, which brought the
downfall of the great race, dancing
disappeared; it is, however, to be
traced again during the prosecutions
of the early church. among the first
Christians. In the Church of st. Pan
cras at Rome there still exists a sort
OF stage on which we are told priests
and worshipers joined in measures,
led by the bishop. The Council of
Trent was concluded with a ball of
cardinals and bishops; but at last
papal decree abolished 1t in churches
and cemeteries.
d
ical expression of the race or epoch,
from which they originated. The
beurree of Poitou and Auvergne in
France Is looked upon as a heavy
dance, somewhat coarse; the stamping
OF sabots or wooden shoes Is a char
acteristic accompaniment, marking
every third beat of the measure; it is
grave, and well becomes these rude
peasants. The modern wild cancan
needs no description, being well
known.
All Spain. indeed, thrills to the notes
of the fandango, pre-eminently the
national air, and one that accompanies
a step so ardent and so graceful. Men
and women. young and old. acknowl-
edge its power over the soul of every
Spaniard. The young men spring to
their places, rafting castanets; the girls
are remarkable for the willowy Ian
guor and lightness of their move
ments, beating the exactest time with
tapping heels. Partners tease and en-
treat and pursue each other by turns:
suddenly the music stopsl and each
dancer shows his skill by remaining
absolutely motionless, bounding again
into the full life Of the fandango as
the orchestra strikes up the measure
to triple time, intoxicating and seduc-
tive.
Let us pass to the azure skies Of
Italy, where we find the tarantella.
which owes it's name to the great
spider, whose bite was supposed to be
cured only by dancing to the point Of
exhaustion. One hears at the dusk of
day the tambourine, with its small
bells, and the castanets. 1t is the tar
antella! At first rather grave; the part
ners bow to each other, moving apart
to meet again. While the tambourine
accelerates its rhythm, the dancers fol-
lowing 1t gradually, at first swift, then
quicker and ending In a frenzy. as If
all were delirious from the insects
sting-this whirling Is sometimes kept
up for hours. until the performers stop
from sheer exhaustion. Very different
is the "killie-kallum" OF "chillie-cul-
lum'' Of the Scots, who, as all old hardy
races, delighted in dances OF a warlike
character, such as the sword dance.
1t is always part of their holidays
and merry making. The evolutions are
complicated and require activity, agil-
ity Of finished description and a keen
ear for time and metrical proportion
besides the graceful fiinging over and
around a brace of claymores. crossed
on the ground, without touching or dis
placing them. Loud exclamations, war
like howls. waving Of arms and crack