The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-05-18
ANCIN should cause the
dancer to walk with east and
49, grace. That it does not al

dancer to walk with east anC
49, grace. That it does not al
ways do so is the fault of the dancer.
There are singers whose voices,
enchanting when they sing, are sin.
gularly unpleasant while they talk.
That is the fault Of the speaker.
Dancers would walk we'll and singers
would talk we'll if they applied to the
commoper art the principles they
use in the Practice Of the more I'M
common one.
To make this quite clear let me
remind you that in dancing we apply
the principles or ideas of power, of
freedom, of grace, of beauty. But
we regard walking as utilitarian
thing. When we think Of it at all
we think of 1t as weed in the gar
den of movement. We are careful
about our downsitting and uprising,
about the pictures we make as we
stand or recline. We think of the
value Of every movement and posture
in dancing, but walking is neglected,
forgotten, ignored. Yet we walk
oftener and longer than we dance,
therefore 1t is we'll that we give more
thought TO il.
Laymen may be excused for giving
little thought TO it while professional
dancers set them the example.
have myself seen professional
dancers make exquisite pictures in
movement TO the last figure, which
they would finish in the centre of the
stage and, dropping every semblance
of grace or beauty, of freedom or
power of action, shuttle off into the
wings as heavily as the property man
who Shifts the scenes. This is a sin
against the artistic sense. II is q
crime against beauty. 1t is inexcusa-
BILE in dancer.
For the bad walking to which our
eyes have painfully accustomed them
selves ballroom dancing is in part
to blame. Ballroom dancing is rdi-
culous. 1t means nothing. If you do
not grasp this truth at first, place
your hands over your ears the next
time you so TO ballroom and watch
the figures jumping OF slipping about.
You are hopelessly without humor
il the spectacle does not make you
laugh.
The experiment shows that the
dance was dependent upon the mu-
sic. Shut out the music, and without
strain of the Imagination you could
fancy yourself in an asylum fo- the
insane. l plan all my dances with
out music. could easily dispense
with the music. 1t is superfuous
and a mere. concession occasionally
make TO rather general present
liking. ! look upon It as crutch
that am anxious 10 cast away.
Genuine dancing is drama. Every
action means something, and what II
means is patent to everyone. Even
the turkey trot and the tango, con.
demned AS they are by many and
lacking in good taste as they GER
tainly are, are at least not aimless.
Shutting out the music, one can still
understand perfectly what the dances
mean. They are sex dances and rep.
resent courtshp, pursuit. They are
grotcsque, but meaningful.
Having made apology and eXplana.
ton for the bad walking Of the day.
the slouching, careless, broken gait,
] will tell you how a reform may be
accomplished In all cases. Walking,
like every other manifestation of
life, has a motive. Reveal the motive
by your walk. For instance. we Will
say that 1t is lovely June day and
you want 10 20 out Of doors and satu-
rate yourself with sunshine. Your
motive is 10 enjoy. With this thought
In mind the body naturally reflects
il. Nfou walk slowly 10 enjoy the
sights by The way. AS YOU saunter
your head is held up. your shoulders
back. You are thinking. IL am free
to enjoy this beautiful day" You
walk freely and easily, with little
power, but with the beauty of un.
INSTRUCTED motion.
But suppose you have a problem
to solve and YOU are sure you can
pest solve il while walking. Motion
1oes In many cases aid thought. Men
instinctively pace the floor when in
deep thought The head is bert for
the head bows itself in thought. the
Shoulders are bent forward and tho
walk Is rapid.
One warning. Keep the thought OF
freedom Of motion in the foreground
Of your mnd. If while you walk
you feel restricted by narrow skirts.
or tight shoes. or binding carriers. or
stays, your limbs will not move
steadily forward, but will divide their
motion with an up and down one.
Watch a woman walking in tight
hobble skirt and the sight is gro.
fesque' Her knees move I'D and
down as though she were a wooden