The antique Greek dance, after sculptured and painted figures . Fig. 91. Fig. 92. Fig. 93. Fig. 94. Fig. 95, A and B: one arm high, one arm 96: One arm curved over the breast, one arm held out Fig. 95. Fig. 97: One arm on the hip, the other held 98: The two arms curved toward the same 99: One arm curved high, the other low. The Arabesque positions of the arms are positions in opposi-tion, as seen on figures from the most remote times (170). 116. Often the dancer plays with her skirts, which gives oppor- POSITIONS OF THE ARMS 67 tunity for many
The antique Greek dance, after sculptured and painted figures . Fig. 91. Fig. 92. Fig. 93. Fig. 94. Fig. 95, A and B: one arm high, one arm 96: One arm curved over the breast, one arm held out Fig. 95. Fig. 97: One arm on the hip, the other held 98: The two arms curved toward the same 99: One arm curved high, the other low. The Arabesque positions of the arms are positions in opposi-tion, as seen on figures from the most remote times (170). 116. Often the dancer plays with her skirts, which gives oppor- POSITIONS OF THE ARMS 67 tunity for many positions of the arms. Examples, Figs. 100 and101: the first is a symmetrical position; the second is a contrastingone. The position may be termed restrained, to distinguish it fromfree positions of the arms. 117. Our dances called gymnastic are more imitative, there-
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
