. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. creating a new peopledevoid of belittling prejudices, fresh, strong and originalin its creative impulses. What we have already accom-plished in our reform of dancing has directed to thiscountry the hopes and expectations of the connoisseursand critical authorities of Europe. Especially with re-spect to dancing and music among the fine arts they seemto rely upon us f
. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. creating a new peopledevoid of belittling prejudices, fresh, strong and originalin its creative impulses. What we have already accom-plished in our reform of dancing has directed to thiscountry the hopes and expectations of the connoisseursand critical authorities of Europe. Especially with re-spect to dancing and music among the fine arts they seemto rely upon us for fresh, regenerative impulses. Of course, in view of their source, these expecta-tions concern dancing as an art for public is inevitable. From this viewpoint, Ivan Narodny,in a philosophical chapter in his History of the Dance,writes: The future of the art of dancing belongs toAmerica, the country of cosmic ideals. The past be-longs to the aristocratic ideals, in which the Russianballet reached the climax. The French were the found- Twenty-nine Different mdividued reactions to the same sense of calamity—one erect asthough petrified, the other crushed by despair; neither imitative, but The Classic Ideal—and Ours ers of aristocratic choreography; the Russians trans-formed it into an aristocratic dramatic art; to the Ameri-cans belongs the attempt at a democratic school. * When we realize that expressions of this kind areevoked by admiration of our achievements toward re-storing the ancient Greek ideal of dancing we must feelespecially encouraged; for, while our great object is toadd something of permanent value to the beauty and joyof human life, to have our accomplishment accepted as aworthy foundation upon which to build an entire artstructure that shall be new and original is the best pos-sible assurance that we are on a firm footing, and inaccord with the spirit of our time and our country. We have one most decided advantage over thet
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
