File: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 (14784690485).jpg

Identifier: dancinghelenmoll00moll (find matches)
Title: 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;
Year: 1918 (1910s)
Authors: Moller, Helen Dunham, Curtis
Subjects: Dance Dance
Publisher: New York : John Lane company London, John Lane
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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s attention to detail—and very little of valueabout Dancing, in the true sense of the word. You maylearn from those volumes that dancing is the mostancient of the arts; that its birth was coincident with thebirth of religion; that the primitive tribes of every landdanced; that all savages still dance, and that every stageof civilization has been marked by its own particularvariation upon the ancient dance theme, with the peopleof every nation exploiting national dances of their owninvention, while the stage has added all its traditionalresources of exaggeration and spectacularization. Thusyou may learn virtually all there is to be learned aboutdances—and miss pretty nearly the whole idea ofDancing. Such knowledge is not to be despised. A faithfulhistory of the dance is the virtual equivalent of a social Twenty-thret Atalanta. Depicting the classical moment of the most intense physical andmental concentration upon two opposing motives—to win the race, yet pauseto seize the prize.
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The Classic Ideal—and Ours history of the world, reflecting ethics, the graphic andplastic arts, the customs, manners and costumes in allcountries and in each successive stage of civilization.All this material is of special and legitimate value to thestage, which, in these times, exercises a function of por-trayal that is universal in its scope. Probably never be-fore was the daily life of the people more closely asso-ciated with the atmosphere of the theatre. Thus, morethan ever, every manifestation of decadence or of prog-ress in human affairs must, sooner or later, find itselfrecorded in stage productions. More and more fully thestage is recording our progress in restoring the Arcadiannatural grace and beauty of the dance. It invites us whodance as dancing ought to be, for our own joy and bene-fit, to make a public diversion of what is our pleasure andour duty to ourselves. And this is as it should be. Itwill contribute new-old beauties to the Art of the Dance,and it will help to

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