Identifier: cu31924019227044 (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: Cornell University Library
Digitizing Sponsor: MSN

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ed its inspiration! So we knowthat man once, in one country and one period, was con-fident, undismayed, always equal to his task. Even inthe scenes of combat so frequent on pediment or frieze,he gives or receives the death-wound with the same gal-lant grace, neither arrogant in victory nor dishonest bydefeat. Although these priceless sculptures are not acces-sible to the average student, photographs of them arewidely distributed. These indicate at once how tran-quil and unoppressed by their burden are the Caryatidsof the Erechtheum, those serene maidens who bear ontheir heads the solid marble entablature! Warrack iswriting here, and what he writes is food for thought forevery dancer: The perfection of repose which char-acterizes most of the free single-figure statues whichhave come down to us is even more striking. We may Fifty-seven Bearing the bowl of wine—attitude, countenance, position of the other handand arm, all express the spirit that goes with the conception of the vintage.
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Our Debt to Classic Sculpture almost reduce its secret to a formula. Unlike modernwork, where, especially among northern races, the weightis apt to be borne by both feet, thus suggesting a dis-turbance of balance, if not actual motion, the Greek fig-ure is supported by one only, while the other limb is re-laxed, and the foot merely rests on the ground to seciwestability.* One hip thus drops lower than the other, andthis is balanced by an opposite inclination of the line ofthe two shoulders. If the right hip is up, the rightshoulder is down; if the left hip rises, the left shoulderfalls. As a natural sequel, the line of the knees followsthat of the hips, while the ankles tend to revert to theline of the shoulders. Without due recognition of these principles nodancer can express tranquillity in beauty. Having mas-tered them, she, or he, will naturally co-ordinate the re-lations of the lines of the shoulders, the hips, the knees,and the ankles respectively as to their backward or for-war

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