See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)  . The See also:

• TERM

term " dancing " in its widest sense includes three things:—(1) the spontaneous activity of the muscles under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of some strong emotion, such as social joy or religious exultation ; (2) definite combinations of graceful movements performed for 'the See also:

• SAKE

sake of the See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure which the exercise affords to the dancer or to the spectator; (3) carefully trained movements which are meant by the dancer vividly to represent the actions and passions of other See also:

• PEOPLE

people . In the highest sense it seems to be for See also:

• PROSE

prose-gesture what See also:

• SONG

song is for the instinctive exclamations of feeling . Regarded as the outlet or expression of strong feeling, dancing does not require much discussion, for the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• RULE

rule applies that such demonstrations for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time at least sustain and do not exhaust the flow of feeling . The See also:

• VOICE (Fr. voix, from Lat. vox)

voice and the facial muscles and many of the See also:

• ORGANS

organs are affected at the same time, and the result is a high See also:

• STATE
• STATE, GREAT OFFICERS OF

state of vitality which among the See also:

• SPINNING (from O. Eng. spinnen, to spin, cf. Ger. spinnen, &c., the Teut. root is seen, to draw out, cf. span, spider)

spinning Dervishes or in the ecstatic See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of Bacchus and See also:

• CYBELE, or CYBEBE (Gr. Ku/3X, Ku,(3i7sn)

Cybele amounted to something like madness . Even here there is traceable an undulatory See also:

• MOVEMENT

movement which, as See also:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

Herbert See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer says, is " habitually generated by feeling in its bodily See also:

• DISCHARGE (adapted from the O. Fr. discharge, modern decharge, from a med. Lat. discargare, to unload, dis- and earn care, to load, cf. " charge ")

discharge." But it is only in the advanced or volitional See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of dancing that we find See also:

• DEVELOPED

developed the essential feature of measure, which has been said to consist in " the alter-nation of stronger See also:

• MUSCULAR

muscular contractions with weaker ones, an See also:

• ALTERNATION (from Lat. alternare, to do by turns)

alternation which, except in the cases of savages and See also:

• CHILDREN, LAW RELATING TO

children, " is compounded with longer rises and falls in the degree of muscular excitement." In analysing the state of mind which this measured dancing produces, we must first of all allow for the pleasant glow of excitement caused by the excess of See also:

• BLOOD

blood sent to the See also:

• BRAIN (A.S. braegen)

brain . But apart from this, there is an agreeable sense of uniformity in the See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of muscular efforts, and in the spaces described, and also in the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of their recurrence . If the steps of dancing and the intervals of time be not precisely equal, there is still a pleasure depending on the gradually in-creasing intensity of See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion, on the undulation which uniformly rises in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to fall . As Florizel says to Perdita, " When you do See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance, I wish you a See also:

• WAVE

wave of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea " (See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale, iv . 3) . The mind feels the beauty of emphasis and See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

cadence in muscular motion, just as much as in musical notes . Then, the figure of the dance is frequently a circle or some more graceful See also:

• CURVE (Lat. curvus, bent)

curve or See also:

• SERIES (a Latin word from serere, to join)

series of curves,—a fact which satisfies the dancer as well as the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye of the spectator .

But all such effects are intensified by the use of See also:

• MUSIC

music, which not only brings a perfectly distinct set of pleasurable sensations to dancer and spectator, but by the See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control of dancing produces an inexpressibly sweet See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound and motion . This harmony is further enriched if there be two dancing together on one See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, or a large See also:

• COMPANY

company of dancers executing certain evolutions, the success of which depends on the See also:

• SEPARATE

separate harmonies of all the couples . The fundamental See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition is that throughout the dance all the dancers keep within their bases of gravity . This is not only required for the dancers' own enjoyment, but, as in the famous See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury on tiptoe, it is essential to the beautiful effect for the spectator . The See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of much being safely supported by little is what proves attractive in the posturing See also:

• BALLET

ballet . But this is merely one condition of graceful dancing, and if it be made the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• OBJECT

object the dancer sinks into the See also:

• ACROBAT (Gr. ucpo0arsie, to walk on tiptoe)

acrobat . Dancing is, in fact, the universal human expression, by movements of the limbs and See also:

• BODY

body, of a sense of See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm which is implanted among the See also:

• PRIMITIVE

primitive instincts of the See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• WORLD

world . The rhythmic principle of motion extends throughout the universe, governing the See also:

• LAPSE (Lat. lapses, a slip or departure)

lapse of waves, the flow of tides, the reverberations of See also:

• LIGHT

light and sound, and the movements of See also:

• CELESTIAL, OR STELLAR

celestial bodies; and in the human organism it manifests itself in the automatic pulses and flexions of the blood and tissues . Dancing is merely the voluntary application of the rhythmic principle, when excitement has induced an abnormally rapid oxidization of brain See also:

• TISSUE (Fr. tissu, tissue, participle of tisser, Lat. texere, to weave)

tissue, to the See also:

• PHYSICAL

physical exertion by which the over-charged brain is relieved . This is primitive dancing; and it embraces all movements of the limbs and body expressive of joy or grief, all pantomimic representations of incidents in the lives of the dancers, all performances in which movements of the body are employed to excite the passions of hatred or love, pity or revenge, or to arouse the warlike instincts, and all ceremonies in which such movements See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express See also:

• HOMAGE (from homo, through the Low Lat. hominaticum, which occurs in a document of 1035)

homage or worship, or are used as religious exercises . Although music is not an essential See also:

• PART

part of dancing, it almost invariably accompanies it, even in the crudest See also:

• FORM (Lat. forma)

form of a rhythm beaten out on a See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

drum . Primitive and See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient Dancing.—In See also:

• TIGRE

Tigre the Abyssinians dance the chassee step in a circle, and keep time by shrugging their shoulders and working their elbows backwards and for-wards .

At intervals the dancers squat on the ground, still moving the arms and shoulders in the same way . The See also:

• BUSHMEN, or BOSJESMANS

Bushmen dance in their See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low-roofed rooms supporting themselves by sticks; one See also:

• FOOT

foot remains motionless, the other dances in a See also:

• WILD, JONATHAN (c. 1682-1725)

wild irregular manner, while the hands are occupied with the sticks . The Gonds, a See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill-tribe of Hindustan, dance generally in pairs, with a shuffling step, the eyes on the ground, the arms See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close to the body, and the elbows at an See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle with the closed See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Advancing to a point, the dancer suddenly erects his See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, and wheels See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round to the starting point . The See also:

• WOMEN

women of the Pultooah tribe dance in a circle, moving backwards and forwards in a See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent posture . The See also:

• SANTAL (or SONTHAL) PARGANAS, THE

Santal women, again, are slow and graceful in dance; joining hands, they form themselves into the arc of a circle, towards the centre of which they advance and then retire, moving at the same time slightly towards the right, so as to See also:

• COMPLETE

complete the circle in an See also:

• HOUR

hour . The Kukis of See also:

• ASSAM

Assam have only the rudest possible step, an awkward See also:

• HOP (Ger. Hopfen, Fr. houblon)

hop with the knees very much bent . The See also:

• NATIONAL

national dance of the Kamchadale is one of the most violent known, every muscle apparently quivering at every movement . But there, and in some other cases where men and women dance together, there is a trace of deliberate See also:

• OBSCENITY (from the adjective " obscene," Lat. obscenus, evil-looking, filthy)

obscenity; the dance is, in fact, a See also:

• RUDE, FRANCOIS (1784–1855)

rude See also:

• REPRESENTATION

representation of sexual See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion . It has been said that some of the Tasmanian corrobories have a phallic See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . The See also:

• YUCATAN

Yucatan dance of naual may also be mentioned . The Andamans hop on one foot and See also:

• SWING, DAVID (1830-1894)

swing the arms violently backwards and forwards .

The See also:

• VEDDAHS, or WEDDAHS (from Sanskrit veddha, " hunter ")

Veddahs jump with both feet together, patting their bodies, or clapping their hands, and make a point of bringing their See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• HAIR (a word common to Teutonic languages)

hair down in front of the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face . In New See also:

• CALEDONIA

Caledonia the dance consists of a series of twistings of the body, the feet being lifted alternately, but without See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . The Fijians jump See also:

• HALF

half round from See also:

• SIDE
• SIDE (mod. Eski Adalia)

side to side with their arms akimbo . The only modulation of the Samoan dance is one of time—a crescendo movement, which is well-known in the See also:

• MODERN

modern See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball-See also:

• ROOM

room, The Javans are perhaps unique in their distinct and graceful gestures of the hands and fingers . At a Mexican feast called See also:

• HUITZILOPOCHTLI

Huitzilopochtli, the noblemen and women danced tied together at the hands, and embracing one another, the arms being thrown over the See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck . This resembles the dance variously known as the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• BRACELET, or ARMLET

Bracelet or Brawl, "0 isms, or Bearsfeet; but all of them'. probably are to a certain extent symbolical of the relations between the sexes . Actual contact of the partners, however, is quite intelligible as See also:

• MATTER

matter of pure dancing; for, apart altogether from the pleasure of the embrace, the harmony of the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double rotation adds very much to the enjoyment . In a very old Peruvian dance of ceremony before the Inca, several hundreds of men formed a See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain, each taking hold of the hand of the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man beyond his immediate See also:

• NEIGHBOUR (O. Eng. neahgebiir, from Walt, " nigh," " near ")

neighbour, and the whole body moving forwards and backwards three steps at a time as they approached the See also:

• THRONE

throne . In this, as in the national dance of the Coles of See also:

• LOWER

Lower See also:

• BENGAL
• BENGAL, BAY OF

Bengal, there was perhaps a See also:

• SUGGESTION

suggestion of " 1'See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union fait la force." In Yucatan See also:

• STILTS

stilts were occasionally used for dancing . It seldom happens that dancing takes place without See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment, either by the dancers or by others . This is not merely because the feelings which find See also:

• RELIEF

relief in dancing express them-selves at the same time in other forms; in some cases, indeed, the vocal and instrumental elements largely predominate, and form the ground-See also:

• WORK

work of the whole emotional demonstration . Whether they do so or not will of course depend on the intellectual See also:

• ADVANCEMENT

advancement of the nation or tribe and upon the particular development of their aesthetical sensibility .

A striking instance occurs among the Zulus, whose See also:

• GRAND

grand dances are merely the accompaniment to the colloquial See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war and See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting songs, in which the women put questions which are answered by the men . So also in See also:

• TAHITI

Tahiti there is a set of national See also:

• BALLADS

ballads and songs, referring to many events in the past and See also:

• PRESENT

present lives of the ' Compare the Chica of See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• AMERICA

America, the Fandango of See also:

• SPAIN
• SPAIN (Espana)

Spain, and the Angrismene or la Fachee of modern See also:

• GREECE

Greece . See also Romaunt de la See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose, v . 776 . people . The fisherman, the woodsman, the See also:

• CANOE (from Carib. candoa, the West Indian name found in use by Columbus; the Fr. canot, boat, and Ger. Kahn, are derived from the Lat. canna, reed, vessel)

canoe-builder, has each his See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade song, which on public occasions at least is illustrated by dancing . But the accompaniment is often consciously intended, by an See also:

• APPEAL

appeal to the See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, to regulate and sustain the excitement of the muscles . And a close relation will be found always to exist between the excellence of a nation's dancing and the excellence or complexity of its music and See also:

• POETRY

poetry . In some cases the performer himself sings or marks time by the clanking of ornaments on his See also:

• PERSON, OFFENCES AGAINST THE

person . In others the accompaniment consists sometimes of a rude See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant improvised by those See also:

• STANDING

standing round, or of music from See also:

• INSTRUMENTS

instruments, or of See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere clapping of the hands, or of striking one stick against another or on the ground, or of " marking time," in the technical sense . The Tasmanians See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat on a rolled-up See also:

• KANGAROO

kangaroo-skin . The Kamchadales make a See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise like a continuous hiccough all through the dance .

The Andamans use a large hollow dancing-See also:

• BOARD (O. Eng. bord)

board, on which one man is set apart to See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp . Sometimes it is the See also:

• PRIVILEGE

privilege of the tribal chief to sing the accompaniment while his people dance . The savages of New Caledonia See also:

• WHISTLE

whistle and strike upon the See also:

• HIP

hip . The rude imitative dances of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• CIVILIZATION

civilization are of extreme See also:

• INTEREST

interest . In the same way the dances of the Ostyak tribes (See also:

• NORTHERN

Northern See also:

• ASIATIC

Asiatic) imitate the habitual See also:

• SPORTS
• SPORTS, THE BOOK OF

sports of the See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

chase and the gambols of the See also:

• WOLF
• WOLF (Canis lupus)
• WOLF, FRIEDRICH AUGUST (1759-1824)
• WOLF, HUGO (1860-1903)
• WOLF, JOSEPH (1820-1899)

wolf and the See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear and other wild beasts, the dancing consisting mainly of sudden leaps and violent turns which exhaust the muscular See also:

• POWERS, HIRAM (1805-1873)

powers of the whole body . The Kamchadales, too, in dancing, imitate bears, See also:

• DOGS, ISLE OF

dogs and birds . The Kru dances of the See also:

• COAST (from Lat. costa, a rib, side)

Coast Negroes represent hunting scenes; and on the See also:

• CONGO

Congo, before the hunters start, they go through a dance imitating the habits of the See also:

• GORILLA (or PoNGO)

gorilla and its movements when attacked . The Damara dance is a mimic representation of the movements of oxen and See also:

• SHEEP
• SHEEP (from the Anglo-Saxon sceap, a word common in various forms to Teutonic languages; e.g. the German Schaf)

sheep, four men stooping with their heads in contact and uttering harsh cries . The canter of the See also:

• BABOON (from the Fr. babuin, which is itself derived from Babon, the Egyptian deity to whom it was sacred)

baboon is the humorous part of the ceremony . The Bushmen dance in long irregular jumps, which they compare to the leaping of a See also:

• HERD (a word common to Teutonic languages; the O. Eng. form was heord; cf. Ger. Herde, Swed. and Dan. hjord; the Sans. ca'rdhas, which shows the pre-Teutonic form, means a troop)

herd of calves, and the See also:

• HOTTENTOTS

Hottentots not only go on all-fours to counterfeit the baboon, but they have a dance in which the buzzing of a swarm of bees is represented . The Kennowits in See also:

• BORNEO

Borneo introduce the mias and the See also:

• DEER (O. E. rigor, dfor, a common Teutonic word, meaning a wild animal, cf. Ger. Tier, Du. dier, &c., probably from a root dhus-, to breathe)
• DEER, CHINESE

deer for the same purpose . The Australians and Tasmanians in their dances called corrobories imitate the See also:

• FROG

frog and the kangaroo (both leaping animals) .

The See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

hunt of the emu is also performed, a number of men passing slowly round the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and throwing their arrows about so as to imitate the movements of the animal's head while feeding . The Gonds are fond of dancing the bison hunt, one man with skin and horns taking the part of the animal . Closely allied to these are the mimic fights, almost universal among tribes to which war is one of the See also:

• GREAT

great interests of See also:

• LIFE

life . The Bravery dance of the Dahomans and the Hoolee of the Bhil tribe in the See also:

• VINDHYA

Vindhya Hills are illustrations . The latter seems to have been reduced to an amusement conducted by professionals who go from See also:

• VILLAGE

village to 'villager—the See also:

• BATTLE

battle being engaged in by women with long poles on the one side, and men with See also:

• SHORT, FRANCIS JOB (1857– )

short cudgels on the other . There is here an See also:

• ELEMENT (Lat. elementum)

element of See also:

• COMEDY

comedy, which also appears in the See also:

• FIJI
• FIJI (Viii)

Fiji See also:

• CLUB (connected with " clump ")

club-dance . This, although no doubt origin-ally suggested by war, is enlivened by the presence of a See also:

• CLOWN (derived by Fuller, in his Worthies, from Lat. colones, a husbandman; but apparently connected with " clod " and with similar forms in Teutonic and Scandinavian languages)

clown covered with leaves and wearing a See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask . The monotonous song accompanying the club-dance is by way of commentary or ex-planation . So, also, in See also:

• GUATEMALA (sometimes incorrectly written GUATIMALA)
• GUATEMALA, or GUATEMALA LA NUEVA (i.e. " New Guatemala," sometimes written Nueva Guatemala, and formerly Santiago de los Caballeros de Guatemala)

Guatemala there is a public baile or dance, in which all the performers, wearing the skins and heads of beasts, go through a See also:

• MOCK

mock battle, which always ends in the victory of those wearing the deer's head . At the end the victors trace in the See also:

• SAND
• SAND, GEORGE (1804-1876)

sand with a See also:

• POLE (FAMILY)
• POLE, REGINALD (1500-1558)
• POLE, RICHARD DE LA (d. 1525)
• POLE, WILLIAM (1814—1900)

pole the figure of some animal; and this See also:

• EXHIBITION

exhibition is supposed to have some See also:

• HISTORICAL

historical reference . But nearly all See also:

• SAVAGE
• SAVAGE, MINOT JUDSON (1841– )
• SAVAGE, RICHARD (d. 1743)

savage tribes have a See also:

• REGULAR

regular war-dance, in which they appear in fighting See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume, handle their weapons, and go through the movements of See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

challenge, conflict, pursuit or defeat . The women generally See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply the stimulus of music .

There is one very picturesque dance of the See also:

• NATAL

Natal See also:

• KAFFIRS (Arabic Kafir, an unbeliever)

Kaffirs, which probably refers to the departure of the warriors for the battle . The women appeal plaintively to the men, who slowly withdraw, stamping on the ground and darting their short spears or assegais towards the See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky . In See also:

• MADAGASCAR

Madagascar, when the men are absent on war, the women dance for a great part of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, believing that this inspires their husbands with courage . In this, however, there may be some religious significance . These war-dances are totally distinct from the institution of military See also:

• DRILL

drill, which belongs to a later period, when social life has become less impulsive and more reflective 1 There can he little doubt that some of the characteristic movements of these primitive hunting and war-dances survive in the smooth and ceremonious dances of the present day . But the early mimetic dance was not confined to these two subjects; it embraced the other great events of savage life—the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama of courtship and See also:

• MARRIAGE

marriage, the funeral dance, the See also:

• CONSECRATION (Lat. consecrallo, from con and sacrare, " to make sacred ")

consecration of labour, the celebration of See also:

• HARVEST (A.S. hcerfest " autumn," O.H. Ger. herbist, possibly through an old Teutonic root representing Lat. car pere, " to pluck ")

harvest or vintage; 2 sometimes, too, purely fictitious scenes of dramatic interest, while other dances degenerated into See also:

• GAMES, CLASSICAL

games . For instance, in Yucatan one man danced in a cowering attitude round a circle, while another followed, hurling at him bolzordos or canes, which were adroitly caught on a small stick . Again, in See also:

• TASMANIA

Tasmania, the dances of the women describe their " clamber for the See also:

• OPOSSUM
• OPOSSUM, AUSTRALIAN
• OPOSSUM, RINGTAILED
• OPOSSUM, TASMANIAN (grey and black)

opossum, diving for See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell-See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish, digging for roots, See also:

• NURSING

nursing children and quarrelling with husbands." Another dance, in which a woman by gesture taunts a chieftain with cowardice,, gives him an opportunity of coming forward and recounting his courageous deeds in dance . The funeral dance of the See also:

• TODAS

Todas (another See also:

• INDIAN

Indian hill-tribe) consists in walking backwards and forwards, without variation, to a howling tune of " ha! hoc) ! " The meaning of this is obscure, but it can scarcely be solely an outburst of grief . In See also:

• DAHOMEY (Fr. Dahome)

Dahomey the blacksmiths, carpenters, hunters, braves and bards, with their various tools and instruments, join in a dramatic dance . We may add here a form of dance which is almost precisely See also:

• EQUIVALENT

equivalent to the spoken See also:

• INCANTATION

incantation .

It is used by the professional See also:

• DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

devil-dancer of the wild Veddahs for the cure of diseases . An offering of eatables is put on a See also:

• TRIPOD (Gr. rpiTovr, Lat. tripus)

tripod of sticks, and the dancer, decorated with See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green leaves, goes into a See also:

• PAROXYSM (Med. Lat. paroxysntus, from the Gr. wapotbvety, to make sharp, odes)

paroxysm of dancing, in the midst of which he receives the required See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information . This, however, rather belongs to the subject of religious dances . It is impossible here to enumerate either the names or the forms of the sacred dances which formed so prominent a part of the worship of antiquity . A mystic See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy found in them a resemblance to the courses of the stars . This See also:

• PYTHAGOREAN

Pythagorean idea was See also:

• EXPANDED

expanded by See also:

• SIR

Sir See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• DAVIES (DAvIslus), JOHN (1679-1732)
• DAVIES, DAVID CHARLES (1826-1891)
• DAVIES, RICHARD (c. 1505—1581)
• DAVIES, SIR JOHN (1569-1626)
• DAVIES, SIR LOUIS HENRY (1845— )

Davies, in his epic poem See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra, published in 1596 . They were probably adapted to many purposes,—to thanksgiving, praise, supplication and humiliation . It is only one striking See also:

• ILLUSTRATION

illustration of this widespread practice, that there was at See also:

• ROME
• ROME (Roma)

Rome a very ancient order of priests especially named See also:

• SALII

Salii, who struck their See also:

• SHIELDS, JAMES (181b-1879)

shields and sang assamenta as they danced . The practice reappeared in the early See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, See also:

• SPECIAL

special See also:

• PROVISION (Lat. provisio)

provision being made for dancing in the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir . See also:

• SCALIGER

Scaliger, who astonished See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V. by his dancing powers, says the bishops were called Praesules, because they led the dance on feast days . According to some of the fathers, the angels are always dancing, and the glorious company of the apostles is really a See also:

• CHORUS (Gr. xopbs)Z

chorus of dancers . Dancing, however, See also:

• FELL
• FELL, JOHN (1625-1686)

fell into discredit with the feast of the Agapae .

St See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine says, " Melius est fodere quam saltare "; and the practice was generally prohibited for some time . No church or See also:

• SECT

sect has raged so fiercely against the See also:

• CARDINAL (Lat. cardinalis)

cardinal See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin of dancing as the Albigenses of See also:

• LANGUEDOC

Languedoc and the Waldenses, who agreed in calling it the devil's procession . After the See also:

• MIDDLE

middle of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century there were still traces of religious dancing in the cathedrals of Spain, See also:

• PORTUGAL

Portugal and See also:

• ROUSSILLON

Roussillon—especially in the Mozarabic See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass of See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo . An See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the numerous See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular dances, public and private, of Greece and Rome will be found in the classical histories, and in J . See also:

• WEAVER, JAMES BAIRD (1833- )

Weaver's See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

Essay towards a See also:

• HISTORY

History of Dancing, (See also:

• LONDON

London, 1712), which, however, must be revised by more See also:

• RECENT

recent authorities . The Pyrrhic (derived from the Memphitic) in all its See also:

• LOCAL

local varieties, 1 The Greek Kapirata represented the surprise by robbers of a See also:

• WARRIOR

warrior ploughing a See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field . The gymnopaedic dances imitated the sterner sports of the See also:

• PALAESTRA (Gr. aaXaiarpa)

palaestra . 2 The Greek Lenaea and See also:

• DIONYSIA

Dionysia had a distinct reference to the seasons . the See also:

• BACCHANALIA

Bacchanalia and the Hymenaea were among the more important . The name of See also:

• LYCURGUS
• LYCURGUS (c. 396–325 B.C.)
• LYCURGUS (Gr. AvKofpyor)

Lycurgus is also associated with the Trichoria . Among the stage dances of the Athenians, which formed interludes to the regular drama, one of the See also:

• OLDEST

oldest was the Delian dance of the See also:

• LABYRINTH (Gr. Xa(3vpcvOos, Lat. labyrinthus)

Labyrinth, ascribed to See also:

• THESEUS

Theseus, and called I'pavos, from its resemblance to the See also:

• FLIGHT

flight of See also:

• CRANES (so called from the resemblance to the long neck of the bird, cf. Gr. 'y pavor, Fr. grue)

cranes, and one of the most powerful was the dance of the See also:

• EUMENIDES (from Gr. evµevtits, kindly; di, well, and jAvos, disposition)

Eumenides . A further development of the See also:

• ART

art took place at Rome, under See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus, when Pylades and Bathyllus brought serious and comic See also:

• PANTOMIME

pantomime to great perfection .

The subjects chosen were such as the labours of See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules, and the surprise of See also:

• VENUS

Venus and See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars by See also:

• VULCAN (Volcanos)

Vulcan . The state of public feeling on the subject is well shown in See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian's amusing See also:

• DIALOGUE

dialogue De Saltatione . Before this Rome had only very inferior buffoons, who attended See also:

• DINNER

dinner parties, and whose art traditions belonged not to Greece, but to See also:

• ETRURIA

Etruria.' Apparently, however, the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans, though fond of ceremony and of the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, were by temperament not great dancers in private . See also:

• CICERO

Cicero says: " Nemo fere saltat sobrius, nisi forte insanit." But the See also:

• ITALIC

Italic dance of the imperial theatre, supported by music and splendid dresses, supplanted for a time the older dramas . It was the policy of Augustus to cultivate,other than See also:

• POLITICAL

political interests for the people; and he passed See also:

• LAWS

laws for the See also:

• PROTECTION

protection and privilege of the pantomimists . They were freed from the See also:

• JUS

jus virgarum, and they used their freedom against the See also:

• PEACE
• PEACE, BREACH OF THE

peace of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Tiberius and See also:

• DOMITIAN (Thus FLAVIUS DOMITIANUS)

Domitian oppressed and banished them; See also:

• TRAJAN [MARCUS ULPIUS TRAJANUS] (A. D. 53-117)

Trajan and Aurelius gave them such titles as decurions and priests of See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo; but the panto-See also:

• MIME

mime stage soon yielded to the general corruption of the See also:

• EMPIRE

empire . Modern Dancing.—In modern civilized countries dancing has developed as an art and pastime, as an entertainment . Its See also:

• DIRECT

direct application to arouse emotion or religious feeling tends to be obscured and finally dropped out . See also:

• ITALY
• ITALY (Italia)

Italy, in the 15th century, saw the See also:

• RENAISSANCE, THE

renaissance of dancing, and See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France may be said to have been the nursery of the modern art, though comparatively few modern dances are really See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French in origin . The national dances of other countries were brought to France, studied systematically, and made perfect there . An See also:

• ENGLISH

English or a Bohemian dance, practised only amongst peasants, would be taken to France, polished and perfected, and would at last find its way back to its own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, no more recognizable than a piece of elegant See also:

• CLOTH

cloth when it returns from the printer to the place from which as " See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey " material it was sent .

The fact that the terminology of dancing is almost entirely French is a sufficient indication of the origin of the rules that govern it . The earliest dances that bear any relation to the modern art are probably the danses basses and danses hautes of the 16th century . The danse basse was the dance of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Charles IX. and of See also:

• GOOD, JOHN MASON (1764-1827)

good society, the steps being very See also:

• GRAVE

grave and dignified, not to say See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn, and the accompaniment a See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

psalm tune . The danses hautes or baladines had a skipping step, and were practised only by clowns and country people . More lively dances, such as the Gaillarde and See also:

• VOLTA
• VOLTA, ALESSANDRO (1745-1827)

Volta, were introduced into France from Italy by See also:

• CATHERINE
• CATHERINE, SAINT

Catherine de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, but even in these the interest was chiefly spectacular . Other dances of the same period were the Branle (afterwards corrupted to Braule, and known in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as the Brawle)—a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of generic dance which was capable of an almost See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite amount of variety . Thus there were imitative dances—Branles mimes, such as the Branles See also:

• DES

des Ermites, Branles des flambeaux and the Branles des lavandieres . The Branle in its See also:

• ORIGINAL

original form had steps like the See also:

• ALLEMANDE (Fr. for danse allemande, or German dance)

Allemande . Perhaps the most famous and stately dance of this period was the See also:

• PAVANE, PAVAN

Pavane (of See also:

• SPANISH

Spanish origin), which is very fully described In Tabouret's Orchesographie, the earliest work in which a dance is found minutely described . The Pavane, which was really more a procession than a dance, must have been a very gorgeous and See also: