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Excerpt from The Chalif Text Book of Dancing, Vol. 5 In presenting this volume to the favor of the teaching and dancing profession we do not claim to cover the whole field of toe dancing, nor to say that if one merely practice all the exercises of this book one will become a beautiful toe dancer. Such a limited student would certainly not, for the beautiful toe dancer must be a beautiful dancer as well, and in good dancing every part of the body is included. There is not room between the front and back covers of one book to tell all that is known about teaching how to dance beautifully. That would require at least one hundred volumes. The present work deals mostly with the legs; nor does it tell all about their technique either, for the toe dancer is expected to do many "stunts" with the legs, as well as the more natural movements of hopping and leaping, and none of those are included here. All that we claim to teach thru the following exercises is how to strengthen the toes so that they can carry the weight of the whole body, without giving way under the strain, and how to walk and stand correctly on the points. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Chalif Text Book of Dancing, Vol. 2 The technical consideration of dancing falls naturally into two divisions - of the upper and lower halves of the body, with the waist the dividing line. The lower possesses two legs and feet, with joints of limited arc of movement; the upper includes the mobile arms, the hands, head and expressive face. Hence the activity of the lower half is more precise and technical - that of the upper, more plastic, imaginative and expressive; the lower is more difficult and clever - the higher, more lyric and enchant ing; the lower, being the stronger, suppliesmost of the movement and is the framework of the dance - the higher is the more graceful, and decorates the framework, making it a thing of beauty. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
A guide to ballroom dance written by the renowned dance teacher Louis H. Chalif. This book covers various styles of dance, including waltz, tango, and foxtrot, and offers detailed instructions on steps and technique. In addition, Chalif includes a section on the etiquette of ballroom dancing. Whether you're a seasoned dancer or a novice, this book is essential reading for anyone interested in mastering the art of ballroom dance. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.