EURYTHMICS ESSENTIAL.

Waikato Times, Volume 97, Issue 15185, 10 March 1923, Page 13 (Supplement)

EURYTHMICS ESSENTIAL.

TO THE DANCE STUDENT. __— (By Mrs. Ailcen Parkhouse.) Eurythmics 02 of paramount importance to the student of dancing, equally as essential to the dancer as scales and finger exercises are to the musician. The reason is obvious. As the body is the instrument of expression, it is necessary that it should be under perfect control of the mind. Eurythmics give perfect poise and proper balance, and help to keep up the physical condition necessary for the many changes of position required throughout classical and eccentric dancing. No skilled teacher of dancing would try to teach a child difficult "elevation" steps without first teaching the pupil the art of balance, and tuning the muscles and brain to the concentration of the work in hand and instructing the little student to use fingers, hands, feet, body and face in an animated and vital manner in every movement. "Vertical" action, which depends for its success upon perfect control and elasticity of lfg muscles, requires constant practice, not only to develop the muscles but to learn how to master the body by the concentration of the will, so as to render the many changes of position instantaneous and at the same time graceful and in harmony—each movement a continuation of the previous position. Like a masterpiece interpreted by a skilled musician on a beautiful instrument, so the dancer should be in a physical and mental condition to render the dance a series of rythmical changes of position and expression in perfect harmony—not one movement "out of tune" with rhythm, ease and grace. The key-note to real charm and beauty in dancing is physical and mental control (I referred to this in a previous article), obtained by perfect and correct study of technique—or classical eurythmics— and to use technique, not in a mechanical style, hut in a living, vital expression, inVer-

preting with every movement the emotion which must first originate in tiie brain, using the body as the medium. The dance should never impress an audience as an indefinite series of meaningless steps; it should be an inspiration and conveyed in a manner that the onlooker has no difficulty in understanding. Kurylhmics have advanced with dancing. This is natural. The dances, or many of the dances, of long ago required very little of the muscular efforts of advanced dancing of the present day, as we understand it. The definite introduction of Russian and Oriental dancing calls for a new form of dance exercises to attune the muscles and brain to the various and difficult motions, and preserve physical fitness throughout. If students 'of dancing gave more time and thought fo the study of eurythmics as they are meant to be studied, and less to the actual “dance,” the dance would be a more definite success. The artist would leave the stage satisfied with her efforts, and the audience would be in harmony with the dancer. Instead, as is often the case, the artist feels she lias failed to please, and the audience realises the dance was ctever, but something lacking. Tlfe reason is not far to find. The mind of the dancer is concentrated on the control of muscles not properly attuned to the tax upon them, consequently she fails to give to the body the expression and ease of grace so necessary. To all students of dancing I would advise two hours a day at least to eurythmics and correct method of technique, which embraces physical and mental control, then the dance will be as easily executed as a walk across the stage. The mind will convey the emotion to be expressed and tiie body and limbs will have no difficulty in obeying their master —the brain. LAUNDRY HINTS. Paste these hints in your kitchen notebook op on a card in your index tile. Sometimes one cannot help forgetting little “tips,” and then it is useful io be able to “turn them up.” 1. See that alt tubs and the ironing board or table are at a comfortable height. 2. A wringer saves time and strength, and does not strain the fibres of the material. ;s. Fold buttons in fiat, to prevent I heir doubling up or tearing off tiie garments. 1. White cotton and linen clothes may be dried in the sun, silks and wmdlens in the shade; knitted or crocheted articles should lie fiat to dry. Silk, if while op cream, should lie wrapped in a lowel until ready to iron, (admired silks should lie imimd at once, or the colours may run. Always iron silks on the right side, ironing own ,i thin muslin or an old handkerchief. f>. .Never rub soaps on silks or woollens; it hardens Hie la I ter. and causes Hie former lo become yellow. Make a warm so, an lather, and squeeze and knead llie garments; only rub verv d'rly sfains 7. Always rinse woollens in wafer of Ibe same temperature as Hie water in \,!wd! lii •• > \.m,. w.iMo-d. S. Add a Ia b 1 espooll 1111 of \ ineg.it' In the hsi rinsing wafer for silks. Stains on nickel m iy be removed by ruhbius llm pices will a rag dipped in ammonia Then polish wilh a lea flier, and after a while the nickel will ha quite bright.