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A swing (1)—A turn (2)—A turn, man passing under woman’s arms (3)—A swing, back-to-back (4)—The Mirror (5). The “Schuhplatteltanz” of Bavaria ““ 187 Preparing a turn (1)—A lift (2)—Starting woman’s series of turns (3)—Start of woman’s turns (4)—Man fans her along with hands (5)—Finish of dance (6). The “Kolo” of Servia ““ 190 Start of a turn (1)—Progress of a turn (2)—A bridge of arms (3)—An emphasis (4)—A lift (5). Poses from Slavonic Dances ““ 191 Coquetry (1)—Petulance (2)—Indifference (3)—Emphasis (4)—Jocular defiance (5). Poses from Slavonic Dances ““ 192 Negation (1)—Fear (2)—Supplication (3)—An emphasis (4). Poses from Slavonic Dances ““ 193 Characteristic gesture (1)—Characteristic step (2)—Characteristic gesture (3)—Characteristic step (4)—Same, another view (5)—Ecstasy (6)—The claim of beauty (7). Arabian “Dance of Greeting” ““ 196 Called upon to dance, she reveals herself (1)—Salutation (2)—Profile view of same (3). Arabian “Dance of Greeting” (Continued) ““ 197 “For you I will dance” (4)—“From here you will put away care” (5, 8)—“Here you may sleep” (6)—“Here am I” (7). Arabian “Dance of Greeting” (Continued) ““ 198 “And should you go afar” (9)—“May you enjoy Allah’s blessing of rain” (10)—“And the earth’s fullness” (11). Arabian “Dance of Greeting” (Continued) ““ 199 “May winds refresh you” (12)—“Wherever you go” (13)—“Here is your house” (14)—“Here is peace” (15)—“And your slave” (16). Arabian “Dance of Mourning” ““ 200 The body approaches (1)—The body passes (2)—“I hold my sorrow to myself” (3). Arabian “Dance of Mourning” (Continued) ““ 201 “He has gone out of the house and up to Heaven” (4)—“Farewell” (5). Arabian “Dance of Mourning” (Continued) ““ 202 “He slept in my arms” (6)—“The house is empty” (7)—“Woe is in my heart” (8). Arab Slave Girl’s Dance ““ 203 “Handkerchief Dance” of the Cafés ““ 206 The handkerchiefs symbolizing the lovers are animated with the breath of life, but kept dissociated (1)—Brought into semi-association (2)—Separated and dropped (3). “Handkerchief Dance” (Continued) ““ 207 She can dance about, between or away from them, indifferently (4)—Made into panniers, the panniers express her willingness to receive; turned inside out, her willingness to give (5)—One of the two handkerchiefs is thrown to the selected lover (6). “Dance of the Soul’s Journey” ““ 210 The soulless body (1)—Asks for the light of life (2)—Vision dawns (3)—Inexpert in life, she walks gropingly (4). “Dance of the Soul’s Journey” (Continued) ““ 211 She draws aside the veil of the future (5)—Life is seen full and plenteous (6). “Dance of the Soul’s Journey” (Continued) ““ 212 But old age will come (7)—Grief will visit (8)—She shall walk with her nose close to the camel’s foot (9). “Dance of the Soul’s Journey” (Continued) ““ 213 Yet now, from the crown of her head (10)—To the soles of her feet she is perfect (11). Miscellaneous Oriental Notes Page 215 “Dance of the Soul’s Journey” (Continued) Facing Page 216 Rejoices in the perfect body (12)—And in all good things (13)—Runs from the scene (14). Characteristic Pantomime in Dancing of Modern Egypt ““ 217 Express sorrow (1, 3)—Represents a prayer directed downward and back: i. e., to spirits of evil (2). “Dance of the Falcon” (Egyptian) ““ 218 Shock as the bird strikes his quarry (1)—Rejoicing as he overcomes it (2). Dancing Girls of Algiers ““ 219 Reliefs on Tower of the Temple of Madura (India) Page 219 Persian Dance. Princess Chirinski-Chichmatoff Facing Page 220 Oriental Poses ““ 221 Votive offering (3 poses)—Decorative motives (3 poses)—Disclosure of person (1 pose). Javanese Dancer, Modern ““ 222 Relief Carvings, Temple of Borobodul, Java ““ 223 Dance of Greeting (1)—Dance of Worship (2)—An Arrow Dance (3). “Nautch Dance” ““ 226 Japanese Dance ““ 227 Isadora Duncan ““ 242 Greek Interpretative Dance ““ 243 Impressions of Isadora Duncan Page 244 Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, with Sr. E. Ceccetti Facing Page 246 Mlle. Lydia Kyasht and M. Lytazkin ““ 247 “Arabesque” ““ 248 “Arrow Dance”