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—_—
'The Very Striking
Methods of Acquir
ing Beauty and
Grace (Pharaoh’s
Beauties Did’Em)
Explained by the
Famous Dancer
Who Has Revived
Them from
- Egypt’s e=—
Musty Tombs
USSIA puts a premium
R upon brains and re
wards originality. “Lub
owska the Wonderful” won
ber title by disdaining the mod
ern dance and learning grace
from the mummy. The Orient
enslaved her fancy, but not the
Orient of to-day. The misty
Orient of the dim, forgotten
dawn of the world cast the
epell of its romance about her.
Finding joy in research she delved
into the libraries of Egypt and
learned there how Cleopatra had en
chained the senses of Antony,
Sinuous graces and serpentine
spirals of movement modern dancers
display as the arts of the great en
chantress of the Nile? No. Cleopatra
won Antony by her angles. She sub
dued him by the coquetry of the
straight line. For, at the time of that
vivid romance, whose gorgeous colors
are still reflected upon a world of
paler tints, the curve was not the ac
cepted Yne of beauty. Loveliness
was typified s’nd accentuated by the
straight line.
Mlle. Lubowska is the last of the
. Russian dancers to bring methods of
grace and beauty development t&
this country. She advocates the
basic exercises for health and
strength that are generally accepted,
'lmt supplements these with the pos
tures and dances of the daughters
of the Paroahs. Mlle. Lubowska
has, as it were, exhumed an ancient
beauty method, for she has learned
the secrets of the graces of the
mummies. She has revived a dance
~ which was done even before the
Paroahs and which continued
through the earlier part of that dyn
asty of Egypt.
The world war has driven the
dancer, a widow at twenty-two, to
this country. Society has made her
the fashion. Her popularity indicates
the possibility of the passing of the
curve and the entrance of the
straight line as the basis of dance
postures.
y By Lubowska.
1, Lubowska, see no beauty in the
dance of to-day, But rather, in the
dance of to-morrow.
To-day's dance converts the dancer
into a hoop. Faugh! The circle is
commonplace, It is ordinaire, as the
buman with the big stomach, or.the
big barrel of the dreadful beer. Or
the stuffed pillow or the smoking
chimney. Those things which I
abominate are of the circle,
But the straight line. Ah! That
is beautiful, Have you not seen La
belle Parls shining at night? You
have seen and been entranced, for it
was as though the most beautiful of
cities were adorned with ribbons of
« lght. Straight and long and brile
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liant, they stretch in gleaming
parallels into the black shadows of
St. Germaine. And by day it pre
sents the same beauty in colder
aspect. The long, gray lines of the
houses, the long, straight lines of
the Gardens of the Tuileries and
sther parks, laid out upon the model
of the parallelogram, seize and pos
sess one.
I was first captivated by the charm
of the anglpe when, wandering
through the galleries of the British
Museum, ! came upon prints of the
early Egyptians. 1 saw no curving
lines, no seeking after the semi-cir
cle as the idea of lovliness. There
were none of the “voluptuous curves”
of which the modernists write and
talk. The women were very straight,
very thin. They had the straight
lines and half transparent quality
of the sunbeams. Thereafter, the
Egyptians seemed always to me as
sunbeams, glancing, mysterious,
wholly alluring human sunbeams,
1 pored over the pictures of
anclent Egypt. In them I found in
spiration. I lingered. about their
statues. My imagination was lost in
@ labyrinth of angles. I studied the
earliest history of Egypt. 1 absorbed
its manner of lite, its atmosphere,
The acute angle, “the sharp cor
ner,” 1 concluded was the symbol of
loveliness to the ancient Egyptian.
At home, in my salon, I began to
practise the dances of that dim, far
away time, But at first it was a woe
ful failure. Dancing and posing be
fore the mirror I saw myself merely
as grotesque. Presently, 1 discov
ered the reason for my fallure, It
was that my dance and my body
were not in barmony. 1 was plump,
as plump as a German maedchen, 1
could not portray the true dance of
Cleopatra because curves may not
express angles,
I set about making myself thin.
1 ate one meal a day. For the rest
I drink two cups of milk a day, that
my blood should not become impov.
erished by my fasts. 1 walked for
miles into the London suburbs. I
danced the modern dances until my
head whirled with (fatigue, 1
snatched the broom from the malid
and swept the floors. Finding her
scrubbing one day I seized the brush
and performed her labors. | drank
much water, for if you drink much
water the tooth of hunger will gnaw
less, 1 slept two hours less than I
had done before.
Alter two months this ascetic life
Mlle. Lubowska'rlnteresting Angles.
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This Is an Attitude Beyond Price
for Stout Women, for it Reduces
the Abdomen and Gradually Re
moves Superfluous Flesh from
the Thighs.
began to reveal itself in straightness
and thinness. I persevered, I be
came straighter and thinner,
And when I had become thin
énourh to be worthy I resumed my
posturings before the mirror. And
now I laughed instead of wept be
cause I detected resemblances to the
dark sunbeams of the prints in the
British Museum.
The eflect upon my health was
one of direct benefit., There was an
attitude in which the elbow was bent
on a line with the shoulder and the
hands were turned in a right angle
with the waist, accompanied by ex
tending the leg straight out in front
of the body and forming a right
angle with the torso, that was es
pecially valuable. I saw that it was
beyond price to stout women, for it
reduced the abdomen and gradually
removed the superfluous flesh from
the thighs,
Another, in which the upturned
palms and forearms are extended
from the stiffly bent elbow, was of
value both in ralsing the chest and
developing the forearm,
One in which the palms are
turned downward and the hands
held sidewise on a plane with the
shoulders, and with one leg extended
Copyright, 1015, by the Star Company.— Great Dritaln RIGHLS Reservee
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This Raises
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This Mlle, Lubowska Practises to
Give Absolute Poise to the Body.
from the knee, I discov
ered was invaluable' in
learning to make tense
and strong the muscles
of- the.u p.per arm.
One of
Mile.
Lub
owska’s
Sweeping
Motions,
with
Every
Muscle
Held
Taut,
That
Develops
Grace
in the
Whole
Body,
IR Y AP N - T N TR —
One in which the arms .formed
an “L"” and the feet-were turned out
at the sidés, made of the feet the
pedestals for the body they should
be, instead of. mere extra weights
upon the legs.
At last I had the motif for the
postures of the Egyptians. They
moved as though without bones.
And so was it, that, having my
definite concept, 1 learned to move
my arms, twist them as though there
was not a bone in them. I learned to
riove my feet as though they were
quite boneless. GraGually 1 acquired
control over my muscular organism.
It required two years to assume, cor
rectly and convincingly assume, the
difficult attitudes of the human
figures of ancient Egypt. But it was
well worth’ whice. For had I not
mastered an art known to no other?
The dances of Cleopalra and her
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irresistible contemporaries were
done, 1 learned from much reading,
by the thinnest women, The thin
ner the woman the better the dance
Slenderness was a :beauty. Flesh
ugliness. 1 continued to drink two
cups ol milk and to eat one meal a
day. They are enough, unless one
grows mentally lazy and wishes to
become fat.
The ancient Egyptians well knew
that in dancing the feet matter lit
tle. It is the arms that count. Given
a slender figure and well trained
arms and the Egyptian postures be
come possible even though you know
you are mot a favorite of Terpsi
chore, godaess of the light feet,
There is a mourning dance which
typifies the custom of the remotest
antiquity of the country of the Nile.
This “Dance Egyptian” might be done
tairly w a womdn with those strange
things on her feet which you call rol
ler skates. Or she might perform the
dence in the self same spot, without
moving her feet. For it is the
straight, slender figure, and the
mournful movements of the arms, at
one time frenzied, at another mourn
fully drooping, that most signify. The
dance had its origin before the birth
of Moses and his Ninding among the
bulrushes by a orincess of Egypt.
It was danced before the Pharoahs
ruled in Egypt. All Egyptologists
know this dance of mourning with
which the dancers encircled the
funeral pyre of her kings. It is the
oldest dance in the world.
But I was not -content with my
delvings in the British Museum and
my years of imitation of the old
prints. I must go to Egypt. I tried
to stare the fascinating Sphinx out
of countenance—and failed, as mil
ions that had gone before me failed.
I visited the Pyramids. 1 made the
enchanting voyage up the Nile. 1
spent hours in study of the mum
mies, and only when 1 could fancy
mysell one of the maiden mumimies
dancing the dance of centuries be
fore, perhaps wooing kings, by my
thin, swaying arms, forming acute
angles at the elbows, could fancy
myself Cleopatra herself, dark-eyved,
heavy lidded, smiling with full car
mined Ips upon the great Antony,
could I believe that I danced as the
girls of the Nile had danced three
thousand years before,
A proof awaited me, a proof that
made me happy. It came from an
Egyptian rich in the lore of his
country. -Said he: “I have seen at
tempts to copy the prints of ancient
¥gypt. But never have | seen them
done with absolute accuracy. You
have revivified the mummies. You
have drawn them from their cases
You have made them walk and live
and love.” Then, only, did I know
Joy.