LIBRARY OF CONGRESS. UNITED STATES OP AMERICA. mi ~^ M «0i ^9 •pHYSiGAL Culture -IN THE- PUBLIC SCHOOLS. Designed as a Guide for Teachers. "- / R. ANNA MORRIS. Supervisor ~ of Physical Culture and Declamation in the Ptiblic Schools of West Des Moines, lozva. I ,. - A) COPy RIGHT THE DELSARTE PRINCIPLES OF GYMNASTICS AND GESTURES ARE EMBODIED IN THE EXERCISES GIVEN. DES MOINl^S, IOWA: Geo. a. Miller, Printer and Publisher. 1888. Copyright, 1888, by R. Anna Morris. All rights reserved. ^1- PREFACE i^ nLTHOUGH this little book has been designed chiefly y^ with the temporary purpose of aiding the teachers and author in carrying on the work of Physical Culture in the pubhc schools of Des Moines, yet, should it reach so far into the growing interest of the subject, as to be taken into homes and other schools, we crave for it a kind consideration and careful study. We recognize the fact, that without the living teacher it is an exceedingly difiicult task to comprehend and assuredly execute exercises in physical culture; therefore we have endeavored to make this a practical text book for the learner, with lessons simple, concise and clearly enough stated, to be understood and practiced with good results even by one untrained in the subject. The lessons in free gymnastics are based on the Delsartian principles as taught by Mrs. A. C. Gunter, nee Etta L. Burns, Mrs. Henrietta Crane Russel and Genevieve Stebbins, they are calculated to produce graceful strength, and are the out- growth of nearly two years experience in practically adapting the exercises to the grades and conveniences of the seated school-room. Many of the movements and some of the series with apparatus are used by the permission of Dr. W. G. Anderson, President of the ":N^ormal School for Physical Training,'' Brooklyn, I^. Y.; from which school the author is a graduate. That these lessons may hasten the introduction of Physical Training into the public schools, be helpful to our fellow teachers who have so earnestly and courteously supported us in the work, discipline, strengthen and give grace to the bodies of the children is the earnest hope of THE AUTHOR. Des Moines, Iowa, December, 1888. (5) • QUOTKXIONS Delsarte says:— The three principles of our being, life, the sensitive state; mind, the intellectual state; and soul, the moral state, form a trinity, the elements of which, though distinctive, cannot be separated; they interpenetrate, inter- lace, correspond with, and embrace each other and must, each and all, be harmoniously cultivated to reach the best possibilities of human existance. '• A perfect body makes a chariot in which a heroic soul may well be proud to ride." Henry Ward Beecher. "An education to be complete must be three-fold; mental, moral and physical. Each is of equal importance." . Mrs. L. M. Wilson, Superintendent of Public Schools, West Bes Moines, Iowa. " The body is not an end in itself but must be trained to be the'able and obedient servant of the mind; then it becomes a thing of power and dignity." W. W. Parsons, President of the Indiana State Normal School. " The public demand is sure and steadfast and we who teach must cross the Kubicon of prejudice and ignorance and enter into the Italy of Physical Culture." H. H. Seerley, President of Iowa State Normal School. (6) •CONXENTSf PAGE. Peeliminaey Suggestions 9 General Positions and Drills 11 Terms Explained 17 Class Drill 17 Order of Opening a Lesson 18 Order of Closing a Lesson 18 Delsarte Gymnastics 18 The Decomposing Exercises 19 Harmonic Poise 24 Walking 26 Feather Movements 28 Graded Section 33 First Division 33 Second Division 38 Third Division 42 Fourth Division 46 Marching 51 Fancy Steps 57 Wands i 59 Clubs 66 Fencing 70 Postures 74 Bowing 79 Outline for a Reading Lesson 83 Declamation 87 School Course or Practice 90 IjFeliffiinaF\^ guggestiong, Let the "Physical Exercises" have an appointed time and be certainly carried ont. Perform each movement with the utmost precision. The temperature of the room while exercising should be from 65 to 68 degrees. It is best to seat the pupils with the shortest in front. Pure air and good position of body, especially of the chest, are the first requisites in physical training. Breathe deeply and master the diaphram and waist muscles. ■ In standing, bear the weight principally upon the balls of the feet, inclining the body slightly forward from the hips. In all attitudes the toes turn out, but to throw one hip out at the side or to push both hips forward indicates coarseness. The muscles should be carefully and gradually stretched, not suddenly and violently jerked. The pupil most easily tired by these exercises is the one who most needs them. Great care should be used with such a pupil at first. All exercises intended to strengthen and to give grace and power to the muscular system should be taken in a costume which will not impede or inter- fere with the free movement of any member of the (9) 10 PHYSICAL CULTURE. body. The girls sliould be influenced to wear jersey or blonse waists, or princess dresses hanging from the shoulders. It is highly essential that the teacher of the school should learn to execute the movements. Dr. Seaver, of Yale, says: "Show firmness and decis- ion in conducting the exercises ; it is no condescen- sion to correct a fault, point out errors and win thanks in strong, pleasant ways." Keep the pupils cheerful, interested and earnest while exercising. To bring about the most gratifying results, at least from fifteen to twenty minutes must be spent in the regular daily practice; while in the meantime the pupils and teacher should keep a close vigil over their carriage, movements and positions, introducing as far as possible the teachings of the lessons in Physical Culture into the regular routine of every day work. - Whenever the pupils are required to pass in line to and from the room, or on the stairs, it should be done as a practical walking lesson; each pupil keep- ing his "distance" (which is about the measure of his arm, in front of him) and carrying himself in an erect, graceful manner. GENERAL POSITIONS AND DRILLS. 11 QeneFal Positions .^ ©rill^. The first eight numbers are to be pradiced sepa- rately until they can be promptly and exactly taken. These exercises are incorporated in the lessons for all grades. I. — First Position, Sitting. 1. Feet on floor, side by side, toes turned out. 2. Body well back in seat and erect. 3. Hands folded on edge of desk, left over right. 4. Chest up. 5. Shoulders falling equally level. 6. Eyes to the front. 7. Mouth closed. II. — Eest Position, Sitting. 1. Slide left foot forward and right foot back ; let hands drop into lap ; rest the back against the seat. III. ElSING INTO THE AlSLE. 1. Slide to the edge of the seat, keep first posi- tion of body, drop hands into lap. 2. Place the outside foot in the aisle and rise, letting the movement come from the toes upward, bring inside foot to the correct relative position for standing. 3. Line into the center of the aisle, even with front foot of seat which has been occupied. 12 PHYSICAL CULTURE. (This position makes the lines regular in all di- rections and prevents the pupils from striking the desk in side movements.) Where the space in the front and back of the room will admit, the lines across the room may move forward and backward from the center, thereby placing the pupil two spaces apart or beside each alternate seat. lY. — FiKST Position, Standing. 1. Heels near together. 2. Toes apart at an angle of forty-five degrees. 3. Knees together and straightened. 4. Body erect on hips, inclining a little forward. 5. Arms hanging naturally at side, elbows near body. 6. Chest up; shoulders level. 7. Eyes to the front; mouth closed. 8. Weight on balls of feet. Position fT-ee from restraint. Y. — Test Position. 1. Hands on hips, fingers forward. 2. See toes by bending forward at the neck and if necessary back at the hips. 3. Drop hands at side. 4. Raise head and chest. YI. — Eest Position, Standing. 1. *rold arms forward; step right foot back- *Tlie arms may be dropped in front with liands clasped. GENERAL POSITIONS AND DRILLS. 13 ward, resting the weight principally upon it. Cliest up ; shoulders level ; head poised over the strong or right foot. YII. — Sitting Down. 1. Step near desk. 2. Place the inside foot under the desk and sink gracefully into the seat. 3. Rest position, sitting. YIII. — Setting Chest. 1. Place the right hand on the waist line in front, the left above it. 2. By muscular action of the waist and abdom- nial muscles raise the chest, as the hands are drawn backward and apart as far as possible. 3. Let the hands come forw: id and relax muscles. Repeat four times, dropping hands from the sides. IX.— CHEST EXPANSION. Make as much room as possible for fresh air by expanding the chest, as well as the costal and abdom- nial muscles. The condition of the chest with relaxed muscles is passive — the active condition is that assumed in standing with chest raised and expanded. First Exercise — While standing, practice chang- ing from passive to active chest, by muscular action, without moving the shoulders or breathing; let the movement begin from within and expand outward; contract by the same law. 14 PHYSICAL CULTURE. Second Exercise — Assume the standing position, bend the arms, placing them vertically and parallel with each other, palms outward, clench hands as high as shoulders, then raise chest and take a full breath, hold it while you bring the arms forward opening hands and turning palms in, touch little fingers and elbows together, if you can; draw them back to first position, pulling downward and back- ward strongly, then give out the breath ; with practice the motion can be taken twice on one breath. X.— BEEATHING. The first position standing will be used as the fundamental position while breathing. Explain the physiology of the chest — the action of the diaphram, waist muscles and lungs. For the first month take these exercises sitting ; bend forward at the hips and relax waist muscles before inhaling and straighten up during exhalation; this position is discontinued as soon as the correct expansion and contraction of the costal and abdominal muscles can be controlled at will. Pupils place hands on waist muscles, at side, fingers forward nearly touching; after the correct lung and muscular action has been established the exercises may be taken with hands hanging at side. Teciclier's Signals: Hand up — aHenUon. Hand lower — inJiale. Hand raise — exhale. GENERAL POSITIONS AND DRILLS. 16 (By this 'posiiion the hand calls more prompt attention, and the movements suggests the action of the diaphragm in deep breathing. ) Begin by counting fen for each inhalation and exhalation, increasing the time to ttueiify for primary and forty for grammar grades. Do not make any visible effort with the chest bnt hold it np and keep the shoulders down when breathing; expand the waist and rib muscles for inhalation and contract them for exhalation. InliaJe through the nose. 1. Inhale — Exhale-/^ silently, through the nose. 2. Inhale — Exhale-s/r//< ; open month wide. 3. Inhale — Exhale-a// ; swell throat open wide. 4. Inhale — Exhale-s/i; loh. *5. Inhale — Exhale. Blow Bngle Note. Practice tunes. 6. Inhale — Exhale-o/i, swelling the tone in the middle. 7. Inhale — Exhale, scale smoothly on ah and oJi. 8. Inhale — Hold; raise elbows, shoulder high and tap upon the chest with fingers ; exhale. *The Bugle Note contains no sound of voice or whistle, but is a vibrating bugle sound made by expelling the breath, with a strong action of the waist muscles and diaphragm, from the bottom of the lungs directly to the lips, which are protruded as in giving sit with the soft, inner muscles closely drawn together, as in giving w ; the inner part of the lips vibrates with the outgoing breath and produces the note. This note is an excellent test for deep breathing and gives the lips a practice which aids in articulation and the placing of words when speaking. 16 PHYSICAL CULTURE. 9. Inhale — Hold; tap with finger tips upon the back of the one in front while he leans forward; exhale. 10. Inhale — Hold; tap with finger tips upon the sides of the one in front while his hands are clasped oyer his head; exhale. 11. Panting; take a full breath and throw it out sounding h successively, several times. 12. Click the vocal chords, take a full breath, throw the head back, mouth open, and let the breath pass out clicking the vocal chords. This is very restful to a tired voice. XL— MANUAL OF ARMS. Move promptly on the word Anns. 1. Fold arms — in front. 2. Extend arms — at side palms down. 3. Support arms — hands clasped back of head. 4. Advance arms — -extend in front, palms up. 5. Reverse arms — folded back. 6. Raise arms — vertical over head. 7. Carry arms — cross hands on chest. 8. Shoulder arms — upper arm horizontal at side, fingers on shoulders. 9. Cross arms— fore arms crossed over head. - 10. Present arms — crossed arms in front, shoulder high. 11. Rest arms — hands on hips. . 12. Secure arms — clasp hands in front. CLASS DRILLS. 17 TEEMS EXPLAINED. A step is the length of tlie foot of the person stepping. A charge is tivice the length of a sfep. A /?/7i^e (see fencing) is a double charge. In sioaying the weight is changed from one foot to the other by bending and straightening the knees, while the feet are kept in place. (gla§§ ©rill, In conducting the exercises while the order and moves of the lessons are being learned, observe the following instructions : First. The teacher calls and until no longer nec- essary explains the movements, the pupils the while keeping first position and giving perfect attention. Second. The teacher says '' Move,^^ or if it is measured execution she counts; the pupils may also count, while the school led by the teacher or drilled pupil executes the call. Third. The teacher says "/S/o^)," or she ends the count; and the pupils take first position, keeping it until a change is called. When the order and moves have become familiar the explanations and oral counts should be discon- tinued, the exercises thereafter beginning by signals. During the practice the pupils must keep silent time with the leader, who shoidd not blunder nor heri^cde. 18 PHYSICAL CULTURE. Music should be used when possible ; the rythm and concord of movement is more easily kept to har- monious time. A familiar tune hummed in good time or a French harp played by willing boys makes a pretty accompaniment, and can be furnished by almost any school. To cultivate attention and brighten the work, the teacher should sometimes surprise the pupils by call- ing or leading the movements irregularly; but the ultimate aim is to have the pupils so thoroughly master the graded lessons, postures and movements with apparatus as to be able to give them in the regular order of succession with correct time and counts. OEDEE OF OPENING A LESSON. At the call — Attention ! Gymnastics ! (a). The pupils take "First position in seat," while the instructed monitors act promptly in raising at least two, and lowering all the windows. When the exercise is given by counts or to music, count one measure before rising. (5). By counts the pupils rise, and test position. (c). Begin the regular lesson. OEDEE OF CLOSING A LESSON. . (a). Test — set chest— breathing exercise. (6). Position rest; standing while the monitors close the windows. (c). Sit by counts — takes "position rest sitting." DELSARTE GYMNASTICS. 19 ©el§arte gymnastics. These exercises lay the foundation of the graded lessons, gestures and postures which follow, and must be faithfully practiced by all except the ^7's/ and second grades, for at least four months before be- ginning the other work. For the grades excepted, only the movements selected and included in the graded lessons will be required, in tJie course. A careful review expected in the eighth grade. THE DECOMPOSING EXEECISES. In training the body there are two difficulties, rigidity and weakness, to overcome. Recognizing this fact, the Delsarte System first aims to attain a perfect flexibility of every movable joint in the body, and free the organs of expression from stiffness and sluggishness. This is done by a faithful practice of the Decomposing Exercises, ORDEE OF PRACTICE. Firsf Position Standing. Where corresponding parts of the body are to be moved, exercise first the rigid, then the left, and if possible both together. I. FiNGEES. 1. Shake from the knuckles. 2. Knead; palms up, palms down. 20 PHYSICAL CULTURE. II. — Hands and Weists. 1. In and out. 2. Up and down. 3. Sidewise. 4. Rotate. III. — Elbows and Fokeaems. 1. Throw forward. 2. Twist forearm. ly. — Aems and Shouldees. 1. Raise and drop arms. 2. Rotate shoulders. 3. Shrug shoulders. * v.— Head. 1. Roll right. 2. Roll left. *YI.— Body. 1. DrojD right, and up. 2. Drop left, and up. 3. Drop front, and up. 4. Drop back, and up. YIL — Hips and Knees. 1. ReyolYe. 2. Swing. 3. Paw. YIII. — Ankles. 1. Bend toes up and down. *Move slowly. DELSARTE GYMNASTICS. 21 IX. — Entiee Leg. 1. Shake vigorously. *X. — Eyelids and Lower Jaw. 1. Drop and raise. MOVEMENTS EXPLAINED. I.— ElNGERS. Elbows bent, hands up in front of chest. 1. Let fingers drop limp, from the knuckles ; in that condition shake them by a vigorous movement of the forearm and wrist. 2. Knead the hands, palms up, palms down, in this exercise the fingers are shut well over the palms and opened by a succession of movements, joint after joint. II. — Hands and Wrists. Let the hand fall limp, arm straight, move from shoulder; shake upon the wrist so rapidly that the separate fingers are not visible. 1. — In and out — palms in. 2. — Up and down — palms down. 3. — -"Sidewise — palms down. 4. — Rotary shake — inward and outward. III. — Elbows and Forearms. 1. Bring the back of the hand up to chest, elbow near side, throw out arm so violently that a jerk is felt at the elbow. Take coarseness and self assertion * Move slowly. 22 PHYSICAL CULTURE. ont of the elbow and it becomes the representative of grace and affection. 2. Without moving shoulder or wrist joints twist the forearms pointing thumbs forward and back. IV. — Shoulders. 1. Raise the arm above the head and withdraw the power and it will drop lifelessly at the side. 2. Rotate the shoulder back and around. 3. Let the arms fall limp from the shoulders ; put strength in the chest and twist the body right and left and they will swing around it like ropes. Keep the feet firmly on the floor. v.— Head. 1. Drop the head forward as low as possible ; roll it very slowly to the right and around. -2. Reverse. YI.— Body. 1. Drop body to the right side by involution of movement, let the action commence at the eyes, the head will drop and draw the shoulders and so on by degrees the body falls decomposed to the hips. To raise the body by evolution of movement let the action begin at the hips and follow upward until the head rises and the eyes open. 2. Same to the left. 3. Same to the front; 4. Same to the back. DELSARTE GYMNASTICS. 23 YII. — Hips and Knees. Position — Hands on hips, fingers forward. Keep body well balanced. 1. Stand on one foot, revolve the other abont it. 2. Swing from hip, forward and back. 3. Raise the foot, bend knees forward hip high, then stretch the leg, pawing backward as far as pos- sible, keeping head and chest np and the other foot firmly on the floor. Until strength is gained let the foot come to the floor after each stretch. YIII. — Ankles. Same position. Raise the foot from the floor; bend toes up and down with ankle movement. IX. — Entike Leg. Same position. Stand on one foot shake the other vigorously. X. — Eyelids and Lower Jaw. Let the eyelids close giving up, as if losing con- sciousness ; drop the lower jaw and let the head fall decomposed to one side. 24 PHYSICAL CULTURE. "Harmony originates in contrast, and from it comes equilibrium." In order to gain steadiness of body and grace of movement, one should practice posing on the toes, and changing the weight on the feet keeping the head and chest over, or in sympathy with the placing of the weight or of the strong leg in accordance with the law of opposlfion. This slightly inclines the body at the waist and hips in an opposite direction from the head and legs, which preserves the three curves of form or Vnie of beaiiiy, viz: two convex curves formed by head and legs, joined by a concave one formed by the body. OKDEE OF PEACTICE. (If music is used, slow march time is best.) Begin all exercises from the First Position and finish with the same. Make the changes very slowly, observing all the while continuous movement and the law of opposi- tion. Much depends on the control of the waist muscles. 1. Rise on toes. 2. Right foot advanced; rise, change weight front, and back. 3. Left foot advanced ; rise, change weight front, and back. HARMONIC POISE. 25 *4. Change weight fi'om balls to heels ; reverse. 5. Change weight from right to left foot ; reverse. 6. Incline head right, body left; reverse. 7. Rotate head right, body left; reverse. First Exercise — Stand in " First Position," weight principally upon the balls of the feet ; head and chest up ; hips back. Rise as high as possible on both toes then sink back into position. Repeat several times. Second Exercise — Advance the right foot about its length then rise high on both toes, settle the weight on advanced foot keeping up back heel ; rise again on toes and change weight to back foot keeping up front heel and so continue to alternate. Third Exercise — ^ Advance the left foot and repeat second exercise. Fourth Exercise — Without raising the toes or heels from the floor, sway the body, changing the weight until it comes entirely on the balls, then back on heels, and continue to alternate. Fifth Exercise — Without raising feet change the weight to the right foot then to the left, and so alternate. Sixth Exercise — Incline the head obliquely for- ward to the right and body obliquely to the left. Reverse. Seventh Exercise — Weight on both feet, rotate the body at waist line to the right, and head to the left. Reverse. *In last four numbers the feet are not raised from floor. 26 PHYSICAL CULTURE. >^ Walkings The subject of walking, aside from a standpoint of health, is a matter of much importance. The impres- sions we derive from seeing people walk are not without their significance. In order to practice with accuracy, it is necessary to have a heel line painted in the center through the length of the aisles. Place the feet on each side of this line, heels touching toes at proper angle. PEEPAKATOEY PEACTICE. (Waltz Time.) FORWAED. 1. Touch the left toe forward. 2. Eise on both toes, supporting the weight of body equally on both. 3. Settle on advanced foot, smoothly and strongly carrying the head and body forward in harmony. (Never allow the heel to come down with a thud, jarring the spine.) Eepeat this exercise with the other foot, and con- tinue to advance as many steps as the space will allow, then bring feet together side by side. Backward. Without turning around step backward to places following the same order of counts. WALKING. 27 1. Touch toe back. 2. Rise on both toes. 3. Settle on retired foot. After this exercise has been faithfully drilled upon, practical walking will naturally and correctly follow. Advance the foot touching ball first and carrying the body forward with a strong, smooth spring, chiefly by the action of the thigh, until the entire foot bears the weight ; the head, body and shoulders swaying in sympathy and harmony. The back thigh sinks slowly in at the joint as the weight is trans- ferred forward. Practice walking until the pupils are able to move backward and forward through the aisle, keeping toes at correct angle and heels each side of the line without effort, then line around the room. Remember to place the foot down, ball first. "Heel first, indicates neither grace nor power. To preserve dignity and prevent the impression that you are fickle and vaccinating,, beware of your heel liney For home practice choose a seam in the carpet, if convenient; one extending in front of a large mirror, watch your steps and see that you are able to walk easily swinging the leg from the thigh in such a manner that with each step your heels touch the seam and your toes turn out properly, keep chest up, chin slightly in and arms at side. 28 PHYSICAL CULTURE. These gracefnl floating movements easily and naturally follow the "Decomposing Exercises," prac- ticed in all grades, and are based on the law of succession, viz: — "Movement begins at the vital parts or at a given center and continues in successive waves until it passes off at the extremities." While practicing these exercises stand well poised but do not hold the head stiff ; it should rise and sink slightly in opposition with the hand movements — "every movement of the hand has responsive move- ment in the head." For practice take each movement three times. Use waltz time, counting two measures to each move. - All the moves finish by floating the hands, palms downward, to position at side. The front side and oblique may be combined with the Poise. OKDEK OF PEACTIOE. I. Front movement — three times. II. Side movement — three times. III. Horizontal movement — three times. ly. Oblique, right, left — three times each. Y. Serpentine; right, left and both, three times each. THE FEATHER MOVEMENTS EXPLAINED. 29 YI. Spiral; right, left and both, three times each. YII. Giving ; limited, broad, elevated, once each ; repeat set three times. JVIoVements Explained. FEONT MOVEMENT. By putting strength in the chest and shoulders raise the arms, elbows straight, palms down, np in front of the body about forty-five degrees above level, letting the hands hang limp. (In all of these move- ments the hands never lead, but follow after.) To draw the hands downward, force begins in the chest and passes joint by joint, muscle by muscle, success- ively down the arms, unfolding them and floating the hands' through the air as feathers ; finally expanding the hands and passing off at finger tips. SIDE MOVEMENT. From the front movement let the hands fall smoothly at the side, from where they are raised and lowered in the same manner and to the same angle as in the front movement. 30 PHYSICAL CULTURE. HOEIZONTAL MOVEMENT. Eaise the arms, elbows straight, palms down, to shoulder level at side, then turn palms inward and bring them together and back to side horizontal; ob- serve the same law of action as in the front move- ment ; finish by turning palms downward and floating hands to side. OBLIQUE MOVEMENT. EIGHT OBLIQUE. Raise arms, elbows straight, palms down, to shoulder level in front, then face palms, and draw hands near chest by bending elbows outward and downward; from this position stretch strongly, un- folding right arm obliquely right and up, at the same time stretching left arm obliquely left and down. Bring straight arms back to shoulder level front, and finish by turning palms downward and floating hands to side. LEFT OBLIQUE. The reverse of right oblique. SERPENTINE MOVEMENT. Raise the right arm, elbow straight, palm down, to shoulder level at side. By a movement of the mus- cles of the shoulder and upper arm and a bending and bringing forward of the elbow the hand is brought over the shoulder, thumb down, and fingers hanging obliquely toward the right ; now bend the THE FEATHER MOVEMENTS EXPLAINED. 31 elbow farther front and downward almost to side, then twist the forearm out straight, raising the elbow and expanding the hand out at shoulder level. As the right hand finishes and comes to side raise the left to shoulder level and with it execute the movement; after which hold the left in position and bring the right up even with it, then perform a double movement by exercising both arms at the same time. SPIEAL MOVEMENT. The spiral movement is several repetitions of the serpentine movement, each time taken from a higher position at the side. The move is smooth and continuous, suggestive of its name, and expresses mystic revelation. Three positions make a pretty movement. The order of exercise and change is the same as for the serpentine movement. GIVING OR UNFOLDING MOVEMENT. THE LIMITED GIVING. The elbows are bent and finger tips brought to chest, palms in. As the elbows are raised the fore- arms extend and hands expand about waist high. The hands are held forward in the attitude of pre- senting a gift to one person, palms up, fingers near together. (Do not hold the gift back with your thumb, or let it fall through spread fingers). 32 PHYSICAL CULTURE. THE BEOAD GIVING. This movement unfolds the same as the one before, only that the hands are expanded farther apart, which makes the gesture more generous, including all; the eye must glance from side to side encompassing all within the scope of the hands. THE ELEVATED GIVING. This signifies the giving of faith or the asking for divine aid and is made by unfolding the arms up- ward, hands held as to receive, about forty-five de- fifrees above level. GRADED SECTIONS. 33 Qraded Sections. FouK Divisions. FIEST DIVISION. First and Second Grades. Sitting positions. Marcli time, 8 counts to each number. FiKST Series. 1. Clap hands to time, through two measures, right hand uppermost on .first measure, and left above on the second measure. 2. Back of hands near chest, open and close fingers as in kneading. (See "Decomposing Exer- cises.") 3. Alternate raising right and left hand over head. Let the movements be in succession, 1, 2, up ; 3, 4, down, and so continue. 4. Raise both hands at same time. 5. Hands on hips. Bend body forward and back, moving only at hips, 1, 2, forward; 3, 4, back, and so continue. 6. Hands on edge of desk, right over left, lower and raise head slowdy, 1, 2, 3, 4, down; 5, 6, 7, 8, up. 7. Forearms vertical, palms facing; 1, bring hands together; 2, stretch back, pulling strongly across the chest, and bringing the elbows down near the side, and so continue. 34 PHYSICAL CULTURE. 8. Fold arms front, count eight. 9. Raise and lower both heels. 10. Cross right foot over left, keeping left foot in place. 11. Cross left foot over right, keeping right foot in place. Breathing, 1, 2, 3. Second Series. 1. 1, 2, 3, 4, Rise. 5, 6, 7, 8, Test Position. 2. Hands at side, rise on toes. 1, up ; 2, down, etc. 3. Slowly raise hands at side and clasp them back of head, and stretch through the measure. 4. Slowly and strongly bring them to parallel down in front. 5. Shake the hands up and down; in and out. 6. Raise and drop shoulder, 1, up; 2, down, and so continue. 7. Decompose the head, roll it front, right, back, left; front and reverse. 8. Slap hands front and back, arms straight, on eighth count bring hands to side. 9. Hands on hips, raise left foot back, bend at knee only, bring the foot back in place touching- ball down. 1, up; 2, down, etc. 10. Right, the same. 11. Alternate, 9 and 10 continue faster into a run on the toes,' lining around the room, the same GRADED SECTIONS. 35 as in marching; until the pupils are well drilled, have only one row run at a time. 12. Test - Set Chest 13. Breathing, 1, 2, 3, (see General Drills,) three times each. 14. Sit. Best position. Third Seeies. See Feather Movement. Take each movement once. First position standing. Front Feather Movement: — 1, right hand; 2, left hand; 3, both hands; 4, both hands, with the first poise. Side Feather Movement. — 1, right hand; 2, left hand; 3, both hands; 4, both hands with the first poise. Horizontal Feather Movement. — 1, right hand; 2, left hand; 3, both hands; 4, both hands, with the first poise. Combined Feather Movement. — (Make the changes smoothly.) — 1, both hands front, and first poise; 2, both hands side, and first poise; 3, both hands horizontal, and first poise. Repeat. Bi'eaniing, 4, 5. (See Breathing.) 36 physical culture. Fourth Series. First position standing. Four counts to each number ; one count for the move and one for the po- sition. 1. Twist head to the right and back to front. 2. Twist head to the left and back to front. 3. Right hand touch left shoulder, back to place. 4. Left hand touch right shoulder, back to place. 5. Alternate 3 and 4. 6. Both halids move at same time, each hand touching opposite shoulder, back to place. 7. Hands on hips, from waist twist body right and back to front. 8. Twist body left the same. 9. Hands at side, step right foot forward and back; rise on toes. 10. Step the left foot forward and back; rise on toes. 11. Step the right foot backward and to place; rise on toes. 12. Step the left foot backward and to place ; rise on toes. 13. Clasp hands and charge right foot forward; raise arms in a circle over head; bring foot back to position; arms at side. 14. Clasp hands; charge the left foot forward; raise arms in a circle over head; bring foot back to position; arms at side. 15. Raise right arm shoulder high in front. GRADED SECTIONS. 37 palm down; swing to horizontal at side; back to front; down in place. 16. Take the same exercise with left hand. 17. Take the same exercise with both hands. 18. Fold arms; face right; face front; drop arms. 19. Same to left. Breathing. — Review previous practice and take in addition No. 6. PRIMARY GAMES. The Race. It adds much to the interest of the exercises if pleasing, exciting recreation-s be occasionally intro- duced. The ivalking or r mining race will greatly delight the little children, and can be given on the lower floor without annoyance to other rooms. At one end of the room place two objects on a table or inside of chalked rings on the floor ; at the other end put on the floor foe-mctrks, the right about twelve inches in front and six inches to the right of the left. The contestants in the attitude of the runner, right foot forward, knee bent, left leg straight, chest up, hands at side, start at the word go and make the run bringing back the objects. (They also make the run to return the objects. ) The idea is to see which one can get back into correct starting position first. Let the school decide the best two out of three runs. If the room will allow, several pupils may run at the same time. It adds interest to put bean bags on the heads. 38 physical culture. Passing Dumbells or Bean Bags. Form two columns (it may be by choosing sides) at the head of each on the floor, chair or table, place a certain number of objects, as they are passed toward the foot, each pupil catches them with the hand toward the foot and vice versa. The game will be won by the side which succeeds in passing their objects down and back first to the original position at the head of column. The Tug of War. Take an inch and a quarter rope about ten feet long; select an equal number of children to catch each end, arranging the strongest toward the ends ; at the word puM they exert their strength, each side trying to bring the other beyond a certain chalk mark on the floor; the teacher will keep time by his watch and call haU at the expiration of a stated time, (one, two or three minutes. ) SECOND DIVISION. Third and Fourili Grades. First Series. March time, eight counts to each number. 1, 2, 3, 4, Rise; 5, 6, 7, 8, Tesi. 1. Shake the hands in and out, keeping elbows straight, palms in. 2. Shake the hands up and down, keeping elbows straight, palms down. GRADED SECTIONS. 39 3. 1st, bend elbows, bringing palms front; 2d, throw tlie forearms forward, palms down, continue through the move. 4. Shrug the shoulders from right to left, twist- ing at the waist; let the impulse carry the arms around the body, as ropes would fall. Keep the feet firmly on the floor ; 1, 2, right ; 3, 4, left, etc. Face front on 7, 8. 5. Shake the shoulders up and down. 1, up; 2, down, etc. 6. Shake both entire arms from the shoulders; raise the upper arms shoulder high, let the hands hang limp in front of body, by a strong shoulder movement, fling the hands downward. 7. Roll the head smoothly and slowly front, right, back, left; front and reverse. 8. Front feather movement three times (see Feather Movements). 1, 2, 3, 4, up; 5, 6, 7, 8, down, etc. 9. Side feather movement, three times (see Feather Movements). 10. Horizontal feather movement three times (see Feather Movements). 11. Poise on both toes four times, rise slowly and strongly on 1, 2, 3, 4. Come down on 5, 6, 7, 8. 12. Advance right foot bending right knee ; at the same time curve left hand over head, palm out, look up. Analysis^ on the first count step right foot forward and raise left arm shoulder high at 40 PHYSICAL CULTURE. side ; on the second count bend right knee and curve left hand over head; for third count same position a,s first count; fourth count back in place. Repeat. 13. The same with left foot and right hand. 14. The same with right foot and both hands. 15. The same with left foot and both hands. 16. Test Set Chest. . 17. Breathing, 1, 2, 3, 4, 5, (see Breathing,) practice each four times. 18. Rest position standing. 19. Sit. Rest position sitting. Second Series. Count four for each number. First position standing. Test. 1. Eaise right arm straight, shoulder high front, palm down ; swing it to side shoulder high ; back to front; down at side. 2. Left hand the same. 3. Both hands the same. 4. Right shoulder, raise and drop. 5. Left the same. 6. Both the same. 7. Body; bend right; twist right, (at the waist). 8. To the left the same. 9. Body, bend front and back. 10. Fold arms back, step right foot forward and back in place ; rise on toes. 11. Left the same. GRADED SECTIONS. 41 12. Step right foot backward and forward in place, rise on toes. 13. Left the same. 14. Arms folded, charge right foot forward. — Sway. 15. Left the same. 16. Alternate 14 and 15. 17. Right and left Feather Movements — (three times each). 18. Right obliqne Feather Movement, with second poise. 19. Left oblique Feather Movement, with third poise. 20. Side Feather Movement, with first poise. Brecdliing, 6, 7. (See Breathing). Third Seeies. 1. Fold arms forward ; step right foot diagonally front; bring foot back to place; drop arms at side. 2. Same with left foot. 3. The same stepping right foot back. 4. The same stepping left foot back. 5. Arms at side, step right foot front and back to place ; side and back to place ; back and to place ; cross over in front, and back to place. 6. Left the same. 7. Alternate each move. 8. Step right foot forward; fold arms front. — Sway. 42 PHYSICAL CULTURE. 9. Left the same. 10. Hands on liips ; twist body riglit ; twist body front; drop hands. 11. Same to the left. 12. Right arm raised at side shoulder high, palm down; bring to front; back to side; down in place. 13. Left the same. 14. Both the same. 15. Twist head to right. 16. Twist head to left. 17. Raise the chin and draw it back. Breathing, review previous practice. THIRD DIVISION. Fifth and Sixth Grades. First Series. March time, eight connts to each number. ,1, 2, 3, 4, Rise; 5, 6, 7, 8, Test position. (For the first eight moves see Decomposing Exer- cises. ) 1. Shake fingers from knuckles. 2. Knead hands, palms up. * 3. Knead hands, palms down. 4. Shake hands sidewise. 5. Rotate the hands inward, outward, eight counts each. 6. Hands on hips, fingers forward. Decompose hips and knees. GRADED SECTIONS. 43 7. Shake the hands up and down. 8. Decompose the body, drop it right, eight counts down, eight up. Drop it left, eight counts down, eight up. Drop it front, eight counts down, eight up. Drop it back, four counts down, four up. 9. Step right foot diagonally forward, about twelve inches. Same with left. Alternate. 10. Step right foot diagonally back. Same with left. Alternate. 11. Step right foot over in front of left, touch toe to floor and bring back to position. Same with left. Alternate. 12. Swing the right arm sidewise above the head, palm down. Same with left. Same with both. (As the hands come down on last count clasp them, backs up.) 13. Step right foot diagonally back and across the left, incline body forward in a bow. Same with left. 1, 2, bow; 3, 4, come to upright position, 14. Swing clasped hands over head, and step right foot across in front of left, incline the body slightly to the right. 1, 2, take the posture; 3, 4, come to position. Same with left. 15. Salute — 1. Right hand extended diagonally front, palm down, look front. 2. Touch brow, look left, 3. Come to 1. 4. Hand at side. 44 PHYSICAL CULTURE. 16. Test Set chest 17. Breathing, 1, 2, 3, 4, 5, 6. (See Breathing.) 18. Position rest standing. 19. Sit Rest position. Second Series. First position standing. Eight counts to each number; one count for the move, and one count for position. 1. Cross right foot over in front of left; bring back to place. 2. Left the same. 3. Alternate. 4. Cross right foot over touching it left of left toe; step forward; raise arms straight over head palms front; come back to position. 5. Cross right foot back of left ; forward to place. 6. Left the same. 7. Alternate. 8. Face right; bend body forward at waist ; raise body erect; come to front position. 9. Face left, etc. 10. Clasp hands and raise above head; right foot forward ; bring foot back to place ; drop hands in place. 11. Same, stepping left foot forward. 12. Twist the body at waist line, to the right and back; extend arms shoulder high front, and drop them. GRADED SECTIONS. 45 13. Repeat 12, twisting to the left. 14. Step right foot forward, fold arms and sway body, come to position on the eighth count. 15. Step left foot forward, etc. 16. Alternate 14 and 15. 17. From side raise arms front shoulder high and back to place; diagonally front shoulder high and back to place; at side shoulder high and back to place ; fold arms. ( Change time. ) *18. The side Feather Movement (twice). 19. The horizontal Feather Movement (twice). 20. The fi'ont Feather Movement and the first poise (twice). 21. The right oblique and the second poise (twice). 22. The left oblique and the third poise (twice). Breathing 7, 8, 9. Thikd Seeies. First position standing. Four counts to all the numbers except the postures, which have eight. 1. Right hand raised front shoulder high, palm down swing to side ; back to front, down to place. 2. Left the same. 3. Both hands the same. 4. Right shoulder, raise and drop. 5. Left the same. 6. Both the same. *See Feather Movement. 46 PHYSICAL CULTURE. 7. Alternate 4 and 1. 8. Alternate 5 and 2. 9. Body bend riglit, np; left, up; front, up; back, np. 10. Step riglit foot forward and back in place, rise on toes. 11. Left tlie same; rise on toes. 12. Step right foot out at side ^nd back to place; rise on toes. 13. Step left foot out at side and back to place; rise on toes. 14. Step riglit foot back and forward to place; rise on toes. 15. Step left foot back and forward to place, and rise on toes. 16. Take the six positions (three right and three left) of the first posture. (See Postures.) Breathing. — Review previous practice. FOURTH DIVISION. Seventh and Eighth Grades. FiEST Seeies. Sitting positions. March time, eight counts to each number. 1. First position sitting. Hands on hips, bend body forward and back. 1, 2, forward; 3, 4, back. 2. Elbows at side, forearms vertical, palms fac- ing; bring palms together and back, stretching across chest and bringing elbows down against side. GRADED SECTIONS. 47 3. Hands on front of desk, left over right, head down and up slowly, once. 4. Same as 3. 5. 1, 2, bring arms parallel horizontal; 3, bring back to position ; 4, out again, etc. 6. Arms parallel horizontal, palms facing; twist thumbs clown, closing fingers, four times. 7. 1, 2, bring arms to parallel vertical; 3, bring to parallel horizontal; 4, back to vertical, etc. 8. Arms parallel vertical. Open and close fingers. 9. 1, 2, bring arms horizontal at side, palms up; 3, bring to parallel horizontal; 4, back to horizontal at side, etc. 10. Arms horizontal, palms up, twist thumbs down closing fingers; fold arms back. Rest eight counts. 11. Touch the left heel forward even with right toe and back, even with right heel. Right the same. Alternate. 12. Step left foot out at side. Right the same. Alternate. 13. Gross left foot over right. Right the same. Alternate. 14. Raise heels. 15. Raise toes. 16. Slowly raise hands and clasp back of head; eight counts ; elbows forward and back ; eight counts. 48 PHYSICAL CULTURE. 17. Extend arms out at side, shoulder high, palms up, bring tips of fingers over head (four times) ; on the last count come to position for 19. 18. Swimming motion. Position ; palms together, shoulder high in front; 1, 2, extend arms, turning palms outward, at same time lean body forward (if standing, rise on toes) ; 3, 1, arms describe a lower circle and come to position; take exercise three times, then bring hands to side. 19. Manual of arms. (See General Drill.) 20. Rest position sitting or standing, taken twice. 21. Test. Set chest. 22. Breathing— 1, 2, 3, 4, 5, 6, 7. (See Gen- eral Drills. ) (The entire series may be taken standing.) Second Seeies. First position standing. Count eight to each number, 1. Charge right foot forward; fold arms; raise arms out at side; back to position (twice). 2. Same to the left. 3. Alternate. 4. Raise right arm at side, palm front; bring hand to left shoulder, keeping upper arm shoulder high. 5. Same with left hand. 6. Alternate 4 and 5. GRADED SECTIONS. 49 7. Step right foot back; raise left arm curved oyer head, palm front (twice). 8. Step left foot back; raise right arm curved over head, palm front. 9. Alternate. 10. Same with both hands and right foot. 11. Same with both hands and left foot. 12. Step right foot out at side, raise left hand shoulder high at side (twice). 13. Same with left foot. 14. Alternate. 15. Same with both hands and right foot. 16. Same with both hands and left foot. 17. Baise right hand under right arm. 18. Same with left. 19. Alternate. 20. Raise both hands under arms. 21. Step right foot forward and back; side and back ; backward and to place ; rise on toes. 22. Same with left foot. 23. Alternate each foot move, and rise on toes. 24. Hands on hips and back to place ; hands on shoulders and down to place; straighten arms side- wise and back to place ; arms folded back and down to place. Breaihing—8, 9, 10, 11, 12. (See Breathing.) 50 physical culture. Thied Seeies. This series shonld be practiced to nmsic; using waltz time for the feather movement, and changing to march time for the postures. Review in order and connectedly, all of the Feather Movements, executing each movement once; then repeat the set. Immediately following the front movement, give it combined with the first poise; so also with the side movement. Let the right and left oblique movements be followed; first, by the right oblique united with the second poise; then, by the left oblique united with the third poise. The series close with the first five postures. (See Postures. ) Breathing. Review the previous practice. MARCHING. 51 1. When marcliing is conducted with care and exactness, it proves a most cultivating, as well as a very fascinating form of gymnastics. In order to develop graceful ease of carriage and movement, in walking as well as in marching, too much attention cannot be paid to the directions for positions of head, body and hips as given in Harmonic Poise. 2. Keep the chest up, hips back, chin slightly in, eyes to the front, arms hanging easily at side, and thumbs forward, and never drop at the knees or drag the feet. 3. In stepping, turn the toe outward and step foot forward, planting it firmly on the ball; as the weight is strongly and smoothly transferred to it, the heel comes to the floor but rests lightly. OEDEE OF PEACTICE. (Mark time in place between each change.) The pupils rise; test 'position; and stand in first position, ready to obey the commands. The first part of the command is a call for atten- tion; the second part, for execution. 1. Mark time — mark. (Begin with left foot.) . 2. Measure distance — measure. 3. Forward — march. 4. Backward — march. 52 PHYSICAL CULTURE. 5. Eight — face. 6. Side step — front. Side step — back. 7. Front — face. ' 8. Forward — march. (The school -room bow may be introduced here.) 9. Backward — march. 10. Left — face. 11. Side step- — to front. 12. Side step — to back. 13. Front — face. 14. Single file, forward. (Around the room.) 15. Single file, backward. (Around the room.) 16. Face — inward. 17. Side step — to the right. 18. Side step — to the left. 19. Form twos — up the middle aisles. 20. Turn — right and left. 21. Cross oyer — at front (twice).* - 22. Cross over — at back (twice).* 23. Cross oyer — at front and back (once).* 24. Bow and cross oyer — front; back (once).* 25. Side — step and back^ — step. 26. Single file; by commands execute the Manual of Arms while marching. 27. To the seats. 28. Halt. The changes are taken by commands, repeating each number as often as desired. *In particular changes to bring the pupils to their original places a certain number of times is required MARCHING. 53 COMMANDS EXPLAINED. Marh time — mark: Begin with the left foot and alternately adyance each foot abont half its length, bringing it back on the ball first, to position besides the other. Measure disfance — measure: While still keeping time in the aisles the pupils, excepting the first one in each row, in the Primary grades, step np and place the tips of the fingers on shoulders in front ; in tJie higher grades, place the left hand only on shoulder in front. Drop hands at side. Forward — march : The pupils step forward eight steps or as many as the space will allow. In order to keep the advancing lines even the pupils may catch hands. Backioard — march: Step backward with left foot first, endeavor to gain the old position, with the same number of steps used in going forward. JRighf — face: The facings are all executed by turning on the left heel; at the same time slightly raising the right foot and carrying it around to the position besides the left. Side step — to front: — Side step — to hack: From marking time, swing first the foot toward the front out at the side, taking steps toward the front of the room ; mark time and side step in the same manner toward the back of the room to the original position. 54 PHYSICAL CULTURE, Front — face: Turn on left heel, bringing feet to correct front position. Left — face: Executed by turning on left heel and facing left. Side step — to front: — Side step — io hack: Exe- cuted the same as from the right face. Singte file — fortoaTd around the room: While the rest mark time, each pupil in the first row marches in common time, forward and across the front of the room; then back through the outside vacant aisle, the rows in turn following until the school is marching in single file around the room. The eyes should be directed toward the front and the head kept steadily erect. In turning a corner make the steps short and wheel the body squarely around, stepping forward in the new direction, keeping the lines straight. Much depends on the self control and exactness of the leader. Single file — hachward: From marking time, the entire line marches backward once around the room. Face — inward: From this position, execute side step right; side step left. Form ttvos — up the middle aisle: At the back part of the room, the first couple turns, facing the two middle aisles and marches through them to the MARCHING. 55 front; the succeeding twos following in their turn until the entire school is formed in a double column up the center of the room. Turn — right and left: The leader on the right turns, to the right, and the one on the left, turns to the- left, each leading around in an outside aisle and again forming twos up the middle aisle ; the partners should keep exactly opposite each other and make their facings at the same time ; the floor should be marked at the turning points and the pupils required to turn squarely around on corners. Cross over — at front: The leader on the left will step back and to the right, swinging his partner in front of him ; thus crossing over they lead around the room. Cross over — at the hactc: Partners pass each other before coming up aisles. Boio and cross over — front; and hack: Before crossing over at the front of the room the partners pause and bow to each other. In the primary grades the pupils may catch hands as they form twos up the aisles, and after bowing, the one on the left will swing his partner in front of him before they drop hands and cross over. Side step and haclc step: At the head of the double column, the pupils keep their faces to the front, and each side steps out from his own side 56 PHYSICAL CULTUKE. until he stands in front of the outside aisle, through which he passes hack to the rear, where he again side steps to the middle aisle and passes forward. This exercise will take long and patient practice. Single file: At the head of the double column, the original leader starts out in the direction in which he first led, his partner following; all step into single file as they come to this point, and march around the room, executing by commands the Manual of Arms. To the seats : The first pupil of each column will lead up his own aisle, each pupil stopping beside his desk. Half: The command should be given just as one foot comes to the floor ; the pupil will rest on that and bring the other to its side. Common time is at the rate of 90 steps; quick time 110 steps, and double quick time 150 steps per minute. ISToTE. — Going iip and down stairs should be taught in connection with the marching. Lead the children by twos or in a line through the halls and on the stairs, instructing them to plant the entire foot on the step and place the work of the movement rightly on the thigh and strong muscles of the leg. The body should not be bent forward, but carried easily erect. Stair walking, if done in this way, will not tire the body, injure the spine, nor exhaust the breath. If the breathing were correctly managed on the way up, there would be no necessity for stopping at the top to get breath. MARCHING. 57 FANCY STEPS. After strength and perfect control of the body have been gained in marching; the figures and changes may be taken with fancy steps, which make a graceful recreation. Touch Step (Hands at Side) — Waltz Time. 1. Touch right toe forward (the length of one step). 2. Touch backward. 3. Step forward. Eepeat with left. Cross Step — Waltz Time. 1. Touch right toe forward. 2. Touch the same toe six inches past left foot. 3. Step forward. Repeat with left. Chain Step. 1. Lift right knee very high and take the waltz step obliquely to the right, then to the left. Combination of Touch and Chain Steps — Polka OB Maech Time. 1. Touch right toe forward. 2. Cross it past the left foot about six inches. 3. Step with right foot, chain with left. 4. Step with right foot. 58 PHYSICAL CULTURE. A pretty effect is gained by taking these steps in single file with clasped hands; the right may be reached forward and the left backward without turn- ing the body. Double Ceoss and Touch Step. 1. Cross the right foot over in front. 2. Touch it out at side. 3. Cross it over at back. 4. Step forward. Heel and Toe Step. 1. Touch heel forward, one step.^ 2. Touch toe in same place. 3. Touch toe backward one step. 4. Step forward. Gypsy Step. 1. Touch right toe forward to right. 2. Bend knee and bring ball against left instep, heel in front of left ankle. 3 and 4. Chain two steps. WANDS. 59 FlEBT SeEIES. (Eight counts to each number; where the time is not indicated, give one count for the move and one for position) . Posiiions — vertical; the wand is held ear high at right side, by the thumb, fore and middle fingers, knuckles out. Horizontal; at signals or chords (struck with both hands) the wand is dropped in front of body, arms straight down, fingers under, hands dividing the wand into thirds. 1. Bend the arms, bringing the wand to chest, eight counts. 2. Baise the elbows shoulder high bringing wand to chest, eight counts. 3. Step right foot forward diagonally right, at the same time raise wand slowly over head; bring both back to position, four counts. Repeat. 4. Same with left foot. 5. Raise right hand to left shoulder keeping left hand down at side, eight counts. IsToTE. — The wands used in the grades are one inch in diam- eter, and in length vary, with the grades and children, from thirty-six to forty-four inches, these can be furnished at any planing mill or carpenter's shop. Some of our classes have displayed industrial genius by supplying their own appa- ratus from discarded broom sticks; aside from the economy, the process of making uniform, polishing and painting these sticks afforded the children much pleasure, 60 PHYSICAL CULTURE. 6. Raise left hand to right shoulder, keeping right hand down at side, eight counts. 7. Alternate, eight counts. 8. 1, raise right hand to left shoulder ; 2, bring wand to position 2 ; 3, lower right hand at side and bring left hand to right shoulder ; 4, horizontal posi- tion, eight counts. Reverse, eight counts. 9. 1, Swing wand arms straight, shoulder high, front; 2, from this position swing wand to right, shoulder high, turning shoulders; 3, come back to first move; 4, horizontal position, eight counts to right and eight to left. IQ. 1, face right and bring wand to chest; 2, wand shoulder high front, arms straight ; 3, wand on chest ; 4, wand over head, arms straight ; 5, wand on shoulders back of head; 6, wand over head, arms straight; 7, wand to chest; 8, face front, wand down, take the same exercise to the front ; to the left ; and to the front again; resting wand at fifth count in the last move, on the shoulders. 11. Waist motion; 1, turn shoulders to right, keeping feet firmly in place; 2, turn front; 3, turn shoulders left ; 4, turn front. Repeat. 12. Bring wand, arms straight, to front horizon- tal position, eight counts. 13. Bring wand to chest, at same time step right foot diagonally back then come to starting position, alternate slowly with the same movement to the left. WANDS. 61 14. Charge right foot diagonally forward, raise right hand shonlder high to right oblique, and left arm across in front of the body. Take this four times to right and four times to left. On the last count bring wand to perpendicular in front of face, grasping it at lower end with both hands, right above ; end of wand resting on chest. 15. Charge right foot diagonally forward, bring left hand to right shoulder and slide right hand along and up the wand, pointing it diagonally out and up to right; when coming to position on eighth count place left hand above the right and take the same exercise to the left, eight counts ; on the last count come to position, horizontal in front. 16. Boiving Motion. — Charge right foot diag- onally forward, raise arms shoulder high, sway back and forth, bring wand to chest and out, eight counts ; same to left. 17-. Eest one measure. 18. Eaise wand over head slowly and kneel on the right knee, eight counts going down; while on the knee bring wand to chest twice, eight counts; with wand raised come back to position, at the same time bring wand down in front, eight counts. Re- peat kneeling on left knee, alternate to right and left once more. 62 physical culture. Second Sekies. (Arranged especially for the seated school room; with the slightest care the seat-knocking can be avoided). March time, unless otherwise stated, count eight for each numher; and one each for the move and position. 1. March to places, with wand held in vertical position. 2. Bring wand to chest: — 1, 2, place left hand under wand and grasp it at right shoulder; 3, 4, draw wand horizontally across chest; 5, 6, by the placing of the hands, divide the wand into thirds ; 7, 8, extend arms, shoulder high front. 3. Bring wand back to chest and out. 4. Bais9 wand to vertical in front, arms straight, right hand over; back to horizontal. 5. Left hand over. 6. Alternate 4, and 5. 7. Extend wand pointing right oblique, step left foot across, toe pointing in same direction; bring wand back to chest and foot back to place. 8. Take 7 to the left. 9. Alternate 7 and 8. • 10. Step right foot back; at same time raise wand over head and bring back, resting on shoulder ; bring foot back to place and wand to chest, four counts. Kepeat. WANDS. 63 11. Take 10 with the left foot. 12. Alternate 10 and 11. (The facing are all taken by slightly raising the right foot and carrying it around, while turning on the left heel). 13. 1, 2, slide hands to ends of wand; 3, 4, hold wand on chest; 5, 6, turn facing right; 7, 8, raise wand over head. 14. 1, 2, step right foot back, bow from waist, arms move straight down; 3, 4, 5, 6, throw weight on back foot, raise wand over head; 7, 8, step right foot to position beside the left and bring wand down in front. 15. 1, 2, face front; 3, 4, bring wand to chest; 5, 6, turn facing left; 7, 8, raise wand over head. 16. Facing left, same as 14. 17. 1, 2, face front; 3, 4, bring wand to chest; 5, 6, raise wand over head; 7, 8, hold. 18. 1, 2, drop wand back diagonally across left shoulder, right hand near right ear; left arm ex- tended downward; 3, 4, both arms down at side wand across back, at waist ; 5,6, left hand near left ear, right arm down; 7, 8, position over head. Eepeat. 19. Reverse, by dropping wand first across the right shoulder. 20. Yery slowly bring wand to horizontal fi'ont position, arms straight down, slide hands in from the ends. 64 PHYSICAL CULTURE. 21. Step the right foot forward and turn right end of wand against right knee, kneel on the left, keeping left arm straight and body steadily erect, both in going down and coming np. (Sixteen counts. ) 22. Reverse, kneeling on the right knee. 23. Bring wand to floor ; 1, 2, catch wand firmly at the end with right hand, fingers up; 3, 4, hold wand vertical in front at arm's length; 5, 6, place wand on floor about 16 inches in front of toes ; 7, 8^ rest. 24. Charge right foot forward bending only front knee and hips, keep right arm straight, let the wand incline a little forward, four counts. Repeat. 25. Charge right foot backward. 26. Alternate forward and back (sixteen counts). 27. Change wand to left hand and rest. 28. Charge forward with left foot. Same as 24. - 29. Charge backward with left foot. 30. Alternate (sixteen counts). 31. Raise wand from floor; 1, 2, raise wand up with left hand ; 3, 4, catch with right hand, and bring to position vertical, at right side. 32. The pupils will now mark the time and while carrying the wands they may execute the school room march drills, at the same time introducing pretty changes with the wands. By commands the pupils may carry the wands horizontally at limit in front; over head; resting on WANDS. 65 the shoulders ; or dropped gently on the shoulders in front. The iva7id hridge: While marching by twos, at the rear of the room the wands can be crossed, or each pupil may reach his wand over, dropping it into his partners left hand; they then, raise their wands resting them on shoulders, or to limit over head, and side step forward. As they separate at the head of the double column each catches his own wand and carries it to vertical position at side. At the close of the march the pupils will place the wands in the rack, and pass to their seats. To form on the floor of a hall or drill room, the pupils, arranged according to their height, must march in single file to the rear of the room, face front, and number by fours (threes if the room is narrow), mark time and march forward; No. 1, standing in place; No. 2, advancing two steps, (of from twelve to sixteen inches) ; No. 3, four steps, and No. 4, six steps. This gives room and position for taking the wand movements. At the close of the drill the pupils mark time, and backward march, into single file. 66 PHYSICAL CULTURE. FiBST Seeies. Waltz or March Time. Positition: Arms bent, hands chest high, clubs held in front. 1. Right club heart shaped circle to right, eight counts, to left, eight and reverse right and left, eight. 2. Double heart shaped circle to right and left, eight each. 3. Right club shoulder circle out eight; same with left. Reverse right and left (dropping club inward, back of head). 4. Complete circle (heart shaped and short com- bined) right club to right. Left club to left; reverse each, eight times each. 5. Right club lower front and reverse on eighth count, leave at side ; same with left. 6. Take pendulum movement or swing clubs down in front from side to side parallel shoulder high; on eighth count swing. 7. ' Right club over head parallel to floor point- ing to left side, drop it back of head and out shoulder high to right side, on eighth count bring right club to side and raise left to club shoulder high to left, and take same circle, alternate seven counts, on the eighth swing both clubs to position. CLUBS. 67 8. Drop circle — turn at the waist to right, and take a double short circle, then a pendulum swing to left and the same on left side ; on eighth count come to position and take, 9. Double shoulder circle to front, on eighth count catch clubs under the arms ; in number 1, 2 and 3, circles can be alternated. E-emember that the series is arranged for music, this accounts for certain irregular counts. Second Series. Modjeska Wcdtz—Good Time. Position and time same as in First series. 1. Double heart shaped circle right, four, left four. 2. Combine inioard and outward siveeps to the right and to the left, alternate. 3. Right club short shoulder circle out, leff^ club heart shaped, out (four each). Same to left four. 4. Reel eight. Same as 3, but no pause and circles alternate. 5. Dro2^ circle, four. Raise circle (reverse of drop), four. Inside drop; (drop clubs inside of arms) four, side circle parallel to floor seven; a pendulum motion between each short circle; (for drop see First Series) ; after seventh side circle make a plain pendulum back and forth and bring clubs to position. 68 PHYSICAL CULTURE. 6. Six circle parallel. Two drops to the right, one double lower front, two raises and one shoulder circle, drops and raises, elbow and shoulder high. 7. Seven circle parallel same as five, with three drops on right. 8. Eeel four times. 9. JReel and loiver front combination, four (^two short shoulder circles gives time for one lower front). 10. Double short shoulder circles to front, out and in, catch on eight count. Third Series. 1. Eeel, eight counts. 2. Beel and loiver front, eight counts. 3. Reel and side Jiigh circles (the right club makes the circle shoulder high, the left the same), four movements each. 4. Heel and three lower front circles, left club makes four short shoidder circles, right makes one lower, one elbow high and one shoidder high on left, three times, one drop on left. 5. Double over head parallel. (See single over head parallel series one, seventh position. ) 6. Short reel same as 1, but the hands do not drop lower than shoulders, position on eighth count. 7. To the right make a half outside drop, and a half inside drop, one full drop ; pendulum. Same on left, eight counts. CLUBS. 69 8. From the left side swing left club across to right side, begin the side circle parallel to floor, first right then left, on eighth count swing to posi- tion. 9. Lower back circle right, left, four each. 10. Double loiver back, four; and double lower back and front, four. 11. The divide left club makes lower front while right club makes lower back and vice versa. Same from left side, four. 12. Double back circles both in same direction. IB. Double shoulder circles or over arm follow. 14. The windmill, or full arm reverse movement. XoTE. — As it is not expected that any one, wholly inexpe- rienced in club swinging, will attempt these exercises, the explicit directions are not given, but the arrangement and terms will be understood by those familiar with any club series. 70 PHYSICAL CULTURE. Broad Sivord Movements — March Tune. For these exercises use light sticks or steel foils. I. — Blows. 1. Top of head. 2. Left cheek. 3. Eight cheek. 4. Left shoulder. 5. Right shoulder. 6. Left thigh. 7. Eight thigh. II. GUAEDS. 1. Sword parallel to floor, eight inches above and in front of the head. 2. Sword perpendicular, hand shoulder high on left, body slightly turned to left ; sword to side and front of face. 3. Same as 2, but on right. 4. Same as 2, but hand elbow high on left. 5. Same as 4, but on right. 6. Swing sword from position down across right knee, right forearm nearly parallel to floor, right hand on left, point of sword near to floor, finger nails front. 7. Eeverse 6, right arm bent, elbow back, back of hand front, guard right thigh. FENCING. 71 III.^ — ^Taking Distance. Two pupils stand side by side swords at carry; at chord or count they face each other and step apart taking " Distance," each pupil stands with the sword handle touching his own body, and point of sword touching his partners sword, parallel to floor, waist high. lY. — Taking Position. Step left foot back putting the weight principally upon it, right arm half bent, elbow six or eight inches from the side, point of sword not higher than eyes, left arm back of body, Y. — Directions. Let No. 1, or pupil on the right, give the first blow four times, coming to position, and striking swords between blows. No. 2, guards against blows, then change ; and so alternate each blow and guard. It takes much practice to give the blows alter- nately. When striking sway the body slightly for- ward, but in guarding hold the body firmly in place, moving only the arm. YI. — Lunging. Position same as fencing. Five blows. 1. Head; 2 and 3, shoulders; 4 and 5, lower blows. Guard same as fencing. 72 PHYSICAL CULTURE. No. 1, will lunge and strike ; No. 2, will step right foot back of left, charging distance, and guard. From this position, No. 2, will lunge and No. 1, step back and guard; left foot remains in place. Hold each lunge two or four counts. YII. — Short Salute. 1. With sword at carry, and distance taken. 2. Bring swords to horizontal position down in front, 1 and 4 counts. 3. Swing both hands over head, sword parallel to floor, 4-8 counts. 4. Left arm back of body, right hand chin high, sword perpendicular, 8-12 counts. 5. Lower point of sword to floor in front of left foot, 12-16. 6. Strike sword below on left, 1-4. 7. Strike sword below on right, 4-8. 8. Bring sword to position (always on the right), 8-12. 9. Bring right hand to chin, sword perpendicular on count 13, bring sword down on right side, palm front 14, back to 13, count 15, position to fence, 16. YIII. — Gedee of Exhibition Drill. 1. Short salute. 2. Take blows through once, striking two blows each. 3. Take blows through twice, striking once. FENCING. 73 4. Take lunges once. 5. From last lunge on 1 and 2, front face and bring swords to position 13 in nine^ (Short Salute), counts 3 and 4 swing to 14 in nine; 5 and 6, carry swords ; 7 and 8, hold position. Long Salute. 1. Carry arms. 2. Half face to left pointing sword down and to front of room. 3. Raise hand, sword point up. 4. Horizontal in front, blade between knuckles of third and fourth fingers. 5. Bring sword over head, arms up. 6. On guard, position for fencing. 7. Bring heels together ; point sword front. 8. Half salute to right. 9. Half salute to left. 10. Half salute to right. 11. Face salute, bring to face twice. 12. Lunge forward, right foot, salute from face. 13. Half salute to right. 14. Moulinet over head, sword point left and then right. 15. Face salute. 16. Position carry. 17. Scholars step side by side and wheel right, and march off. 74 PHYSICAL CULTURE. @ gestures ® These attitudes of graceful action and statuesque repose especially cultivate the enviable power of self- control, and the expression of significant gesture; they should be practiced until the muscles them- selves gain the responsibility of reproduction, then will result the charming absence of self-conscious- ness, and the light of the living soul can shine out through unfettered natural beauty. Music — Sivanee River, or Flower Song, Eight or six counts to each position. I. 1. Fold arms count eight. Repose. 2. Charge to right, right hand above head palms out, left hand folded across the back: Expedancy. 3. Betain the weight on right foot; bring right hand to hip point the left hand diagonally back and up: Direct attention haclavard. 4r. Hands palms down over right foot, bow body : Pity. 5. Fold arms. Same position to the left. II. 1. Charge to right, hands clenched back, arms straight, chest up: Determination. POSTURES. 75 2. Change weight to left foot, throw hands up palms front: Fear. 3. Bring weight back to front foot, hands drawn back to chest: Renewed courage. 4. Fold arms. Same positions to the left. III. 1. Cross right foot back; raise left arm over head palm down, look to right, right hand back of body: Exidtafion. 2. Change position of arms, look left. 3. Kneel on right knee, clasp hands over the left, look down: Religious devotion. 4. Fold arms. Same positions to the left. IV. Double III, one pupil takes 1, and the other 2; catch and raise inside hands, kneel together. 1. Right foot charge back, hand on hip; left hand over left knee, weight back: Inierest foicard inferior. 2. Step right foot forward; hands to the right, palms back, turn the head and look left: Disgust. 3. Right toe touching back of left heel, left arm over head, right hand on left chest, palm outward, look to right: Guarding against danger. 4. Fold arms. Same positions to the left. 76 PHYSICAL CULTURE. 1. Right foot charge back, clasp hands over head : Joy. 2. Sway forward, fold arms and look left: Self possession. 3. Charge with right foot, stamp, clench left hand back at side, right hand across chest, palm front : Indignation. 4. Arms folded. Same positions to the left. VI. 1. Right foot over in front, left hand catching dress, right hand at side, look down, bow body: Modesty. 2. Turn the body facing left, step left foot toe pointing left, point upward with left hand, right at side, rise on both toes, look up over right hand: Murcury pose. 3. Face front, step right foot forward, rising on toes, raise both hands palms up; bring them down backs up, at the same time bring foot to place: Pleading. 4. Arms at side. Same positions as 2, to the left. POSTURES. 77 YII. 1. Charge right foot and lisien with left ear, left hand up back of left ear ; charge left foot and listen with right ear, right hand up. 2. Step back with left foot, and throw weight back, bring clasped hands to chest : Sudden fear or anguish. 3. Step forward with right foot and raise right hand looking out under hand: Watching. 4. Step back extending right hand forward, left down : Recognition. 5. Arms at side. Same positions to the left. VIII. — Altitudes Expeessing Opposite Emotions. To be given by couples, the pupil on the right executing 1, w}iile the pupil on the left executes 2. 1. Challenge. — Weight on left foot advanced, right hand palm up, descends quickly in front, left hand at side, chest up. 2. Defiance. — Weight on left foot back; right arm bent sharply across chest, hand clenched back up, left hand clenched at side. Eest one measure, change parts. IX. 1. Pleading. — Weight on left foot advanced, kneel on right knee, hands intertwined and raised, look up, toward the left. 78 PHYSICAL CULTURE. 2. Rejection. — Weiglit on left foot back, hands extended outward palms to right, head turns slightly to left, shake it. Rest one measure, change parts. X. 1. Doubt — Weight on right foot back, right hand on forehead, head bowed. 2. Faith. — Weight on right foot, transfer to left foot advanced, head and eyes raised, hands crossed on breast. Rest one measure, change parts. XI. 1. Supplication. — Weiglit on right foot, retired, kneel on right knee, hands raised, palms up. 2. Resignation. — Weight on left foot back, head bowed, hands intertwined, palms bent downward. Rest one measure, change parts. XII. 1. Listening. — Weight on left foot, step right foot forward, to right listen with left ear, step left foot forward, listen with right ear. 2. Admiration. — Right and left foot step back- ward, head held back, arms raised, palms up, wave downward. Rest one measure, change parts. BOWING. 79 XIII. Salutaiioii. — (Taken by the entire class. ) Weight on left foot, advanced; change to right foot, and retire left foot, bow body, hands palms up, wave downward. ^Bowing4 No form of gesture or expressive movement is more often abused, nor yet, can be given with more charming effect than this hug-bear of Friday after- noon. It is positively cruel to call before a school, an untrained child and required him to make a hoiv. This so-called bow is usually a nod which amuses the school, embarrasses the child and still leaves him in utter ignorance of the proper thing to do. The School Koom Bow. This bow of the platform should be made with graceful repose and may appropriately be used in the parlor. Boys make this bow from the first position stand- ing by slightly inclining the body forward from the hips ; the arms hang easily at the side while the eyes glance forward. 80 PHYSICAL CULTURE. GiJ^ls are afforded an opportunity for displaying mnch grace in this exercise ; they should practice by the following analysis until the bow becomes one smooth, continuous movement : 1st. Touch right toe back (for class uniformity begin with the right). 2d. Bow forward at hips, letting the arms fall at the side; at the same time bringing weight to retired foot. 3d. By involution of movement, beginning at the very feet, raise the body to erect position simultane- ously changing the weight back again to the ad- vanced foot, or for a more elaborate parlor bow, the weight may still be retained on the right foot while the left is brought back; this changes the position of standing. (In the higher grades practice both forms.) The Steeet Bow. On the street as elsewere, it is well for children to wait for an indication of recognition from their elders, yet there is no strict rule of formality gov- erning the matter as to who, lady or gentleman, old or young, shall speak first. The greeting should be without pertness or affectation ; it is considered more respectful to accompany the greeting with the name of the person spoken to. BOWING. 81 The hoys should not omit the graceful salutation of politely lifting their hats, which in order to pre- vent the hand passing between the faces should be done with the hand aivay from the person passed. Of the girls, only a slight inclination of the head, with a cheerful look and pleasant word of greeting is required. Bowing should be carefully and earnestly prac- ticed as a regular school-room lesson. The exercise may be taken in the aisles or the pupils can march forward and take in turn, the school-room bow, from the platform — for the street bow the boys and girls may form in separate columns and by twos advance from opposite sides of the room bowing in front as they pass each other, the boys making a semblance of raising their hats; or they may actually wear their hats, and here they could also be taught to carry their hats — not one boy or man in fifty manages his hat with ease. OUTLINE FOR A SPECIHL READING • LESSON. (DEGLAMATION.) \J. »—_ D □ r— » J^. GRHMMHR GRHDES. OUTLINE FOR A SPECIAL READING LESSON. 85 Ovjtlir\e Special JReadiiAg LessoiA. Grammar Grades. I.— Preparation (Seat Work) — Menial Basis. 1. Select — mark diacritically and define new words. (The number may be limited to five or ten. ) 2. Select synonyms or like expressions. 3. Select best thought. 4. Look up, 1st, biography of persons; 2d, loca- tion and history of places ; 3d, historical or scientific references. 5. Eead carefully for the thought. II. — Eecitation. 1. Review preparation (4). 2. Make a black board list, from the 7ieiv loords selected, articulate, pronounce and apply them ; also from the synonyms and best fhoughfs. 3. Tell the story in your own language. 4. Give new thoughts. In making the black hoard lists (2) call on some pupil to write his selection on the board, while the others check off on their own papers ; so continue to call on the pupils in order, each giving his unchecked numbers until a complete list of the unlike selec- tions will be grouped on the black board for drill and discussion. 86 PHYSICAL CULTURE. III.^Class Deill — Physical Basis. Give a class drill in gymnastics, standing posi- tions and breathing. With words and passages chosen from the lesson practice vocal exercises, plac- ing and projecting the tone, opening the throat, de- pressing back o£ the tongne, using lips, blending words, lifting eyes from page, articulation, emphasis, inflection, tones and qualities of voice. IV. — The Oeal Beading — Mental, Moral and Physical. it the foregoing preparation has been faithfully made the pupil will understand the thought and will have gained sufficient control of the voice and the elements of expression to read aloud with natural- ness and accuracy. In no case allow the pupil to blunder along, stop him; he cannot interpret to others that which he does not understand himself. Lead him to comprehend the meaning, then the thought and his feelings will prompt the right ex- pression. It will greatly aid in bringing out the meaning to (jroiip by emphasis, pauses and inflec- tion the inferior words around the thought words, " To this one standard you may justly appeal, Here lies the golden secret, learn to feel.' Note. — To follow the above plan, with an ordinary readr ing lesson, will take the usual scheduled recitation and study time of at least three days, but the result in establish- ing habits of thought gathering, and careful expression will amply repay for time spent in occasionally preparing a les- son in this way. DECLAMATION. 87 ^ DeclamatioiA ^ If it is desired to make a recitation of the lesson read, or (my select ion commit the words exactly, and after the menial picture has been clearly formed in the mind, apply the gestures, bringing ont the scenes and characters graphically, properly disposing them on the right and left as your interpretation and imagination direct. GESTUEE CLASSIFIED. Illustrative^ Directive, Emotive. I. — Illustkative. Suits the action to the word. Example. — Each horseman dreiv his battle blade. II. DiKECTIVE. Points out person, place or thing and carries the eye of the spectator to the object spoken of, either visible or located by imagination. These gestures must be arranged with pictorial accuracy and taken in' upper, middle and lower lines. Jj'ppei' Line. — The hand and eye must be elevated above horizontal or shoulder high, as in locating mountains, speaking of the firmament or of any object above the speaker. 88 PHYSICAL CULTURE. Middle Line. — In addressing persons near by, or in speaking of objects at a distance, the hand takes the middle line, which lies between the shoulder and the the waist. Lower Line. — The hand falls below the waist line in pointing to objects near or below the level of the eye. III. — Emotive. An ontward expression of an inward feeling. Ex, — "Stay, lady, stay for mercy's sake, And hear a helpless orphan's prayer." A FEW IMPOKTANT RULES FOE GESTURE. 1. First stand properly ; half the battle is gained when we have the right position npon the feet and can change the poise at will. 2. No gesture should be made without a reason. 3. Uniform strains require little gesture, while variable passionate expressions require many. 4. The hand and fingers must be carefully trained. If the joints are stiff and angular, practice the decomposing and feather movements ; the second and third fingers should lie together and curve some- what more than the first and fourth, and be separated from the first a little below second joint from knuckle ; there should be a curve inward from the tip of the thumb to the wrist. The thumb never falls into the palm of the hand unless to signify treachery or weakness. .DECLAMATION. 89 5. The eye precedes and accompanies the motion of the hand, yet does not look after it constantly, bnt returns to the audience. 6. Every accented motion mnst have a slight preparatory movement in the opposite direction. 7. Except in violent passion, the lines of gestnre must be in curves. Mentality is expressed by inward lines, passion by outward lines. 8. Having located any fixed object, we must recur to the same point in again speaking of it. 9. The gesture generally precedes the word, cer- tainly so in strong emotion. School Course of Practice. All Grades — General Positions and Drills. GRADES I AND 11. FiEST Semester:— First and second series "of first division, graded section. Marcliing — including commands 1 to 15. Primary games. Second Semester: — Third and fourth series of first division, graded section. Marching — commands 15 to 25. Work of both semesters reviewed. GEADES III AND IV. First Semester: — First series of second division, graded section. The decomposing exercises. Marching of grades I and II, reviewed. Harmonic poise (first three exercises) and walking. (90) school course of practice. 91 Second Semester: — Second and third series of second division, graded section. Marching — commands 25 and 26. Bowing, walking on the stairs. The entire marching series and walking reviewed. GEADES Y AND YI. First Semester: — First series of third division, graded section. Review of decomposing exercises. The feather movements — bowing reviewed. One declamation with gesture. Second Semester: — Second and third series of third division, graded section. First three postures — two fancy steps. Wands — optional by vote of the school. One declamation, with gesture. GRADES YII AND YIII. First Semester: — First series of fourth division, graded section. A careful review of the Delsarte gymnastics. Wands and clubs (optional). One declamation with gesture. 92 physical culture. Second Semestee: Second and third series of fourth division, graded section. All of the postures and fancy steps. Eings, clubs, wands and fencing (optional). One declamation with gesture. i--^)^^ For further information concerning the subject herein treated, address The Author, It 19 Center Street, Des Moines, Iowa. Cymnhstic Hpphrhtus manufacturer's depot, Redhead, Norton, Lathrop & Co, 607 & 609 LOCUST STREET, DES MOINES, IOWA. Carry in Stock, or supply on short notice, INDIAN CLUBS, WANDS. DUMB-BELLS, BOXING GLOVES, FENCING FOILS AND MASKS, FOOT BALLS, ROW- ING MACHINES, HORL ZONTAL BARS, Or any other Gymnastic Goods desired. Call for Descriptive Catalogue. Brooklyn Normal School FOR PHYSICAL EDUCATION. The object of this School is the thorough preparation of teachers of Physical Culture and Gymnastics. The course is comprehensive, including floor practice, a course of read- ing and lectures on Anatomy, Physiology, Hygiene — the Voice and Delsarte expression. For Catalogue address the President, W, G. ANDRRBON, ADELPHI ACADEMY, BROOKLYN, N. Y. ETT SE3^IDX3iT<3- TO EDGAR S. 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