Class ^ f-7£3 Book 'i 'C' Copyright N°_ COPYRIGHT DEPOSIT. / DANCES - National, DemiGharacter, Ballet, Esthetic Interpretive and Folk Fully described, and witli appropriate music y for each, for use in American dancing academ- ies and schools "^ Arranged or Composed by LOUIS H. CHALIF principal of the Ghalif Normal School of Dancing, New York. Published and. for sale only by Louis H. Ghalif 7 West 42nd st.. New York, N.Y. Copyright, 1915, by Louis H. Ghalif DEC 27 1915 ©CI.A420iy5 '^' CONTENTS VJ) CO Volume I . Abandon Allegretto Allemande America Anitra's Dance Autumn Baborak Bacchanal La Ballerina Barcarolle Bavarian Folk Dance Beauty of the Alps Blue Bird Blue Danube Waltz Bluet te Polka Bolero Bulgarian Folk Dance The Bride' s Dance C. Ca la Brea?,a Cherry Blossoms Chopin Prelude Chopin Waltz Cleopatra's Dance Cola Rerbianka Columbine Countess, The La Creole Csardas in D, duet Csehbogar Cymbal Dance D. Diana Diana' s Hunting Party Donskoi Cossack Dance Echo, The Eugenie Onyegin Fairy Queen, The Fireflies Flemish Folk Dance Flower Waltz, The Forest Spirits, The French "noil. The Fricassee Furlana ,duet G. Galanterie Gavotte German May Dance Gipsy Camp, The Goralski Taniec Greek Maidens Playing H. Her Warrior Hewet t ' s Fancy Highland Schottische Humor eske Hissar, The I. Irish Lilt J. Japanese Group Dance Jean et jeannette J Ota Aragonesa Joy of the Rose K. Khorovod Krakowiak L. Little Fairy Snowflake Lezginka Long Dance Lujock M. Magyar, The Mai d-of -Honor Dance La Mane ha Manchegas Marysia Maypole Dance May Queen, The Volum-e II . jrazovian Maid, The Menuet de la Heine Midsummer Night's Dream Mignonnette Minuet de la Cour Moment Musical Mountain Trio Dance Morning Morning Star, The Moon Dance, The Musette N. Night Noon Norman Folk Dance 0. Old English FolK Dance Old Welsh Dance Ostendaise P. Palom.a, La Pastorale Petite Coquette Pied Piper, The BallPizzicato Pletyonka Plyasovaia Polish Princess Polka Miniature Polska Pompadour Pompeian Plover Girls Poppies Psyche Q. Queen of Hearts Queen of Swords R. Ritka Russiar; Court Dance Russian Quadrille Rustic Dance, Old Russian Wedding, A S. Saibara Scalp Dance Shepherd and the Angel, The Siciliano Slovak Folk Dance Snake Dance Snow Storm, The Song of the Robin Spirit of Spring, The Spring Song Strasgk Summer Sunbeams Swallow, The Swedish Ring Dance T. Tambourin, Le Tarantella Thanksgiving Dance Tatra Dance Three Fair Maids Tourdion Troika Tyrolienne V. Valse Brillante Valse Gracieuse Village Belle, The Villagers, The W. Westphalian Peasant Dance Wheel, The White Rose Mazurka Wind and Wave Windmill, The Winter Z. Zorongo ABANDON SIMPLE COUPLE MAZURKA SERIES. FOR CIRCULAR FORMATION Arranged by LOUIS H. CHALIF PRICE ON E DOLLAR OTHER S(MPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER- WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF DIFFICULTY. S !ii THE DANCES CAN BE PROCURED ONLV FROM THE CHALIF SCHOOL NORMAL DANCING WEST 42nd STREET. NEW YORK CITY Galanterie Schottische 2 Sunbeams Po"2.^ — --42.« -0^ dim. m^ -¥ -& -W IT -W Marziale. ^ae y^i i m t ^n^ ^* i3 5 / i* m I r J ^ Louis H. Chalif. II fete tranuuiUo. , w^ ife ^ llil p ^ 4- <- ^^ ./r; _i_ii #^ psubito. 4j; r ne^i'^ ^ P ^ S S ^ ^^ ^^+-^ L^i esprcss. I ii J» crfifi i ii m r *-g-g— r »-s-^ Ele a caprtcvio. ^ ^•t^ S Abandon. 'A m mj ;^ fe 1^ ? * ^^ m ^ ir. > Jf »0 ^ ^^=^-« itj p. Wtn^ ^ ^l m- o^ 4t M i = ^l 3=a: i -«-•- ffff,rTf^>r,7nf-f,,j3^^ rlEf S P^^ ^^ i 3 4?e ^s ^FQ > — 9-0-»-^, ^ pcantabile. S£ ff :c:b: t^t I i i^^^ ffTrr'n^-rV P ffc^ I £ p ^^ ^ SI «i iJI i> ^ JL ^ li ® a ^ [:t 31 * 7 L'' r ^ ^ / it f P ta~ir Abandon. 3 it Abandon POLISH DANCE FOR ONE OR MORE COUPLES Fairly easy, by LOUIS H. CHALIF Q The couples may be arranged in a circle progressing around the room. Q This iS not strictly a Polish mazurka, being softened by the addition of simple classical movements. It should be danced with much fire however and with abandon. Q A suitable Polish peasant costume for the girl consists of a cream-colored skirt 10 inches from the floor, wi h linle roses, green £r red ribbons near the hem; green velvet bodice laced in front with red; white shirt; small apron with red &- green ribbons; white stockings &- black shoes, or ballett slippers if desired. The boy may wear a short, light blue coat, very full knee breeches of white with a red stripe, &- boots. (| The mazurka step used in this dance is an exaggeration of the simple mazurka step &- iS as follows: Slide on Rf to side (count 1), bring Lf up to Rf in 1st position, cutting out Rf sideways (eft 2), lift R leg quite high to the side v/ith knee bent (N. B.), at the same time hopping on Lf {& 3). The lifting of the knee is the exaggeration. The L arm is held overhead, almost straight, 6- the R arm is on the hip. This is for a mazurka to the R side — reverse the arms when starting Lf. Just before starting a mazurka to R there may be a slight bend at the waist to R and a straightening on d 1 when executing the slide. Q( The Polka'Redowa step is: Slid*' on Rf (d I), bring Lf up to Rf cutting Rf out (d 2), 6t- make a gentle leap onto Rf (d 3). Q Balance step is Lf to side (d I) close the other ft to it &- rise on the toes (d 2), &- lower the he?l (a V. Q Pas de Basque is a semi-circle with Rf &- leap Rf to R side (<£l 1), slide Lf forward in front of Rf ( d2), &- bring Rf up behind Lf cutting Lf out forward ((fl 3), (| Pas Boiteux: Both use the same feet. Lift Lf (preparation), hop on Rf (d IV step forward on Lf (d 2), &■ step forward on Rf (d 3). Each places R arm around the other's waist, &■ lifts L arm. Q The boy's part will be described — the girl s is opposite. Begin facing partner. 2 mazurka steps in line of direction starting (boy's) Lf 2 meas Turn once around to L with 2 polka-redovA/a steps starting Lf 6- progressing in line of diredlion The arms are 2nd pos. on the 1st redowa &- 5th on the 2nd 2 meas Repeat all 3 times more 12 meas On the last meas instead f the redowa make 2 stamping steps (R &- L; d I, 2), 6- pause (d 3). While stamping face in line of diredion &- place inside hand on hip &■ raise outside arms 16 meas m II. m Changing places, beginning Rf take I mazurka step (3 dts), &- 3 steps turning once around o R (3 ds). In doing this each partner crosses over to the other's place, the girl passing in front. They must bs sure to., face forward &■ dance sideways 2 meas To simplify the above the 3 steps may be taken without turning. Balance toward partner, looking at partner, boy starting Lf (girl Rf; d I, 2 3), balance away from partner, Icckirg away frcm fanner, si8riirg with ihe oiher feet (d 4 5, 6), The arms are 3rd pos., the upper hand toward partner for the first balance, then reverse, 2 meas Repeat all returning to original places. The boy begins Lf &- girl Rf 4 meas Repeat all .8 mea s 16 meas m III. ^ 1 Pas de Basque moving forward, starting Rf (dl, 2. 3), &- turning to face partner; stamp out- side ft without changing the weight to it (d 4). &- pause (d 5, 6). The] arms are 4th pos. with R arm up _ 2 meas Repeat same starting Lf &- turning the back to partner 2 meas 2 mazurka steps forv/ard in line of diredion with back to partner, starting Rf 2 meas 3 step? changing places with partner, making I complete turn to R. &- 2 stamps (L, &- Rf; d I, 2), made facing forward in line of diredion. The arms are 5th pos. while turning &- at the close are R hand overhead &- L hand on hip 2 meas Repeat all starting Lf, which is now the inside ft 8 meas 6 meas M cu. ^ Partners face each other. 1 mazurka step in line of diredion, starting Lf I ...cas 3 steps in same diredion (L, R &- L; d I, 2, 3). making a half'turn to L. Partners are now back to back I meats Repeat all starting Rf. Partners are now facing each other 2 meas Join outside hands (boy's L &■ girl's R, an unusual position), slide hop hop on Lf in line of diredion (d I, *2, 3,), &■ 3 steps in same direction (ct 4, 5, 6).. 2 meas Repeat the above 2 meas keeping the hands joined as before 2 meas Repeat all \ ,\ 8 meas 16 meas Abandon 4 u. 2 Pas de Basque forward in line of diredion starring Lf ^. 2 meas 3 steps turning outward (L, R &■ L; d I, 2, 3), making a complete turn to L (away from partner), 2 stamping steps in place facing forward (R &- L; d I, 2), &- pause (d [3). The arms are 5th pos. while turning &• at the end are L arm up &■ R arm on hip 2 meas Change places with partner, starting Rf XA^ith 2 mazurka steps, dancing sideways 6- facing forward 2 meas 3 steps turning away from partner (R, L &- R; d I, 2, 3), 2 stamps in place facing partner, (L &■ R; d I, 2), &- pause (d 3). The latter stamp is without a change of weight. The arms are 5th pos. while turning &- at the close R arm up &- L arm on hip . . 2 meas Repeat, (boy) starting Rf, which is now the outside ft 8 meas 16 meas Slide hop hop on Lf, &- joining hands &- moving forward in line of diredion; then repeat same on Rf £r again on Lf. The joined hands swing back, then forward, then back . . 3 meas The boy then takes 3 ranning steps (R, L 6- R; d 1. 2, 3). while at the same time the girl takes 2 steps only (on the 1st Sr 3rd ds). Face partners on the last step 1 meas Turn pau-tner with pas boiteux 3 times &- finish with 2 stamps, separating from each other, both stamping L £r R ft, the girl without transferring the weight on the 2nd stamp , . 4 meas Repeat all stsutirig Lf (outside ft), &■ finisn separating from partner with 2 stamps, the weight remaining on outside ft. Partners face forward but look at each other. The outside arms are raised €r inside hands on hip. THE STANDARD POSITIONS |st Position : The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The Pv arm makes a half'circle over 6- in front of the head 6- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The K arm makes a half'Circle over &- in front of the head dr the L is in 1st pos. Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. €r the other in 1st. A" 1" "if } \ I I)*ANCES BY LOUIS H. CHALIF. The following list of dances composed o/ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 2 — Of a little difficulty. 3— Rattier difficult 4— Difficult, NATIONAL. $3 Each, 'urlana. \''enetian gondolier s or g 2. laltarella. Sicilian d or g 2. iiciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. lyrolienne. .Austrian Peasant d or g 2. J Dlero. Spanish s or g 4. 1 1 Mancha. Spanish s or g 2. adrileiia. Spanish s 3. chuca. Spanish s or g 3. , Feria. Spanish s or g 3. e Gaditano. Andalusian s 3. . Gitana. Andalusian s 3. $1. 1 Paloma. Mexican s or g 4. arabande. Old French d. or g. 2. avane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Hiehland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. '^sardas. s or g 3. The Magyar. Csardas s or g 3. "nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. P: ime and ix dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanisii. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. r'orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. SOc. Mountain Trio Dance, May Dance. German. 1, Westphalian Peasant Dance. 2, Bavarian Folk Dance. 1, Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. Khorovod (The Crane). Russian. I Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian, 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. folk song, vegian. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2, Hewett's Fancy. 1. Hull's Victory. 2. Windsor SOc, Each, Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2, Three-Hand Ring. 2. The Tempest (LaTempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each, Wind and Wave. Greek s 3, Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2, Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple Cymbal Dance. Greek s or g 3, Spirit of Spring. Grk, Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2, Moment Musical (Schubert), Grk, s 2, Barcarolle from "Hoffmann." Grk, s 3, Spring Song (Mendelssohn), Interp, s 2, Hark, Hark, the Lark! (Schubert), In,s 3, L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1, Chopin's Waltz, C sharp minor, Int, s 3, Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3, CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span, taml), s or g 3 The Andalusian Gipsy. Spanish s or g 3, The Beauty of the Alps. Tyrol, s or g 2, Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2, Columbine. French s or g 3, The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3, Stach i Zoska. Polish d with panto, 2, Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2, Japanese Group Dance. 8 or 16, $2, 1, America. 6 characteristic dances, from Indian times to the present, 2, Bow and Arrow Dance. Male s or g 3, La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. $J. ESTHETIC. Allegretto, s nr g 2. $:., The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. The Fairy Queen, s or g 2. $3. i'ireflies. s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1, $2, The Nightingale, s or g 2. $2, Papillons d'Amour. Waltz time g 3, $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia," 2. $2. Polka Miniature, s or g 2, $3, Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or e 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. 2. T a Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Waltz. 2. Mazur Waltz. J. DESCRIPTIONS of all the Ballroom Dances, old and new. in their most beautiful, modest, teachable and stand- ard form, are published bv the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at price ,25 • OTHER WORKS For sale only l)y the School THE CHALIF TEXT BOOK OF DANCING \'oI. I. The Standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student . who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50_ Music for the Classical Exercises for Technique, a& described in the Text Book, and including: all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, hv Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid. $10. $k 5CHOOL OF DANCING 7 T IS locatsd in Ms-.v York City, at 7 West 42nd Street, and teaches ii dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its wnrk wit'i these classes has met with tremendous success. "Chalif dancinf;;" and the t.'^hool which radiates it hav» rome into a North Ar^-ierican repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are l3t: CHALIi? DANCING inis is tne classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and ininuto stage detail have been treated a^ separate branches, but almost aP the beauty of the original, and qun." all of its spirit and scope .'ave been retained. Ilie result is an art w^:rh while allowing: an amateur to make rapid progre s is yet authentic, i^-autiful, utterly c-ptivatino- to the student, and furthermore brin-ing health, kno'led~e of r~rial character, alertness, grace, and - s^ul-deep development e-'theticallv The adaptation at Classic rl^incing has not been attempted by the Chalif School on'v but by it with the most o''t=tanding suc-^-s, especially in three particulars. First, the use of the .^rm^ and the rest of the body has b.^ei kept equally imnortant vrt'^ the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor ough regard is had for the proprieties, so th?t a'tnMugh Ch'l'f daT-'ng is in no sense stilted, yet all of it is suitable for offering to all of the American public. When tau?ht to teachers it includes more than this, for s*- sy-»' lent training in Pedagogy is furnished. By the time of graduation jirdinary student is a completely equipped teacher of Chal-f A Few ^Vords Concerning It 2nd: L. H. CHALIF The second factor :" the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student 'r. t" c Lnperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . , A ceitain ability at tcciching k::s also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3r J : LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," ha» helped its enrollment. 4tn: THE MOVEMENT FOK ARTISTIC DANCi:;C; which is more and nore ascendant in this country, is the final cause f:r the fame c' t'..e Ch 1 f School. Everywhere there is a demanf^ for tl-^ real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school witn ' ■' jSCG all day, both in the regular Chalif and Ballroom work and in Pantoi.. !.-.£, fectival bslletj. Toe-dancing, etc. And similar sessions are hclj during - fortnight of the Christmas holidays and c. ?a*u - navs tnd aOrne week-day afternoons throughout the "'inte'-. Crt-^'ogs 0} any of these, or of our dancing teachers' shoe and supply house. ALLEGRETTO SIMPLIFIED CASSIC SOLO OR GROUP DANCE BV LOUIS H. CHALIF OTHER SIMPLIFIED CLASSIC OR ESTHETIC DANCES. BY THE SAME AUTHOR. ARE LISTED BELOW. AND DESCRIBED ON THE BACK COUER. THEY CAN BE PROCURED ONLV FROM THE CHf)LIF NORMAL SCHOOL OF DANCING 7 WEST 42ND STREET. NEW VORK CITV Allegretto Bluette Polka Esthetic Waltz Papillons d'Armour Petite Coquette Pizzicato Polka Miniature Eugenie Onyegin Poppies Fire flies Three Fciir Mctids Little Fairy Snowflake The Fairy Queen May Queen The Blue Bird Mignonnette The Nightingale Midsummer Night's Dream: Dance The Swallow of the Fairies. 12 or 24 girls Valse Brillante Morning Star Valse Gracieuse COMPLETE LIST OF DANCES ON BACK COUER COPYRIGHT 1915 BY LOUIS H. CHALIF ALLEGRETTO Arr. by LOUIS H. CHALIF. I W Andante Humoureske Piano %k^ 4 r^ ^ f^. m g PT J SEE n p. # nr^ii r ^^ l<=g !R=3 ffi e Jy¥^f? r / i 11 V L.C. Louis II. Chalif. Ill ^F=^ M ^ ^ ^ £jn ^ w mf n^ ^^^ 1} %r T ^^ ^ 1—^=^ 3=ff Pi#^ :S=iS P ^ ^^ P 1 ^P =S ff dim . ^ jf ' C!:r^^'"^ * Is p E^ K L.C. B.C. al Fine. SIMPLIFIED CLASSIC DANCE Or "Esthetic, " very simple, for solo or group, by LOUIS H. CHALIF ^The manner of the dance should be simple, naive. ^The costume should be an "Empire" dress, i. e., one short-waisted, with a rather full skirt hanging down to the ankles in straight lines. JJ I. $$ Point R toe diag. forward R (ct I ), bend it in front of L ankle (ct 2), & repeat same (ct 3, 4), at the same time hopping 4 times on Lf (4cts). The R hand holds skirt & L is overhead I meas 3 steps diag forward to R (R, L & R; ct 1-3), & hold (ct 4). The L arm falls down to 2nd pos. 1 meas Repeat all twice more starting L&R 4 meas Move backward & turn completely around to L with Step hop twice (L & R; ct 1-4). On the 1st step hop lift the free ft behind, & on the 2nd in front. The R hand holds skirt & the L is in 2nd I meas 3 steps moving backward (L, R & L; ct 1-3), & hold (ct 4). Take the last ste'p as if making a shght courtesy. The arms are as above 1 meas 8 meas U II. u This Fig. is danced in zigzag moving forward. Step on Rf & swing Lf forward hopping on Rf (ct 1 , 2) , & take 2 steps to R side starting step Lf across in front of Rf (ct 3, 4). The R hand is overhead & the L holds skirt 1 meas Repeat 5 times, starting L & R ft alternately & reversing the arms each time. At the end of the last repetition take 1 step only (on Rf; ct 3) & hold (ct 4) 5 meas Repeat the last 2 meas of I 2 meas 8 meas U III. JJ Point R toe diag. forward R (ct i ), bend Rf in front of L ankle (ct 2), bend it behind L ankle (ct Allegretto 2 3), & in front again (ct 4). At the same time hop 4 times on Lf. For greater ease, these hops may be omitted, or rising on the toes substituted. The R hand holds skirt & the L is overhead .... 1 meas Take 3 steps diag. forward to R (R, L & R; ct 1-3), & hold (ct 4). The L arm falls to 2nd pos. Repeat all twice more, starting L&R 4 meas Repeat the last 2 meas of I 2 meas 8 meas n IV. tt Step Rf to side (ct 1), step Lf behind Rf bending both knees slightly (ct 2), point R toe to side (ct 3), & bend Rf in front of L ankle (ct 4). One may hop on Lf an cts 3, 4 or not, as desired. The R hand holds skirt & the L is overhead 1 meas Repeat twice more, continuing to move to R side & starting Rf, with arms as described above . . 2 meas 3 steps diag. forward to R (R, L&R; ct 1-3), & hold (ct 4). The L arm falls to 2nd pos. I meas Repeat the 1 st 2 meas of this Fig. to L side, starting Lf 2 meas Repeat the last 2 meas of I 2 meas 8 meas $$ V. J$ Point R toe diag. forward R (ct 1 ), bend Rf in front of L ankle (ct 2), & take 2 steps diag. forward to R (R & L; ct 3, 4). The R hand holds skirt & the L is overhead 1 meas Slide hop hop hop on Rf raising Lf behind (ct 1-4). The arms are 3rd pos. amplified with R arm up 1 meas Repeat all to L & R 4 meas Repeat the last 2 meas of 1., but with the arms in 2nd pos. on the 1st step hop, 5th pos. on the 2nd, & both holding skirt for the final courtesy, which should be deeper than those hitherto. The music should retard on the last meas 2 meas 8 meas THE FIVE POSITIONS 1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. "'' 3rd Position: The R arm makes a half-circle over & in front of the head & the L is in 2nd pos. Re- verse for "L arm in 3rd pos." 3rd Position Anrtplified is the same, except that the raised arm is less curved. 4th Position : The R arm makes a half-circle over & in front of the head and the L is in I st pos. Re- verse as above. 5th Position: Both arms make a circle over and in front of the head. J^ eg) V V DANCES BY LOUIS H. CHALIF. The following list of dances composed o/ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ^ NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2, Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. 'Bolero. Spanish s or g 4, La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. |La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. 'avane. Old French d or g 2, lemande. Old French g 2. ^haconne. Old French d or g 2. lavotte. French s or g 2. lavotte Directoire. Pavlowa's d. 2. $1. linuet de la Cour. For 4 couples. $5. 2. Jueen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Hiehland Fling. Scotch s. 3. Folska. Swedish d or g 2. Polonaise. Music- only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. Znd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. \ Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2, BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitalile for a ICirmess. $5. The Sun, or Earth's Awakening. Pan- -omime ballet, $10. In Cleooatra's Court. Panto ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. li'orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish, First of May. Sw. 50c. Mountain Trio Dance. May Dance. German. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Piety onka. Russian. 1. Snow Storm ( Myateiitza). Russian. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. .\mer, Indian. 1. Scalp Dance, .^mcr. Indian. 1. w. folk sor Norwegia CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2, Hewett's Fancy. 1. Hull's Victory. 2. Windsor .50c, Each. Money Musk. 2. Off She Goes. 2, Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1, Soldier's Joy. 1, Speed the Plow. 2, Three-Hand Ring. 2. The Tempest (LaTempeteV 1, Terrace. 2, GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg, women. 2, Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or £■ 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvoi'ak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3, The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2, Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, & 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3 Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Plungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 cliaracteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w, pant, 2. ABBREVIATIONS 1 — Easy 2— Of a little difBoulty. 3— Rath er difficult 4— Diffi ult. d — Due dance. p dance. THET 2. $2. EC. s or g 4. $3. s or g 3. $3. Allegretto, s or The Blue Bird. Bluette Polka. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or « 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies, 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d' Amour. \Valtz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2, $2. Polka Miniature, s or g 2, $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $L Furlana. 2. I Minuet Waltz. 2. La Russe. 1, Sylvia Waltz. 2. The Countess. 2. | Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved D>* us and the public, is carried in slock a" prices from 25 cents uo. OTHER WORKS For sale only l)y the School THE CHALIF TEXT BOOK OF DANCING Xol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill, price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. ■: THE CMALIF NORMAl. SCHOOL OF DANCING A Few 'Words Concerning It y T IS located in New York City, at 7 West 42nd Street, and teaches I dancing, especially its higher forms, to dancing teachers, e.\hibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical trainine. Its work wit'i these classes has met with tremendous success. "Chalif dancinr;" and the 5,':hool which radiates it have roroe into a North American repu- tation, nov,? becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING inis is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute rtage detail have been treated aS separate branches, but almost all the beauty of the original, and quit" all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Anns and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- -'iit training in Pedagogy is furnished. By the time of graduation luinped *-"-"-'-'"• of Chalif and 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the prlacipal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demanr" 'or tli« real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school witn c'r-isses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house. ALLEMANDE OLD FRENCH SOLO OR GROUP DANCE Arr. by LOUIS H. CHALIF Other National dances arranged by Mr. Chalif are listed below. Their price is Three dollars ($3.00) each and they can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 W E S T 4 2 N D STREET, NEW YORK Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Sicilicino. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s. or g. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. .Andalusian s 3. $1. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. AUemande. Old French g. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12or8cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Tyrolienne. Austrian Peasant d or g 2. Polska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s. with pantomime. Russian Quadrille. For 8 couples. 2. La Paloma. Mexican s or g 4. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. CsardSs. d or g 3. Csardas. s or g 3. ■ The Magyar. Csardas s or g 3. Ca la Breaza. Rumanian s. or g. La Mancha. Spanish s or g 2. Plyasovaia. Russian s w. pantomime 2. Saibara. Japanese s or g 1. AUemande. Old French g 2. Ca la Breaza. Rumanian s or g 3. Second Hungarian Rhapsody. Csardas s. 4. S£E BACK COUER FOR EXPLANATION OF ABBREUIA- T I N S AND LIST OF OTHER DANCES BY THE SAME AUTHOR Copyright. 19 IC by Louis H. Chalif Rllemande. Piano. fc Slow. (J = 56 arr. by L. H. Chalif. & ^S m PijlP^^ I ^S * ^ Copyright MCMXIV by Louis H. Chalif, AUemande OLD FRENCH DANCE For 3 couples, very easy, by LOUIS H. CHALIF As indicated by the name, which is the French for a "German (dance)", the AUemande was invented by the Germans, but adopted &■ popularized by the French, in the 16th century. It is especially characterized by graceful arm positions, which make it a very effective €r pleasing spectacle. The carriage is erect, although not stiff, for the head &- trunk bend somewhat, (usually toward whichever foot is pointed) to make the poses more graceful. Yet even then the erectness is not lost, for it is mainly in the carriage of the chest. Q The performers should never forget that they are dancing together, not each by himself. The gentleman looks at his lady with admiring glances, &• she does her best to please him with her dancing. The music, which should be played slowly, is in 2/4 time, but it is easiest to count to 4 in each meas. The initial formation is a group of 3 couples, 1 behind the other. Partners are side by side, both standing on Lf with K pointed forward; their L hands are joined in front &- held quite a distance forward, the Gentleman's R hand is overhead behind the Lady, €r La's R hand holds her skirt. They look at each other, G bending a little to L &■ La to R. Keeping this pos.. Move forward with 4 very slow steps, taking 4 ds (1 meais.) to each step.. .4 rrteas. Begin to form a triangle, the 1st couple going to R, 2nd to L €r 3rd straight forward with very short steps, all stepping as follows: Starting Rf forward, 1 chasse (ds I, and, 2), step Lf for- ward (d 3), &- hold (d 4). (A chasse is slide Rf forward, bring Lf up behind Rf &- slide Rf forward again) 1 meas. Repeat same twice more. On the last step G guides La so that she moves in front of him. 2 meas. Step Rf to side (prelim, step), slide Lf back, &- courtesy &- bow to each other, finishing with weight on Lf &- Rf pointed forward. A courtesy always finishes with the weight on the rear ft. The G's bow in the old French dances is like a courtesy except that the bend of the knee is very slight &- the R hand is brought near the chest as if to say, "My respects to you ". ..I meas . (I The 3 couples are now in a triangle, partners facing each other. In this figure partners will change places with each other, keeping both hands joined, passing behind La &■ all facing in toward center of triangle. Join L hands with partner. Both begin Rf; G takes 3 steps to R side (or rather, step, close 6- step), passing behind La (cSs I, 2, 3), points Lf to side, (d 4), &- holds this pos. (ds 5'8). La steps Rf toward G (<5l I), step Lf forward, turning half'Way around to R (d 2), points Rf to side (d 3), &- holds (ds 4'8). She is now on the L side of G. The joined L hands are raised overhead as G steps behind La &■ the joined R hands are held in front of chest on d 4. G looks at La over her R shoulder. Hold this pos. for ds 5'8 2 meas. Change places as before, G moving behind La &- finishing with her at his R side. This time both take 3 steps &- point, G beginning Lf &■ La Rf Keep both hands joined, although the positions change, until the end of this Fig 2 mfeas. Repeat all, changing places twice more. La always takes 3 steps to the side after the 1st time. The last time make the chasse changing places, but omit the point, &- instead both take the free ft back (G Rf &■ La Lf ) ^ bow. The step preliminary to the bow is omitted this time.. . 4 meas. 8 meas. Ill Partners face each other &- G takes La's R hand with his L. G, beginning Lf, does step (cits I, 2), point (ds 3, 4), in place &- repeats same with Rf, making a quarter turn to R(ds 5--8). La starts Rf &- does step point twice (R &r L) toward partner, making a quarter turn to R. Partners are now side by side facing opp. directions. On d 4 G psLSses his R hand behind his back &■ takes La's L hand with it; then they both lean back, look' ing at each other 2 meas. Move around each other, keeping this pos. &- each going backwards. The steps are Step point slowly 5 times, each time requiring 4. ds. Make 1 complete turn. G begins Lf &- La Rf....5 meas. Drop hands, face partner, 6- courtesy &- bow. G steps Rf to side to begin his bow, but La omits the preliminary step, merely iTioving Lf back to courtesy 1 meas. 8 meas. ^ lU H Face partners. Begin Rf &- move diag. forward R, separating from partner, with step &■ swing Lf.forVi/ard fds 1, 2), 1 chasse forward, starting Lf across in front of Rf (ds 3, 4), step Rf for' ward (ds 5, 6), &- point Lf to -He (ds 7, 8). La holds her skirt, G his coat 2 meas. Repeat starting Lf &- moving diag. forward L, each passing own partner back to back 6- approaching a ntw partner ^ 2 meas. Join R hands with the new partner, raising the R hands heigh £r dancing around each other with step point 4 times, taking 4 ds (1 meas.) for each time. The 3rd time join L hands (keep- ing R hands joined also > and holding them all at height of belt. Partners are facing each other, some distance apart 4 meas. Repeat these 8 meas. twice more, changing parcners each time. The last time the original part' ners are rejoined, £r do step point around each other 3 times only, finishing with the bow, with' out preliminary step 16 meas. 24 meas. The dancers leave the stage as they entered, in a column of couples, the same couple leading as at first. All begin Rf, step Rf &- swing Lf forward (ds 1, 2), I chasse forward (ds 3, 4), 3 steps forward (R, L and R; ds 5, 6, 7), &■ rest (d8) 2 meas. Repeat 3 times more, or until off stage. If the performance be not on a stage both ladies and gentlemen finish with a bow 6 meas. iUi \iJ [T The following list of dances composed o/ ! arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2 — Of a little difficulty. 3— Rather difficult 4— Difficult. d.— Duet dance. g — Group dance. 8— Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Svifords. Minuet. 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakov/iak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s vf. pantomime 2 Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. CsSrdas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4, Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. 'Her Warrior.^ Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo.' Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill, Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. .Athletic; men or boys. 2, Old Welsh Dance, 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer, Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2 Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each, Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete). 1. Terrace, 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoifmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin, Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span, tanib. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s org 2, Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic, 1 adult and g of cliildren. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Plungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3, The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: IDance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse BriUante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana, 2. I Minuet Waltz, 2. La Russe. 1, Sylvia Waltz. 2. The Countess. 2 | Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents up. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st; CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated a? separate branches, but almost all the beauty of the original, and quii? all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, b.'^autiful, utterly captivating to the student, and furthermore bringing health, knowledfre of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation " rlpnt ;t; a r.nmi-iletelv equipped teacher of Chalif and A Few "Words Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for tLs real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with cl-isses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house. AMERICA SERIES OF 6 CH()RACTERISTIC DANCES By LOUIS H. CHALIF other Characteristic and Demi-Character dances by the same author are listed below. Their price is $3 each. They can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND STREET. NEW YORK The Joy of the Rose. Pierrot pant. s. 2. Columbine. French s. or g. 3. The Village Belle. French s. or g 2. Jean et Jeannette. French d. 2. Le Toreador d'Andalousie. s or g 4 The Gipsy Camp. Spanish tambourine s. or g. 3. The Andalusian Gipsy. Spanish s. or g. 3. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. La Creole. Characteristic s. or g. 3 America. 6 Characteristic dances, from Indian times lo tile present. 2. Bow and Arrow Dance. Male s. or g. 3, The Cherry Blossoms. Japanese d. w. pant. 2. Japanese Group Dane* For 8 or Ifi *2 1. Wegi?rka. Hungarian Military d. 2. The Hussar. Hungarian Char. s. or g. 2. Russian Court Dance, d. 2. The Mazovian Maid. Polish s. or g. 3. Marysia. Polish s. or g. 3. Stach i Zoska. Polish d. with panto. 2. The Polish Princess. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. The Pied Piper. Characteristic, 1 adult & g. children. SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES B V THE SAME AUTHOR Copyriflht. 191 by L u i H . C h a I i f AMERICA A SERIES OF CHARACTERISTIC DANCES INDIAN Arr. by Louis H.Chalif Introduction ^^^^^ JJ broa ^ i fl^a jiJj . J I i o S^^P3 f^ — 33^ /C\ DANCE Faster sturdily (J . 66) ^^ E ^^ n J ;ij . s m. 29^ but vigorousl T I'f. ' l- ^^ i ^^ n ^^m T ^ rr a r r? ^^ « r i ^ za. ^ j f f f i^ f * f » i^fe i ■^ "If I, f. fe^ L.C. 8 Copyright MmiXTV hy Lnnis H Chnlif PURITAN Misterioso r-^^r DUTCH Valse Moderate) \ ji'iVf jJJ i* m * PI y "Hhkl H i i ^ *Efc m I ^ f ^ L. 0. 8 ^^ ^ w^ ^ ^'iK ^ jj ^ ^ ^ ^ i ^f fc* k^ t^ S a S"«- ^^'^> u^t ^ ^ ^1 p ^^ si 1^ ^b''l>^p ? =?^ s y 1* ^» — ^ i3; g f B ^ g y ]^ L.C. 8 QUAKER Allegretto Gracioso L.C. 8 COLONIAL ]^Ioderalo 4'' }~l''dl ^ '\f> ^^ m ')■ i in fiyf g Jt^ y.» ^ ^4 ^^^i \ ^ U ^P^j^^l ^ ^ , / 7 ^'7K ^ ^ ?:£ J?: J. Piu mosso y , hlh^ te^S i ^a ^i!-^ K :> b ji7 ^ r a- I H-F ' t^ l F E ^ "^^ ^=1. ^^^^^P L.C. 8 PRESENT DAY ^ V^fiUlJ m i i^ ta m t $ , $ ^ ^ ^ ^^ t t f * r r ^' w m ^ %D. # g gb ^ ^^ ^ . rrj 7 jW til t -.')• * V i. f J f %). f^ L.C. FINALE j' ^ ^f ' ^ ^ W ^ 1 4 1 - '>■ ^ ru i M ^ ^ d*- <- p ^^ L.C. s 1 ^.ypT^ M -^ i — F — F — l^ ^ i i i i ^ %c>. * %). * %). # * f | 4 fj ^ m^=^ s ^^ p a =5» r ^' V ^ t t * <9- IjWlit i jT^ g^s ^ :P r] - i^ ^rt a ^ ^ America A SIMPLE GROUP DANCE, For 6 characters, by LOUIS H. CHALIF Q It is best to have 3 of the characters men &- 3 girls, but they may be all girls if necessary. If possible, have a girl for Indian, man for Puritan, man for Hollander, girl for Quaker, man for Colonial, and girl for the Present Day. Q The characters enter from L back comer of stage one by one, &■ those already on the stage face €r dance the same steps as the newcomer. The first formation after an entrance is always single file in a diag. line dancing forward &- the 2nd formation a straight line across the stage. During the introduction to the music no'one is on the stage. , 3 meas INDIAN PERIOD The Indian girl enters, dancing always in a crouching stealthy manner as if she is afraid of what is to come, &- dances diag. forward R with Step hop on Rf lifting L knee forward sharply bent (ds 1.2). repeat same with Lf (ds 3, 4), 3 steps forward (R, L, &- R; ds 5, 6, 7) 6- hold (d 8) The trunk is bent forward, the R arm extended forward as high as the head &- the L arm back' ward ... 2 meas PN.epeat the same steps moving backward, but still facing audience, starting Lf Reverse the arms 2 meas. Repeat same moving forward, starting Rf 2 meas. Repeat step hop twice (L 6- R ), moving backward as before, then turn half-way around to L 6- move forward toward L back corner of stage with the 3 steps, to meet the Puritan, Finish in the crouching attitude usual in this dance 2 meas Hold this attitude < 2 meas. IQ meas PURITAN PEPvlOD The Puritan dances in a cold and solemn manner. He enters with: step Kf forward &■ hold ( 2 meas. Repeat .... 2 meas Join L hands 6- repeat all, dancing around partner in the other direction but starting Rf again Only instead of the last 3 steps take the Lf back making a slow courtesy to partners, &■ finishing with weight on Lf . ..4 meas. 8 meas. THE PRESENT DAY. While the introduction is played all move sedately to form the diagonal line facing the newcomer. 2 meas. The One Step The girl of the Present Day enters &- moves diag. forward with: Step Rf forward &- hold (ds I , 2), step Lf forward &- hold (ds 3, 4). &- 4 quicker stps ''ds 5-8). Her hands are on her hips about 6 inches below her belt as in the innovation waltz. During these 2 meas. the others do the same thing, starting Lf back 2 meas. Each takes the regular dancir^g pos. with nearest neighbor &- turns slowly in place to R with the one step turn, taking 4 steps in all'2 ds to each step 2 meas. Repeat all, this time with partners, all the time in the standard ballroom dancing pos 4 meas. 8 meas. The Lulu'Fado. All 3 couples should be in a straight line. All separate from partner, (not turning around) with 3 steps (ds 1, 2, 3), the gentlemen moving to L &- starting Lf &- the others dancing the reverse part. Hold the last step, looking at partner over the shoulder, &- snap the fingers, the hands being in 4th pos. on L side (gentleman's part) (d 4). I meas. Repeat moving back to partner, starting inside ft, &- adding a clap of the hands on d 3, as well &s snapping the fingers on d 4 I meas. Repeat all 2 meas Take the dancing pos. &- turn partner to R side with the one-step turn, of 8 slow steps taking 2 ds to each 4 meas. ■ 8 meas. M (11. m The Tango All couples are in a straight line across the stage each sideways to the audience Keep the dance pos. but turn to face audience €r move forward with the following steps, gentleman starting Lf ^ lady Rf: Step Lf forward (ds 1, 2^, step Rf forward (ds 3, 4), step Lf across in front of Kf striking Rf out backwards (d 5), slide Rf backwards (d 6), strike Rf out backwards again with Lf (d 7) €r pause (d 8)... 2 meas. Step Rf forward (ds 1. 2), step Lf forward (ds 3. 4), kneel on R knee Cds 5, 6), rise &- stand on Rf &- face partner (ds 7, 8) 2 meas. Repeat all 4 meas. 8 meais FINALE All release partners &■ run to form a straight line across back of stage, for the introduction. Make I complete turn while running 4 meas. All hold the skirt or coat with both hands during this entire figure, &- all start Kf Step Rf across in front of Lf cutting Lf out backward (d I), slide Lf back (d and\ cut Lf out again with Rf (d 2) 1 meas Repeat starting Lf 1 meas. Point R toe in front of L toe (d I), swing Rf forward (d 2). &- repeat (ds 3, 4\ At the same time hop 4 times on Lf 2 meas. Repeat the first 2 meas. of this Fig 4 running steps forward starting Rf Repeat all- 2 meas 2 meas 8 meas 16 Step on Rf (d 1), swing Lf forward Cd 2), point L toe in front of R toe (d 3), €r swing Lf forward (d 4). Hop on Kf on (ds 2, 3, 4) 2 meas. Step Lf across in front of Rf cutting Rf out backward €r slide Rf back (d 1 and). Repeat 3 times more but finish with the weight on Lf, omitting the last slide with Rf 2 meas. Repeat all twice more o meas. Repeat the 1st 2 meats, of this Fig 2 meas. Take 3 steps forward (L, R 6- L; ds I, 2, 3), take Rf back &- courtesy. The music should retard on the last meas . 2 meas. 16 meas. THE FIVE POSITIONS \ 1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms ajre raised sideways a little below shoulder level. 3rd Position: The K arm makes a half-circle over €r in front of the head &■ the L is in 2nd pes. Reverse for "L arm in 3rd pos, " 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position: The K arm makes a half-circle over &- in front of the head and the L is in 2nd pos. Reverse as above. 5th Position: Both arms make a circle over and in front of the head. Lateral Positions have one arm in 2nd pos., and the other in 1st. Step Swing means swing the free ft forward &- at the same time hop on the other. Step oi Slide Hop is hop on one ft &- lift the other backward. Slide Step Step Hop demands that the free ft be lifted backwau-d. Slide Step Step Swing demands that the free ft be lifted ford. DANCES BY LOUIS ^'H. CHALIF. The following list of dances composed Ok" arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATlc.j 1— Easy. 2— Of a little difficulty. 3— Rather difficult 1 — Difficult. d — Duet dance. g — Group dance. : NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilen^. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabanae. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2, Gavotte. French s or g 2. Gavotte Direcloire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2, Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Tsardas. s or g 3. The Magyar. Csardas s or g 3. ."^nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. I CHARACTERISTIC BALLET. I $3 Each. Light and Darkness. Or. d. w. panto. 3. The Shepherd and the Angel. Panto- A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. rantoirii:ne and six dances. $10. Christmas Festival Series of D^nce:. Suitable for a Kirmess. ?5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. L Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. I'orlane. C)ld French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. • Rustic 'Dance. Old English. . 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheek .•\thletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. L Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1, Fl of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1 Soldier's Joy. 1, Speed the Plow. 2, Three-Hand Ring. 2. The Tempest (La Tempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvoi^ak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span, tanib. s or g 3 The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. Bluette Polka, s or g 3. Esthetic Waltz, s or g 2. Eugenie Onyegin. Walt: $2. s or g 3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3- Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $L Furlana. 2. I Minuet Waltz. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at. prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50, Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid. $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express. paid. $10. iE ■ V NORMAL SCHOOL OF DANCING IT IS located in New York City, at 7 West 42nd Street, and leaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the S'^hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art which while allowins; an amateur to make rapid progress is yet authentic, bc'autiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arw: and the rest of the body has been kept equally important with the use of th« .feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- Vnt training in Pedagogy is furnished. By the time of graduation -■-dinary student is a completely equipped teacher of Chalif and gj^^t L. A-,n^;,^rr on .=.^^^l;K;tinn Aanrpr anfl n roTinoser of dancBS. iHpnt i« a fomnieteiv eauim A Few MTords Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been, found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for tb« real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with c-r.sses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on appjication. ARABIAN SOLO DANCE By LOU IS H. CHALIF OTHER GREEK AND (NTERPRETIUE DANCES BY THE SAME AUTHOR ARE LISTED BELOW. tfi K THEV CAN BE SECURED ONLV FROM THE CHALIF NORMf)L SCHOOL OF Df^NCING 7 WEST 42ND STREET. NEW YORK Bacchanal Pastorale Diana Diana's Hnting Party Prelude Morning Noon Night Anitra's Dance Greek Maideni Playing Ball. Very effective. 2 $2 The Moon Dance. Oriental Interpretiv* (. or g. 1 Pompeian Flower Girls. Old Roman g. 2. Psyche. Interpretive s. or g. 2. Spirit of Spring. Greelc Interpretive s. 3. Song of the Robin. Interp. i. or g. 1. Summer. Greek Interpretive s. 2. The Song of the Robin. Interp. •. or g. X Autumn. Greek Interpretive s. 3. Blue Danube Waltx. Interp. s. or g. J. Winter. Greek Interpretive 9. 2. Humorcik* (Dvof^ik). Greek t. 3. Chopin's Waltz, C sharp minor. Int. s. 3. Wind and Wave. Greek t. 3. Valse Caprice (Rubinstein). Int. s. 3. Cymbal Dance. Greek a. or g. 3. Spring Song (Mendelssohn). Interp. 9.2. Forest Spirits. Greek. For 12 young womta. X Chopin's Waltz in D flat. Interp. flower d. Barcarolle from "Hoffmuin." Greek t. i- The Blue Danube Waltz. Interpretive s. or k- Moment Musical. Greek 9. x Hark, Hark, the Lark! (Schubert). In. s. 3. Light and Darkness. Greek duet with pantomime. ' Cleopatra's Dance. Oriental Int. s. or g. 2. SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF DANCES BY THE SAME AUTHOR Copyright. 1915. by Louis H. Challf Rnitoa's t)anee. Introduction. Tempo di Mazurka. Piano. < ti mp ^ I n\ ^ P f*2 ^ I Sff ^ w ^ ^ ^ I II S I* ^ p= — y # «fr ^^ -3 ir ^ ^ * * i -4 — ^ itt s ■ — y 'tr hKl^A^A ^l ^m ^^^ tf^nJ %^>il *=? p — =^ 2 'a 13 5 4 PP 1 ^^ ^ rt'fttrf'ih It r f r *i r|f F*r^f r«rit> ^^ s ^W ^j ^j Jit^ ^ r '■- m W^=f is 3 T»- . 1 -y' ^ y ^3 ^^ i 2 3 * i •umi/ ^ s Louis H.Chalif. 5 4 „ 2 m^ m ■H^JrW.^f^-- w ^ ^ i ^^ ^^r : — ^-^- m itt m fp m * m ^^ %^. * IV s ^ s ^^ i s ^ 00 Jp # i^^^ ^U-^^i'^ttf >) = *^JJ i^—p-0- i* P u I Jl /r i ^ ^ ^ ;S ^ S^ iit m I «*£ tftt m ^ A •i^ XZ o^ s -J P— -tS>- ¥ f * 4: f 4 i i-i ^ ^ S ffi s i ^ ^> *- 2 7 * 1 5 J I ^^ ^^ I ^ ^ s ^^ f*^ 5 ui- fe i^ii r i ^^ M m w m Anitra's Danpe. 3 * "lei). ^^ "i^. '* VI ^^ m ir 4r 45 4-*-^:: «^ 2^ a tempo. ^ j^i ^' ,..f^J S M 35 "^iJ. * S ^ „i/- p ^ » ir P^ ^ :"i^7iif ^^ i r #r ^ r ^r ^ I j^ i*^ f7==f ^tE T- J r 1 1 J »'i I s ^ Anitra's Dance, a Anitra's Dance ARABIAN SOLO Somewhat elaborate, by LOUIS H. CHALIF 01 This dance, which is supposed to be performed by Anitra for Peer Gynt, should be char- adenzed by softness, fire &- dignity It should be full of a voluptuous languor, shown in a beaut- ful continuous movement of the arms, head &- upper part of the body At rhe same time there should be a spirit of fire, evidenced by marking strongly and always the pronounced accent of the music. And finally ihere should be the dignity of the daughter of a Sheik Q The dancing should be on the toes a-; much as possible. The fingers should Idc rather close together £r straight, but not stiff The arms are either moving steadily, £7- v\/ith a rather snaky motion, or are absolutely motionless, when an attitude has been taken C5 The costume contains a skirt coming to 12" from the floor, a waist of the same material cu! in straight lines, with short, very full sleeves open at the cufF, a long scarf, bright striped &- wide, lien around the hips with the ends hanging dow/n in front, a similar scarf with ledge pinned tight around th(=- hsad. the rest of it hanging down bel- nd to about the want bangles around the neck £r forehead, many chains of beads. &- jingling anklets The colors of the cost ume may be bright ones, INTRODUCTION Before the music begins enter with slow steps, the arms crossed over thtr ^hest rhe head Senr forward Walk thus to center of stage. On the 1st chord step forward on Lf lifting both arms diag forward upward 6- to side, &■ lift the head. Hold this attitude during the hold in the music . . . 2 meas Anitra's Dance 2 Leap slide step forward, starting Rf (d 1, 2, 3), somewhat as if doing a pas de Basque in a straight line. Kepait starting Lf backward (dt 4, 5, 6) The arms are in 2nd pos. palms down dr wave up &- down from the shoulder twice, the straighter part of the waving coming on ds 2 &- 5. The trunk &■ head bend slightly to L &- R &- the chest is much elevated on going forward 2 meas Kepeat same 2 meas 6 meas ^ {. m I complete turn to R with 6 little steps thus; Step Rf tc side (d I) step Lf behind R heel, turning half'Way around tc R (d 2), step Rf in same place as before (d 3), step Lf toward R side of stage (d 4), step Rf behind L heel completing the turn io R (d 5). &- step on Lf in same place as before (d 6). The arms are 4rh pos wirh R arm up ^r- same with L up, passing through 1st pos in changing 2 meas Kepeai the 2nd 2 meas of Introdudion. starting with a tiger>like leap forward 2 meas Kepeai all - 4 meas Point R toe to R side (d I), hold (d 2): &- 3 little steps on the toes moving to L side th'js- srep Rf behind Lf to L side t- Rf in from (d and 3 and) . . I meas Kepeat same 3 times more starting with L R ^ L feet alternately 3 meas The arms in the above 4 meas are 2nd pos palms down f-r wave up fe- down from the shoulders. Whenever the toe is pointed the arms are in sagging curves i e lie hands are higher than the elbows. Turn to R with a pivot turn 2 or more imcs around (8 dts). step Kf forwa rd d 9). step If forward 'd 10), dr hold (d II, 12). (A pivot turn is- step on Kf on ihe roe first then f fhe chesi 2nd Position : The arms are raised sideways a linle below shoulder level. 3rd Position . The P\ arm makes a half-circle over ^ in front of the head £r the L is in 2nd pos Reverse for " L arm in 3rd pos' 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The K arm makes a half'Circle over & in front of the head &■ the L is in 1st pos Reverse as above. 5th Position : Both arms make a circle over &■ in front of head. Lateral Positions have one arm in 2nd pos &■ the other in 1st. O Ar r V } D'ANCES BY LOUIS H. CHALIF. The following iisdt of dances composed c arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 1 — Easy. 2— Of a little diamllr. 3— Kather diSmlt 4 — Difficult d — Duet daac«. g — Group dance. 8— Bolo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. CsardSs. s or g 3. The Magyar. Csardas .1 or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- 'omime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. First of May. Sw. 50c. Mountain Trio Dance. May Dance. German. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. w. folk song. Norwegian. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or ,g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. 3. $J. $3. 1. $2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g The Fairy Queen, s or g 2. $3 Fireflies, s ..r r 2. $2. The Golden Butterfly, s or g 4. Little Fairy Snowflake. s. or g. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls, 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia," 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, tl. Furlana. 2. I Minuet Walti. 2. La Russe. 1. Sylvia Walti. 2. The Countess. 2. | Gavotte Walts. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new. in their most beautiful, modest, teachable and stand- ard form, are published by the school. at $,50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in itock »> prices from 25 cents ud. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING \'ol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, ae described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, ky Friedrich A, Zorn. .'\n important work to the profession. With musical sup- plement, express paid, $10. THE CHALIF NORMAL SCHOOL OF DANCING IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical trainine. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it hav^-^ come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING ims is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute 5tage detail have been treated as separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and B?ilroom dancing, an exhibition dancer and a composer of dances. A Few >Vor4> Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has beea found that the students will listen to no one else while the privicipal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," ha» helped its enrollment. 4tn: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cauie for the fame of the Chahf School. Everywhere there is a deman'^ ior tU< real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with Cr?Lsses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. a rnmniKre innser or oancca. AUTUMN A N INTERPRETIUE SOLO DANCE By LOUIS H. CHALIF OTHER INTERPRETIUE AND GREEK DANCES ARE LISTED SELOW THEy CAN BE PROCURED ONLY FROM The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND STREET. NEW YORK Bacchanal Diana Morning Noon Night Greek Maidens Playing Ball. Very effective. 2 Pompeian Flower Girls. Old Roman g. 2. Spirit of Spring. Greek Interpretive s. 3. Summer. Greek Interpretive s. 2. Autumn. Greek Interpretive s. 3. Winter. Greek Interpretive s. 2. Chopin's Waltz, C sharp minor. Int. s. 3. Valse Caprice (Rubinstein). Int. s. 3. Spring Song (Mendelssohn). Interp. s. 2. Chopin's Waltz in D flat. Intefp. flower d. The Blue Danube Waltz. Interpretive s. or n Hark, Hark, the Lark! (Schubert). In. s. 3. Pastorale Diana's Hunting Party Prelude Anitra's Dance Cleopatra's Dance. Oriental Int. s. or g. 2. The Moon Dance. Oriental Interpretiv* s. or ■. 2. Psyche. Interpretive s. or g. 2. Song of the Robin. Interp. i. or g. 1. The Song of the Robin. Interp. s. or g. 2. Blue Danube Waltz. Interp. s. or g. 3. Humoreske (Dvorak). Greek •. 3. Wind and Wave. Greek «. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young womca. 2. Barcarolle from "Hoffmann." Greek a. i. Moment Musical. Greek s. 2. Light and Darkness. Greek duet with pantomime. < SEE BACK COUER FOR EXPLANATION OF ABBREUIA- TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR COPYRIGHT 1915 BY LOUIS H. CHALIF AUTU i a Larg-hetto violto cantabile S f ^ ^^ ^ F^ ■i«j^ r p p if ,^ m ^F'HJ > "■ i ^P M i 4 m m i 3tZS2 ^tt ^W ^ ^ ^ Si=^ i- i)J Louis H. Chaltf, New York a temfo IV^ softly m 8^=^ m gj^ ^ ^^ ^ ^^ r"*r r r i i * r if ^4#4 ^^S ^ » »■ i IVI? ten. ten. ■th -0- ■»■ -ml- t ^ ' i^ ^ A ^ J T=a: ''~r #? oresc. i^T^ n^xm I I I rf ^ ^ • * -» — *- I i ti T w 7 ^ s / ,,^1 - F^f s=if F- ■.J #*■ ^ ^ 5 7 7 < ^p Ejst: 5 * y * I » I * fa 9 # -* *- I f-A-^' i i ^r-f^ ff r . P s s f^^fr^ f^d r m M f5-i ^ ^^ \'b ife *: £; 7 5^ V 1 H^ IS 6 f f 1 1-1 f f 1 hg. a r, 1 ^^ — — -* S • ■_: : 1 J 1 1 1 -^ ^ m ^ » • » ■ --^=^^=^ Kii-fci r-i — r^ — .-J — r — ■^^tf ' « — 1111 * t t J J J g. -^ . S • 4 i ^ -^ J J [■ 1 ^ ^ *=t B^W A -^ i»- «- W^ -• -r W V w # y # ^...., lutiiiiin AN INTERPKETIVE SOLO DANCE Not very difRcult. by LOUIS H. CHALIF The costume of the dancer, who is the season personified, should be of brilliant autumnal colors, dr over it a long cape of a yellovvish brown chifFon, fastened on at the shoulders. This cape is taken off in the 4th figure to typify the change in color of the leaves. At the beginning of the fall the leaves are faded by the heat of summer &- everything is dull &- colorless. But later when the frost comes, the leaves burst into color again &- ths world is gayer than ever before. m 1. il The Falling Leaves. In the L hand are carried a pile of leaves, tightly compressed like a pack of cards. Enter from L side of stage &- take several leaves in the R hind. Slids hop diag. forward K on R ft. (dt. I, 2), 2 short steps backward ( L &- R), &- 1 step forward ( Lf d; 3 £7- 4 ). Raise arms to 3rd position, palms down, &- open the R hand letting the leaves fall (d 1, 2). The R hand swings down, to 1st pos. &- the body is bent forward &- twisted to L ( d: 3, 4) 1 meas. Run in a very small circle to R with many litile steps, to represent the wind whirling the leaves after they have fallen. Take some more leaves in the R hand while turning. The R arm is raised to 3rd pos. amplified while turning ^ the body is straightened I meas. Repeat all 3 times more diag. forward R 6 meas. 8 meas. Autumn, 2, The last time drop all the leaves ^ finish in the following arabesque, which symbolizes Autumn. Stand on Rf with Lf raised behind, arms in 4th pos. R arm up, with palms turned toward each other as if holding a large quantity of fruit, the body bent to L, This pos is one which signifies plenty. II. The south wind searches for the flowers, whose fragrance late he bore, And sighs to find them in the wood and by the stream no more. Bryant A. Leap on Lf to L side £r step Rf across in front of Lf (d 1), ( pause d 2 ) repeat same twice more ( d 3, 4, 5, 6 ), &- step Lf to L side (d. 7, 8 ). The arms are in 2nd pos. palms down for the 1st 2 executions of leap step, &- the body is bent forward as if looking for the flox^ers. At the 3rd execution cross the arms in 1st pos. &- open them slo\^/ly \^'nen Lf steps to side. in pantomine this means dissappoiniment 2 meas Kepeat all to K side 2 meas 4 neas. The robin and the wren are flown. B. Kun to L side, starting Lf with many little steps ( 4 ds ). The arms form 2 parallel lines for^ ward upward to L side &- the hands flutter, signifying birds. 1 meas Stand on Lf &- look up into the sky. The body is bent back 6- the arms move slowly until they are as far back as possible &- much below shoulder level, palms down ( 4 ds). 1 meas Autumn now thinks that she may be able to hear the birds though she cannot see them, but is disap pointed. 2 steps to L side starting Pvf crossing over Lf ( d 1 ). Listen with L hand at ear Autumn 3. dr R hand in 2ncl pos. ( d 2, 3, 4 ) .1 meas 2 steps to R side, ( R &- L ), crossing Lf over Rf ( d 1 ), with the pantomine for disappointment as in previous fig. ( d 2, 3, 4 ) ....I meas Repeat all starting Rf to R side. At the end take 3 steps, finish on Lf .4 meas 8 meas H 1 1 1 ii The woods of autumn, all around our vale, Have put there glory on. I waize turn to R side ( consisting of 2 waize steps ). with arms in 2nd pos. ( d 1,2), step Rf to side &■ hold the pos., meanwhile with R hand unfastening the cape at the front of L shoulder ( d 3 ) &- then take 3rd pos. with R arm up ( d 4 ) I meas Repeat same to L side, unfastening the cape- at front of R shoulder with L hand I meas Repeat same to R, unfastening the cape at back of R shoulder I meas Repeat same to L, unfastening cape at back of L shoulder &- throwing it away 1 meas If a cape be not used with the costume this fig. may be danced as described, but Wiih the discard' ing part of the costume expressed by pantomine. m 1 u. m Listen. ...how the hounds and horn .- Chearly rouse the slumbring morn, From the side of som hoar hill. Through the high wood echoing shrill. Milton Autumn cont lU. A. Step R ft to side &- step Lf across in front of R ft (d. I ) Hold this fxss 6- blow an imaginary horn to R side , .... 2 srjeas The galJc^ing horses touch the floor twice with R toe, lifting the knee, to imitate a horse pawing the ground j meas Move diag foward P\ with the following step repeated twice: Leap R ft. to side &■ step Lf across in front of Rf . lifting both knees f meas Repeat the last 2 meas. in same direction 2 meas During these last 4 meas. the arms are extended forward in 2 parallel lines with hands closed palms down, as if holding the bridle reins. Move the hands in lime to the music &- finish in 3rd pos. with R arm up. Repeat all diag. forward to L. To start, step Kf across in ^^ont of Lf £r hold while blowing horn. Finish on Rf 6 meas IV. B. I was with Hercules and Cadmua once, When in a wood of crete they bayed the bear. Shakespeare Dance in a circle starting to L towards back of stage, with this step: Step hop on Lf 6- step hop on Rf lifting the fi-ee ft. behind each time. The arms are 3rd pos. K arm up 6- 3rd with L arm up (in oppxssition) 1 meas 3 steps foward (L, R &• L), On the 1st 2 steps the arms are 2ncl pos; on the 3rcl step the R hand is held so as to shade the eyes &■ the body is bent forward as if looking for the game ...I meas Repeat all, starting Rf 2 meas Step hop 6 times, with arms in opposition in 3rd pos .3 meas Leap forward on to Lf 6- shoot to L side of stage with an imaginary bow &- arrow. Hold this pos. with Rf raised behind. .1 meas 20 meas INTERLUDE Kun in a little circle to K, &- finish on Rf in the arabesque of autumn, descritjed in the Isi Fig 4 meas m V. m The Vintage n* Gathering the grapes. Dance the following 4 times in a small circle to the R clockwise. Slide hop on Lf lifting Rf behind, &- raising the arms diag. forward upward to L side imitate with the hands the plucking of grapes 1 meas. Slide hop on Rf, raising Lf behind, &• move both arms down to Pv side as if throwing the grapes into a basket in the center of the circle 1 meas. Repeat all 3 times more 6 meas. B* Treading the wine-press "Autumn, her feet empurpled with the blood of grapes." Step hop on Lf &- on Rf lifting the free ft forward. The arms are 3rd to 3rd pos. . 2 meas. Turn completely around to L with 4 running steps in place arms diag. upward . . .2 meas. Kepeat the last 4 meas 4 tneas. C* Tasting the wine. Reach down towaird floor to R. with R hand &- dip up an imaginary cup of wine. Hold the cup in both hands 6- raise it to the lips; then drink, Bending the body back. (8 ds). 4 meas. Pvepeat to L with L hand , .4 meas 24 meas. Bacchanale. A, This section .(16 meas) is danced in a circle to R starting Rf. Cross Rf over Lf &- take 3 step .(R, L €r R.) 1 meas Repeat starting Lf over Kf. Lift the knee forward &■ bend the body forward, Ex- tend L. arm forward shoulder high &- K arm back when stepping on Rf (opposition.) Reverse arms when on Lf I meas. 4 skipping steps lifting the knees forward, starting Rf. The arms are 3rd pos. from side to side in opposition. The body is not bent forward, but bends from side to side . 2 meas. Kepeat all 3 times more 12 meas 16 meas B, Repeat in place the same steps as those just danced in a circle, but do the 4 skipping steps turning in place to L side. To begin this turn step Rf across in front of Lf. N^hile turning clap the hands as they pass from 3rd pos to 3rd pos 4 meas Repear same 3 times more 12 meas At the end of the laist repetition, take 3 steps in place instead of step hop twice, dr fir sh on Rf in the arabespue of Autumn. Hold for I meas I meas. 17 meas. POSITIONS OF THE ARMS 1st Position. The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position ; The arms are raised sideways a little below shoulder level. 3rd Position : The K arm makes a half'Circle over &■ in front of the head &- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The K arm makes a half-circle over 6- in front of the head €r the L is in 1st pos . Reverse as above 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. ii r i^ I D'ANCES BY LOUIS The loiiowing list of dances comoosed o." arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABEREVlATlOWs 1 — Easy. 2 — Of a little difficulty. 3— Rather dlfUcidt 4— Difficult. d — Duet dance. g — Group dance. e^Bolo dance. NATIONAL. $3 Each. I'urlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. .Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilefia. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. rhe Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. "sardas. s or g 3. rhe Magyar. Csardas s or g 3. 'nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. rhe Shepherd and the Angel. Panto- mime ballet, d. 2. V Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Fler Warrior. Indian duet pantomime and dance, In 3 parts. 2. FOLK. $1 Each, Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. SOc. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish- 1. Russian Wave Dance. 1. Pletyonka. Russian, 1. Snow Storm ( Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance, 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor SOc. Each. Money Musk. 2. Off She Goes. 2. PetTonella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1 Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTcmpcte).l, Terrace. 2. BALLET. La Fete de Jardinier. Pantomime and six dances-. $10. [Christmas Festival Series of Dances. Suitable for a Kirmess. $5. ""he Sun, or Earth's Awakening. Pan- -:imime ballet. $10. ■n Cleopatra's Court. Panto barict. $10. THE CftALJF IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical traininsr. Its work with these classes has met with tremendous success. "Chalif dancing" and the b'-.hool which radiates it have come into a North /^mericaii repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st; CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated a'^ separate branches, but almost all the beauty of the original, and qua- all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowleds-e of racial character, alertness, grat,c, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding succe'^s, especially in three particulars. First, the use of the Anii.s and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an exce!- ""ning in Pedagogy is furnished. By the time of graduation GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s2. Hark, Hark, the Lark!(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3 The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, e 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi^rka. Plungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. 3. *J. $3. 1. $2. $2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $J. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or The Fairy Queen, s or g 2. | Fireflies, s or g 2. $2. The Golden Butterfly, s or g ^ Little Fairy Snowflake. s. or g Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. .$2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, Si. Furlana. 2. I Minuet Walti. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. 1 Gavotte Walta. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new. in their most beautiful, modest, teachable and stand- ard form, are published bv the school, at $.50 and up, MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock a' prices from 25 cents no. OTHER WORKS For sale onl}' by the School THE CHALIF TEXT BOOK OF DANCING \'ol. I. The stand.'ird positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exiercises for Technique, as described in the Text Book, and . including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sap- plement, express paid, $10. c fC] A Few 'Words Concerning It :; I 2nd: L, H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years cf age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been. found that the students will listen to no one else while the priiicipal is on the floor. 3rJ: LOCATION The position of the rchocl in the uptown transportation center of New York "the most popular summer resort in the country," has helped its enrollment. 4tfi: T H;^,'M OV E M E ^^ FOR ARTISTIC DANCING which is more and more^^cendant in this country, is the final cause for the fame o^ the Chalff Schoci. Everywhere there is a demanr*. for tl-« real dancins. and here one can be trained tojseach it. / -' " \' c o u :: s E s Each yejt during June and ^uly!,th^e is a normal school with Cr'sses all day, both in the regular Chalif'and B^lroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs BABORAK l' A BOHEMIAN PEASANt" ] Uoohen:i i^^lS■2c cxn a C0777/>i: c/djcrip^io/^ iS>-f- ihc cja/ici- . ^/^ey are. coy>i/^"?^^ ^'^^ Ctrxf can l)i y:>7'oci-cr(^d on/y /rx^7i St2e Cbafjf ^2ptmoLC Schoot of ^(xncing 7 lYest ^2nd Sl.^Wilorfe '7y>2efr: 3'icc 0/2e^o//c7r6(^c^ MANCHfGAS Spani'sl- HlGHLAMD SC0TTI3CHE Scotch. . ZORONGO Spanish IRISH LILT Jr/fA FARANDOLE Ji-ofe/tSdi LONG DANGE SwedisA FORLANE French. RING DANCE Sivcdi'sh TOURDION Old 3'raneh MAV PANCE ^ermcift BOURREE 3nnch Kl?AKOVIfNNE %hjh LA TAMBOURINE French RUSSIAN WAVE PANCf /emua^t FRICASSEE '^i-ench SoldLc-r ^olka^ SNOW STORM f SnJi'aHb'ha/ J /Russian NORMAN PANCE folk ^anca KHOROyOP / Jhc Crane J /Russian WOODEN SHOfS ■^uicK LUJOCK /?tijsicin- kVINPMlLL ^iitdi KOLOMflKA Klljj lan OLD WEL5H Shnce. 5TRASAK /jdheTrrian M0RRI5 DANCE Old Sn^hsl BABORAK f3ohe.m2an MAr POLE DANCE Sag lis A. CSZHBOOAR cJ/tin^Lirtarv ?.\)i\\1UTH0R '3a;-,ces C ■^ ^ j' Jdall -room JDa/-)ccs f^ -^ ^ . ) Oncf f^alleh ^ ^s^hehc ■S ~ ^ J y>rocvi I'cn ila OjiJy and" C^asst^ca f '^a fhi Q>cAooi', BAB ORAR BOHEMIAN PEASANT arr. iy. 10 U/ J /Y. CHAl/f ^^ ^ % » \ • ■ — r g g / f S l/*f t r r t^ * — » — L — 1 — . '"^ f- # f > ^ -v .. __ ... ~r -m^-' — f — ?^ — — ^-^=^ — , -\ — f — i— 1 1 : \ J J -m p— ^. ,- — 1 1 — ■#• J ' ^rH fe H g^^ ^•4 g 4 ^•^ J J ^ :3± ^ ^ F i '^ - »-v^ aborak. BOHEMIAN FOLK DANCE ^C2 ^/7y niunier of couples Ca/i ^ociriacz/oa ^// join /7c7/rc/s f'/r a. An/ye ctrc/e . /. _ S^ep /sff 7^? . ^o /V? . SicJe conn/ -^ . 5z?7 /oc ^f^- /K C/// «5 . , , , , , , , . ... // f/rcoi / 1^/> -Hup aioye c/escr/'ie<^ /y /k^ow7t as '' S^go Sio/r?^' ^ ^^ec?/ f'/7£ sa777s ry7fA r/. f-oo/ ..,._,.-.--- ^ f /^i^pecif ^// ..,,,,,. , . ^ .6 " C . _ 9?7uYi: //^cr eire/c -^ Fcf/ Side yv?VA S S^e/^ Seeing s ^ ...... ^ " *5 . _ A-^eaf moyi'r)^ ^ 7/hii -^'t^/^/ loiih o Sfcp S2^7 7-7^s , - q >, ^. - "^77e7' 7/7 ^ e^'/'c/is ^ )V7/4 O S/ep Swi'r7j^S0- « (hold your hand 07 / f/7s di^ti j a/7d /(.>ck. c>n your yoa/'^Tiir ) ffiore aroii/Td -f/r: ^oys yY7y/z o orep Sl(^s j . . • -0 » f ^ia. y7'r/s Ao/d i/reir drstj-iss and /ooA c7/7 pari'nc./' J rr ? ^ V^j^ J ^ ^ ^^ ^^ w rw P leger et tres rythme. yy m te- ^P ^ a=i ^^^T=| ^^ ^Eg^ fc^ •/ •/ m ■wJt sf P ^ m . '^ m p » ft^ fe# J H^'^ w E^ Ifeti 'Z u •/ B :*i jt» -r- ^^P Pi^iirp-7y-|r^ ^^ te?^ ^ />?;< ^^ *_ ^ i ^ ^ "/ n °/ W ^ — b-^ :£5 Louis H. Chalif. n A ^^ ^^m timuA mjp ff f ff r f •/ f ^ # rl Bacchanal. 6 ^ m ^ hi u^^l^^l ^ ^^ i fft -kMd tiii'Uj\Lltl \ LL^ sea^ €^ S i * f -^y ^1 ^ J=4 IM.MM ^ ^ ;^ i r^lS s ffi ^^r M H m p It! ^^ 51 i MfifMi'tilsi t lt i i tt' il iff >):tl ^' *l 5E ^fuJ^I'^^ a^^ ft sff f ^ s ^^^ ^? Bacchanal. 6 9 ^ ^^ 1 Sva Sva \ W \y mJ m^ ^a A A ^ ^^ Pantomime. 5 ew cedant tres pen ■ _ A^_^-^ A a tempo. ires sonore, chante, expressifet soutenu. en cedant tres peu _ -A ^ ^ ^A, a tempo. ,4 3 4 3 Bacchanal, 6 ^^ m -iM»- Mrrf) 7 J J J ^^ M&.0 m f* 3t3t ff P .'>f K-.5 ^^ ^ ^» ^ r ^ j»^j» » |*it^ s »— »n fa ^ri^pA;3 ^^ fc l^^ pin f ■>:ij ffjjf' «|^ !^ ii I ^ ^s^ •? u •/ 7 7 Bacchanal. 6 V Un peu p lus an ime. ^^ H^-rrrr^ ^ ^S tfi a. » g- -^ 8V-^ ^^H«^ ^ *? 1.. 'Z f F BaccHanal. 6 Bacchanal A GREEK SOLO DANCE Not very difficult, by LOUIS H. CHALIF (| The costume is Greek &- may be of any brilliant autumn colors Grapes are a good feature of the coiffure or costume. The dancer enters carrying a brass pitcher in the R hand and a brass goblet or cup in the L. Q The steps should be pushed forward, to cover much distance. In all skipping steps &■ polka steps the knees should be lifted forward sharply bent. Q The music is counted I, 2 to a measure, thus 4 counts means 2 meas, Q Technical terms are explained on the last page. Q Great relaxation is essential to freedom in this dance, which must be executed with the utmost wildness and abandon with the recklessness of )oy of one who has drunk of the fruit of the grape, &- the madness. ^ I. ^ ^ This figure is danced in a circle. Enter from L rear corner of stage with the following steps: Slide hop forward on Rf (side to audience) (counts 1, 2), &■ 2 skipping steps in same diredion lifting the knees (L &- R; ds 3. 4). (A skipping step is hop step). On slide hop the arms are 3rd position with R arm straight up &- the head &■ trunk thrown far back. On the skipping steps the R arm is forward 6- L back, both at shoulder level, &- the trunk is bent forward 2 meas Repeat starting Lf but continuing in the same diredion 2 meas 4 polka steps forward, starting the 1st with Rf- The arms are used in opp)osition, the L being extended forward '&■ R back) when the Rf begins the polka, & ■ vice versa 4 meas Bacchanal 2 A polka step 'n rhis Jai-scc is as follov^/s Lift Kf Forward \A/ith knee sharply bent &■ hop on Lf (d ana), step k'( fc-ward (d !), steo Lf up to Rf (d and), step Rf ror\Aaip again (d 2) ti pause (d and) The polka is executed on the balls of the Feet fe- with great lightness 2 polka steps (R &- L) rurntng once arou'id to R and at the fame time pn^gressing around the circie The arms are 3rd pos with R aim up on the 1st polka &■ the ieverse on rhe 2nd Thr trunk is bfnt fo L 4- back 6r tlie head looks toward the pucner cr> the ht polka ^vhile fhis pos. IS reversed fo' the 2nd polka ... 2 meas 4 skipping steps starting Rf t?- *urning tv^^ice around to R at the same time proQ'-?^--.!ng around the circle The arms are 3rd pos vviih R arm up on rhe !st ':kipping itep L arm up on the ind, ^s- so ^-.i aliernaiely. tfiere being a change of the arms with each <^kipp(r,p ^tsp The !tunk bends to the L "whc". R arm is up &• vice versa ... 7 meas The dance* should now be in the L rear corner where the start v^as i^ade Repeat ali ' ,12 meas 24 meas P II. i^ During ihe h: 16 neas of th's Fig. progress gradually to R Make a lorig . sttp Fony>/dfd on RF bending R knee (d I), £- hold (d 2) Extend the cup forward in L hand pretending to oFFer 'antalizingiy a drink The R arm is extended backward a little below shoulder level I meas Step back on Lf slide Rf back. &■ step on Lf in place (d i and 2) 6- Face somewhat to R Bring the R arm up overh. then pretend to poiir wine into the cup, holding this forward at about shoulder level I meas Repeat all twice more 4 meas Bacchanal 3 Turn once around to R with 2 polka steps. Hold the pitcher high in the R hand €r look at It while turning • 2 meas Repeat the 1st 2 meas again (offering &- pouring) 2 meas Repeat the 2 polka steps turning to R 2 meas Repeat the 1st 2 meas twice more .... 4 meas The dancer should now be at R back corner of stage RejDeat Fig. 1 from the 5th through the 12th meas, dancing forward across the front of stage &- finishing center , 8 meas 24 meas The Drink With joyous anticipation the dancer regards the pitcher, with this adion. Take many little steps on the toes to R, keeping the feet crossed, Rf in front (7 dts), €r finish on Rf with Lf behind (d 8). Start with the pitcher held quite low in front &- the trunk bending some^ what forward; while moving sideways gradually lift the pitcher sidevA/ard &- upward until it is high overhead, at the same time gradually lifting the trunk £r finishing with it bent back &- to L.. The eyes, full of anticipation, are kept always on the pitcher. The L arm remains in 2nd pos a^ • u^ ^ meas Repeat same to L, looking at the cup : . . . 4 meas Pouring the drink. Step on Rf &- hold, slowly raising Lf high across in front with knee sharply bent, while slowly bending at the waist to L just as much as possible. (See diagram.) When first stepping on Rf extend both arms sideward (2nd pos. ); then keep the L hand (holding the cup) there &■ lift the R hand (with pitcher) slowly up over the head £r down tc vA^ithin a few inches of the cup, pretending to pour. The hands are above, or beyond, the head. &■ also much to the L on account of the sideward bending of the trunk. Take this wild &■ fantastic atntude with the ultnost )oy &■ abandon. &■ yet slowly. With a sense of power, taking 8 ds to build 6- hold the altitude. If possible rise on the ball of Rf on the 7th or 8th d 4 meas Step forward on Lf extend the cup forward at shoulder level & look rapturously at it, at the same time letting the pitcher fall unheeded from the R hand. Take the cup with boih hands ^ drink gradually bending far back to drain every drop On about the llth d thro\A/ the cup a little distance &w&y to fl, then turn slowly once around to R in a langorous ecstasy, completing 16 ds 8 meas Suddenly the fire of the wine pervades the dancer Slide hop on Rf throwing both arms diag rcrward &■ upward C2 ds), 2 skipping steps in place (L 6- R, bending far for\A/ard fe- clapping the hands lightly over the head '12 ds). Be sure that the clapping is a free &- relaxed movement with elbows well lifted 2 meas Repeat twice more 4 meas 26 meas PANTOMIME The music is here best counted slowly, I d to a meas. The dramatic adion need not be accurately described &■ must be largely the expression of the individual dancer's feeling. Revealing in the taste, the dancer sways to the pulsation of the music At one moment she comes into an attitude s:anding on Rf with R arm bent closely over the head &- partially covering the face, the head 6- trunk thrown back. Later, happening to turn toward the l^- she perceives the cup, then points toward it with L hand von d 7 or 8) g rneas She runs to the cup, thinking that some wine may be still left in it, picks it up, looks at it holding It in both hands, sees that it is empty, shakes her head sadly in disappointment 6- throws It away again . 8 meas B.>cchanal 5 As she ihrcvvs it away (to L) she naturcJly tui-ns a^vav frorri it to R fc- har-pen;. to see tne pitchtrT. With an access of hope she runs to irv: p'rcher hoping that a Few drops may be left, picks ii up with both hands d'-,i«ks 'Vom it ov bending far back' then dropb it again bending forward slightly, for she feels another rush of madness ccrrtng on .10 mpas 26 meas Dance in a circle, starting to L ^ forward, with Slide hop on Rf turning partially to R extending R arm upward, with L. arm ar shoulder level &- bending head &■ trunk far back 1 meas Complete fhe turn to R by 2 skipping steps (L €r R) bending forward ^ clapping the hands lightly overhead i ipeas Repeat iil! startir.g L.f but turn-ng to R as before 2 meas 4 polka steps stanjug Rf. turning iwice around to R ^ progressing arovind rhe large circle The arms are in 3rd pes changing (o- the trunk bending) from side to side, the R arm being up first and the trunk bent to L 4 meas 2 polka steps {R &• L.) forward around the circle, with R arm forward &- L back on each step 2 meat 4 skipping steps forv/ard, starting Rf The arms are 3rd to 3rd pos; R arm up 1st 6- the funk bending from side, L 1st Finish at L rear corner of stage 2 meas Repeat all finishing at center of stage 12 meas 24 meas ^ u. ^ 1 his Fig. IS danced with great excitement 4 poika Steps forward, starting Rf The arms are 3rd pos from side to ?ide L up 1st 4 meas 8 skipping steps backward lifting the knee well forward The arms wave from, the shoulders Bacchanal 6 in rime to the music: they are at first somewhat forward, &■ move gradually to be finally stretched backward. The trunk, from being almost erect, gradually bends forward 4 meas Repeat all 8 meas 2 polka steps forward (R €r L) : ....'. 2 meas Turn in place to R as many times around as possible, with many little steps on the toes. The arms are overhead, &- change slightly from 1 pos. to another; the head &■ trunk are thrown back (6 ds) . On the 7th ct stop abruptly, facing R on Rf, \A/ith R arm thrown up 6- L arm on chest, or in any other position which the arms take naturally. The head £r trunk are bent back. Or, the best ending, but a dangerous one for the amateur, is to fall dn the 7th ct 4 meas 22 meas EXPLANATION OF TERMS 1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little belov^' shoulder level. 3rd Position : The K arm makes a half'circle over &■ in front of the head &- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The K arm makes a half- circle over &- in front of the head &■ the L is in 1st pos Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. Step Swing means step on one ft, swing the other ft. forv^/ard &- at the same time hop on the 1st ft. Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted forward. M DANCES BY LOUIS H. cHALiF. '^::j^r:z:z£f to side (d 1) 6- point Lf to L side, bending at waist to L to look at L toe, €r curving the L arm forward toward 1st pos I meas Kepeat all 3 times more, starting L, R &• L ft 12 meas 16 meas La Ballerina 2 m n. m The R hand holds the skirt &- the L is in 5th pos. throughout this Fig, Moving diag. forward to R take 3 little steps thus: Step Rf forward (d 1), step Lf behind Rf (dand) &- step Rf forward again at the same time lifting the Lf behind the R knee (d 2).. I meas Step on Lf bshind Kf (d I) &- hop on Lf extending Kf forward in the manner de- scribed in Fig. I. (d 2) 1 meas Repeat all 3 times more, in same diredion &■ always starting Rf 6 mea s 8 meas ' ^ III. ^ In this Fig. move diag. back to L. 4 little steps backward starting Kf £r keeping Rf always in front of Lf (d I and 2 and), the R hand holding skirt &■ L arm in 5th pos I meais Step on Rf in front of Lf, lifting Lf close behind R knee (d I) &- step on Lf lifting Rf close in front of L knee (d 2). The arms are 5th &- 2nd pos 1 meas Repeat ail 3 times more, in same diredion &- always starting Rf 6 mea^ 8 meas n lu. m 3 slow steps to R, starting Rf (d I. 2, 3). Take the last step as if falling onto Rf, i. e. bend R knee &• place Lf behind K leg about calf-high, bend at the waist to L, &- swing the arms to Lateral pos. on Pv side; hold (d 4) 2 meas Kepeat starting Lf ^ meas Run in a little circle starting to K &■ back, with 16 little steps on the toes (2 steps to a d). keeping Rf always in front &- the feet crossed £r near together. The trunk £r head are bent all the time to L 6- back, the fingers of both hands are placed ' lightly together in a pos. like that of praying, the hands are very near to R cheek, &- the elbows are well lifted 4j_rneas 8 meas ^ u. ^ 2 polka steps diag. forward R, starting Rf. Both hands hold skirt 2 meag (A polka step here is: lift Kf forward as described in Fig. I. (prep.), step Kf forward (d 1), step Lf behind Rf (d and), step Rf forward again (d 2) ^ extend Lf (prep.— d and) ) Step forward on Rf ^ hop lifting Lf behind (d I, 2), with arms lifted diag. forward £r sideward at shoulder level, palms up ,,....,< - .1 meas La Ballerina 3 2 steps backwaird (L &- K; d I, 2), or else many little steps backward on the toes. Push the skirts back with both hands extended down fe- then back, &- bend forward at the waist. ... I meas Repeat all 3 times more, starting to L, R &- L 12 meas 16 meats e ui. ii Move backward imitating echappes thus: jump lightly onto both feet, turning to face R (d 1) &- hop on Lf turning to face forward &- lifting Lf in front of R knee with L knee turned out sideways (d 2) ;....... 1 meas Repeat , same to L steuting by facing to L 1 meas Repeat these 2 meas 2 U2 times more 5 meas During ail the foregoing both hainds hold skirt. Step forward on Lf (<3t I) &■ pause (d 2), with arms 3rd pos. R up ....I meas Dance in a little circle to R with 12 little steps on the toes, starting Rf &- keeping Kf always in front of Lf. The arms are 3rd pos. R up 3 meas Moving diag. forward B^. Step on Rf (d I), step on Lf (d 2), kneel on R knee (d 3) with arms 3rd pos. amp. R up, palm down, trunk bent forward &- to L &■ head bent to L but looking to R under R arm; hold (d 4) 2 meas 13 POSITIONS OF THE ARMS 1st Posiiion ; 1 he arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The Ps, arm makes a half'circle over dr in front of the head &- the L is in 2nd pos. Reverse for " L asm in 3rd pes." 3rd Position Amplified is the same, except that the raised arm is less curved 4th Position : The Pv arm makes a half'circle over &- in front of the head &- the L is in 1st pos. Reverse as above. 5th Position : Both arms make a circle over &■ in front of head Lateral Positions have one arm in 2nd pos. &- the other in 1st O o r A D'ANCES BY LOUIS sals only by Louis H. Chalif, is and arranged, and a complete I'm fciiiovving lis^: ot dances comnosed o.' arranged, copyrighted, published and for complete to date. Each number consists of classical music, carefully chosen and accurate description of the steps, arm-movements, etc., of the dance. ABSREViATlONS 1 — Easy. 2— 0( a little diffioult/, 3— Ratlior difficulL 4— Difficult, d— Duet dano*. g — Group dance s— Solo danoe. NATIONAL. $3 Each. l'"urlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. TyroUenne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilefia. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. .$1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2, Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples, $5. 2. Queen of Swords. Minuet. 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka: d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. ■\ Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances, $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- •omime ballet. $10. in Cleopatra's Court. Panto ballet. $10. FOLK. Note:— The nun ■oik ami Contra da $1 Each. L-rals used with the ices denote much easier erades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3, Farandole. Provengal, 1, Tourdion. Old French. 2. Bourree. Old French, 2, Le Tambourin, Old French, 2, Forlane. (lid French, Fricassee, f )M Fr. Soldier Polka. 2. Norman Folk Dance, Old. 2. Wooden Shoes. Dutch, 2, ' Windmill. Dutch, 3, Rustic Dance. Old English, 1. Morris Dance. English, 1, Maypole Dance. English, 1, Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys, 2, Old Welsh Dance. 2, Highland Schottische. 2. Irish Lilt. 2, Long Dance. Swedish, 1, Ring Dance. Swedish, 1, First of May. Sw, 50c, w, folk song. 1, Mountain Trio Dance. Norwegian, 2, May Dance. German, 1, Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1, Cracovienne. Polish, 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza), Russian, 1, Khorovod (The Crane). Russian. 1, Lujock. Russian, L Troika. Russian, 2, Kolomeika, Russian, 2, Strasak. Bohemian, 3, Baborak, Bohemian. 2, Ritka. Hungarian, 3, Csehbogar. Hungarian, 1. Bulgarian Folk Dance. 1, Snake Dance. Amer, Indian, 1, Scalp Dance. Amer, Indian. 1, CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1, Flowers of Edinburgh. 2, The Graces. 2, Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2, Windsor 50c, Each, Money Musk. 2, Off She Goes. 2, Petronella. 2, Pop Goes the Weasel. 2, Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2, Three-Hand Ring. 2, The Tempest (LaTempete),!, GREEK AND INTERPRETIVE. $3 Each, Wind and Wave. Greek s 3, Psyche. Interpretive s or g 2. Forest Spirits. Grk, 12 yg, women. 2, Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple !Ul Cymbal Dance. Greek s or g 3, Spirit of Spring. Grk, Interpretiv( Summer. Greek Interpretive s 2, Autumn. Greek Interpretive s 3, Winter. Greek Interpretive s 2. The Moon Dance. Oriental Inte rpr Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2, Barcarolle from "Hoffmann." Grk, s 3, Spring Song (Mendelssohn), Interp. s 2, Hark, Hark, the Lark!(Schubert), In,s 3. L'Automne (^Bacchanal), d 3, Blue Danube Waltz. Interp, s or g 3, Song of the Robin. Interp, s or g 1, Chopin's Waltz, C sharp minor, Int, s 3, Chopin's Waltz in D flat, Int, flower d, Valse Caprice (Rubinstein). Int, s 3. Humoreske (Dvoi^ak), Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each, Le Toreador d'Andalousie. s or g 4, The Gipsy Camp. Span, tamb. s or g 3 The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2, The Joy of the Rose. Pierrot pant, c 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. . Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3, White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto, 2, Russian Court Dance, d 2, Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2, 1. America. 6 characteristic dances, from Indian times to the present, 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w, pant, 2, ESTHETIC. Allegretto, s or g 2. $2, The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3, $J. Esthetic Waltz. ^ a or g 2, $2. Eugenie Onyegin. Waltz s or e 3. fS, The Fairy Queen, s or g 2, |3. Fireflies, s or g 2, $2, The Golden Butterfly, s or g 4, $3. Little Fairy Snowflake. s, or g, 1, $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. I, ?3, Mignonnette. s or g 1. $2. The Nightingale, s or g 2, $2. Papillons d'Amour. Waltz time g 3, f3. Petite Coquette, s or g 1, $2. Pizzicato, s (or g) fr, "Sylvia," 2, fZ Polka Miniature, s or g 2, $3, Poppies, s or g 1, $2, Three Fair Maids, s or g 3, $3. Valse Brillante. s or £ 3. $3. BALLROOM. Music and Description, $1. Furlana. 2, I Minuet Walta. 1, La Russe. 1. Sylvia Waltr. 2, The Countess. 2, I Gavotte W«lli. 1. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their moll beautiful, modest, teachable and itand- ard form, are published bv the school, at $,50 and up, MUSIC for the newest ballroon dances, in the pieces most approved bj us and the public, is carried in itock |l prices from 25 cents ud, OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol, I, The stand-.rd positions and tht fundamental exercises. These art de- scribed to the iriinutest detail, so thai the book is useful alike to the student who has no teacher, or the best teach- ers, 171 pp., ill., price postpai.d, ^.50. Music for the Classical Exercisea loi Technique, as described in the Texl Book, and including all used in thi Chalif School. Third edition: a net collection of 47 beautiful pieces, unusct hitherto; engraved. Postpaid, $3,05. Grammar of the Art of Dancing, kj Friedrich A, Zorn, An important worl to the profession. With music^ sap plement. express paid, $10. THE CM/ki-^iF NORMAL 5CHOOC OF IT IS locaied in Ne.v York City, at 7 West 42nd Street, and leaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training, jts work wit'i these classes has met with tremendous success. "Chalif dancinn;" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING xms IS the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute 5tage detail have been treated as separate branches, but almost all the beauty of the original, and quit" all of its spirit and scope have been retained. The result is an art wtiich while allowing an amateur to make rapid progress is yet authentic, b.-^autiful, utterly captivatine to the student, and furthermore bringing health, kno'vled?e of racial character, alertness, grace, and a soul-deep development e?thetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it w-th the most ort-^tanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equal! ' important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught t-^ teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is " comnletely equipped teacher of Chalif and j A Few MTordt Concerningf It 2nd: L, H, C H A L I F The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in t'.e Imperial Ballet School of Russia, in r.Coscov/, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading Niw York private schools and director of the Chalif Normal School, hit experience has been long, com'plete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has bam found that the students will listen to no one else while the principal is on the floor. 3.-J: LOCATION The position of the school in the uptown transportation centet of New York, "the most popular summer resort in the country," hai helped its enrollment. 4tn: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cauit for the fame c' tie Chrl.f School. Everywhere there is a deman'^ fd tL< real dancing, and here one can be trained to teach it, COURSES Each year during June and July there is a normal school witl c--3Ees all day, both in the regular Chalif and Ballroom work and il Pantom,ime, festival ballets. Toe-dancing, etc. And similar session! are he!d during a fortnight of the Chris'mas holidays and en Satui days and i,om.e week-day afternoons throughout the winter. C'>talo| ot any of these, or of our dancing teachers' shoe and supply hou* will he sent with pleasure, on application. BARCAROLLE FROM "TALES OF HOFFMAN" whth Greek Solo Dance By LOUIS H. CHALIF other Greek and Interpretive dances by the same author are listed below, and described on the back cover. The price of each is S3. They can be procured N L VF R n The CHf^LIF NORMAL SCHOOL of Of)NCING 7 WEST 42ND STREET.. NEW YORK Wind and wave. Autumn.. Cymbal Dance. Humoreske. Forest Spirits. The Moon Dance. Greek Maidens Playine Ball. Moment Musical. Spirit of Spring. Barcarolle. Copyright. 191^. by Louis H. Chalif BARCAROLLE Mode rat S ifrifr iif it fc li??' « l^^^^S ±4^ S jt?^ ^ W 1 S 1 i » g ^ S * ^ m ie« cantando _, %0. ^. ^4). ^^- ■^^ ^^ %). * t^^m iB& m P ^^ Wl PP n\ .grftli ^ ^ dim. poco ^^ « poco ^ %). 'K©. * %). BARCAROLLE 2 The BARCAROLLE A GREEK SOLO DANCE. OF MEDIUM DIFFiCULTY by LOUIS H. CH^OF A dreamy and langorous manner and a floating quality of movement should characterize this dance. It shou'd have in it the gentle rocking of a gondola slipping through the waterways of Venice on a summer night, when a light bieeze is blowing. Tt s'^.ould have a subtle life and buQyancy--shou.ld be quiet, but not somnolent. In the following description of the Dance, the wirds in bold-faced type afford a brief description- of each step. Enter from back L corner of stage. Before the music starts stand on 1 f, side to the audience, R f pointed forward, CSt, with arms a little below shoulder level (2d pos'. Introduction. SWAY FORWARD onto R f (counts 1. 2, 3) & BACK onto L f (cts 4, 5, 6). (1 meas). REPEAT same. Arms wave slowly 4 times in time to the music The wave movement begins at the shoulders..- 2 meas. Dance in a CIRCLE around the stage starting across back of stage, then down center, finishing near the front. The ste^ s are: SLIDE FORWARD on R f & hop raising L f behind fcts I, 2, 3), STEP BACK on L f & hop raising R f a few inches from the floor Ccts 4, 5, 6). Extend L arm forward above level of head CEi extend R arm back, centinuing line of L. arm. Take this position as if waving the arms (cts 1, 2, 3) & wave arms very slightly again in same position (cts 4, 5, 6). Look over the shoulder toward the audience. _ 1 meas. STEP R f forward (cts 1. 2). STEP L f forward (cts 3), STEP R f forward again cts 4, 5) & hop Irfting L f benind (cts 6). Arms are same pos. as in previous mess. CBi wave slightly in time to the music 1 meas. REPEAT these 2 meas. J TIMES MORE in a circle starting L & R f alternately. Before begin- ing 3rd meas. change arms slowly to reverse of pos. described in 1st meas 14 " 16 " 11. SLIDE STEP STEP HOP to R SIDE starting R f. Finish on R f in the following arabesque: L f is raised behind, body faces R but head looks toward audience over L shoulder. Left arm is extended across in front of chest as high as the head, R arm is shoulder high & back as far as possible so as to be seen on the L side ^ 1 meas. MOUE TO L SIDE & TURN once around with STEP HOP TWICE (L & R), each time raising the free ft behind. The arms for the 1st step hop are in a circle overhead (5th pos.) CS. for the 2nd step hop they are diag, upward ^ back as far as possible CSb head is throwm back £& chest raised. 1 meas. REPEiftT dLL 3 TfMES MORE starting L, R ca, Laltematelr-.- 6jneas. 8 measi. «(. STEP R f diag. forward & SWING L f in front, hopping on R f, STEP L f across m front of R f CS, hop lifting R f behind. Arms are 3rd pos. on cts 1, 2, 3 (i. e., R hand is overhead (^ L hand should- er level) & 5th pos. (circle overhead) on cts 4, 5, 6 1 meas. Move to L side in a BfiCKlMARD SEMICIRCLE with the following steps: Turn to R (outward turn;, start with R f ^ dance in the semicircle with SLIDE STEP STEP & HOP raising L f behind, cv^rms go down to 2nd pos. < shoulder level at sides) ca. then to 3rd pos. with L hand up 1 meas.^ REPEUT ALL starting with L f diag. forward to L 2 measr., cTWove diag. forward with STEP SWING & STEP HOP. starting R fas in the 1st meas. of this- figure. Keep the arms in 3rd pos. with R hand up, but turn the palms down. The music should slow up for this meas. ..1 meas: 5 meas. lU. Moving to L side, STEP R f across BEHIND l f (cts 1,2), STEP l f to l SIDE ( ct 3 ), STEP R f across IN FRONT of L f (cts 4, 5), & hop on R f lifting L f behind (ct 6). Arms move slowly from 3rd pos. with R hand up (the pos. at end of previous figure ;* to 3rd pos. with L hand up 1 meas. REPEAT same starting Lcft ft back f& moving to R side 1 meas. MOVING to L SIDE 4 changing GLISSADES starting R f back. Take longer steps than in the standard glissades. In detail this is: Step R f behind (cts 1, 2), step Lf to side (ct 3), step R f across in front (cts 4, 5), & step L f to side (ct 6 ), Repeat these 6 cts but finish with a hop on R i lifting L f behind (ct 6). Arms move in 3rd pos. changing from .side to side, the R arm being up on cts 1, 2, 3 iS!,the Larm up on cts 4, 5, 6 of each meas • 2 meas. REPEAT from the begining of IV. starting step L fback ^ meas. 8 meas. This figure is danced in a large CIRCLE starting toward the R side of stage iBt then going back. The steps are: 3 RUNNING STEPS (cts l. 2, 3), starting R f, then SLIDE HOP on L f lifting R f behind (cts 4, 5, 6), TURN completely around to the R WITH SLIDE HOP TWICE (R & D, each time lifting the free ft behind (1 meas.). Arms are 3rd pos. with R arm up for the first meas. CBl. 2nd pos. & 5th pos. for the 2nd meas ,.. ,. 2 meas. REPEAT same 3 TIMES MORE always starting R f. .6 meas. 8 meas. 01. STEP on R f ca, SWING L f across in front, STEP L f across in front £81, HOP lifting R f behind 1 meas. Moving to L side STEP R f BACK (cts. 1,2), STEP L f TO SIDE (ct 3}, STEP R t across IN FRONT (cts. 4, 5), ca, hop on R f (ct 6) 1 meas. During these 2 meas. the arms wave very slightly from the shoulders. They are 3rd pos. with R arm up when L f steps across in front ( 1st meas) & in 2nd pos. for the rest of the time. REPEAT the 2 meas. starting L f. 2 meas. Dance in a small circle around to R with batck to center of circle, with the foUowring steps: Step R f to side, step L f behind, step Rf to side (paS dC BOUrree Chailge) (cts 1, 2, 3), SLIDE HOP on L f across in front of R f (cts 4, 5, 6). The 3 steps are very short £& lead up to the slide hop on L f which is the accented part of the combination. The arms naove to 3rd pos. with L arm up on cts 1, 2, 3, & change to 3rd pos. with R arm up on cts 4, 5, 6. They move from side to side wi'"h a waving motion 1 meas. REPEAT this raeas. 3 TIMES MORE, completing the circle & finishing in original pos 3 meas. RUN with many little steps in a very SMALL CIRCLE to the R. Arms in 3rd pos 2 meas. Stand on R f with L f pointed tackward & arms raised forward upward overhead with the hands crosed & palms turned in. Take this attitude on the 1st ct. Slide L f back and sink grpdually down onto L knee and then sit on L f, leaving R f extended forward, this movement having been slow and continuous. While KNEELING the arms move slowly down until in front of the chest, then open slowly out to side and down, finishing with the hands a few inches above the Bmt, palms down. The trunk and head bend forward only. The gradual taking of this attitude should be completed exactly on the last note of the music 3 meas. 13 meas. DANCES BY LOUIS H. CHALIF. The following list of dances composed or arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2— Of a little diiSculty. 3— Rather difficult. 1 — Difficult. d — Duet dance. g — Group dance. t— Solo dance. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. , Tarantella. Neapolitan s. or g. 2. ' Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. Tvrolienne. .Austrian Peasant d. or g. 2. Polska. Swedish d, or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka: d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g, 3. Csardas. s or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. Saibara. Japanese s. or. g. 1. GREEK. AND INTERPRETIVE. $3 Each. Wind .^nd Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits, (ireek. For 12 young women. Greek Maidens Playing Ball. Very effective. 2. i Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. OricUil Interpretive s. or g BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. One-Step. 1 the Aeroplane Glide. Dream Waltz. 3. Hesitation Waltz original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2, Northamton Glide. 2, La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples. in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable. for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: — The numerals used with denote much easier grades than categories. Manchegas. Spanish. 3, Zorongo. Sjranish. 3. Farandole. l-rovengal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Mcrris Dance. English. 1. Maypole Dance. English, 1. Thanksgiving or Festival Dance. 2. The Wheel, Athletic, for men or boys. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2, Long Dance. Swedish, 1. Ring Dance. Swedish, 1. First of May. Swedish. 50c. With folk ; May Ds:nce. German. 1. Weftphalian Peasant Dance. 2. Cracovienne. Polish. 2. Gorjisiiy TEr.iec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian, 1, Snov; Seorm i Miatelitza). Russian. 1. Khorovod (The Crane). Russia". 1. Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgrri?n Folk Dance. 1. Snake Dance. Amer. Indian. 1 Scalp DiTce, .\nier. Indian. 1. these dance in the othe ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s, or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g, 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3.. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. r.'iarysia. Polish s, or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. ,tapanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. SOc. Each Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tern- Arkansas Traveler. 2, Beaux of Oak Hill. ; Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. ete). 1. Three Hand Ring. Windsor Terrace. EXERCISES. • The Classical Exercises for Technique. .An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00, THE CHALIF NORMAL SCHOOL OF DANCING ^ ^''^ ^"'"^ IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work wit'i these classes has met with tremendous success. "Chalif dancing" and the bchool which radiates it have come into a North .'* ^prican repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted rrid simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing- an amateur to make rapid progress is yet authentic, beautiful, utterly c^iptivatine to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding sur^^-s, especially in three particulars. First, the use of the /'/■')/'■ and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, ,nlthou?h it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. BAVARIAN FOLK DANCE Arr, by LOUIS H. CHALIF Other original arrangements of Folk dances by Mr. Chalif are listed below. Their price is One Dollar each, and they can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42nd STREET NEW YORK Manchtgas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Forlane. Old French. 2. Fricasse*. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rnstic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Scalp Dance. King Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westi^alian Peasant Dance. 2. Craeovienne. Polish. 2. G6ral8ki Tanie£. Polish. 1. Russian Wave Dance. 1. Troika. Russian. 2. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. KhoroTod (.The Crane). Russian. 1. Lojock. Russian. 1. Kolomeika. Russian. 2. StraS&k. Bohemian. 3. BaborSk. Bohemian. 2. Ritka. Hungarian. 3. Csehbog&r. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Amer. Indian. 1. SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR Copyright, 19lC by Louis H. Chalif Bavarian Folk Dance Arr. by LOUIS H. CHALIF. Piano 1 „^f U — iit^ ^ ^ffi CtTLr ^ ^ m i jfrjSi ii ^ ^m m 14 3 fl 5, 4 3 4 3 T| 2, ^ ^ ^ ^W* /^^ deciso ^^ f=f 1=^ S ^ — W ^m S ^ w *=i ^^ f=f p *Jf: ^ tt Al * n ^oaw ^ CAalif. BAVARIAN FOLK DANCE Arrangement by vLOUIS H. CHALIF This dance is performed in a ponderous manner, but with a swing, such as the Germans put into the waltz rhythip which they love. ^ Any number of couples may take part. The formation is in couples in a large circle. I. Partners are side by side widi inside haads joined & outside hands on hip. Both begin with outside ft. Dance forward around the circle with step swing 4 times 4 meas. Step swing is as follows: Step on Lf (ct 1), swing Rf forward with knee somewhat bent (ct 2), & hop on Lf (ct 3) . Join both hands with partner & hold the joijned hands'out at the side a little below shoulder level. Do the German hopsey waltz four times, making one complete ttfrn to the R, the boy starting Lf and the girl Rf 4 meas. The Hopsey Waltz is a step hop lifting the free ft behind. The trunk may be bent a little to R when hopping on Rf and vice versa. Repeat all 8 meas. 16 meas. IL Face partners in a double circle, the boys being inside & girls outside. Both have their arms akiiflbo. Both move backwards, separating from each other. (The boy's part will hereafter be described- — the girl's is opposite.) Step swing twice (L & R) moving backward 2 meas. Take 3 running steps (L, R & L; 3 cts)., continuing to move in the sjmie direction 1 meas. Turn to face the center of the circle & bring Rf up to Lf (heels together) and bow toward the center, where all the boys have come together (ct 1 ), & hold this pos. of bowing (cts 2, 3) 1 meas. Repeat these 4 meas., starting Lf again, moving backward toward partner 6i- turning to bow to partner 4 meas. While the boys move to the center & bow &i described the girls move away from the center & bow to the audience. When the boys move back lo bow to their partners the girls do the same. Repeat all 8 meas. 16 meas. Repeat the whole dance as many times as desirable, always with the same partner. DANCES BY LOUIS H. CHALIF. l^;J^'rZXt.'!^ZnZfi:r sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2— Of a litUe difficulty. 3 — Rather difficult 4 — Difficult. d — Duet dance. g — Group dance. 8 — Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s. or g. 2. Siciliano, Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. _ Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalus'.an s. 3. SOc. La Paloma. Mexican s. or g. 4, Pavane. Old French d. or g. ?. Chaconne. Old French d. or g, 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. .Austrian Feasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasacchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. j. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. i Gavotte Waltz. 2. Mazur Waltz. 2. Description only. SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original, -x Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2 One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note:— The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Proven(;al. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. . 2. Fricassee. Old French Soldier Polka. 2. Norman. Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dzince. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Swedish. SOc. With folk song. 1. May Dance. German. 1. Westphalian Peasant Dance. 2. Cracovienne. Polish. 2. Goralsky Tanied. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russian. 1. Khorovod (The Crane). Russian. \ Lujock. Russian. \. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. 50c. Sugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. ^2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. SOc. Each. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2 Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CflALIF NORMAL SCHOOL OF DANCING ^oSir,„T„°r" IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these c'asses has met with tremendous success. "Chalif dancing" and the ichool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated 0? separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art wnich while allowing an amateur to make rapid progress is yet aiithentic, tir-autiful, utterly captivatine: to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and 'Rallr^./^nn rlannincr an <>vUiKifirtn rlanl-Ar an*l a rrtmnosftr nf (lances. 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it hasj been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4tli: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for tke real dancing, and here one can be trained to teach it COURSES Each year during June and July there is a normal school with cirisses all day, both in the regular Chalif and Ballroom wcJfk and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and sotne week-day afternoons throughout the winter. Catalogs of any of thfise, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application THE BEAUTY OF THE ALPS TYROLEAN DEM( CHARACTER DANCE By LOUIS H. CHALIF other Characteristic and Demi-Character Dances bv Mr. Chalif are listed below. Their price is Three Dollars each. They can be procured only from THE CHALIF NORMAL L OF DANCING EST 4 D ST E T . E W y R K Le Toreador d'Andalousie. s. or g. 4 The Gipsy Camp. Spanish tambourine s. or g. 3 The Andalusian Gipsy. Spanish s or g. 3. The Beauty of the Alps. Tyrolean Waltz s. or g. J Jean et Jeannette. French d. 2. The Joy of the Rose. Pierrot pant. s. 2. Columbine. French s. or g. 3. The Village Belle. French s. or g. 2. Sailor's Hornpipe, s or g. 1. The Pied Piper. Characteristic, 1 adult & g, children The Polish Princess. Polish s. or g. 3 Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Stach i Zoska. Polish d. with panto. 2. Russian Court Dance, d. 2. Wegi^rka. Hungarian Military d. 2. The Hussar. Hungarian Char, s. or g. 2. Japanese Group Dance. For 8 or 16. $2. 1. America. 6 Characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s. or g. 3. La Creole. Characteristic s. or g. 3. The Cherry Blossoms. Japanese d. w. pant. 2 SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR COPYRIGHT. Idlj^BY LOUIS H. CHALIF e Beauty Of The Alps Demi-Character Dance By LOUIS H. CHALIF Allegretto Caratteristico.(J=6o) Louis H.Chalif, s m ijL Itz: -/^i^-rr -rz ^ P r f "Z~^.rf^ W f hriliante. '>• ^\ fl^n I ^^ p^ ^f^^^^ ^¥ t;^' ^ The Beauty Of The Alps. ?, lii'l^IT £r i^=s. ir ^ jfi^^n ^ m * ^^ ') ^i i) -> J ^^ :W-f-^ ^^ niJ^;^ fTi^r ^ tat ^ j ^ ' 1 ^ ^ ^^^^ L3r ? fe ^ ^'V Jr^ l L^ # f _^ — . m — «- dd^^'^^^ , > ^ m D.G. al Fine. ?>= i\ J4p f ^-H j j i i^r-r^j^7 j-p The Beauty of the Alps TYKOLEAN DEMI^CHAKACTER DANCE Rather easy, for solo or group, by . LOUIS H. CHALIF Kc^<'' QThe dance should be performed playfxjlly, with the peasant swing fe- the freedom 6- expression of a mountain girl. Q The costume should be of Tyrol. Q Technical terms are explained at the end of the description. if I. ^ 2 pas de Basque starting Rf 'counts 1, 2. 3, 4, 5, 6). The L hand holds skirt &- the R swings to 2nd position &- to 1st pos ■ • . 2 meas. 1 pieasant waltz step turning completely around to R side (ds 1, 2, 3) &- 2 light stamps in place. Swing R hand to 3rd pos. amplified €r finish with both hands at belt with elbows forward.. 2 meas Repeat all the L, R &- L ^12 meas. 16 meas. m ii. if A. Step on Rf, &- swing Lf forward &- hop on Rf (. The arms go from 4th pos. with to 4th with L arm up Peasant courtesy to K rds 1, 2, 3) • ■ •• — The same to L Repeat the 1st 4 meas. of this Fig I waltz step (ds I, 2, 3), &- 1 step to R (dij ^ rest (ds 2, 3) ■ Leap forward on R &- Lf ^ step back 6- courtesy I meas 12 meas. i6 meas forward ( d 3 ': .1 . . 1 meas 2 meas I arm up 2 meas 1 meas. .. 1 meas. 4 rr.eas 2, meas . 2 mcas- 16 meas. EXPLANATION OF TERMS. 1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. 3rd Position: The R arm makes a half'circle over &- in front of the head &■ the L is in 2nd pos. Reverse for "L arm in 3rd pos." 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position: The R arm makes a half-circle Over &- in front of the head and the L is in 2nd pos. Reverse as above. 5th Position: Both arms make a circle over and in front of the head. Lateral Positions have 1 arm in 2nd pos. €r the other in 1st. Peasant courtesy to R is step Rf to side id I j, touch L toe behind R heel id 2 ;, &- bend both knees ( d 3 ) . Touch the chin with the K forefinger, 6- support the R elbow with the back of the L hand. Peasant Waltz is a simple 3 step turn. Pas de Basque is a semi-circle &■ leap Rf to R side (d I ), slide Lf forward in front of Rf fd 2 ;, 6- bring Rf up behind Lf cutting Lf out forward (d 3). Step Swing in 3 ds is step (d Ij, swing the other ft forward (d2) ^ hop on the 1st ft d 3). Step or Slide Hop is hop on 1 ft &■ lift the other backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft bz lifted forward. DANCES BY LOUIS H. CHALIF. The fuilowing list of dances composed o>' arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 2— Of a litUe difficulty. 3— Rather difficult A — Difficult. d— Duet dance. g — Group dance. ».— Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gltana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. PlyasovAia. Russian s w. pantomime 2, Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La F£te de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note; — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassie. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasik. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA, Arkansas Traveler. 2. Beaux of Oak HUl. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2 Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing BalL Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Sprins Song (Mendelssohn). Interp. s2. Hark, Hark, the Larkl(Schubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. lamb, s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3 Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegifrka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. I. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2 Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new. in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpai.d, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. THE CHALIF NORMAL bCHOOL OF DANCING ^.«^-^«"«*» Concerning It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical trainins?. Its work with these classes has met with tremendous success. "Chalif dancing" and the S'^hool which radiates it hav» come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING inis IS the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated aS separate branches, but almost all the beauty of the original, and quiir all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, b>-»autiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and "Rflllrncvm danrinor an <»vViiKi+iAr» Aant*»r ^*\A <» «^/>*Mr»/vo/:^^r?'$!Mcd , a77d cnn ic ysro cured o^y/y /9v75% Jl2d Shatij ^Zovmx^ SOI20OC aj ^oiizcing /aSTHFTIC AND GREEK DANCES THE MOON DANCE J;7-^cnpra?^'rc Ornn^al So/o THE FOREST SPIRITS Si^^^t-k $roup idamc, Siny^^c THE FAiRr QUEEN S,y,y.u Scy^o ^cm.^ FIREFLIE5 Ji'mpZ^ So/o Illi,^c<^ THE NIGHTINGALE J'n^^l^^- ^o/.. '-^ance THE BLUEBIRP /TxMc^c sa/o KALSE BRILLANTE ' F^i-h^hi sc^/o POLKA MINIATURE J"//^/?/.? Ss^/?<^!'^c Sa/a EUGENIE ON EDI N ^a/^ Sc/o WINPanpWAVE ^r'c'e;!^ S^/o PAPILLONS P'AMOUR fVa/^ ^^,^lsrc a?^/y MIONONNETTE £s,^hc^,'<^ SaU POPPIES /? yery sipyjp/e £y /■/?<: h'c So/o PIZZICATO So/o fv'oi-i-t dcizici ■■ S///V7C7 " BLUETT E POLKA Fsi-hch'^ Solo THE VILLAGE BELLE Jo/.-- THE SPIRIT OF SPRING .9rac/^ soh THREE FAIR MAID5 Jolo or 9roi,^ THE OOLDEN BUTTERFLY So!o MIDSUMMER Nl-OHT'6 PREAM the ^.Oana of ffyYvC OLLLtKcsr EjrHn^tWii Senas o^ 97c7ha?7c7^ ^anccs f 'Jr2ce ^ J aach ) ^a/k. ^cincej ( ^ /J iDafni- Charac-(.zr- '-Dc7?7CCi Y ^ ^ ) 75c7 ni'^->iJTn. -(^anczs ^ ^ "^ J Conira ^anc&s C SO <^ ) and /3c7tri^h- and fy^ar(J / <:/ / an J J , S'^e:/o S -/-y and ^ea/9 a/i ^ /v^ )'?7 sama c^i'ric?~i07^ (^ i/ S 6nndJ, again wi'/'k fZ /7a/7d[ 2fp ^ c^ ci/7s/'ng -T /-T Sd/i/'pTj) ai7cl ^^c/o /ic/d on -^ j'"^ f Sr/h^ ^ i^ '/^ ^-i.7;7fj.. /?r7T7S J?7->J c7 7T<^ •S' i/i /JOT , /« o/t -? s/?7c7^i /c'c7/pr -^/-yvarcf ( /2 9f X J a/7c/ c^r/c /s . 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P P m M *i:_g ^_ » « fcfe ^K A A A A ^^ - WwsM iaiBBa j^ .^ ^ i AAA s E^ £g h^Fj ^g #— ^ ^ :t ^ ^ P^"*Vfi«VitBgr- ^S ^ iQ: tft£ S M ^ V ^ ^ tt vm ^S ^i ^ f S i> I I [g- i "%^'%^^^^V%^^%t''V^k'%^V i A A AAA engj tPr W w u ')■■% /ff 4^ ^ £r f^:^ -W 17' The Blue Danube Waltz. 4 The Blue Danube Waltz GREEK DANCE Somewhat difficult, for solo or group, by LOUIS H, CHALIF Q The dance should be performed with gaiety and animation Q On each step swing the knee of the lifted leg should be considerably bent, as in the typical Greek arabesques. Q At the end of the descrjpiion is found an explanation of terms, INTRODUCTION The music of the introduction has 6 ds to the meas. Before the dancer appears there are played ^W% meas. Enter with all the joy and abandon possible, as if it were a glorious thing just to be alive The steps here are (beginning in the middle of the 1 0th meas.): .Many little steps diag forward to K (ds 4, 5, 6), finishing on the 1st d of the llth meas. on Rf with Lf raised behind and arms in 3rd pos. amplified, and hold (ds 2, 3). Take 2 steps diag back to L (L and R; 3 ds to each step) in a buoyant manner, rising on the toe with each step, but without a hop. The free leg is lifted forward on each step with the knee sharply bent. The hands play an imaginary single pipe and the trunk and head are thrown back. The whole combination requires 4 half^measures or , 2 meas. Repeat all diag. forward to L, starting Lf .......2 meas. Repeat to R, starting Rf - 2 meas. Run diag. backward to L turning to L once around and finish at L side of stage with weight on Lf Rf pointed forward, arms 3rd pos. amplified with R arm up, palms down, and head and trunk thrown far back. Reach this attitude gradually and hold it until the music for Figure 1 begins; make it of an ecstatic chgj-acter, as if the cup of joy were running over, at the prospect of dancing ............. 2x meas. If a group be dancing stand on Lf, Rf pointed back, arms 3rd pos. amplified, &- trunk bent back' &- to R while the 10'/^ meas. are played, then proceed as in the solo dance. 19 meas. Move to R side with the following steps: 1 waltz turn to R consisting of 6 steps (2 meas.) &■ step swing twice tR &- L; 2 meas.), repeat the waltz turn (2 meas.), slide onfif (ds 1, 2), hop on^Cf (d 3), hop again on /Jf (d 1), ^ hold (ds 2, 3. 2 meas). Q On each waltz turn the arms are 2nd to 5th pos. &- the trunk bends to L &r R. On step swing twice the arms are 3rd pes. with R arm up &- same with L up, &- trunk bends to L &- R. Make these 2 step swings very distinct, to be in accord wich the grace notes in the music. On slide hop hop move the arms slowly from 5th pos. to 3rd pos. amplified palms down, finishing the attitude on the last hop. 8 meas. Repeat all to L R ^ L ........24 meas. Hold the last attitude (on Lf ) ..1 meas. 33 meas. Move to R side with the following steps: Step swing on Rf (1 meas), i waltz step of 3 steps moving to R side, starting cross Lf in front of Rf (1 meas.), &- 1 waltz turn to R of 6 steps starting Rf (2 meas). Q The arms are 3rd pos. with R arm up &- trunk is bent to L on 1st 2 meas., &■ arms 2nd &■ 5th pos. £r trunk bent to L &• R on the waltz turn....... ........4 meas. Step hop forward on Rf lifting Lf behind (I meas.), £r step hop back on Lf raising Rf backward (an exceptional movement) (1 meas.). The arms are 5th pos. on the 1st meas. &- a low 2nd pos. extended &s far back as possible on the 2nd meas., on which the head and trunk are thrown back as far as possible, making with the R leg a smooth curved line T chest is elevated. 2 meas. Tour {ete to R side, (a tour jete means a leaping turn, i. e. step Rf to side, leap on Lf, turn half- way around to R, step Rf, &- complete the turn). The arms are 5th pos. for the turn, &- the close is in the attitude just described, with L leg back..... ..2 meas. Repeat all to L side, starting Lf. -S meas. 16 meis. INTERLUDE Run with little steps in a very small circle to R &- finish in the attitude of the close of the IntrO' duction. Hold for the short pause in the music 3 meas. Step swing &- step hop starting Rf ^ moving diag. forward to R (2 meas.), &- turn in place once or twice around to R with many little steps on the toes (2 meas.). The arms are 3rd pos. amplified with R arm up 6- wave slightly in time to the music (1st 2 meas.) &■ in 5th with wrists crossed &■ palms down, the face looking up, for the turn 4 meas. Repeat twice more in the same direction, always starting Rf 8 meas. Turn to the R &■ move toward back L corner of stage with the following steps: Slide hop on Rf (1 meas.), repeat on Lf (I meas.), run with many little steps (I meas.) &- finish on Lf &■ hold (1 meas.). Of The arms are 3rd pos. with L asm up, the trunk bending to R, for the 1st slide hop, reversed for the 2nd, &- 3rd pos. amplified with R arm up for the run &■ hold. 4 meas= 16 meas. ^ lU ^ Slide step step hop to R side, starting Rf. The arms are 2nd pos. and finish extended parallelly diag upward a little to R side but strll in front of the shoulders, the R arm lower than the L. 2 meas, Move to L side with many little slides on the toes (1 meas.), &- slide hop on Lf (1 meas.). Begin these steps moving backward &- turn gradually so as to be almost facing L for the slide hop. The arms remain parallel &- move slowly down, the trunk bending forvv'ard, &- are raised on the L side in the same pos. as at the end of the 2nd meas. Finish with the trunk ben back &- to the R. These 2 meas. represent a great wave 2 meas. Repeat all 3 times more, always starting Rf , ... ., , 12 meas 16 meas. Moving diag. forward to R. step swing &- step hop, starting Rf (2 meas.), slide £r hop very high on Rf (1 meas.). step Lf forward (ds 1, 2), &- step Rf forward (d 3) (I meas.). Q The arms are 3rd pos. (1st 2 meas.), 5th pos. (3rd meas.), &- 2nd pos. (4th meas.) Q The accent of the music \s on the 3rd meas.: hop very high to emphasize it &- throw head &- trunk back 4 meas. Repeat to L &- R .........8 meas. Move diag. back to L with 1 waltz turn to L, consisting of 6 steps starting Lf (2 meas.), &- in same direction step Lf (ds I, 2), step Rf (d 3), &• step Lf &- hold (ds 4, 5, 6; 2 meas.). The arms are 2nd ^ 5th pos. on the vv/altz turn &- 3rd amplified with L arm up on the 3 steps &- hold. 4 meas. 16 meas, In this figure the music is soft &- the dance quiet. Move diag. forv\'ard to R with the following steps: Step swing on Rf lifting L knee forward suddenly with knee sharply bent (1 mea^.), step Lf across in front of Rf (ds 1, 2), step Rf be^ hind Lf in 3rd pos (d 3; ! meais.), step hop on Lf across in front of Rf (1 meas.), &- slide hop forward on Rf (1 meas). The arms are 3rd pos. with R arm up &- trunk &- head bent back on 1st 2 meas., 5th with trunk bent to L on 3rd meas., &- 3rd amplified, palms down, R arm up on 4th meas 4 meas. Repeat ail to L &• R ., 8 meas. Turn to L &■ move diag. back to L with step Lf forward &- hold (1 meas ). same with Rf (I meas), several little running steps (1 meas.), finish on L &- hold (I meas.) The arms are 3rd pos. amplified, L arm up, palms down '.............. ,4 meas. 16 mea^. m v\\ m This figure also represents a wave, one larger than before. Facing L, many little slides backward moving to R side. &- while moving turning gradually to the R, finishing on Rf facing R (2 meas.). Q Just before beginning (d and) raise both arms high overhead &- parallel, the hands equally high. While moving to L bring the arms down, bending the trunk forward; when facing R raise arms &- trunk, finishing in the attitude in which the wave movement began, with an accent of the hands on the 6th d 2 meas. Turn in place once around to L with step hop twice (L and R). The arms are in 5th pos., and finish in 2 parallel lines upward .... 2 meas. Repeat all 3 times more, moving to L, R and L .12 meas 16 meas. m uiii m Moving to R side take 1 waltz step (3 steps, R, L and R), turning completely around to R meas.), step on Lf and hold, raising Rf forward suddenly, with knee sharply bent. Do not hop. (I meais.). The arms are in 2nd pos. on the 1st meas. and in 3rd with L arm up on the 2nd. 2 meas. Step hop forward on Rf bending the trunk somewhat forward (1 meas^ and step hop back on Lf leaving Rf forward and raising the trunk (1 meas.). The arms are 2nd and 5th pos. 2 meas. Repeat all twice more, starting Rf, but omit the last meas. (the step hop back on Lf) ... 7 meas. Turn in place once or twice around to R with many little steps. The asms are in 5th pos... 2 meas. B Move in a backward semicircle toward L side with 4 waltz turns to the R, each consisting of 6 steps, 2 meas. On each 1st meas. of a turn throw the arms, head and trunk back, the arms being a little below 2nd pos. and used with an accent. On each 2nd meas. the arms go to 5th pos. and the trunk is straightened 8 meas. Turn to R with many little steps in place* The arms are in 5th pos 2 meas. Finish on the last chord stepping Rf forward and extending the L hand forward shoulder'high and the R hand back, the body twisted „ 1 meas. 24 meas. EXPLANATION OF TERMS. 1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. 3rd Position: The F^ arm makes a half'circle over &- in front of the head 6- the L is in 2nd pos. Reverse for "L arm in 3rd pos," 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position: The Pv arm makes a half-circle over &- in front of the head and the L is in 2nd pos. Reverse as above. 5th Position: Both ar.ns make a circle over and in front of the head. Lateral Positions have one arm in 2nd pos., and the other in 1st. Step Swing means swing the free ft forward &■ at the same time hop on the other Step oi Slide Hop is hop on one ft &- lift the ether backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted forward. J> k I ® :, The following list of dances composed o/ -'" _: • " „. ° arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2— Of a little difficulty. 3— Rather difficult 1 — Difficult d— Duet dance. g — Group dance. E — Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabands. Old French d. or g. 2. iPavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. '3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or jj 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. I. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA, Arkansas Traveler. 2. Beaux of Oak HiU. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each, Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three- Hand Ring. 2. The Tempest (La Tempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvoi^ak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2, Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents up. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2,50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, hy Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. L, SCHOOl. OF DANCING A Few 'Words Concerning It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the Sf;hool which radiates it have come into a North Annei"ican repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated qS separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, b.'autiful, utterly optivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagog y is fu rnish ed. By th e time of graduation 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a deman<^. for tl^-e real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with Crosses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the wrinter. Catalogs BLUETTE POLKA An Esthetic Solo or Group Dance BY LOUIS H. CHAUF Price $3.00 For sale only by •^0 7 Wes-t ^iZ-rS ^itcci ^EwVb rvl The following are other Esthetic Dances by Louis H. Chalif. Any one will be sent postfree on receipt of The Blue Bird. s. or g. 4. $3. Bhiette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eug£nie Onyegin, Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3, Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3, $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. I. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc See back cover for explanation of abbreviations and list of other Dances by the same Author Copyright, 191^ by Louis H. ghalif Bluette Polka Andante arr. by Louis H. Chalif . ir ^ ^^ ^^ ^m BaSi ^ ^ W echo. ^ ^ mf s J^ Bluette 7 Copyright i9i4 by Louis H. Chalif. r^ rn ii ■! ^ ^^ ^ ^ i-l I 'I ^m Bluett e 7 Ie iffi^ w m w Slowly ;: ij» echo. ^? :la. m i Tempo 19 m ^ m T=f' ^ ^ F iE^ 4 ii i^ Se f o i ^eJ i^ f Jr=? j^ S Jl m ^ >j: ^ tI T T ? iL z:-r ^ ^3 j^5 r 5t'«— ., :* pM = ■— ^ Wi g^ iZfif fd zni ^^ S J?=T^H ^ •J ^. — J £=J ^4= IS- H -4^41^ — i ffl—- -1^;-= * ^ p^ — ii- — ■ -IT : J '" ' 7 J." " ' / r. -la -+ H- -•■-•- ■— i»- — Bluette 7 fc fi J& M i p^ n . 7 hi ; 1 .sp ^ ^ i ^ «ai i* H fe ^^ ^F^ W Bluett e S^'^iass Bluette 7 Bluette Polka An Esthetic Solo Dance. Somewhat difficult by LOUIS H. CHALIF. I. 2 polka steps diag. forward beginning R ft; Arms lateral from R to L. . . 2 meas. In the same direction, beginning R ft, leap step, leap step. Arms 3^" position. 1 " Slide hop on R ft. Arms 1st to ard pos., -I i. Repeat same to L . 4 " Repeat all . . . . . ,, . . . . . ... .8 " 16 ", II. 2 polka steps backward beginning R ft. Arms lateral from R to L. . . . 2 " Slide hop on R ft turning completely around. Arms 3rd pos. . . . . . 1 " 2 steps forward, L & R. Arms 2".^ pos . . 1 " -Repeat same to L & R. , 8 " 1 polka step backward beginning L . . 1 " Step R ft, step L ft across in front of R ft & hold. Arms ist to 3rd pos. -] » Moving in a diag. line forward to R side, Slide hop on R ft, slide hop on L ft & take 4 steps in same direction, finish- ing on L ft. Arms lateral from R to! L & finish in SJ'ji pos. . . . 2 " 16 " PANTOMINE Stand on R ft, left ft 4th pos. behind &with both hands blow an imaginary horn . 1 Bend R knee a little & listen with R hand 1 Repeat all to L 2 Step back on R & listen 1 Step back on L & listen '. . 1 Turn slowly around to R with 2 steps & finish vnth R ft pointed in 4tb pos & arms in 2".ir ^/z..' s-amc' anchor ^ wA/ch /ii-Tfe "ee.n Se/i^ci-iid frofTi at. ydry wda rcyoer/o/^y as dei'nc/ ^/le w<;r/d 'f icr^ ■ civ/(?y o'nsi'!^ o^" a/opro/onafe a7i SoJo ^aciscin f ^arcc So/o ^Ai^iicf &Ji'ii'on. SiVcuJish Ailiici Ooh'sK pon i-omime groi/ip dcijicii ^ Jnar/7'sA SoU-' Jpam'^A So/o 'l)7?(f/?CC!/7 S'c>/i2 cTV (inch X^i I e / M)a,7ce - •^)7?ciiurka. Ji7A.5AlBARA RUSilAN fa?UADRILLE THE SRlPE's PANCE Sroiip S>ar>cc Solo /^llSS-l'ar-t \J^^ifi/o?n>yrri^ DONsKOI C055ACK KASATCHAK /Russian rjsasanf rLOar/c^ 0/ mp/e ^apanerc Sc/o . ^rioc^ JFi'b'C fOol/a.r?\ MINUET DE LA COUR 'Jo or -fviir cti> U./0 / iij- . -ac-f2-r JDam^CJ f ^-/'ca ^-3 1 ■ /Pi-f/icho and ^>X'ek ^"C/ass/cci! y Aihfiois f f JS - 5^ C/7C!ro<:^ces f SO'^ ) /o 3l- Aacl Only~ -/rorr> f-ha Sc^oo? . BOLERO DANCE ESPAGNOLE PU-inonhvppo . Jempo Jt' JSolu-o 1 fci^; -J^JlllJ' B^^ ^ ^ ^ ■-'-v'j' l lEf ti Uijtf ^ fi ^^ ^ i ^ •> y ''*^'L i n ^•■V'jf / ' » ■[ > f _ — TT :^:z '^ ' » — p- Y , rf^.pifjfrir^^^ #^ m tf »-f- VLTLf l - ^ r- ^'^ r-rw ' ?■! ^ ^* e^ J tf f F ^ j'g ff J #^ M M ~W urr fj I ) If tr!^ ^s ^ f ^ w f^T f m :5=E ,./ ffh^ • (fi ^=f# ^ JlL J^^^f m 'Y-hhj \. SdlM ^^ 1 ^ ^5 t*ti± i P m 1=:: ■»^t yf o^t|i» y^^ J3.nji h k I* P -^ ^ ^B M 3^ ii« Jtjtr:^ ^^B ]rg^..r ^ s 0- y J, f F f f g s » 1»-- H*-T»-|» rf m^'ifr rFff s J ) 'V h r ^j_r "H*~ ^ J* • p- i ^ 8 o olero J^r Taiu's J/. C/ia/rY. orej-Aeod. 'J'nh^odliction 2 /mas step -f /V forn'ard fc^3J- ffrmJ -iAroUi^h 7 'J A ^-'/^o'-f - on /f ji'de , / - J si^J 6c!ckwcird { /^ , S" , ^ J iiy^hc^ Z^c- Gneiss and f-P7aAi'r>s^ cz ror>d dc ^am& z%<: cffeci ^ctf ^c Flead Zoo/zj Ci^ roii^h ihc fcirn-i ^ cjncJ Ji /?ci/id ts Sehi'ri7^ cc^?77plLr^cly arept-/r? ^ . ^■ms S'2^ ^ SM arxJ ^i^;, ^CJ ......•• / - /?cpaa ^ ddgi'nnniij * V? ^ Z~s-j'cle ^ • /Z^aai A ^rid f3 • .- ■- $ ^ Is . / pas dif iiac(fziii si-Lir h'^i g ^- f/ ■ /" e/. -^ - * . -3.1 / .■ /chiind c/e jarT^bc IM i'h ^. -/7 and yoas dc iourrie. ahciii^'J sf cirh'7Tg S- fi 5ct&k- and ?7TOKi'n^ f-6 /S" s/d<: f c/ ^. 2j , poin f /S -fi o/i'ay . i^rwai-d (cl -3). (Jrms ?c/\ pas, an pas cde 6oarrdc : yv/'sc/? pt^7?7^y/7^ /^ tf ^ s-7 -f s/da oty/'/z/ir'n^^ -C /'^ ■ ... \ .-.>,■ ^ / • ffapaCii Cti/ 3 'O'TTXtS IT^Or'^ , : ; ; : ^ ^ ' INTERLUDE ^(dpcai f. S . ..;.■.■ ■-..., -4 . m. Y aas ocT 5cis<^iee i-o fS side ..,.,., ,,,,,,..,,. X /^itsas- S^o £ /y &ack {-ci /.J^ s^ /? f/ ^o si'cJe fci 2J^ siy? /^ f/ fo side ■ Ccf 2J, ship S" /y ?>> /^-on/ fc/.Sj. /frms 2d pos / Sie/o /? /y -fa side ffi-/ J , c/ratv J^ fi? I'/i a c'rc^c 7^ ^'^^ poi: . //? yf-c./?/ af /e /V f c^ .3J, step S /'/ ?>? /?-^,7/ of /d y? f^cf 3) . •C Aand f's 0/1 /■2/p c}/id ^ Aand swings iVj a/ i'nn/ard circle . . . ■ -7 « /?epsai 7%c saTTTi f sf<^ draw J ro /? side , • / " ^a/oaai T -it) /2 side onjy _ J _'-". _,..,.. ..,-2 /^apcaf all A-i^7n {-/tc be^i?tni'nif •Jf /// sfctrhhj^ S - -ft , . . - O " OS". S^ep ^- f/ .-/orward fdi ^ J , sufing X -rf in 4^or> f of /? /y ^,7e/ /■7c7r> on /? f^. /6 iiand overhead , -C hcirrd c>?t Ai/o ■ / „ S^ep /?. /y 3c7cAyc//)^ sfep ^ f/ fiiryvcird f c/ S J ^ sfep ^ fl.f'.vyvarci(ci 3) -i.fyarrd >3rsrhectd , M fya?iU(:>yvi?i^ s^^ ■ -SJ^go S f^ daeA a/id i^a/O ff «^c >r> frojT I- ^ -^ /T i'c? f etna ~) , s^<^ icpjn /? fi and d -icip -C ioc de/2?'nd /? fyisc/ . /S'aaaai same tio-i'oi n7ore bzii' die lasi ii'mii J^^ t^n /?■ fi toi'f/^az-i t- iappiTiy -f, z'cpe . d/tts is a. synco/oci^ad ynove-rne-n ? . d/ Jzarid /-<■ orarhsad ^ /iZ hand is on /7ip .2 <■ f^ep^ai siarh-n^ -^, /P, ^ . ......./'?" INTERLUDE /6 > ■Sr^ /?.f/ fortvard as' if fall in (^ on ?'/ and 3 s taps in p?icr7cc . f?- arrn. curyutd over /2^cid and ^ /?and 6e/2ind dcicM, . . _ •/. ^<^p>2cif Sca./T?c ieji'nni'jTg ^ fl . ai/a.in .,....,^,., / r. • - •- - J^p/c'fY/kfvntijfS-^/ and disf/acinj^ "^/^- ^^'d<: -C fi 3acA ^ siep) ?-i fi infd?7t -Cf ^ fi adczin f coupii , ^lisse ^coupii ) /'c/dand2'l siap '£" f/ ac/-Gss irvni <^/' fir^ ids). ' , ' , ^ . - . . . , ■ , , , , ss in fvni Y /^.f iei.3J. ' ^ OYtinj -C riancl -&o /d^os.j and K nan ^ shouidar iii^h sid? side loiiiz Hic fbiioyv ing sttip : Siao /i'. f/ aercrss 2>7 fhon f ^f S fl . (cl . y/ J ^^Sak^ ih,s s^np asij fa llirr^ on /? 'fif ^ t/lre,i. //'ii/e ■P hand ijrer/jead ■ i^ iiand on hip ._ / » S^ecil diij ?r><2asitytv 3 i7'mes mora alu>Qirj ie^inninff /^. fd. . 3 <- /?op^cil tita fi'rsi 6 measures of i/21's f?^uni ■ WdA tiie iicrm'nj jiep ma/ii: ?%c- CoTnnl^fc -hwn in S ^^leasiirej « J f^epj -/hri/vctrd iiyh'ng i/ie k?7eai uxiiit eacJt step. fi^X^.y Jd-J iirms Zczieral ^om side to si'di with each 5 f u/o I'n oppon ho/<^ tv iha f^i'vucird fl ° 7 n Z iii/ie steps foryvcird { ''t d ^ , ste/s forward o>t ■^. /•/ and Ao/d ^ ei 8,3) cn'ni'sii uiitii 7-t fi r'aisad de/zind , d ■ nand on ^//o , /? Acrnd orerAead -^ • IF o 4 The Bride's Dance A RUSSIAN PANTOMIMIC SOLO DANCE BY LOUIS H. CHALIF Price $3.00 For sale only by oiHi^^iLanip inio]rim.^il: The following, by the same author, are other National Dances, selected from a very wide repertory as being the world's best. The price of each is $3.00 They consist of appropriate music and a complete description of the Dance, are copyrighted, and can be procured only from the School. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s, or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. 50c. s. 4. Saibara. Japanese s. or. g. 1. SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES PUBLISHED BY THE SCHOOL Copyright, 191^by Louis H. Chalif The Bride's Dance. Andante con espress. arr. by Louis H. Chalif. ^ ^3^ p can t ah He 7^7 5^ ' f I ' ^ f ^^ g I ^ m^ 7^7 a ^^ a tempo ^ f'l. f ^ • ^ * J ^S S ^hg- tf? ^Hh, l\ ii^ fJ^Jl ^ W iiii ^r^ r B^^^ gg W^' "^^ Si JTT^. ^iS J ^ J^ j-^^^^ ^j:^ ^^ t^ v*:/' n ^^ -** -J»"ai»- te^ »/" ^^ «=:» 5¥^ i ^ e -^ j »=^ fe fe ^ — ^ *r ^ L ib II ^ i 1^ #- I Copyright, I'jli, by Louis H . Chalif . fe^4j^^-^ ^^jl i t^^nM ^ ^ The Brides Dance. 3 i'^ '^""-Jj-iLitJ ^fc f ^ ^^tS i D-W^yrf'' 'iJ^ cJ" ^^P ^ s # » z^z iii pF P^:^ S f fe^^^^^ ^iizh i i w ^J#Er V y^eT a tJ ^ u u u ir ^ The Brides Dance. S The Bride's Dance A Russian Solo Dance, fairly easy. Arr. by LOUIS H. CHALIF. Entrance: Step R ft to R side, draw L ft slowly up to R ft & step on L ft (cts 1, 2). R hand is overhead, L hand on hip . . 1 meas. Repeat same 1 " Leap on R ft to side, step L ft behind R ft (jete, demi-coupe) (cts 1 and). Repeat 3 times more (cts 2,3,4). Arms same as in 1^t 2 measures 2 2 Russian steps foward (R & L ft), arms slowly from 1st to 2".^ . 2 A Russian step is: Extend R ft forward & bend L knee a little (preparation), step R ft forward, step L ft behind R ft (3rd pos.), step R ft forward again (cts 1 and 2). Step to R side & make a Russian bow as follows: Step R ft to side (ct 1), bring L ft up to R ft & touch the chest with both hands (ct 2), bend the body forward from the hips & open arms to 2"-'^ pos .2 " Repeat all to L side 8 " 16 " II. Step R ft to side (ct 1), brush L heel across in front of Rft(ct2) & 1 Russian step on the heel diag. forward to R starting with L ft (cts 3,4). L hand is on hip, R arm in 3rd pos.amplified on cts 1,2 2 meas. 2 Russian tortillers (R & L) back to place & 3 stamping steps in place (R,L,& R ft) Arms folded in front of chest. ...... 2 » Bride's Dance. 6 A Russian tortiller is as follows: Lift R ft behind with knee raised to side (preparation), step R ft back & hop on R ft lifting L ft behind with knee to side (ct 1, and). Repeat same with L ft (ct 2, and). Arms are folded in front of chest. Repeat all to L, R & L ^meas. 16 " III. Touch R toe in 21^ reversed pos. & hop on L ft (ct 1), swing R ft for- ward & hop again on L ft (ct 2), & 3 steps backward (ct 3, 4 ). L hand is overhead, R hand on hip 2 meas. Repeat same, starting with L, R, & L & continuing to move back. . . 6 " IV. step R ft to side (ct 1), brush L ft across in front & clap the hands in front (ct 2), step L ft across in front of R ft & hold this position (cts 3,4). Finish with R arm in amplified S^ldpos. & L hand on hip 2 meas. 2 Russian tortillers moving back to place 1 " 2 quick stamps in place, R & L ft (cts 1, and). Do not put any weight on L ft when stamping. Arms are folded in front of chest 1 " Repeat all, starting with L, R & L 12 " 16 " V. Pantomime: The bride bids farewell to her girlhood friends. Turn to face R & take 1 Russian step toward R side of stage. Be- gin with R ft & from the toe. Arms open from 1st to 2"-'^ pos. as if saying, "I am. coming over to you to say good-bye. ... 1 meas, step L ft to side & make a Russian bow. The bow means "Good-bye'.' 1 meas. Begin' L ft & move sideways back to center of stage with jete demi- coupe slowly 4 times. L hand is on hip & R hand waves good- bye to the friends she has just left (4 times) 2 " Repeat beginning L ft to L side 4 " Roll up L sleeve, (cts 1,2,3,4) as if getting ready to dance again. While doing this take 1 step backward with R ft 2 " Roll up R sleeve & step back with L ft 2 " 4 leaping pas de basque in place 4 " Pivot turn to R side (4 cts). Arms S^d pos 2 " Stamp L ft & hold. Arms back below shoiilder level . . . . . . i " . 19 " VI. 1 leaping pas de basque beginning R ft 1 mea; Slide hop diag. forward on L ft. Arms diag. 3^^ pos. 1 " Step R ft behind L heel, cutting out L ft diag. forward & slide L heel along the floor (coupe glisse) (cts 1,and)-, repeat this 3 times more (cts 2, 3,4). The last time finish with L ft rais- ed. Arms through 21^ pos. & down (preparation), istpos.onthe first coupe, & finish in diag. 3rd pos. with L hand up . . . . 2 " Repeat all 3 times more, alternating L & R 12 '^ Repeat '1^-'- 2 measures, starting R ft 2 Slide hop to R side, turning completely around. Arms 3rd ampli- fied pos 1 " 2 stamps in place, L & R Cross the hands & open to diag. 3rd pos. i „ 20 .. . Bride's Dance. 6 DANCES BY LOUIS H. CHALIF. itltri^rShlf'SsSTn?." sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2 — Of a little difficulty 3 — Rather difficult A — Difficult. d — Duet dance. g — Group dance. -Solo da; NATIONAL. $3 Each. Saltai-ella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. , Tarantella. Neapolitan s. or g, 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only, ,^ndalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csdrdas. d or g. 3. Cs&rdas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. 50c. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Orie: tal Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, 50c. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2 A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess- $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. umerals used with these dances asier grades than in the other Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2 Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp , $3. Twinkle Waltz. 2 Waltz, The. West Point Glide. 1. Note: — The denote much categories. Manchegas. Spanish. 3. Zorongo, Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tainbourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel .'Athletic, for men or boys. 2 Old Welsh Dance. 2 Highland Schottische. Irish Lilt. 2. Long Dance. Swedish Ring Dance. Swedish. First of May. Swedish. May Dance. German. Westphalian Peasant Dance. Cracovienne. Polish. 2. Goralsky Taniec. Polish. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza) Khorovod (The Crane) Lujock. Russian. 1. Kolomeika. Russian 2. Strascik. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. I Scalp Dance. Amer. Indian. 1. 2. 1. 1. 50c. 1. 1. With folk song. 1. or g. 50c. ■ $3. $3. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. Eugenie Onyegin. Waltz s. or g. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4 Mignonnette. s. or g. 1 $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. 50c. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spa-^ish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d 2 The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1 The Polish Princess. Polish s or g. 3. Marysia. Polish s or g. 3. The Mazovian Maid. Polish s or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Aufomne (Bacchanal), d. 3. Russian. Russia*!. 1 1. CONTRA. Arkansas Traveler. 2 Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and lirief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING " ^""^ ^^^^ IT IS located in New York City, at y West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the i'thool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all ^the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Conc<:rning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instruCor of dancing in leading Nov York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. BULGARIAN FOLK DANCE arr. bi/ L0UI5 H. CHALIP o/' Htg iJancc , J^/iej^ art co/:'y''''^/-'rer /nen am^ Ooj/s S(HE Search IRISH LILT L0N6 PANCE RIN& DANCE MAY DANCE KRAKOVIENNiE RUSSIAN WAVE PANCE 5NoW 5T0RM KHORO/OD LUJOCK KOLOMElKA 5TRASAK BABORAK BULOARIAN C5EHB00AR RITKA SNAKE DANCE 5(ALP PANCE Jwidi'sk S&i-man J a h'sA rZiisslcin ( /^icifiili/ja.) Russian ( fhi Crane J /^t/ssian /?2ISS I a n. /c'i/ssi'n/i. fdo/id-m loii JSo/Tdmian ^o//c ^hincc •^fun^ari'an ^icnffm-ian •Indian By the S/*me Author S;ti-e.nsiy^ SerteJ cf S^clhonai ■^a/JCi.'-' ( <^ricc ^ «? each J ^cm?'- CAarac/c/- •ill/ices r ^ 3 J JScil/- roarrx -iPancei ( >^ J", y* a/id /Sa//l'i - 'J ^ s ^ to ^ ^ mi-'as. jhxxiaouuaxi %(k ^dace I'^m/ P72miScr o^' cot,i./c>/e3 can ^cjk-c ^cirr ^ I J-^e/o /?- /7 {o ^ic/e ano/L' f^ ye . IT. /^lipea^ same sn/o m// /T/oyi/?^ -/-orwarc/ tDv^ard Ccn^c?^ Of" ci'rc/c- . . ■ . ■^ •■ J^L'piicjf S'ci/yTd miYiny dcTck y^a/d . - . J*- <■ Kiipcci^ -forrward and Sack >• ur . opposite side . cy/ve jriap 7J ^he. s-cim^s as i/i Jvy . J" . 4- •■ Conii'mii, cfancinj -if fS sic/e a/Tcf iv^c/-n -fo y:;>i'c7c,a' .... .. ..-4'- /^'fpccT^ c?// ;7^oYi/7^ ^ -i ■ sic/a .......,..-,.,_ y '• Y6 - y y. V. V. -/. •/. •/. ■/■ ■/■ ■/. •/. CA LA BREAZA RUMANIAN SOLO OR GROUP DANCE Arr. by LOUIS H. CHALIF Other National dances arranged by Mr. Chalif are listed below. Their price is Three Dollars each. They can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND STREET, NEW YORK Furlana. Venetian gondolier s. or g. 2, Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. \ La Mancha. Spanish s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. La Paloma. Mexican s. or g. 4. Cachuca. Sjianish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s 3. SOc. Pavane. Old French d. or g. 2. AUemande. Old French g. 2. Chaconne. Old Frencli d. or g. 2. Gavotte. French s. or g. 2. i Gavotte Directoire. Pavlowa's d. 2. SI. Sarabande. Old French d or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Sailor's Hornpipe, s. or g. 1. Queen of Swords. Minuet for 12 or 8 couples. 2 Tyrolienne. Austrian Peasant d. or g. 2. Ca la Breaza. Rumanian s. or g. 3. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. I. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and ». 2. Kasatchok. Russian peasant d. or g. 3. Plyasovaia. Russian s. w. pantomime 2. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3 Csardas. s. or e. 3 The Magyar. Csardas s. or g. 3. Second Hungarian Rhapsody. Csardas s. 4. Saihara. Ja|ianese s. or. g. 1. SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR C P y r i 2 h t. I 9 1 C. by Loui s H. Chalif Tilfi I'.hal;^ l;i Ca la Bi^eaza. A119 con spirito i.rv: Am by Louis H.Chalif. Piano, i^ ^ mmsm ^^ • ifJIlVllTJIl- fj l LfJI JJL m.vi. m *2_ ir # ^ IS ■>• i t J \\ tj h !,r \ if Jilt J\J J s ■//• iSr ^ s F i^ ^M W ^ ^ y=f=y ■ JJ \ JJ \ irj \ i rj\JJ\f t Louis H.Chalif. N.Y. Ca la Breaza RUMANIAN PEASANT DANCE For solo or group, somewhat difficult Arr. by LOUIS H. CHALIF Q The name means "As in Breaza" a town of Rumania, &- is pronounced cah lah bree-Ah'Zah. QThe dance should be performed in a lively &- spontaneous way. Q The costume is of the Rumanian peasant, in many colors. m I. m 2 running steps to R side { R &- L; counts 1, 2 ), the 2nd step being behind Rf. Step Rf to side pointing L toe in 2nd reversed position, which is toe turned in in 2nd pos. (d 3), swing Lf forward at the same time hopping on Rf (d 4) 2 meas. Repeat step and point toe and swing forward twice more (L and R; ds l'4) 2 meas. During the above 4 meas. the R arm is in 5th pos. &■ L hand on hip. Repeat all, to L, K &- L 12 meas. 16 meas. E i(. H Step Rf to side (d I), strike the back of K ankle with the Lf &- slightly bend K knee (d 2 ). Repeat same to L . i ^!=«?= ff Cherry Blossoms. 4 The Cherry Blossoms SIMPLE CHARACTERISTIC JAPANESE DANCE, Rather easy, for 2 girls, by LOUIS H. CHALIF Q The character of this dance is demure &■ quaint All the movements, both of feet &■ arms, are small. The head is bent somewhat forward &- the chest is deflated. The feet are kept quite close together 6- are turned straight forward instead of out. Q[ The costumes are kimonos with large square sleeves &- an obi (wide sash) tied with a large bow in the back. Each girl carries a fe^v sprays of eu'tificial cherry blossoms. (J At the center of the stage is a vase to raceive the flowers later, having a grating over the top so that they may be arranged in it. (^ If a grand piano be used an effect of Japanese music may be obtained by laying sheets of thin paper on top of the strings To do this depress the damper pedel &- slip the paper underneath the dampers The introduction is played before the dancers enter 2 meas. ^ I. ^ One girl enters from L back comer of stage with: 3 little steps forward starting Rf (<2s I and 2) 6- pause leaving Lf behind (dX and). On d 2 she looks backward &- downward over her L shoulder, bending the trunk to L. She holds the cherry blossoms with both hands just below her chin I meas Repeat these steps 6 times more, starting L &- Rf alternately &- moving behind the vase, then around to R of it &- across in front, finishing to L of it 6 meas. Make a little bow to the audience by bending both knees, keeping them close together &■ bending the head (d I and) . 6- rising ( d 2 and) ...I meas 8 meas m 11. m a Thinking that she hears someone coming, she looks suddenly toward R of stage thus: Keep the feet in place, turn head 6- trunk to R, bending the head to L, &- bend both knees a little. Hold this pes. for dts 1, 2, (1 meas.). Shade the eyes with the R hand &- bend the knees a little again (cas 3, 4: 1 meas.) ...C 2 meas. She runs with little steps toward R front comer of stage to meet her friend, &■ simultaneously the 2nd girl who may now be called "B", &- the 1st "A", enters from R front comer of stage &- runs toward A, holding cherry blossoms in the same manner 1 meas. They stop when face to face (sideways to the audience) &- bow to each other as previously described, bending on d 1 &• rising on d 2 1 meas. b. Now follows a ceremonial greeting with the blossoms, which means "May you become as tall as the cherry tree &- beautiful as its blossoms." (J B stands perfectly still, arms in same pos., while A takes her blossoms in her R hand dr holds them over B's head (d I), repeats same (d 2), places them beside B's R cheek (ds 3. 4) &- beside her L cheek (ds 5, 6). Finish by bowing to each other as previously dfescribed (ds 7, 8) 4 meas. B does the same for A 4 meas. C. A turns halfAvay around to L &■ dances forward toward center of stage with 3 steps &■ pause, previously, repeated twice (L &- R) 2 meas. A runs with little steps around to the L side of vase I meas. A slowly kneels, facing the vase, keeping the knees together as she descends &■ still holding the flowers in both hands 1 meas B during these last 4 meas. does the same as A except that she does not turn &■ does not need to run so far to reach the R side of the vase, where she kneels .16 meas. m III. E Both carefully arrange the blossoms 1 by 1 in the jar 3 rneas. Both lean back to see the effect, opening the arms sideways in admiration I meas. Rise very slowly 2 meas. Turn once around away from each other 1 meas. Finish facing the vase again, standing on the inside feet with outside feet pointed backward, bend sideways toward audience &■ look at the blossoms. Both hands are held palm down, the hand away from audience higher than the other. This attitude signifies admiration of the flowers. 1 meas. meas. ^ lu. m Both circle around the vase simultaneously, beginning Rf to R side, with 3 Steps &- pause (as previously described) repeated twice, which takes each girl half' way around 2 meais Run with little steps back to original places, completing a circle..... 2 meas. Repeat same circling the vase to the L, starting Lf to L side 4 meas. 8 meas E u. n They move toward audience, starting outside ft: 3 Steps &- pause, as in Fig. I, repeated twice The hands are about 3 inches apart, almost touching the top of the chest, with palms in and fingers curved . 2 meas Turn in place away from each other once around with a pivot turn The arms are in a nar- row 4th pos,, 1. e., the outside hand is overhead &- the inside arm half-extended in front of chest. The trunk &- head are bent toward the inside 2 meas Repeat all starting inside feet &- turning toward each other 4 meas Repeat all, moving backward, each to her own side of the vase, &- finish in the attitude of the end of Fig. II -8 meas. 16 meas. Ul. Move backwards away from the vase, i. e., sideways to the audience, starting Rf 6- separating from each other, with 3'Steps'£r'pause tv^ice, &- a pivot turn to the R, The arms are as in the previous Fig. 4 meas. Repeat moving forward tovv/ard each other, starting Lf 4 meas. Repeat ail 8 meas. Each take 3 steps to her R &- pause (ds 1 and 2 and). Both begin with Rf They still face each other. On d 2 they touch L hands together over the blossoms 1 meas. Repeat same moving to L side, starting Lf &- touching R hands I meas Turn quickly once around to R 1 meas Facing each other, bend both knees in preparation to kneel, stopping abruptly, to observe the rests in the music 1 meas Kneel facing each other with the vase of blossoms between I meas 21 meas. Both lift the vase, rising slowly, &- carry it off stage, running with very little steps to the L side A running backxA/ards &- B forwards. There is no music for this. DANCES BY LOUIS H. CHALIF. The following list of dances composed Ok- arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2 — Of a little diBcultJ. 3 — Rather difficult ^ — Difficult. d — Duet dance. g — Group dance. s*-Solo dance. NATIONAL. $3 Each, jfurlana. Venetian gondolier s or g 2. laltarella. Sicilian d or g 2. liciliano. Sicilian s or g 2. tarantella. Neapolitan s or g 2. l^oUenne. Austrian Peasant d or g 2. iolero. Spanish s or g 4. ! 2). step on Rf (d 3). step on Lf to L facing to L (d 4), &- hold (d 5). The arms are 3rd pes L arm up on d I, 2, 3. &- same pos. amp. with palm down on d 4, the L arm indicating the position of the faun almost 2 meas As a preparation change the weight to Rf (on d 6 of preceding meas). then step &■ hop on Lf lifting Rf forward with arms in 3rd pos. L up. (d 1, 2) &- 2 steps forward to L (R &- L; d 3, 4). making 3 beckoning motions toward L with both arms, \A/hich are parallel &• the L one very high. The 2nd motion should be a very strong one. the head &■ trunk takinj, part in it. Hold the attitude for d 5, 6 2 meas Now the nymph appears frightened again, because the faun has begun to chase her: she runs away, shaking her head as if saying, "I didn't mean to call you." Run diag. forward to R starting Rf with many little steps, arms in 3rd pos amp R arm up, (d I, 2, 3). step Lf across in front of Rf in the attitude of the close of the 2nd meas of Fig. I (d 4). & hold (d 5, 6) . . 2 meas Chopin Prelude 3 Run again in same diredhon starting Rf, arms in 3rd pos amp. R up (d 1. 2, 3*, &- finish on Rf (dl 4) making a repelling motion to L side \A/ith arms in lateral pos. to L &- at the same time shake the head, finishing looking to R &- away from the faun. Hold this pos. (dt 5. 6) . 2 meas 8 meas III. The faun continues to pursue the nymph &- she to elude him. dancing in a diamond'shaped path. Step &■ hop lifting P\f forward with knee bent, starting Lf. 6- with arms in 3rd pos.. L arm up (d 1, 2i, &- 2 aeps turning half-way around to L to finish facing to with Rf pointed forward 'R &- Lf: dt 3. 4). On dt 4 the arms are 3rd pos. amp. with R hand raised, palm down, as if repelfing the faun with great dignity while the head 6- trunk are very eredt. Hold for dls 5. 6 , 2 meas Moving diag. backward to L. staning Kf. do step hop lifting Lf forward, arms in 3rd pos R arm up (d i, 2), run with several little steps turning 11-2 times around to R (d 3', £r finish on Lf 'd 4) with the shoulders facing L. the forearms folded lightly. R on top of L. the trunk twisted toward L. &- the head looking at the faun over R shoulder Take this attitude slithily as if slipping out of his grasp, &■ hold (d 5 6k , 2 meas Repeat the steps of the above 2 meais., moving diag. back R, turning once around to R, &- finishing on Lf facing &- looking diag. forward L, with Kf pointed back Both arms are extended diag upward L. L arm higher than R, palms out &- with a movement of pushing away 2 meas Repeat the same steps again moving diag. forward R &- turning approx. once around to to R Finish on Kf with Lf pointed back, face &■ look diag. back to L The R arm s be.it so that R hand rests lightly on the front of R shoulder: L arm is in 3rd pos. amp 2 meas After a little more eluding the faun catches the nymph &■ kisses her; she is overcome with pleased dismay &- runs away entirely 2 skif^MOg steps to L side starting Lf 6- turning once around to L (d I 2' 'A skipping Chopin Prelude -t step IS hop step in I , &- holds (dX 5, 6 > 2 rneas She now sways from side to side with her arms ' still overhead struggling to get av^/ay (d I. 2 breaks away ^ turning half-way around to R takes a few intle steps to K .(^ 3). &- finishes on Rf i& 4,', with head bowed &- R arm curved closely over her head concealing her face, in an attitude of confusion, her L hand extended down &- back Hold (eft 5. 6 ) 2 meas Run starting Lf. xA'ith many little steps to P<. almost to the exit, with arms 3rd pos. amp R up, &- head looking forward 'ft I, 2>. Still facing the R hop on Rf with Lf extended backward (^ arrangedi copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 3 — Kathar AMnh 4— Difficult i — Duet dMMa. f — Group d«nc«, •—Sole dtnct. NATIONAL. $3 Each. I'urUnt. N'enetian esndolitr s eir g 2. Galttrellt. Sicili&n d or g 2, SUilisno, Sicilian s or g 3, Tarantella, Neapolitan s or g 2. Tyrollenne, Austrian Peasant d or g 2. BoUro. Spanish s or g 4. La Maneha. Sfianish s or g 2, MadrtleSa. Spanish » i. Cachuea, Spanish s or g 3. La ?«rta. Spanish s or g 3, Ole Qadttano. Andalusian s 3. La Oltana, Andalusian s 3. $1. La Paloma. Mexican s or g 4, Sarabande. OUl French d, er g, 2, Pavane. Old French d or b 2. AU«mand«. Old French g I. Chaeenne. Old French d or g Z Qavotte. French s or g 2, Oavott* Directolre. Pavlowa's d. 2, $1. Minuet de la Cour, For4coupU«. $5. 2. fiueea of Swordt. Minuet, 12or8cpl3. 2. word Danee, Scotch s, 3, Hllhland Fling, Scotch s. 3, Pofika, Swedish d or g 2, Polonalie. Music only, SOe. g 1, Krakowiak. By tilinka; d or g 2. Maid-of>Honer. Mazurka s C Plyatov4ia, Russian s w, pantomime 2. Buatian Quadrille, For S coupler. 2. The Bride\ Danee. Buss, pant, and s 2, Kaaat«hok, Ruissian peasant d or g 3. Donakoi Coaaack Dance, s or g 3. C«4rd4a. d or g 3. rsSrdil. s or K 3. The Magyar. C sirdis s or g 3, >\d Hungarian Rhapsody. Cs4rd4j s 4, Ca la Breaia. Rumanian s or g 3, Satbara. Japanese s or g 1, CHARACTERISTIC BALLET. $3 Each. ='ght and Darkneaa. Gr, d, w, panto. 3. The Shepherd and the Angel. Panto- mime hallet, d, j rs and the public, is carried in stock a" prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK .OF DANCING Vol. I. The standard positioas and the fundamental exercises. These are do- scribed to the minutest detail. «o that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ilL, price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and includi->g all used in thr Chalif School. Third edition: a new collection of 47 beautiful pieces, unnscd hitherto; engraved. Postpaid. $3.05. Grammar of the Art of Dandng. br Friedrich A. Zom. An important work to the profession. With mnsicftl sup- plement, express paid. $10. THE CHAUF NORMAl^ SCHOOL OF DANCING ^oSST^JLVlt IT IS )o<^aited in New York City, at •} West 42^1 Street, and teaches dancing, especially its higher forms, to dancing teachers, eithibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of ohysical training. Its work with these classes has met with tr«aaendo«is success. "Chalif dancing" and the is^ool which radiates; it have con>e ir«to a North American repu- tation, now becoming international. This pt^ularity is du«, we should say, to tour factors, which are Ut: CRALIF DANCING tms is the classic art Uught by the Imperial Ballet Scholed®e of racial character, alertness, grawv, and a soul-deep development esttietically. The adaptation of Classic dancing has not be«i attnnpted by ^e Chalif ScJtool only, btit by it w?id» the most ©wt^tanding suc«^!ss, especially in tttree piorticulai^ First, tihe use of the lrm> aiad the rest of the body has been kept equally important wif^ the use of the feet. Second, in NatioiMl, Demi-character and Folk dancing the Notimte^ €it»r«Ktti'r«om dancios, an exh^'biitio'n! ^ncer ai»3 a composer of dances. 2nd: L. H. CHALIF The second factor in the immense success of this School ham been the experience and teaching ability of its principaL From 9 years of age a student in the Iraperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dandng in leading N«w York private schools and director of the Chalif Normal School. Iw experience has been long, ccmplete and invaluable to Us pi^ils. ... A certain ability at teaching has also made die school popular, although it has prevented the use oS asastants. ranee it has baan f oimd that the students win listen to no one ^e vrtulc tfie pnadyal is on the flo. * <5-j ^. * -Valse. 4 Ill Piu lento Valse. 4 "Sb, IV Piu mosso. jJtt 'T F 2^^ — I F fi * ^. * ^m ^m M m. A m m ^ 'Seb. * * *jgj{y. * ':&). * f¥r-J7?^ '> hh- J P J' W^ mi A f-^-f^ ^. * il * '^• e M * '^. * ^. *geJ). * * m * "J&5. * '3«i). * Chopin IN C SHARP MINOR INTEKPKETIVE SOLO DANCE ' somewhat difficult, by LOUIS H. CHALIF QThe movement of the dance alternates between slowness &■ quickness, between dreaminess &- vivacity. QThe costume should be Greek. Ml. if The music is played With moderate slowness. Step Rf to side (,ct 1), step Lf behind R heel Cct 2), step Rf in place (ct 3), &- repeat same to L (.cts 4, 5, 6). This is somewhat like a backward pas de Basque in place. The arms are 3rd position with L arm up £r same with R up &- trunk bends far to L &- R. 2 meas. Slide hop diag. forward R on Rf (cts 1, 2, 3), &- 4 little running steps in same direction finishing on the ball of Rf with Lf raised behind (cts 4, 5, 6). The arms are 3rd pos, amplified &- finish in 5th pos. 2 meas. Kepeat same to L ■• 4 meas. Dance in an extremely small circle to R as follows: Slide hop on Rf to R side raising the arms slowly sideward until they are extended diag. upward like opened wings (cts 1, 2, 3), &- take 3 small steps ( L, R &- L~) turning half way around to K, &- lower the arms to 1st pos. (ds4. 5, 6) 2- meas. Repeat same, this time doing slide hop with the back to the audience, &- finishing facing audience 2 nieas. Step on Rf to R side with arms in 3rd pos. amp. R arm up, &- pause as if preparing to run to R, then turning suddenly to L run to L in a semi'circle back &- to center of stage with arms in 3rd pos. amplified, L arm up, &- finish by stepping Lf across in front of Rf on the 1st d of the laist meas. &- pausing while moving the arms slowly to 5th pos. &- bending the trunk to L ■/, • 4 meas. Kepeat from beginning 16 meas. 32 meas. , ■ mi.^ The music is to played very fast. Move diag. forward R with 4 skipping steps in time to the music (I to each meas.), lifting the knees forward sharply bent each time. The R arm is extended forvv'ard &- L arm back &- the shoulders face forward, making a twist of the trunk 4 meas. Turn in place 2 or 3 times around to R with many little steps. The arms are 5th pos. 4 fneas. Kepeat all diag- forward L, diag. forward R, &- diag. back to L 24 meas. 32 meas. The music is played slowly again. Moving diag. forward R, step Rf forward &- hold (cts I, 2, 3.) step L across in front of Rf &- hold (cts 4, 5, 6), &- run with several little steps, finishing with a hop on Rf (2 meas.). The arms are 1st pos. (1st meas.), 3rd pos. amp. with R arm up, chest much elevated, head thrown back, trunk twisted (2nd meas.) and finish in 5th pos. (4th meas.). The attitude in the 1st meas. is merely a preparation for the strong pos. reached in the 2nd 4 meas. Repeat all diag. forward to L ,-. , 4 meas. Move backward &- turn once around' to R with step on Rf making a pivot turn on the ball of it (cts I, 2. 3), finishing the turn with 3 little steps (L, R &- L''--4, 5, 6). The arms are 4th pos. with R arm up, on 1st meas. &- 2nd pos. on 2nd meas 2 meas. Kepeat same r 2 meas Step on Rf with arms in 3rd pos. amplified, palms down, R arm up, as if preparing to run to R, then turn suddenly &- run in a small semi'circle backward to L to center of stage, with arms in 3rd pos. amp. L arm up. Finish by stepping Lf across in front of R.f &- raising the arms to 5th pos 4 meas. Kepeat from the beginning of 111 but this time run so as to finish in center of stage 16 meas. 32 meas. Moving CO R side, slide hop on Rf, turning to R take 3 little steps to complete the turn (6 ctS"2meas.) aind repeat same (2 meas). Throughout the arms are in 1st pos. palms down, with the first 2 fingers of the two hands interlocked, k is highly important that the elbows be well lifted, to make a smooth circle with the arms. On each slide hop the trunk &- head are thrown back &- to L to look toward the audience, and she arms in their circular pos. are tossed a little upward, afterward, on the 3 steps, they sink to 1st pos. again 4 meas, Slide hop on Rf to R side (cts I, 2, 3), step Lf to L side (cts 4, 5), &■ step Rf beside Lf »n 1st pos. (d 6). On slide hop the arms make 2 parallel lines diag. forward fr upward on R side 2 meas Repeat same starting Lf to the L side but making 3 little steps instead of 2 on the 2 meas. 2 meas Repeat from the beginning of IV starting Lf &- moving to L side 8 meas. Repea! the first 14 meas. of the above,. 14 meas. Run, starting Rf, with many little steps so center of stage and finish on the last note of music on the bail of Rf, side to the audience. Lf lifted backward, R i-sm straight up, L arm in 2nd pos., &- head u- trunk thrown far back. Or. for an easier closing attitude allow the toe of Lf to rest, on the floor. 2 meas. 3 2 meas. EXPLANATION OF TERMS 1st Position ; The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The K arm makes a half'Circle over 6- in front of the head &- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Pos:tion The K arm makes a half-circle over &- in front of the head &- the L is in 1st pos Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. Step Swing means step on one ft, swing the other ft. forward &- at the same time hop on the 1st ft Step or Slide Hop is to step on one ft &■ then hop on it lifting the other ft backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted forward. Pas de Basque is a semi-circle with Rf &- leap Rf to R side (d I), slide Lf forward in front of Rf ( d2) &■ bring Rf up behind Lf cutting Lf out forward (d 3\ 11 DANCES BY LOUIS -'H. CHALIFo The following list of dances composed o.' arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABEREV:AT1f tVipsp. Qr_r>f..jnr rlanring fe:ir im: CLEOPf)TRf)*S DANCE ORIENTAL INTERPRETIUE SOLO OR GROUP DANCE By LOUIS H. CHf)L(F other (nterpreitive and Greek dances by the same author are listed below. Their price is S3 each. They can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND STREET. NEW YORK Chopin's Waltz, C sharp minor. Int. s. 3. Valse Caprice (Rubinstein). Int. s. 3. Spring Song (Mendelssohn). Interp. s. 2. Chopin's Waltz in D flat. Interp. flower d. The Blue Danube Waltz. Interpretive s. or Hark, Hark, the Lark! (Schubert). In. s. 3. Cleopatra's Dance. Oriental Int. s. or g. 2. The Moon Dance. Oriental Interpretive s. o Psyche. Interpretive s. or g. 2. Song of the Robin. Interp. s. or g. 1. The Song of the Robin. Interp. s. or g. 2. Blue Danube Waltz. Interp. s. or g. 3. Humoreske (Dvorak). Greek s. 3. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. Greek Maidens Playing Ball. Very effective. 2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Pompeian Flower Girls. Old Roman g. 2. Winter. Greek Interpretive s. 2. Summer. Greek Interpretive s. 2. Moment Musical. Greek s. 2. Barcarolle from "Hoffmann." Greek s. 3. SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR Copyright. 191 by L u i H . C h a I i f Cleopatt^a's Danee. Introduction. Allegretto con fuoco(J-= eo) Arr. by Louis H.Chalif. Piano Louis H.Chalif, N.Y. 7-i."i,j ;>J J>lf I f p I'^XJf ^ ,^T"3 ni j JjjJ r7^ ^ «- m (^"i' ^1 ' ^ '> ni' , m rri ^^ ^^ s r ' r k J jrn r ^ ^'^ P r~^ Cleopatras Dance 4 4 • — » — r-m- -t!==ti:g!±Tfc y'^ ^ ^-j J J J j- ^ -T r f 3 J. , ---P — — ^ r 1 - its ff ^^ m ^ rn i,^£T3: g ■ff> J» > L^-^-d ^ I i^tt =t^-t T * — n u * » — • — ^~ i ^ ' MirJ^" ^1 \' ^\ P •/ •/ ^ ^ ^ kft g * * m?^ t f> p f r r f IV. ^ ^^^ '!■ ^'^777 r ^' ^"tTT r i pp-^^ ^ y ^ i ^ i f'p \ 'p f ^ s ^^ Se ^ b^ Cleopatra s Dance. '* Piu presto ancora. FflV" pi> a ^^ -g=f h# r ,,rrri^tf- =1= 9-' rfi- 1=1= =ry= — ^ f f fj" ff y J^~ p44^ =i B3 ' LJ th ^^^ -p^^^^ St 0. Cleopatras Dance. 4 Cleopatra's Dance AN ORIENTAL SOLO OR GROUP DANCE Of medium difficulty, by LOUIS H. CHALIF Q The dance should express the langor of the East, dr hence requires the greatest rcp)ose. The dancer must be utterly relaxed to produce this effect. But yet there must be a strong accent. ({ The attitudes should be taken without exaggeration, &- the arms should be perfectly free. If they be stif' fened they will look angular in the poses, but if relaxed the movements will be sinuous, &- the poses will present a pleasing eccentricity. (\ The slow steps of the dance should be taken in a way that is full of life, but subdued. Step on the balls of the feet first, then lower the heels, and go into the swing of the music with the feet, arms &• body. 1 !. ^ Dancing for Anthony. Step Rf diag. forward R &■ swing Lf forward with knee lifted high &- sharply bent. At the same time hop on Rf (db I, 2, 3), step Lf forward &- hop raising Rf with knee sharply bent &- turned out to side, so that the foot almost touches the L knee (ds 4, 5, 6). The hands are closed to imitate a snake's head, the L arm is curved above the head &■ the R is about 12 inches lower than the L, &■ similarly curved I meas. Step Rf diag. forward as if falling into it, allowing the knee to bend, 6- extend Pv hand in the same direction, as if the snake were reaching out its head (ds I, 2, 3), step Lf back (efts 4, 5) fir step Rf back (d 6). The asms are in the same pos J meas. Pvepeat all to L 6- R 4 meas Turn in place to L once around with a pivot turn, thus: Drop onto Lf, (i. e., land on the toe first &■ then lower the heel &■ bend the knee slightly (ds 1,2), step on R toe behind L heel (d 3), &- repeat same 3 times more. There is an accent on each step of Lf. The arms are 5th pos. with palms out &- with the fingers almost touching 2 meas. Repeat all 8 meas. 16 meas. w II. m Coquetry. Step P\f to L side across in front of Lf (ds 1, 2), step Lf in place (d 3), 6- step Rf across in front of Lf again (ds 4, 5, 6). The L hand touches the forehead with the finger'tips, the palms being turned down.. The R arm is in 2nd pos. with the hand lifted so that the palm is turned out. The head looks diag. forward L 1 meas. Step Lf in place (ds I, 2, 3) &■ step Rf to side (ds 4, 5, 6). Both arms are extended diag. forward to L, parallel &- shoulder'high. The head looks K 1 rr^as Repeat all starting with L, R ^ L feet 6 meas, 8 meas. m III. m Love. Step Rf to L side across in front of Lf 6- bring the hands toward the chest with palms in (ds 1, 2, 3), step Lf diag. forward to L side bending the knee slightly 'i. e., fall onto Lf) &- extend the hands diag. forward L at shoulder level with palms out after making small circles with the hands by turning the palms down (ds 4, 5, 6). The meaning for this meas. is: "My heart goes out to you". .1 meas. 2 slow steps moving diag. backward toward R side (R &- L; ds 1-6 ). The arms are extended diag. forward to L at shoulder level with palms out, &- the head looks toward L , I meas. Step Rf to side"(d:s I, 2, 3), &- step Lf across in front of R ft with a bend of the L knee (cts 4,5,6). 1 meas. 2 slow steps diag. backward toward L (R &- L; cts 1'6). The arms for these last 2 meas. are the same as for the 2 preceding, but are toward the R side I meas. Repeat all - ^ meas. 8 meas. lU. Haughtiness Step Rf to R side ( cts 1,2 ), step L toe behind Rf in 4th pos. ( ct 3 ), &- step Rf in place cts 4,5,6 ). This similar to a slow backward pas de Basque in place. The L arm is extended straight upward with palm up &■ the R is in 2nd pos. with palm out 1 meas. 2 slow steps toward L ( L &- R; cts 1'6 ). The L arm is a little above 2nd pos, the palm out &- the fingers of the R hand almost touch R shoulder 1 meas. Repeat all, staning L , R &- Lf 6 rreas. 8 meas. u. Langor and Happiness. The rhythm of the music has changed to 2 cts in a meas. Step Rf to side, step Lf in front of R rising on the toes of both, &- step back onto Rf This is similar to a forward pas de Basque in place, &■ is done to 4 cts. The arms are a little above 2nd pos. &- wave once in time to the music-or greater detail raise the arms from the shoulder, bend at the elbows slightly &■ gradually straighten, in 4 cts 2 meas. Repeat to L • • 2 meas Move diag. forward R step swing twice ( R &- L; cts l'4 ), raising the knee forward each time sharply bent 2 meas Step Rf forward in same direction &- hop 3 times, raising L knee to the side, the foot almost touch ing R knee ( cts 1-4 ). The arms are the same as for the 1st meas. of Fig. 1 2 meas. Repeat all but the last meas starting Lf Finish with 1 hop only on Lf 7 meas. 15 meas. Starting Rf turn in place (or moving a very little to the R) once around to R with 2 groups of 3 little steps (ds I and 2, 3 and 4). Start Rf. (This is something like a waltz turn. The 2nd step is taken in 5th pos. behind each time). The arms are 5th pos. with palms up, &- the trunk &■ head are bent to L on ds I, 2, 6- to 2nd pos. &- the trunk bent to R on ds 3, 4 2 meas. Balance forward starting Rf. i. e. step on Rf, bring Lf up to Rf, rise on the toes 6- lower the heeb (ds 1 and 2 '. The arms are 5th pos. &- the trunk is bent back. Balance back starting Lf (ds 3 and 4), with arms in a very low 2nd pos. 6- as far back as possible, palms down, 6- the trunk bent forward 2 meas. Repeat all 4 meas. Turn in place to K very fast with many steps, making as many turns as possible, stepping on the whole of the Rf &- the toe of Lf just behind R heel. The arms are 5th pos., palms up. Continue turning until the last chord of the music, on which step forward decisively on Rf, with knee straight, elevating the chest as much as possible &■ bringing the arms down past the front of the chest, start' ing with the hands, palms in, in front of the face, then down beside the cheeks, finishing with both arms in a very low 2nd pos., as far back as possible, palms dovA/n &- hajids bent back, so that the palms are parallel with the floor. From 5th to this closing pos. the movement should be quick &- continuous 9 meas. 17 meas THE FIVE POSITIONS 1st Position: The airms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. 3rd Position: The K arm makes a haif'circle over &■ in front of the head £r the L is in 2nd pxK. Reverse for "L arm in 3rd pos," 3rd Position Amplified is the same, except that the raised arm is less curved. 4 th Position: The K arm makes a half 'Circle over &- in front of the head and the L is in 2nd pos. Reverse as above. 5th Position: Both arms make a circle over and in front of the head. A r DANCES BY LOUIS H. CHALIF. The [oUowing list of dances composed o/ arranged, copyrighted, published and for sale only by Louis H. Chaiif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIOna 1— Easy. 2— Of a little difficulty. 3— Rather difficult 4— Difficult. d— Duet dance. g — Group dance. s— Solo dance. $1. NATIONAL. $3 Each. Furlana. Venetian gondolier s or s Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas, s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the AngeL Panto- liallct, d. 2. for 8, 12 A Russian Wedding. Balh or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET, La i^ete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Polk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. i'orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. Ring Dance. Swedish. First of May. Sw. SOc. Mountain Trio Dance. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm { Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. 1. w. folk song. 1. Norwegian. 2. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2, Windsor SOc. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete).l. Terrace. 2. THE CHALIF NO! IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chaiif dancing" and the school which radiates it have come into a North American repu- tation, now becoming ipternational. This popularly is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chaiif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated a? separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art wtiich while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chaiif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chaiif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the Mme of graduation the ordinary student is a completely equipped teacher of Chaiif and GREEK AND INTERPRETIVE. - $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Qld Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s2. Hark, Hark, the Lark!(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvoi^ak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3, The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. . $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: iSance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $L Furlana. 2. I Minuet Waltz. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chaiif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. .\n important work to the profession. With musical sup- plement, e-xpress paid, $10. A. Few 'Words Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chaiif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has beea found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4t!i: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cauie for the fame of the Chaiif School. Everywhere there is a deman'' for t\T^//j-/7 ^c-inct WHITE ROSE MAZURKA ^^/^ l/E E I R K A Jl/ansar/a^ £l??///i^ary -4)^^^ JA PA N E i E GR U P PA N C E ^/- / c^r /S . S//r>p?e ^.../ .y^-^^/yy^. 5AiLJR'S HORNPIPE Ma/c so/o 80W AND ARROW pAMCE Ma/i.- j-o/o APOLLO Mclc^ Solo COLUMBINE Sdh sr 0/viry:> ^Oanca THE GYP6Y GAMP Js/ ^'h,,^^ THE POLISH PR I N CESS ' ^^^^ ^)^ni.<^ - A/>^h JEAN ^^40 JEANN ETTE Jit^i/p^s ^u<^ i : 3. . OD 3 .00 3. DO 3, 90 2. 00 3. 00 £. OO 3 , . OO 3. 00 3. 00 3. Oj 3. 0-^ 3. 00 3. 00 J.i Oi> COLUMBINE DEM I - CHAi^AITEB - Sato Damc lieqruHo jSn'ilaiite. ,_ -> arr.iy Hiui'f M ■ £/uiliJ > K0ii Chain i>ljrmai Jchuui af^ar^s//'/ Tempo di ' R^lkcL ^ * -?=3^ |W^ fez^t ^ rt 5 ;f=fcfc ^=^ ^^'i^^ t f f # ;» m ^ 9 ^ ^ ^^ s J ^ftj ffi ^ Ja ^ "f . f — 1 ^^ B ■--. ■CTr ^; T -^ *> B i 1 =Hi ^^ Ky' ^ — H-4- L: u ill - F — r. 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Sag /n///hg /^/ // ^ /t'iS'pea Z a// dagrz /tt'^-' ^ la/'/' ^"'^ '...-- 8 , r/. //, -/b s/iJi.' ancf s/c/^ lef/ y^/ , aerosj /n f^^on/ of /-/. a/rc/ he/cf ^r /fya roan in //' f/ic /f^nsti. . ■CJOr /he o ct <:/ c/ic/ic ^Tci / /r/iiar ttrcj t^ ;97?ij.'c ri."~ ■jz^r vt/? /'/?a^ /-/■ /^/ s-/^^^ /fe /■ / s-i 'c/a a'A7c/ COiir/-&sy' _ ^ /9 THE COUNTESS A NEW BALLROOM Df^NCE f)rr'd by LOU(S H. CHALIF PRICE ONE DOLLAR FOR SALE N L y BY THE C H A L ( F NORMAL SCHOOL OF DANCING 7 WEST 42ND STREET.. NEW YORK SEE BACK COUER FOR "LA RUSSE" "FURLANA" AND DESCRIPTIONS OF ALL THE UERY LATEST EUROPEAN BALLROOM DANCES, ALSO MANV OTHER DANCES W !f;tfi!fi!fitfi»!fiifiifiifibHtfi!fi!fi!li!fi!fiyi S COPYRIGHT 191CBY LOUIS H. CHALIF The Countess. Tempo di Gavotte *^- ^ Arr. by Louis H. Chalif, Piano. '■'■"'•-'' Ij^ ■' \ I jH i Ijf ^f Louis H.Chalif,New Yort. - [yr 7^r7 ^"' u^; f In i ^ 4 p ^ r / P "^ P F ^ ^^ ^p ^"p £ ^^^^^ :i=: =:=► § ?^ ^ ta ^ The Countess. 3 m I : i \ ^'^~^r dt^ ^ ^m ^ i, ^^IJ . The Countess. 3 The Countess BALLROOM DANCE, Rather Easy, by LOUIS H. CHALIF ^ I. ^ Begin facing partner with inside hands joined. The gentleman's part is described"the lady's IS opposite. Gentleman move toward L, beginning Lf, Slide Lf to side, bring Rf up to Lf, step Lf to side again, &■ point Rf in front 1 4th position ) (ds I, 2, 3, 4) 1 meas. Still facing lady. Step P^f to side &- bow, the lady courtesying 1 meas. Change places, facing forward, lady passing in front of gentleman. Gentleman begins Rf &- moves to the R with. Slide step L step R &- point Lf While doing this cross over to lady's side turning half'\^'ay around to L so as to finish facing lady • I meas. Step to L side and bow. lady courtesying 1 meas. Balance £r go back to place. Gentleman presents his L hand 6- lady gives her R. Balance toward each other &- balance back, gentleman beginning Lf Balance in this dance is, for Lf: Step Lf to side (dl I), &■ bring Rf to Lf in 1st position &■ rise on the toes, 'xt 2 ), Baiarice is done similarly wtth the Rf, or forvv'ard or back I meas. Return to original place with a 3 step turn, gentleman beginning Lf &■ lady Rf I meas. Step to K side &- balance (ds I, 2', &- turn completely around to L side with 2 steps (L &- R) (ds' 3, 4), Step to L side &- bow (ds !, 2. 3, 4) 2 meas E II. M Partners are side by side, facing forvv/ard, with inside hands joined. They move forward around the room, gentleman beginning Lf with Slide step step &- swing Rf forward I meas. Step Rf forward &- leave Lf behind slightly bent, rise on the toes of Rf step Lf back leaving Rf in front slightly bent, &- rise on the roes I meas. Repeat all. beginning Rf but progressing around the room m the same direction as before 2 rneas Boston waltz 6 times, the gentleman starting Lf back Step to L side ir bow 4 meas DANCES BY LOUIS H. CHALIF. The following list of dances composed o.^ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBRbVIAllUnS I— Easy. 2— Of a little difficultj 3— Rather difficult 4— Difficult. d— Duet dance. g — Group dance. fl^Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4, La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavarie. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Sw^ords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. 1 La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a KirmeLS. $5. The Sun, or Earth's Awakening. Pan- tomime ballet, $in. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. ii'orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( Myatelitza). Russian. 1. Khorovod l^The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance, .^mer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2, Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1 Speed the Plow. 2. Three-Hand Ring. 2. The Tempest |LaTempete).l. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s2. Hark, Hark, the LarkUSchubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp, s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEXI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g ,' The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s T Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic, ladu!; and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with pa;no. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hu;-.garian Char s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 cliaracteristic dance;, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream; Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. 2. La Russe. 1. Sylvia Waltz. 2. The Countess. 2. | Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents up. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING \'ol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. THE CHALIF NORMAl. SCHOOL OF IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quit" all of its spirit and scope have been retained. The result is an art which while allowing: an amateur to make rapid progress is yet authentic, beautiful, utterly c^ptivatine to the student, and furthermore bringing health, knowled?e of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chahf and Ballroom dancing, an exhibition dancer and a composer of dances. DANCING 2nd; L. H. CHALIF A. Feiv ^Words Concerning It The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd; LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame cf the Chalif School. Everywhere there is a demani^ for tl--; real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with c-sses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. LA CREOLE CHARACTERISTIC SOLO OR GROUP DANCE By LOUIS H. CHALIF Other Characteristic and Demi-Character dances by Mr. Chalif are listed be(ow. Their price is Three dollars ($3.00) each, and they can be procured only from The CHALIF SCHOOL Of D 7 WEST 42ND STREET R M A L N CI N G NEW YORK The Village Belle. French s or 3 2. The Beauty of the Alps. Tyrol, s or g 2. The Andalusian Gipsy. Spanish s or g 3. The Gipsy Camp. Span. tamb. s or g 3. Le Toieador d'Andalousie. s or g 4. Jean et Jeannette. French d 2. The Village Belle. French s or g 2. Columbine. French s or g 3. The Joy of the Rose. Pierrot panto, s. Sailor's Hornpipe, s or g 1. The Pied Piper. Charic. 1 adult & g of children. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char'ic. s or g. Japanese Croup Dance. 8 or 16. $2. 1. America. characteristic dances, from Indian times to the present. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s. or g. The Cherry Blossoms. Jap. d w. panto. SEE BACK COUER FOR EXPLANATION OF ABBREUIA- TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR Copyright. 1914^. by Louis H. Chalif is Mr h?ml Mml of Hans hex Ct^eole. To lie played with a Spanish accent. Allegretto. J =96 Piano.' &m w Tnf dulce. f ^ \~^^m r— r- Y3\\r^^^ \p\ j^ 4 lj%j Am by Louis H.Chalif. 1 4'v j~ r j F r-^' ^ fTitrJi j^j'ig ^^ i^= H W i> "nh>J. OPr^^ i i s ^s ^ ^ Ep II. -Pi^rfi i ]Louis H. Chalif. fe^ j^^ ^^M III. M.G. M.G. £ ^ f ^ \f t# f ^ =^^ ^^^ p 'h f E^Kg ^ ^^^-»^ g: f ^ V .g^ fe3SEi 0=*B 'T w/" c'f /fe. ^^^ n-Vi-^ — q S^^ La Creole. IV. ^ -f>, ^ I ^ i^ m t zff; 4 ^ ? r, "I rtf r- V V i-^sr ^^^^^ ^ ' ' -4- ^^^^^^^^^^ feJE ^ J-^^-^ VI.V/ i/" ^M S^ ^^ "^'"^^ 1 '•^^ et ^ =Se^ ^' ?EEH^ ^W =id^ -g-. c-»- ^^-ir^-fi*--— -^ La Creole. 4 La Creole CHARACTERISTIC CREOLE DANCE Somewhat difficult, for solo or group, by LOUIS H. CHALIF Q The Creoles being of mixed French and Spanish descent, their dances partake of the char- acter of each, havihg the snap and fire, aad haughtiness of the Spaniard and the easy daintiness of the French. Q The costume to be worn is of Spanish character. With high heeled pumps. Q The music is in 4 ds, with the peculiarity that each phrase begins with introductory notes on the 4th d of preceding measure. To fill in these notes it is necessary to make a preparatory lifting, with an accent, of the foot which is to begin the step, and to make a corresponding bend of the other knee. The knee of the lifted leg should be bent also so that the foot almost rests against the supporting leg. (| Technical terms are explained at the end of the description. Before beginning stand on Lf, pointing Rf in front in the intermediate pos., i. e. between 2nd and 4th pos. The L hand is overhead and the R on the hip about 6 inches below the belt, as always in this dance v\'hen a hand is on the hip. Lift Rf and bend L knee slightly (preparatory m'v't, d 4), step Rf to side (d I ), and swing Lf across in front of Rf and hop on Rf (d 2). There may be a fouette (i. e. a quick bending and straightening of the knee) with the L leg while in the air. Step Lf across in front of Rf Cd 3), step Rf tack (d 4), step Lf back (d 5), step Rf to side (d 6), step Lf across in front of Rf (d 7), and hold (d 8). \A/hen starting to dance place L hand on hip and move R arm to 2nd pos., then move R arm slowly to 1st and finish on d 7 with it on the hip 2 meas. Step Rf to side (d I ), draw Lf up to Rf and step on Lf (d 2), and repeat same (ds 3, 4). A more elaborate step is instead of drawing Lf along the floor to lift it with knee bent, thus making a demi-rond de jambe ( half circle) in the air with it. The L hand is on the hip and the R arm describes a small circle with each step draw, starting inward from 5th pos. each time 1 meas. Make a 3 step turn to R side (R, L and R; cits 1, 2, 3). The arms are 2nd pos., 5th pos. and finish on hips I meas. Repeat all starting Lf and move to L .4 meas. 8 meas. ^ 11 ^ Lift Rf behind bending L knee slightly (prep., d 4), and step Rf back leaving Lf pointed for- ward (ds 1, 2). The Rarm is overhead and L hand on hip, the shoulders face R, and the head, held very erect, looks forward. Step Lf back and reverse the arms (ds 3, 4) 1 meas. Cross Rf far behind Lf, rise on both toes and turn completely around to K with weight on Lf (ds I, 2, 3). The arms are 4th pos. with K arm up while turning and end with L hand over' head and R hand on hip. The trunk bends to L at the beginning of the turn and the head looks toward audience as long as possible. Finish with both erect 1 meas.. Repeat all 3 times more 6 meas. The 2nd time both hands are on hips for the 2 steps backward; the 3rd time is like the 1st, the 4th like 2nd. The arms are the same at the ending of each turn- 8 meas. ^ (11 1^ Lift Rf (prep, m'v't, d 4), step Rf forward (d I), step Lf back, step Rf back and step Lf in place (d and 2 and). (The ds are not exactly as described, for there are an accent and a hold on d I, so that the following d and comes only an instant before d 2). The L hand is on the hip and the K swings to 3rd pos. amplified on d I and to 1st pos. on d 2. Repeat same (ds 3 and 4 and) I meas. Step Rf back (d I), step Lf back (d and), step Rf forward (d 2), hold (d 3), and lift Lf bend- ing K knee slightly (prep, m'v't, d 4i. Finish \^'ith both hands on hip on d 2, taking a very erect attitude, as always I meas. Repeat all to L 2 meas. 4 meas. ^ lU ^ Repeat tke 1st 2 meas. of 1 2 meas. Step hop twice, K and L, turning completely around to R and moving to the K (ds I, 2, 3, 4). On each hop the free ft is bent and crossed in front. The arms are 4th with K arm up to 4th with L up. The head looks toward audience as long as possible and the trunk is bent to L at beginning of turn and head and trunk bent to K at the end I meas. Step Rf to side (dt I), step Lf across in front of Rf Cd 2), and hold (d 3). On d 2 extend the K hand forward forcibly Vi/ith palm up and place L hand on hip I meas. meas. On d 4 lift Rf back, bending the knee sharply, and at the same time bending the L knee (prep, m'v't). Make a 3\8 turn to R and move sideways in a diag. line backward to L with the following steps: Step Rf behind Lf at the same time extend Lf to L side very straight, like a cutting move' ment (ct I), step Lf across in front of Rf bending the knee after landing and at the same time lift Rf backward with bent knee as in the prep, m'v't (ct 2), and repeat same (cts 3, 4). The L hand is on hip and K arm in 2nd pos 1 meas. Step Rf back (ct 1), step Lf back (ct and), step Rf forward (ct 2), and hold (ct 3\ Finish with both hands on hips (ct 3). On ct 4 raise Rf backward (prep, m'v't) and turn to face L meas. Kepeat all starting Lf and continuing to move diag. backward to L 2 meas. 4 meas. ii Ul ^ Lift Kf (prep, m'v't ct 4), and 4 pas de basque forward starting Kf. (A pas de basque is leap Kf to side, slide Lf forward, and bring Kf up to Lf displacing Lf). The cts for each p. de B. are I, and, 2. The arms are 4th pos. on Land K side alternately 2 meas. Step K toe back (ct 1), step Lf in place (ct and), step Pv toe forward (ct 2), step Lf in place (Ct and), and repeat (cts 3 and 4 and)-'Or in brief the Kf steps back and forward while the L marks time in place. The arms are 2nd pos., palms down and the trunk is bent forward. I meas. Step Rf forward and assume a veiy erect attitude with both hands on hips (d I), hdd (d 2), step Lf back and hold (ds 3, 4), step Rf back and hold (ds 5 6), and step Lf back and hold (ds 7, 8. On the 1st backward step the L aurn is raised and the P\ hand on hip, while for each of the other 2 steps this pos. is reversed. The carriage is very erect to L, R and L 2 meas. Move diag. forward to K with I waltz turn to K consisting of 6 steps (ds 1 and 2, 3 and 4), starting Rf. The arms are 4th pos. on K side to 4th on L and the trunk bends to L aind K I meas. In same direction step Rf forward (ct I), swing Lf forward with a fouette (see I. ct 2), step Lf forward bending the trunk back (ct 3), and step Rf backward Lf in front of K ankle (ct 4) On cts I, 2 the arms go through 1st pos. on their way to the attitude of the 3rd ct., which is K hand overhead and L on hip 1 meas. Repeat all to L and K '. 4 meas. Repeat the waltz turn to L 1 meas. Make a 3 step turn in the same direction (L, R and L). Finish on Lf, both hands on hips and head very erect I meas. 8 meas. EXPLANATION OF TERMS. 1st Position; The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. 3rd Position: The K arm makes a half 'Circle over dr in front of the head £r the L is in 2nd pos. Reverse for "L arm in 3rd pos," 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position: The K arm makes a half-circle over &- in front of the head and the L is in 2nd pos. Reverse as above. 5th Position; Both arms make a circle over and in front of the head. Lateral Positions have one arm in 2nd pos., and the other in 1st. Step Swing means swing the free ft forward &■ at the same time hop on the other. Step oi Slide Hop is hop on one ft &- lift the other backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted ford. 9 J- J DANCES BY LOUIS "^H. CHALIF. The following list of dances composed o. .—■■><■ -w ^ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIOl 1 — Easy. 2— Of a litat diffic 3— Rather diEBcult 4 — Difficult d — Duet dance. g — Group dance. 8— Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Pete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. SOc. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant DanCe. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor SOc. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (La Tempete). 1. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing fealL Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. fcterpretiv8 s 3. Siunmer. Greek Interpretiv.e s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssolin). Interp. s2. Hark, Hark, the Larkl(Schubert). In.s 3. L'Automne (Bacchanal), d 3. Blue Dzmube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp, Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. P^ilish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i ZoSka. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, fe-om Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3, Esthetic Waltz, s or g 2. ^ Eugenie Onyegin. Waltz s or g The Fairy Queen, s or g 2. M Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. Little Fairy Snowflake. s. or g. Midsummer Night's Dream; Dai the Fairies. 12 or 24 girls, 1. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2, Papillons d' Amour. Waltz time Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." i Polka Miniature, s or g 2. $1 Poppies. 3 or g 1. $2. Three Fair Maids, s or g 3, $3, Valse Brillante. s or g 3. $3, BALLROOM. Music and Description, (L Furlana. 2. I Minuet Wal La Russe. 1. Sylvia Walt The Countess. 2. | Gavotte Wi Mazur Waltz. Z DESCRIPTIONS of all the Dances, old and new, in their beautiful, modest, teachable and ard form, are published by the at $.50 and up. MUSIC for the newest In dances, in the pieces most approi us and the public, is carried in tt prices from 25 cents up- OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DAI Vol. I. The standard positions ai fundamental exercises. These 1 scribed to the minutest detail, the book is useful alike to the who has no teacher, or the bes ers. 171 pp., ill., price postpaid. Music for the Classical Exercii Technique, as described in the Book, and including all used Chalif School. Third edition; collection of 47 beautiful pieces, hitherto; engraved. Postpaid, $3 Grammar of the Art of Dand Friedrich A, Zorn. An importan to the profession. With music; plement, express paid, $10. THE CHALIF NORMAL SCHOOL OF DANCING ^ ""^ ^'^ Concernini IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schgols. Toe-work, very difficult steps and minute stage detail have been treated aS separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art wtiich while allowing an amateur to make rapid progress is yet authentic, b?autiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- ■-- -■- T>—3-~~~-._:~ *..-»:<.v.o,? n-r, t4^o tJmp of trradiiation 2nd; L. H. CHALIF The second factor in the inmiense success of this School been the experience and teaching ability of its principal. Froi years of age a student in the Imperial Ballet School of Russia Moscow, then successively a solo stage dancer, ballet master at Odessa government theater, instructor of dancing in leading I York private schools and director of the Chalif Normal School, experience has been long, complete and invaluable to his pupils. A certain ability at teaching has also made the school popi although it has prevented the use of assistants, since it hat I found that the students will listen to no one else while the piiw is on the floor. 3rd: LOCATION The position of the school in the uptown transportation e( of New York, "the most popular summer resort in the country," helped its enrollment. 4th: THE MOVEMENT FOE ARTISTIC DANCINC which is more and more ascendant in this country, is the final c for the fame of the Chalif School. Everywhere there is a demam' tke real dancing, and here one can be trained to teach it. C S A R D A S HUNGARIAN PEASANT DUET By LOUIS H. CHf)L(F other National dances arranged by Mr. Chalif are listed below. Their price is Three dollars (3.00) each, and they can be procured only from The CHf)LiF N ORM(^L SCHOOL of Df)NCING 7 WEST 42ND STREET.. NEW VORK Furlana. Venetian gondolier s. or g. 2. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. La Mancha. Spanish s. or g. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. La Paloma. Mexican s. or g. 4. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. Pavane. Old French d. or g. 2. Allemande. Old French g. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Gavotte Directoire. Pavlowa's d. 2. Sarabande. Old French d. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Ca la Breaza. Rumanian s. or g. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russiaii Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Plyasovaia. Russian s. with pantomime. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. 50c. s. 4. Saibara. Japanese s. or. g. 1. SEE BACK COUER FOR EXPLANATION OF ABBREVIA- TIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR Copyright. 191^ by Louis H. Chalif Csardas Arr. by Louis H.Chalif. i INTRODUCTION Allegro Moderate r^':^im a^^J^i^. V- *«*'- t j i ^ fl> I > j ^ I l(a) I Moderato (J=io4) 4 i ^, JJ^i'.'] = j^J|JJ- ji 4; J'/3 j^ ^M / ^ E2 ^¥^ 5^^ ^ ^f^ j ^ te*; «" Loui;; H. Chalif . Friska Presto (J=i92) h-tir—^ ^ ^r.TjIcfE/ld'^J^ r M'!'' ^ \ r m "^ 1 1 ^ I ^^ i y-p-cg Louis H. Chalif. Csardas HUNGARIAN PEASANT DUET, Slightly Difficult, arr by LOUIS H CHALIF Prin. Chalif Normal School of Dancing New York The dance may be used for one or more couples Q It should be performed with precision and military energy. The name is pronounced Chardash, with both as broad This spelling may be used. The COSTUMES should be as follows: Q The girl should have a white full waist with somewhat full sleeves and a dark green velvet bodice, laced in front with red lacings and having a very narrow red ribbon around its edges. The skirt is of cream color and may have tiny flowers on it, it is full and about 12 inches off the floor. About 4 inches from the bottom there is a red ribbon I ' , inches wide, then 4 inches, then green and red ribbons of similar width and spacing to the foregoing. There is an apron, of white material with smaller red, green and red ribbons similarly arranged. Red boots are worn, of knee'length and with dancing spurs, or else red pumps with red or white hose. The hair is braided down the back and there is a wreath of flowers around the head, with ribbons hanging down. Q The Boy wears a very full white shirt with very large sleeves, having half-inch red. green and red ribbons about the cufl^s, 2 inches from the ends. The collar is soft and turned over; the tie is a red and green ribbon bow. The jacket, unbuttoned, is of dark green velvet trimmed with red and green "baby" ribbon. The breeches are short and very wide, and finished in red, green and red ribbon. Red boots are worn, with dancing spurs The INTRODUCTION is of 7 measures. On the 5th the boy and girl enter with inside hands joined, the outside hand of girl holding skirt, the steps quick and positive. They finish with 2 stamps, outside arms up, inside arms akimbo. I. A. Change places with partner, moving sideways with slide cut twice, starting inside ft. The out' side arms are in 5th pos. and the inside arms akimbo. Then stamp beginning outside ft. 3 times, changing arms 2 meas Repeat to place again ..2 meas. I. B. In this figure the partners dance around each other. Pas marche beginning Rf, i. e.. slide Kf forward, close Lf up to Rf, and step Rf, swing Lf and repeat the same step starting L and R. Both arms are straight out from the shoulder. R arms against parh other Finish with 3 little stamps, beginning outside ft., turn once around, and change arms t rneas. Repeat starting Lf. and with L arms joined. At the end of the 3 stamps bring the inside arms to 3rd pos and face partner 4 meas. 8 meas. II. Moving forward, starting outside ft. 6 step cuts '\. e. step Lf and strike it with Rf. forward) and finish with 3 stamps. In step cut the body is twisted so that the feet are walking sideways, while the head remains in the direction of reference (forward). The outside arms are akimbo and the inside arms overhead 4 meas. Turn partners with pas boiteux. i. e hop on Rf and at the same time stepping on Lf id \), then step Rf in front of Lf (d 2). Repeat 5 times more and turn away from partner with 3 steps The arms begin in 1st position and finish in 3rd 4 meas. 8 meas III. In this figure move gradually toward rear of stage. Facing audience and starting inside foot, with outside arms in 3rd pos. amplified and inside arms akimbo, each touch toe inward (d 1), touch heel in 2nd pos. (d 2), touch toe in 5th pos. (d 3), and extend the feet forward (d 4). During these pointings make a quarter-turn to face partner. 1 meas. Cross inside feet to 5th pos. behind (echappe;^ <^d P, hop and open the feet to 2nd pos. with both toes turned in (ecarte) (d 2), close both feet to 1st pos. (d 3), and rest (d 4). The arms are crossed (d 1), opened to 2nd pos. (d 1) , and 3rd pos, with inside arms up (ds 3, 4. 1 meas. Repeat all, starting outside ft, and during the next 4 ds make a half'turn away from partner, so that during the next 4 ds the partners will be back to back 1 meas. Repeat again, making a half'turn toward partner, so as to become facing each other 2 meas. Repeat again, making a quarter'turn so as to finish facing audience 2 meas. 8 meas. lU. The progression in this figure is diag. forvA/ard to L, then back, then cross over and change places with partner, then to R and back, then repeat all. Starting outside ft. Slide, hop, hop, bend both knees, rise straight up on the toes and lift the outside ft. The arms are extended straight forward 1 meas. Move back and change places. The girl steps Rf back, then Lf to side and Rf crossing over Lf passing partner. The boy does the same step, but begins (stepping back) with Lf The arms are in 2nd pos I meas. Repeat these 2 meas. 6 times more, alternating th? starting ft 12 meeis. Finish by turning partners 2 meas. 16 meas. u. FRISKA The 2nd part of chardash is danced in a quicker tempo, and called the Fnska Pronunciation freeshka Facing front, do 4 lateral pas de Basque, starting inside ft I e., strike Rf (d 1 V slide Lf to side (d and.i, bring Rf to Lf and lift Lf to side (d 2\ The arms swing loose 4 meas Pass partners, changing places, with slide hop turning beginning inside ft, and finish with a 3 step turn, the girl going in front of the boy. The arms are 2nd pos. (ds 1, 2), and crossed in front (ds 3. 4). Then slowly open the arms to 2na pos. during the remaining 2 meas 4 meas. Repeat the turning partners. Finish facing front, with girl's L arm on boy's R shoulder and outside arms in 5th pos 8 meas. Repeat ail 16 meas. 32 meas. Ul. This figure is danced moving backward. 6 skipping steps ( Russian tortiller) moving backward upstage. Slowly open the arms from 1st to 5th to 2nd pos : 3 meas. Jump to stride pos. (ecarte). The arms are in 2nd pos 1 meas. The girl turns to R with the pas boiteux turn previously described and the boy to L 4 meas. Repeat all. Finish with 2 stamps, facing front, with outside arms up 8 meas. EXPLANATION OF TERMS. 1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sideways a little below shoulder level. 3rd Position: The K arm makes a half'circle over &■ in front of the head &- the L is in 2nd pos. Reverse for "L arm in 3rd pos." 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position: The fk arm makes a half'circle over &- in front of the head and the L is in 2nd pos Reverse as above. 5th Position: Both arms make a circle over and in front of the head. Lateral Positions have one arm in 2nd pos., and the other in 1st. Step Swing means swing the free ft forward &■ at the same time hop on the other. Step oi Slide Hop is hop on one ft &■ lift the other backward. Slide Hop or Slide Step Step Hop demands that the free ft be lifted backward. Step Swing or Slide Step Step Swing demands that the free ft be lifted for'd. ^ ® DANCES BY LOUIS H. CHALIF. The following list of dances composed Ok- arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS ]— Easy. 2 — Of a little difficult;. 3 — Rather difficult A — Difficult. d — Duet dance. g — Group dance. 8 — Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. _ Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. ,\ndalus'.an s. 3. SOc. LaPaloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-o£-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasacchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Inierpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. One-Step. 1. La Petite Waltz. 2. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. -5. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. Tango. Tile Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $S. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: — The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourr^e. Old French. 3. Le Tambourin. Old French. . 2. Fricassee. Old French Soldier Polka. 2. Norman. Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Swedish. SOc. With folk song. 1. May Dance. German. 1. Westphalian Peasant Dance. 2. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russian. 1. Khorovod (The Crane). Russia^. 1 Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Anier. Indian. 1. Scalp Dance. .Amer, Indian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. iiugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2 The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. ^2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of th Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. 50( DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. ; The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. ; Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Pohsh Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2 Flowers of Edinburgh. The Graces. 2 Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tern pete). 1. Three Hand Ring. 3 Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection o 43 beautiful pieces of music, with the names an brief descriptions of the corresponding Junior an Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING ^oS:r,»Tn°|1 IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and pubhc school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the i-^hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quit* all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, o^'autiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Armx and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 5 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it hasi been found that the students will listen to no one else while the principa.1 is on the floor. 3rd; LOCATION The position of the school in the uptown transportation centei of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final causi for the fame of the Chalif School. Everywhere there is a demand foi tk« real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school witl Crf:sses all day, both in the regular Chalif and Ballroom wofk and ii Pantomime, festival ballets. Toe-dancing, etc. And similar session ate held during a fortnight of the Christmas holidays and on Satur days and some week-day afternoons throughout the winter. Catalog of any of thftse, or of our dancing teachers' shoe and supply hous« win be sent with pleasure, on application. FDLK DANCES /7r/fsrc^^/7£y crc//??p/e/e d'escryy/zo/z- a/' t^/?c ir/a/7i;c ^ J'/pe// /7i:7i'e 3&e^T. se/ecT^ec/ yro/7i- ,rL^- icf/^s j-e/oer'/ort/ /07- ^i/l/7b€7/7o/z^^ c7/'c co/yi/r7i://7i^77/7/jA. Xtfri^ ^htrrcc Jwcdtsk /^///^ -iJi/Z/Ctf" SiaedLsh. ff//ttt/ U^t.lffCC 9e/-777arL^ (Jc-/ Ic/Ze &//?i;777cJ^7/loL/C/tt;' fa /'<»<•/ ^)a;7ce -iltjocU- 61/(1 (^(7777767/ ^X/77cc /^O /^ /^tt: i/ScA^ u)f'r/c/^or ^i-'rracc C/d (!l7777/ny -i07777ce S/r^t^ciJk- 977orriy iPfirr^ S777//7s/t' JSttl'tfr'aA' 'Ca ^i'/^-rfPc/c ^-^ Ca77/7-a ■<'h77cci C»c/t^^0Uf' i^f'^/u/i^ ^*-ittcy (7/(1 ^c7/77^7-n 'i(/7777ce Sfnt/cc APtttftC Sc€l//0 iAi/fCt? J77c{ta/t^ ^/cy/r/iVif jeries ^ S>?c7/7c7/7a/ ^a77ces , ai/ d d eacA ^ -^'^-w' -y /hinsj/. C/fi?//'/ J>rre ci-or o/^ Sic^/?/ s//dcs z^ /cV"/ -4 /7?fa^tcrcj J^cy^ea^ -io j'lcfh-i -^ 2 . 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A i k^- ipm'lpi ^■^#-q^ i5EE!5i Louis H.Chalif. 4 / S A ■ 1 4c— =^ 1 g g j Jj| if g j ji [f^ jpi= i .i\i 1- if- a m » 'S' ^ — ^=^ \-r^ r- » h \ y \}\ r^ 7 7 J P^--^ 1 M — L_^ -1 \ — /— L—-**^ y i.^'i,!' p •> ^ •> I J^'' \^ \ p r Ji * ^ ^m Tftir rmr i ^m JJLCQ ^ zjp^rrf A^ro ^t^ jT^ '? p •/ 'z ^^ m m ^^M\n ^g ^^ nf ^ DIANA. 3 M f^ £3^ jAm v-*^ n^'i'f f- i r m^ DIANA. 3 r VuL Diana GREEK SOLO DANCE Not very difficult, by, LOUIS H CHALIF Qj The Trivian goddess Artemis is here presented in two of her aspects — as the huntress, act' ive, strong &- bold, &- as Luna ( Greek- Selene ) the moon goddess, the ma)estic queen of the night air. In keeping with the former character the steps and leaps must be large &- free, with great buDyancy, bjt n no plicj mj>: thsre bz any trace of working hard. The dancer must leap, but noi overleap. Q Since Apollo &• Diana, the sun &- moon gods, are very similar in mythological character, this dance may well be performed by a man, with a mere change of the name, the bow &- arrows (the sun's rays) being a familiar emblem of the slayer of Python. C| The costume for Diana will be a short, white tunic coming to the middle of the thighs, with perhaps a short cloak hanging back of the shoulders, and with a gold moon crescent in 'he headdress, in same plane as the forehead, with the tips in a diagonal line. Back of the R shoulder hangs a quiver, very light so as not to bang up &- down, with a single golden arrov^, made of paper or the like for safety. The bov^/ may be of the simple or the classical shape, &- should be gilded. On the feet are sandals, bound half'way to the knees with leather thongs. Q The music is counted 1 , 2 to a measure: mention of more counts refers to addditional measures. (| While the Introduction is being played enter at L rear corner of stage &- stand there on L ft. side to audience, with Rf pointed back &- arms in 3rd position amplified wirh R arm up &■ holding the bow. the shoulders partially &■ the head entirely urncd to face forward . 4 meas Diana 2 Move diag. forward R with this chain of steps; Slide hop on Rf (d 1, 2), 3 little steps jke a waltz turning completely around to R (L, R &• L: d 3 and 4). srep Rf forward (d 5), step Lf forward (d 6), leip forward onto Rf (d 7), &■ rest (d 8). The sseps on its 5 and 6 are really running steps when danced with vigor. The arms are 3rd pos amp. with R arm up until d 5 &- 6, when the L hand moves toward the bow string. &■ on d 7 (with the leap) an imaginary arrow is shot diag. upward, by pulling the L hand strongly back to the L shoulder. The head &- irunk are thrown back and the free leg is lifted behind. This arabesque, or its reverse on Lf, is used throughout the dance whenever shooting IS demanded, &- need not be described in detail again 4 meas Repeat all diag. forward to L. starting Lf In starting the slide hop change the bow to L hand, passing the arms through 1st pos to do so. We may. suppose the goddess of hunt- ing skillful enough to shoot with either hand 4 meas Repeat to R &- L again 8 meas 16 meas Move toward R side with a kind o: bilancing step, in place thus: Step Rf forward (d 1), change the weight back onto Lf (d and), change the weight forward onto Rf again 'd2j • &- repeat ihe same 3 movements starting step Lf across in front of .Rf d 3 and 4j. We might say that in these steps the feet are dancing diag. forward to R side of stage, while the head &• shoulders face forward, making a twist of the body. The arms are ail the time in 3rd pos. ampl. with R arm up &■ holding the bow. The head &■ trunk are thrown back, giving a look of triumph &- animation in contrast to the stealthy attitude of the Fig. to come 2 rneas Step Rf ic side >d I , leap, high, on Lf to L side turning completely around to R tour jetej (d 2), step on Rf to R side (d 3), &- hold without hopping, with Lf lifted behind d 4). The arms are 2nd pes on d I 6- at the close (d 3) are both holding the bow overhead the hands about 2 ft apart : 2 meas Diana 3 Repeat all starting L &- R ft 8 meas Repeat the first 2 meas starting Lf to L side 2 meas Turn to the L &- make a tour jete diag. backward toward K side of stage (L, R &■ L, d 1, 2, 3), &- hold (d 4), with Fkf pointed diag. forward to L &- bow overhead 2 meas 16 meas 1 HI. m The Hunt This Fig. is danced progressing little by little in a diag. line toward L front comer of stage. Point K toe diag. forward to L (d 0, mark time in place on Lf 'd 2i point back on K toe (d 3), &- step on Lf in the same place as before 'd 4). The above is as ■f Rf stepped forward &- back while the Lf marked time in place. Step Rf forward (d 5), Step Lf forward (d 6), still standing on Lf bend L knee, sliding Kf back 'd 7'. &- pause -d 8' 4 meas The bow IS held in R hand backward £r downward, the L arm is extended forward above shoulder level. The trunk is bent forward &- to R &- the head is turned to look under the L arm &- also bent to K. as if looking intentl)' for game. The steps are take in a stealthy, noiseless manner, &- the music should be played softly. Step forward on Lf (d I), hold id 2)', &- make the same motion again with L arm, but in a more emphatic way as if to say, "Yes. there is my prey!" Change the bow to L hand, transfer the weight back onto Rf, take an arrovv/ from the quiver, at the R shoulder with R hand (d 4), Repeat the 1st 4 ds of the above, starting Rf again &■ keeping the same attitude, then take 3 steps forward (R, L &- R; d 5, 6, 7), &- pause (d 8'. On the last step (on Rf) straighten the body &- mak» a motion diag. forward with L hand, palm up, as if to say: "Aha! there is the quarry!" 4 meas Diana 4 change the weight forward onto Lf again, turning the shoulders to face R &- fitttng the arrow to the bow string . ds 5-8 ). The arms are 3rd pos with Ps £r L >.rm up on ds I' 4, &• the dancer finishes on d 7 in the following arabesque, which depicts the new moon: face R with weight on Rf. Lf resting close against the back or ^ '^nee, L knee turned -">ut sideways, hold the bow up by one end witn both hands: &■ bend the trunk &- head back as far as possible, so as to make a long & nearly continuous curve of the bow, arms, trunk &• supporting leg 4 meas Repeat all starting with L. R &- L ft alternately 24 meas 32 meas H UL m .Again ^/'e have Diana the huntress, dancing with vigor and )oy. Moving to R step swing on Rf d I, 2;, &- 3 steps similar to a waltz step turning 3nce around to R (L, R &- L: d 3 and 4). The bow is held in both hands overhead 2 meas Continuing in same diredion, step step leap &■ rest (R, L &- R: d 1, 2, 3), as in Fig I shooting an imaginary arrow, with the bow in R hand 2 meas Kepeat all to L, K &■ L . .'■ 12 meas Move diag. forward R, covering much- space, with: a high leap onto Kf. leaving Lf extended behind (eft 1), step on Lf forward (d:-2), &- repeat 3 times more, but after the last leap omitting the step forward on Lf &- pausing instead (ds 3-8) The arms are all the lime in 3rd pos. amp R arm up &- holding bow 4 meas Moving diag. backward to L back corner of stage, starting Lf. make I complete \A/altz turn to L consisting of 2 waltz steps, covering much space (d 1 and 2. 3 and 4). The arms are 2nd pos. on d 1 6- 2, &- 5th pos. on d 3 &■ 4 2 meas 3 steps in the same diredion ■ L, K &- L; d i, 2. 3 ' &- pause on Lf. facing L with Kf raised behind (d 4) &- beckon with a large movement of the NA/hole L arm to\A/ard L side of stage, o summon Diana's nymphs. The bow is in R hand 4 meas 24 meas It IS a very good arrangement to have "Diana s Hunting Party" danced inimediately after this. EXPLANATION OF TERMS 1st Position The arms make a circle in froni of the chest at the level of th. middle of the chest 2nd Position The arms are raised sideways a little below shoulder level 3rd Position . The K arm makes a half-circle over &- in front of the head &■ ihe L is in 2nd pos. Reverse for ' L arm. in 3rd pos-" 3rd Position .Amplified is the same, except that the raised arm is less curved, 4th Position The K arm makes a half-circle over &■ in front of the head 'b- the'L % ,ii Isi pos Reverse as above ^th Position . Both arms make a circle over 6- in front of head. Lateral Positions have one arm in 2nd pos &• the other in 1st, Step SvA/ing means step on one ft, swing the other ft, forward &- at the same time hop on the 1st ft. Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted forward. DANCES BY LOUIS -H. CHALIF. n- IolU,wing Us. of dances composed o. J-.W-W .^ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2— Of a litMe dlSuUtr. 3— Rather difficult 4 — Difficult. d — Duet dance, g — Group dance. 6— Solo dance. NATIONAL. $3 Each. I'urlana. \ enetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. Allemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Qdadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok, Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Cs&rdas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- -omime ballet, $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English, 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete). 1. rerrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." *Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the LarkUSchubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Uvoi'ak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s org 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, e 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi^rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1, America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. %%. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. |), The Fairy Queen, s or g 2. f3. i.ireflies. s ..r g 2. $2. The Golden Butterfly, s or g 4. $3, Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3, Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Walt*. 2, La Russe. 1. Sylvia Welti. Z The Countess. 2. I Gavotte Walti. 2, Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their moit beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by lis and the public, is carried in stock tl prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING \'ol. I. The Standard positions and tfi8 fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, ae described in the Text Book, and including- all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, fcy Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. THE CHALIF NORMAL SCHOOL OF DANCING ^oSirmTn^i't IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical trainine. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING ims is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated qS separate branches, but almost all the beauty of the original, and quiv all of its spirit and scope have been retained. The result is an art wti:ch while allowing an amateur to make rapid progress is yet authentic, D.-autiful, utterly captivatin"^ to the student, and furthermore bringing health, kno''led?e of r"rigl character, alertness, graco. and a soul-deep development estheticpllv The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding sue- -= especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When tauffht to teachers it includes more than this, for an exi-el lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif an I Be'lroom dancing, an exhibition dancer emd a composer of dances. oncerning 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . c A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has beeiv found that the students will listen to no one else while the priiicipal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4tn:THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause f~r the fame of the Chalif Schoci. Evervwhere there is a demanf* for t!-'- real dancing, and here one can be trained to teach it. COURSES Each year during J'me and July there is a normal school with r--3seb all day, both in the regular Chalif and Ballroom work and in Pantorr.ime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and som.e week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply hous«i will be sent with pleasure, on application. D I A IN A^ S HUNTII^G PARTY GREEK GROUP DANCE By LOUIS H. CHALIF OTHER GREEK AND INTERPRETIUE DANCES By THE SAME AUTHOR ARE LISTED BELOW. Hi ifi THEY CAN BE SECURED ONLY FROM THE CHALIF NORMAL SCHOOL OF DANCING 7 WEST 42ND STREET. NEW YORK Greek Maideni Playing Ball. Very effective. 2 $2. The Moon Dance. Oriental Interpretive t. or g. 2. Pompeian Flower Girls. Old Roman g. 2. Spirit of Spring. Greek Interpretive c. 3. Summer. Greek Interpretive s. Z Autumn. Greek Interpretive s. 3. Winter. Greek Interpretive s. 2. Chopin's Waltz, C sharp minor. Int. ». 3. Valse Caprice (Rubinstein). Int s. 3. Spring Song (Mendelssohn). Interp.s?^ . Chopin's Waltz in D ilat. Interp. flovfer d. The Blue Danube Waltz. Interpretive s. or k- Hark, Hark, the Lark! (Schubert). In. "s. 3. Psyche. Interpretive s. or g. 2. Song of the Robin. Interp. >. or g. 1. The Song of the Robin. Interp. s. or g. 2. Blue Danube Waltz. Interp. s. or g. 3. Humorcskc (Dvorak). Greek i. 3. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young womea. 2. Barcarolle from "Hoffmann." Greek i. i. Moment Musical. Greek s. 2. Light and Darkness. Greek duet with pantomime. 3. Cleopatra's Dance. Oriental Int. «. or g. 2. SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF DANCES BY THE SAME AUTHOR Copyright. 1915. by Louis H. Chalif Diana's Hunting Painty. Piano. < Introduction. Allegrissimo. 13 3 2 ^m f f LLjr po/r p V- ^\ 'ir ^ I T~TT^ V i 4 J-i l J J^^-^Tvtlh OrcXrCjr * a g a , m j^ ^d=i^S Louis H.Chalif. i m s -^ — w- P- -yr^^^W^^ ^^ M < 8" !=<.■' -U'- ^ ; r p r__i r =? j. ^'i. \,0 m B I' *^ *5t * ^ to ^^^F^ 1^ j jij^- ; 8 ^^ ; « m t=^=^n t=^=^ H ■^ — # ^T -* 9 — » fei p # le ^^^f^^ i g ^ g I r " 1^* =^: ^ 1 p f S ^rt g fei] '^ r3 "^ ^^ ^ SE 3»- ^. ^^-^t-"tt"-# b^ ^^ it^^ g gfa^i- < a g =? ^ p g i?- ^ ^* M- J 2 I ^ ?i g S "C^ '^. « Diana's Hunting Party . 5 IV h a w ^rt ji ■' f-, -' -< ii f fr ? f 2 una corda. ■'^lyMr fr ^^ ^r ^ ^ i * ^. « ^. * '^. I , 'J J I. 6-'6"6-'ij , 8-^ 1 r^s •? o -) g-s •) "^-s •? f >):,vr l^r ^r l^r i ?f f r l^f f r pr Pf Pf P 'Sa. * ~W^. ' * '^S). * "•&«'• * '^- * '^. * #fei4#^ ^N^'^^ ^ F^- ^|i=- -?.a ^=gi=^fiF=--Pf 7 7 M ^ ^¥y= ^^:a^ia >' ^ * v^ j- * \j-* ' 2 2 ^ tre corda. '^^^"'■J' Pi ..Pi Pi P 1 Pi-H-Pirf Pi P ^ Pi P' "U. ' * * "Sa*. ' ^ * ^. '^"^ ^^. 4 '^. "Diana's Hunting Party. .'5 k=^ s ^tb: *«: ;=3 ite 4«- : : ^P^ Si ^S rt ^ i »zt=2e li^»- I LJ -Jzkh ^1 s ^ ^ %). •!!&). •ijf ^a). f#=#H i — •^^ ' fa|g f» » »- ■4r» ■ ^ T~f — ^ ff#f r ^ M:,l> T 4. -• H-4 r p =4 ^ p* -^i^V %). iL — - ^ u 5 * f itaccato semprT. ^"T^ gm g ' ^ r ^ ^=1 ^ ^ ■rs * ^. Diana's Hunting: Party^ 5 ^^l s ^ ^ 5 4 U It l^ III 5WB p—m — % — a s- tiu ^^\r-4 P 1 PP 1=^— ^ * '^. * ^. * "SSj. * VI 8m. ^ 2. 'yT j ' Jfl '^ Tl 7 ^^iT djrffrfffli ^¥^ S a :g: * — 9 ^■) ^K r] •/ ^ ^ri "n £ l ^ 7 "^ J •/ ^ : •/ J a - ^ Diana s Hunting Party. 5 Diana's Hunting Party VERY EASY GREEK GROUP DANCE For any number of couples, by LOUIS H CHALIF Q The execution should be wjfh great freedom, a large amont of space being covered in the ^teps, but at the same time there must be relaxation &■ ease And the heads shodd be held high &■ the chests raised, to express the |oy &- excitement of the chase, Q The costume should be "Greek", &- of some heavy material in a light color or some com^ bination of dark &- brilliant colors, or of red alone. The gown, or tunic should be quite short, z-r not very full On the feet are sandals, bound halfway to the knee with leather thongs Eaoh girl carries a bow about 3 ft long, & a quiver hanging over the back from her R shoulder, bui no arrows, for group archery would not be safe Q The music is counted I, 2, 3. 4 to a measure; 8 counts indicate that 2 meas have been used Enter tn single file from L rear comer of stage, and the line be fhen led tc make up a circular formation The steps meanwhile are. Slide hop forward on Rf lifiing Lf behind {6\ 1,2 ), &- 2 running steps (leaps) forvvard (L &- R, it 3, 4) The bow is held in L hand &- both arms are diagonally forward &- upx^/ard &■ to each side on dt I, 2 ^ fall ro 4toulder level sideways -'n -^f 3, 4 I meas i\epeat 7 times more, starting with. L &• Rf alternately 7 meas Diana's Hunting Party 2 In the above the hop should be high &- considerable space be covered by the leaps Finish with all facing outward. 8 meas il lla 1 Move backward toward center of circle with 4 skipping steps, starting Rf (4ds). Gradually bend forward Vv'hile moving backward The arms are to side at shoulder level ... I meas (A skipping step is hop step (d I), repeat on other ft (d 2), etc; lifting the knee forward sharply bent eacfi time.) 3 running steps forward starling Rf (d i, 2, 3), & leap forward onto Lf (d 4). landing with Rf raised behind &- pulling the bow string with R hand, shooting an imaginary arrov^' diag forward upward. The irunk &- head are bent back I meas Kepeat all ..• . .2_meas 4 meas Kepeat Figs. 1 &- 11 12 meas m ill. m Keep the bow in L hand throughout this Fig. Number the partners 1 &- 2, I &- 2 etc The No Is will progress around the circle to R 6- the No 2 s around to L No 1 starts Rf moving toward R side with 4 walking steps turning halfway around to R as she walks, so as to face her partner i. e partners change places at first (4 ds) The bow is held overhead with both hands .1 meas Take more step back on Rf (d I), at the same time starting to bring the bow down with a large sweep of the arms &- bending rorward to fit an imaginary arrow to the bow string (d 2), keeping the weight on Rf with Lf pointed forward, raise the trunk (d 3), &- shoot the arrow diag. upward (d 4) 1 meas Diana's hunting pany 3 When No. I's are doing the above 2 meas the No. 2's. like No. Is, take 5 steps start' ing Rf, but they move toward L, turning to R once around while walking so as to finish ^aclng partner, then standing on Rf they bend to fit arrovA/ to the bow string, &- shoot diag upward. After this Nos. I &- 2 do exactly the same thing as follows: Each starting Lf move to her own L side with 4 steps only turning completely around to L to face her neighbor (4 /jai '&ci/?ce~t ^yv/f/c/i /nwii&m. sc/ecfed -/horn a uc/y i^i'da re/oarfory as dein^ ^Ae itjc>/-/c/ '-y Sesi . Wicy eo/tstsi- .jh C^cjpropn^afe ?77i.isie a/7cP a ca/??j2/(i^c c/esci'i'/s ?io/z o/" ^/7j/o GAVOTTE 9?ea/poh-7^ct77 ^asa/7^A7/7ce MIMUET DE LA COUR Sui'Iia/i LOuci (iUEEN OF 5W0ilP /?t4^hi'a7z ^asci77/ ^ac'/ THE" MA OVA R Spa/iis/i Jo/o C5ARPA5 j}yiiji?'sh Jt,>/o POLS K A /^c/ci U'^-i'a/ 1 So/o PO L N A 1 S E % . 9i/js^ So/o - sWip-7bt/7i!y, cf^/K R A K V I A K Spa/ifsh So/o RUS51 A N QU A DR I L L f Span/sAso/o THE BRIDE~5 PANCE Ma;ueJ jra/1 ah So/o -^T- -^ colipl.vntt / tj^ ^ ,1 rSafli'vani r^dDoej /j^-Z^J and Ci>n/ra Wia/iees / 6'OpJ^ ^ /« Aad kiiily ^V7n iHn Se/iuo/' DONSKOI COSSACK DANCE Mod- aasa. orr. iy ^ffl/ZJ // C//AI/F ^^ ' •'ijium i faMaS m ,^r^TU ^ rr^^ 'V I .' ^ m T ^ ^ ^ 5=^^ f: I. ^mn //'//-/a shps in ^Paca { S , /^ ^ -i 7 /cy/V?/;//?^ M/'M a/ ffrn7i su{ng across I'n ^anf ,---/* J^ipcai samt - »,/* '^t/ri'ny ^/n Lis^ tcoa jneas . /^ Aand ?} orej' neoid %• i Aand 07x /itji:>^., rCiipeaf same -fo /2 side aaa-tn - . ^ ~ - -- 40- » /?f-/-/ie arid ef ilhe /as/ 7r?caj . ^Ae / S^c/o /esj ^/ia/i 3ci^o/'c Sf p'n/jA if 6rin^i'ng ■* fi -fortvard . Kefie,^/ a^l ii&ff?nnj'ng ^ f/ iO i. Tide >. — S .,. ^ep&ai b> /? and -i^ . ■ • --/& «> H S/ep ^, f/ {x3 /? side Cat -/.J, i>ri/sA ^ Aeef across I'/i /T-an/ of /^ - f/ fe/ S]. ^ /fand oYiir/iacid _ -i nand on /ii'/O -/ k^y/yn-nhi^ X /y iO /^ side, yf -pol/kco s/cyo f 5ejf}'nnihy uti'M X /i 7^- ^oosi' /io/-i . ■ .«»»»•.■/ ^epi^at "' samn bci/i'nn''?? g /Q. /ice^ . Open /?. arm ^ B"-^ y^i^s . •ic'ti/O a/ilo -i /y xi.c/-n/'n^ co7-npicfa/y ari>und ro /?. s/di ^ -^m^ sSsi/'^^^^t' Cross Orms i'^ froni U)/7i7c / tcfni'rtg an c! ^';7isA iS///2 Jk. Ai^nd o^^'^J^^^dl a/)d < A and o/i Aip ..- .. _ ...,..., ^^ , , , , . » » ^ x -^ ^^ /?a/PC'a/ a// h ^ jsida , . •4^ /ecpe^f ^ /e. ^ ^. , .-.-..-. ^ -IhnS'koi CoJJ-aeAs canhh. JUT. Seap /?. f/ fvrwct/-c/ %• /c-/ i/yc iody fa U fort^ctrcf ^ c^ J.J Open cirms vo Sj^d pos . /Begin ^hc /??iss/ar7 -^rh'/Zar ^ c/ S J ... - ... - • / meax- [ fills siTJin -fijri-i'ne-?- is ho^ S^cp hop stejo , efc. ^ackurai-cl w^h ycry S/f7c7// s-faps^ . ffrms f^rom S^^ /^ Sz-id p?v>s ■ . ■ ..-.-- .._ 2 » 2 large Taaps -jforioard / /d h' -I- J '' " /^epL'ai ai^ 3 Aw^j- n->erc i^ * /6 . Sijiich jG . /led die/ ■ -for-^ard y a^ f//(i same, -h'mc /pop o,< <' f^ j fhaii raise] /^./V bahi'nd \i /?op on ^C fi ajciin f ^icsa. Z moYn ^ )77c/ih fa/2<: A'i''/' Ci micjs wc J O/ii/ ^r a'' • / o/?d J Shp i?Jl St'iiinci S /? czii-i-ing ^ f^ "'■"' f""' >^^-"'<=i A^ '=='/ . ^ " i?apicii sa/ne ^o i . . . , .,,,/„ i^o/i-h^t ice. c! ^ -ic 7~7T c:t -?i'r7 a ^ erne! -i -/'ar (P 77?cas. 777or<: . , , . . ■■ O '• o/zrougi-ion i- cilii' •fi~gvi7-ooard irhe heci ioAiah rs poi?7^'id • <^ '' V E pas de 5asqiit i/7 p/crof OL^yi^Tnir?^ /?. jTi 2 " nond dc ja/?7dc i.oii'i! /2 ■ /"/. Sj^ eti/ S ■ <^i"' p^orward ^ siid/'/7g Ji" /4ec/ ah)7?ff file f/oor ( f f ij ; cu / -C f^ oncl shdu //?J gro /o aIAciy sr^-^s zn a/ aircie oec/i'/im'^ig ^/7'A 4 Aee,F . -P hand arorhecit^ , Jx, na/jd on. /z'l/o , . 5 '. /?ef^a/ all iie^i'n/-ii'ng X f'^ ^ " ^^^^ ^ /e. ^ i^. . . 8 : Tn~. ^/h/s fi'ffzire ^Aou/d Ot' r "f roc>/r2^ and jf no^ /■/->£ j-i-^ is a/((3 C2i i-rivcTrd f ct f J ^ ^eap c'/tZ-o ^ f/ -him/np co7n . pL-fa?^ around (^ tti 2 J f i-ot,,- J^-t^ J. ffrm^ B rd /v S^ pos / -, 3 s^epj forward 7 /> /?epca/ sa/?7c' /c J. -4^ * /2apea/ s-arne ^ /2 . and -^ b - ^6 . ':Jl'nt'sh ioi'Afy 2 sinmps I'/tsZead of /-Ae ^ S'^^^s ^ ^ Cyvs^- rAe az-ms //? frr>7 7 f crnd ayy Interlude . ^^^ liJ^'''Wnl m Lx?^^ -' C s T" •• r V ^ ^mt^^^bmm S £ pg y ')jd3' 1^ ^P^ S / te=z4 dim. ^^^^^ S ^ g^ «^8JJ ^^^^^ Interlude . The Echo. 4 ,*i^ ^ ■'iJJiXl'lrr 'ii"lii e sempre di7n.. f -P' PP i ^a ttj^ : g^ ^ dim. ^\\ ufrr M^^ =ii * # ^ *=» - lifa HJ y^it" \\its m ■hi 1 3 1 3 n t* I ? riij » r-'^'iiU(>;k> i' \- ^ f ^ ■iMi ^3 M i''i r ^ 1 " ?^4'^^' Si ^f *= The Echo. 4 ^f ^= The Echo GREEK SOLO DANCE Not very difficult, by LOUIS H. CHALIF ^The dance should be rendered with an ethereal delicacy & with the fulness of joy. ^"Step swing" as used in this dance is: step on one ft (ct 1), & hop on it lifting the other ft forward with knee sharply bent & turned forward. ^Step or slide hop is: step on I ft (ct I) & hop lifting the other ft behind. ^The music is counted 1, 2 to a measure; when 4 cts are named 2 meas are indicated. INTRODUCTION Run in from L rear corner of stage with many steps to back center of stage . . 2 meas Listen, standing on Rf with R knee bent and R hand at the ear, L arm in 2nd posi- tion, palm down 2 meas Stand on Lf facing diagonally to L, with arms diag. forward & upward & opened at an angle of about 60' L higher than the R, & in this pos. make an upward motion with both arms that is like a wave starting from the shoulders as an expression of joy, (ct 1 ) , & pause (ct 2, 3, 4) . The head should be thrown back & the chest much elevated 2 meas Repeat the motion with the arms (ct I ) , & pause (ct 2, 3, 4) 2 meas I The Echo 2 * J * This Fig. is danced in a circle counterclockwise. Step swing on Rf (ct 1, 2), & 2 running steps forward around the circle (ct 3, 4). The arms are 3rd pos. with R arm up, then pass through 1st pos. on ct 3, 4 . .2 meas Step hop hop on Lf (ct 1, 2, 3), & hold (ct 4). The Rf is lifted with knee forward & the ft placed against the inside of L knee. The L arm is lifted straight up, palm forward & R arm is extended down & back, while the trunk & head are thrown far back 2 meas Repeat all 3 times more, always starting Rf 12 meas 16 * TT * II Step swing on Rf facing to R, with arms in 3rd pos. amp. R arm up (ct 1, 2), & step hop on Lf curving R arm closely over the head, & looking back over L shoulder, L arm remaining in 2nd pos. (ct 3, 4) 2 meas Turn in place completely around to R with 2 small leaps (R & L; ct 1, 2), with arms in 5th pos. Make a gentle leap onto Rf facing to R (ct 3) , & hold (ct 4) . The L knee is bent with the Lf resting against inside of R knee, R arm is straight up, L arm down & back, & the head & trunk are thrown back 2 meas Repeat all starting Lf to L side 4 meas 8 meas INTERLUDE Step on Rf facing diag. to R & raise the R hand to beside the mouth, the hand verti- The Echo 3 cal as if calling to someone: then extend thie hand in the direction of calling, the L hand down & back, to make clearer the act represented 2 meas Take 2 quick steps diagonally forward to R (R & L), & listen to the echo with R hand at ear 2 meas 4 meas This Fig. represents dancing for joy at the sound. ^Turn to L once around with Step swing twice (L & R; ct !, 2, 3, 4). The arms are 3rd pos. L up & the reverse 2 meas 2 gentle leaps toward L (L & R; ct 1 , 2), another leap onto Lf facing to L (ct 3), & hold with Rf lifted backward (ct 4) . On the last leap extend both arms diag- onally forward & upward equally high, palms down, & bend the trunk & head far back 2 meas Repeat all 3 times more, starting with R & L & Rf 12 meas 16 meas INTERLUDE Repeat the previous Interlude but use both hands to call & both hands at R ear to listen. Be sure that the elbows be well lifted in both of these attitudes 4 meas *iv* Moving diagonally forward to R starting Rf, Slide, hop, leap, leap, (gently), (ct I, 2, 3, 4), with arms in 3rd pos. amp. R up, & making a beckoning motion with R arm on ct 4 2 meas The Echo 4 Repeat starting Lf moving diagonally back to L . . 2 meas Repeat all 4 meas meas INTERLUDE Stand on Rf & with both arms make 3 beckoning motions diagonally to R in quick succession (ct 1, 2, 3), & pause (4, 5, 6). The arms are diagonally forward, upward & apart, the R arm higher 3 meas Step Lf across in front of R & beckon with both arms once only & pause .... 2 meas 5 meas * V * Moving diagonally forward R take 2 Skipping steps (ct 1, 2), & slide hop on Rf (ct 3, 4) . The arms are 3rd pos. amp R arm up 2 meas (A skipping step is hop step to 1 ct, lifting the knee forward) Make a backward semicircle in the air with Lf & turn once or twice around to L with many little steps on the toes (4 cts), finishing on Rf. The arms are 5th pos. Bend to R when starting to turn 2 meas Repeat all 3 times more starting to L, R & L alternately 12 meas 16 meas *VI ¥ Run to R turning once around to R with many little steps, arms in 3rd amp. with R up (ct 1,2), stand on Rf listening with R hand at ear (ct 3), & hold (ct 4) . . . 2 meas The Echo 5 Repeat to L & R 4 meas Moving to L Step swing twice (L & R; ct 1, 2, 3, 4), with arms in 3rd pos. L arm up & the trunk facing forward, twisted to R 2 meas 4 running steps in same direction & position (cts 1 — 4), & 1 more emphatic step on Lf, facing to L, extending L arm up & R arm down & back, & looking upward & bend- ing backward 3 meas 1 1 meas POSITIONS OF THE ARMS 1 st Position : The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position: The arms are raised sidev.ays a little below shoulder level. 3id Positiori: The R arm makes a half-circle over & in front of the head & the L is in 2nd pos. Reverse for "L arm in 3rd pos." 3rd Position Amplified is the same, except that the raised arm is less curved 4th Position: The R arm make a half-circle over & in front of the head & the L is in 1 st pos. Reverse as above. 5th Position: Both arms make a circle over & in front of the head. 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III. a tempo. * J}* ^rhi^^ I j J I P Jlj The Fairy Queen. 6 1 i^i^. i i m VP sci^IS- mp^°nn f: :g: J: g: =^ ^ /"m mosso. ^^ S n g ^^ p^ iv: / i"'i' jjiiji. * i^ ii) ^ ii iA e rN^ r J Jl S g ^ ^m s ^ i^ iJ> m ^ *s fi=S IA m 53 ^ ^^ V.' doles. ^^ ^ i^ .L^ i ^ L^ mf ,^A The Fairy Queen. 6 *fc ^ Ei m m s i i i) 4 il iu jpoco a voco k poco a V J^ t^ -— -— -(St i^ e ■y ^ S feS i ^ ii ^ :e:i ^ ^m ^ The Fairy Queen. 6 The Fairy Queen A Simple Esthetic Dance, by Louis H.Chalif. I. Step R ft to side (count l), swing L ft across in front & hop on R ft (ct 2), 1 chasse diag. forward to R starting with L ft (cts 3 and 4). (Chasse is slide L ft forward, bring R ft up to L ft & slide L ft forward again.) Arms Sid position 2 Meas. Slide R ft diag. forward (ct l), hop on R ft raising L ft behind (ct 2), step L ft to side (ct 3), step R ft back & courtesy (ct 4). Arms 5*]* position for slide hop & open to 2"^ pos. for courtesy 2 " Repeat all beginning to L,R & L 12 " 16 " II. Slide hop diag. forward to R side (cts 1,2), 2 steps back L and R, (cts 3,4). Arms Sl^ & 2"ii pos 2 » Slide hop on L ft (cts 1,2). Slide hop on R ft (cts 3,4), raising the free ft behind each time. Arms 2'ld to 5th pos. each time 2 " Repeat all beginning to L,R c& L. . 12_ " 16 " Interlude. Turn in place twice around with little steps on the toes, the feet being crossed in Stji pos. Arms Sth pos 3 Meas. Finish pointing R ft forward. Arms 2'1'i pos J_ " 4 " III. Point R ft forward twice (cts 1,2), slide hop diag. forward on R ft (cts 3,4). Arms lateral to L side for point & Sid pos. for slide hop . . 2 Meas. Step L ft to side, step R ft behind, step L ft to side, & step R ft in front (cts 1,2,3,4). Arms 2ild pos 2 d Repeat all beginning to L,R & L. 12 ^ 16 1, Continued. IV. step R ft to side (ct 1), swing L ft across in front (ct 2), step L ft forward (ct 3), hop raising R ft behind (ct 4). Arms 3rd & 5th pog_ Step R ft hack (ct l),hend L ft in front of R ankle without hopping (ct 2), point L ft forward & hold (cts 3,4), Arms lateral to R side. . Repeat all to L , R & L 2 Meas. 2 li 12 11 16 1) V. Moving diag. forward to L side, step R ft across in front of L ft (ct 1), step L ft to side (ct 2), & step R ft across behind L ft bending both knees (ct 3). Keep the feet in this position, bend the body forward, move the arms down toward the floor, raise them slowly to 5*]* pos. as if raising something from the floor (cts 3,4,1,2,3,4). Finish with the weight on the back ft (R ft), the body thrown back & the arms 5y> pos, . . 4 Meas. Repeat beginning L ft to R side 4 » Repeat all 8 " 16 >' VI. Step R ft, swing L ft in front & chasse as in first step of this dance. . . 2 " 3 steps to R side turning completely around to R & finishing on the 3^.'* count with a courtesy, with R ft behind. Arms 5*2* pos on turn & 2ld pos on courtesy 2 " Repeat to L & R 8 " Step L ft to side, swing R ft across in front, take 2 little steps toward L side & pause for 1 ct with arms in Sid pos 2 " Pivot turn to R side (cts 1,2,3). Arms 3i"d pos 1 " Step R ft across behind, bending knees, & raise arms to 5*J> pos. as in the 5th step ^ " :- - ' . ^' 17 " The Fairy Queen .6 DANCES BY LOUIS H. CHALIF. irir^Vn^L'T^bLredTd'," sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2— Of a little difEculty, 3— Rather difficult 4 — DifBcult. d — Duet dance. g — Group dance. s — Solo dance. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. .\ndalusian s. 3. La Gitana. Music only. Andalusian s. 3. SOc. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. I. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok, Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. the Aeroplane Glide. Dream Waltz. 3 Hesitation Waltz original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. I. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess, $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. .« Each. -The numerals used nuch easier grades ith these dances in in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. C)l(l French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel, .\thletic. for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. First of May. Swedish. May Dance. German. 1. Westphalian Peasant Dance. Cracovienne. Polish. 2. Goralsky Taniec. Polish. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Khorovod (The Crane). Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance, ."^mer. Indian. Scalp Dance. .Amer Indian. SOc. With folk song 1. Russian. 1. Russian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. $2. DEMI-CHARACTER. Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. Frencii d. 2, The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s, or g. 1. The PoUsh Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3, L'Automne (Bacchanal), d. 3. CONTRA. Arkansas Traveler. 2, Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING " ^'^ ^'•""' IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure. FIREFLIES A SIMPLE ESTHETIC SOLO DANCE By LOUIS H. CHALIF other Esthetic Dances by Mr. Chalif are listed below, each number containing music and description. They can be procured only from The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND ST.. NEW YORK The Blue Bird. s. or g. 4. $j. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Bluette Polka, s. or g. 3. $3. Polka Miniature, s. or g. 2. $3. Esthetic Waltz. Music only. s. or g. 50c. Poppies, s. or g. 1. $2. Eugenie Onyegin. Waltz s. or g. 3. $3. Three Fair Maids, s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Valse Brillante. s. or g. 3. $3. Fireflies, s. or g. 2. $.?. Midsummer Night's Dream: The Dance of the The Golden Butterfly, s. or g. 4. $3. Fairies. 12 or 24 girls. 1. $3. Mignonnette. s. or g. 1. $2. Papillons d'Amour. Waltz time g. 3. $3.00. The Nightingale, s. or g, 2. $2. SEE BACK COUER FOR EXPLANATION OF ABBREVIA- TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR. Copyright. 19lC< by Louis H. Chalif &Cf)3.1lffiopi82lScf)oolorOaneJ0 4 Fireflies arr. by LOUIS H. CHALIP. ^ Allegro d- _ 60 a M. S «=^ !) r p y ^ -m. jt. ^=^^=^^ ^ I h ; [^g|i ^f #f ^^ i |_, — a I r^"^^ ^ >'b'^ J) 7^7 ^ J)^ f '-^ I ^^i j^- P^ py 4^'^^r^" fe ^jtfg^Jf^ ^^^ gg^ >'^'- J^y&yp ^i fe 5^ 7 f) y 3 g .'.ithgg .•> ! / yyf^ H fi ^ ^ ^f ^ff My^ >-b'- .^^yp^ i ^^^f-^^-p yj) 7 p #^ b'' J—J h Tf m ^ -7^ ¥0 ^^ m ^^ i^: f fe^ r^^ ^? i^ ^^^g^ ^ Ft ?T rf rr yi, ! ' 57 19 P l^tf iii m i^^ff^ ji» ^ dim. ^^ I ^ j^^l^^l^ i ii t=M5?^¥f^^ ^^ ^jv^y^m m h^^ u t fe ^K Fireflieg. 4 hiMtw =:: m^ : WJf^ ^i f^p^ i ^ ^ J^7fy'f^ ^ ^ fe ^^ ¥W^ ^y\TY yjrY m M n ' p 7 p ? I p ? ! ■ ' ? P ^' I jf p 1' p I- p : *^ ^Ti? ^ isi; -M_i. & ^ fe S £s; m v^ M ^ ^ ^^ s ¥ i ^ c^ ' ' 1* ^''" 1 ,1^ ' 'i' r'^^'^ ^ Fireflies. 4 ::!i^ J^-^fcJ ^^tft l i i j^ g fe^ ^fwf ^ ^ s ^^ ^ ^ ^^1 fW^ ^fe ^^ ^ Mf f^fte ^^E : p f f "^Jt^^y f h^i - ^ f^ ^^^ hy B^^ i^hmTt ^ y-Tiyp i&t ^^ n y n ^ - ^ s jg^hgg ^M ^ I vftMi ^^g ^ r ^^ ^ p^ p^ F^ 7 1.; y j^rr y y y kL£ y ni' ^^ ^ ( £ !> py >:8:»: ^ !^^ VF|='=^ ^ *E|E ^^^i ^ t!£=t* m « la ** I ^ s i^ »-»-»- » — f-»H-»!-^^'' ' ^ I > i/ 4x "i^ Fireflies. 4 FIREFLIES ^ Simple Esthetic Solo Dance by LOUIS H. CHALIF The dance should be performed with vivacity. I. Slide hop diag. forward on Rf 1 meas 3 running steps in same direction ( L, P\ &- L i . arms 3rd pos ^ 1 meas. Kepeat all in same direction 2 meas. Move backvi/ard &- turn completely around to R side with step hop on Rf &- step hop on Lf, each time raising the free ft behind. Arms 2nd 6- 5th pos 2 meas. 3 steps backward (K, L &- K), or else change 3 times moving backward 1 meas. Point Lf forward (ct I ) &- hold (cts 2, 3). Finish with arms lateral to R side 1 meas. Repeat all starting Lf 8 meas. 16 meas. II. Step Rf to side (ct 0, step Lf back (ct 2) &- step Rf to side (ct 3) I meas. Point Lf in 2nd poi.; arms lateral I meas. Turn completely around to L side with slide hop hop on Lf. Arms 3rd pos 1 meas. Step Kf back &- leave Lf pointed forward (ct I ); hold same pos. (cts 2, 3). Arms lateral to R side 1 meas. Repeat all starting L, R &- L 12 meas. 16 meas. IK. Step Rf to side (ct 1 ), bring Lf up to Rf in 1st pos. (ct 2) &- open the heels &- strike them together ( ct 3 ) 1 meais. Repeat same twice more to R side. Arms 3rd pos. with palms in 2 meas. Slide hop hop on Rf Arms 3rd pos. with palms down 1 meas. Repeat all to L, K &■ L .12 meas. 16 meas. (U. 1 backward pas de basque in place starting Kf Arms lateral to R side 1 meas. Slide hop on Lf to L side. Arms 3rd pos I meas. Step Rf to side (cts 1, 2 ) draw Lf toward Rf &■ step Lf behind Rf (ct 3). Arms 2nd pos... I meas. Slide hop on Rf to R side- Arms 5th pos. I meas. Kepeat all to L, R &- L ...12 meas. 16 meas. u. Step Kf to side (ct 1), brush Lf forward (ct 2). &- point Lf forward (ct 3). Do not hop on Rf Arms 3rd pos. 1 meas. Keeping the feet in the same pos. (Lf forward) take 3 running steps in place (L, K &- L) lifting the knees high. Arms 5th pos. I meas. Repeat all starting Rf again 2 meas. Slide hop hop on P-\f Arms 3rd pos. I meas. Repeat same on Lf i I meas, 3 steps backward ' R, L ^ R/ &- point Lf forward. Finish with arms lateral to R side 2 meas Repeat the first 4 meas. of this figure starting Lf 4 meas Slide hop hop on Lf I meas Cut Lf out with Rf &- slide hop hop on Lf again I meas Move backward and turn completely around to K side with 3 steps, starting Rf. Arms 3rd pos i meas Step on Lf 'ct I ) and hold 'cts 2, 3). Arm? 3rd pos. L hand up I meas Repeat these 2 meas. Twice more moving backward 4 meas Take Rf back and courtesy I meas Step Lf forx^ard 1 meas. Step Rf forward and hold. Open arms to 2nd pos 3 meas 25 meas DANCES BY LOUIS H. CHALIF. The following list of dances composed or arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS I— Easy. 2 — Of a little difficulty. 3— Rather difficult 4— Difficult. d— Duet dance. g — Group dance. n Each. $5. NATIONAL. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilefia. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. .Andalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d- or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. .Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka: d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. 50c. s. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each'. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. Greek Maidens Playing Ball. Very effective. 2. Spirit of Sprigg. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Orie:.tal Interpretive s. or g BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett. Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. ?3 Each Light and Darkness. Greek duet «-ith pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10, Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: ncrals used ier grades than -The denote much categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel, .'\thletic, for men or boys. Z. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish Ring Dance. Swedish. First of May. Swedish. May Dance. German. 1. Westphalian Peasant Dance. 2. Cracovienne. Polish, 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( iliatelitza). Russian. Khorovod (The Crane). Russian. Lujock. Ixussian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1 Scalp Dance. ,\mer- Indian. 1. these dance n the othe 1. 1. SOc. With folk song. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s or g, 2, $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. i. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s, (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d'Am.our. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. Tlie Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalougie. s. or g. 4. lean et Jeannette. F'rench d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. bailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. yiarysia. Polish s, or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russ an Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1.. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. .Arkansas Traveler. 2. Beaux of Oak Hill. 2 ^lowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes tfie Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .•\n entirely new and much enlarged collection of 43 beautiful pieoes of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING t Few •Words onceming It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the b'^hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are l3t: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simpHfied, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowins; an amateur to make rapid progress is yet authentic, beautiful, utterly captivatin? to the student, an(l furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most oi't^tanding success, especially in three particulars. First, the use of the Anii.s and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation ,^,^*K-_....^;,,,„, c:>„^„„f ;, a ,.^,^,^\^<,^Ur »^„i,,„o^ t"--!-"- ofChalifand 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From g years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, coiTi;:lete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during Jime and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house. ^Ew yo:RK:/ i^mia^, cWe J^j/ ^ 3?Cai/ nyiad^ij-A yo//^ '-/)o. 4^ /hiji's M - c/^c?i- ■'J-' tOt'ft^ rrtt'// J?>/k. /'t.t i^/ffpt/ ^e t^l(^ Co/i/ra 'A? /ICC ^tC lO/jCC/ {l/-/'7/efi'l> /or ma/, Jrisk /*/// -T^/zy trance Solely ^ctffce rr '7 t/ ^, , . fCJi4>raa0ci tCi>i0ttt eiUtt^ t/ynh0rak' Cse/i Irojfor ^e f&s^ 0/ mftjr Spa/izs/v Jrove/ica/ y-ra77cA^ ■^re/ich Si; /die/ iDc///cc^ Ucl//C/() Co 1/72 -fry '-Oa/Tct. ar/ic^i^^ Scoi/i J/-/-SA SwcdisA SiOiid'sA ■je/-/7/c2/^ ■ya/ziA /■('7/jJ/a7L. ( M/cUe//'^) /^//ss/Li/L ( //ic Oz27ie) /?//ss2a/L /^liSJ/67/Z. /iiijs/an. 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(7// -/ace. /'/. cj/7c /-ccio C77'c/cj /!?arc/z 771- o/o/o •*■ [\- \} m' 'j-'^ '".y^ T r ^^l,-''' l >-' ' J -r iC-^ ' / ' f -f^ -pT m m >- -^ ^~-^ t=± ^s^ p =i f ^ :=' ^ ^ ir-j-'W ^ > > > ^ ^ ^^ ^y^ i-i ? ^^ :^t^ 7 '/ ;» ^- n -MZ=» % >:f* i B=^ FW ^ pi ■ ?-^ ^ ^ > ; ^ ■> ■> y V, ?iP^? ^ ^^^4 P^ ^^^ ^ ^- ?Eaag. fnr ang number of tonplts, arr. hg Soutfi l|. Qlltaltf The music is counted 1, 2 to a measure; when 4 counts are named a second meas- ure is included. The formation is by couples around the room, all facing in line of direction. I. Partners join inside hands. The boy's outside hands are sideways at sholder level, & girl's hold the skirt. 2 Chasses forward starting outside tt. (boy L, girl R) - - -2 meas. [A Chasse is slide on Rf forward (ct 1 ), close Lf to Rf (ct and ) & slide on Rf forward a- gain ct 2 ] 4 skipping steps forward in line of direction, boy starting Lf (4 cts) . 2 meas. [A skipping step is a hop step to 1 ct.] Repeat all . . . . . ... 4 meas Release hands. The music plays somewhat slowly for the next 8 meas. Change places with each other &. finish facing each other, with 3 walking steps, boy starting Lf , girl Rf, (ct 1, 2, 3) & close Rf to Lf - boy's part - ct 4 . 2 meas Keeping the heels together bow to each other from the waist slowly. The boy's hands are hanging down, the girl's hold skirt . 2 meas Repeat returning to original places ..... 4 meas Repeat the first 8 meas of this fig. . . . 8 meas 24 meas 11. Join inside hands, & raise the outside arms sideways at the shoulder level. 1 chasse, boy starting Lf - girl Rf -(ct 1 and 2,) step Rf forward (ct 3,)&. point L toe back- ward rather decisively, lifting the ft backward from the knee to do so (ct 4.) While pointing, partners are back to back & look around toward rear over the outside shoulders & their joined hands are lifted forward & upward ... 2 meas Repeat 7 times more, always starting outside ft ... . ^4 meas 16 meas in. Release hands; boy starting Lf - girl R - &. each dance in an individual little circle - away from partner - with 2 chasses starting Lf, & 4 skipping steps toward partner .... . . . . 4 meas Join both hands with partner, hold them sideways at shoulder level, &. repeat the same steps, but turning once around to R with the 2 chassis &. turning once again with the 4 skipping steps. . . . . . . . 4 meas 8 meas FLOWER WALTZ SAMPLE COUPLE WALTZ SERIES. ¥Q1 CIRCULAR FORMATION Arranged b¥ LOUIS B. CHALIF PRICE 0N£ DOLLf)R OTHER SIMPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER' WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF DIFFICULTY. Hi Hi THE DANCES CAN BE PROCURED ONLY FROM THE CHALIF FORMAL SCHOOL OF DANCING 7 WEST 42nd STREET, NEW VORK CITY Galanterie Schottlsche 2 Abandon Mazurka Series 3 Sunbeams Poika Series 2 Svlvla Waltz 3 The Princess Schottische 2 Gavotte Waltz 2 Ta-tao Chinese 3 Mazup Waltz 3 Flower Waltz Senes 3 ROUll-ROUll Exhib BIr 2 The Countess Gavotte 2 Gavotte DIrectoire Paviowa s 3 Minuet Waltz 2 SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR COPYRIGHT 1915 BY LOUIS H. CHALIF The Flower Waltz Tempo di Valse ^^m ^ i m '>■ A i! r M I J M I r M I J M li r F M J y m IV ^ A A A l^^fj phien margue P -Sto. ^ "^ A A Louis II. Chalif ((Kh [fr^ tfm J j>p ^ ^ ^ %. % "^ ^ %h. % ^ieb. ^ ^. iS The Flower "Waltz s J'.S.^ al Fine Flower Waltz SIMPLE SERIES FOR ONE OR ANY NUMBER OF COUPLES Arranged by LOUIS H CHALIF (\ Whefi many couples are to perforn^ rhis dance they are arranged in circular formation, &- progress around the room as in ballroom dancing. Q Each dancer carries a rose, usually in the R hand, but sometiines changed to the L (| The boys pairt will be descrihed — the girl's is opposite unless otherwise stated ^{ The music is counted 1, 2, 3 to a measure, 6 ds indicate that a 2nd meas has been used. ^ I. ^ Face partners, loininj,' L hands with R hands held hlg^l Slide h^p ori L (girls R) t in line of direction, lifting Rf behind (d 1 2, 3), &- 3 running steps in same diredion starling Rf (d 4. 5 6) " 2 meas Repeat 2 meas Keeping L hands loined, dance once around each other with 4 sinali pas de Basque starling Lf (girl's Rf) On the 1st pas de Basque swing the R arms, holding the roses to 5th pes £r bend sidexA/ays at the waist towards each other: on the 2nd pas de Basque swing the R arms down to 2nd pos &• bend away from each other 4 rTieax (Pas de Basque is: leap on Rf to side (d I), step on Lf across m from of Rf (et 'D &- bring Rf up to Lf cutting Lf out forward (d 3)) Kepeat all 3 time more 24 meas 32 ine^s m It. m Repeat the first 2 meas of I 2. meas Release hands &■ turn completely around (away from each other) with a tour de Basque, fhus boy step Lf to L side (d 1), cross Rf in front of Lf (d 2), turn on both toes (d 3). 6- rest (d 4. 5. 6), The arms are 2nd. 5th &■ 2nd pos. 2 meas Join L hands again, hold R hands high £r dance around each other once with Slide hop on Lf (g'll Rf), lifting Rf behind, (d I, 2, 3). 3 running steps starting Rf (d 4. 5. 6), £r repeat samt (c ds). . 4 meas Repeat ail 3 times more . . 24 meas 32 meas m (iL m In rhb Fig there is no progression around the room, fer the bov >. t girl s parts are slightly dif- ^e^enl Begin with L hands joined &- partners facing each other The boy's pan is: Srep Lf Acrosb in from of Rf &■ hop lifting Rf behind (I meas': step Rf diag forward to R &• hop iil'nivg Lr behind il meas;: step Lf to L side (d I, 2>. step Rf across oehied Lf (<1X 3: comp leiin^ I meas). step Lf to L side &- hop lifting P\f behind wi 4, 5, 6—1 measi 4 meas Tf^^ girl in the above does: step Rf to side &- hop swinging Lf across .n front ; ! meas step en U across in front of Rf &- hop lifting Rf behind (| meas), step Rf back (d 1. 2' step Lf to L iide (ct 3. completing I meas): step Rf across in front of Lf &- hop lifting Lf behind (d 4, 5, 6) . I meas Join R hands i- boy repeat his previous steps, but starting Rf t e . crossing Rf over Lf, while girj repeats her previous steps, but starts Lf to L side , 4 meas Repeat all ,8 meas l6 meas m lu. m 4 pas de Basque dancing once around each other, boy starting Lf &- girl Rf Join L hands firs hold the roses in R hands €r swing R arm to 5th pos . bendm^i lowaro partnei on jst me»s, then swing R arm down to 2nd pos bending away from partner . 1 ^eas Flower Waltz 3 Keep L hands joined &■ moving in line of dire'f>ion do Slide hop startiM? Lf ' boy's part — d I , 2, 3' &- 3 running steps starting Rf idX 4, 5, 6> Thie R hands are Field high 2 meas Kepeat same " , 2 meas Kepeai all .■ 8 meas 16 u. Keeping L hands joined, slide hop &- 3 running steps starting Lf as at end of previoub Fig 2 meas Repeat same 2 meas Release hands Tour iete to L side (girl to R side) as follows: first releasing hands boy step Lf to L side id 1, 2) leap onto Rf turning completely around to L 'd V\ step Lf* to L side (d 4, 51, &- hop on Lf swinging Kf across in front (d 6). The arms are 2nd 5th to- 2nd pos ? mea--- Repeat same, boy starting Rf &- turning to R 6- girl doing the reverse 2 meas Repeat all, but instead of the last turn, boy step Rf to side, bring heels togehter &- bow. S- the 2'' I slep Lf to side, bring Rf back &- courtesy. Or if the dance be executed by 2 girls of cours? both make 8 courtesy meas 16 meas POSITIONS OF THE ARMS 1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The K arm makes a half-circle over &- in front of the head £r the L is in 2nd pos Reverse for " L arm in 3rd pos- " 3rd Position Amplified is the same, except that the raised arm is less curved, 4th Position : The K arm makes a half'circle over &■ in front of the head &- the L is in 1st pos Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pes. &- the other in 1st. 4> i- A cP ypki :s BY LOUIS -e, cwalw. iho toiiovving list oi dances comoosed o;' arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 2 — Of a little difficulty. 3— Rathtr difficult 4— Difficult. NATIONAL. $3 Each. I'urlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2, Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrileiia. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $S. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Folska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-o£-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For S couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian-peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. Pnd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime ajid dance, in 3 parts. 2. BALLET. La Fete de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. "he Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. THE CMALIJ es. FOLK. $1 Each. Note:— The numerals used with th Folk and Contra dances denote mucl easier grades than in other c Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. ii'orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. SOc. w. folk song. Mountain Trio Dance. Norwegian. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. I. Russian Wave Dance. I. Pletyonka. Rus-sian. 1. Snow Storm (Myatelitza). Russian. Khorovod (The Crane). Russian. 1, Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance, .^mer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor SOc. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1, Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete).l. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2/ Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2, Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Orientallnl. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3'. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi^rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3j The Fairy Queen, s or g 2. $3. iireflies. s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowfiake. s. or g. L $2,'. Midsummer Night's Dream; Dance of the Fairies. 12 or 24 giris. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3.. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1, Furlana. 2. I Minuet Waltz. 2. I.a Russe. 1. Sylvia Waltz. 2. The Countess. 2. I Gavotte Wait*. 2.. MazurWaltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published bv the school, at $.50 and up. MUSIC for the newest ballrootn' dances, in the pieces most approved by us and the public, is carried in stock af prices from 25 cents uu. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the- fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to .the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50_ Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the- Chalif School. Third edition; a new collection of 47 beautiful pieces, unusedl hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. ^iAL. SCHOOL OF DANCING IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recrsation supervisors and public school teachers, and teachers of physical training. Its work wit!i these classes has met with tremendous success. "Chalif dancing" and the i';hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st; CHALIF DANCING Tnis is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, v/ithout debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated 0"= separate branches, but almost all the beauty of the original, and quit," all of its spirit and scope iiave been retained. The result is an art wtiich while allowing an amateur to make rapid progress is yet puthentic, b.'autiful, utterly captivatinq' to the student, and furthermore bringing health, knowledge of racial character, alertness, grae^, aiid a soul-deep development estheticslly. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding succr-"'=:, especially in th'-ca particulars. First, the use of the Anns and the rest of the b"c./ has been kept equally important with the use of the feet. See: lid, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the Ai-erican public. When tausht to teachers it includes more than this, for an exeel- le:.t training in Pedag ogy is furnished. By the time of graduation A Few Word*. Concerning It 2nd; L. H. CHALIF The second factor i" the immense success of this School has been the experience and teaching ability of its principal. From 9- years of age a studer^t Ir. f.c Imperial Ballet School of Russia, in Moscow, then successive'y a solo stage dancer, ballet master at the Odessa government theater, instrucLor of dancing in leading New York private schools and director of the Chalif Normal School, his; experience has been long, complete and invaluable to his pupils. . . , A ceitcin ability at teaching has also made the school popular, although it has prevented the use of assistants, s-nce it has been- found that the students will listen to no one else while the principal is on the floor. 3rd; LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4iii: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause- for the fame of the Chalif Schoci. Everywhere there is a demanr" far th-t real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school witn c-'.sses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions- are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs^ THE FOREST SPIRITS QreeH Group Dance LOUIS H. CHALIF Jne JoUot^u?(7 ,bf i/?e same an^fror, a7-e o^/ie?- fs'^/7e^iiT arici? Qree^ / o?- "c/a^sii^a/" J/a72ces ■ sai:h 07?e co72Sts(s of c7pfP7'af:>7-za/e TTriific a77i^ a co777/:p/eee c^esi:7-zypfzb7z THE CHALIF NORHRL SCHOOL OF DAIfCING . nVes-t 45 ud St. TjevV JorK . ESTHETIC AND 6/?EE/f DANCES THE NIGHTINGALE 5.>;,y^ $o/oIL777.e 2.00 FIREFLIES Sim;p/e $o/ojJ.a77ce 2.00 THE FAIRY QUEEN S77r7p/e So/o Ja77.e 3.00 THE FOREST SPIRITS ^z-^^/;. ^7-^.7/. 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CHALIF. ::';J^r^iXCltZy.SZfZ sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2— Of a litUe difficulty, 3 — Rather difficult. 4 — Difficult. d— Duet dance. g — Group dance. s — Solo dance. NATIONAL. or g:. Each. Saitarella. Sicil Siciiiano. Sicili; Tarantella. Neapolitan s. or g. 2. Bo.ero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La i-eria. Spanish s. or g, 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. .'Vndalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d, or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. .Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Ilrakowiak. By Glinka; d. or g. 2. Iviaid-of-Honor' Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csard^s. d. or g. 3. Csardss. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. 50c. s. 4. Saibar Jap a $3 Eac GREEK AND INTERPRETIVE, Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek, For 12 young wo Greek Maidens Playing Ball. Very effectiv Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. BALLROOM. Music and Description, $L The Countess. 2. I Sylvia Waltz. Minuet Waltz. 2. I Gavotte Walt Kazur Waltz. 2. Description only, 50c. Aeroplane Glide. Dream Waltz. 3, Hesitation Waltz Mignon Waicz. 2. Narragansett Glide. Northamton Glide. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Afgen- tine Tango. 12 pp.. $3. Twinkle Waltz. 2 Waltz, The. West Point Glide. 1, CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet lor 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. rantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. %5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. The n umerals used with these danc luch e asier gr ades than n the oth Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provenqal. 1. Tourdion. (,)ld French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance The Wheel. .-Mhletic. for me I or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Swedish. SOc. With folk song May Dance. German. 1. Westphalian Peasant Dance. 2. Cracovienne. rdish. 2. Gdralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( Miatelitza). R issian. 1. Khorovod (The Crane). Rus ,ian. 1. Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. ■ Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Pulc'aripn Folk Dance. 1. Snake Dance. .Amer. Indian L ScalD Dance, .\nier, Indian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. I. $3. Papillons d'Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2, The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s, or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s, or p. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. ' CONTRA. Arkansas Traveler. 2, Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2, Speed the Plow. 3. The Tempest (la Tern pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. 1 entirely new and much enlarged collectioi beautiful pieces of music, with the names ief descriptions of the corresponding Junior nior exercises. Price, $3.00. THE CHALIF NORMAL SCMOOL OF DANCING IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with, these classes has rnet with tremendous success. "Chahf dancing" and the school which radiates it have come irt'' a North A-^et-jcan repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are l3t; CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which whi'" a"o""'ncr an a"iateur to make rapid progre-s is yet authentic, beaut'ful. utterlv c-cti^atinp- to the student, and furthermore bringing health, kno led-e of r-f-ial character, alertness, grace, and a soul-deep development e-thetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it ivith the most outstanding succe'=s, especially in three particulars. First, the use of the Jnns and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and : Ballroom dancing, an exhibition dancer and a composer of dances. A Few 'Words Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading Nev,' York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. THE FRENCH DOLL CHARACTERISTIC SOLO DANCE ARR. BV LOUIS H. CHALIF PRCCE $3.00. OTHER CHARACTERISTIC & DEMI-CHARACTER DANCES. BV L. H. CHALIF. ARE LISTED BELOW. AND DESCRIBED ON THE BACK COUER. THEY CAN BE PROCURED AT THE SAME PRICE & ONLY FROM THE CHALIF NORMAL SCHOOL OF DANCING 7 WEST 42ND STREET NEW YORK CITY The Gipsy Beggar The Villagers The Gipsy Camp The Polish Princes Toreador et Andalouse Marysia Andalusian Gipsy Mazovian Maid The Beauty of the Alps Pompadour Jean et Jeannette Queen of Hearts White Rose Mazurka Stach i Zoska Russian Court Demce Wegierka The Hussar The Joy of the Rose America Columbine Bow and Arrow Dance The Village Belle La Creole Sailor's Hornpipe The Cherry Blossoms The Pied Piper Japanese Group Dance COMPLETE LIST OF DANCES ON BACK COUER COPYRIGHT 1915 BY LOUIS H. CHALIF The Fi^eneh Doll. Introduction. Allegretto. Piano/ a a B a ^ m . 1 * * ^. I s rif. Pa- P pa Ma m ±=z^ ^^n ^^ p ^^ pa Ma - ^ I p , ll{_J |p,» ^ '?— - 3 •/ -^ ^^ ^iS 1>^-H I ^ P^^ rNp S-^ f- ^—m- \ittfj\ #^ N^ g rt B |iieiij J -^ -f- T^ I- ^ as*- a. . -H^f — ^ ^ r; it =^^ ^^^ F=T^ jC 1 — ' [=id TTT~ . ^ ^^ m ~j*~ ^ 1 -^?— ^ g^ ^^ r^y. Pa - GS pa Ma - ^^ w r^hvf Pa r ^• \ h /' i Kj ^rrY^fi pa Ma- ^ ^ r •< I •» c^f -> I V r- ^ I ^ •> ^\_} /On IV m ij'-^i m ^ ^^^ /:^ p * y = P^^^ M ^ ^ ^^^ g f g ^ g g =i The French Doll. 2 V. The French Doll VERY SIMPLE CHARACTER DANCE For Solo or Group, Arrrangement by LOUIS H. CHALIF ^ The costume is the traditional doll's dress, of light pink or blue, trimmed with lace & ruffles, & a blond wig of curling hair, short socks & slippers. \\ The dance should be executed stiffl}' & angularly as if the doll were run by machinery. The arms are always held with the elbows bent at right angles & quite close to the side, the forearms forward & the fingers straight. No further mention of the arms will be made, but they may move slightly from the shouldcs. U The polka in this dance is: Step Rf to side (ct 1 ), close Lf to Rf (ct and), step Rf to side (ct 2), & pause (ct and). ^ The music is counted 1, 2 to a meas; cts 3 & 4 refer to a 2nd meas. Introduction Enter from back center ov back R corner of stage with 7 hops on both feet & finish facing audience (ct 1 and etc.). The music should gradually retard & then there be a pause, as indicated in the music. The French Doll 2 I Remain standing with the heels together. Turn the head to R ^ sing "papa" as written in the music, & turn head to L & sing "mama." Sing in a very staccato manner, separating the syllables 2 meas 1 polka step to R starting Rf (ct 1 and 2), & repeat with the Lf (ct 3 and 4). Keep the knees stiff & do not turn the toes down when stepping. Turn to face somewhat R when starting Rf & vice versa -. 2 meas Repeat all 3 times more 12 meas 16 meas II 7 running steps diagonally forward R starting Rf (ct 1 and 2 and etc.). The knees are stiff, the feet slightly separated, & with each step the weight is thrown visibly toward the ft which steps, making a slight swaying motion from side to side 2 meas 2 polka steps starting Lf & moving backward. Turn slightly toward the ft which begins the polka 2 meas Repeat 3 times more, starting with L & R feet alternately, but the last time take only 1 polka step back (starting Rf) then 7 walking steps backward (ct 1 and 2 and etc.). The music retards on the last meas and there is a pause 13 meas These walking steps are to be taken instead of the usual 2nd polka step because the machinery has got out of order. 17 meas The French Doll 3 III Turn the head to R & say "pa-pa," "& to L & say "ma-ma" 2 meas 2 polka steps forward, starting Rf 2 meas Repeat the first 2 meas 2 meas 1 polka step backward starting- Rf 1 meas 4 steps backward (ct 1 and 2 and) 1 meas Bend forward at the waist, in 3 jerky movements in time with the music, which also is retarding. The machinery is again getting out of order & jeopardizing the doll's balance 1 meas 9 meas IV Point the R heel to side twice (ct 1, 2), & bend toward the R 1 meas 3 polka steps traveling to R & turning around to R, with stifT knees, as always . . 3 meas Repeat all 3times more, starting L & R ft alternately 12 meas Bend forward in 3 movements, making a bow as in the previous Fig. (ct 1 and 2). The music becomes slower & then there is a pause 1 meas 1/ meas The French Doll 4 V Raise the trunk again & turn the head to R saying "pa-pa" & to L saying "ma-ma". .2 meas Keeping the feet together, turn once around to R in place by hopping from both feet 4 times (ct 1, 2, 3, 4) 2 meas Repeat all 4 meas Bend forward in 3 movements, as before, & pause 1 meas Slowly raising the trunk turn the head to R & say "pa-pa"; continuing to raise the trunk, turn the head to L & say "ma-ma." These 2 meas of music should be played very slowly & the words said hesitatingly. The machinery is again running down 2 meas Pause for 2 cts & during the pause sway backward as if about to fall 1 meas Run backward with many little steps toward the exit (ct 1, 2), bend far forward at the waist as if collapsing utterly ( ct 3), & hold (ct 4) 2 meas 14 meas A chair perambulator may be employed, as thus : In the beginning the doll is wheeled in by an attendant; during the introduction she is taken out & placed on her feet; after the dance, as she runs backward the attendant pushes the chair toward her & she collapses into it on the last chord. FURLf)NA UENETtAN GONDOLIER SOLO ^^t I RO(0fift^ JyOR^ CROUP THE DANCE RECOMENDED BV HIS HOLINESS POPE PIUS X Arrangement by Louis H. Chalif Published and for sale ONLV by ^o 7 We-si 4^*^ cSitte^i: ^EW'^RK. See inner and back covers for other dances by the same author Copyright, l9lC^by Louis H. Chalif FURLANA Venetian "NATIONAL" Dance Arrangement for a ballroom couple dance, by Louis H. Chalif. ^m ■Ifr/ f W - f f V -^ ^ 1 t / ~^~ E Ui 7 1 rf ^^ M "17^ 'fT] & f^ m m jTifn' w^ ^^ p-" P 1 r,-i "< ^=^ •nfji '/ V ty yp T-^ I p ^^ I V ^ f ^ m ^^ 7' 7' B y ? ^ ?=?= F ^=^ p=i^ ^ Fj fff ^ \ ■' ' i> ■> " jTi^nr] ^S ^F^ P^ ?^^ -^ ' y Ty r ? W "Hh ^ I f 7 ^ : r ?=?= •^ y y r r ? y=y=7H^^ y 7F y y r ^^ ^ ^ 7 y P '/ ^ ^ .^^ ^ ^ ^=?= ^ ^ ^ i ^ ^ ^^ ^ f-^ rn , jn A\h I, ' b« "^fn T< 9- — r- 1 -J0 H^ OT- > H^ r ^p ^: r " [ -f — i^ — t** ^ — L <—^ — L ^_^ ^isi-Ln — ^_ f ?-■ s ^ — ^ 7 , 7 i ^4 ^ J 4 Ei^ — ^ — IV "^b^-"->. \ % J '.'■/!'■'■' l ^'py'f P^f I j'r/^ i-^.. ^m V i i n^y i b^ b ^ 7 y m 5E^5 ^^ ^^ J T J -P Wt^ ^» .» r ' f,> g "P V 7 I,JT3 j_[^^ i r p g ifl| r i^ "^ .u a ^ > J ,p%J7 ^ ^rir^g p M .^ ^ J-l f jl^: k ' bJ^l^ ^ 7^4jj->w I r ^^^ ^^^ i ^in a s=# ^ VI pf^ ^^^ ^ ^^ Ei S rrJ-jr: ^pv^py ' Hf3^ P ■' ^ t'^ '' pr r p =FT ^ 'ivyP' 7 ^ i t y y I, y y i^^ V 7 7 ^ y 7 ^Eg ^ > r ? ^ ^ S ^•^^ Pm JTl/r: a s^ ge ^^ ^ ^^^^^ rr=p ¥=^ '^/ S ^^=^ ^^ ^ ^ ^q:^ y K> V ^' ^ ^ ^ mm ^f^^i? 1^^,--'^^- = ', Y y i-^f^i= - *, y Y C y 7 — ^ ^ y C r y ^ ^ ^w:^w=iw^t=iwz \ ^y y FURL^NA Uenetian "NATIONAL" Dance Arrangement for a ballroom couple dance, by Louis H. Chalif. The dance should be performed in a quick tempo CS. with spirit. The couples first form in a large circle around the room. I. Gentleman's R arm is around lady's waist, his R hand holds her R hand & their L hands are joined in front. Move forward around the room with the foUowing steps: Step swing twice, both starting R f, slide hop on R f lifting L f behind, & 2 running steps forward ( L& R ) 4 meas. Repeat beginning with L, R & Lfaltemately 12 " II. The position of the arms is the same as in Fig. 1, Both step R f to side ( ct 1 ), swing L f forward & hop on R f ( ct 2 ), point L toe in front of R toe in 5th pos. & hop on Rf ( ct 3 ), swing Lf forward again & hop on Rf ( ct 4 ) 2 Keeping the same pos. of the arms, Turn completely around to the L, with slide hop on L f lifting R f behind & 2 steps (R^L) 2 " Repeat these 4 meas. 7 times more always starting with Rf 28 If turning be to difficult the same step may be danced moving forward. T2~ " in. The pos. of the dancers is the same as in 1 and 2. Both begin with R f. Point R f diag. forward ( ct 1 ), bend R f in front of L ankle ( ct 2 ). At the same time hop twice on Lf , i " Repeat , j >> 4 running steps forward both starting Rf 2 " Repeat all 4 « T " lU. Pos. of arms is same as in previous Figures. Both begin R f. Gentleman's part is: Step swing twice (^ R CS. L ) moving forward, slide hop forward on R f CS, step L f in place. Lady's part is: Step swing twice ( R CB, L ) moving forward, slide hop on R f turning completely around to R iS, step L f back. keep the R hands joined while turning 4 " Partners now face each other, gentleman having lady at his R side. Gentle- man places his R arm around lady's waist, CS, lady places her R hand on. his L shoulder. Both L hands are raised. In this pos., Tum^ once or twice around with a pivot turn, i. e.: Step on R f with eadi ct of the music (cts 1, 2, 1, 2, 1, 2, 1), Lf bfeing crossed behind R f CBl, stepping in between the cts as if i^ushing the R f along. The accent is always on R f. The turn con- sists of 7 pivot steps ca. step on L f (ct 8 ) 4 Repeat all starting Rf again , 8 " 16~ " u. With the last step on Lf finish side by side CS, join both hands in front, the hands being crossed in skaters' pos. with the L hands up. Move diag. forward to R with 3 steps C®, swing the free ft forward. Both persons start Rf 2 Repeat same backward to starting place, beginning Lf 2 " Repeat same diag. forward to L but starting with Rf 2 Repeat same backward to starting place, starting with Lf 2 " ~8~ UI. Pos. of arms as in Fig. 5; Both begin with R f. 3 pas de basque fdrward (cts 1 C& 2 for each pas de basque). A pas de basque is: Step R f to Side & step L f. across in front of R f. These 2 movenients take 1 ct. Step R f close behind Lf (ct 2). The 3 pas de basque alternate R&L 3 " Gentleman turns the lady under their joined L hands. The lady steps L f to side & turns completely around to L on the ball of her L f. The gentleman with his R hand gives her the impetus for the turn, but drops his R hand as soon as she begins to turn, supporting here wnth his L hand only 1 " After the turn the gentleman presents his R hand again. Repeat all 3 times more 12 " uu. Take the regular dancing pos., i. e , the couple face each other CS. gentleman's R arm is around lady's waist, her L hand on his shoulder CS, their other hands joined. Move sideways, beginning with outside feet (gentleman R CS, lady L) with step swing twice 2 " 4 slides forward beginning outside feet 2 Repeat all 3 times more, eitch time beginning outside ft 12 " Is " The free hands may be held at the side at shoulder level if desired. Another way of dancing this figure is: Step swing twice ca. 4 running steps forward, repeat 4 times in all. If performed in this way the free hands cemnot be joined. DANCES BY LOUIS H. CHALIF. The folJ,wing Hst of dances composed or '^'^■'■^•^'-"^ ^^ JL M^-^ -^ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2 — 0( a little difficulty. 3 — Rather difficult 1 — Difficult. d — Duet dance. g — Group dance. s — Solo dance. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. , Tarantella. Neapolitan s. or g. 2. ' Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. .Xndalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $S. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. .Austrian Peasant d. or g, 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka: d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. 2. Greek Maidens Playing Ball. Very efifective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Orie; tal Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Walts. 2. Minuet Waltz. 2. 1 Gavotte Wall.-. 2. Kazur Waltz. 2. Description only, SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhauan Glide. 2. Maxi>:e. Brazilian. 2. Mignon Waltz. 2. Narragansett GHde. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2 Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances, Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: — The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Froven<;al. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. ^ , Fricassee. Old French Soldier Polka. 2. , Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. 2. \ Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Swedish. SOc. With folk song. 1. May Dance. German. 1. Westphalian Peasant Dance. 2. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russian. 1. Khorovod (The Crane). Russia". 1. Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1 Scalp Dance. Amer. Indian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3, $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d'Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or £. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy- 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. THE CflALIF NORMAL SCHOOL OF DANCING A Fe'w 'WTords Concerning' It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the c-^hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. ChaUf is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowinsr an amateur to make rapid progress is yet authentic, beautiful, utterly c^ptivatinsr to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . • A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. -Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. GALf^NTERIE SIMPLE COUPLE SCHOTTISCHE SERIES. FOR CIRCULAR FORMATION Arranged by LOUIS H. CHALIF PRICE TWO DOLLARS OTHER SIMPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER- WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF DIFFICULTY. !fi !fi THE DANCES CAN BE PROCURED ONLY FROM THE CHALIF NORMAL SCHOOL OF DANCING T WEST 42nd STREET. NEW YORK CITV Galanterie Schottlsche 2 Abandon Mazurka Series 3 Sunbeams Po'ka Series 2 Sylvia Waltz 3 The Princess Schottische 2 Gavotte Waltz 2 Ta-tao Chinese 3 Mazup Waltz 3 Flower Waltz Series 3 ROUll-ROUll Exhib Blr 2 The Countess Gavotte 2 Gavotte Directoire Paviowas 3 Minuet Waltz 2 SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR COPYRIGHT 1915 BY LOUIS H. CHALIF Galantci^ie. Moderate. Os, Piano. p- V-¥lt c- i fpPi /r\ m ^i p fe (C^' ^ S %>. ^ » »- •&. » r\ I f Nfjn^ I ^ r ^ ^ P *=¥ /T^ r?:#. M ffl tempo. 'y-H\v f i J ^ I ^ I J tE^ r*^ %). * Loufs H, Chalif. Sva. ^^ i r i j'a "JtSb. ■ ^ * 'S3). ^ ^ t r t ^TJI "Sa. *«■ :i. 2 3 f W ^ ^ * /fj f Lr ^ ^ !#### s M ^W ^^ r*^ ■iii. %). *fc r » _ 1 [» ^ ^ ^ n ^s *^ a=* ^T^=pfip ^=T^ , V-tt J f ^ u ^ ^ ]g- b-|i_ ¥=^ ■^sa>. a ni Tempo I. ^ i^ ?^ n i k¥^3^ "!&. jw %). ^ ^^^ ^ci). f ^^^^F^ f % rw . I ^m ^iffii ^ «^ ' CXJ-J lv-»A J ^ i f M f ^^^ stal ^™h ^. '^- "xiii. ^ 4 5 4 ^ ^=^3 i 1 I ^' -fi ^ fTMf y J f J f. U^^^ ^ fc^g Si s^^ ^ i==f Galanteric. 4 '^. * ^. »; ^ t^ i % ^m f ,,if ^^ ^ ^. ^'Tla'J J=M -d'^^j)^ ftftt rf r^^7 j' fi P^ ^ m ^^^ i » '■yTempo I. '^• %b. "I&. * ^* ^ ^ ^ *=* P nh i F ^^^^^=3 ^ f f f f ^. ^rt^^ W ♦-W / 1 s* » I ^ i j f J r f %}>. * ^^ ^ V-» l l"» I f 3 iT j'H.i'r j- » I r ^^^^ ^ ^ ^ 'Sa>. 's^. '^. «^. Galanterie A VERY SIMPLE SCHOTTISCHE SERIES For one or any number of couples, arr. by LOUIS H. CHALIF Q If the couples are many they are arranged around the .oom &■ progress in the line of diredion of ballroom dancing throughout the dance. Q Partners look at each other, of course, at every good opportunity. Q The music is counted I, 2, 3, 4 to a meas: ds 5'8 refer to a 2nd meas The boy's K arm is around the girl's waist, their L hands are loined in front &- the girl's R hand holds her skirt. Both start this Figure with Rf On the 3 introductory notes of the music lift Rf with the knee slightly bent, then straighten the knee before stepping, as if stepping over something to get to the place for dancing. Both step &■ hop diag. forward on Rf, lifting Lf behind (d I, 2), &• step back &- hop on Lf, leaving Rf in fi-ont (d 3, 4) I meas Slide step step hop diag. forward to R, starting Rf (i racial character, alertness, gract, and a soul-deep development e-t^ietic?llv The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most out=-tanding sr"-^-=. especially in three particulars. First, the use of the Arms and the rest of the body lias been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserver!. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and g 3. $3. $3. $3. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. . $2. Eugenie Onyegin. Waltz s c The Fairy Queen, s or g 2. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. Little Fairy Snowflake. s. or g. 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $L Furlana. 2. I Minuet Walta. 2, La Russe. 1. Sylvia Waltz. 2. The Countess. 2, | Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents uo. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING A"ol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, ae described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05, Grammar of the Art of Dancing, by Friedrich A. Zorn. .An important work to the profession. With musical sup- plement, express paid, $10. 'o DANCING 2nd: L, H. CHALIF A Few 'Words Concerning It The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been. found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment, 4tn: THE MOVEMENT FOR ARTISTIC DANCING which is inore and more ascendant in this country, is the final cause for the fame of- the Chalif Schooi. Everywhere there is a demanr" for tl-< real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with r--3Ses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are hold during a fortnight of the Christmas holidays and on Satur- days -nd aom.e week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, G A U T T E FRENCH SOLO DANCE Arr. by LOUiS H. CHALtF other National dances arranged by Mr. Chaiif are listed below. Tneir price is Three dollars < $3.00 each, and they can be procured onSy froin The CHALIF NORMAL SCHOOL of DANCING 7 WEST 42ND STREET NEW YORK Furlana. X'eiu'tian gondolier s. or ; Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. TarantfUa. Neapolitan s. or g. 2. La Mancha Spanish s or « Bolero. Spanish s. or g. 4 Madrileiia. Spanish s. 3. La Paloma. Mexican s. or g. 4. Cachuca. Spanish s. or g, 3 La Feria. Snanish s. or g. 3, Ole Gaditano. Andalusian s 3. La Gitana. Music only. Andalusia Pavane. Old French d. or g. 2. Allemande Old Frepcli s.; Ciici. ,'nne. U\(\ French d. or g I. Gavotte. French s. or g. 2. Gavotte Directoire. PavlowaV d, I Sarabande. Old French i\ <.r :_: 2 Minuet de la Cour. For 4 couples. Queen of Swords. Minuet for 12 o 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Ca la Breaza. Rumanian v. , ,) Polska. Swedish d. or g ?. Polonaise. Music only. 50c. g. 1 Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples, 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Rus.sian peasant d. or g. 3. Plyasovaia. ku.^si:!!! •; with pau'.uniiiin- Donskoi Cossack Dance, s. or g 3 Csar-^a^ ■ ■••<■ " > Csardas. s. or g. 3. The Magyar. Csardas s. or g 3. Hungarian Rhapsody, do Mus. only. 50c. s. 4. Saibara. Japanese s. or. g. 1. The Cherry Blossoms. Japanese d. with |)anto. SEE BACK COUER FOR EXPLANATION OF ABBREVIA- TIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR. Copyrtfiht. IS!^. by Louis H. Chaiif GAVOTTE French Solo Allegretto j = los ir • I • ^-< « 1 cresc. i=^ ^^ ^"^JTTi ^ ^ jii ^:''hrrWin- ■M i "i"f i "U i ^^ ^ r> rrl rr r»r ^ Louis H.Chalif. ^# ^ ? ^= ^^ ^ p5S^ zrV- irr'rjou i fj j ^y p.i EXPLANATION OF TERMS. 1st Position: The arms make a circle in front of the chest at the leve! of the middle of the chest. 2nd Position: The arms are raised sidexA/ays a little below shoulder level. 3rd Position: The Ps arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. Reverse for "L arm in 3rd pos, 3rd Position Amplified is the same. e.xcepi thai the raised arm is less curved. ■Irh Position: The K arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. Reverse as above 5th Position: Both arms make a circle over and in rront of head. Lateral Positions have one arm in 2nd pos.. dr the other in 1st. Step Swing means swing the free fi forward &■ at the same time hop on the other. Step or Siidt Hop is hop on c>ne ft &- lift the other backward. Balance means step on one ft bring the other up tc it 6- rise on the toes of both c^ ^ ^ ^ ^ (^) ^ GAUOTTE FRENCH SOLO DANCE ARRANGED BY LOUIS H. CHALIF The spirit of ihe dance is dignified and at t le same lime light and playful — it is as though the per^ former were a lady of the court. The carriage should be very erect, except \A/here it is required that ti'unk and head be bent, to loo'c at the toe. The feet should never be lifted more than a few inches from the floor and every hop should be \o\^ and easy. A simpler and better form of this dance, because more in character, is one in which the skirt is held by both hands all the time. A rather full skirt is required for this. The lateral arm positions may be used whether holding the skirt or not. The Tempo 'time) of the dance is indicated by the metronome mark — 108. In the music each phrase begins at the middle of the measure, so the steps must do the same. In this description, therefor, "I meas." means 2 half'measures. I Step Rf to side &- swing Lf in front hopping slightly on Rf (counts 1,2) step Lf forward &- point Kf to side in 2nd pos. (cts 3, 4). Arms lateral to L side. Bend to R 6- look at the toe I meas. 2 glissades to R side fcts I, 2). '"Glissade" is rise on the toes &- slide Rf to side, &- step Lf behind Rf). Step Rf to side &- point Lf in 2nd pos. (cts 3, 4). Arms 3rd pos. with the K arm up for glis- sades &■ lateral to R side on point I meas. Turn completely around to L side with step swing twice ( R &- L). Arms 3rd pos. to 3rd pos. the arm raised being opposite to the foot that is forward 1 meas. Step Lf to side &- courtesy, finishing with weight on Rf I meas. Repeat all beginning L, R, &- L 12 meas. 16 meas. (I. Balance Rf forward (cts I, 2). &- balance Lf back (cts 3, 4). Arms 5th dr 2nd pos I meas. Step Rf forward ("ct I.) touch L toe behind K heel &- bend both knees a little (ct2) point Lf to L side in the 2nd pos. and hold (cts 3, 4). Arms 2nd pos. &- lateral to R side when Lf is pointed. The trunk is bent to L I meais. Repeat all, starting L, R, &- L 6 meas. 8 meas. III. In this figure move in a zig'zag backward. Step Rf to side &- swing Lf across in front of Rf, hopping slightly on Rf (cts I, 2). step Lf across in front of Kf &- hop leaving Rf behind (cts 3, 4). While doing this the body remains facing forward twisting the torso. The arms are 3rd to 5th pos 1 meas. GAUOTTE. Continued Step Rf to side (ct 1), step Lf behind Rf (ct 2), step Rf to side.again &- leave Lf pointing in 2nd pos., (cts 3, 4). Finish with arms lateral to R side &- trunk bent to L I meas. Repeat all, starting L, Pv &■ L 6 meas- 8 meas. lU. Step Rf to side &- draw Lf slowly up to Rf (cts I, 2). Step Lr behind Rf, step Rf to side, 6- step Lf in front of Rf (cts 3, 4). These 3 little steps are called pas de bourree changes. The arms are 3rd pos., or the L hand holding skin &■ the R hand in 2nd pos. The trunk is bent to L I meas. Pvepeat I meas Step swing twice (=R ir L) turning completely around to Pv side Arms 3rd pos.- lo 3rd pos., raising the opposite arm from the foot which is forward 1 meas. Step Rf to side (ct 1'9. touch L toe behind R heel bending both knees (ct 2\ &■ point Lf to side &- hold (cts 3. 4). Finish With arms ilater&l to R side &- trunk bent to L I meas. Rcjpeat'ail'to L, R 6- L. 12 meas. Rep^t«thc isi~2 meas., of IV., stsuiing Rf 6- moving diag. back to K side 2 meas. Step swing twice (R 6- L), moving backward I meas. Step to R side'&- courtesy siowly. , [ meas. 20 meas. u. 3t^ swing twice in place (Pv &■ L) Arms 3rd to 3rd pos I meas. Step hop fopA/ard and beck., Arms 5th. to 3rd pos I meas. Rond de jambe (circle' with Rf, €r pas de bourree change beginning Lf back (cts I, 2), &- point Lf to side in 2r\d pos. (cts 5, 4). Finish with arms lateral to Pv side &- trunk bent to L I inecs. Repeat pas do bourree change with Lf to R side, &- finish pointing Rf to sid^ I meas. Repeat all twice more 8-meas. Repeat the 1st 2 meas. of V: 2 meas. Step swing twice (K and L^ , rooving backwaid I meas. Stej3 to K side- and courtesy slowly I meas. 16 meas. The lasPedWlesy may be executed in the following way: Step Rf to the s.de &- slide Lf extremely far back, kneel on the L knee 5- finish sitting on the Lf, the R leg being ewend-d straight forward.. These movements should be so blended together as to be like one continuous downward and back- ward rhovement. DANCES BY LOUIS H. CHALIF. The following list of dances composed d* arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc.. of the dance. ABBREVIATIONS I — Easy. 2 — Of a little diScultr. i — Rather difficult 4 — Difficult d — Duet dance. g — Group dance. •'-Solo dance. NATIONAL. $3 Each. Furlana. Venetian gondolier s. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalus'.an s. 3. SOc La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet ds la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. CsSrdSs. d. or g. 3. Cs&rdis. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. or g. 2. BALLROOM. Music and Description, $L The Countess. 2. | Sylvia Waltz. 2. Minuet Waltz. 2. 1 Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation WalU, the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note:— The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. "The Wheel. Athletic, for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. I. Ring Dance. Swedish. I. First of May. Swedish. SOc. May Dance. German. 1. Westphalian Peasant Dance. Cracovienne. Polish. 2. Gdralsky Taniei. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russian. 1. Khorovod (The Crane). Russia". 1 Lujock. Russian. 1. Kolomeika. Russian 2. StraSik. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. With folk song. 1. 2. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. 32. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or gi 3. Le Toreador d'Andalousie. s. or g. 4. lean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g, 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. SOc. Each. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. Petronella. 2. Pop Goes the Weasel Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3i. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Teiiace. 3.. EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING ^^— ^°'-» IT IS located in New York City, at y West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated aS separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art wt»;ch while allowins: an amateur to make rapid progress is yet authentic, b.'^utiful, utterly captivatine; to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Anns and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Concernlnif It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From g years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school populetr, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular stimmer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. Sauces o f %atwn /?aue beejt- SC'lcchci fro/ii' a wide lyyerhtre for rjubli'eafw/u a/ifl cti/i c^/J^ icjjjvcurcd frorii' Mc Jdiool . ^ CXtXi'^ii^U J^iinjcir'uvi^ Serosa// ^ &ci//ce 3 00 J3ci//ei- 'Z^/^'Z/^^'Ztv ■CziiJ-itu"Mc'niiH' S/oi^/i^ Z OQ CXiXX'XWA mUnuf tOatki. Satnbifurinc id Jb(?urrc German '^tiitu %:. J/nn^ar/a/v JJ///7/'fdry 0i!e^ Jhijbo/iiii/L' yccisa/1^ 0ii(it {/j/stria'-i- Sec?sa/i{ ^//c^ ^//u/ a/ USUI- ^s^~so/o S/Pcini'sh So/o ya/isk- Coiiri- M7nce fahs/i. folk 'J}ca7tc J^eoo J3a/(roorru £hncc; ^?c'jm &rarcic^i:r Srvufo 0a?7cc ^li'w /3a n n'lvn 2hnca ^cncA- J/vii/tJ J/a7/;ce $'enc/i- 3a //i' 3^aj7ee frc'/icA' ^//e 0a!^ce Opcmish^ ji-crrc/t- Hoik £Pa/7cc $-g/?e/i fo//z. 0cii7ct 0ud 9cwct ji-e/7eh ^Ik 9ii/ice J/Mnish ^/k 0cmce Aiissi'cirv ''J/u&t Jv/y7/an t?ci/7C(i. ch7(/'-ihis-/c!^ so/o iAmee . 00 Z 00 3 OQ Z 00 Z 00 Z 00 Z 00 Z 00 30 / 00 / 00 3 00 3 00 Z 00 i 00 I) 00 2 00 / 00 / 00 3 00 / 00 / 00 Z 00 Z 00 Z 00 Z 00 Z 00 Z 00 3he adoi/e dances are cc^ot/n^/ffed. S7?d Jc/ioo/ /ms /lo aii^^orizec? arr. 61/ Scu/s M- C//ali/-' Q'i'rec/o/- (// i ^ ^ i 1 i ^"TTlifl iii i J^ v^S I s- 1 y -1^ ^^ aa- :i==|=l ^=? ■4t-WaL- ffiS I ' > PV an: ly J~uiusM- C/^ii/iY j/?e -^jeasa/7i-(!f/-(;r f/7ei/ /mue f/'nis/n-r/ /Aar uior/e^ /}7 //7t: h'i-/Js a/Iy^/- ^/7er fcf Hie ce/iire f}vj7Z c?// ifjuris afZ-fie //e/^/s ^7/7(/ sai/''''J/ouJiJo//ciii Jo' ^o ec/ch ui-/7c/- wi'^/'T- a/^easci/7^ cuiwi'c'sey . j/7c'/z- //te_// /■7/77 ^■'ac^, fo J-Aei/' 7:7/77/ 77 11777 />C7- c/f HC'U/y/e s 7771717 /J777'h'a/yi77^e 7'77 7-/7i7 7'Jl777C(7 ■ M/C sle/JS of l'/7(i 7/a77ce aJ77sist of /:!/ii77'7' 7-1/77/77^ shyjs 7/77// f/za Ypciisu??^ cpi/z-f'esey. f/7e 7jc'c7sa7if coi7rh'sc:i/ : - Si^ea 7-/. f/ ^ /o /■f-s/.-Ze ^ c77/777ff, d/y'/Zi^ /cff /"/ . /o /■/. hV7/'777/ f fff/k /Jc7si7io7L J a/7(/ dey7(Z /joffi- A77 ees' C7ii 2 . 777/7^7/77 ci 77777^ /o t/7e 7/cl77Ce.: _ fi// / ai7U f77/77 7/s yr/'/A /M/'f- 77a-s c777/:/ /•U7^' tcrujcz7'J ee/7//'C -f^f/Zt cy/n /////c /7//////^ y/cyjs r/7fJ C/J77//es-ej/ ^ . - ., , B 7ifC(7sii/vs y7//7L CI//J /-u/v- /7(ic/& fo -ip/ace a77r/ ecui'/sei/ /o cac/t- orf7e/) Z L/. (Ja/7t 77^/7/ f/a 77 Js ^V//^ yj(77'/?7ii/' 7-ll/7 //^ -I f7ClIf C/J'c/e cl/'07l77f/ c'l/cfL' a//ici- wf//7 //77-cc sfe/ps (777 {/ cpii/-/ese7' , / " /- /?e7H'aZ same yvi'if /c'f/ /7a77/:l ^ ,...-,..---- 2 „ Ji)/'n- I'l^I/Z hc7//{!s 77 7 7 7I I'll 70 <:^i7/l:c a7^oii?7d euc/t^ o//7e/- W7//z e/yh/ 6'/eps /;//// L(JU//ese7/ J •,.../?,■•« 0. di'//7 /zcr/ic/s )A////l^pcl/f77ei' /-/ITT- c7// fo ///C Ce7//7'i; , C7S I'/csc/'f/ C (/ ' 7'77 ^ l4gBy LOUIS H. CHALIF The Gipsy Camp (A Solo or Group Dance) Allegretto con moto. arr.J>y Louis -ff. Chalif. m ' )■ l-^' ^ V i i^ ^ rito un poco ^ 7 >' 1 7 7 Copyright MOMHTby Louis H.Chilif . II ^m ^ ^M ' Up f r r r p «r7^r r ^ :^ L-i ^^^ ^^ ^^ ^^^ rtrrLj ^^ s ^ c^ cJ ^ ^,^— — li JTn; rrrn g '#r#r>r^ "^ — s~d — 5 — p — 1* — U): m •f p •f =j — ==:Um=- - '^i^ Ui^ N. it^ - H p —• = « 5 ^ -' L -j The Gipsy Camp 4 Ill V PS^^5 m i m ^m TvWt m ^*-— i^^—— P ^ *=^ S ^ W p^ p^ ^ If. S. al % The Gipsy Camp 4 ^^ w Vf r r^r^ ^r^r p r iir ^ 2E* ^ JT The Gipsy Camp A THE OIPST CAMP DEMI-GHARACTER SOLO OR GROUP DANCE Somewhat difficult, by LOUIS H. CHALIF (\ The dance should be performed in a quick tempo &■ with fire. Q A tambourine is held in the R hand throughout the dance. Q Technical terms are explained at the end of the description. S 1. w Step Kf to K side, swing Lf in front &- hop twice on Rf ("counts 1 and 2). The arms are in 3rd pos. with K arm up I meas Repeat to L. with L arm in 3rd pos I meas. Step Rf &- hop twice on Rf moving diag. forvA/ard R. The arms are 3rd position amplified with R arm up 1 meas. 3 steps in same direction ( L, R 6- L). I he au-ms are in 3rd pos., amplified with R arm up...l meas. Step Rf back &- face R &- hold lets I, 2) Open the arms to 2nd pos. on ct I &- strike the tambourine in front on ct 2 I meas. Step Lf back &- face L. Open the arms to 2nd pos. on ct I &- strike the tambourine on ct 2 1 meas- Step Rf back (ct I), leap onto Lf turning completely around (ct 2), step on Rf (tour jete; c, 3). &- hold the pos. (ct 4'. Strike the tambourine overhead twice, on cts 3, 4 2 meas. Repeat all beginning Lf , 8 meas Repeat R to L 16 meas, 32 meas. ^ II. ^ Step Rf to side, swing Lf in front &- hop on Rf The arms are 3rd pos ^^ith R arm up I meas 3 little steps in place beginning L (cts I. and. 2). Swing the arms to a crossed pos, in front ..l-meas all 2 meas. Moving to R side. 3 little steps twice, making one complete turn to K side. The arms go from 4th pos. with R arm up to 4th with L up 2 meas. Tour jete to R side and hold- Strike the tambourine twice overhead in the last meas 2 meas. Repeat all to L side beginning Lf 8 meas. Repeat to R £r L 16 meas. 32 meas- !fi III » Step hop forward &- back beginning Rf. The arms are 5th &■ 2nd pos 2 meas. Cross Rf over Lf 6- take 3 steps forward beginning Rf- (This is coupe glisse coupe progressing forward.) Swing the arms to the lateral pos. to R side 1 meas. Repeat same beginning Lf over Rf. Swing the arms to the L 1 meas. Step hop forward &■ back. The arms are 5th &- 2nd pos 2 meas. Tous jete backward to R side beginning Rf. Strike the tambourine overhead twice in the las^ meas • 2 meas. Repeat all beginning Lf 8 meas. 16 meas, S lU » Before beginning extend Rf forward. Bring Rf down in front of (3rd pos.) &- take several tiny liiile steps backwards (pas de bourree. ct !), £r extend Rf forward again (coupe ; ct 2). The arms are 2nd pos. on the 1st ct &■ strike the tambourine in front of the 2nd 1 meas. Kepeat twice more 2 meas. Turn to R side 6- step on Rf ct 1). leap onto Lf turning completely around to R ^ct 2), &- finish with Rf extended in front ready to begin a 2nd pas de bourree. Strike the tambourine overhead on the 2nd ct • meas. Repeat all 3 times more, always turning to R side.. 12 meas , 16 meas. \R v. \R Step Rf so side, &- swing Lf in front (cts I, 2,), The arms are 3rd pos. with R arm up 1 meas. 2 running steps (cts I, 2) progressing forward. Extend the legs backward from the hips 6- bend forward at the waist. Strike the tambourine twice in front 1 meas. Repeat all beginning Lf ■ 2 meas. Continue alternating R &- L for - - 12 meas. 16 meas. This Figure may be danced in a circle, or if in a group, side by side. Step swing on Rf The arms are 3rd pos. amp. with K arm up ^■■■. 1 meas. Slide hop diag. forward L on Lf The arms are 3rd pos. amp. with L arm up I meas. Repeat all 2 meas. 2 pas de Basque in place (R &• L). The arms are 4th pos. with R and with L arm up 2 meas. Pivot turn to R side, the arms in 3rd pos. amp. with Pv arm up < 2 meas Repeat all baginning Lf 8 meas. Continue the pivot turn to L for I meas. more.. I meas. Stand on Lf with Rf pointed behind &- hold --h l i I t \ f= \ 'l \l4i tai Ei ni *«=^ i s ^ m W s ^ s ^ ^ y s *1» :i ^^^«4fiftfAfflxfef i Jff i ur i nj tr Copyright-, i9U, hy Louis E- Chalif. Goralski Taniec. An Easy Polish Folk Dance, arr. by LOUIS H. CHALIF. The name is translated by Dance of the Mountaineers and is pronounced Goo-rahl-skee Tahn-yets. Formation-- in a circle, couple by couple. The boys are inside and girls out- side. Boy's R arm is around girl's waist & girls L arm is around his shoulder. Their outside hands are raised. I. 14 slides forward around the circle. Both begin with outside ft. .... 7 meas. 3 stamps in place. While making these stamps both turn half way around to face in opposite direction. They turn inward toward partner. The boy then puts his L arm around girl s waist 1 " Repeat all back to original place & turn as before. 8 " T? " II. Partners are still side by side as at the beginning. Pass partners, the boy going behind, & separate from partner. The boy moves outward- to R side & the girl inward to L side with the following step: 6 slides to side , .... 3 " 3 stamps in place 1 " Repeat same, returning to place, 4 " T " III. Turn partner to R side with pas boiteux (hop step & step turning )4 times. While turning one s partner each puts the R arm around partners waist & holds L hand high. The girl puts her R hand around the boy's shoulder. Before beginning, lift L ft. Hop, on R ft, immediately step L ft for - ward (count 1) & step R ft forward (ct.2.) 4 meas. Repeat same, turning to L side. 4 " Move forward to meet a new partner, each person movinginthe direction he fac- es, the boys going in one direction & the girls in the other. Turn new partner to R & L as previously described 8 " Move forward to meet anew partner & repeat same 8 " 24 " If the turn with pas boiteux is too difficult, the following step may be substituted: Lock R arms & dance around each other with slide hop 3 times rais - ingfree ft behind, & 3 stamps in place(4 meas.) Join L arms & repeat same, turning to L (4 meas.) With the last partner repeat the dance from the very beginning. DANCES BY LOUIS H. CHALIF. :^:„';JrXVHi,»A'pl"fr.dTnf," sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2— Of a litUe difficulty. 3 — Rather difficult. 4— Difficult. d — Duet dance. g — Group dance. E— Solo dance. 3. SOc. $5. 2. r 8 couples. 2. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilefia. Spanish s, 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g, 3. Ole Gaditano. .'\ndalusiaii s. 3. La Gitana. Music only. Andalusian La Paloma. Mexican s. or g. 4. Pavane. Uld French d, or g. 2. Chaconne. Old French d. or g, 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couple Queen of Swords. JMinuel for 12 Tyrolienne. Austrian Peasant d. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka: d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For S couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Slus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $S. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: — The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. WindmiU. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. 1. 1. SOc. With folk song. 1. 1. Long Dance. Ring Dance. First of May. May Dance. Swedish. Swedish. Swedish. German. Westphalian Peasant Dance. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( Miatelitza). Russian. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. . SOc. $3. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or j Eugenie Onyegin. Waltz s. or g. 3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d, 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. ■VVhite Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. I. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. T Pop Goes the Weasel. Portland Fancy. 1. Soldier's lev. 2. Speed the P ow. 3. The Tempest (la Tern peteV 1. Three Hand Ring. 3 Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING ^ ^^^^ ^°'^'*' IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the ichool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Cos£cea>aii£i^ It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal! is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. cA Simple and Very Effective Greek Group Dance BY LOUIS H. CHALIF Price $2.00 For sale only by SEE BACK COVER FOR OTHER PUBLICATIONS OF THE SCHOOL Copyright 191^" by Louis H. Chalif Greek Maidens Playing Ball. Allegro tranquillo e con malinconia. arr. by Louis H. Chalif. feli % i,v ^ ■^ yy^^^p^ y y ^ - r-Tt|^ ^P t=^^'r^^ y^= ^ ^ ^ uJ^^ ^ii^J^y L«^ « |i P" P^p t-J kj ' f<^ i''---» ii" ^^^^^^ f y y i^ ^ ')■■ y p si ti*- p f4i=^ rJ ^ t^ ^ t^ !J ^ hn^^ ^44 ^ ^[Lr r ^"^ I ^'^ ^ ^ ^^ m ^ ^^^ te. ^f p =f=f^ tr r-J c; i' Copyright 1 19ii, by Louis H. Chalif . ^ II VI ^ r hy y i J) ^^^ te^E -^^- rf ^ a ^ 1 ^7{f r ^^^ 7 , y o ^ III ,VII 1> U' t-J l# * 7p |g ^p || ¥ ll^fjj ^ eeJ^^Eee=±#^3 jg y .. y ^ y=# te ■Jj l l j j I 'j j iJ long ^^M y . k7 y ^^# 'r , •> r kj^ ^^^ ^P ;^F ]|U~-/^ f^ '/»|l'» -JT^ ^ m ^ ^ ±=;^ **J ^ ^*J^ ^ ^^ — T '■•■ ^J ■•• J '^*j G.9 r^^ft ^ ^ ;^^i ■>' j- -F] ^ .grazios hi" ^ CT^^ ^ *» ^W *f J ^s S ftiii - m to ^ ^ 5 y -^ ^Ef=^ \ ^* I— J it I *"* H bJ W^USAW ^ a ^ ^ ;^^ Jiepeat from yi. G. 9 ^m ^5^=Si=i|E^ tertvfrl^^ ^S ^ ^^ M % sA *f ^^ ±: W r r^ t^ tJi^ G. 9 i it J: J \ tl'~~J ^ S* f ~A y r \ y ^^ ^r? P^^ ^ ^ffl |j:~j"^ . V-- * ii ' ' -JT^ ^ -7^-^ ^^ S *=§ te^^ ^ ^^=^ *f^ "P :ib ^t— -* ^ ^ # fe L^ v^ t XI J'' •'■ ^ I -^) '■■ •-■ ^ i> p^^^ ^ ^P s lit *^t t t^ Y^^-^ y y i ^^ j'^^^ ja # n^ B« W m L^ Tw ^u ^ y y i J) |4^ ^^ V) y r j: ^ S » fe ^# iit r^ :--J r-^J t-J G.9 t:^ Greek Maidens Playing Ball. A Group Dance for any number of Couples. BY LOUIS H.CHALIF. The balls for each girl should be of rubber and about 7 inches in diameter. I. Enter from wings of stage in single file & form circle with the fol- lowing step, danced sideways with backs to the center. Step R. ft to side, draw L. ft up to R. & step on L. ft .(counts 1 &2) 1 meas. Repeat same 1 " Step hop 4 times moving to R. side around circle, beginning R.ft. 2 " Repeat all 3 times more 12 <' 16 » During this figure the ball is held overhead in both hands & the body sways from side to side. II. Face partners. All slide step step to R. side & point L. ft to side & slightly behind 1 meas, Throw the ball up & catch it , . 1 n Repeat same to L.side 2 " Repeat to R.& L 4 " III. All face outward. Throw the ball up & catch it 1 meas. Bounce it on the floor & catch it 1 » Hold it in both hands overhead & pivot to R. side. ....... 2 d Repeat all 3 times more .12 " 16 " G9 «> rv. All face outward. Each dancer places her R.hand on the shoulder of the girl next tuher & holds the ball out in front in her L.hand. All move to R. side with step draw twice 2 meas. And 4 glissades. (Glissade is rise on the toes & slide R.ft. to side & bring L. ft. behind R.) 2 " Repeat 3 times more 12 " Ti" " V. Face partner. Slide step step, all moving to R. side, & throw ball up & catch it 2 " Each throw ball to partner & catch partners ball 1 " Exchange balls again 1 " Repeat all to L . 4 " Repeat to R.& L • • 8 " 16 " VI. Face outward. Slide step step diag. forward to R. side. Hold the ball in R. hand & raise arms to 3™ pos 1 " Stand still & toss the ball to L. hand 1 " Repeat to 1.. side ■ . 2 " Repeat to R. & L. . . . 4 ' VIL Face outward. Step to R.side, cross the feet & turn completely arOund (tour de Basque.) Hold the ball overhead in both hands. . . . 1 Throw the ball up and catch it .1 Repeat all 3 times more to R. side 6 Repeat same 4 times to L. side 8 16 G9 10 VIII. Face outward. Beginning R.ft. slide step step forward, & throw ball up & catch it. . . 2 meas, Step hop twice moving backwards 1 " Bounce the ball on the floor & catch it •. . . 1 " Repeat all 3 times more. 12 " IX. Face partner & join L. hands. Beginning R.ft. dance around each other with step bend twice 2 " Throw the ball up twice & catch it, with both hands if necessary. . . . 2 "' Repeat 3 times more 12 " " . Te" " X. Hold ball in R.hand high up & partners run around each other in a little circle 2 " Throw ball up twice. ' 2 " Repeat 3 times more. 12 " ■■ 16 " XI. All face R.In this figure dance around the circle for a few measures, then the leader dance off the stage & the others follow in single file. Beginning R.ft. slide step step 1 " Throw ball up,hop on R.ft. Catch the ball, at the. same time hop again on R, ft 1 " Repeat same beginning L.ft 2 " Continue alternating R.& L.for 12 measures 12 " Raise the ball overhead in both hands & run off stage with little steps . 6 " 22 '■' G9 DANCES BY LOUIS H. CHALIF. The following list of dances composed or arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1— Easy. 2 — Of a little difficulty. 3— Rather difficult. 4 — Difficult. d — Duet dance. g — Group dance. E — Solo dance. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. SOc. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples Queen of Swords. Minuet for 12 Tyrolienne. Austrian Peasant d. ( Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1 Krakowiak. By Glinka: d. or g. 2 Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For S couples The Bride's Dance. Russian pant Kasatchok. Russian peasant d. oi Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mas. only Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek. For 12 young women. Greek Maidens Playing Ball. Very effective. 2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oriental Interpretive s. or g BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. 8 couples. 2. me and s. 2. 3. SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhattan GUde. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp., $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $S. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note: — The numerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. F'arandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish Ring Dance. Swedish. First of May. Swedish. May Dance. German. 1. Westphalian Peasant Dance. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza) Khorovod (The Crane). Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian Scalp Dance. Amer. Indian. 1. 1. SOc. With folk song. 1. 2. , Russian. 1. Russian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. FireHies. s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or'g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. lean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. Bow and Arrow Dance. Male s. or g L'Automne (Bacchanal), d. 3. CONTRA. SOc. Each. $2. 1. . 3. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Jo". 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .\n entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING " ^^ ^°"" Concesx'nin^ It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has preve"nted the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has * helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival b^lets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the vnnter. Catalogs 1 of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. HFB WMBIOfi y/ie f/i^i/ifSnor/Tici/^choo/of^ffnc//?^ 7 iA/-^2,:,6 Si. s>?- y. J.'~oi(p ^c7;!ce. - - - . . J ^ OQ /3acc/2c7nc7l- - . - - - - - i-OO ya//s/i So/o -..,,. ..,.,. '3:.&0t So/o .... . . , ...... .2.00 J/z/yrc/ana/i J^7/'//'!f-ary-'-/^(.ia/ .0.00 J€/- 8 or/6. 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Afsi//'/7(^ s/V/eiUc/ys -^ /•/. s^c/a , s-ih/^ //q/o o/i ?•/ . y'/ . c^7?^/ s-fc/o /7o/=^ o?^ /a/y yz. /^cA7-?7c:/ /-/_ yy . . . - ■ / ., Jxc/occi / s-c-/?'r>c -^ur?cc. ??-/07-c. ..,._.- -^ ,/ £ -i'l! n7ps 7'^7 ^/t7C(S eP/r 3olf-A y&CT^ ..,.,,,- -.'/,. y?e/?ccy/ n// -^o /c/? sic/a ^ci^i'p? 7i/'>7 i/ /c /-'i y~y _ - -^ " JT ^■n ^ C77-c/e . f3eL//')7;?i'77g /c-// /"/ ^^90 /^u/o fal /) s/c/o o^l /-/.y?. fci!.J2.J Aop yhTi.ac7rd 07? //. /Y. c7/?cf /aA'^ -2 /7 7£'/-e ^/cyjj- yv7^u7-n/-c/ ("c/. /a7rcl ^. J . -Z ,. y'x'e/j^ci^ / /7'7-ncy mo/-<^ - . . . . /-4 „ re .. ' y: JSoc/-/- '/i'7'UJ-c7rd' - - - , ■/ ^ y /i/y/i- -;fi' 777/::! 772 p/acn. 071 bo:/-A. /ici/ . JfcTise. i'o-^A C7/-/77! oa-e7-hcc7d /£eyjdc>^ xa?->->c -^uT?ce 777i:>>'t2 ■ - - --^ '- Sh^p /■/ . ^/ 7$/-6-crir7/-cS/ 1^7 i^A. ^ S--^C777T/^ a7/y the same author are listed below, and described on the back cover. They can be procured only from The CHALIF NORMAL S C H L f D f) N C I N G 7 WEST 42ND STREET.. NEW YORK PRICE $3. EACH Wind and wave. Autumn. Cymbal Dance. Humoreske. Forest Spirits. The Moon Dance. Greek Maidens Piaj^ing Ball. Moment Musical. Spirit of Spring. Barcarolle. Copyright. I 9 \ ^ , by Louis H. Chalif fil« RhSlUf iMSSai SftV.&A» nf n«nn< HUMORESKE i.n. Poco Lento e grazioso m. m. J = 73. Piano *£©. ^ senza «£g). ^ senza %i). %>. tfr^^^^^i^5 fP^ ■7"-^- w ^jJ.fJpi'rp m ^m- %). M %>. j "ll" J J J J J ^ # VI. mr-n r r W^i^ ^ ^ VII. %o. %). ^ t:^ l^^jryjnii=± if VIII. in tempo. t r r r 3^%^::^ ritard v"- F S^ %i>. %D. %D. HUMORESKE GREEK SOLO DANCE. A LITTLE DIFFICULT. by The arm movements of this dance have been described by reference to the five Standard Positions. These are, as regards the arms, as follows: 1st pos. The arms are extended forward, forming an ellipse. 2nd " " " ■" at the sides a little below shoulder level. 3rd " One arm is over C& in front of the head, the other in 2nd pos. 4th ■' " " " " " " , " " " " " " " 1st " 5th " Both arms make a circle over iSl, in front of the head. The words in bold faced type afford a brief description of each step. Enter from the L back corner of the stage. Dance in a CSrClE around the stage starting across back of stage, then down the middle, C&. finishing m the center. The steps for this are: Starling Rf, sHde StSP Step & flOP lifting Lf behind. Arms are from Ist to 3rd pos. The body bends to the L side & back. This rule for the body applies throughout the dance. The head looks back over the L shoulder, a special pos. for this figure i mcas. Repeat this step is a circle 7 tifXHeS ITIOre beginning with Lf & Rf alternately 7 riicag, "Tmeas il. Diag. forward to K, beginning Pf Slide Step StBP & hOP, leaving Lf raised behind, (counts 1, 2. 3. 4 . .^rms from 1st to 3rd pos. .1 roeas Repeat diag. forward to L 1 meas. Moving backward, SteP hOP on R j^ L. tUmitlS completely around to R. Raise the free ft behind each time. Arms from 4th on R side to 4th on L. W^hen stepping on Rf bend body to L & back; when on the Lf, vice versa. Look at audience over L shoulder as long as possible CS, then turn to look over R shoulder 1 meas. 3 steps forward, beginning R. Finish on Rf, with body bent a little to L. Arms from 1st to 2nd. 1 meas. Repeat all to L. R & L. 12 meas. 16 meas. III. Slide hop dlag. forward on R (cts 1, 2). Arms are 3rd pos. with R arm up. SteP hOP baCkward on L, lifting Rf in front with knee somewhat bent (cts 3, 4). Arms are 4th pos. with L arm up 1 meas. Moving backward SteP hOP tWICe. tumitlg completely around to R as described in I Imeas. Repeat this turn 1 meas. 3 Steps forward, beginning Rf Arms from 1st to 2nd 1 meas. w. Slide step step hop, to R side beginning Rf. Finish in the following arabesque on Rf: Lf is raised behind, body is twisted to R & bent back, L arm swings across in front of chest and is raised higher than shoulder level, R arm is shoulder high CSb pushed back so as not to be visible from the audience, while head looks toward audience over L shoulder 1 meas. Repeat to L side l meas. Moving to R side, St€P hOP IVUiCe (R <^ L), tUming completely around to R. Arms 2nd & 5th. 1 meas. Slide step step to R side, beginning Rf Finish on Rf with arms in Sth pos 1 meas. Repeat all to L side, beginning Lf 4 meas. 8 meas. u. Step Rf to R side (cts 1, 2), draW Lf <^ step Lf across in front of Rf, moving to R side (cts 3, 4). Arms from 1st to 3rd. At the finish the trunk is twisted so that the shoulders face forward 1 meas. Repeats times more, moving to R side 3 meas. The last time change the weight to Rf on 4th ct Repeat all, beginning Lf C& moving to L side .A meas. 8 meas. The last time finish with weight on Rf. UI. This figure is danced in a backward semicircle to R & L. Lift L ft behind, hOP on R & immediately after begin with Lf slide StBP StBP hOP. making an OUt- WSrd turn to L side ca, dancing in a backjvard semicircle to R side. Arms go through 1st to 3rd pos. with R arm up f. 1 meas. Step Rf f OrWSrd. continuing the semicircle, CSi, SWidS Lf forward with knee somewhat bent, arms 2nd pos. (cts 1, 2). Step Lf forward, leaving Rf raised behind (cts 3, 4). Arms 5th pos. ...1 meas. Repeat to L side, beginning Rf 2 meas. Repeat all ^ 4 meas. 8 meas. Ull. This figure is danced in a large Circle around to R, starting to R side CSt, then going back. Before beginning, change weight to Lf. Slide step step hop. beginning Rf to R side. Arms are 1st to 3rd pos. Look backward over L shoulder 1 meas. Repeat 7 times more, alternating R CS. L .7 meas. 8 meas. This is the same step as in figure I. Ulll. Moving diag. backward to R side Slide SteP SteP hOP. then in the same direction slide StBP SteP hop again tumillg completely around to R, so as to finish facing audience. Arms are from 1st to 3rd pos. in 1st meas. CB, 2nd to 5th in 2nd meas 2 meas Repeat same steps starting Rf again CS, moving diag. forward to R 2 meas. Repeat same steps starting Rf but turning completely around to L (rS, moving diag. forward to L. 2 meas. Move diag. backward to R with tiny little steps on the coes (PaS de BOUrree terre-a-terre). Keep the feet crossed, L being in front, CSk move sideways. These steps may be continued until off- stage or the dance may be finished on the stage in the same attitude 2 meas ,8 meas. DANCES BY LOUIS H. CHALIF. The following list of dances composed or arranged, copyrighted, pubKshed and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy, 2— Of a little difficulty. 3 — Rather difficult < — Difficult d — Duet dance. g — Group dance. g^Solo dance. NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g-. 2. . Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. .\ndalusian s. 3. La Gitan'a. Music only. .A.ndalusian s. 3. SOc. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. Tyrolienne. .^ustr!an Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. SOc. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance, l^ussian pantomime and s. Kasatchok. Rn.ssian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. o. Csardas. ? or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek For 12 young women. Greek Maidens Playing Ball. Very effective. 2. ! Spirit of Spring. (Ireek Interpretive s. 3. Autumn, (.reek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Oric-tal Interpretive s. or g. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. ! Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. Aeroplane Glide. Dream Waltz. 3 Hesitation Waltz original. 3. Manhattan Glide. ; Maxixe. Brazilian. Mignon Waltz. 2. Narragansett Glide. Northamton Glide. the One-Step. 1. La Petite Waltz. 2. Tango. The Pari; form of the Arg tine Tango. 12 pp , Twinkle Waltz. 2. Waltz, The. West Point Glide. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples. in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5, The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. Note; — The r.nmerals used with these dances denote much easier grades than in the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. ^ Farandole. Irovengal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3, Rustic Dance. Old English. 1, Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel, .\tliletic. for men or bovs. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Swedish. SOc. With folk Maj- Drnce. German. 1. Westchaiian Peasant Dance. 2. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3.. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s, or g. 2. The Andalusian Gipsy. Spanish s. or g, 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. lean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance. For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne ( Bacchanal), d. 3. Cracov;enre. Polish. 2. GorEisky Tsniec. Polish. 1. Russian Wave Dance. 1. Pletyonka, Russian. 1. Sno^v Storm { Miatelitza). Russian. Khorovod (The Crane). Russia". 1 Lujock. Russian. 1. Kolcmeika. l^ussian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hnnyarian. 3. Csehbogar. Hungarian. 1. Bulgc-ripn Folk Dance. 1. Snake Dance, .^ir.er, Indian. 1 Scalp D^pce. .'\mer Indian. 1. CONTRA. .-Arkansas Traveler. 2. Seaux of Oak Hill. 2. Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. SOc. Each. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .\n entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and i)rief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING ^ '^''^ ^°^'*' IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work wit'i these classes has met with tremendous success. "Chalif dancing" and the bchool which radiates it have come into a North '^ T^erican repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowinff an amateur to make rapid progress is yet authentic, beautiful, utterly cptivatins; to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding sur-=-s. especially in three particulars. First, the use of the y'r'i;- and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, p.lthouffh it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd; LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School, Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. THE HUSSAR HUNGARmN CHARf^CTERISTIC DANCE Arr. By LOU(S H. CHALIF Other Characteristic dances arranged by Mr. Chalif are listed below. Their price Is Three dollars each postpaid, and they can be procured only from THE CHALIF NORMAL SCHOOL of DANCING 7 WEST 42N0 STREET. NEW VORK The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. The Andalusian Gipsy. Spanish s. or g. 3. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. Jean et Jeannette. French d. 2, The J07 of the Rose. Pierrot pant. s. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s. or g. 3. The Village Belle. French s. or g. 2. Marysia. Polish s. or g. 3. The Pied Piper. Characteristic. 1 adult & g. children. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Stach i Zoska. Polish d. with panto. 2. Russian Court Dance, d. 2. Wegi?rka. Hungarian Military d. 2. The Hussar. Hungarian Char. s. or g. 2. Japanese Group Dance. For 8 or 16. $2. 1. America. 6 Characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s. or g. 3. La Creole. Characteristic s. or g. 3. The Cherry Blossoms. Japanese d. w. pant. 2. SEE BACK COUER FOR EXPLANATION OF ABBREVIA- TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR The Hassar. Piano. Introduction. Tempo di Marcia. Arr. by Louis H. Chalif. *¥ ^ mf ^ n r ., Fl^ ^ f fe^^S^^ t-d-J^ ^Trf^T=7^ ^ ^n^ ^^ ^^^ jj_A ^^ ^j3;^^:Q^ &Tf FI= ^f5 -^ ^ #=^ 9^ ^ ^ ^^ ^m ^^^^ A /r\ :a'£S'm j"f-^ » Sr Dance. Tempo di Polka. A ^x ^' t: ^'d Louis H. Chalif. ' trr i >r . \\ i ^ I'll • Hii-sar 1 Oil ^'M^i^k-tk -^i The Hussar HUNGARIAN CHARACTERISTIC DANCE Very Simple, For Solo or Group, by LOUIS H. CHALIF The dance should be military in spirit, but not have the grimness of war's discipline; lather should it have the bold and masterful, and at the same time gay air of the soldier on a holiday; his manner is free, but he never loses his habitual erect carriage. QThe costume is the traditional Hungarian military dress"high boots, &- a small round fur hat with cockade. Q There are 2 counts in a measure of the music-"d: 3" or "d4" refers to the 2nd of 2 meas. considered at the same time. Q Technical terms are explained at the end of the description. INTRODUCTION Stand with heels together &- with the back of the L hand on hip. Kaise the R hand as if blowing a horn, raising the head so as to blow diag. upward to the R. Hold this position for 8 countS"4meas. Mark time in place with 7 steps . &- bring Lf up to Rf, striking heels (d4). The R arm swings to 2nd pos. during d 1.2.3. &- salutes on d 4 2 meas. Repeat all, starting L, R £r L ft 12 meas. ■ 16 meas.' ^ II ii Moving backward step swing on Kf (d 1,2), &- 3 quick leaps lifting the knees forward &- turning them out (L, R &• L; d I, and, 2). A simpler figure is to take 3 steps instead of 3 leaps back- ward, with each step leaving the free ft extended forward with toes on the floor. Cin technical Ian- guage, 3 changes backward). For the step swing the L hand is on the hip &- the R overhead, &- for the 3 leapsCor steps) backward the arms are folded in front of the chest, but lifted shoulder high. 2 meas. Repeat, starting Rf again 2 meas. 2 polka steps turning once around to R &- moving backwards: start with Rf. The L hand is on hip &■ the R arm in 2nd pos. for the 1st polka step &- 1st pos. for the 2nd 2 meas. 3 steps forward (R, L £r R; d 1, 2,3), &- strike heels together (d4). The L hand remains on hip &■ R arm swings to 2nd pos. during dl, 2,3 &- salutes on d4 2 meas. Repeat all, starting Rf again ; 8 meas 16 meas. H III n 2 tortille polka steps moving backwards, starting Rf. In such a step there is a demi'rond de jambe ( half'circle ) backwards with the ft which is to begin the polka &■ the knee of this leg is lifted high 6- sharply bent. The arms are folded in front of the chest 2 m eas. Move to K &- turning completely around NA/ith 3 slow steps, starting Rf 'd I, 2, 3'. drbring Lf up to Rft striking heels together (d 4). The arms are in 2nd pos. (d \), crossed in 1st pos. (d2), 2nd pos. (d 3), £r L hand on hip &- R hand'at salute (d 4) ■ 2 meas. Repeat all, starting Lf. At the end salute with L hand 4 meas. 8 meas. H lU ii Mark time with 4 steps in place, starting Rf d 0, 2, 3, 4). The R hand i? at salute &- L hand on hip 2 meas 1 polka step ( 2 meas. Repeat to L, starting Lf 4' meas. 4 polka steps backward starting Rf. The arms swing in lateral pos. from side to side" to the R when startingwith Rf and vice versa 4 meas; 4 slow running steps forward starting Rf Cd 1, 2, 3, 4). The arms swing to K side when stepping on Rf and vice versa 2 meas. Step forward on Rf &- rest (d 1, 2 ), step Lf forward &- rest (d 3, 4), bring Rf up to Lf striking heels (d5), £r hold (d 6, 7, 8j 4 meas. 18 meas. EXPLANATION OF TERMS ; 1st Position : The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The R arm makes a half'circle over &- in front of the head £r the L is in 2nd pos. Reverse for " L arm in 3rd pos-" Vd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The Fk arm makes a half'circle over &■ in front of the head &- the L is in 1st pos. Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. Step Swing means step on one ft, swing the other ft. forward &- at the same time hop on the 1st ft. Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. DANCES BY LOUIS H. CHALIF. The following list of dances composed o.' arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIA , 1 — Easy. 2— Of a little 3 — Rather diffij 4— Difficult d — Duet dance. B — Group danci 8— Solo danct. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Gavotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swrords. Minuet, 12or8cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Folska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka: d or g 2. Maid-o£-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Tsardas. s or g 3. The Magyar. Csardas s or g 3. Tnd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. P; nd antom dances." $10, Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- tomime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish Ring Dance. Swedish. _ First of May. Sw. SOc. w. folk sone. 1. Mountain Trio Dance. May Dance. German. .. Westphalian Peasant Dance Bavarian Folk Dance. ' Cracovienne. Polish. 2, Goralski Taniec. Polish Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1 Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborik. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. . 1. 1. w. folk song. Norwegian. 1. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1 Hull's Victory. 2 Windsor SOc. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring. 2. The Tempest (LaTempete). 1. Terrace. 2. CREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2 Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk s 3. Sprine Song (Mendelssohn). Interp. s 2. Hark, Hark, the LarkKSchubert). In.s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humorcike (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3 The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, t 2. Columbine. French s or g 3. The VUlage Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3 Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegifrka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant.2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3, Bluette Polka, s or g 3. $3 Esthetic Waltz, s or g 2. $2 Eugenie Onyegin. Waltz s o The Fairy Queen, s or g 2. Fireflies, s or g 2. $2. The Golden Butterfly, s or g Little Fairy Snowflake. s. or Midsummer Night's Dream: the Fairies. 12 or 24 girls. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $; Papillons d'Amour. Waltz tim Petite Coquette. 2 or g 1. $2. Pizzicato, s (or g) fr. "Sylvia.' Polka Miniature, s or g 2. $3 Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $ Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, 1 Furlana. 2. I Minuet W i La Russe. 1 . Sylvia W, 1 The Countess. 2. I Gavotte\ Mazur Waltz. 2. DESCRIPTIONS of all the B Dances, old and new. in the beautiful, modest, teachable an( ard form, are published by the at $.S0 and up. MUSIC for the newest k; dances, in the pieces most appn us and the public, is carried in s prices from 2S cents ud. OTHER WORKS For sale only by the Schoc THE CHALIF TEXT BOOK OF DA Vol. I. The standard positions a fundamental exercises. These 3 'i scribed to the minutest detail, i i the book is useful alike to the s \- who has no teacher, or the best ers. 171 pp., ill., price postpai.d, ^i Music for the Classical Exercis ' Technique, as described in the Book, and including all used ; Chalif School. Third edition: ; ! collection of 47 beautiful pieces, i hitherto; engraved. Postpaid, $3 Grammar of the Art of Dancii Friedrich A. Zorn. An importanl to the profession. With musica plement, express paid, $10. THE CHAUIF NORMAL SCHOOL OF DANCING ^ ""'-^ ^°' Conces*ning IT IS located in New York City, at 7 West 42nd Street, and teachei dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING ITiis is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quivr all of its spirit and scope have been retained. The result is an art which while allowina: an amateur to make rapid progress is yet authentic, beautiful, utterly captivating to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and 2nd: L. H. CHALIF The second factor in the immense success of this School h | been the experience and teaching ability of its principal. From years of age a student in the Imperial Ballet School of Russia, i Moscow, then successively a solo stage dancer, ballet master at tl | Odessa government theater, instructor of dancing in leading Ne York private schools and director of the Chalif Normal School, t experience has been long, complete and invaluable to his pupils. . . A certain ability at teaching has also made the school popula although it has prevented the use of assistants, since it has bee found that the students will listen to no one else while the principi is on the floor. 3rd: LOCATION The position of the school in the uptown transportation cent of New York, "the most popular summer resort in the country," h helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cau for the fame of the Chalif School. Everywhere there is a deman'' f tW real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school wi cVasees all day, both in the regular Chalif and Ballroom work and Pantomime, festival ballets. Toe-dancing, etc. And similar sessio are held during a fortnight of the Christmas holidays and on Satq days and some week-day afternoons throughout the wdnter. Cataloj of any of these, or of our dancing teachers' shoe and supply hou| ancci^ *:^ a lion 7^e /b//c)u/i)?^ original arranj/merr^s i-v 9/Tr. C^a/iy'frii'AaufAe/?hc^Jesc/-i/i!^io?7s-fiacie C%i%,%'i%xi,%, Bitaitu 'Tavist 9TUniivj 9)lu^k Minuet k'ia- Ccur. ^iUio 0anctr HiAtluttS ^JurkH^fihe J/eaf?oltian^ i^asani J)ii.e.^ bronco -tAiissiciri-^^ici' (1/7 ci a insia- S/y/^sy So/o S/jar72s/7^S(/U Ja/is7C' Coii/-l Usance. J£)e77iL Ch<:ii'ad&r Jroiuo ~l/a7-7cc. ■^om -the ^alici f'tyem7a/i^'M)e777i C/iaracier -^JiieiJ tJroiip 3jcu7ce 0/d Coii/it/'y Wanes French' Sf"c>u% M)a27c& ^/-e.jic.h. 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OO 3.00 3.00 3.00 3-00 3.00 3.00 5.00 3.00 3.00 3.00 3.00 3 00 y.oo /.OO 5.00 3-00 2.00 2.0D i.OO 2.00 2.00 2.00 2-00 2.00 /. 00 /. 00 /. 00 /. 00 3. 00 3 00 /. 00 'as /7o aiit'Aarz^ZiiJ ^inMant) ^chAliBch f/Tc CAa//jf yVar/i/ii/ Sc/feo/ a^jPa^ctha A .. » P -f f==^ 8"-'- ^^ A [^ ^ =1^ ^^ ^ i ^^ / y y ^ /- /^ ^ t/^j'U* ^ -jf f ff ^ ^ M ^^ St ^ ^w ^ /^ • '^ \ ^ • • - ^r/t^tr-L/ i ^atJl;-cJ i lj-^ ^ »if j f f S egg — g — »g #g g 6 » • — • — t p=?==f » 9 r t 1 f '-If ! f f . rr'f ?■ ^v ^^fe *^^ ^ ^ f ! f I Lr Lj r'-^ 1=^=^ t- r trTTTTT M^^ ^^ ^ ^ ^ ^ ^ ^^ ^ 4 l • ' 4 J r J r ^^ ^^ ^^fei tp f/r-j f t^ e^ii: * • , — ♦ s ^ J I -J J I J ^ W (t P s ^iMani ^l^nUchc JJirccioro^ fA/a/ul- (^ee./- iu-6: i/?chLirii}s- ///e J/i';/a sfe/s. 7^c ie/-w^ '/'/i/?'^ "e,X/y/es- Sas f/7& ^^io-A^A'c/u cAaruc fetches- TJ/za. jfa/yj-^ //7c. (^^/r/a-t'ul- -^^A'ye. 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J9ohcnua?'\^ J3ohcmia?-L^ J//7c/ LCtl-L- '\7cincts / ^3.)] J^a/l -7-OU7IX \0ci/7cds f ^ 3-1 ^77?,;/ J3n7ic?s J iAi77Ci^s 7's 2- S ) ■Jroc/ifcid/, / '\/c777CCj 7'^ (/r7'cc S' S . <7cic/i J , \/l'7?7 1 - cAa/'ci chu' s6^7e/7c <-777t:) Class 7'c at o/! .'i>' ¥7-077 1 ^/7 c 0> c/7 00/ . opyright, !9I5, by Louis p Ch^ljf Jr/'s/?//'// !i i . . j^ir. m an- 6y j^t//i J/. C/m/i/ ■5/re e/u7ly- c^orma! Scihoo/ of M,„cz>2y Jfj' V-it(} y „< ^^ £/ /^ ^ ^ Fed A f^tr^ :^ P 1^ m i ^ ,rfi^ ^^ ^^ 7. rn i i 4-^J ^ ^^ ^ 7 bf ^- s. r" ^F ^ ■^3 .rn ^^ ^i=p^ / ^ tt f J 'fTl « i •^: J'T^ J. 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Start in a single file, 15 riinning steps forward and with the 16th step all face rt. 4 Meas , (now all are side by side in a single file) Fifteen running steps forward toward the front and with the 16th step stamp the ft. and face partners. ---------------- -_-____ -4 " 1254557 8. X X :■[ X'X X X X. B., XXX X'X XXX. #2. Face partners: Step rt. ft. to rt. side count 1, hend rt. knee and bring' left ft. behind the rt. in 5th pos. count 2. - - - - - --- — — — __„_____. -__-l Repeat the same starting with left ft. to left side - - -1 Repeat the same to the rt . and 1ft . -2 #2B. Sixteen little running steps around each other in a circle with rt. shoulders toward each other - -4 Repes^t all three times — — — — — — — — — — — — — — — — — 24 The all second figure include ----- — — — 32 For this figure the parasols are kept in the 1ft. hands and a fan in the rt,. hand. FJnish this figure side by side with partners facing forward. XX XX XX XX X/X X/X x/x X/J All #ls ru.n forward and #2s backward with eight little running steps -- - --- 2 Hop on both ft. together count 1-2, repeat ent. 3-4 1 Three little hops in succession cnt. 5-5-7 1 The same is repeated #ls going back and #2s forward __-_----- - -__ - Repeat all 3 ti^-es forward in back X X X X X X X X 24 52 -2- #4a. All face rt. and run in a circle with little steps - 8 Meas, finish at the place from wnich started. B. Step rt. ft. to rt. side cnt. 1 turn half way around to rt. and stamp left ft. cnt. 2 1 " Step 1ft. ft. to 1ft. side cnt. 1 turn half way around to left and stamp rt. ft. cnt. 2 _----_---i •' Repeat all A. B. 2 " C. Run 16 little steps around each other in a circle v/ith rt. shoulders toward each other, and finish in same place from, which started -------------4 " Repeat all A. B. and C. two times --------- -16 " The fourth figure include ------- -32 •« X X X X Figure A.& B. — XXX Figure C.-- X X X X / / / / X X X X #5a. All face rt. in single file. Divide the line in the centre, the first 4, run to the rt. #5 runs around to left with 32 little running steps - the first 4 run in to the centre first, the other 4 fall in behind the first 4 -__8 B. Form a pyramid in the centre, with the first one sitting cross-legged, t?ie second kneeling behind the first, and the others arranged in back of these 80 that each is one head higher than the one in front of her. Lay down the parasols at the sides, the first at the left side, second at the rt. etc. C. All extend, the arm.s forward cnt 1, back to chest cnt 2, to side cnt 3, to chest cnt 4, (keep 1st finger extended and other fingers loosely closed) - - - - 2 Repeat all C, seven times ---- ----------- -14 D. Keep arms at shoulder level with wrists bent up, bend head to rt. cnt 1, bend to 1ft. cnt 2--------1 Repeat D. seven times ________--__-7 E. All raise parasols to centre cnt 1, lower to side -3- cnt2 1 Meas, Repeat E. seven times -_-_-----------— --7 " The fifth figure include - ~40 " 12345 678 — X X X X X XXX X8 X7 X6 t5 lA IS tl #6a. Rise from floor keep parasols in left hands and run in a single file in a zigzag off the stage. » * * * « # « « » J, \Pi r f^f f r f — \PfprTTTT M.ja.»± M. ' H H^toL£^ - — — — — 1 1 1 1 ■St Si 1 ^ — , f ■ j 1 — f r f r f ^ ^ ^\\f H — < i l^ O ic-r /, -U— * U — ^ — i kf,»rrrrt ^^S ^^^ » r T73 j -SL-^ ^^ ^ ^^ e i T*-<* ^117 r FH rt±ij=^=i=!^ ^ * * 1^ ^ J^ 3= ^ JEAN ET JEANETTE FRENCH CHARACTER PANTOMIMIC DUET DANCE Arranged By Louis H. Chalif Other Interpretive and Greek Dances by the same author are listed belou. and described on the back cover. The price of each, as of this dance, is $3.00 They can be procured ONLY f r m TheChalif normal school of dancing 1 WEST 42ND ST.. NEW YORK WIND mo ^mE AUTUMN CVMB^L OflNCE HUMORESQUE FOREST SPIRITS MOMENT MUSICAL GREEK MI)ID£NS PLAYING BALL THE MOON DANCE SPIRIT OF SPRING BARCAROLLE Copyright. 191 '^. by Louis H. Ch^lif Jean et Jeannette. S $^ M ^^ ^ 1 - i ' f f ^^ . n Zj± ii ^^g r.;S^iMr'f?P?GrMiv;ir ^g ^ Ol .???» S^ i^i e a Copy right 1914 by Louis S.Chalif ^^ m f ^ marcatissim.o. . ten. ^ ^^^ & -Kp ^ A k IJ.^^dU^ y^f y — ^ !J 'F f-^sfU Jean and Jeiinnette 4 frV-^-i^ dM gva. m ^^"^^ ^1 s ■tllf\ait^ rr V^ s ^ ..y- E5E ^ ^# TJ fS3E Jean and Jeannette 4 -1.7 tS, m gZ2 i^ F^ ^ ^m ^m. ui e ta £rA. m # ^ ^jj V ! ■■'■■ i fifm Jean and Jeannette 4 JEAN ET JEANNETTE A FREMCH CHIIRACTER PAMTOMiMIC DUET DANCE BV LOUIS H. CHALIF I The boy & girl both enter from back L corner of stage, the girl first & the boy following her. They dance diag. forward R. The boy's part is : 2 polka steps forward starting R ft (arms lateral), slide hop on R ft & 3 steps forward (arms extended toward girl) 4 meas Repeat ;.... 4 At the same time the girl dances as follows: 2 polka step forward (R & L) (arms lateral), slide hop on R ft. turning half way around to R to face boy, (arms 3rd pos.) & 3 steps backward (arms 2nd pos., palms down). In repeating the same take the polka steps backward, & turn completely around 8 II In this figure the boy tries to catch the girl. Each time he runs to the place where she is & she evades him, running somewhere else. They still face each other. Both start with R ft. Step R ft to side, slide L ft behind & bend both knees as if making a courtesy. Boy's arms are lateral to R side. Girl s R hand finger is at chin and L hand supports R elbow 1 Repeat to L 1 He offers his arms & they run towards each other, but she evades him & runs past & they turn to face each other having changed places. (See diagram 1) 2 Both step and bend rwice (R and L) as before and this time he runs to her place and she runs to the L. (See diagram 2) 4 Step bend twice (R and L). He runs to her place and she runs to the R (see diagram 3)- He gives an angry stamp 4 Step bend twice. They run towards each other and this time he catches her immediately, by both hands. They struggle with each other, bending R, L, and R. (See diagram 4) 4 Both make a complete turn (away from each other) and the girl breaks awayi Both run backwards in a semicircle with many very little steps. They come together back to back at rear of stage. (See diagram 5) There is no pause 2 JEAN & iEmtiETTE CONTIf^UEO He wishes to dance & turns toward her oflFering his L arm by mistake. She slips her L arm through his ...l meas. Immediately she sees his mistake an agrily shakes her head and stamps her foot 1 He then offers his R arm which she takes with her R, having expected him to offer his L arm again 1 He is angry at her mistake and stamps his foot 1 22 III This time they find the right position and begin to dance. The boy offers his R arm and the girl slips her L through it. She holds her skirt with her R hand and his L hand is 2nd pos. All this takes no extra time - they take the pos. as they begin to dance. Both begin R ft. Point R heel diag. forward and bend R ft in front of L ankle (counts 1, 2) 1 Slide hop, hop on R ft diag. forward R 1 Repeat these 2 meas. 7 times more alternating L & R & moving in a zigzag forward 14 16 IV In this figure move slowly backward. Face partners. Both begin R ft. Slide R ft to side and 3 steps in place. Slide hop, clap L hands together raising them high 2 Slide hop toward each other and 3 steps in place. On slide hop clap all 4 hands together 2 Repeat all 3 times more, always starting R ft .^ 12 16 V Face partner and join inside hands. Both begin with outside ft. Point heel forward 'ct. 1). point toe back (ct. 2) 1 2 polka step moving forward and turning once around (away from partner). Start with outside ft, 2 Extend R ft forward with a cutting movement (ct. 1); extend L ft forward (ct. 2) (Boy's part 1 Slide hop on outside feet toward each other and' 3 steps backward away from each other 2 Slide hop on outside feet toward each other, and the girl take 2 steps back and the boy 2 forward 2 JMN & JEANNETt^ CONTINUED Face back of stage. Join inside hands. Both begin outside ft. Point heel forward and toe back 1 meas. 2 polka steps turning once around (away from partner) 2 Step outside ft to side and courtesy and bow 1 Move in a diag. line forward to R, the boy dancing forwards and the girl backwards, with the following step, both starting Rft. Boy's part : 2 polka steps forward and slide hop and 2 steps forward 4 Girl's part : 2 polka steps backward and slide hop, slide hop turning completely around to face boy again arid 2 steps backward. They finish in the following tableau and pause for 2 counts - - The boy extends both hands forward in entreaty, while the girl stands with R ft back and bearing the weight of the body, with both hands extended forward with palms out as if repelling the boy. The girl turns and funs forward in a semicircle to back of stage* The boy runs after her and overtakes her, running in front of her to head her off. He catches her R and with his L pulls her toward him ; she turns all the way around to R with her hand still held by his. Her L hand she keeps held high as she turns, and when she finds herself in his arms she puts her L hand in front of her face, palm out, to prevent him from kissing her. Pause .4 She turns to L, still keeping his hand, and they join tsoth hands and both make a boy's bow raising the joined hands to 2nd pos../: :■■:.■ :■■■■■■ --^ ■ .^ 22 " i. 3. s. ^^ o- DANCES BY LOUIS H. CHALIF. "Ljliri^'SJe^'Ss^Td'." sale only by Louis H. ChalJf, is eomplete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2 — Of a little difficulty. 3 — Rather difficult A — Difficult d — Dnet daace.. C — Group dance.. a — Sola tun dai )^ danci NATIONAL. $3 Each. Saltarella. Sicilian d. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gltana. Music only. Andalnsian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2, Minuet de la Cour. For 4 couples. $5. 2. Queen of Sv/ords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2, Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasarLt d. or g. i. Donskoi Cossack Dance, s, or g. 3. Csardas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. I. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance, Greek s. or g. 3. Forest Spirits. Greek For 12 young women. 2. Greek Maidens Piaying Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s, 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Onie .tal Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. ' Gavotte Waltz. 2. I,_azar Waltz. 2. De:cription only, SOc. CHARACTERISTIC BALLET. $3 Each. Aeroplatie Glide. Z. Dream Waltz, i. Hesitation Waltz^ the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Stepv 1. La Petite Waltz. 2. Tango. The Parisiarc fovm of the Argen- tine Taaj^o, 12pp_,$3_ Twinkle Waltz. 2. Waltz, The. West Point Glide. I. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pknt. ballet, d. 2. A Russian Wedding. Ballet for 8,. 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantaaraime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances-. $10. Christmas Festival Series of Dancei Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet; $10. FOLK. ?1 Each. Note: — The numerals used with these dances denote much easier grades than. in. the other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provencal. I, Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Pc4ka^ 2i Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The WheeL .^thletic. for men or boys. T. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Sivedish. 1. First of May. Swedish. SOc. With folk song. I. May Dance. German. 1. Westphalian Peasant Dancer 2. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russ.ian. E. Khorovod (The Crane). Ruisian. I- Lujock. Russian. 1. Kolomeika. Russian 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2, Ritka. Hungarian. 3. Csebbogar. Hungarian. I. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian^ I Scalp Dance. .\mer. Indian. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. 50c. Eugenie. Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. )2L Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse BriUante. s. or g. 3. $3. Midsummer Nighfs Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. $3 Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spanish tambourine s. or g. 3. Le Toreador d'Andalousie. s. or g. 4. Jean et Jeannette. French d. 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3. Sailor's Hornpipe, s. or g. 1. The Polrsh Princess. Polish s. or g. 3L Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. Japanese Group Dance, For 8 or 16. $2. 1. Bow and Arrow Dance. Male s. or g. 3. L'Automne (Bacchanal), d. 3. CONTRA. SOc. Each. Arkansas Traveler. 2. Beaux of Oak HilL 2 Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. I. Hull's Victory. 2. Money Musk. 2. Off She Goes. 3. Petronella. 2, Pop Goes the WeaseL Portland Fancy. 1. Soldier's Joy. 2. Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3. EXERCISES. The Classical Exercises for Technique. .An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and lirief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CMAUF NORMAL SCfiOOl. OF DANCING A. Fevr WorAtt Concerning It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical traLnine. Its work with these classes has met with tremendous success. "Chalif dancing" and the i-.hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are lat: CHALIF DANCING This is the classic art taught by the Imperial Baltet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which whiie allowing an amateur to make rapid progress is yet authetrtic, beautiful, utterly captrvatinff to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development estlietically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. 2ndr L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Irriperial Ballet School of Russia, in Mosxxiw, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. ... A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chahf School. Everywhere there is a demand for the re«il dancings and here one can be trained to teach it. COURSES Each year during Ji:ne and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. SPANISH PEASANT DUET DANCE ARR. BV LOUIS H. CHALIF PR(CE$3.00. OTHER NATIONAL DANCES. BY THE SAME AUTHOR. ARE LISTED BELOW. AND DESCRIBED ON THE BACK COUER. THEV CAN BE PROCURED FOR A LIKE PRICE & ONLY FROM THE CHALIF NORMAL SCHOOL OF DANCING 7 WEST 42ND STREET NEW YORK CITY Furlana Gavotte Directoire Saltarella Menuet de la Cour Siciliano Queen of Swords Tarantella Sword Dance Tyrolienne Jcta Aragonesa Highland FUng Polska Bolero La Mancha Madrilena Cachuca La Feria Ole Gaditano La Gitana La Paloma Sarabande Krakowiak Maid-of -Honor Lezginka Plyasovaia Russian Quadrille The Bride's Dance Kasatchok Donskoi Cossack Pavane Csardas. d AUemande Csardas. s Chaconne The Magyar Gavotte 2nd Hungarian Rhapsody Musette Ca la Breaza Menuet de la Reine Saibara COMPLETE LIST OF DANCES ON BACK COUER COPYRIGHT 1915 BY LOUIS H. CHALIF Jota ili^agoncsa. Allegro. Piano, mf rWr r\r #-V+ * i ;> _^ r r f" « * 4 ^^j ^ ^ ^^ ±-^^^ t ^ •■f r r cf^ . #h ^ t:~^f ■\ '^3 £ r> 3 =3 4) 1--^-^ fi J C J » ±i^ t c f J C J C — m J 1 _yL 3_0* <» ^ » < • ^ »— « » « j g 1 3 — f * j cJ-J ^ u— -r ' T 5 \ iT^ .e 4 #=^^^^ f— rrrrrr -f^— -t — T 1 1 M 1 1 [C-^^ 1 -^ftJ^ ^' -vf. d — d — — d — i — ' -=^- - — s 1 h+^ 1-^ r ' 'r ^f=^ ? T Jota Aragonesa. 4 7 ^F ^ f f WT^f f f M^if f f f^ m 3^^ ^ J=9f ^ — ^ i I i i ^S i>l i f p ^ P % t t % ^^$=^=$=t ^ ^^ — ^ * g=f # 0-if — ^ Interlude. :j ^ f ^ P El m m ^ f 4r^r^r^ '> L-iJ ' rJ ^^^r pp 'm f f -^ m m f - f A m Jota Aragonesa. 4 cresc. m © ^ 1^ # i VI .!n ^^ ^ > ■ q'^?~X2 f4£3^ / f l iLF I JJII » Jn- . , . i ^L ■ •'^- ■ • * _» :*:£: fc* a^ • L • m m i="=tT=_i=» m -»-tr- tt >^£ :ii- ^^? t^ m ^'• 1 ' tt fr; m w=ww ^m ^ mf % m ri 1^ m m ^ ^ w "&). * ^^^ rfe 1 - .. I l -U I - . F L I ■ ' I - 1- ^^' — ~ » il , iil -k-U I- 1 ^ 1 — [— The Joy Of The Rose. 4 Tf-rgt!ld English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. ,\thletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2 Long Dance. Swedish. 1. Ring Dance. Swedish. I. First of May. Sw. 50c. w. folk song. 1 Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1, Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance, .'"imer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2 Hewett's Fancy. 1. Hull's Victory. 2 50c. Each. Money Musk. 2 Off She Goes. 2 Petronella. 2 Pop Goes the Weasel. 2. Portland Fancy. 1 Soldier's Joy. 1 Speed the Plow. 2 Three-Hand Ring. 2. The Tempest (La Tempete). 1. Windsor Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and effective. 2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). Ins 3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3, Humoreske (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Sjian. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegi?rka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflake. s. or g, 1. $2. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Papillons d'Amour. Waltz time g 3. $3. Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. 2. La Russe. 1 Sylvia Waltz. 2. The Countess. 2 | Gavotte Waltz. 2. Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school, at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents up. OTHER WORKS For sale only by the School CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, $3.05. Grammar of the Art of Dancing, by Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid, $10. THE CHALIF NORMAL SCHOOL OF DANCING ^ ^""^ ^"'^^ IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are Isti CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result k an art wt.ich while allowing an amateur to make rapid progress is yet authentic, b,*5utiful, utterly c^ptivatine to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation Concerning It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a deman<^ for tW real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with Crosses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs Ov/f/ ^1 t^U^/sJ? yi?///ff^^7 /'/^rc ^/-ci/yo -v'%//'^£' fy-ff^T t'/zc- £. 00 s/l/tefr'if t^£»A S'7'-7/:Pd>//' Va/t ^S^c'^7S CI 77 / -^^^a f ■:J/'C7/7 CO - y?7 7S-S 7CI/Z ■^)i!7 c / J/Jc?77 7's/7 0^7ed- r/7CJ-t7~7C7/t 67e77J-<:7/? t!' -0/^C^ C777 i:/c7 ///S7U 'y-y/^si/ Sc^/o ^^/pir7/7!j-A Sh/a ■ S^/z's-A ^^a;?7s/i So/a ipc777cc ^/■?£fz-?/7l Sl'ci 7% {^So/o ^(77-!^^^ 3. 00 £.00 3. 00 2.00 2.00 2.00 2. 00 2. 00 So JO so so /. 00 /. 00 ^//^^r4r//frf'f-/'c O'/csi/ra^z c i/)i:7;-!ce f ^0/0 07- c/rai/yoj . J^n' C7^0i7e r/77/7CCy- CAaAjT r- £/ -4^2 ^'S/. J>9.y 3. ^ U/ie Crcine ^ JAe Crane or /(7? o ?'v oc; cf ivci^ £?r/c/i'/rc7i /// //?///^///^/^ ^//^c; i^^rny' //> ^Jcz/^/^/t /Ac Crcr/^c f/cuy. /°tr/-^cir // iocta Tci/zc'/i zay£i' //' ei/'c/(^ i^o r/'<.jAf ..... -^ J5//V? /c/y r//7<^ r^//7 £■/(//?/ 3/e/PS of/ic- z?7 _ ... , ^ jr. C^C77^/e/77ci n a^///v7 rz/f ^ yc7cc -7^ (^ a^ -A. J SiO?'^7y /cA/ y^oof /hru>c?r c/ (^ /7c>S7'Ai7;i £/mi. s/7a77/d i^e ra7Sc;c/ , • ^. Jv'eye c7 / /(fyV a/' oZ -4^ NATIONAL DAN[FS ^//e /c>op-/t:>f s &tfj/j //ace 3ec;/z ci.crcc:f 0/7/1/' /7'o/7^ ShcChalij formal School 7 W(;s/ -^ "- Sf. S?i'eu> Vo/-k. Srice / J Scic/z vc/f e fic?/-!^ y072 c/o // cr/' ^O /o J^ea/po//y-c//z- ^e<:7sci/7/ -!ya77cc : •S/c/'/ia/z -[yac/ d77is^)-zc!/-i^ ij^^7si:2/7/ (y/^c/ /777da/iiJ2a^n So/o S/:>a/7/ s/z. 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S7c/eiv7se s/zon/cfe/- /y/'f/z , A. z'7r/?'7 /a/s^ec^ oi/c/' Acc/c/ . - -- / „ n. ar/7z. arc/ii/zd -S'c7/'/j7c--'s ioa/s^ , X. c7/':/n rczTScc^. _ - -^ i> ^o 'C- ^ Jioa s/ici^as i-o f 777easurc ) . , ^2 /^/cvsiul's JIT. S/r//7 's /2ar/ . Sc7/?7(i -jpas / 'h o/'!^ as / '/i // . J^ . f/ . rr?/s(^ct' i:7 /t///df yrc/n. ^/oo/- ^ ^/f'(/A^/i/ 3czc/c 2^c7/'d •/ U. /v. Crc^s^Cc:/ 7/7 /TC77f - ^ /ecypeci!' • 2 iJu^m ^c7 7-/77 crs ^ Jr^e/ycc?/ (7// ^ /I/ Se/ya/ci/ei. -t^-^/zz -^<:7 r //t cr / /trZii/y roz7i77/'/- J ^ s^(y^ X. /?. 7/7 ^'o;?/ 07-' /?■ f coii/yi 2. J / J/ur7% /o //!C- /p. ^ St'c/O iJ77 /^. /?■. (^Ca7^/7/ V - 2^ . . , , . , -/ ^e/i/r/7 -/o fyar/77cr ZO/'/A //rrce S^a/os y7y7/j/77'77^ 7o/'//7- jC. y^. /'c7/se(J ^ ^JJ7/r77y3c7/-7'77a7's ^/s c/&sc/'/^c d ///v/ f^f- ^■^ ..,,.- — -^ /^cyoecrii S /?. ar/n f'cti'scd aSove /veac/ , ^. <:?/y77 S7a!cuj7'sc 6/7c7i//d&r 7^7 f A . , , -c c(r;7rs c/oco/i- -- .-../ 't • a7-77-z ra7sc<:/ t^^ooc //cfacr/ , /P tT/'ATI- sic^c irifp Aa/tc^s 7777 c/ rurz-u j^pa7-/7^C7'S . , ^ „ le Oliaiif Mm\ Mm\ or Mmk^ L E Z GIN K A TRANSCAUCf)SIAN PANTOMIMIC DEMI-CHARACTER SOLO DANCE By LOUIS H. CHALIF OTHER NATIONAL DANCES By MR. CHALIF ARE LISTED BELOW. THEIR PRICE IS $3.00 EACH. THEy CAN BE PROCURED ONLY FROM THE CHALIF SCHOOL OF NORMAL DANCING WEST 42nd STREET. NEW YORK CITY Furlana. Venetian gondolier s. or g. 2. Saltarella. Sicilian d. or g. 2. Tarantella. Neapolitan s. or g. 2. Siciliano. Sicilian s. or g. 2. Tyrolienne. Austrian Peasant d. or g. 2. La Mancha. Spanish s. or g. 2. Bolero. Spanish s. or g. 4. Madrilcfia. Spanish s. 3. La Paloma. Mexican s. or g. 4. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Olc Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. Pavane. Old French d. or g. 2. Gavotte. French s. or g. 2. Sarabande. Old French d. or g. 2. Gavotte Directoire. Pavlowa's d. 2. $1. AUemande. Old French g. 2. Chaconne. Old French d. or g. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and •. 2. Kasatchok. Russian peasant d. or g. 3. Plyasovaia. Russian s. w. pantomime 2. Donskoi Cossack Dance, s. or g. 3. The Magyar. Csardis s. or g. 3. Second Hungarian Rhapsody. Csardas s. 4. Csardis. s. or g. 3. Cs^rd&i. d. or g. 3. Ca la Breaza. Rumanian s. or g. 3. Saibara. Japanese s. or, g. I. SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR COPYRIGHT 1915 BY LOUIS H. CHALIF Liczginka. Introduction. Allet^ro assai Piano fe4 -^ — - nr .f.. ^ E ^^l Jf , B=t E^L.!^^ ^ fe^^t ^•^^^^ ^ ^ *^: ::;-il»*z:: ^ ^^^Tr f "?^^ ^S Pilir dLLir Lz^nf r f^if f f^n f r r^nf yjiAij^ ritard. ibFii-: 5 :i: 3 5: ^JT^^ tpjtl s**}; Dance. ,1 Allegretto: J i ^ i=i fj^' l fcrsa/ ' cJ^ '^^cJ^ l 'L;r ?£F Louis H.Chalif. I.cJfinka Lezginka. 4 ,P{j rrfffffl i^f^ I m » m Ftfr.*#f ^^1 F^i^^^i \(^' mi "^' ^4 r f f f r ^- f f r f f f r « -? # 1^ - f_r r tr p 1 - 1 1 — 1 '-p— :j Lezginka. 4 Lezg:iiika RUSSIAN PANTOMIMIC SOLO DANCE From TransCaucasia; fairly easy, arr. by LOUIS H CHALIF Q The dance come? from the Lezgin (hard g) race of TransCaucasia. a people full of fire. with quick &- \ioi tempers; they make the best Cossacks, and furnish the Tsar's bodyguard. Q The spirit of the dance is wild &- savage in the extreine, not that the dancer seems angry, but that he would kill anybody who mighi get in his vay When he lunges forward bristling with knives, u seems that no one would dare approach him. Q The dance is supposed to be performed by a mar;, but a woman may execute it as a novelty. <][ A man carries a knife each hand. & I in his rnourh hilt inward &- blade projecting out. If not a tnati, this 3rd knife had best be omitted. For safety s sake it is well to use rubber knives silvered over. (\ Costume. There are 2 long coats, each falling to 16 in from ihe floor. The upper one is green or gray, &- open at the throat &- below the waist The under one is buttoned up to the neck, &- IS red or blue, with little colored crocheted buttons. &- narrow slet^ves. The upper coat has full sleeves, open at the v^/rist 6- lined with the same color as the under coat. There are dark folds for holding cartridges, m diagonil lines on the chest, 10 on each side. The trousers are very full, Turkish style, &■ come to within 1 2 in. of the floor. The boots are very soft, light, tight fitting, &- heelless for riding use. The belt is of silver or gold, with a dagger case hanging at each side (\ The Russian Step here used is in brief: Step Rf forward (d I), bring Lf up to Rf (d and), step forward on Rf again (d 2), &■ pause (d and). In detail it is executed thus "in this dance- Lift Rf forward, at ihe same time bending l. knee (preparation), siep for- ward on Rf landing on the toe first 6- at the same time straightening the L knee {& 1), bring Lf up to Rf cutting Rf cut forward (d and), leap j-orward very sligr.tly onto Rf. bending the R knse after landing, &- immediately swing Lf forward straightening the knee ((ft 2), in preparation for beginning the next Russian step with Lf The whole occupies one meas of music. The dancer should traverse much space with the step, seeming to skim over the floor. ^ I. ^ In this Figure the dancer shouki be full of suppressed fire, like a volcano, quiet outwardly, but' boiling inside &- threatening to spread destruction at any moment. Long steps should be taken, the dancer pushing forward to cover much ground. Q Enter from L rear comer of stage &- dance in a large circle counterclockwise'-across back of stage. &- forward. 2 Russian steps in line of diredion, starting Rf (2 meas). &- the same turning in an ex- iremely small circle to R (2 meas) The R arm is curved over &- in front of the head as a shield &■ ihe L arm is sideways a little below shoulder level. The trunk is bent forward somewhat . ■ 4 meas Repeal 7 time more always starting Rf, completing the circle &- finishing at center of stage. The arms remain in the above described pos. throughout the • Fig 28 meas 32 meas ^ II. ^- Step on the ball of Rf forward &- almost immediately step on Lf back, the 2 steps cc«Tiing almost together (on d I), step on ball of Rf back 6r immediately step on Lf in the same place as before, these 2 movements coming almost logether on d 2. This is as if Rf were stepping forward &- back while Lf marks time in place I meas Step on Rf across in front of Lf (d 1), slide on Lf back (d and), &- cut Lf out bact. Ward wuh Rf. lifting Lf a few inches from ihe floor (d 2) ! meas During "the above 2 mea; Ihe L arm i» curved over &- in front of ihe head &- the R S,rm i? at the side, back <:>\' shoulder line &- a little below shoulder level. Repeat the above 2. meas 7 -}ime more starting with L &- R fl alternately d- reversing ihe arms from side to side 14 meas 16 meas HI. I Russian step really more like 3 quick steps in place, to R starling Rf The arms are 2nd meas Po'nt L ^oe forward thu.v make a smd'l iuino Forward landing on Rf with Lf in front (cX i\ &- hop on Rf lifting Lf suddenly &- high, with knees shaiply bent '•& 2'. The arms go to 4th pos with R arm up, as if in preparation for striking forward with both knives,.! meas Repeal e%il 7 times more, starring with L &- R feet alternately. . 14 meas 1^ meas lU. Face !0 tlie R Step on Rf {i\ I), b- hop on Rr lifting Lf with knee sharply bent (d 2). The R arm is curved Over &- m front of the head &• L arm is ai the side, down &- back ai before, 'i steps in place (L. R 6- L, d 3 and 4), reversing the arms 2 meas Repeat the above 2 meas making 1 complete turn to. R 2 mea Still facing R. step on Rf bending R knee (a charge) &- lifnng R arm forward as if to strike with It, L arm being doA-n &■ back (d I), step back on Lf (d 2), step Rf back raising L arm an if to shield the face (d 3). step Lf in place (d 4), change forward emphaticly on Rf again, raising R arm as if to strike violently (d 5), &- hold this pos. (d 6, 7, 8) 4 meas Repe'-xl all starting Rf again To do this the weight must be quickly shifted to Lf just be- fore ct - 1 . 8 mea s 16 meas Before starting Fig V the weight must ba thus shifited cgain. m Uc m This Fig. is danced in a circle starting lowird R Side, then going forward, to L. &- back to place. I Russian srep stailincj \{f (ft 1 and 2| step L(" forward (ft 3). &• make a leap onto Rf (d 4). .2 meas Repeat same 7 times more staning Lf &• Rf alternately .H mees The arms are silways the same whether starting R ">r L ft, &■ are thus: on the Russian step the L arm swings forward ai about bhoulder level tr R arm sv\'ings down &- back; on the leap the R arm always svvings high up fotward &- L ariTi down &- back. Both arms should be relaxed &- used naturally, as i! msrely running. 16 meas m ui. m Face forward, moving to R side take 3 very quick little steps with Rf aixA/ays in front of the Lf ipas de Bourrce) d 1', &- step on Lf, bending Rf in front of Lf about calf-high, with knee turned out sideways (d 2). The arms are 3rd pos B. arm up 1 meas Repeat same I meas Step Rf back (ct 1), step Lf back id 2;, step Rr forward d 3\ &- jump forward landing on both feet in 1st pos, (d 4). On d 1, 2, 3 the arms swing back &• down &- on d 4 they are ^vvung violently for\A/ard &- high upward as if to strike with both knives .2 meas Repeat 3 times more starting to L R &- L 12 meas \6 meas This Fig. may be danced in a circle by always begnni.ig Rf thus: execute the Isi 2 meas making a quarter-circie &- finishing i^acing R, take 2 sieps backward toward the center of the circle, &- step tr jump forward to\A/ard circumference of circle. Do the pas de Bourree again progressing another quarter of a circle, so that the back is to the audience when doing the single step ir the jump. Continue thus twice more, the last execution of the steps &- jump being while facing forward. Lezginka 5 VM. 2 Russian steps to R side (R &- L). The R arm is overhead &- L arm dow nir back 2 meas Step Rf to side (d I), leap onto Lf to side turning completely around ic R (tour jete) Cd 2); step on Rf to side (d 3), &■ hop on Rf lifting Lf forward with knee sharply bent (d 4). The arms are 2nd pos. (d I), overhead d 2), 2nd pos. (d 3). &- 4th pos. with R arm tip (d 4 ) 2 meas Repeat all starting Lf to side 4 meas I Russian step foiward starting Rf. The arms are in 2nd pos 1 meas Step Lf forward &- immediately lift R leg forward high, with knee sharply bent (d I ', &- hold his pos. without hopping ct 2 ' The arms are 4th pos. with L arm up. The attitude should be (aken savagely, as if about to strike I meaf Repeat the above 2 meas 2 meas Turn in place to R several times around with many little steps on the toes. The arms are forward &- upward 3 meas Charge forward on Rf bending R knee, leaving Lf on the floor, knee straight. &- lift both arms still higher as if p.'-eparing to sdke. Take this attitu ds with great energy ft 1 ), Sr hold ' d 2 , .1 meas 16 meas EXPLANATION OF TERMS 1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The K arm makes a half-circle over &■ in front of the head 6- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The l\ arm makes a half-circle over &■ in front of the head &- the L is in 1st pos. Reverse as above. 5th PbSitiOh : Both arms make a circle over &■ in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. JANCES BY LOUIS 1 IK ioiloumtj iis,t oi dances comoosed o/ arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accuraie description of the steps, arm-movements, etc., of the dance. ABBREVIATIOna 1— litr. 1 — OI • lit«« _ 1— >>tk«r iWM » 4— Diaoilt 4 — I>a«t rfaaM, S — Gr»ap daB9e. NATIONAL. $3 Each. Furlana. Venetian gondolier s or g 2. Saltarella. Sicilian d or g 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. .Austrian Peasant d or g 2. Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2. Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Fcria. Spanish s or g 3. Ole Gaditano. Andalusian s 3. La Gitana. Andalusian s 3, $1. La Paloma. Mexican s or g 4. Sarabande. Old French d. or g. 2. Pavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte. French s or g 2. Garotte Directoire. Pavlowa's d. 2. $1. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet, 12 or 8 cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, 50c. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. PlyasovSia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. ?nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. Saibara. Japanese s or g 1. CHARACTERI$TIC BALLET. $3 Each. Light and Darkness. Or. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Kite de Jardinier. Pantomime and six dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pan- -.omime ballet. $10. In Cleopatra's Court. Panto, ballet. $10. FOLK. $1 Each. ,\ole:— The numerals used with the Folk and Contra dances denote much easier grades than in other categories. Manchegas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provengal. 1. Tourdion. Old French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. Forlane. Old French. Fricassee. Old Fr. Soldier Polka. 2. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. .-Vthletic; men or boys. 2. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. 50c. w. folk song. 1. Mountain Trio Dance. Norwegian. 2. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Myatelitza). Russian. 1. Khorovod (The Crane). Russian. 1. Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1. Scalp Dance. Amer. Indian. 1. CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2. Circassian Circle. 1. Flowers of Edinburgh. 2. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. Windsor 50c. Each. Money Musk. 2. Off She Goes. 2. Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1. Soldier's Joy. 1. Speed the Plow. 2. Three-Hand Ring, 2. The Tempest (I.aTempete).l. Terrace. 2. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2. Pompeian Flower Girls. Old Roman g 2. Greek Maidens Playing Ball. Simple and vcry.cflective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s 3. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark!(Schubert). In. s3. L'Automne (Bacchanal), d 3. Blue Danube Waltz. Interp. s or g 3. Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreske (DvoHk). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each. Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span. tamb. s or g 3. The Andalusian Gipsy. Spanish s or g 3. The Beauty of the Alps. Tyrol, s or g 2. Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, t 2. Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2, The PoUsh Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2. Russian Court Dance, d 2. Wegifrka. Hungarian Military d 2. The Hussar. Hungarian Char, s or g 2. Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant. 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, j or g 4. %i. Bluette Polka. • or g 3. $3. Esthetic Walti. • or g 2. |Z Eugenie Onyegin. Waltz • or > J. ||, The Fairy Queen. » or g 2. |3. Fireflies, s or g 2. $2. The Golden Butterfly. • or j 4. |3. Little Fairy Snowflake. s. or f. 1. Ifl Midsummer Night's Dream: Dane* of the Fairies. 12 or 24 girU. 1. $3. Mignonnette. j or g 1. $2. The Nightingale, s or g 2, $2. Papillons d'Amour. Waltz time ( J. |1, Petite Coquette, s or g 1. $2. Pizzicato, s (or g) fr. "Sylvia." 2. $2. Polka Miniature, t or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids. « or r J, |3. Valse Brillante. » or g 5. |3. BALLROOM. Music and Description, |L Furlana. 2. I Minuet Walts. I. La Russe. 1 Sylvia Walti. 2. The Countess. 2. I Gavotte Walta. 2. Mazur Waltz. 2. DESCRIPTIONS of all th« Ballrooa Dances, old and new, in their moft beautiful, modest, teachable and slind- ard form, are published by the ichool, at $.50 and up. MUSIC for the newatt ballrooa dances, in the pieces molt approved kf us and the public, is carried in itoek at prices from 25 cents uo. OTHER WORKS For sale only by the School CHALIF TEXT BOOK OF DANCING Vol. I. The standard positions and 4i« fundamental exercises. These are da- scribed to the minutest detail, lo that the book is useful alike to the studtnt who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exwciui for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved. Postpaid, |3.0S. Grammar of the Art of Dancinc, kr Friedrich A. Zorn. An important work to the profession. With musical iMp- plemcnt, express paid, $10. THE C] J¥ 5CHOOi. OF DANCING A. Few VTor^V Concernin|( It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical training. Its work with these classes has rnet with tremendous success. "Chalif dancing" and the school which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quit? all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progress is yet authentic, beautiful, utterly captivating; to the student, and furthermore bringing health, kno.vledge of r3cial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most oiits'^nding succe-;s, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a comraletely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. 2nd: L. H. CHALIF The second factor in the immense success of this School hu been the experience and teaching ability of its principal. From f years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet masttr at the Odessa government theater, instructor of dancing in leading; Naw York private schools and director of the Chalif Normal School, kU experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has beaa found that the students will listen to no one else while the princiyal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation ctntar of New York, "the most popular summer resort in the country," ha* helped its enrollment. 4trt: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a deman'' i«r tl-« real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with c--.sses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets, Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur^ days and some week-day afternoons throughout the winter. Catalofi of any of these, or of our dancing teachers' shoe and supply house, will be sent with pleasure, on application. LITTLE FAIRY SNOWFLAKE ESTHETIC SOLO OR GROUP OANCf By LOUIS H. CHALIF Other Esthetic dances by the same author are listed below. Each contains music and a complete description of the dance, and can be procured only from The CHALIF N ORMAL SCHOOL of DANCING 7 WEST 42ND STREET.. NEW YORK Allegretto, s or g. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s. or g. 2. Eugenie Onyegin. Waltz s or g 3. $3. The Fairy Queen, s or g 2. $3. Fireflies, s or g 2. $2. The Golden Butterfly, s or g 4. $3. Little Fairy Snowflakes. s. or g. Mignonnette. s or g 1. $2. The Nightingale, s or g 2. $2. Petite Coquette, s. or g. Pizzicato, s (or g) fr. "Sylvia." 2. $: Polka Miniature, s or g 2. $3. Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3. Valse Brillante. s or g 3. $3. Midsummer Night's Dream: Dance of the Fairies. 12 or 24 girls. 1. $3. / Papillons d'Amour. Waltz time g 3. $3. SEE BACK COVER FOR EXPLANATION OF ABBREUfA- TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR Copyright. 19l^by Louis H. Chalif Little Fairy Snowflake Piano Allegretto(J = 6o) <$>■ W^ y ud lib. m.s. ^ I a ^3 Arr. by LOUIS H. CHALIF. I rit. =5»= ^ Pedal n /U P a a m. ^=^ .JTTJpTi ¥44 fc=^ ^^^ p ^-^ ^- LI r ,j -f^f P -FT-=^ J J — J — ^ b — « ■ ^ ., — ^ ■ *1 "^ T .J . d \l ^ ^ louts IT Chaiif. rfrH FI5t •«q *-- fe^ BT Fi 1 M 8- i^ ^iHJ g ZM T: r =^^= — — H >- ' J-^^ — J= 3 -i — bs 1 — J Little Fairy 3 'Kg). m.d. CL »».«. ^ .. A m.d. IV a tempo J' r p i ^gj^ i a 'ri^7^ ^o^^zt&t" (^77cI' 7'<^/7t fia/7i:7^s'frz^A L'/7e ^e777f'/e7^7a7^ <7J- i'/7e /^ejci aou/'s^e et.s-.ei's. -7^07-777 77^ i^ cJ77e /o/t^ li77e (7^ c/77it/T.^ i^/7e cfc'77^/c7/nar2- a77/) ^uatca^) ■^^cc7'7i^ ^^tz (Y^/:'os-i 7!'e oCl^CctcO^ZS • ■^ y/7e/i 7^7 /'A- li^^^£ 7-7(7777 777 i^ Crf'C/^S- 7'77 77 /-U ayf<^7.07j t/fe 7~OP77^ 77i- -zi^z^a-^ vvtiij7s -/ iV/ '. s-/? 177^ 77? ce77t7'e a^ ^/7e Aea^ <^~7^e 7-06'77^ ■fr-hcfC t/7e /aa^7es- /or^-t a77c' ////c? aT^d t/rc ^e7i^/e777e77. o/7e /777e 7^ac777^ eacA £7^/7^7' a/77) o'e/oci^a7^& ■¥ro777 eucA^ cZ^/7e-7' 7^7^/7 /aT^cf jf^S hlck-f^TX^dis ^ __________ 2J^ ^1:7 Uf' ■sfe/i's /c77'i7va'7-'c^ , a77c£ yoi-or S'il^e/os 3-a c /% . _ _ _ ^4^ " Ste/i? ¥aryva^cl- fai7x /7a77ci!s T^i't/^ ycjtcf r<7a^('77er- a77i:^ fLcr77 wi^'^A ■fra^kt'r7<^ stc/ys- 7^ It t/7c. -ti^ay c2^oz^77d , _ _ _ ~ - .//- JAe c:r/l c/a77C- f^/7en tdc:i77ci77jf t^/?e /o/7yci!a/7ce j^o a/t/7^a/ /rcTn^ o>/7& town to aTToi-Ac-r^ a77d i/zet-r i'Aej/ C7^& j-aj//i7//y /77et fy 7y7e7^7^ 7737^/7 Svr^ -rr/to f-atie j^z'eai delz^At z7-l/oi-'77 7'/t^ f/7e 1^077 ce, y77e77 t/fey ait CC7/7^7r7ii<2 to da77cc i/ze ^a77yJE v^l^ rk.^ The following, by the same author, are other National Dances, selected from a very wide repertory as being the world's best. The price of each is $3.00 They consist of appropriate music and a complete description of the Dance, are copyrighted, and can be procured only from the School. Saltarella. Sicilian (1. or g. 2. Siciliano. Sicilian s. or g. 2. Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrileiia. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d. or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples. $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. Csardas. d. or g. 3, Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do, Mus. only. 50c. s. 4. Saibara. Japanese s. or. g. 1. SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES PUBLISHED BY THE SCHOOL Copyright, 191^by Louis H. Chalif The Magyar arr. by LOUIS H. CHALIP. ^S p m # /■ ^m ^1 9^ ^PW f ^ P n.m The Magyar. 6 t> l^ 'i^ t>J Friska _A A^t A^ TO ^^ rr S A. A , fii'^'f Piu mosso. msM^^^ arffrrf A A jS^ S W A S- m AAA •c_f Lf '^LF~^ The Magyar. 6 5 The Magyar Hungarian Solo Dance BY LOUIS H. CHALIF. Magyar is pronounced Mah-jar, with accent on 1st syllable. I. This figure is danced in a zig-zag moving forward. Step R ft to side (count 1) step L ft behind R ft, bending L knee & cut- ting R ft out forward ( ct 2.) & repeat sanie( cts 3,4.) R hand is onhip, L hand overhead. 1 meas. Hop on both feet crossing R ft behind (ct1), jump to 2^A pos. (ct 2), close the feet in ist pos.(ct 3) & rest (ct 4). Arms crossed in first pos. (ct1 ), open to 2nd pos. (ct 2), 3rd pos. with R hand up (ct 3) 1 , » Lift L ft ( preparation). & turn to R side once or twice around with hop step &step ( pos boiteux). Arms as at end of previous meas 1 " Cross, open & close the feet as before, finishing with L hand up .... 1 " Repeat all starting L,R & L 12 " 16 " 11. In this figure move backward in a zig zag. Step R ft to side (ct 1 ), draw L ft up to R ft & swing L ft forward ( ct 2 ), point L toe in front of R toe (ct 3 ) & SAving L ft forward ( ct 4 ). R hand is overhead, L hand on hip 1 " Move diag. back to L side. Step L ft to side ( ct 1), step R ft behind L ft bend- ing R knee (ct 2) , & repeat same ( cts 3, 4). L hand is at back of head, R hand on hip 1 " Repeat all starting L, R & L • • _£ " 8 " The Magyar 6 III. Step R ft to side (ct 1 ), step L ft across in front of R ft ( ct 2 ), step R ft to side again with a long step, turning to face R, bend R knee until L kn'ee almost touches the floor (ct 3), & hold (ct4). X hand is overhead, R hand on hip ( cts 1,2 ) & R hand is at back of head, L hand on hip (cts 3,4) 1 meas. Rise and cross, open & close the feet as before 1 " Repeat all to. L,R& L 6 " TV. Touch R toe in front of L toe & swing R ft forward (ciseaux) hopping twice on L f t (cts 1,2 ), & 3 little steps toward L side starting step R ft be - hind L ft ( pas de Bourree change) (cts 3,4). Arms 1st to 2^A pos. . . 1 2 hohibiec to L side diag. forward. ( Hoi'ubiec is strike heels together & slide L ft to side (ct 1) , & bring R ft up to L ft ( ct 2 ). Arms S^d pos. ... 1 Point L ft in 21^ reverse pos.& swing L ft forward (cts 1,2). R hand is over- head, L hand on hip. Repeat same R ft (cts 3,4) 1 Cross, open & close the feet 1 Repeat all to R starting point L toe in front of R f t 4 Repeat to L & R side 8 16 On the last meas. take 3 steps forward(L, R & L) & hold with L hand on hip & R hand overhead. Pause for about 4 counts (no music). Friska ( The quick second part of an Hungarian Dance. Pronunciation Freeshka Move in a line diag. forward Rwith the following step: Step R ft diag. for- ward (ctl ), step L ft in front of R ft(ct 2 ) '. . 1 mc Repeat same 3 times more 3 ' These steps should be something like stamps,with a stronger accent on ct 1. The L hand is on hip & R hand is extended forward with palm up somewhat forcibly 4 times, each time on the 1^1^ ct. Coupe glisse coupe twice (R&D starting cross R ft over L ft. Arms swing naturally at the side . 2 ' Coupe glisse coupe is step R ft across in front of L ft, cutting L ft out backward, slide L ft backward & cut L ft out again backward (cts 1 &2). Coupe glisse (ct 1 &) 4 times moving backward. Start cross R ft over L ft. L hand is at back of head, R hand on hip. 2 ' Repeat all starting L,R&L. ^ '' 32 '■ 11. Point R heel to side & bend R ft across in front of L just below the knee, hop- ping twice on L ft(cts 1,2). L hand overhead, R hand on hip 1 3 light stamps in place ( R,L & R) -- 1 Repeat all starting L ft 2 S tortillers moving backward. Start R ft. Arms folded in front of chest. . . 4 Tortiller is Lift R ft behind with knee raised to side (preparation),hop on L & immediately step R ft behind. There is only 1 ct for these 2 movements. Alternate R & L feet Repeat the last 4 meas. of this figure 4 On the last 4 meas. take 2 steps only (L & R), & raise L ft forward to be ready to turn to R side. Turn to R side twice or 3 times around with pas boiteux as in Fig. I. L hand is overhead, R hand on hip 3 2 steps forward(L & R). Finish with L hand overhead & R hand on hip. ^ 16 as. The Maf!;yar 6 DANCES BY LOUIS H. CHALIF. The following list of dances composed or arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. ABBREVIATIONS 1 — Easy. 2 — Of a little diiSculty 3— Rather difficult 4 — Difficult. d — Duet dance. g — Group dance. s — Solo dance. NATIONAL. $3 Each. Saltat-ella. Sicilian d. or. g. 2. Siciliano. Sicilian s. or g. 2. . Tarantella. Neapolitan s. or g. 2. Bolero. Spanish s. or g. 4. Madrilena. Spanish s. 3. Cachuca. Spanish s. or g. 3. La Feria. Spanish s. or g. 3. Ole Gaditano. Andalusian s. 3. La Gitana. Music only. Andalusian s. 3. 50c. La Paloma. Mexican s. or g. 4. Pavane. Old French d or g. 2. Chaconne. Old French d. or g. 2. Gavotte. French s. or g. 2. Minuet de la Cour. For 4 couples $5. 2. Queen of Swords. Minuet for 12 or 8 couples. 2. Tyrolienne. Austrian Peasant d. or g. 2. Polska. Swedish d. or g. 2. Polonaise. Music only. 50c. g. 1. Krakowiak. By Glinka; d. or g. 2. Maid-of-Honor. Mazurka s. 4. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russian pantomime and s. 2. Kasatchok. Russian peasant d. or g. 3. Donskoi Cossack Dance, s. or g. 3. CsSrdas. d. or g. 3. Csardas. s. or g. 3. The Magyar. Csardas s. or g. 3. Hungarian Rhapsody, do. Mus. only. SOc. s. 4. Saibara. Japanese s. or. g. 1. GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s. 3. Cymbal Dance. Greek s. or g. 3. Forest Spirits. Greek For .12 young women. 2. Greek Maidens Playing Ball. Very effective. 2. $2. Spirit of Spring. Greek Interpretive s. 3. Autumn. Greek Interpretive s. 3. Humoresque. Description only. s. $3. The Moon Dance. Orie.tal Interpretive s. or g. 2. BALLROOM. Music and Description, $1. The Countess. 2. I Sylvia Waltz. 2. Minuet Waltz. 2. I Gavotte Waltz. 2. Mazur Waltz. 2. Description only, SOc. Aeroplane Glide. 2. Dream Waltz. 3. Hesitation Waltz, the original. 3. Manhattan Glide. 2. Maxixe. Brazilian. 2. Mignon Waltz. 2. Narragansett Glide. 2. Northamton Glide. 2. One-Step. 1. La Petite Waltz. 2. Tango. The Parisian form of the Argen- tine Tango. 12 pp. $3. Twinkle Waltz. 2. Waltz, The. West Point Glide. 1. CHARACTERISTIC BALLET. $3 Each. Light and Darkness. Greek duet with pantomime. 3. The Shepherd and the Angel. Pant, ballet, d. 2. A Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime & dance, in 3 parts. 2. BALLET La Fete de Jardinier. Pantomime & 6 dances. $10. Christmas Festival Series of Dances. Suitable for a Kirmess. $5. The Sun, or Earth's Awakening. Pant, ballet. $10. FOLK. $1 Each. umerals used with these dances asier grades than in the other Note: — The denote much categories. Manchcgas. Spanish. 3. Zorongo. Spanish. 3. Farandole. Provemjal. 1. Tourdion. Old French. 2. Bourree. Old French. 3. Le Tambourin. Old French. 2. Fricassee. Old French Soldier Polka. Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. English. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic, for men or boys. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. " Swedish Swedish. Swedish German. Westphalian Peasant Dance. Cracovienne. Polish. 2. Goralsky Taniec. Polish. 1. Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm (Miatelitza). Russian. Khorovod (The Crane). Russia". 1 Lujock. Russian. 1. Kolomeika. Russian 2. Stras^k. Bohemian. 3. Baborak, Bohemian. 2. Ritka. Hungarian. 3. Csehbogar. Hungarian. 1. Bulgarian Folk Dance. 1. Snake Dance. Amer. Indian. 1 Scalp Dance. Amer. Indian. 1. Long Dance. Ring Dance. First of May. May Dance. 1. 1. 50c. 1. With folk song. 1. ESTHETIC. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz. Music only. s. or g. SOc. Eugenie Onyegin. Waltz s. or g. 3. $3. The Fairy Queen, s or g. 2. $3 Fireflies, s. or g. 2. $2. The Golden ButterHy. s. or g. 4. $3. , Mignonnette. s. or g. 1. $2. The Nightingale, s. or g. 2. $2. Pizzicato, s (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. Midsummer Night's Dream: The Dance of the Fairies. 12 or 24 girls. 1. $3. Papillons d' Amour. Music only. Waltz time g. 3. SOc. DEMI-CHARACTER. Each. The Beauty of the Alps. Tyrolean Waltz s. or g. 2. The Andalusian Gipsy. Spanish s. or g. 3. The Gipsy Camp. Spa-^ish tambourine s. or g. 3. Le Toreador d'Andalousie. s or g. 4. Jean et Jeannette. French d 2. The Village Belle. French s. or g. 2. Columbine. French s. or g. 3 Sailor's Hornpipe, s. or g. 1. The Polish Princess. Polish s or g. 3. Marysia. Polish s. or g. 3. The Mazovian Maid. Polish s. or g. 3. White Rose Mazurka. Polish s. or g. 3. Russian Court Dance, d. 2. Vegierka. Hungarian Military d. 2. ■ * Japanese Group Dance. For 8 or 16. $2. I. Bow and Arrow Dance. Male s. or g. 3. L'Aufomne (Bacchanal), d. 3. CONTRA. SOc. Each. Arkansas Traveler. 2 Beaux of Oak Hill. 2 Flowers of Edinburgh. The Graces. 2. Harvest Home. 2. Hewett's Fancy. 1. Hull's Victory. 2. I Money Musk. 2. Off She Goes. 3. Petronella. 2. Pop Goes the Weasel. Portland Fancy. 1. Soldier's Joy. 2 Speed the Plow. 3. The Tempest (la Tem- pete). 1. Three Hand Ring. 3. Windsor Terrace. 3 EXERCISES. The Classical Exercises for Technique. An entirely new and much enlarged collection of 43 beautiful pieces of music, with the names and brief descriptions of the corresponding Junior and Senior exercises. Price, $3.00. THE CHALIF NORMAL SCHOOL OF DANCING A. Fewr 'NVords Oonccming It IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and pubhc school teachers, and teachers of physical training. Its work with these classes has met with tremendous success. "Chalif dancing" and the ithool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated as separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowing an amateur to make rapid progre'=s is yet authentic, beautiful, utterly captivating; to the student, and furthermore bringing health, knowledge of racial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it with the most outstanding success, especially in three particulars. First, the use of the Arms and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instruc'.or of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it has been found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trciined to teach it. COURSES Each year during June and July there is a normal school with classes all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers' shoe and supply house, DRUZCHKA n S^ 77/£CHfiiiF/\/ofMAi •School OF Oanc/aio A > 972 j'n 2"- pasy?i'ijn -., . , y y pc7s ic/'^i^i-i^x^ ^ /i<:>p f ^J si-lip (-C) sr^ip ( ^J and suri'n(p ( -^J j arms opisrt in 2'i^ vos. and conrfds y -...-/ «• /'I /' fiZ /v / -7Vw>/z/>757 yvr'/h2 -^appes afi(3r- &Tii- /as? pias - rn ti r ch e. ^ /? Aanc^ a/fe;7d ........... >^--. ./£ ^6 n I 2 phiJ ncii'/i da^h.rne/7^.s in 2'J^ pas . /? - -^-._. Z 3 -/zTTips , ..- .,.- ._.,... y . y -Oc's i:iii ihiiurree, - arms ia/a/-al sxai'nff and in oppijs7'-ho!-i- fo -fxie^ ... - / , /. £ f. fi 'AJC. , , , /2 .. IK, ^6 2 /c7hr?n/ pi^s c('i vasqiic ^ arms A'^pcs .,,-- 2 / p^as ia t/cnim: /o Xf. / on hcdj ; . . : . -,,,,... / / rond aeiambt' as-scmb^c / '/' c 'A /^ 'A ^ , _ _ , _ - - . n_ IF. 2 lor^nicrs ... - 2 2 pas ioi'^iti/ ~ saa^e ic^c ^ pipsc lack-u-ard __ 2 2 i-or-fi/las _g ^as c/e Sat-n-rc!; an /rez/s /lai^/ininrd , ard wi'/A ^ jts/7/pS ...,_-_«^_--- 2 ■}e.cn.t ... . 'icc srartiiig Lf 2 nieas. St^p Lf back (rVs i 'h. step Rf back td 3). step Lf forwa.d (d 4), and hold ds 5, 6) Reverse arms a;; be/ore on die last mc^vs 2 meas 16 meas. m u. m Step siving *wics (l\ &- L ' moving diag fonvard R The R ?tm is overhead &- the L on hip. 2 meas. Kneel on L knee sxiending Rf forward straight, &- simultaneously begin making a large circle with ihe arms £r trunk starting toward L side. The armsaic kept paialicl. Make 2 circles, taking 2 meas for each 4 meas. Rise slowly on Rf (ds 1. 2, 3; &- siand on Rf with Lf pcinicd backward 6- anns in 2nd pos. (ds 4, 5, 6) 2 meas. Repeat all starting Lf ^ .8 meas 16 nica';. ^ Ul. P! 8 liiile pas de Basque foiward staning Rf. The arms are 4ih pos. on R &- L sides alternately Tliese pas de Basque must be made v^ith very short steps, as the music is played rather fa^t 8 meas. Step draw backward J complete times starting Rf &- turning tc face R (3 meas. '. &- step Rf back again leaving Lf pointed forward < 1 meas. X The R arm is in 5th pos. 6- the L hand on hip 4 meas Step swing on Lf forward (ds 1, 2, 3), &■ step hop on Rf raising Lf behind 'ds 4, 5. 6 i The L hand is overhead &- R I land on hip 2 meas Tour jete backward to L , 2 meas. 16 meas. DANCES BY LOUIS H. CHALIF. The fuilowing list of dances composed o.' arranged, copyrighted, published and for sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 2 — Of a little difficulty. 3— Rather difficult 1 — Difficult, d— Duet dance, g — Group dance, s — Solo dance. $1. NATIONAL. $3 Each. Furlana. Venetian gondolier s or i Saltarella. Sicilian d or f 2. Siciliano. Sicilian s or g 2. Tarantella. Neapolitan s or g 2. Tyrolienne. .\ustrian Peasant d or Bolero. Spanish s or g 4. La Mancha. Spanish s or g 2 Madrilena. Spanish s 3. Cachuca. Spanish s or g 3. La Feria. Spanish s or g 3. Olc Gaditano. Andalusian s 3. La Gitana. Andalusian s 3. $1. La Paloraa. Mexican s or g 4. Sarabande. Old French d. or g. 2 Pavane. Old French d or g 2. AUemande. Old French g 2. Chaconne. Old French d or g 2. Gavotte, French s or g 2. Gavotte Directoire. Pavlowa's d. 2. Minuet de la Cour. For 4 couples. $5. Queen of Swords. Minuet. 12or8cpls. 2. Sword Dance. Scotch s. 3. Highland Fling. Scotch s. 3. Polska. Swedish d or g 2. Polonaise. Music only, SOc. g 1. Krakowiak. By Glinka; d or g 2. Maid-of-Honor. Mazurka s 4. Plyasovaia. Russian s w. pantomime 2. Russian Quadrille. For 8 couples. 2. The Bride's Dance. Russ. pant, and s 2. Kasatchok. Russian peasant d or g 3. Donskoi Cossack Dance, s or g 3. Csardas. d or g 3. Csardas. s or g 3. The Magyar. Csardas s or g 3. 2nd Hungarian Rhapsody. Csardas s 4. Ca la Breaza. Rumanian s or g 3. ISaibara. Japanese s or g 1. CHARACTERISTIC BALLET. i! $3 Each, Light and Darkness. Gr. d. w. panto. 3. The Shepherd and the Angel. Panto- mime ballet, d. 2. \ Russian Wedding. Ballet for 8, 12 or 16 couples, in 3 parts. 2. Her Warrior. Indian duet pantomime and dance, in 3 parts. 2. BALLET. La Fete de Jardinier. P six dances. $10. Christmas Festival Seri- Suitable for a Kirmess The Sun, or Earth's A\ tomime ballet $10'. [n Cleopatra's Court. Panto ballet. $10. es of Dances. ;. $.S akening. Pan- FOLK. $1 Each. Note: — The numerals used with t Folk and Contra dances denote mu easier grades than in other categorii Manchegas, Spanish. 3. Zorongo, Spanish. 3. Farandole. Provencal. 1. Tourdion. C)ld French. 2. Bourree. Old French. 2. Le Tambourin. Old French. 2. l''orlane. Old French. Fricassee. Old Fr. Soldier Polka. 2, Norman Folk Dance. Old. 2. Wooden Shoes. Dutch. 2. Windmill. Dutch. 3. Rustic Dance. Old English. 1. Morris Dance. £agU«h. 1. Maypole Dance. English. 1. Thanksgiving or Festival Dance. 2. The Wheel. Athletic; men or boys. Old Welsh Dance. 2. Highland Schottische. 2. Irish Lilt. 2. Long Dance. Swedish. 1. Ring Dance. Swedish. 1. First of May. Sw. SOc. w. folk song. Mountain Trio Dance. Norwegian. May Dance. German. 1. Westphalian Peasant Dance. 2. Bavarian Folk Dance. 1. Cracovienne. Polish. 2. Goralski Taniec. Polish. 1 Russian Wave Dance. 1. Pletyonka. Russian. 1. Snow Storm ( Myatelitza). Russian. Khorovod (The Crane). Russian. 1 Lujock. Russian. 1. Troika. Russian. 2. Kolomeika. Russian. 2. Strasak. Bohemian. 3. Baborak. Bohemian, 2, Ritka. Hun.iaarian, 3, Csehbogar. Hungarian. 1 Bulgarian Folk Dance. 1 Snake Dance. Amer, Indian. 1 Scalp Dance. .\mer. Indian. 1 CONTRA. Arkansas Traveler. 2. Beaux of Oak Hill. 2 Circassian Circle. 1. Flowers of Edinburgh. 2, The Graces. 2 Harvest Home. 2 Hewett's Fancy. 1, Hull's Victory, 2 Windsor SOc. Each. Money Musk. 2 Off She Goes. 2 Petronella. 2. Pop Goes the Weasel. 2. Portland Fancy. 1 Soldier's Joy. 1 Speed the Plow. 2 Three-Hand Ring. 2. The Tempest iLaTempete) 1 Terrace. 2 GREEK AND INTERPRETIVE. $3 Each. Wind and Wave. Greek s 3. Psyche. Interpretive s or g 2. Forest Spirits. Grk. 12 yg. women. 2 Pompeian Flower Girls. Old Roman g 2 Greek Maidens Playing Ball. Simple and very effective. 2. $2. Cymbal Dance. Greek s or g 3. Spirit of Spring. Grk. Interpretive s i. Summer. Greek Interpretive s 2. Autumn. Greek Interpretive s 3. Winter. Greek Interpretive s 2. The Moon Dance. Oriental Interpre- tive s or g 2. Cleopatra's Dance. Oriental Int. s or g 2. Moment Musical (Schubert). Grk. s 2. Barcarolle from "Hoffmann." Grk. s 3. Spring Song (Mendelssohn). Interp. s 2. Hark, Hark, the Lark !( Schubert). In.s 3. L'Automne (Bacchanal), d 3. Bhte Danube Waltz. Interp. s or g 3 Song of the Robin. Interp. s or g 1. Chopin's Waltz, C sharp minor. Int. s 3. Chopin's Waltz in D flat. Int. flower d. Valse Caprice (Rubinstein). Int. s 3. Humoreskc (Dvorak). Greek s 3. CHARACTERISTIC and DEMI- CHARACTER. $3 Each, Le Toreador d'Andalousie. s or g 4. The Gipsy Camp. Span, tamb, s or g 3, The Andalusian Gipsy. Spanish s or g 3, The Beauty of the Alps. Tyrol, s or g 2, Jean et Jeannette. French d 2. The Joy of the Rose. Pierrot pant, s 2, Columbine. French s or g 3. The Village Belle. French s or g 2. Sailor's Hornpipe, s or g 1. The Pied Piper. Characteristic. 1 adult and g of children. 2. The Polish Princess. Polish s or g 3. Marysia. Polish s or g 3. The Mazovian Maid. Polish s or g 3. White Rose Mazurka. Polish s or g 3. Stach i Zoska. Polish d with panto. 2, Russian Court Dance, d 2. Wegi^rka. Hungarian Military d 2. The Hussar. Hungarian Char s or g 2 Japanese Group Dance. 8 or 16. $2. 1. America. 6 characteristic dances, from Indian times to the present. 2. Bow and Arrow Dance. Male s or g 3. La Creole. Characteristic s or g 3. The Cherry Blossoms. Japan d w. pant, 2. ESTHETIC. Allegretto, s or g 2. $2. The Blue Bird, s or g 4. $3. Bluette Polka, s or g 3. $3. Esthetic Waltz, s or g 2. $2. Eugenie Onyegin. Waltz s or g 3 $.'■ The Fairy Queen, s or g 2. $3 FireHies. s or g 2. $2. The Golden Butterfly, s or g 4 $3 Little Fairy Snowflake. s. or g I $2 Midsummer Night's Dream: Dance ii the Fairies. 12 or 24 girls. 1 S3 Mignonnette. s or g 1, $2. The Nightingale, s or g 2 $2 Papillons d'Amour. Waltz time g 1 Sj Petite Coquette, s or g 1, $2, Pizzicato, s (org) fr. "Sylvia," 2 $2 Polka Miniature, s or g 2 $3 Poppies, s or g 1. $2. Three Fair Maids, s or g 3. $3 Valse Brillante. s or g 3 $3 BALLROOM. Music and Description, $1. Furlana. 2. I Minuet Waltz. .: La Russe. 1 Sylvia Waltz. 2 The Countess. 2. I Gavotte Waltz. 2 Mazur Waltz. 2. DESCRIPTIONS of all the Ballroom Dances, old and new, in their most beautiful, modest, teachable and stand- ard form, are published by the school. at $.50 and up. MUSIC for the newest ballroom dances, in the pieces most approved by us and the public, is carried in stock at prices from 25 cents up. OTHER WORKS For sale only by the School THE CHALIF TEXT BOOK OF DANCING Vol. I The standard positions and the fundamental exercises. These are de- scribed to the minutest detail, so that the book is useful alike to the student who has no teacher, or the best teach- ers. 171 pp., ill., price postpaid, $2.50. Music for the Classical Exercises for Technique, as described in the Text Book, and including all used in the Chalif School. Third edition: a new collection of 47 beautiful pieces, unused hitherto; engraved, Postpaid. $3.05. Grammar of the Art of Dancing, hy Friedrich A. Zorn. An important work to the profession. With musical sup- plement, express paid. $10. THE CHALIF NORMAL SCHOOL OF DANCING ^ ^^^ ^"'"^ IT IS located in New York City, at 7 West 42nd Street, and teaches dancing, especially its higher forms, to dancing teachers, exhibi- tion dancers, playground and recreation supervisors and public school teachers, and teachers of physical trainine. Its work with these classes has met with tremendous success. "Chalif dancing" and the s<;hool which radiates it have come into a North American repu- tation, now becoming international. This popularity is due, we should say, to four factors, which are 1st: CHALIF DANCING This is the classic art taught by the Imperial Ballet School of Russia (of which Mr. Chalif is a graduate), adapted and simplified, without debasement or weakening, for use in American dancing academies and schools. Toe-work, very difficult steps and minute stage detail have been treated a? separate branches, but almost all the beauty of the original, and quite all of its spirit and scope have been retained. The result is an art which while allowi.ig an amateur to make rapid progress is yet authentic, bsaut'ful, utterly c^ptivatim? to the student, and furthermore bringing health, kno';-led~e of r-cial character, alertness, grace, and a soul-deep development esthetically. The adaptation of Classic dancing has not been attempted by the Chalif School only, but by it "''th the most outstanding success, especially in three particulars. First, the use of the Anns and the rest of the body has been kept equally important with the use of the feet. Second, in National, Demi-character and Folk dancing the National Character of each race is really preserved. Third, a thor- ough regard is had for the proprieties, so that although Chalif dancing is in no sense stilted, yet all of it is suitable for offering to all of the American public. When taught to teachers it includes more than this, for an excel- lent training in Pedagogy is furnished. By the time of graduation the ordinary student is a completely equipped teacher of Chalif and Ballroom dancing, an exhibition dancer and a composer of dances. Concernizi^ It 2nd: L. H. CHALIF The second factor in the immense success of this School has been the experience and teaching ability of its principal. From 9 years of age a student in the Imperial Ballet School of Russia, in Moscow, then successively a solo stage dancer, ballet master at the Odessa government theater, instructor of dancing in leading New York private schools and director of the Chalif Normal School, his experience has been long, complete and invaluable to his pupils. . . . A certain ability at teaching has also made the school popular, although it has prevented the use of assistants, since it hais been, found that the students will listen to no one else while the principal is on the floor. 3rd: LOCATION The position of the school in the uptown transportation center of New York, "the most popular summer resort in the country," has helped its enrollment. 4th: THE MOVEMENT FOR ARTISTIC DANCING which is more and more ascendant in this country, is the final cause for the fame of the Chalif School. Everywhere there is a demand for the real dancing, and here one can be trained to teach it. COURSES Each year during June and July there is a normal school with cUsses all day, both in the regular Chalif and Ballroom work and in Pantomime, festival ballets. Toe-dancing, etc. And similar sessions are held during a fortnight of the Christmas holidays and on Satur- days and some week-day afternoons throughout the winter. Catalogs of any of these, or of our dancing teachers" shoe and supply house, will be sent with pleasure, on application. M xi^ncejc A'ufJ£>7t fan i/eU'Sot?! ^ Jf)t^d-6 s7/'a77CO -/^ussra7^ ^lyce^ 3 /^a /'tis A ^u.ei (2t-i-5fr-ca7t \:^a^a77 ^ ^ ice6 3^a7-!t'sA Sc^o J.a/wvvawi-iA \A/ ^oAe/77 r 'a 77JpZ^ uu^s.s can Jo7A J/^ ^ciU/^c7c?rn ^-anc^e ^e7777' C/ra/'ac^&z' ^2#'2^ .z2a?7C^ yv7^7/ Z//& Wa77e^€ / ye/' 777 an ^e/777.' (?Aa/-iiLCc'i7- c^i^(2.,iy J^'^&f4^ '^a777'c>o?rL ^^T^t:::^ JJM-tcA ^7A.^a?70 €i7-e Cc/JT^z-A^Aie^). J^d <5'c/70C7A /7a.s 770 'aui/207'c^ed->a^e/LA^} i't^ AT^^t^e^ti^AZy. 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I O s/i a'e. /o /yY S7 <:/e .-4- y'//c--^/o-_ /7// /770VC /o7'7-uc?/~c/ /o yo/c zu^'t^A -^ sk/yyz/?^ s/cios 2 /?e^ac7/ sa777d- 3acA,20artrf /^o C7rc/e ^ /. /^e/yci£?!' cyi/7/7//7y s//'<2'e /^ /-/ j^/^d cf ,. ^777/s/i- //^. ai^ <^c>7/d/e c/'/'c/i; , i/£.s /-orKJ-.^rz-i^' ^/-i Y/r ^ tr/^rcc/zo/z- f^/7,r7/^ // y^ce^ c) j7Pei^, cJ5//v7 az/cf S c/zusscs ^cTc/o ^o /j/i^cc^ O » f/zi::.- /-/'^/jo/zs . 4 rj//z7zs/t 7zt a^ sz'/7^/e. c/7'c/c T^dzziz?^ y'S'az-/-/7ez~ s /6' . IT. Sraziz/ rzy/z/- ^ /a/'/ tuz'//z(Zzzz' -^o/ztz^zc/ /^izzzc/j . iZZ7a' 5. THE MAY QUEEN SIMPLiFIED CLASSIC SOLO OR GROUP DANCE. BY LOUIS H. CHALIF OTHER SIMPLIFIED CLASSIC OR "ESTHETIC" DANCES BV THE SAME AUTHOR ARE LISTED BELOW. Hi Hi THEY CAN BE PROCURE© ONLY FROM THE CHALIF OL OF NORMAL DANCING 7 WEST 42nd STREET. NEW YORK CITY Allegretto, s. or g. 2. $2. The Blue Bird. s. or g. 4. $3. Bluette Polka, s. or g. 3. $3. Esthetic Waltz, s. or g. $2. Eugenie Onyegin. Waltz s. or g. 3. t$3. The Fairy Queen, s. or g. 2. $3. Fireflies, s. or g. 2. $2. The Golden Butterfly, s. or g. 4. $3. Little Fairy Snowflake. s. or g. 1. $2. Mignonnette. s or g. 1 $2. Midsummer Night's Dream: The Dance oi the Fairies. 12 or 24 girls. 1. $3. The Nightingale, s. or g. 2. $2. Papillons d' Amour. Waltz time g. 3. $3.00. Petite Coquette, s. or g. 1. $2. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. Polka Miniature, s. or g. 2. $3. Poppies, s. or g. 1. $2. Three Fair Maids, s. or g. 3. $3. Valse Brillante. s. or g. 3. $3. See Back Cover For Explanation of Abbreviations and List of Other Dances by the Same Author. COPYRIGHT 1915 BY LOUIS H. CHALIF The May Qaecn. I (M. mJ = Piano./ Louis H.Chalif. Ill m PP dolce. « ^g m ¥Sf^ &L tJ^ li ^. * * i^a ^ »fe^ ^ ^ ff^ m ^ m pp Z3 IJ. i m m ¥^ ^. * fc=i ^ T'^/a tempo. m.d. m m.g. ^^^" A£ rP^ r — r ^ ^f« Sft^ 1=3: ^^ ^. •SSj. * "SeJ). * * ^. * fe ^ * . ^ ^ ^■,.^^|,n^ ^^ ^^ "las. The May Queen. 8 The May Queen. ;■! The May Queen SIMPLIFIED CLASSIC DANCE Easy, for Solo or Group by LOUIS H. CHALIF Q The costume may be a short'\A/aistecl dress with a full skirt. The dance is very simple &- easy, without any hopping or leaping, &■ should be executed with a cliildlike :implicity. The music IS counted I, 2 to a meas, so counts 3 &• 4 refer to a 2nd meas Before dancing hold the skirt with both hands &- point R ft forward. Continue to hold the skirt with both hands during this Figure. One chasse forward Starting Rf (ds 1 and 2 ) , point Lf diagonally forward, bending at the waist to L (5 3). and hold the pos. i bending L arm in front I meas Repeat all starting Lf to L sids diag. forward 4 meas 8 meas if III. m 3 walking steps to R side 'R L &- R: ds I. 2 3'. &- pause 'd 4) The arms are 2nd pos (:r the dancer faces diag. forward R 2 meas Raise the arms to 5th pos ' ds i. 2', 6- lower them to 2nd pos. again ds 3, 4' 2 meas These arm movements should seem to say "How blue the sky is!" Repeat all to L. R &- L : , 12 t'ieas 16 meas MIU.E" 2 chasses diag. foi ward R starting Rf The hands hold skirt 2 meas A 3-step turn moving to R side as follows: step Rf to R side (d 1'. step Lf to R side turning halfiA/ay around to R d 2K step Rf to R side making another half-turn to R 'd 3', &- paj^e on Rf I&- 4 The hands hold skirt, 'ds I. 2. 3) &- are lifted to 5th pos. (d 4- 2 maas Repeat all to L, R &- L 12 meas 16 meas m [). m I chasse forward starting Rf | meas Step Lf forward id I), &- point Rf forward id 2.'. j meas May (Jueen 3 Repeat all v:...:...'..y ; ...7......^ y..., ...2 meas The hands hold skirt all the time and R arm bends in front whenever Rf is pointed. 4 chasses backward starting Rf. Hold skirt with both hands and turn slighty toward the side of the foot which begins the chasse. Hands hold skirt 4 meas Repeat the 1st 6 meas of this Fig. 6 meas Turn to R once or twice around with many little steps in place, arms 5th pos 3 meas Courtesy stepping Rf back (2 ds) I meas Remain standing on Rf with Lf pointed forward &■ slowly bring the arms through 1st pos. to 5th 2 meas 20 meas i EXPLANATION OF TERMS 1st Position : The arms make a circle in front of the chest at the level of the middle of the chest. 2nd Position : The arms are raised sideways a little below shoulder level. 3rd Position : The K arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. Reverse for " L arm in 3rd pos-" 3rd Position Amplified is the same, except that the raised arm is less curved. 4th Position : The K arm makes a half-circle over &■ in front of the head &- the L is in 1st pos. Reverse as above. 5th Position : Both arms make a circle over &- in front of head. Lateral Positions have one arm in 2nd pos. &- the other in 1st. Step Swing means step on one ft, swing the other ft. forward dr at the same time hop on the 1st ft. Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. Slide Step Step Hop demands that the free ft be lifted backward. Slide Step Step Swing demands that the free ft be lifted forward. ANCES BY LOUIS H, CHALIF. is ^ lollowing lis* of dances composed o/ arranged, copyrighted, published and for !e only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen d arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 1 — Easy. 2— Of a little diScullf. 3— Rather difficult, i — Difficult, d — Duet dance. g — Group dance. 8— Solo dance. NATIONAL. $3 Each. lana. Venetian gondolier s or g 2. arella. Sicilian d or g 2. liano. Sicilian s or i? 2. antella. Neapolitan s or g 2. blienne. Austrian Peasant d or g 2. ero. Spanish s or jj 4. Mancha. Spanish s or g 2. irilena. Spanish s 3. huca. Spanish s or g 3. Feria. Spanish s or g 3. Gaditano. Andalusran s 3. Gitana. Andalusian s 3. $1. Paloma. Mexican s or g 4. abande. Old French d. or g. 2. ane. Old French d or g 2. :mande. Old French g 2. Iconne. Old French d or g 2. 'Otte. French s or g 2. 'Otte Directoire. Pavlowa's d.'2. $1. luet de la Cour, For 4 couples. $5. 2. •en of Swords. Minuet, 12 or 8 cpls. 2. ord Dance. Scotch s, 3 [Hand Fling. Scotch s 3 ska. Swedish d or g 2. onaise. Music only, 50c. g 1. ikowiak. By Glinka: d or g 2. id-of-Honor. Mazurka s 4. asovaia. Russian s w. pantotnimc 2. sian Quadrille. For 8 couples. 2. Bride's Dance. Russ. pant, and s 2. tchok. Russian peasant d or g 3. tkoi Cossack Dance, s or g 3 dSs. d or g 3. •las. s or g 3. Magyar. Csardas s or g 3. lungarian Rhapsody. Csardas s 4. . Breaza. Rumanian s or g 3. ira. Japanese s or g 1. ;haracteristic ballet. $3 Each, tit and Darkness. Gr d. w. panto. 3. Shepherd and the Angel. Panto- jime ballet, d. 2. iussian Wedding. Ballet for 8, 12 ' 16 couples, in 3 parts. 2. Warrior. Indian duct pantomime id dance, in 3 parts. 2. BALLET. Fete de Jardinier. I'antomime and X dances. $10. istmas Festival Series of Dances, litable for a Kirmcss, $.S, Sun, or Earth's Awakening. Pan- -imre ballet. $1(1. Jleonatra's Court. Panto, ballet. $10. FOLK. $1 Each. Note: — The numerals used with the Foli< and Contra dances denote much easier gra