TAEJOY OF
THE ROSE

PIERROT PANTOMIMIC SOLO DANCE
By LOUIS H. CHALIF

Other Characteristic & Demi-Character dances by Mr. Chalif are listed
below. Their price is $3.00 each. They can be procured only from

The CHALIF NORMAL
SCHOOL of DANCING

?T WEST 42ND STREET, NEW YORK

Light and Darkness. Greek duet with pantomime. 3. The Pied Piper. Characteristic, 1 adult & g. children.
The Shepherd and thie Angel. Pant. ballet. d. 2. The Polish Princess. Polish s. or g. 3.
A Russian Wedding. Ballet for 8, 12 or 16 couples, Stach i Zo§ka. Polish d. with panto. 2.
in J parts. 2. Marysia. Polish s. or g. 3.
Her Warrior. 3pdian duet pantomime & dance, The Mazovian Maid. Polish s. or g. 3.
in 3 parts. 2. : :
The Beauty of the Alps. Tyrolean Waltz s. or g. 2 bite Ross Mazurka, Polish s. or g. 3.

The Andalusian Gipsy. Spanish s. or g. 3. The Hussar.
The Gipsy Camp. Spanish tambourine s. or g. 3.
Le Toréador d’Andalousie. s. or g. 4.

Jean et Jeannette. French d. 2.

Hungarian Char. s. or g. 2.
Wegierka. Hungarian Military d. 2.
Japanese Group Dance. For 8 or 16. $2. 1.
: The Cherry Blossoms. Japanese d. w. pant. 2.
The Village Belle. French s. or g. 2. Bow and Arrow Dance. Male s. or g. 3.

Columbine. French s. or g. 3. * Ameri Pp a er
erica. 6 Ch teristic d , f Ind t
The Joy of the Rose. Pierrot pant. s. 2. to the resent. 2. eristic dances, irom Indian Limes

Sailor's Hornpipe. s. or g. 1. La Créole. Characteristic s. or g. 3.

SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS
AND LIST OF OTHER DANCES BY THE SAME AUTHOR

Copyright, 1 914, by Louis B. Chalift

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The Joy of the Rose

SIMPLE PANTOMIMIC SOLO DANCE

by
LOUIS H. CHALIF

@d The dancer may be a boy or girl; the costume is of Pierrot. A girl would be called Pierrottine
d A dark cloak may be worn during the serenade which precedes the dance. A guitar is carried,
hung from the L shoulder by a ribbon, so that it need not be held when necessary to use the hands
in pantomime. {Vigorous execution is required for the proper character of the dance, with high
leaps & hops. & with the arms straighter than in Esthetic dancing.

98¢ INTRODUCTORY PANTOMIME ¥e
The Serenade

Before the entrance the music plays... .......................... ... ST SEEANE Ao TI TAAPERCN 2 meas.

Enter from L back corner of stage & move diag. forward R with 6 very slow steps and with the

body slowly swaying from side to side, each step taking 2 counts, | meas. Start Rf. On the Ist step of

each meas. pretend to strike the guitar with a downward stroke................................... 6 meas.

Pierrot, looking languishingly upward at Columbine’s window, tells her of his love thus: He lays his
R hand over his heart, stepping forward on Rf (&s |, 2), extends R hand upward toward her
window with a very slightly nodding of his head (cts 3, 4), & repeats these gestures with more of
ardor (@s5-8)...... ..coooiiiiiiiiies ce, eh nid waite re wear hrs Seni npn AR 4 meas

A person in the R wing off stage, supposedly Columbine, throws a roseto Pierrot, but it falls to the
floor at his L. Pierrot runs to it (&s 1, 2) takes it up in both hands & looks atit ( &s 3, 4 J. kisses it
rapturously, still held in both hands (és 5,6), raises it up with both hands to admire it (¢t 7), & holds
itthere in his R hand, still admiring it (@ 8) ..... ..... .......................  .... ....4 meas

He moves to the left, in a circle & lays aside cloak & guitar & stands on Lf with Rf pointed forward,
arms 3rd position with R arm up, still holding and admiring the rose. It remains in the R hand

throughout the dance . . : TOPS CS 4 meas.
20 meas
{ ORO
fo . {o\S

| polka step diag. forward R starting Rf (&s 1, 2), & slide hop on Lf across in front of Rf
(@s 3, 4). The arms are 3rd pos. with R arm up, & the eyes look at therose.............. 2 meas.

Move backward with 2 skipping steps (step hop--R & L; @s |, 2), each time lifting the free
ft backward with knee bent & raised & turned out. Each skipping step occupies but | &. The

AFMS Are iN 20d POS. «--evevieiieiieiiiieiie eee eee a eis ee | meas
Step swing slowly on Rf (cs 1, 2). The arms are in 3rd pos. with R arm up.......... .... | meas.
Repeatall to L, R & Lococo cis ce, eee l2 meas.
16 meas

¥ IL =

Point R heel to side (¢t 1), bend Rf in front of L ankle (¢t 2), at the same time hopping twice on
Rf. 1 polka step diag. forward R starting Rf (¢ts 3 & 4). The arms are in 2nd pos. with palms
forward on @s |, 2, the trunk bending to the R & the face looking toward the R toe.......2 meas.

Slide hop on Lf across in front of Rf (&sl, 2), & 2 changements de pieds (&s 3, 4), i. e,,
jump straight up from both feet, Rf being a little behind (& 3) & land with Rf in front (& 4).

Keep the feet close together while in the air. The arms are 3rd pos. amplified with R arm up

on@ 1,2, & 2nd pos.on@s 3, 4....... ll 5 sre Spetnt arnt viernes see eararsian reesranniase 2 meas.
Repeat alltoL, R&L. EER oo erhrion ~.. 12 meas.
16 meas.

B® OM. 3X
| polka turn (consisting of 2 polka steps), moving diag. forward R starting Rf. The arms are 5th
pos. on the Ist polka & 2nd pos. onthe 2nd................... ie tererieviniens ....2 meas.
Slide hop hop hop on Rf. The arms are 3rd pos. amp. palms down, R arm up..... ... .2 meas.

Repeat all starting L, R & Lf & moving diag. forward to L, diag. back to R & diag. back to L.

a 0.

Pont R heel to R & hold (&s I, 2). The arms are 2nd pos., palms forward, the R arm lower
than the L. & the trunk is bent to R, so that one may look at the Rtoe.. . .. .. | meas
| polka step to R starting Rf. The arms are 2nd pos........................... reas 1 meas.

Step swing on Rf (&s |, 2), cut backward (& 3), & cut forward (¢ 4) Thecuton& 3 is
bring Lf down to Rf striking this out backwards. & finish with the weight on Lf & Rf extended
backwards. On & 4 the cut is strike Lf out forward, finishing with weight on Rf & Lf
extended forward. While making these cuts face somewhat to the R. For the Ist I, the arms
are Ist pos & the trunk bent forward a little, while for the 2nd the arms are 2nd pos. & the

trunk is thrown back... Sede roan et meen ern 2 meas.
Repeat all, starting L, R & L........ooii ee, 12 meas.
16 meas

® 0. R
Slide hop on Rf diag. forward R (&s 1, 2). Open the arms to a large 3rd pos. amp., palms
down, with Rarm up... ....................... ede p aera Hn oe ani Re nae eg oe avert rein | meas.
Step Lf back (¢t 1) & step Rf back (¢t 2). The arms are 2nd pos........ . .... ... ....... | meas.

Point L heel to L side (¢& I), bend Lf in front of R ankle (¢t 2), & repeat (cs 3, 4), during
these 4 @s happing 4 times on Rf. The arms are 2nd pos. with palms forward, the L arm

 

lower than the R, the trunk bent to L........ .. ................ .. cee .2 meas.
Repeatallto LL R& L.............................. a ET 12 meas.
16 meas

% UL 2%
Slide hop diag. forward on Rf (&s 1, 2) The arms are 3rd pos. amp., palms down, with R
arm up............... ee Lo . .. . .....1 meas,
2 steps backward (L & R; @&s |, 2). Thearmsare 2nd pos. . . ..... ... ...... | meas

Step swing twice (L & R; @&s 1-4). The arms are 3rd pos. with L arm up & the same with R

Repeat all, starting L, R & L. ee Ibe een sie 12 meas.
Re PANTOMIME %e
Pierrot’s final appeal for love & sympathy

Step Rf forward & hold, extending both hands diag. upward to R toward Columbine’s
window (@s 1,2)... i en RTE ICTN NEC SN | meas.

3 conspicuous steps (L, RL). starting Lf back (&s 3, 4). Bring the hands together

opposite the heart... .............o i ee erie iiiiieeen. | MeaS.
Repeatall ..=  ...... est 9e enn satan oan tn sr ftevtennrnte risienen anonce Lo .. 2 meas.
Repeat the Ist meas. of this pantomime...... ..... ........... Co abe ....] meas

Walk in a very small semi-circle backward to L with 4 steps, starting Lf. The arms are in 3rd
pos. amp., L arm up ...cccoc. LL ae i Rae eed ik b Esra rand ee Lit . 2 meas.

Slide Lf back & start to knezl slowly on L knee, extending the hands slowly toward

Columbine’s window ........ ei iii esis meas.
Finish kneeling & bring both hands together in front of the heart. ...... CL | meas.
Extend both hands toward the window in a last appeal for her love. ..  . ... .. .. | meas.

10 meas.

EXPLANATION OF TERMS.

Ist 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 isin 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 1s in 2nd pos.
Reverse as above.

5th Position: Both arms make a circle over and in front of the head

Step Swing means swing the free ft forward & at the same time hop on the other.

Step or Slide Hop is hop on one ft & lift the other backward.

FAEEAT
DANCES BY LOUIS H. CHALIF.

 

sale only by Louis H. Chalif, is complete to cate.

NATIONAL. $3 Each. FOLK. $1 Each.
Furlana.
Saltarella. Sicilian d or g 2

Siciliano. Sicilian s or g 2.

Tarantella. Neapolitan ¢ or g 2. Manchegas. Spanish. 3.
Tyrolienne. Austrian Peasant d or g 2. | Zorongo. Spadish. © 3.

Bolero. Spanish s or g 4. Farandole. Provencal. 1.

La Mancha. Spanish s or g 2. Tourdion. Old French. 2.
Madrilefia. Spanish s 3. Bourrée. Old French. 2.
Cachuca. Spanish s or g 3. Le Tambourin. Old French. 2.
La Feria. Spanish s or g 3. ~orlane. Old French.

Ole Gaditano. Andalusian s 3. Fricassée. Old Fr. Soldier Polka. 2.
La Gitana. Andalusian s 3. $1. Norman Folk Dance. Old. 2.
La Paloma. Mexican s or g 4. Wooden Shoes. Dutch. 2.
Sarabande. Old French d. or g. 2. Windmill. Dutch, 3.
Pavane. Old French d or g 2. Rustic Dance. (ld English. 1.
Allemande. Old French g 2. Morris Dance. English. 1.
Chaconne. Old French d or g 2. Maypole Dance. English. 1

Thanksgiving or Festival Dance. 2.
The Wheel.
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.
Mountain Trio Dance. Norwegian.
May Dance. German.

Westphalian Peasant Dance. 2.
Bavarian Folk Dance. 1.
Cracovienne. Polish. 2.

Goralski Tanieé. Polish. 1.
Russian Wave Dance. 1.
Pletyonka. Russian. 1.

Gavotte. French s or g 2.

Gavotte Directoire. Pavlowa’sd.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. ands 2.
Kasatchok. Russian peasantd or g3.
Donskoi Cossack Dance. s or g 3.
Csérdas. dor g 3.

Csérdas. s or g 3.

The Magyar. Cséirdéas s or g 3.

2nd Hungarian Rhapsody. Csardas s 4.
Ca la Breaza. Rumanian s or g 3.
Saibara. Japanese s or g 1.

Khorovod (The Crane). Russian. 1.
Lujock. Russian. 1.

Troika. Russian. 2.
Kolomeika. Russian. 2.
Strasdk. Bohemian. 3.
Baborak. Bohemian. 2.

Ritka. Hungarian.

Csehbogar. Hungarian. 1.
Bulgarian Folk Dance. 1.
Snake Dance. Amer. Indian. 1.
Scalp Dance. Amer. Indian. 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

CONTRA. 50c. Each.
or 16 couples, in 3 parts. 2. Arkansas Money Musk. 2.
Her Warrior. Indian duet pantomime Traveler. 2. Off She Goes. 2.
and dance, in 3 parts. Beaux of Petronella. 2.
Oak Hill. 2. Pop Goes the
Circassian Weasel. 2.
5g BALLET. Circle. 1. Portland Fancy. 1.
La Féte de Jardinier. Pantomime and | Flowers of Soldier’s Joy. 1.

six dances. $10. Edinburgh. 2. Speed the Plow. 2.

Christmas Festival Series of Dances. | The Graces. 2. Three-Hand
Suitable for a Kirmess. : Harvest Home. 2. Ring. 2.
The Sun, or Earth’s Awakening. Pan- | Hewett’s Fancy. 1. | The Tempest

Hull’s Victory. 2.
Windsor Terrace. 2.

tomime ballet. $10.
In Cleopatra’s Court. Panto. ballet. $10.

 

THE CHALIF NORMAL SCHOOL OF DANCING

T IS located in New York City, at 7 West 42nd Street, and teaches
I 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 nd
the school which radiates it hava come irt~ a North American repu-
tation, now becoming international. This popularity is due, we
should say, to four factors, which are

Is: CHaAaLIF 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 qun= all of its spirit and scope have
been retained. The result #® an art which vghjle 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 e-thetically.

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 Arm 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-
oughr 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.

Venetian gondolier s or g 2. ; .wote:—The numerais u.cd wih a:
[Folk and Contra dances denote muda
casier grade, thai in otaer categories.

Athletic; men or boys. 2.

to

Snow Storm (Myatélitza). Russian. 1.

(La Tempéte). 1.

 

The following list of dances composed ov
arranged, copyrighted, published and for
Each numbcr consists of classical music, carefully chosen
and arranged, and a complete and accuraic description of the steps, arm-movements, etc., of the dance.

GREEK AND INTERPRETIVE.
$3 Each.
Wind and Wave. Greek s 3.
P:yche. Interpretive s or g 2.
Forest Spirits. Grk. 12 yg. women. 2.

Pompeian Flower Girls. Old Roman g 2.

Greek Maidens Playing Ball.
and very effective. 2. $2.
Cymbal Dance. Greek s or g 3.

Simple

Spirit of Spring. Grk. Interpretive s 3.

Gummer. Greek Interpretive s 2.

Autumn. Greek Interpretive s 3.

‘Vinter. Greek Interpretive s 2.

The Moon Dance. Oriental Interpre-
tive s or g 2.

Cleopatra's Dance. Oriental Int. sor g 2.

Gri s:2
Grk. s 3.

.::oment Musical (Schubert).
Barcarolle from “Hoffmann.”

Spring Song (Mendelssohn). Interp. s 2.
Hark, Hark, the Lark!(Schubert). In.s 3.

4.3.
Interp. s or g 3.
Interp. s or g 1.

L’Automne (Bacchanal).
Blue Danube Waltz.
Song of the Robin.

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 Toréador d’Andalousie. s or g 4.
The Gipsy Cam. Span. tamb. s or g 3
The Andalusian Gipsy. Spanish sorg3.
The Beauty of the Alps. Tyrol.sorg?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.
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 Zoéka. Polish d with panto. 2.
Russian Court Dance. d 2.
Wegierka. 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 Créole. Characteristic s or g 3.
The Cherry Blossoms. Japan d w. pant.2.

1 adult

 

ABBREVIATICN>
1—Easy.
2—Of a little diffizulcy.
3—Rather difficult.
4— Difficult.
d—Duet dance.
g—Group dance.
s-—Solo dance.

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.

Eugénie Onyegin. Waltz s or ¢# 3 ¢
The Fairy Queen. s or g 2. $.
Fireflies. s or g 2. $2.
The Golden Butterfly. s or g 4 $2
Little Fairy Snowflake. s. or g. 1.
Midsummer Night’s Dream: Dince
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.
Petite Coquette. or g 1. $2.
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.

BALLROOM.

Music and Description, $1.
Furlana. 2. Minuet Walt: 2.
La Russe. 1. Sylvia Waltz. 2.
The Countess. 2. Gavotte Waltz. 2

Mazur Waltz. 2.

DESCRIPTIONS of all the Ballroon
Dances, old and new, in their mos!
beautiful, modest, teachable and st: nd
ard form, are published by the school
at $.50 and up.

MUSIC for the newest ballroom
dances, in the picces 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 DANC'NG

Vol. I. The standard positions and th
fundamental exercises. These are d¢
scribed to the minutest detail, so .ha
the book is useful alike to the studen
who has no teacher, or the best teach
ers. 171 pp, ill, price postpaid, $...50
Music for the Classical Exercises .
Technique, as described in the Te
Book, and including all used in
Chalif School. Third edition: a new
collection of 47 beautiful pieces, unu.
hitherto; engraved. Postpaid, $3.05.
Grammar of the Art of Dancing, I
Friedrich A. Zorn. An important wc
to the profession. With musical sup
plement, express paid, $10.

A Few Words
Concerning It

2nd: L. HH. 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
»foscow, then successively a solo stage dancer, ballet master at thc
Odessa government theater, instructor of dancing in leading New
York nrivate 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 ane 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-= real dancing, and here one can be trained to teach it.

COURSE?

Each year during June and July thre is a normal school vrith
c-=sses all day, both in the regular Chalit and Ballroom work and in
Pantomime, festival ballets, Toe-dancing, ~tc. 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.
U.C. BERKELEY LIBRAR

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CL1808L1kLS

323547

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UNIVERSITY OF CALIFORNIA LIBRARY