Incorporations Edited by Jonathan Crary and Sanford Kwinter Zone, 144%Torque: The New Kinaesthetic of the Twentieth Century Hillel Schwartz Between 1840 and 1930 the dance world in Europe and the United States had, by seduction and then concussion, suffered a shift in attitudes toward physical movement. The date 1840 isnot chosen haphazardly, for by that year Frangois Delsarte had begua hs lectures in Paris, 8 Cours d’sthétique oppliqué. Delsarte taught a system of relating gesture to expression, expres- sion to the soul. There were Orders and Laws of Movement, and a Law of Correspondence: To each spiritual function responds a function ofthe body; to each grand function ofthe body corresponds a spiritual act" Delsarte’ system was religiouly colored and highly trinitar- jan, and its later exponents made heroic efforts either to explain the intrinsic psychic connec: tion between his theology and his original science of gesture, oF to divorce the two entirely! Delsarte’ lectures, designed to help ators, singers and musicians understand the rla- tionship between gestures sentiments and the senses, were as catholic and enlightened as they were French and Catholic. He drevr implicitly upon Enlightenment and early Romantic critiques of eightcenth-contury actors perambulating through sequences of consciously his- ‘rionic, unfelt postures on a badly framed, poorly composed stage. Like Diderot, Rousseau and Goethe, Delsarte meant to reinvigorate theatrical — especially operatic — convention 50 that, ae in the very best of political and pulpit oratory, voice and movement would together become an integral expression of that newly furnished entity, the sel? ‘More the exuberant Illuminist (and illusionist) than the dispassionate illuminé, a young [American named Steele MacKaye was drawn to study with the Old Master shortly before his death in 1871. The American became a favored disciple, scheduled to appear under Delarte’s auspices atthe Thédtre Francais, an honor never before granted to a foreigner ~ and honored ‘only inthe breach, the Franco-Prussian War intervening, The disciple had however the for- tune to attend the Old Master’ last set of classes, in which, according to a visitor, Delsarte depicted “the various passions and emotions of the human soul, by means of expression and gesture ony, without uttering a single spllable... You were forced to admit that every gesture, every movement of a facial muscle, had a true purpose —a raton dtr.” MacKayeToraua: The Now Kinaesthetic returned to the United States to produce and stage plays where “each incident lived in the sacimory a vivid picture? where “the tempo and flux of [a revolutionary mobs] rhythmic sound-surges” were vital bt dialogue almost incidental, gesture and theatrical machinery all, He would patent a slicing stage, an elevator stage, a floating stage, and he would, liter- ally electrify his theaters. At the (premature) end of hs fe, he conceived a vastly kinematic Spectatoriurn with twenty-five telescopic stages on six miles of railroad track, in full view of nine thousand people watching a six-acthistoricl drama, The Great Dtcoery, or the Weld Finder, performed estentally without spoken words, for the Columbian Exposition in Chicago in 1893, Unfinished, the Spectatorium was compromised into a small Scenitoriurn and passed away with MacKaye himself in 1894, but others did follow through on one of MacKaye’s less magniloquent projects —his Harmonic Gymnastics, a series of Delsartean. ‘exercises “to o train and discipline the body that it would become a responsible and expres sive instrument through whick fluid movement could pass without the obstacles of stiff and unyielding joints and mascles”"* "That lst quotation is from Ted Shawn, who, with Isadora Duncan and Ruth St. Denis, pioneered modern dance in the United States. Shawn had studied with Mrs. Richard Hovey, ‘pupil of Delsarte’ other favored disciple, his son Gustave. The mothers of Duncan and St. Denis had aso studied with disciples of the Frenchman. In 1898 Duncan herself lauded Delsarte os “the master of all prin- ciples of flexibility, and lightness of body.” who “should receive universal thanks for the bonds he removed from our constrained members” Tgnoring is rigid equations of specific gestures with spe- cific meanings, American dancers took from Delsarte his con- ‘cem for the absolute integrity of gesture, his attention to the ‘expressive power of the torso and his desire for movements ib- ‘erated from highly mannered codes of motion. Duncan called for the initiation of movement from the lower torso, from some. ‘physical/spiritual center akin tothe solar plexus, and for the free elaboration of movement out ofthat center — uninhibited by corsets, heavy skirts end narrow shoes. One used the whole foot, the whole torso, the whole body to mbre. Gertrude Colby, ‘among the first of modern dance instructor, later wrote, “The arm positions grow out ofthe body movements and follow the life and sway of the body. They do not move independently but grow out of and continue the trunk movements” Helen Moller, ‘western tomboy turned modern dancer, insisted in 1918 that Isadore Ouncan died in Nice, September 14, 1927 while test ‘What gave force, distinction and novelty to the kinaeathetic of the modern dancers and _graphologists wes late nineteenth-century work in anthropology and neurophysiology. Through thie work, the new kinaesthetic became the nodal point ofa powerful theory about education and the origins of culture For many anthropologists, “primitive” societies were physical cultures; “sevages” were sore likely to respond emotionally and physically than intellectually. Indeed, “savages” were barely speaking animals, and anthropologists therefore scrutinized them for clue to the original meanings of physical gestures, Since “savages” were somehow the living ancestors of modern civilized people, anthropologists also looked to them for clues to the origin of cul- ‘ture itself. Inthe 1890s, Karl Groos and Karl Biicher put the clues together: the element common to all “savage” tribes was rhythm, from which culture sprang in expansive physical ‘play and ritual dance. Rhythm was the energy behind primitive economy ard religion.” “While Groos and Biicher were enjoying considereble continental fame for cheir synth work on the essential physicality of culture, American physiologists and psychologists were laying bare the overwhelming importance of rhythm within the physical person, Stadying reflex arcs, cardiovascular and cireulstory mechanisms and the relationship of brain to mus ‘le motions and nerve impulses, they announced that the human body was, above all, “a device for producing thythm." Moreover, motion seemed crucial to sensation, growth and — possibly — intelligence, As the physician Luther Gulick wrote in 1898, “Muscular con- traction appears to be closely related to the genesis of ll forms of psychic activity. Not oly do the vaso-motor and muscular systems express the thinking, feeling, and willing ofthe individual, but the muscular apparatus itself appears to be a fundamental part ofthe appara~ tus of these psychical states" ‘This was but one version of the motor the- cory of consciousness, a theory expressed in rent forms by William James, by John Broadus Watson and other behaviorist, by Pavlov and other animal objectivists. By 1913, peychologist G. VN. Dearborn could write confidently that “Kinesthesia is about...to come into its own as the primary and essential lssroom exercise In graup response to simple ehythmieastternsTorque: The New Kinaesthetic sense... The very meaning of protoplasm, physically speaking, is motion." “Married quickly to genetic psychology, the theory of rhythm and the motor theory of con- sness engendered a pedagogical theory —- to wit, thatthe subject of instruction during cach period of individual personal growth should conform tothe cultural products ofthe race ints comparable epoch. Since rhythmic movement was natural and primitive, mastery of rhythm must precede mastery of more “civilized” forms of expression, Like “savages” chil dren were primarily physical beings whose intellectual faculties had not fully developed. (One should begin their education by encouraging their play in the direction of rhythmic activities and the vigorous exercise of lange muscles.” Such pedagogy was more than a stealthy way of introducing songs and dances. It was good neurophysiology. As the graphologist William Preyer explained in his widely admired book on The Sind ofthe Child, repetitive (rhythmic) motions made passable the nerve paths between muscles and brain, Other experts would go so far as to claim that physical activity ‘was responsible for the laying of those paths. G, Stanley Hall, whose work in genetic psy- chology served as the underpinning for much subsequent child study, praised Preyer for his double emphasis upon will and kinaesthesia. Early on, Hall had been excited by the study of motor functions vis-i-vis mental function, Education, in the sense of the ‘cortical development ofthe brain, might very well be « 1 process. The child begins by responding with her entire body, slowly motor specificity is established, slowly she coordinates muscles, slowly she gains the abil- ity to execute complex serial physical maneuvers. Play, therefore, must be the child's work, the means by which the neural network was fixed. Rhythmic play would facilitate learning, which mast begia with the large (or fun- damental) muscles and pass carefully to the stall, fines, accessory muscles ° John Dewey was delighted: "The manual-training movernent has been greatly facilitated by'ts happy coin- cidence with the growing importance attached in psycho- logical theory to the motor element.” Dewey had been insisting upon an active, physical, manual education, and himself promoted Alexander technique, a system for pos- oncer principe, tural and personal alignment founded on a presumption dovelopes by Frederick Matthies ‘of mind~body unity. The Englishman who developed ‘Aexander (1869-1985). Students_the technique, Frederick Matthias Alexander, like the ~ a the technique build ups new ‘ody arammar by correlating rmusculer use tea corresponding mental pattern imprinted through ‘epeatec sequences of words.Frenchinan Delsarte, had originally set out on a stage career; alto like Delsarte, he had been besieged by voice and throat problems which led him to the study ofthe body and motor habits, His Use ofthe Self 1932) attracted physiologists, genetic psychologists, the compare- tive anatomist Reymond A, Dart, pianists, violinists, thespians and an aling Aldous Huxley Aswith Alexander's fiercely manipulative orthopedics, a kind of muscular chiropractic dis- abused ofits yeurology, Deveey’s “learning by doing” philosophy was justified becuse, in fact, doing wos learning ® “The kinaesthetic of the small population of graphologists and modern dancers was car- ried into larger American (and later, European) society through widespread reforms in the motor training of young children, based upon rhythite pla and large-musce activity. The ‘raphologicts?' positive evaluation of natural Fil-bodied rhythms and flow in handwriting vas reflected ina penmanship instruction that emphasized the writing of whole letters, ‘whole words, rather them the rote repetition of artificially designated constituent strokes ‘The modern dancers insistence upon a free torso and fluid motions in long rhythmic phrases was reflected throughout the years of schooling, from the wholesome uninterrupted play of ‘nursery school and the encouragement of individual expression in primary grades to colle= ite training in natural gymaastics rather than riglly uniform calisthenies “The pedagogy of one form of expression, hanritng, evolved In cultural tandem with raphological theories. Penmanship instruction during the nineteenth century concentrated tipon dvi in the movements specific to each alphabet lete, then upon the general movements requisite to shaping any letter form, finally upon letters in context. Instruction gradually departed from the copybook tothe chalkboard and the large pencil on sft paper. By 1930, ‘American students no longer practiced the standard 48-degree slant of 1870s Spencerian script slant would come naturally, would vary with the individual, and, according tothe najor pedagogucs, would be congruent with the rhythm of the handuriting Rhythm and cease were the foremost considerations, especially in the fist grades, where students were still struggling to coordinate finger movements, Pcomanship supervisors constantly rede~ signed school desks and chairs to afford younger children freer arm motions and better pos- ture, so that writing could flow a8 it were, from the center of ther beings. I the classroom teaching of writing ("8 very complex muscular movement involving the use of some five hun dred or more muscles aogether”), instructors stressed legibility rather than strict imitation of forms, They used singsong chants, metronomes andthe new Waterman splitfeed foun- tain pen to help children toward a fluid, simple, rhythmic, centered script." “The changing pedagogy in penmanship entailed a changed script, Austin N. Palmer, who died a millionaire after promoting his penmanship system for thirty years, wrote atthe start of his career in 1896 that “the masses have no use for ornate penmanship; the people do not ask for it and do not want it. would define practical writing forthe people asa style devoidTarque: The New Kinaesthat ofall superfluous lines; made up of eters that can, to the greatest possible extent, be formed without lifting the pen, or checking the motion; an unshaded style, ‘executed with medium pointed or coarse pen." But even he did not anticipate the introduction, in the mid-twenties, of the form most devoid of all superfluous lines: manuscript writing oF, #¢ we now call it in the United States, printing Printing was easier. The childeen themselves liked it in the eazly grades because without much training they could pro- duce legible words. They printed more rapidly and fluently than they could verite in cursive, and they appeared to have no difficulty switching to the (aster) ‘cursive in later grades. Printing required mostly down strokes, strokes bringing the hand in toward the body, and physiologists agreed that arm motions toward the body could be executed with less strain than the out- flung motions demanded in most cursive forms ‘Rhythm was not lost (eyen in cursive, pace Palmer, the good water lifted the pen from the paper at rhythmic intervals), and the child gained a sense of personal accomplishment which had often eluded youngsters ‘well into their practice with cursive. Reforms in penmanship instruction were not limited to a few progressive schools. They spread throughout American schoolroams and resulted in a significantly different set of motor experiences for ‘many young children. Consider the amount of time children spent writing: in 1926, for example, Ameri= 1, Cy ges. “Gow stabs a Sage of oth ods ot se coe hal of he Bet ngs Yoh Tal fe amb boa a hi of an ie Un engens le ie sxe ast avatar) can students in grades one through six received direct penmanship instruction for seventy to eighty mines each week, on the average. If spelling practice, arithmetic, artand drowing be taken into account, weekly writing or equivalent manual practice occupied an average of more than four hours in first grade, more than seven hours at its peak in fourth grade. * “Tae figures must be immediately supplemented, of course, bythe incidental writing practice in subjects such as grammar, geography, history and the social sciences. Indeed, penman- ship supervisors advised teachers to introduce writing as an integral part of tasks in all areas (of the curriculum“The Crying of the Being To Be” Like penmanship, drawing had been undergoing asimiler pedagogical change during the same period: The reform in drawing instruction was particularly noticeable in Kimon Nicolaides’ The Natural Way to Draw (1941). Nicolaides, who finished the initial draft of his book in 1936 after decades as an instructor at the Art Students League, advocated a drawing pedagogy perfectly parallel to the notions of movement in modern dance: start with the core, the imagined center ofthe fora; start with the impulse and not the postion; remem- ber with your own muscles the movements of the model; think of gesture as dynamic and outward bound. Drawing reforms, however, proceeded more slowly and narrowly than reforms in penmanship instruction, since fewer schools could afford specially trained art instructors. Behind the momentum ofthe reforms lay not only a desire for practical penmanship in an age of typewriters or «desire to train the eye in mechanical prospects, or desi to entrain the muscles in proper order, There was also that other element in the emerging kinaesthetic, the operative quality of motion, Colonel Francis W. Parker's lectures of 1891, ‘were reprinted in 1937, and the implicit argument he made against the old penmanship teaching stood behind much ofthe urgency of all the reforms: “The imperative rue for a adequate act of expression is that the whole body, every muscle and fiber, i concentrated upon the act; a person should sing, write, speak, by means ofthe freest action of the entire physical orgonism. When agents are isolated by premature attempts at precision before pose and ease of body become habitual, the inevitable knotting and tension of muscles react, crip- ple the body, and constrain the mind." If graphologists could read one’s character in one’s script, then penmanship (and drawing) instructors were partly responsible forthe true ‘expression — and the healthy formation — of character ‘Across-the-board penunanship and drawing training normally ceased withthe comning of puberty or secondary education, but the kinaesthetic promoted by modern dancers did not itreached beyond grammar school to physical education in high school and college, and out- side of grammar school to children on playground, in nurseries, at home manipulating toy. “1 do not know what research has been made as to the exact correspondence of body structure to mental and psychic condition, but from general observation I hazard a guess that there must be a close relation between motion and emotion; that failure or inhibition of| ovement, especially of movements which (0 to speak) answer the call of the muscle for action, bespeaks decadence. On the other hand, can we not premise that with the discovery ‘of new and more subtle shythms and movements, new and fuller experience of Ife is attain- able?” So speculated Ruth St, Denis in 1932 in an article forthe Journal of Health and Physical Education. Seventeen years earlier, in his willy influential book, Play in Education, Joseph Lee had written, "Plays the child. In ithe wreaks himself. Is the letting loose of what isie Now kinesthetic in him, the active projection ofthe force he is, the becoming of what he isto be. rhythm isthe method of the soul's progresion, the natural manner —not indeed the ruling ‘motive, bt the gait and habit — of the human spirit"? To physical education instructors since 1880 for creative play rather than mitary dell, these were key statements, As with changes inthe teaching of small-muscle movements in penmans! changes in the teaching of large-muscle movements depended upon the growing ec ‘ofa congruence between psychological health and fluent, rhythmic, spontaneous, centered rmovements, Fist came the emblematic change in names, from physical “traning” to physi- cal “education” Chautauqua Universit pare physical “education” teachers in 1886; by 1891 there were 130g any of whom had studied with Emily Bishop, whose Americanized Delsarte system dlance sought to “make the body «temple for the indwelling soul” Next came Melvin Ballow Gilbert's “esthetic calisthenics taught at Harvard from 1894 onward, withthe approval of the physical education director, Dudley Allen Sargent. This too derived from Delsarte. Then there was “educational gymnastics” defended by Lura W. Sanborn, who quoted from John Dewey: “I believe that consciousness is essentially motor or impulsive; that conscious states, tend to project themselves in ction" By 1930, in Acbletics and Education, Jesse F. Wiliams and William Leonard Hughes could ask the leading question, “Is physical education an edu- cation ofthe physical [or] ...an education through the physical?” By 1930, too, like formalist ninetcenth-century ballet, traditional gymnastics with its classical and military heritage had some to seem not only antique but hig sciously directed and mechanically systematic, promoting not autonomy but automata ts modern oppositewas phyical play, fee and spontaneous pleasurable ane uunspecialized, centered happily vee the mdividua, engaging th whole body andthe whole pon. sie say Kinaesthtie was most congenial to mrsery school and Kivergaro® teachers. Edna Dean Baker, president ofthe National Kindergeten and Element College, wrote ia 1922: “In this very wonderful provision of movement in response fo stimulus, a continuous aaa prof the orgeniam to enioningconitons, es he posby of tenn The active, play bl asa leaning cil, Alice Corbin Sie professor of childhood education, was aan outspoken in tat sre year: "Movement isthe cry of the beng tobe! the 1 Ax ahs human orgnism” She called fora progressive use ofthe iin and nearly perpet- aon ma cikcen for more playgrounds and for more olrance. of ponlanet® pay? Showa ge them, Though De. Armold Gesell Yale campaige fr so schools and kindergartens, teachers were made aware ofthe applications of gensle peychology and phy iclogy. Although te Kindergarten owed ts insplationso the GS ‘educator Friedrich rctbel,ihose work erly in the nineteenth century favored pey 5 827908 of education, Kindergartens didnot burrow Into major American school stir. until teachers linked play da rrscter on physiological and then on a enetie-pyehologies) ‘model Kindergarten artes begin the 1890s cluded the xedesiging of Frocbelin activities to compensate Fearn alms imprecision of oungescitren. Soon, Pisa tks such as handwriting lly agereded crtelations between matutve ners and comme growth carvet ve caudied by acoo nylenstss manufacturers and retallers began so advertite their chil- {rens toys and games by specific age ranges. Through the Playground and Recreation Associa- cyan ofArerica founded 1906), the numberof public playgrounds ws rnultipbed fivefold by 1529, and new peces of commercial designed equipment — shes jungle gyms — became a femuiar part ofthe landscape of childbood.* Tilden were to be independent, mobile, natura, spontaneous Tuer supple and, of owe, ythmie. Tn the Kindergarten one could romete independence and refine the thymic sense by employing the theories of genetic paychology, modern dance ard Jaques- raeroareurgehny AL the wer last, one could give cldren opportunites develop Tenge-muscle coordination and (here) 0 express hemssle! fully ere very east was fingsrpntng Uniting he new Kinase cof penmanship reforms raving reforms an child's fee pay movement, ingepsining meant explicitly to be the aoe of recorded expression fora paying ld. Ruth Falson Shaw invented children's fingerprints in 1931; se had been seking» medi for expr that would eliminate Checruall-muscle strain of holding brushes, chalk, pens or pencisy Actually, *fingerpatnting” she Srihinomer. according to Sbaw, “When a chikl begins to ings: paint his whole body ee pesto the stamic movements which register characte sic rcs and swirls of ex- errrtnary grace in color. As one smal boy putt paint with the spor i> the middle of myTorque: The New Kinaesthetic back! Had she questioned the boy more closely, I suspect thatthe spot in the back would have been the modern dancer's center of movement — the sola plexus of Isadora Duncan, the nexus of tension and release in the Martha Graham torso. For Rath Shaw, the fingerpsinting child was dancing and painting at the samme time, and the result was startling finger painting began as an honest, integral ex pression of “inmost fancies” but became supremely therapeutic. “Once [‘problem children’] were given direct means of free expression for the impulses smoth- ering inside them, the ‘problems? solved themselves”* ‘The Slide Fastener “Few locked doors can resist that master key of rhythm,” wrote Shaw, who found Talon Sige fastener from 1932 etal that she could apply that key to “the af fiction sometimes described as ‘oral constipation’” or stammering In an earlier essay, I took that selfsame key into the world of children’s dothing, to demonstrate how thoroughly issues of constipation (corporeal stut- tering), small-musce training, mobility, free play end personal expression were wound into the marketing ofa new device paradigmatic of the new kinaesthetic — the slide fastener or, ‘as we have known it since the twenties, the zipper I argued there thatthe zipper was one ‘of a set of mechanical inventions between 1877 and 1913 — before World War I~ that made possible a significantly different sense of physical movement. The escalator yielded the rhythm of motion along a stairway. The motion picture camera, preceded by Etienne-Jules Marey’s photographic gun, recorded movement so well that people could begin the con- certed study of the anatomy of a man jumping, a woman dressing The Fokd asserably line produced automobiles so cheaply that the middle-class consumer might do more than dream of imperial mobility, and wealthier customers could eventually drive streamlined, expensively fluid cars, For the working class, the roller coaster (1885) was almost solely kinaesthetic in its appeal, and forthe leisured few the spiral track of the phonograph (0877) brought the vaulting rhythms of great symphonies into the home in tandem, often,swith the ragtime of player-piano roll. By repeating operations along. continuous trac, the escalator, the motion picture camera and projector, the central coaveyor belt, the roller= toaster and the phonograph integrated series of elements into products that had, it seemed, a rhythm of their own, Escalator, projector, conveyor belt, phonograph, ther allay within the reelm of Delerooe curythmy: boties could be sade (or made to appear) whele and mobile ifonly one under ‘Stood the principles of rhythm, In order to improve the escalator, one had to smooth out the rhychm ofthe mong stairs. To improve the projector, one had to tke into account the optical rhythm of aterimages To improve the assembly ine one transformed the rhychms al the worker of the basis of “time-ancl-motion studies," which reflected the new kinaes- thetic in thefr own tra ion froma the original stopwatch techniques of Frederick W. Taylor to the polished cinematics of the efficiency experts Frank and Lillian Gilbreth, To improve the phonograph, one ha to adjust the prime mavers cams and gearing so thet nothing inter- fered with the spoken and musical rhythms already inscribed on the cylinders o discs. teach case, one sought a natural, fluid transition from step to step, frame to frame, task to task, bar to bar. ‘When Whitcomb L. Judson in 1895 patented his “clasp locker or unlocker for automati- cally engaging and disengaging an entire series of clasps by a singe continuous movenent) tcl into another Kinsesthetic world, The pull of the movable guide brought into being and =, —-this vas the trick — then dissolved the track Otis Elevator Company bull the First excalators in Its Yonkers tector in 1899 and introduced them to the public atthe Pare Exposition of 1900. A few scalars were Installed in the Mew York City subway system and in toomingdele’s and ‘imbei's devartment stores, The early Renostype of inclined cleats. Escalators and moving walkways carry heavy trafic in # continuous tlow across vistas fon which the guide moved. In other words, ‘motion did not simply fllow a track, nor was ‘motion (as it was earlier withthe motion stare camera, escalator, assembly lin, roller- coaster, phonograph) the result ofthe track; instead, motion gave meaning to the sexies of clasps. Motion broughtall elements together. “The zipper eame amazingly close to one formu~ lation ofthe ideal in (Americanized) Delsarte gesture theory: “Love, fear, anger, ate, sur- prise, arc all indicated by a movement of the houlder, which translates itself along the arzn from joint to joint until reaches the tips of the fingers... Now these movements fom joint to joint should, as it were, overlap each other, slide nto each other, and make a graceful ges- ‘ure! Itis this graceful gesture I wal followTorque; Tae New Kinaesthatichere, rather than the slide fastener itself, whose impact upon adult life in the Unived States before 1930 was generally limited to tobacco pouches, heavy-duty overalls and galoshes (or B. F. Goodrich Mystik Zipper Boots, hence the generic are zipper”). Having established some of the paterns of impact of the new insesthetie on the motor training and corporeal apprenticeship of children in the first three decades ofthis century, I wish to suggest that while very young, ‘jmericans were being coaxed into, nd coached toward, the new kinaesthetic by playground supervisors, nursery schoolteachers, penmanship instructors hy fal cultursts, child psychologists and clothing manufacturers, their parents ‘henselves were hardly less susceptible to parallel changes inthe ways they han- dled themselves as believable bodies in the modern world Impulses Afterall Frangois Delsarte had devoted himself primarily to realigning the ges tures of fully operatic bodies with the passionate Iyrics ung by voices in their snaturty inclining toward the most soulful of harmonies, Over the next cena, Tetwces 1840 and 1940, children and adults alike would slomly be rehearsed into a habitof gesturing anda repertoire of °steeamlined” gators central tthe new linaesthetic— clean, Suid, curvilinear gestares moving from the center of the body outward through uninterrupted but muscular well-controlled rhytme impulses Like pulpit oratory in churches or political debate on sents podiams vreorie in the schools would be cutaway from its medieval irri!) ro0t-com= Fantons oie and grammar, only tobe rly transplanted to the quasi eam, Ermusic and geometry, bound tothe voce aban instrument and the body #839 increasingly theatrical property. Inthe process, rhetoric would come to connote Simpy (nd to ay Inte medieval mind bare) speech, and spech would be di ested of the Delsartean isomorphisms thot fixed each sentiment or statement 0 ‘ingle gestural postion. In company with manifests for more “naturalistic” acting the new kinaesthetc demande tha estore rise not ox f the public ned cone ‘oto conventionally meaningful atitudes, but out ofthe personal desire to ge true preson oa pete impulse that might otherwise be smathered, As Dale Carnegie con creret after lstening to same 150,000 speeches in his international eampaign to educite saitoin public speaking, ny gesture that i goten ot of «book very ely to ook ike it The place to get itis out of yoursll, out of your heart, out of your mind ovt of your ‘on impulses The only gestures that are worth one, two, thre, are those that are Born on the spar ofthe instant: crctorea then, ere expresie releases rather than practiced achievements — ors they‘Torque: The Now Kinaesthetic nus always seem to be in casual conversation as in the most defiant of harangues or meditative of dances. If they were true releases, gestures were also true confessions and would, it was presumed, be socially intelligible. The difference between this theory of gesture and that on which, for example, much nineteenth-century melodrama operated, was subtle but rematke able: one read not merely the attitude but the entire stretch of the outlooming motion of which the last position struck was just the finishing touch, ‘What then ofthat late nineteenth-century epidemic of apparently uncontrollable gesture — an epidemic of tics, choreas, convulsions, aphasias and strangely impermanent but recur rent paralyses that left so many women of all clasts invalids? Itwas with the new theory of ‘gesture under his belt that Sigmund Freud would reconsider the etiology of hysterie and examine hysterical patients, whose repetitive gesticulations and sudden hemiplegias seemed ‘to arise out of nowhere. Indeed, Freud would observe that “In his [more often, her] paral- yses and other manifestations, the bysteric acts as if anatomy did not exist, or a if the hys- ‘eric had no awareness of anatomy.” The twitches, selzures and paralyses did not make any physiological sense; instead, they were mepped onto the body as the layperson might draw it, superficially, by skin and skeleton rather than by neurological pathways. And yet, hysteri- ca attacks were theatrically intelligible: “A part ofthe striking motor manifestations evinced, by Frau von N. was simply an emotional expression, and easily recognized in this signift- cance; thus, the extension of the hand with the spread and curved fingers as an expression of feat" IF theze was no correctly articulated neural path from an inner physiological center to the hysteri’s outer ex-scription (or paralytic conscription) of impulse, there had to be a psychic path from some inner center to account for an outwardly symbolic pantomime. «Pantonnime” was the word Freud used as he began to develop his theory ofthe hysterical conversion of psychic energy to somatic innervation, No longer content to read a hysteric’s gestures as formally extravagant attitudes, Freud proposed in 1895 that his patients" “panto~ ‘ines? were giving true expression to private anguish otherwise and harmfully smothered. A past trauma had not been effectively “abreacted,” so now the hysteric was acting out both her response to the horrible scene (convulsions hallucinations) and the subsequent suppres- sion of feelings (paralysis, loss of sensation or analgesia).** [Neither Freud nor hs feuding disciples vould pursue the theme of the paitomime, pre~ ferring instead to work with recall by way of words, anamnesis by way of words, abreaction by way of words. But if psychoanalysis became a kind of bass-ackwards speech therapy, ‘turn-of-the-century physiologists were proving the existence of physiological feedback tnechanisms and extensive connections between autonomic nervous system, emotions and ‘mental states, By the twenties, Charles H. Woolbert’s popular textbook, Fundamentals of Speech, would bespeak not only kinaesthetic sets and the beauty of curvilinear gesture but also the therapeutic effects of fluent movernent upon halting speech, incomplete ideas,"Vey few people realize that the working gil shuld be ma sare for her working chair iy which she spends one-half the time that she ease uring ie this purpose we have hal esting chairs of saying heights nade f Ine mail a char for etre work the gle wo en a tach il, partielaryalped to her aad her wok, The eor= rect hight f hair deteriinedl such quicker and fis ruck more accurately "This eae sf pe ane eis fr dng work that sling In shi ease an oriinary chai ha been hata workar can sit ata workbench male . hgh: for standing work, he hale s provided with ball: bearing cases, that it ean be ped pat ofthe was oF palle oro position with hele lore Ths seve helped rings wok pers tnake I posible to dive ea rest pariods — thes nat nly Ue, ba: pring a effcint mies Far eeconery fan “This picture sn “one-motin’ pene rack, This sone ofthe man litle devices that we have used to eabye 0 one throug the plant this Teast fatiguing motions. This pencil rack wa dlsised ite by Tile, suggestinas casing Fann difteotemplayees. For ex araple, ne soggestinn sas chat deep horianval groove be acide, hat the fsact plac where used when i the poston of writing The slant of the rack is that slat wheroby the pene ill rey Slee dav by gravis tothe stp a he Batam af che peri store enone tv brs er the mos gers might go aii the pera the Fock, but ot sh Aeticate point “Suh a device an ae ery te sme a ftigue, ht ay nak a habits represents eof mane kid af vies ‘The captions aezampenying these images are thoxe provided by rank Gitbreth in his 1916 Fatigoe Susy: Tre Elimination of Rumanity’s Greatest Unnecessary Waste zone 3Torque: The Now Kinassthetic “Motions of laying a piano — part of series of studies to de termine the degre to which motions made in paying’ piano, or operating typewriter or adding machine are simlax® “This photograph shown typical 'mtion-studied? desk “Ths desk i erote-sectioned, 50 that standards ean be made eto the placing of those things that are constantly requted {orwork, The ony drawer conalaing any permanent mate= rials is pled outa the lef. It contains duplicate supplies of ‘our standard forms, so arranged that» man will ot run out ‘of supplies ahi desk, ache holder in which the reserve ‘supply is placed ia notification tothe desk supply boy that ‘supplies in adlition tothe wee farnishings are wanted inmediatelyinarticulate emotion: George H. Mead in the United States and a variety of eclectic behave Jorsts and phenomenclogiea! philosophers in Europe would n the thirties, have gestae shelf vedound upon thought, as iby “going through the motions” one might (vordlessly) “discover and redefine oneself. This, of course, was an essential pivot in the semantics ofthe view kinaesthetic, as it moved from the expressive to the operative, and from the operative to the transformative.” ‘The Body of the Text {One good example of the ply of the new kinaestetic in that perpetually ray afeabe- tween gesture and thought was the re-creation ofthe paragraph. prime determinant of the pattern of gestires accompanying speeches ead from written texts and of the large thythes of series and ypestters perimen and typists che paragraph had achleed 90 for- sna] recogotion uni late in the seventeenth century and was generally ignored by thetor- vane until Alexander Baia’s English Composition and Rhetoric of 1966. Bei, an Aberdeen philosopher whose earlier books on Te Sense and th nls (1858) ane The Foden ant Fe Wil (1859) would be held in high esteem by William James, had developed a sopbisti- tated aseociationalist psychology whose laws he applied tothe structure of writing Since shinking and writing must be more than kissing cousins, Bain drew fom the Laws of Similarity, Contiguty and Compound Assoclation a systematic theory in which paragraph structure should be anticipatable from sentence structure (Similarity), thoughts within a paragraph should flow from one sentence to the next (Contig) and, together, the con eendanece of sentences should yield a powerful resultant (Compound Assocation) Tn other wrod, 4 paragraph truly expressive of one's thoughts should have Unity, Coherence and Mass (Emphasis) 41 Today, high schoo! students with their teachers worship atthe altar ofthe Topic Sentence in the Temple ofthe Paragraph, oblivious tothe veatvey recent context out of which Ban's ‘ucred architecture came, In 1860, for example, the average English sentence had half the aaends of an Elizabethan sentence. Through and beyond the century's turn, the penny press id tablotd journalism woald farther shorten the sentences most people reat mos frequent No story longer than 250 words, guest editor Alfred Harmsworth demanded forthe Jemvary 1.1901, issue of Joseph Pulivzer’s newspaper The Would ae “Al the News in Sixty Seconds” Tewasall the more bikely, then, inthis modern world, that sentences would be hanging about in unhealthy anomie crowds or going astray, unattended. Given that few had the Johnsonian “wherewithal to shape each sentence asa self-sufficient epigram, the graromarian and the psychologist had best. do something with parallelism, proportion, coherence and logic so 8 to effect “a collection of sentences with wnity of purpose!” 1 Thas, Bain’s definition of the paragraph —an entity later termed “organi,” by whichTorque: The New Kineosthetic Baia's successors meant something very much akin to what modern dancers meant when demonstrating truly expressive movement. The paragraph (flowing from mind through pen to paper, or from mind through voice to audience) ust travel from it central thought ox ‘ward, in natural transitions from phrase to phrase, sentence to associated sentence, toward an emphatic conclusion which, again, would lead through the rhythms of association to the next fll sweep of thought. “If we have given up the great sentences of Hooker and Milton and Clarendon,” wrote John Earle in his 1890 English Prose: Its Elements, History, and Usogey “we have a good compensation for it, and areal equivalent fr the advantages oft in our more developed sense of the function ofthe paragraph”s* Tchad taken hundreds of years to shake England loose from the gospel of great sentences; {took forty years or less to convert American textbook writers into evangelists for the or- ganic paragraph, John S, Hart, Professor of Rhetoric atthe Collegeof New Jersey, dedicated SSxty page to Senteaces in his 1870 Manual of Composition and Rhetoric wit nary line to the structure of paragraphs, which made their appearance solely amidst advanced problems in the punctuation of quotations, John F. Genung, Professor of Rhetoric at Amherst, did devote seventeen pages to the Paragraph in his Outlines of Rhetoric of 1893, but bis paragraph vas “virtually an expanded sentence” on one topic. In 1902, however, Charles Seas Baldwin, Assistant Professor of Rhetoric at Yale, would produce A Collage Manual of Rhetoric that began. with the Composition asa Whole and moved immediatly to the Paragraph, which had to be ‘mified, emphatic and coherent, proceeding “in natural sequence without break or jar” The paragraph was itself entirely natural: “So soon as an essay is developed beyond a certain length, i flls naturally fato paragraphs” By 1916, Willmm D. Lewis, a high school principal, and James F- Hosic, instructor at Chicago Normal College, were explaining in their Practical Faglish for High Schools tat a paragraph is “a unit of thought. When you think logically you ‘must think in paragraphs" The same for speaking: “The speaker who makes his audience ‘understand and feel, speaks in paragraphs” Writing in paragraphs was at once the organic statement of coherent ideas and a training toward clear thought” This orgenic paragraph was no mere rhetorical gambit for the late Victorian essayist or Edwardian schoolmistres. Rather, it stood in trust ofthe link between mental activity and physical movernent, and i was implicitly intended to be as operative ast was expressive, ‘Waiting in paragraphs could organize thought jst as thoughts should naturally (organically) appear on the page in the form of paragraphs, following not only the lad of associationalist psychology but also of psychophysiology, a new experimental field toward which Alexander ain looked with especial fascination. In his earliest published essay inthe Westminster Reriew (1942), Bain had discoursed “On Toys,’ pralsing their extraordinary virtues as instru- tents for the development of motor skill, kinaesthetic pleasures and associated ideas andl temories: “The passion for handling is not duly appreciated” he wrote, “Handling has edyouth over a much larger rang of thought than the mere sight {of ornamental objects.” He ‘gued on behalf jointed, transformable, movable, manipulable sys wih the same spi caer the sume endaas he would mach tein find and Body (1872), argue on behal fhe nmportance of muscular effort xo mental stats, The physical and the mental were in his own italics, “a doublefaced unity”*? 4 Assumption of an intnate relation and dependence of rind and body trough” surely la behind Ban's reform ofthe complex act of composition. Much be would oppose his ont an atively unified mind toa Vieworanpeyeology that divided the mind nto inde pendent faculties, so he woul! appose his paragraph 9 2 rhetorie of individual sentences and Tropes. His paragraph was meant to be more than a literary model twas physiological trncing x paycholgiel moment, a marker ofthe passage of mind and body im notion (o- gether unfolding rom a center fui, expansive, transformable genuine? Attitudes qo auch evidence fr the cultural pervasiveness ofthe new kinasthetic seem top distant tran nctualsinewed bodies, we can gither equally impressive evidence from the core con fine of popular theater. Although Diderot the mid-eighteenth century had bes cxitical ithe npariial, sel conscious gestures of actors his solution forthe chester hae been nei- cree Mate Acting nor Nari but series of wel-composed but seemingly accidental tableaux rivonts, as absorbing asthe best of paintings, with gesture and countenance om tionally, wsbly true. The German diplomat Friedrich Melchior Grim wo had by 1765 scan elect companies, gathered in the country dering autumn eveningb. imitating com prone of well-kxown paintings” considered this "excelent fot forming ase, especially Foe young people, and for teaching them to grasp the most decate nuances of characters and passions? Well into the next century, such entertainments would be constant favorites ane Pe and upper-class parlors during the flan winter. Intermixed with poe ly tiyutGritations of statuary) and pantooimic charade that proceeded by dumbshow rebus care nat an wns». a woman gesturing NO + a boy finding a CENT ~ INNOCENT — Were ater avn cavfully arranged behind large wooden frames to “resemble as closely as poste, painted pictures” With extensive costuming, makssp, Props IFO, side lighting End gauze screens aGults ad children collaborated in reeesting scenes ror) dramatic liter- sence sentimental episodes from archetypal life Waking forthe Vedic.” “Sting for + Ba cothe Dancing Leon") litle morality plays or actual paintings and sculptures of group of fignes, As Saab Annie Frost Sheds reminded the readers of he books filled with aeonaries, verses, proverbs and phrases to be enacted at home, “The great requirement on the patel the performer i, of coure, to remain perfectly lla Feat which sia beac- ved to awonderfl degre by practicing before aires” yt tl demang hala dozenTorque: The New Kinasstete rehearsals to manage “a look of strained anxiety” “a despairing expression and imploring gesture” “a pretty attitude of entreaty"* Like these homely but often elaborate amateur theatrials, professional thester and semni- professional pantomime in Europe and North America through to the late nineteenth cen tury regularly relied upon a sctof stock atitudes, a stereotypical language of whole-body and half-body gestures. The language was itself a creature of necessity in France, where most actors had been forbidden by fat, on and off since 1697, to speak or exiled behind gauze screens. They could on occasion sing, and certainly they could laugh, cry, shout, squawk, but they had to (or hed come to) use their faces and bodies in tha hyperbolic manner we now associate with slent-movic slapstick and melodrama, which indeed descended directly from pantomime and penny theaters. However, while Delsarte at the Opéra Comique was losing his beautiful singing voice and turning instead to the mastery of dramatic gesture, Parisian heads were being turned by a different sort of mime, one who covered his features with flour so that the compelling expres siveness ofthe face could be more persuasively complemented by the subtler movements of a flexible, eloquent body. Jean-Gaspard Deburau’s Pierrot and Arlequin appeared in human ‘comedies whose music and song came from the raucous Boulevard du Temple, but whose riovements reflected a unique synthesis of gymnastics, acrobatics, ballet, tightrope walking, the commedia dellarte, operatic dance and the masked (but mute) Greck actor A theater {goer who saw Deburau in action found him remarkable “above all for his exquisite finesse and extreme sobriety of gesture” —so fine thathe could manage a pantomime of the theos- ‘ophy of Emanucl Swedenborg! “Never did he strike a pose so that his own efforts might be admired. Far from assurming that annoying posture of self-importance common to those actors who draw attention to each oftheir gestures, Deburau on the boards moved as if he wwexe preoccupied with rea fe” ‘Although Deburav's son Charles continued, quite literally and far more silent, in the ancestral footsteps after his father’s death in 1846, most subsequent pantominists in France, England and Italy did not maintain Deburau p2re’s sinuous, full-bodied connections between ‘motion and emotion. Just as many of those who practiced the Delsarte exercises of reaction and recoil traduced them into classical pases plastique or sentimental flourishis, so silent mime and (the more vocl) pantomime had by century’ end evidently become an art (once again) ofthe extremities (the hands, the face, the feet) and of static postures — against ‘which the mime Charles Aubert in 1901 would rail, “Its not enough to make gestures and srimaces, For the registration of an emotion to be complete the body and all its members rust cooperate, The grace, definiteness, and power of an actor depend on the harmonious participation ofthe whole organism.” A transitional figure who adored Deburau but pro- claimed that “pantomimes shall be animated pictures, our character living statues,” Aubertwould emphasize that “dramatic movements expres only verbs, nothing bur verbs” yet state grandly thet Acting should consist Always in attitudes ‘Often in facial expressions. Rarely in gesticlations 5” Jaoques Copeau, born in 1879, student atte prestigious Lycée Condorcet andthe Sor bonne, French teacher in Copenhagen, filled ironworks manages clerk in the Georges Pout artyaey, arson drama crit, cofounder in 1909 (with André Gide and Antonin Aru, dinong other) ofthe Nowell Rere rangle ~ he hated cabotinage. He ha seen enough of fom sting ofgsticalatons, geimaces, attitudes living stanues and he was purist enough, lust enough, theocrat enough to establish in October 1913 his owm theates the Views ‘Colombier, dedicated to “corporeal mime” Thc spoken word, he urge must be “the cul- mnination ofa thought fl by the actor inal his being, an the blossoming of both his interior stave and ofthe bodily expression which translates it” Copeau began therefore to retrain ea restrain actors to concentrate upon their nearly nude bodies, faces iden first in srarves later by expressionless masks. When World War [ intervened, Copeat visited Jaques Daleroze, had collogues with theater visionaries Gordon Crigand Adolph Apps saved inthe United Seates(rectng fifty Greek plays at the Garrick Thester in New York Cry), studied Noh drama and returned in 1919 to eliminate the prosceniam the foodights the seenery and furniture of traditional European theater, He devied some of the frst over- head theater lights, so thatthe body rather than the face would be best illuminated by rays that came as if from the sun, spreading across a naked stage.5* ‘On this tag, shortly after World War I, and then at Copeau’ school in Burgundy the new |inacethetic of the twentieth century was joined with what we now understand to be mime Cope and his collaborator Suzanne Bing rined, among others, Eeane Dessous, who 1931 mythopoetically prescribed a thirty year training fr actors the Bist twenty yeas would be sounloss, then five years of cries five years of invented words. It was not that Copeat oF Bing or Deerous detested spoken language; rather, they wanted a language that ate from the center ofthe being, in the context ofthe most truthful body. Face and hands were (4 eus- tomarily sed) “instruments of falsehood, henchmen of gossip’ the ibs, the extremities Should yor “shootout like individual syllables” but move only “onthe condition that they ex: fend the line of force initiated by the trunk.” Corporeal mime had two principles 1 The trunk s more important than the arms and legs 2, When the attitude changes, it should change smoothly. “The manner ofthe mitne, then, “resernbled the slow motion of film,” but it was “the slow production of one gesture fa wich many others were synthesized So wrote Decroux, whehimself never totally abandoned intelligible words and indeed made a number of movies be ‘tween 1925 and 1945. Most influential of these was Les Enfants du paradis, a film about the bohemian life of mid-nineteenth-century Paris, inspired by an anecdote about (ho else?) Gespard Deburau, The great mime had, eter great provocation, killed a drunkard. “What rade the incident enthralling” satd Marcel Carné, the film's director “was this: that all Pais attended the trial a the Assizes Court just to hear Deburau speak. The idea bowled us over.”®® Decroux also plyed in that fil, as did another of Copeau’s student, Jean-Louis Barrault, ‘who would import his background as a mime wholesale into the cinema, even as he spoke: ‘The man who walks isa moving watoue, Walking is centred neither inthe toe nor in the heel. [tis centred at the level of the chest. tis the ches, carried on the supple spinal clam, that should express a will to motion. And beneath this will to motion the legs coast slong” "The first thing ina person to move is that “hollow magical box” of the thoracic cage, and “every gesture originates in the spinal column” with “the focal point lying atthe centre of the stomach, the nave." Barrault called this mime “subjective mime,” by which he meant “the study of states of the sou! translated into bodily expression.”®? Bound asit was to movement arising from the trunk ofthe body and particularly from that area between spine and navel known to dancers, of course, as the solar plexus, Barrault’s acting was the culmination inthe realm of mime of the same pattern of changes that we have seen in oratory, dance, graphology, drawing instruc tion, handwriting forms and literary composition. On its way to the new kineesthetic, mime had shifted from static isolated exaggerated gestures postures pores whose single meanings were ‘conveyed primarily by the face and hands to sets of more fluent les stereotypical atitudes emphasising the extremities and countenance bbut prompted from a heartfelt center to whole-body movements flowing out ofa soulful solar plexus in smooth natural progressions whose drama ly in the torque and dynamic balance achieved in the course ofthe fall sweep of an idea or emotion And along the way, the new kinaesthetic as expressed in mime made its way through film to us, the audience. In the shift from the tableau vitant to the photographic siting to the snap-shot and then to tose ratcheted sets of snapshots called “movies” the technology ofthe imn- age colluded with modern dancers nd corporeal mimes (as twas cllacing with industri {Gme-and-motion experts and scientific physiologists) to redefine the nature of physical grace ie the manner by which ye expect our bodies to tell the tuth about our innermost sees If thotion pictures as technology were a metaphor fr the new kinaesthet's concer with sid potion along natural path, motion pitures a theater were tealy instrumental in reeds cating od and young alice in posture, gesture and gracious or efficacious movement. Paychol- opis G Stanley Hall, impressed by the power of gesture in ent films, hoped in 192 forthe serial of Delsartean clases, Silent-movie stars such as Lillian and Dorothy Gish, Ina Claire tnd Myrna Loy Had sted at Denishawn staos. Charlie Chaplin and Stan Laurel came from tn active pantomime tradition in England, For Hollywood a for the English, German and French cinenas, it wat modern dancers, pantornimists and corporeal mimes who not only performed in butalso choreographed some ofthe most bountiful productions, Few would rer be apprenticed to modern dancers or corporeal (spiritual) mines, yet the indirect impact oftheir shared kinaesthetic upon audiences siting year after year in ver screen must have been enormous. Motion pictures, ke modern dance, corporeal mime and, soon, the schools of naturalis= ticcor Stanislavskian acting, demanded much more than a simple reading of one discrete atti tade after another. They demanded a reading of the body in motion and an appreciation of the fll impulse ofthat motion, As directors learned the tricks ofthe close-up and the dis: Solve, the quick cut and the wipe, movie audiences learned to presume continuity between positions to require more than mere “atitudinzing” to watch fr those subtler mations of face, shoulder, ib cage and pelvis that reflected inner states but had been scarcely visible from the distant galleries and boxes of “legitimate” theater, vaudeville or burlesque “Athough the photographic sill andthe old pantominse spectacle continued influence the staging of early films through tothe twenties, bad movie acting came to be called “wooden” nd “wif? and the glamour ofthe stars came to be equated with a dynamism that drew on the new kinaesthetic — from the dynamic balance of a Chaplin and the abdominal motiva- tions of @ poker-faced Keaton to the menacing torque of vil lains, he slowly unfolding pref of tragic heroines and the seductive spirals of vemps. Ths dynamism transcended the celluloid of the motion picture: adolescents and adults Tearned to make love tothe rhythms of ther favorite film inamnoratas and inamoratos, in the theater balcony or in the back seats of (by 1927) “streamlined” Model A cars; fashion models imitated the carriage of film stars; women's and men's fashions had at last lightnes, elasticity and ease of front ofthe sl- Lian Gishfastening that ellowed for and (by way of magazine advertisements) encouraged those very sorts of full-bodied movements choreographed on the silver screen. ‘Wooden Legs and Phantom Limbs Could the new kinaesthetic come no closer to the adult body than this, this world of fantastes? Itecould, Much closer. Too clase, perhaps, for comfort. ‘After the Civil War, and because ofthe exrnage of that wa, in which $ percent of all white sales aged 18 to 45 were wounded, the United States beceme a leading innovator in the production and fitting of artificial limbs. These would subsequently be adapted and improved by the English, French and Germans during World War LS Between the years 1865 and 1920, ‘changes inthe design of artificial limbs followed with surprising exactness the pattern of ‘changes that elsewhere were yielding the new kinsesthetic — from the conventional (some~ times exclusively cosmetic) modeling of the extremities, to an interest in joints and hinges, to ‘primary concern with the central impulses of movement and thetr prosthetic progressions. “The anonymous author of the article on wooden arms and legs in Didcrot and d'Alembert’ Enoyclopédie had described devices that supposedly fulfilled the functional demands of lost limbs as suitably as they filled theie physical place, but the vast majority of such devices until late in the nineteenth century were monolithic or poorly articulated wood-and-leather repli cas of missing hands, arms, legs or feet. As replicas or as peglegs, they were more often comic ‘than tragic, In Victorian literature and verse, cartoon and caricature, they were disengaged appendages, sometimes gallant, sometimes efficient never of a piece or a peace with the person, When Miss Kilmansegg’s left leg was amputated, she had it replaced, according to the poet Thomas Hood, with a golden substitute, and Ste wae gold ll gold, rom her tle gold toe ‘Toher organ of Veneration! Her greedy husband murdered her “not only for, but with” the leg ‘And they brought it nas Feo de Se "Because her owm Leg had killed her!" With Dr, Silas Weir Mitchell’ still: masterful report on phantom limbs in Infurir of Nerres «aad Their Consequence (1872), amputations (many of which he had performed himself dur- {ng the Civil Wr) could henceforth never be considered perfectly lead cuts. Willy-nily, the body extended its lines of force toward the lost extremities, and movements in phantom limbs were often experienced by amputees as normal, requiring voluntary effort. In addition to the tender youth of many of the recent amputees, the cultural image of the phantom limb undergicded, I suspect, the revival of interest in machining prostheses that accommodated a ‘wider variety and greater fluidity of movement. The well-balanced wooden leg articulated atJknee and ankle with a sponge-rubber foot, the wooden arm articulated at elbow and wrist with a rubber hand cast from the mold ofan actual hand, adjusted swivel cups and slip-sockets at the stumps — these were fitted to many young men during and after the Civil War? “Then came the second wave of incustralization in the United States, and Forty years later George E. Marks could claim that The mowing machine and the reaper have cut off more limbs 1 chan the seythe..., dynamite has mutilated the human body mote than the black powder of former days” Marks mould know, for the company founded by his father, A. A. Marks of New York: City was the leading business house “in the world” for pros- thetics, with one hundred thousand customers and correspon dents, They wrate to tll him how pleased they were with their purchases. “My artificial arm is so natural” wrote fobn Burkley, ance instructor in Ohio, “that the dancing people do not know | which is the artificial one until tell them — which I don'c do very often? F. J. Bernics, a professional prstidgiateur, testified that "When I appear on the stage my steps are clastic and never betray the fact that ] wear an artifical leg”** For the firm of A. A. Marks a fr its loyal customers, women as well as men, the success of the prosthetic disguise was pro portional to the grace and strength ofthe physical movements Prosthetic le. the artificial limbs and arms mad possible. We can see in the Marks Manval of Artificial Limbs (1908) a relatively novel empha- sis upon considerations of weight-bearing joints, of lightweight materials huminum and Sponge rubber) and ofthe need to keep the body in motion witht prosthesis. Indeed, the first chapter ofthe manual ia disquisition on “How We Walk” informed by Kinetoscopie ‘hotogeaphy revealing how kee-flexing varies with speed, and how propulsion results from Tsing on the ball ofthe rear fot. Someone wearing an artificial leg ast walk naturally, Without excessive caution, “propped from the pelvis instead of from the shoulders” so that the torso be undistorted, A, A. Marks reduced the deadweight of artificial limbs to reason- ible numbers G1 Ibs for legs, 1-214 lbs. for arms), advised the stimulation of muscles in stumps to put an end to phantom pains “associated with inactivity” and discoursed t length pon the virtues of exercise to prevent neuralgia and muscle atrophy. The prosthetic deal ‘vas now no longer preponderant cosmetic but kinaesthetic, and that kinasthetie was cen tered atthe pelvis, concerned with the flow of movement outward from an uneonstrictedTorque: The New Kiraesthatle torso through undeniably weight-bearing joints (or stumps) to light and durable extremities ~ Al this without any extraordinary advances inthe surgical reconnection of nerves or the rebuilding of muscle tissue. A A, Marks never promised to restore the sense of touch or any “mental sympathy" berween the amputated nerves and the brain, Nor could the biomechan~ ical engineers of World War I promise tactility as they devised artificial hands with movable fingers and thumbs to enable wounded veterans to return to skilled work.” But prosthetics research would thenceforth take as its directive the complete integration of artificial limbs with the neuromuscular movements prompted, however weakly, from what remained at the center of the body. Kinestructs and Kinecepts ‘We might well go on from here to the historical origins ofthe distinction betweer the bodi- liness one ir and the body one has, between the cultural constructs that maintain the body and the proprioceptive systems that maintain its physical posture.” And it would seem only natural to speak of the history of phenomenology, which has made of the sensation of move ment the fns et orgo of personhood. But Ihave brought us to this point, from the original gestures of a man who had lost his singing voice to the gestures of men and women who had lost their original arms, with mali forethought. For as Ihave been putting in his- torical order the elements of the new kinaes- thetic, it must have seemed as though T was contradicting the received wisdom sbout move ‘ment and the body during the twentieth cen tury. Carrent wisdom maintains that modern life, with its essentially industrial momentum, has processed our world and our bodies into dissociated, fetishized, ultimately empty and ‘machinable elements; most perversely, I have been positing the emergence of a new kinaes- ‘thetic that insists upon rhythm, wholeness, ness fluidity and a durable connection between. the bodiliness ofthe inner core and the outer expressions ofthe physical self Lest I be accused of taking too lightly the current wisdom, let me briefly (and without 1930—the first tlashoulb news photo attribution) make clear how finely knitted its smokeless version of the lash was adopted by news potogre reasoning may be pers immediatly efter its intreduction inthe late 1920s. Toe tripod mounted “open flesh” mathed — in which the shutter was hale apen unt the flash could be manually set off — son eave ‘vay {othe fully bile unit In which the shutter reloase wa mechanically synchronizes withthe dlacharee of electric current allowing both cemere and tlash te be hane-hel“The West entered the twentieth century in the company of assembly fines, time clocks, scientifie management, time-anci-motion studies, Hashbull photographs, sik time music and Cubism, These conspired ot anly €o make people inteosely aware of isolate to fractionate them into multiple perspec films, rage ‘moments but aso to isolate their own movements tives infinite exposures. Like snapshots and headline journalism, the rhythm of life inthe wr dances, Atthe factory, : neve century has been as staeeate, syncopated or jer as mast popu ner kitchen, in commercial elevators and business offices, on the escalators of | moving sidewalks of international aitports, people have begun to ' department stores ard eee henseles like robots” (rom the Crech word fr dradgers an very in Karel Cape's 1021 play RUA) No wonder that such thea Dadaists and later performance artists would call for a marionetted or mechanized (nonbu- sisionaries as Gordan Craig, the Futurists the san} stage. Perhaps shocking, this way certainly congruent with 2 scientific worldview that has tended inereasingl-to treat human behavior as patterns of stimuli and responses, redue ing mine! to brain and brain to electrochemical impulses, and treating organs asinterchange- the parts. Rather than the classically harmonious body asthe ruling metaphor of good gov ment, the commanding image is haw thy machine: the well-oiled machine, the corrupt tmachine, the braken-dawh machine, the totalitarian juggs mnaut, the serap heap. Our bodies n smoothly or break down, com themselves have been configured into machinchood ther pte oF go haywire. We lead monotonic Hives punctuated by absestons with an imporstbe perfection (mechanization) of the bos in yport in sesual congress aa in childreaing We ve uncomfortable svith anything less than a streamlined figure, lawless, odarhens eetachedl “id detachable. While we pay our respects to a psychology that labors co (reintegrate the he body with Fragnsents, and be: body, we spend far more on weapons designed £0 shatt come fascinated with pastiches and diversely multiple personalities The moalera Kinacst embarrassed bx modern élancers and geaphalogist, i really that which has mowed away rom Fluent cursive hanchriting to the staecata press-amt-slap of manual typing and the verticals ‘of manuscript (printed) characters: away From elegant, spiraling Mlourshes of arm and pea to sinaple taps on an electronic keyboard. That is broadly. the progression we hare witnessed in ant other mata tasks as also in the painting of portraits, the styting of household goods, tion but not the cooking at food. Allin all, we have managed speeil but not coherence, re ncaning, isolation but not independence, jastapesition but nat integsts: Se runs the cure svisdom, And vet, this essay has been neither so perverse nor so contrary as might appear for the current wisdom is at asta evitique — 2 eritique Founded upon, and grounded in, wothing fess than the new kinaesthetie. The ideals of movement embedded within the assuryptions of that critique are precisely the ileals ofthe new kinaesthetic There is, to be sure, a difference between kinesthetic ideals (or Kinestructs) and cer: tral kinaesthetic experiences (kingcepts).7 Was the new kingesthetic a protest, seting its zone 105Torque: The New Kinaesthotie inestructs against the kinecepts (and technology) of our century, as the mannered attacks ‘of current wisdom would imply? Or was the new kinaesthetic promoting kinestructs in cte- ative tandem with changes in kinecepts?™ Dudley Sargent, Harvard's director of physical education, wrote in 1909, “This demand for rhythmic exercises is felt all the more keenly atthe present day, because the introduc- ton of steampower, electricity, and labor-saving machinery has taken this factor out of our lives... What wonder that ragtime music (which is ll rhythm) has been taken up by the best society” Sargent’ premise was that a kinestruct had been set against the ruling kinecept. Social dance forms were not consistent with, but rebelled against, the kinecept of working life, Perhaps, then, the childrearing and educational kinestructs ofthe new kinaesthetic ‘were counterbalances to the (anpleasant) kinecept controlling most working adults. Iso t sight well be profitable to consider modern “adolescence” asa stage during which youths revolt agninst a disjunct kinecept they must eventually accommodate. ‘The flow of my argument, however, has been toward demonstrating that the movement ideals of the new kinaesthetic were indeed incorporated into most if not all ofthe central ovement experiences of tis century, from nursery schoo! play and grammar school pen rmanship on through organized sports? to adult gymnastics and beyond, to the design of prosthetic devices. The training of large- and small-muscle movements was regularly if not always allied to the new kinaesthetic in both its expressive and operative aspects, with which technology was often concordant.” “More specifically I would tentatively suggest thatthe kinestructof the new kinaesthetic evolved tothe accompaniment of a kineceptual (and technological) transition fiom the push to the pull-and-sid, Elizabeth Selden, writing in 1930 on Elements ofthe Fez Dance, ditin- ‘guished classical (pre-1900) ballet from modern dance in these five ways “The main action for speed in ballet was the kick, in modern dance the sing Billet was a technique of thrust, modern dance a technique of winding and unwinding Ballet dancers worked tothe best, mavlrn dancers othe phrase, legato; Ballet was composed of disjointed sercs of highly articulated motions, modem dance of integrated motions of pull and release; Bulle artists made quick changes in direction, modem dancers worked along the path ofthe Selden was overstating her case, but her contrasts were paradigmatic ofthe rhetoric by ‘which the new kinaesthetic made its pitch, and also of the kinds of movement experiences introduced through advocates ofthe new kinaestheti. Teachers influenced by modern dance and physiological theory likely led their students in exercises of pull-and-swing more often than in exercises of push or press. I find this in books on games and rhythmic movement for middle-class children in the twenties. [find this in the most popular newplayground equipment: the jungle gym, the backyard swingset, the metal slide." "Among adults find evidence in typing, where speed-typists emphasized rhythm, con- sinuous flow of motion and stroking rather than striking the keys, just as piano teachers began to insist upon the stroke rather than the strike ofthe ticklish ivories, Early twenticth~ century concert pianist Ethel Leginska, educated in the high-finges,rigi-wrist school of eethoven, Czeray and Leschetizg, did not yet believe “in the so-called finger stroke”; none- theless, she obscrved in 1915 that “It was not the fashion of (the late nineteenth century] to py with the relaxed frocdom, with the breadth and depth of style which we demand of artist to-day In those days relaxation had not received the attention it deserved, therefore ‘ve should probably/find the playing ofthe greatest artist ofa Former generation stiff and angular” She herself did believe “in absolute freedoan in every part ofthe arm anatomy” and in the natural weight and pressure exerted by fingers close to the keyboard than her masters right heve allowed, Tobias Matthay, whose books an piano technique and whose Afusaular elasation Studies would be far more influential than the words of his contemporary Leginska, described in the same year the important rotary motion ofthe forearm, and advised that You must never hit «key down, nor hit ti, The fingertip may fall on the key, and in gen ‘dy reaching the key you ray follow up such fll by acting against the key? in perfect minia~ turbof the fall-sweep-and-rise of the early modern dancers, And then there was Anton Rubinstein in the twenties: “Instead of sitting bolt upright asthe pictures in most instruc tion books would have the pupils do, he is inclined decidedly toward the keyboard. In all his forte passages be employed the weight of his body and shoulders” Which was congruent swith Beryl Rubinstein’s Outline of Pano Pedagogy, emphasizing in 1929 a continuous, never- spasmodic flow of power from the shoulders down into the fingers. By the fifties teachers of classical plano were even willing to adit into the heart oftheir system that very rhythm, and swing only jazz pianists had cultivated before, “In the 16905" noted Frank Merrick, “young gils were instructed that it was wulgar to swing their arms as they walked... These self-same vulgar movements, carried back and forward, parallel with the line of your foot- ‘steps, exactly produce the Jooseness [atthe shoulder] advocated in [my Practising the Ptono].” ‘The culmination was at Julliard with Abby Whiteside, who had taught since the twenties and would at last announce thst “It isthe body as whole which transfers the idea of musie into the actual production of music} from the torso through the shoulder — girdle to the arms and fingers — that i, from center to extremity, just.a he wrote) a dencer moves.” The Poetry of Motion ‘Admittedly, people had been pulling on doorknobs before Delsarte and they would push on bicycle pedals after Duncan and Jaques-Dalerore. But, as bicycle-shop owners Wilbur and Ocrlle Wright wel knew the kinaesthetic experience people associated with the bieycleTorque: The New Kingesthetic since the improvements of the 1880s and 1890s — tubular-seel frame, ball bearings, chain- gear drive and rubber tires the same size front and rear — had more to do with slide-Uft and-pull than with a simple push. Downhill, the bicycle was lke a sled, and one could “glide away toward the base” On the flat, one sped along, in command from the center of one's ‘own body and moving aways forward, outward. Exilorated, “lifted out” of himself, “up, up from the body that drags" a trainee at an indoor cycling schoo! in New York City would exclaim, “I was going round and round the place, not pushing pedals, but fling My world ‘ook on a new aspect. was master, or about to become master, of the poetry of motion." “That, inthe end is what cis essay has been about: our world taking on a new aspect ‘through the incorporation of a poetry of movement, Laying to one side the cultural history of kinestruct and kinecept, ! am convinced from my own experience as a modern dancer, # a teacher of dance improvisation, as a bicyclist, as a longtime student of ti chi, that people hhave not begun to move like machines. Nor do they admire mechanical motion in others, except perhaps to applaud the patience and phenomenal physical control of those perform- cers who imitate penny-arcade automata and repeat a stilted series of isolated movements » extremely difficult to learn. women, men and children these days experience themselves | as off-balance, gawky, clumsy, stiff, they also share a vision and experience of flowing move- | ment spiraling outward from a soulfl enter. That vision and experience may be soon trans- formed by a powerful literary and cinematic mythology of androids, cyborgs and free-fall, ory an art of amazing puppets and marionettes. There may soon enough bea very different notion of what itis © move or move well. In the meantime, we may say grace Norss 1. Genevieve Stebbing, ‘Deaarte's Address Before the Pilotechnic Society of Paria” Genevieve Stebbins ed, Delarte Sytem of Exon (New York: FS. Werner, 1902 (1885), p. 67; Abbé Delaumosne, Delurce Sem of Oratory (th ed, New York: E.S. Wernes, 1893 (1882); and Angélique Arnaud, Francois Del Sore (Pars, 182). 2, On these critiques, se ep, Michael! Fried, Absorption and Theat: Painting and Beholder in he ‘Age of Diderot (Berkeley, University of California Press, 1980), pp. 77-82, 95-97, 101-104, The zlaively state, “inoffensive” system of geticulationspraclced by many actors, preachers and orators during the cihteenth century wa taelf «reaction agnnst mid-seventeenth-century “Phanataclm and Poppery! as ‘he English translator wrote in his prefice to Michel Le Fauchewr's An Ezy spod he Action ofan Ort, ‘010 Tis Pronanciaton ond Gertre (London, 1680? (1687). Le Pauchews, far example, frowned on "fickle [Agitation”(p. 178), the shrugging ofthe shoulders (p. 193) and the usa ofthe left hand alone, which Yean make no motion of itself bt what is unbandsome and disagreeable” (p, 198), See als attacks upon the centhusistic style of an erly cighteenth-century public apeaker who was personally opposed to “tile” lectures: Grahatn Midgley, The Lf of Orotr Henley (Oxford: Clarendon Press, 1973),p. 921zone 109 pp 615-14; aed Te Shawn, dey Lele 100, 3. Frovely A Dorinage, “Delrty' dans Momsly 27 (1871 dha (24 ed, Piste, ase: Fogle Pro and Binding, 19 ovement Book about Fran 9 (or cuoces). On MacKaye, see Claude L. Shaver "Stele MacKage andthe Debatian Tradition’ 60 Karl R Wallace ed. Hitt of Speh Education i Americ (New York: Appleton-Century.Crafts, 1954) gp. 202-18;5.S. Curry "Delsarte ad MacKaye The Tice 7 (Mawch 1685), pp 12—4% Perey MacKas, 67am no’ Whie Cy af 1893 (Lexington: University Press Epoch: The Lif of Sse Mace, 2 ols (Ness York: Bori and Liveight, 1927) so. pp. 18 vo 4 fur quotes Davi F Burg, Ch Kentucks, 19761, pp. 227-28; A. Nichi Vata, Sager Sena: Thearical Oxpins of Ears Fle, David Gori 9 DW Griivh Cambridge, Moss: Harvard Universe: Press, 1949).pp. 135-51 iquote on p. 136), sd Willa R. Alger “The Aesthetic Gymnastics of Desa Hermer:agine formes The tie] 16 (an, 18941, pp 4 4. Duncans in The Dior (Marc 1898), p10, here also was reprinted an intersiee with Mrs, Honey Sep ‘late a6 1626, a Denishawn dancer wad comment that “mest of what id eape down [ova Ruth Ss us: rent, n a interview give to the New Yok Herald (Feb. 20 898), was printed 898), Denis’ lectures] ssere er quotations fran Delsarte, schon she greatly aired and eespeet: one Sherman, Soering: Fhe Digy und Letter of Dentave Dancer inthe Fur Ba, 1925-1926 (Middletown. Coan: Wesleyan Univesity Press, (976), p23. ed Sheldon Cheney tN Yorks Theater Arts, 1970 (1928), 5. Isadore Duncan, Tht ofthe Dan p38, 54-55, 100, 129, 136-37; Gaspard Brscher. “The Res Farum 46 (911). 326: lema Duncan, The Tecnu of nado Dunc (Nev Yark: Dance Hosivons, 1970 eth isance ofthe Danes: Isdors Duscas,” [1937]) pp. 11-13; badors Denean, fr Life (New Yrs Bon and Liseight, 1927), pp. 75-07; Eli Selden, Elements afte fice Danes (New York A, S. Bornes, 1930}, pp. 54-61; Gertrude K, Coy Natural Rhscnsund Dunes (Ness York: AS. Barnes, 1933 [1922s 13; Helen Maller, Daocing with Helen Malle, 1918) p. 96, and Katharane Eon, “The Aet of Gestre? cel, Curtis Bonham (New Yorke Joa La Deals Magaine LL (1924), pp. 184-$6, Sec al Josh E, Nios omic earns ro Danke New Aik: Espostion Pres, 1957), pp. 77-105. “The solar plesus a6 “a Kind common centee of aeion ane ssmpathy to she we system of tren Epademe Diss (183%; ed, Boson, 1838] p. 10} bad assamed nerves” [Syhser Graham l Ls jn she nineterts eeu with the vest {es polticn-anstnical pace at the pit af the stomach ea tions of French physiologists ts centrality wa, aspect, further if naverteth strengehene by the ater rncurophysinlagealinsestigations af David Ferrier (1876, 1886) on “pinay nranized sven” and of vom Te Ignited Acton ofthe Nera Sytem (Sen Hae, Conn. Yae University Charles Scot Shering Press 1906}; se al Richard E.Talbort, “Ferrie Movement" in Talbott ane Donald R, Humphrey cd Pacure nd -Hnuaene (New York: Raven Pres, 197), pp. 6. Alough eis esa fates upon movement andl movements in she the Synergy Concept, a the Std of Posture and rh antic ene, ar specially within the Usited States which olor arguable the Feast resistance tothe nes RinseathetiTorque: Tha New kinaesthetic that kinaerthetc dd nt have exlsively Western roots, West Atican, South nan, Sufi Balinese and “Japanese movement Forms (rom the Nok dramas snd marta) were central nsplrations not only for dancers but for actor ard mimes onstage and in lent pictures. In this context it notable that slngside Judo (redesigned by figoro Kano in 1882 and brought to she forabe attention ofthe Westin the 18503), 2 “new sem of panese weapoalesssel'defense was made public In 1910 by Morthei Uyehiba, bere tary auccesor to the secret Takeda family tradition of datoyucit-jo-utse, or aiddo, The kiaesthetic of aikido — maintaining the low of he (life force), centered ie above the pelvis and in font ofthe spines initiating rela or spit] mations om the torso outward matching movement and rhythm to that of nes ‘opponent, stepping forward with fet sweeping slong the ground; acknowledging the fl force of gravity and smasterng si (eat falling) — wae nearly identical to the kinesthetic bespoken by many modern dancer, Se Senta Yama and Alex Macintosh, Te rincple and Practice of Aikido (New Yrk: Arco, 1966), csp pp. 15, 18,23, 26,29; nd fohn Stevens, Abundeat Fence: The Bgropy of Morbi Upesita, Founde of Aikido (Boston: Shambhala, 1987). 1. Sinclar Lewis, Weld End (New York Viking, 1940), pp 5,6; Emile Jagues-Daleroz, “Eurythmics atid ts Implications? Musical Quercy 16 (1930), p 360; Kem, Rytha, Msc and Education, ed, Harold F Robinstein (New York: Arno, 1976 {1921}; Erma Branet+Lecomte,Jaques-Dolroze, 0 r, son opaze (Geneva: eebes, 1950); Alberto Lanlad, Recherche sur le orgie, nt tin ot Fst de a gynastque modern (Pris: Pederation Frangie de gym rastigue educative et de gymnastgue volontare, 1966), pp. 40-45 8. Chace ghar, *Musi and Phyial Graces The New Rythme Gyn- ‘nasties? Goed Housekeeping 52 (1911), p. 117; Lincoln Kirstein, Done: A ‘Shore History of Clase Thaztrcal Dancing (Brooklyn: Dance Horzens, 1969 (0935), pp. 303-305; BrunetLacomee foges-Dakoz, p14; Martin Green, oust of Tah: The Corman eas, Ascona, 1900-1920 (anor, NE University Pres of New England, 1986), ch. 3 (quotes at pp. 86-87, 90, 92, 96, 101); John Martin, America Dancing (New Yor: Dodge Publishing, 1968 (2936), pp 96-98, 180-205; Mary Wigmnan, The Mary Wigman Book e. and trans Waker Sorell (Middletown, Conn. Wesleyan Univerity Pres, 1975), pp. 25-54 61-68, 8-85; Ann Hutchinson Guest, Labanotaion (Fe ed, New ‘ork: New Directions, 1970), pp 24 Rud Laban, Chores, ed. Lis Ullmann ‘London: Plays, fn. 1966), pp. 3-5; and Irmgord Bertereff“Eflort/Shape fn Teaching Ethnic Dane, in Tamara Coratoc, ed, New Dimenson n Dance Rework: Anthoplay and Dance (New York: Committe ox Research in Dance, 1974), pp 176-78 9, Tam condensing here the analytical aaraive supplied mot interestingly by Philp E, Haramond and Sandra N. Hammond, "The Interal Logic of Dance: A Weberian Perspective on the History of Ballet” Journal of Sal Hiner 12 (1979), pp. 991-€08. 10, Forhis analy of the particular achievement ofthe Wright brothers Lam heelly indebted to Emile Jaques-Daleroze 1865-1950,“om, Croueh, A Dream of Wings Areas ond te Atle, 1875-1905 (New York Noto, 1980, <5 tp 18-35 25,282. On Amerkanined Delt sc alo Nancy Le yer Romer nd Ysa The ercelocin of ie Arc of Dance (New York: Dance Horizons, 1979) ch. 2. egret Naarberg, “The Dalroze ea: What Eurythncs rand What Means! Oatiok 1G adj yp 27-3 Ruth Si. Deni, Muse Vili’? Deaown Mapes 13 (1925) BP 5) 1Syand ce onan of Tuts, pp 96,98, Se aso Elzsbeth Kendal, Whe She Daned (New Yor: Kop Tor) part which tree the og of moder dance in the net in of Ameren bat = all, ae caval ight norement (1) — but rave wpn Ariza popsar these and pyc que to exp the particular syptheses achieved by St Desa Dunc 1 puma ff Dane pp. $2, 79 Her, My Lf 75 85a pin Mall, Dacng wth een Males Se Desi, "Th Dance Le Experience? Denisa Magne Lt (924), pp and Tel Shawn, we itor ofthe Art of Dancing Part id, pp. 46 See alo S.A Keiegsman, Mode Danes ia sense The dentate Kar (Boston: G.K Hal 981) Tipe and wraaormato pect of he aac dance ey be seen eapeilly lal athe responet to, and wntings of Tole Palle a anesr vnc kaprtant caer ase nyo de fis and doe di” was devoted opening at craton red pot language truthful” ANhough progenies of the praling movements of modern eee paerwer mse entanced ky the tn of sand the manipulation of gt than sh wat tere ta he echuiqus or experience ofthe body inl and so T have omit her fom my secon so boner the ite ety by Frank Kermode, “Poet ad Dancer Before Diagn” Slimagunst 3/94 (Q516 pp. 25-47, rom wich ep. 44-45) Tha awn the quotations immedi above ere ee French precedents Cj Tin, Gyazotiqne métalet uialePr 74D sand ico aly Ppt crain ds ol pa meet 2 ed Paris 1856 (155), So “ly (Net Engine)" Diceoaie cde graph nga (aris Lec ot Ant 1965) wo. 10 8.6 Th, Sebbine, Debate Sem of Expression, pp. 43943, AB0-86; Emly Montague Bihop, Se Byron and sah: Anerionized DalateCeltar (8, Chatangst, NY , Bishop, 1901 (1892), Pp. 26 sau-bo; Rash Dench Wiliam Boge, "The Dance in ysl Edson Jura f Heh end Pyle Edin 3 Qn. 1932), p16 61; Ted Shan, “Ponce of Dango en Ibid. ¢ (Dec, 190), pp 27-29, 60-61; Brant ecamte, oat Dales, pp 2-83 Rel San Fon Vibe Spo; tan W ad J.Compton- Burnet (24, London, 194 193TH Sie theosopicl veraron upon Joges-Dalro, and Sina Jeanne Coe, ed, Dan ara Tet Art New Dodd, Mec 107, pp. l6-53 (or satementeby St- Dens, Graham, Dances, Wignan and Doss Home) aly diet eerence dance ansforing character was made by Mrs Aled Webs “Dascng* TeAffects the Mind)’ The Direrar(Oct--Nox 1898), pp. 269-70. Te Claude Saar, LABBE oen-Hippole Mickon, 106-881 (Pare Les Belles Lettres 197), pp. 235-54 Philippe Berto, “Grapholole’ La Grande gape ui Lamiralt, 1886-1902), pp 220-35 and Ele de rH de grap Pris 1874, Fora ine same oglu ofthe Michon tem ee Cora Finn Daniels and CM Sterns, Grape Eneyoponla ofTorque: The New Kinaesthetic Speers, Flore, andthe Ocalt See of th Weld (Chicago and Mwave: H.Yewdsle 1903), vol 3, pp. 1652-688, 16, | Heriot, “La Gphologie” Ree pliophiqne dea anc de anger 20 (88S), pp 495-512, tl of Michon; Gabriel Tarde, “Le Graphologig? ibid 44 (1697), pp. 337-63, evlewingCxépensfemine 1 Brae te cre Paris, 1896 (1889), which wa ready translated by John A. Schooling Horsiming od Exreiva (London, 1892) and mone cacy by 1. K. Given-Wilton, as The Pyehalg of he Movant of Handing (London: Routledge, 1926); JlesCrigieus fain, ABC del prophage th ea, Pare: PULF, 1970 1929); Arte Ars, La Gripe pif Qe, Pas, 189 1891), pope lareng C1épieu-Jmin’s ester and conderaning the pagarism by Telian crisinologis Cesare Lambroso ‘inhis Manual Hoel golagia (Msn: Hosp, 1895); and Alfred Bnet, Ler Réauons de ure pds sun cantrlesienfque (Pars: Alcan, 1906), 17 Lodhi Klages, Hanh und Chroker (LepagJA. Barth, 1917) em, dusacsbemeung aad Ganohongetef tens. by WE, obnaton a8 The Sconce of Character Cambridge, Mas: Se-Art Publ 1932) from the Sth and 61h German editions (1928 [Ist Ge. ed. 113), Willa Preyer, Zar Flog des Seiden: (Leipl, 1895); and Klara Rorian, “Grapology, Histry of? fn Rose Wollon and Maurice Edwards ede, Enjlopedin ofthe Writen ford (New York Ung, 1968), pp. 174-79. Brief accounts ofthe system and wide influence of Klages sppest in laine Eliberg, “Graphology and Medicine" furl of Nevous ond Mental Diseases 100 (1944), pp. 381-401; John Bell, Prete Techlgus (New York Longmans Gren, 1948), p. 291-94 Robert Sauk, "Whiting Monements Indicators ofthe Writer’ Socal Behavior,” Journal of Seal Pyehlogy 2 (1931), pp. 337-A0; and wee Hayden V White, “Klages, Lig (1872-1956) Englopada of Phlepy (New York: Macmillan, 1967), vol 4 pp. 343-44. Klages ner became leading decogit forthe Nas 18, Certain divergences, homever, were aged to be unhealthy by crimaologst who, 1872-1956 for example, Wdentified pasty handting with sppresed sensual or depraved sexusy, {his moral sckentsm lingers today In mach ofthe traning tertare for handwriting anal 19, On the criminologiel bent, sce Renée Rubin's review of mater n “Handwruing t «Digaonte ‘Adin Mental Illness M.A, Thess in eriminology, University of California t Berkley, 1952. For dhe res, see ane E, Downey, Gapholgy and the Pach of Handing (Baimore: Warwick and York, 1919} and Gordon Alport and Phi, Veron, Stade Epitome with o Chapter on Marching Sehr of Pasealiy with Sage (ew York ad London; Helier, 1967 (1633), pp. 185-248, wth lla sty 1H. Cant H. A, Rand and Allport, “The Detertnaion of Personal Interests by Pysholglal and Grapholgiel Method Charaer ad Peronalay 2 (Dee. 193), pp. L443, with comment by Jon Nloun, pp 144-S1, Adelle H. Land, “Grapholgy: A Paychologicl Analy” Une of Buf Sta 3 (1923-26), pp 81-14, proves an exellent methodologic eque and orerview af graphologcal assumptions. Good revi of retearch since 1933 appari Fitz. Flackiger et, “A Reve of Experimental Research in Graphology, 1938-1960 Ppa and Motor Shi 12 1961), pp. 67-0; Iteratonl Graphologil Sole,dn Annotated Bbigtdphy of Sader tn Handwriting Analysis Research (Cleag International Graphounaysis Society, 1970), and Ving E. Herrick, Hondwiting and Belted Fava 1890-1960 (Washington, D.C: Hand iting Foundation, 1963), sec. 18, 20, Robert Sadek, Experiments with Handing (New York: Morrow, 1929), pp. 23-24, 30-31, 128, 227,271-81, 2. Chorles-Lous Julio, “La Grephologie ct Ia médecine?” Le Prete médicale 40 (1932), pp. 188-90, 03-805; Paul de Ssinte Colombe, Graphotherpeutce(Hellywood, Cali’: Lauria Books, 1966), pp. 13-16; and Mion N, Bunker, Handheting Analyt: The Sec of Dtemining Peony by Grphoanalstr(Chleag ‘Nelson-Hall, 974 [1980), pp. 9-13. In the contet ofthe discussion that follows its important ro mote that Bunker's Sire rock was Physical Ting for Bays (Boston: Lothrop, Lee and Shepard, 1916). 22, Edmund Burks, Philosophical Enquzy into she Origin of Our Ider ofthe Sublime and Beans (Sb ‘ed, London, 1767 (1751), pp: 245-82; Gilbert Austin, Chironomia or a Teatine on Rhetorical Delay, ed Mary M Robb an Lester Thonsen (Carbondale Souther lina University Pre 1966 (1806), ep ch 225 Roger de Guimps Pestaoeis His Lif and Wer, rans from 24 French ed, by - Russell (New York, 1896 {lst Fr. ed, 1874), pp. 105 (on Fichte), 160 (for quote): Gerald Lee Gute Jeph Nef The Aretcanienin of Pesalocsctin(Tascahoss University of Alabama Press, 1978) 5p pp. 12-25, 75-16 quote on pT: Lewis F Anderson, ed, Pestle) (Westport, Conn : Greenwood Press 1974 {1921D, exp. pp. Sl 147;and Ralph E. Blo, “Eldenceof Play and Exercise in Early Pestaloraan and Lancasrian Elementary Schools tn the United States? Resoreh Quote 23 (1952), pp. 127-35. On the Wild Boy of Aveyron, soe Roger Shattuck, The Forbdden Expevtment (New York: Faraz, Suaus Grou, 1980) Physician Ttard’s concern with ‘he boy hades odo with training hi body already strong and wel coordinated than wit cling speech, roof of una intligence. Their eva together belong mare propery tthe history af approaches to the deaf and deb, a avenue HTeave unenplored in this esa, excepting the reared subject of mime for which see below: 15, David Elion, Gestore, Roce and Culture (The Hague: Mouton, 1972 1861), pp. 49-50, citing ae- counts ofthe oratorsby Ear} Curaon of Kedleston, Madera Paromentary Eloquence (London: Macmillan, 1914 and Dsvid A, Harsha, The Most Eminent Orato... (New York Sebnes 1864); Georg L Reymond, The Onatork Manual (Freeport, No: Book for braves Press, 1972 (1910), pp. 125-51; Dale Carnegie, abe Seng ond lfluncing Men in Busines (24th printing, Ne York: Atocation Pes, 1937 (1926), pp. 240-41; de Guim, Asolo p. 167; Thomas A. Barlow, Petals and Ameren Hiucotin (Boulder, Colas Este Es Press, 1977), p 20; and Gute Jone Negf, pp. 26-27, 74 10, nd 2¢ for quote, from C.D. Gardette, “Pestaloa! in America.” The Galy 4 [Aug 1867], p 437) 24, Hollman Reynokls Hay, Fen dpe to Angels An Informal History of Soil Anthrpolgy (New York Kop, 1960), pp. 18-20, 183-85, 197-203; Any Peterson Reps, The Anhropalogy of Danes (Blomingon: Indiana University Press, 1977) pp. 17-26, Willed Dyzon Hamby, Zibl Dencng and Socal Dewdopmest (New York: Macmillan 1927); Alfred R. Radcliffe-Brown, The Andaman islanders (New Yor: Free Press 1964 (1922, but west 1908-1909), pp. 247-53: EE. Evans-Peitchard, “The Dance” Aja 1 (928),‘oraue: The Now Kinzesthatic 1p. 457,459; Karl Groos, The Ply of Man, trans. labethL, Baldwin (New York D. Appleton, 1908 (1898), pp. 20-25; and Karl Biche, Arbelt und Abydhmas(Leipeg, 1897). Havelock Eli soon constructed an Influential serthetie upon the same basis The Dance of Lyf (Boston: Grosset and Dunlap, 1973); e¢ Pal Souriny, U Eshétique du mouvement (Pacis, 1889), pp. 50-54, Shattuc’s Forbidden Experiment (note 22, hove) is an account ofthe study of savage” isolated within civilized society. At the same time chat Isr ‘nas completing his second report on the Wild Boy of Aveyron, the Scotsh anatomist Charles Bell was issuing hie Anatomy of Exprsion (1806), dealing with questions earlier rised by Johann Karpar Lavater shout the inatenes of gesture, quostens later pursued by Duchenne de Boulogne in Afécentme dela plysionomie humaine (1862) ae by Charles Darwin in The Exprsion ofthe Enotions ia Men ond Animals (0872). By the start ofthe twentieth century, a person's repertare of gestres was generally considered by sthropologits, physiologists and prychologits to bea complex mix of autonomic reflexes rac inher- tance cltural conditioning and idioeyneratc experience, Exactly where one lay the burden ofthe expres sive or the operative aspects ofthe new kinaesthetic depended ( suspect) upon ones politcal position, an Issue which begs for study. See, for starter, Roger Cooter, "The Power ofthe Body: The Early Nineteenth ‘Century n Barry Barnes and Steven Shapin, os, Notoral Order (Bevery Hila: Sage Publications, 1979), pp. 73-38. 25, Thaddeus L. Bolton, “Rhythm,” Arrican Journal of Pychlogy 6 (1894), pp. 163-64; R. Squire, “A Genetic Study of Rhythm? ibid. 12 (1901, pp. 492-589; PF Swindle, "On the Inheritance of Rha.” ‘bid. 24 (913), pp. 180-213; Chebtian A. Ruckmich, "A Bibliography of Rhythm? ibd. 24 (1913), pp. 508-19; RH, Stetson, “A Motor Theory of Rhythm and Discrete Succession, Tand Th” Pychalogeal erlow 12 (1905), pp. 250-70, 293-350; T Graham Brown, “On the Nature ofthe Fundamental Activity ‘of the Nervous Centces..." Journal of Pyslegy 48 (1914), pp. 1846; and see Harbart Spencer, Fast Principles (4a ed, New York, 1898 (1864), pt. 2 ch. 10; Lather Gulick, “Some Paychial Aspects of| ‘Muigular Exerete” Popular Slence Monthy 53 (1898), p. 797; and Edward Drinker Cope, The Primary Racor of Ongane Erclaton (Chicago, 1896), pp. 245-384, 496-516. ‘One outcome of thie Phenomenslineretin physiological rhythms was the careful study offeriity cles and the promotion fs more reise rhythm method of contraception: Leo J. Laz, The Rythm of Seri and Fert in Women (Chicago: Laz Foundation, 1932) 26, 1. Charlton Bastian, “On the ‘Muscular Sense’ and on the Physiology of Thinking” Bri Media Jour (May t-June 5, 1869), pp. 394-96, 437-39, 461-63, S09-12; George H. Lewes, “Motor Feelings nd the Muscular Sense" rai 1 (1878), pp 14-28; Theodule ‘A. Ribot, “Contribution & la peychologie des mouvements?” Rere pilosphigue de ka France et de I" Granger 16 (1883), pp. 188-200; Eugene Gley “Le Sens musculae’ et les sensations musculaires?” {bid 20 (1885), pp. 601-10; Charles H Judd, “Movement and Con- sciousness” Pycholagial Review 7 (1903), sonograph supp. 29; Ivan Petrovich Pavlor, 1888-1936.zone us {8 Phd "he Phew of Movement in Cineionsaess iil (194, pp. 88-99; Margaret Waskburm ean an Metal agg: Onn of Mots Thaw of the Compleser Ment Pras os Hoon Malin, 1916); Cae 1 Willan James Th Eons (Se Var alors 1987 [922] Walter Cannon, Reif Chungs on fin, Harye,Batraind Rage (Xe York and Lonan: 0, Applotan, 1915; very ns: A Critical Esarsination and an Alernate Bat Lange ey M294, "Th Jomes-Lange Thevey of Em Bitar (ee New The Yk: WW Nopton, 1930 [924-25 ps Louis W: Mas, An Experimental 8 CConschuss" our of Genet Pasay UL (1934), pp 12-25, and hi. 13 (1935), pp. 159-75, Abraham American Jornal of Pcholaye 39.1927), pp Hle—24 J fro the Naor Theory of A. Roach, Bsevinay ur Twent=Pive (Cambridge, Mave: Se-Avt Publishers, 1937}and G. VN. Dearborn “Kinesthesio and the Intligont WH." Amore four of Pyeiyr 28 191), pp 27 Seeespecaly Lilian E Appleton, Compute Stud af Ply ete of dot Ses and Cid s, 1910), which s sneha etal of tis caltare~epac the se Slander Chonburi, The Chi. Stadt Children (Chicago University of Chie Pr ory of eduction, Br the tory nis sos! base Fri, the Be a (Londo and New York: Sevibners, 1901), 28, Willams Preyer, The Mind ofthe Chil rans 1, Brien, 2 ws New York, 1890-93 [LKB sok ap. 339: Stake Hall ard Joseph Jost “Studios af Rhsthon 1" ind 1 86), pp, 535-62: a vm, go Pr Dorothy Ress G Stale Hall The Pcie as Proper (Chikago: Universi Chie pp279-H8 29, Frolic Burk, "Front Fundao neal tm Accessory Inthe De Jepoien othe Neeson Sst ae 1 Cig oF Monemen” Rigo Seminay 61898), pp 5-644 Everet Shepanlson, Pp Hott; George F fson, the Dactrine of Furdomsental and Aevessory Mesements? hid, 14 0907 Educates by Bay and Games Bast: Gn, 1907), p_ 24s and Lawaa LThorasike and Arthur f Gates Hlemeavary Prins of Bdsetion (Nese Yorke Maem, 1931) e4p. pp 275 DOIN in The Seater ois Unicersty Pos WL John Dees, “The Plow of Mandal Taiing nthe Mlementary Cunne of Stacy Mable Marks 189 11924, Jo An Boylston, 2 vas: Carbon Lsaning 197 sole h pp. 23 Isperholi onthe yale of rh Fserick Matthias Alexander, Ty Uso ae Sof 3d, Landon Dilan tera spore (New Yorke Mion, Balch, 194, pp. ‘Chotersny, 1936 [1992 pp Ee alin, Pe Reset of he By en aoa Masel (Neos York Dll, 1968) with Dessey svar prefices ts Alexamler’ hooks, pp. 169-88 ow York HL. To fol thinevolution, se Pt R Spontes Speer Ker 0 Pratl Roun 1872) 11. € inne, "Ue Writing sonic Calne Tolar wad Home Jura! 2 (1888, pp. 416 Annie E, Hill “Vertiel Writing” Nason Edawarin vacation rasedings [horace NE. Pnssaings cic Past fir Tass «New York D. Appevan, 19 35 18961, pp. 41-55 Charo HJ, Ge ck 6; Harry Houston, Penmanship Frm lations” Journal of cation 69 (1905), pp. 4-69; Hronels untren Maveneht Penmanship in the Lancr Ges ab 77 (IER, p. 236: Jane, Stewatt, eachig Tots Ts Rea and Write? Hid. GIVE pp 46-42, Harry Houston, "Pelagia! Prins ship” thi. 309169, ppe BHA Mary Thompson, Pohl d bapa ofTorque: The New Kinaesthetie ting (kine Wack nd Yk, I) 9.49 Gor gute) AN Pale “Peussip® NEA, cada 5 (1915, pp. 88-93; H.W Nt "Rhythm in Hankin” lenny Sh onal 17 (1, pp.$82-45; Frank Foema, The Honing Mover Ste Mo Fas Else tn Paap (eg: Unvriy of Chino Prey 918), rk ret and May. Daher Hon Teach Handing A Tach Meal (aston: Hogon Min, 1923); Hany Houston, “A Tasng ein in Penman Intact? Nema ond ray Ps cre par) 331 (92), pp 30 332 (25), pp. 2,75 383 (1824, p30, 81 Over. Hever, A Campa Sy Dif Mek edn Tching Bg To Wie Yk Cola Univers re, 1926 Joep Sapna Techn of Handrtng (Rchond Vu: Jhon Publsig 126). Gate, "The Way of emanate! ew 74 (927), pp. 2082 Poul West Changing Pace ‘a Handing In, Eeaton Rsech Nongiphs 9 (Bonington I: bic Sho! ubliig 192) ch 6d eh? Bee, "PintpesUndrying the Superson a Tnhing of Hunting” cr 3810059), yp. 718 On de anche vs Vor Campbel, “Des That Chiu Monthly 6090), pp. 1-5 ea Benet °& Stuy Shl Pare nd Seating” Enemy Sil our 21925) pp 501 snd Prensa Mate he Fara F he Chi Now Ba a Honan Sel 13 (93D, 312-1 ‘The ves fe Wierman pt fed wash a forthe now fon pen of the urn fhe cee vy. Although erly to expt to be wed wil in grammar aol ts conde by duce. rs tobe complementary ot pdaggy of ent bande See Water, Lents Elion? Nault of Amer gy (3p. 3, iid Php "The Handing Levon thet ube mea Se! Jamel 38 033, p 6; Mar Doe, "ting” Eda 389 (93,9 tenor Enero pes, “Raytheon Ge The #9 (93 .736and see dversenent or Do's Begins Pl, “he Us ber? Asean Cho! 1101928) pT loin pen, rt commer pro ced n 1885 watery rial tl edged n 93 by the Bo tesa Hongay nd serra by qick-ying in eee by Aue emit Fan Secchi the ne ust only ter Word War I or pile! sec fewngexply to penanshlp plage se ay 1 Mlle eerie on Movements Used ining? Snes fom tl yc Llowy6 (900) pp. 21-63; “Eperinetal Seay ofthe ect tng? Nate 95 ge 8,115) p 8587s Bet Wel, The Delp tat of tC a Yng Cin Go Ci Unter fo, 92) 32 Auta. Per "race Weng A Cure fr Colleges and Pal Schoo To over th Ned fhe egies NEA. Peeing 38 (890), pp 825-26; "har Pale Ds; Was Note Penman? yr Time ox. 192), 2 snd. (Dee 6 1927), 532 On the acl ato dal pennant coh G ‘The Weterman split fountein penkik, "Handing Survey To Determine Grade Standards” Journal ef Educational Rar 1 (1926), pp. 181-88, 259-72 35, Marjorie Wie, “Manuscript Writing” Techs College Read 26 an, 1924), pp 26-38; Arthr Gates an Helen Brown, “Experimental Corparsons of Prot-Script and Casi Weting? Journal of auction Research 20 (Jane 1925), pp. 1-H; Ove G, Turney, “The Comparative Legbilty and Spee of Manuscript end Curve Handwriting? Elementary Schoo Journal 30 (930), pp 780-86; Harry Howson, Lange Sal Wing for eginer? bd, 301930, pp 693-99; Willan Ga, thn Experimenta ‘Comparison ofthe Movements in Manasript Wing snd Case Wing? Jounal of sins) Ppt 21 (1930), pp. 259-72 Jan Comer, Menor Wing Clon Hare Pubiing, 12308 Tce Kei, “The Potent Status and Significance of Manatripe Writing fural of Educa! Research 24 (93), pp. 15-26, Jennie Wahler, "Manuseripe Weitng” Chldbood Bévetion 8 (1932) pp 517-215 dich U. Conerd, Trends in Alanurcit Wing (New York; Cokumbia University Press 1936) and vem, Data on Manuscript Wing for Prents and Teachers wih a ibogrephy (New York AN. Pals 1937) ns Carleton H. Mann, How Sehols Use Thatr Tine (New York: Columbia University ress 1928), pp 20,25 86-07, tbe 42-47. Compare Tl Superion a Techn of Honing.» 2) <8 Principal oueph Griffin: "Children write onan average tree hous pe day” — mot of tha seen subject cer thn peamantip, On the prevalence of penmanship and drawing istustion a Pm=F7 presse Chases Jad, “Eduction” in Prident's Research Commie on So end Ret ‘Socal Trends in the United Stats (New York: McGraw-Hill, 1933), pp. 334 336 5. ser Peter C. Maro, The Are Crusade: An Aalyis f American Drang Menus 1820-1660 (Wesh- ington, 1: Smithson lnatition Press, 1976) HG. Fis, “Freehand Drawing in Eaton? Fpuar Sence Monty 51 (1897), pp. 755-65; Chamberlin, The Chil p, 199-211; Harold Rag ond Ane Shumakor, Te Cld-Cereed Sz! (Zakert-o-Hdson, NL: Wold Bole Company, 1928), ch. 15: South, "Trends of Thought in Art Edson? Scho! Review 41 (933), pp 266-77; and Kiron Nicolaides The Natl Wy Te Drow, ed, Mamie Harmon (Boston: Houghton Min, 1941) Cotas the highly geo ete, igs Sroing lates ntoced by the Fee forms France, 1683-190, which hed meeting veperuaonson moder art Melly Nesbit "Rexdy-Made Originals The Dacha Mode ‘Oeober 37 (oummes 1986), pp. 53-63 Te Colonel Francs W. Parker, Tals n Pedal, e Ei A, Wyant and Flor. Cooke (New York Johns Dry, 1937), p 205. OY, Rath Se. Denis with Willm H. Brilge, “The Dance in Physical Educetlon' Journal of Heath and Pica Ecc 3 (Jn. 1932), 9.1; nd Joep Ley lucaton (New York Naso Reseason Association, 1942 [1915 pp vil 185. 38. On changes ia physial education theory, se espeslly Peter C Melton, Phyl Hise 1 nglond Sine 1500 (ee, London: Bel, 1968); Deabol . Yan Psen and Bruce Benet Word Hin of PycalEdection 28 e,Engewood Cli: rene Hall 197 pt 4s Harvey Greer, ‘afer mere (Sew York, 1986) Peter} Wosb, “Sound Minds and Unsound Boater: MovantsTorque: The New Kinaesthetle Schools and Mandatory Py ring” New Eglnd Quart 85 (982, pp. 360, rig that xe sve ply refrmer si etary lost out egans nthe ede ferath of the Cl War Talons the Fench acho sem embrace of military do after the defo ofthe Frnco-Prasian ‘Vie for ch ae Marel Spa, "Le Développement de dacationpysgue etd port ana de 1852 11914) Reve eiae moderne et cntenpoaine 24 (1977) pp. 28-48 —bat cones the extensive B- nosis propa in Germany, Wolfgang Fiche, edin-chiel, Goh der KBr Deutland 1789-1917 (Benin: Sprcera, 1973; Hel Schwartz, Ne Safi: A Cobar Hiro i, Fotis ani Fs (New York chor Book, 1950 [18861 pp 65-68 ad ots thereto on Dic ew igi train between dled play; Ferand Lagrange, "Fre Ply in Phyl Edacton” Poplar Skee Monty 42 0893, p. 13-20, Nis Pose, Te Spc! Knetoly of Elector Grass (Boston, 1894); Jolin T MeMais,“Reclroa Relation between Physi and Mental Edson? Fda Bioathly3 (190), pp. 226-3; Wilbur F. Bowen and Hiner D. Mitchel, The They ad Pre of Ole ly, 2 vel (Ne York AS Burns 1926-28) val, pp 302-306, 308; Pal Klapper Conenporay det Ie Fons and Prac NewYork: Appleton, 1929), pp 96-100 Lee Vincent, “Physical Eduction Contbton to the Mental Health of Students oral of Heat ard Pye Edecscion 4 (March Api 1933) p. 3nd Harlet OSbes, “The Mena igen Significance of iyi Edscation" bi 4 (March Apr 193), pp. 14-16, 70-9. (On he ntegration of moder dance into pga edition ery ad uric, see George W etvangr, "Pal Education an the Emergence ofthe Modern Dance bid 71936), pp 413-16, 46 al L. Ray, “Chataag: Erk Showear of Physi cation” i 38 (Noe. 1962), pp. 37-4, 65; Duley A. arent, "Usfl Dancing fom the Standpoinc of Physical Tinng” Becton Bony 3 0903, p 191-200; Willan}. Devon, Grate Dada (Neo ok Young Mes Cesta Assocation ‘res 190); Mary Lou Raney, “The Whconatn de of Dance: A Decade of Pores, 1917-1926? Wie “Magee of Hat 58 (etn 1973), pp. 179-95; Alan M. Ha, adn Done in Higher Béucton (hen York Club Unversity Pres 1950), pp. 3-23; ManprctN. PDosble A Mon of Deng (atiuon, Wine Ty ad Kgs, 1921; and Ages. Mah and Lie Math, Te De in Euston (ie or AS. Barnes 19301924) ep Foroord by Jee F Willan Fal quote here are taken fom Lae WSnbor, "Physi Talniagin the Pb choc? Ci Suy Mw 6 (1900), p28; John Done, My Pdogele Gea Ccago: A. Flanagan, 1910s jee F Willane and Willa Leonard Hughes, Alsi ein Pile: W.B, Sanders, 1930, . 6. 39. Edea Dean Baler, Panta nd Chil Narre (New Yok: Maclin, 1922). 23; and Aloe ovis Six, pono ad Sper Pay in Choo (New Yr Macila, 122), pp 209 (lor qv), 11, 214 and ace 275-74, which relies upon the work of Jqucr-Dalzoze 40. Ser Aro Gesl, The Gatco en! Grow lf ot Chl NewYork: Maes, 130), csp. pp. 3-ll; dom, The Kindogortn aed Health (Washngn, D.C: Washington Gort Print 1923), pp bs ser, The el Gro of he PreSehos hl (Ne Yre Macs, 1925); Ada Har A, Ppchalagy of fy on Ely Cod (Ne ork: MeGeav- Hi, 1828, cpp. 184-90; Bet. Wella,“Pigical Growth and Motor Development sed Their Reasons Mental Development in Children” sa Handbook of Chil Pycolagy, ed C. Marchinon (Worcester, Mass Clark University Pres 1981, pp. 242-775 Margaret Mead and Frances Cooke MacGregor, Growth an Calare (New Yor: Putnam, 1951), pp 10-13 20 on the Ameriean popalarizaton of cikestdy principe; and Dominick Cvallo, "Prom Perfection to abi: Moral ialningin the American Kindergarten, 1860-1920” Hr of Eductan Quran 16 (1978), pp 7-61 ‘Oa the kindergarten self, see Friedrich Feoebel, The Education of Man, trans. W N, Hanna (New York ond London, 187 [1826), emp Halos own comments, pp. 18-19, 36-38, $60, 103,107 Kate D. Wiggins and Nora A. Sith, Frowbels scopotoas (Boston and New York, 1899), pp. 34-38, 57, 94-96; Francis E, Cook, “The Relation ofthe Kindergarten to Primary Education? Tanacons of he ai Soe for Cilé-Soy 4.2 1899}, pp. 41-5; Nina C. Vandal, The Kinder i Ameren Eeatn (Ne York: Macillan, 197 [1908], exp p. 212-213, 220-23 (on reforms of he 16905 teaching at and introducing pial eduction) 234-35 (on influence of genetepychology); Presidents Research Commie, Reet Stel Tends pp. ly, 106, 754-55, 763, 784-86, 92, 796-98; Willan 6. Cary, “The Status ofthe Kindergarten: hidhoo Féacaon 101934), pp, 282-85, 374-76, 425-28; and Olge Adan, "The Present Crs in Kinderguten Eduction? bi, 10 (1924), p. 421-24 Ahough {he kindesprten Ist ground during he Depression, by the thirties many of ks piowopies and activites tad already been imported into the primary grades. See slo Evebm Weber, Te Kinder Is Eacouatr ith Eacatonl Thought in Amerie (New Yorc"Teachers College Pres, 1969), exp p85; and Elvabeth D. Ross The Kndevartes Crd (bent: Ohio University Pres, 1976) exp. pT ‘4, See Sale Amerian, The Movement fr Small Pyrounds' Ameria owas of Soclgy 4 (1898, pp 159-10; 61 W Patrick, “The Paychology of Ply” ede! Sntnary 21 (1914, p. 469-84; Hen Curtis, The Play Movement end It Sinfcance (New York Macmillan, 1917); Lather H. Galick, A Phowphy fla (Ne York ad Boston Srbner, 1920) Joep. Fall Th Mankipalizadn fly and Reeton {Unter lcs, Nebes MeGrath, 1922); Clarence, Rainwater, The Ply Morent nthe United Ses (Chicago: University of Chicago Press, 1927); Robert. Lynd and een M, Lynd, idetown ts Tronson (New York Harcourt, race, 1937), p. 268, 290-81 nd ee 220-25; Berard Mergen, "The Discovery ‘ef Caldre’s Ply? American Quertey 27 (1978), pp 399-420; and Dominick Cavallo, Muscles and Moras: ‘Ovgnied Prounds and Uston Reform, 1880-1920 (Phiaelpin: Univer of Peanayhara Press, 198), ‘On age-radd toys, sce Miriam Brubaker, “A Oatuyof Progress in Tos” Cloud Beaton 10 (0934, pp. 177-80, Maton L Faegre, “Pythigs Thot Help Children Grow ade ne earl (De 1933) p 36; "Puede Parents feeds Sear Ty Plan” Buns Wisk 60 (Nov 18,1931), p 8; "The Merchant othe Child Forse 4 (Nor, 1981), p, 108-10; nd Elizabeth F. Boetiger, Children Fag Inder ond Out (New York Ex Dutton, 1938). On playground equipment, see the swe on "Pay and Pay Matera Child Say 10 (Dec, 192); “Progress in Public Recreation, 1909-1829 Pgyound end crs 4 (Api 1930p. 59 Vigna W. Mas, “Py Equipment That Keeps Children Outdoors? eens Magazine 8 (Api 1933), pp. 28, 48; and se ote 78, belowTorque: The New Kis 42, Onchilden and eurthiythmy se Ernest Groves and Gladys H. Groves, Wholesome Childhood (Goston: Houghton Miflin, 1924), pp. 10-1; Lawrence P Jacks, Eiucation throug Ractaton (New York: Harper 1932), p. 60; Grace L. Enders, “The Place of Daleoze Eurhythmics in Physical Eduestion? in Dene A Bade Edvcational Technique, ed. Frederick R, Rogers (New York Macmullan, 194), pp 268-825 and Fanny E, Lawrence, "Rhythm inthe Nursery School" Amerton Childbood 13 (Now. 1927), p. 31~22. Physical ea ‘rst in England had been particularly impresed by Jaques-Daleroze methods: see the Hibbert Journal, csp Aeadmmstres, “An Experience in Bdcating the Mind through the Body? 31 (Jan 1933). pp 217-23, Walter Damrosch, American conductor, opera director and, from 1927, msi counselor forthe National Broadcasting Company, wrote (a foreword to Jo Ponnington's The Importance of Being Rythme [New York: Putman, 1925, pv) that if Jaquer-Dalerome's teachings "were acepted and taught to the children ofthe entre world ie would effect a revolution, and a finer a nobler race woul be the result" Meanwhile, Rudolf Bode, carly student of Jque-Dalerore and avid reader ofthe works f Ludwig Klages, was develop- ‘nga spetul-nationalist theory of gynnastics, based pon shythm, which lay behind much ofthe Nel pre- ‘ceupetion with physical elture, See Rudolf Hode, Expeson-Gymnasvi, tans. S.Frthal and E, Waterman {New York A, S, Barnes, 1931 {1922), pp. II~48;and Hans E Scheer, Der Raythmar os Exisher: Fest zum 60. Geburtstag wn Rudolf Bode (Berlin-Lichtrfelde: Widukind-Versg, 194). 43, Ruth Faitoo Shan Finger Pinin: A Pet Meum for Self Expreson Boston Lite, Brown, 1934), pp. 14,22, 30-32, 38. See also Edward A. Jevel, “Children's Finger Paintings, Shown at MeClelland's, Present Striking Method of Training? New Yok Timer (March 1, 1933), 16:2; G. G, Tele, “Fingers Were (Made before Brushes" Hora Book 101934), pp 313-15; “Finger Painting” Fortune 1 (May 1935). 82; sua Ilse Forest, Te School for the Child fom Two to Bight Boston and New York Ginn, 1935). 163 444, Hillel Schwartz, “The Zipper and the Child? la Norman Contr and Nathaia King ed, Notsbooks ‘in Gulurl Anais (Durham, N.C. Duke Universe Press, 1985), vo. 2, pp {31.1 thank Duke Univery Pros for allowing me to draw iberally from this essay 45, Marey author of La Machin animale (Pals, 1873) and of Movement, trans. ric Pritchare (New York 1895 (18941), was president ofthe French Comraistlon of Gymnastics and advocate of exercises based on 2 ‘Swedish rater than a military model, He also worked onthe recording of motion tracks on revolving in ‘ders and designed the frst comenientsphygmograph for recording pulse waves in reading blood pressure, “This work, coesined with investigations by physologsts, served asthe basis or another technological in- 1onation paradigmatic of bath the expressive and operative aspects ofthe new kimaesthetc—the polygraph or le detector”whote capacity for truth-teling ested squarely upon presumptions that those (n)pulscs coming fom the center ofthe body cannot, and that arvythc (impulses if response to questions must indicate a cental disturbance of constipation otherwise Sdentifialeas deceit, Set Fangs Dagognet, tinneales Many A Porson for the Tice, trans, Robert Galea (New York Zone Books, forthcoming) ‘Christopher Lawrence, *Physiologcel Apparatus in the Welleome Museum: 1. The Maney Sphygmograph.* Medial Histoey 22 (1978), pp. 196-200; Matthew N. Chappell, Blood Pressure Changes in Deception’ Archives of Pchalagy 105 (1929); Leonard Keeler, “A Method for Detecting Deception," American Journalof lc Seeace (1980), pp. 38-51; and John A Larson with George W. Henny and Leonard Kesler, ying and Is Detection (Chicago: University of Chicago Press, 1932). ‘46, Cora Linn Daniels, “Delurte Philosophy at Lunch? The Vio 6 (Dee. 1884), p. 207 47, Onchangesin "speech" edneation, see Joseph C Frobisher, A New nd Potea Stem ofthe Cale of oe and Aion Sew York, 1968, pp. 123-32, which lists postions for te pasion; dscuaion in the trade journal, The lle, esp Thoaes M. Ballet, “Delsarte Philosophy «Branch of Aesthetics” 5 (May 1883), p. Tl and Sarah L, Arno, “The Desare Gymnastics inthe Public Schools? 9 (1887), p. 175; 1. Kathy, Vous and Action-Language (Bestn, 1888), pp. 123-26; . Ea Pardoe, "Language ofthe Body” (QuoreJourea of Spec Eaucotin 9 (1923), pp. 252-S7, Giles W. Gray, “Problems inthe Teaching of Gesture? ibid. 19(1924), pp. 238-2; and Dale Carwegie, Publc Speaking and Infuencing Men in Busnes, 242 orquote) 48, See Hdward Shore, “Paralysis The Rise and Fall of ‘Hyterical Symptom," journal of Sci Histry 19 (1986), pp. 549-82, which concentrates on dlaorders of gal; Jerey M. Mason, ed and trans The np Ltrs of Sunn Froud to Wiel les, 18671904 (Cre, Mas: Belknap Press, 1985), pp. 22n-23n (or quote and disoson); Joseph Breuer and Sigmund Freud, Soe in Hysterie, tans. A ‘A Bil (Boston: Bescon, 1937 [1895)),p. 6S (For quote); and Monique David-Menard, Lyatéique etre Fre et Laan: Carpe langage en pspchanale (Pars: Eltions Universities 1983), pp: 9; 16. Compare Pierre Janet, Th Major Spm: of Hero (24 ed, New York: Hafner, 1965 (1907, 1920), noting that Iysteri patents coming out ofa somambullstic state woud often “indulge in some odd snd perfectly rglar gymnastics" (p12). 149, John C, Burnham, “The Mind-Body Problem inthe Farly Twentieth Century” Paupecties 8 Bilagy and Madicins 20 (1977), pp. 271-84; Charles H, Woolbert, The Fundamentals of Spech (re et New Yorks Harper, 1927 (1920)};and Goorge H, Mead, Mind, Sefend Sete fom the Sandpoint of Soc Bearers, ‘ed Charles W. Morris (Chicag: University of Chicago Press 1934). 50. {am hesvly indebted hereto Paul C, Rodgers Je, "Alexander Bun and the Rise ofthe Organic Paragraph” Quortery journal ofSprech 51 (1965), pp. 399-408; and Ned A. Sheares, “Alexander Bain and the Genesis of Paragraph Theory” iid, $8 (1972), pp. 408-17 For the English publisher Harmsworth, see Reginald Pound and Geolrey Harmaworth, Norchife QNew York: Pracges 1959), pp. 264-67 Si. Joh S. Hart, A Manu of Gompaution and Rbetric (Philadelphia, 187¢ (1870); John F. Genung, Cutline of Bheoric (Boston, 1893), p. 221; Charles Sears Baldwin, A College Manual of Rheorc (New York: Longmans, Gren, 1902), pp. 9,10 and Willam D. Lens and res: Ho, Pactcl Engh for igh Sctools (New York American Book, 1916), pp. 29,30 '52. Willam L Davidson, “Bain, Alexander” Engelpaadla Britannica (1th ed, 1922). v0.3, pp 221-225 [Alexander Bain, “Os Toys! Westmster Review 37 (1842), pp. 97-121 (quotes at pp. 97, 98), and idem, “Mind nd Bandy (Nev York, 1873 (1872). 196, so quoted in Jagtnh N. Hatiangedy "Bai, Alexander” icionary of Sine Bngraphy (New York: Serbers, 1970), ol pp 403-404, On Bas connections to phyla cultre through psychopsology, 2 Bruce Haley, The Helly Body and Vcrian CaltoreTerque: The New Kingesthatle (Cambridge, Masa: Harvard invert res, 1978) pp 37-44 SB. Bln Mind and Boy. 2; and H.N. MacCracken and tien E Sandaon, Maal of Gnd Engi (ew York Micmilin, 117), p. 13 17. 5. Fed, Tocaiy and Abapin, pp 78-79, 82 and 208 (quot rem Grim) and Sarah Asie Fron (Sheds, Te Bak of Talo and Shy Pantomime (New York, 1869, p91, 12, 24-27, 37 65-66, 111 6 55. Thora Leabart, Modem and Food Mine (New York: St Matas Press, 1989) pp. 4-6 aut Hoyonnc, Mime e ou (ari 185), p47 and Pal Shran, Pen Tat of Vitra Lndon (London: Dobon, 1980), exp-p 23, on swent-minate aren f Hate, MocRet, Ricard I, Ot, ich mast hve ben dne print vnough age, stereotyped gettin, sro photogrphic Teteoypes—forwbich, sce An Abam of Sega, Or “Our Coty Vsoriour and Now a Hop Hana” from the Colctonsof Wiliam Culp Darrah and Richard Russack Carden Ci, NY: Doubleday 1977, 6 Pal Hiypeu, “Eade syle pantomime" Gaspard an Chives Dabur, Promina. Eile Goby rs, 1885, p. ind Jan Dorey, The Min, rns. Robot Spel and Pete de Fontnoelle (New Yk: Spell, 1961, p36; an ues Fleury Seen pra dene Gener Slthine Reprints, 1970 (1872), pp. 64-65 — my own (ee) ans 57 Chaves Aubert, The Ar of Fann, rans. Eth Sess (New York: Hol, 19701904), EP 8 9 1021, 96183, 58. Lebar, Mer pd Po Morn Mime ch (quote on. 26 Frederic Brown, Theater ad eatin Tie Clue of th Fech Sage (New Yr Viking Pre, 1980), ch, 6. 5. Etcane Dero, Ward erie, ans. Mark Piper from 2 reached (Cremont, Ci ‘arenot Calle, 1985 1977) pp 4 26-27, 38,29, 68,94, 15 “bid, p. 4 and Brown, Teeter Rsltion, p. 436-37 quero Carné on pp. 436-37) GL janLovi acral, Recor onthe Thea, was. Barbara Wall Londo: Roc, 1951), p24, 26 1; and Brown, Tet and Relais, ch 62 Lesore, Mora nd et Mra Mime, p. 6 Goc qt) Lebar In ichapter (on Mare Marcea, wut poins ot ha is Bip crested in 1947 rturan hi othe nineteenth entry fc calvignctesprfonmed one fot stage, but itis sil he ae tht Marcas objective mime” makes we afte torso in aman fl informed bythe new Kesestbic 63. G Stanley Hall, "Gesture, Mimesis, Types of Temperament, and Movie Pedagogy” Pedagogical Seminary 28 (192), pp 171-201; Gregorio Nation, “The Pocloy of Gest? Joao Neo ad Mental Disease 112 (1950 [article written before 1939)), pp. 469-97; Keedall, Wherd She Danced, ch. 8; and Ind and Lynd, MiddleowainTnso, pp, 26-63 1h. See A Nichols Vda, Sage to Sen (Cambridge Mav Harvard Unies Pre, 1945), 5p. ch ty and Anne Holinde, Seung dhoogh lsh (Nev York Viking Pres, 1978), p. 339-44, Onatream- neg, see Donal Bush, The Sanne Dade (Now York Brasil, 1975). 15 Fore conte surey te E Muna Lit, ‘Moder rtf! Limbs nde fluence uponeth fAmpsain Bah Ml ora (Ot 7, 1917p 550-5 are beret Eaglilin, ns etoua rant de nae, duet mn (a rsa at ase as vero. "n Pu othe Woodes Lg” Nev Seesnan ox, 191, seid Maret Dt Bay Met Bo ney Pbliing 3 ite 19785 12 Ten quotations om Hood) Sree Hearn: Pon Lib drome: A Cts Rew oft tae Jal of ee a Doss (980, pp. 261-706 Munoc, Anptaon Revste Poko aor rnd 988) yp #8 Czar Mak, Mona f rl ints. An she pn of rats Ne Yr A M105), 7-203, 186,24 nd psi ee ital rice! inks, pp 3-80, 2527 "Mat, rst? Nae! God of Amonan Bei Ne Yes Jones Wie, 1900, 0p. 386 re ola ka lb, 120 25 32-259 1-42, 14,152 For qt) 165-86, Seinen irae Mans Nchns net Des Which Men nue ithe War reine opbiof ing UeaWrk He a3 oe 11, 2 eran Move, Bo, SS, wns Haber Hoke (ann xfer UnvestyPres, soe ao iene ara Boe Plan te at Ape! Paly, eee pe) Om Psbnp Daun Univer ney 1974p. 3,46 5, 28-4 otitis bon Ear Mele Corts Moments Sport nt Doct (Danaus oma W Brom, 965) pp #460 The dtnion wena pt in he wakot aa open Poon Dd bh popes reo erento aan eea tan ie aay mtacorpore, where Thane bern yng coveinon ube eae ynomeaey Been Torney Te Body ond Soy Oxf: Bal Blake, 1984) for Mar, foot and Pred onthe bod. aa pic berate ee of nears than f Ks a eer ti of ans rca taps Lina ecology On est expel Jn Keliechonak csentand een Doce Edom 1 (957) pp. 38-7 Ray Bibel, Kaan caer mB tees Cnmaeaon np Unive of emi Pes 170 Cree noc Son oan Ey ind Gan Fic: Chand 972) 17-1; Man Dis Fe rtm Body Meena ew Yk: eno Pes, 1975; Betull oer Matha ch. The Bop ata Matan of Epson (Lon len any 1975) Spe Kern a ra Dey 4 Ca Hina oft Henan oy esp: Bobb Merl, 1975 wo Le Corp nla eses pit es 22 (eb. 192). ee espa tne gel rained hin pela mews bing tab wth nh chee nj en Yk, Orgone Pe, 1949193), bts alo Goticy aanne ne pct of ifr Dance ein Prine Aiea Conan Slngand 3834 Fe pomar6938) pp. 7532 Mags Meh Shogo Reet asda 36 (950. pp. 85-40%; Goren Weve, “The Antrpalogy of FareTorque: The New Kineosthetl> Selene American 196 (Feb 1957), pp. 123-32; Peggy Harpex “Dance in Nigeria?” Ethaomuscolegy 13 (1969), pp. 280-95; Robert F. Thompson, Afcan Ar in Motion Icon and Art (Los Angles; University of California Press 1974); Georges Vgarel, Le Corps mdr: Histoire d's powcr péagpyque (Pars: Delage, 1978), achaptr of which, “Les Préslables dee cvie trans. by Ughett Labin at “The Upward Tatnng cof the Body from the Age of Chivalry to Couey Civili” in Zane 4, Fragments fora Hoy of the Human ody, 2, od. Miche Fer with Ramona Naddff and Nadia Tai (189), pp. 148-99; anda very provor- ative aril by Jerre Levy and Mary Reid, “ariations in Weling Posture snd Cerebral Organization,” Sesence 194 (1976), pp. 337-3 “Three valuable methodological discussions are Marcel Maus, “Techniques of the Body” (1934), e- printed inthis ohne, pp. 454-479; Franz Boas, ed, The Rein of Dance ir Hunan Soci (New York Boas School 1944), pp. 17-18, 46-52; and Luc Boltansi, “Les Usages sociaux du corps” Amal Economia, sos, iluaons 26 (197), pp. 205-33, (n the relationship of inecept, Kinestruct and technology. see Slegftied Gidlon, Mecanizaton Taker Command (New York: Onford University Press, 1948); André Leroi-Gourhan, Le Gee eta paral, 2 vols (avis: A. Miche, 196465); Alan Loman etal, Folk Song Spl and Caltre (Washington, DC: American ‘sociation forthe Advancement of Science, 1968); Edward T, Hall, The Hidden Dimension (Garden Cit, [Ns Doubleday, 1969); Bémund Carpenter, Oh What a Blow That Phantom Gove Me! (New York: Holt, Rinehart and Winston, 1973); and Seshen Ker, Te Clear of ine cnd Space, 1880-1918 (Cambridge, ‘Mass: Harvard University Pest, 1983), ch. 5 (on sped). “This paper has neglected dhe contributions of art historians sit has skirted the intricate problems of the visual arts an architecture in relationship tothe new kinesthetic A provocative entry point, gen the concern here with pedagogy, is gar Kaufnano, Je, *Form Became Fling! a New View of Frosbe and Wright” Journal of the Soci of Architactunal Historians 402 (1981), pp 130-33 74, Dualey Sargent, "Useful Dancig rem the Standpoit of Physical Taining” EdualoalB-Montly 3 (1909), p. 154. Sima statements appenred in Gusta Stickle “The Relation of Dancing toa Commercial Age Tie Grfeman 25 (1914), p. 241; Hugh Hartshorne, Childhood and Chroctr Boston: The Pig res, 1919), pp 205-206; and more recently in Eugen Weber, “Gymnastics and Sports in Fin-de-Sidle France: Opium ofthe Clatses?” American Hixorial Renew 16 (197), pp. 70-88 The complex relationships between fashions in soci dancing and the development ofthe new kinssthetic fom the alto) must be left uncxamind here, but for comparison sea fine tudy by Adrienne L.Kaepplés, “Preservation and [volition of Form and Function in Two Types of Tongan Dance" in Genevew 8 Highland etal, Papasan CaltareHistony (oncl: Bishop Museu Pres, 1967), pp. 503-36; anda profocative work by Jue M. Taylor; “Tango: Theme of Claes ad Nation’ Ethnomusicology 20 (1976), pp 273-51. On adolescence, tech- nology and kinsceps, ee Erik H, Erikson, “Environment and Virtues” in Gyorgy Keps, ed Arts of the Enron (Nev York Brier, 1972), pp. 74, 7. 175, There isa growing Iteratute enscerning notions of competitive sport a critical othe shaping, prin- cipal of male character. The literatne generally centers upon the Baron de Coubertin's speech ata dinnerathe 1894 Congrats ord to reetbsh the Olympe Games In thea ee a at om ser tev pnts body anu to re: body. mind an chr noth nnd ht rm chars bt eel hc bay (qantation rm Peter. Melt, Sr a Say Laden: C. Mtuoe 8¢Sop Hay howe do te achlly works del nik changin te ct of mvemet Teemu apf camp sad st ante a prof ening wth hero heey peste es crcon pach the redacted tm at he or ples and an empha wpn ambient veteran tld boy all empute wth be aw naethet ee,o Raber Cael, The Red Meco Te aod Tne of Nrmen Sly (incon: buch Pubs, 1971 ely ch) Not cere ortcunc tc psig Kec nar of thei of kal, ale ad eter sen aly cota et or ech pr ich oer e mcurge a sae of anc bane mastery fon orton ey on gy aku auropolgt Rober. Sper ged ht work pare ys et aly a Bound sah wee more often edo haba expose hen vrevrainaler words hi echolg snot ecry the prne ternative, Se it ‘Nook Habis Pose snd Fares in Gaal Rey and Waker WT, Anes Her Jalan Tg in Hoa of ee Sper bone Souter Minos Usher 1967), 197-220 "7 Sellen Heer fd ee Dan, pp 4-85. 4 See Mey Sat Afr Chun (Ne York A. S. Bae, 138 [1921S Stn aed Supe yo Chilton Maran Marsh, The Dnein Ene; sed aertvement forthe ja Desa pnte 3 noe epi 6 (ly 91, p 4 Se, ta ar nd er a mae eared merle weretrey mentioned plod equpent nt the wens, The od puns of 95 190 fr nar, cota many wing bt 0 Ms, Sex Jono, tin by sare Gana p49 th are pcre hn Arca Se Hoy. C yan een foi Opn Comey (eto ew York Ginn 191, pp. 8,46, ncurgng hws fae lly Masha dd Cont aie on he ear Roebuck Nongoey Wad tlegus nthe verve snd Foe The Shel fre Ch fom Tw Eg 9p. 18-4 "Shes of warious Fee hel cet es becomes ilar ofr hol egies Tye ays ret ors Fin dunbc unis oem epenve tee peap the best ggg equpment force rom two ore enol? Sp Mgr Owen, Te Sc of pening Speed (has Forbes 191) Sha lag Fain, gp. 3h crlcon Chron Grape aking he la ky Marte Bee Mas: Tals wr Mane ened Tech (New Yor: Frederick A, Ske 1915), 49-5 (aginst) 9-89 aay Toe May clr alte Suds (and and Ne Yr Bowe 1808, 9 5, Gr These dc Tae We Lon Something trough Oe-Relsaton in Pao Stu?” Bde 0 thon uD Jt sine, ee Pinan Pan ng (Se York Dove, 1972 (924), p29 (ow Aton Rte; ery bint, ule of ane Plagg ee, NewYork: Ci, 147 {aay 2h Fl Merch cunt Pn London 958) 68 Ay Whee, IadipesieTorque: The New Klraesthatle of Piano Playing (New Yrk, 1961 [1985], pp. 3, 4-16; and se Jbzse Git, The Technique of Pano Paying Gded,, London; Colles, 1965) forthe “ering stroke” and. history of gymnastic exercise preparatory to plano plying I hank Steve Prussng for hs help here. 80. Quotations from Richard Harmond, “Progress and Flight: An Interpretation ofthe American ‘Cycle Craze of the 1890s! Jornal of Socal Htary (1971-72), pp. 242, 247. Sea also Davi Rubinstein, *Cyeling in the 18905" Vicwrian tudes 2 (1977), pp #7=1zone