The

Genevieve Stebbins System

/

of

Physical Training

By

GENEVIEVE STEBBINS

m^l
ii

Enlarged Edition

EDGAR

S.

WERNER
NEW

&

COMPANY

YORK.

Copyright, 1898, by Genevieve

Copyright, 1913, by Edgar

Stebblns-Astley
S.

Werner

3V3
FOREWORD.

THE

series of lessons in

who have

Part

to the urgent

response

needed

progressive

II.

-^
,

nl3
,

have been arranged in

demands
physical

of

many

teachers

exercises

which

wonld lead to aesthetic work and yet be simple enough to

teach to the smallest child, and in schoolrooms where the
desks are stationary.

The

lessons in Part

I.

are an epitome of

all

psychological

physical cnltnre, and, thoroughly carried out in daily

life,

into a healthy and happy one.

found to be progressive, going from
It is a complete gymnastic
the simple to the complex.
system along aesthetic lines and has been elaborated by the
will

transform that

This system

life

will be

and director
of physical training in the best schools of New York, combined with a critical study of the carved works of ancient

author after

many

years' experience as teacher

alto-relief and the free figure, in vase,

and temple, have been the models for much
of the work.
This, blended with a knowledge of medical
gymnastics, makes the author bold enough to think that
she is offering something of real value to the teacher and

art.

Bas-relief,

frieze, pillar,

the pupil of physical culture.

iiGi.2r?3

CONTENTS.
Foreword

PART

I.

POISK
Poise Exercises

Tho Head
The Jaw
The Face
The Chest
The Abdomen
The Calf
The Hips
The Thighs
Walking
Dynamic Breathing
Breathing-Exercises
To Cure Headache
To Invigorate the Base of the Brain
To Invigorate the Ovaries
To Invigorate the Entire Lung- Region and
Consumption
To Give Nerve-Power

15
17
17

17
17
18
18

18
.

19

19
19
21

28
30
81

31

Prevent
82
32

Reijvxation

33

Relaxation Exercises

34

Energizing
Energizing Exercises
Special Drill for Home Use

88
39
42

CONTENTS.

PART

IL

Schoolroom Gymnastics.
Advice to Teachers
Standiug Rising and Sitting Stretching
First Series
(the Yawn) Harmonic Poising
Second Series Marching with Arm Positions
Third Series
Fourth Series Foot Flexion Arms Front, Lift and Lower
Front Ribs In and Out Head Bend

47

49
51

53

54

Fifth Series Foot Side-Flexion Arms Side- Lift Waist,

Side Rib Pressure Head Side Bend
Sixth Series Foot Circle Arm Circle Head and Trunk
:

55

in Opposition, Circle Head Circle

Leg Oblique, Shake Arms Oblique,
Seventh Series
Swing Trunk Oblique, Bend Head Oblique, Bend
Leg Pendulum Swing Arms, Crank
Eighth Series
Movement Trunk Dervish Swing Head Oblique,
Facing Up and Down
Ninth Series: Leg Side Swing Arms Fly Trunk Side
Bend with Arm Head Turn
Tenth Series Knee Lift, Toe Point Horizontal Swing of
Arms Trunk Vibration Up and Down Head Bow,
Side Bend
Eleventh Series Leg Circle from Hip Arm Circumduction Trunk Circle from Hip Head Oblique, Bow Side
Bend
Twelfth Series: F<.ot Floor and Knee Touch Backward
Loop from Shoulder Side Bend of Trunk, Arm over
Head, Transfer of Weight Head Bick. Side Bend
Thirteenth Series: Hip Action, Knee In -Arm and Head
Lateral Opposition- Trunk Oblique Bend Head
in
Oblique, Back Bend, Side Bend
Fourteenth Series: Forward Change, Alternating LegsArms and Head Opposition Lift Backward Charging.
Alternately Unfolding Arms- Head Forward, Bow
and Turn
.

56

57

58
59

60

61

62

63

64


CONTENTS.

Fifteenth Series: Military Heels Lift Military Heels,

Knees Bend Toe, Heel Sink Serpentine Walk Step,
Toes Turned Out and In Oblique Courtesy with Step
Sixteenth Series: Forward and Back Rocking Opposition Side Swing of Arm and Leg Back Kneeling.
Hands on Knee Front Kneeling with Clasped Hands

66

over Head
Sbvknteenth Series: Oblique Transfer of Weight with
Floating Arms Oblique Swing of Arms and Legs
Courtesy Forward Charge Combined with Courtesy
Eighteenth Series: Running in Place Angular ArmTwist Bend Arms Downward while Rising on ToesHead Side Bend, Turn Up and Down
Nineteenth Series: Pivot on Balls of Feet Wrist Action
from Shoulder Forward Charge, Pivot and Courtesy
Head D;ick Bend, Right and Left Turn
Twentieth Series: Forward Charge, Circle and Pivot
Fan Action with Opposition Head Fan Action with
Stepping Head Side Turn, Forward and Back Bend
Twbnty-First Series: Harmonic Poise with Toe Tapping
Combine Arm Circling and Horizontal Swing Rise
on Toes Alternately Head Forward. Neck Stretch
Twenty-Second Series: Feet Open and Close Directing
Arm Trunk Twist, Back Bend Head Oblique, Neck
.

67

69

70

7]

72

73

Stretch

75

Swing Free Foot

Spir.-il Arm Trunk Twist, Forward Bend Head Side
Bend, Neck Stretch
Twenty-Fourth Series: Hop and Swing Free Foot Solar

Twenty Third

Series:

Toe

Cross, Support Circle

Point,

Rocking

Legs, Circling

Arms-

Head Oblique, Back Bend, Neck Stretch

Twenty Fifth

Series: Serpentine

77

Leg Serpentine Arms

Serpentine Body Head Back, Bend Back, Neck Stretch

Twenty-Sixth Series: Front Cross, Rise, Step Side Slide
Side Swing of Leg with Stepping Behind
Twenty Seventh Series: Step with Deep Courtesy Step
with Peasant Courtesy Swing Free Leg Forward and
Back with Double Hop Spanish Step

76

78

79

80

CONTENTS.

10

PART

III.

Drills.

iEsTHETic Drill
Athenian Drill

The

131

Victory

Eastern Temple Drill

Energizing Dramatic Drill
English Drill The May
Greek Drill The Nymphs
Minuet Fan-Drill

Roman DrillThe Amazon

Spanish Drill The Carmen

119

84
97
91

124
115

110
103

APPENDIX.
Relation of Physical Culture to Expression

133

PART
" I

^HE

principle of correspondence, thoroughly under-

stood,
ical

and

spiritual.

as

it is

80 in the sky

many

the key that unlocks

is

It

was

first

above, so

it

doors, phys-

formulated in the grand

axiom of both science and

old Valley of the Nile, as the

religion

1.

is

below

as

on the earth,

as within, so without.

Art could not speak

if

there was no instinctive com-

prehension of the language of expression.

If the open

brow, the honest eye, the tender mouth, meant nothing;

if

the hero was represented with lowering look, sunken

chest and grasping

meaningless.

But

hand
it

ditions

marble and canvas would be

might be argued that we are on

the verge of a precipice

might habitually have

all

that in real life a moral hero

three, caused

by physical con-

that pain might have contracted the brow, dis-

ease have shrunken the chest, and

twisted the hand.

Grant all

this

rheumatism have

the expression would

nevertheless be consistent.

Bodily condition, disease, has

its

expression

mental

conditions, efforts of the mind, vacuity or indifference,

their expression.

Moral defect or obliquity

is

indelibly

stamped, and to the trained eye can never be confounded

with physical weakness per

se.

THE GENEVIEVE STEBBINS

12

The

spirit

can conquer bodily condition, and shine

through any form, but, generally speaking, " a sound

inind

in

sound body "

liave stated

that art

is

the safest and surest adage.

would be meaningless

We

and expressions could not be read.

licarty assent
n.>t

to

this

if

signs

must give

all

proposition, but the converse has

yet been fully enough considered, viz., that signs of

expression tend through reflex action to produce states

mind

ot

gentle hand,

and by

open brow, the expanded

that the

may be assumed

chest, the

gymnastic exercise,

as a

reflex action induce the states of

mind

of which

they are the artistic expression.

To

take a familiar example

have l)ecome very

the

face sags

tired

" Rouse up,

the sooner

knowing

tired

lift

home

You

are walking and

the step lags, the chest sinks,

you notice

it

and say

to yourself,

chest and head, step out bravely and

to rest."

You make

that the raised chest

the effort without

means hope and courage,

the level shoulders patience, the straight back and girded

loins

strength, the foot, firmly grasping the earth, pos-

session.

You may

not know,

notwithstanding, for the chest

but the reward comes

filled

with air i>uoys you

up, the tired internal organs are lifted to place, the jar

no longer comes from the

heel,

and you go home the

fresher for resisting your fatigue.

Actors, in creating roles foreign to their

own

person-

SYSTEM OF PHYSICAL TRAINING.

afitj, instinctively Bcarcli for

ward

13

some individual whose

out-

expression indicates the type of character that they

By

desire to represent.

imitating the facial expression

and attitude of the selected model, they produce within

themselves analogous emotions, and thus color their creations with truth.

Salvini

that

was asked, while

you can play Hamlet

instantly:

"I

as

in this country,

you do? "

their expression and, as

Then home he would

ination,

am

Amleto."

until

novelist,

he caught their walk,

he claimed, their very thoughts.

go, and, following

them

imag-

in

would write down a complete and characteristic

sequence to the

little

instructive, as Balzac

he had seen and heard.

is

Observe the different

French

])rofessions

The

stamp the man.

This

is

universally acknowledged the

finest delineator of character in

habits

famous French

"VVe are told that Balzac, the

it

The answer came

do not play Amleto,

would follow people for miles

How is

"

literature.

see

how

the daily

soldier's bearing, the stu-

dent's stoop, the humility of the nun, the unction of the

priest,

can we not from

make our

these learn a lesson, striving to

daily habits significant of health

asm, and look to

it

that each

and enthusi-

and every habit

is

educa-

tional ?

The

absolute obedience to fundamental laws, from the

least to the greatest, is

what

would most impress.

THE GENEVIEVE STEBBINS

14

Recognizing the interdependence of mind and body,

and the great power of habit,

philosophy,

let

training the body easily to express a beau-

tiful soul, or vice versa, training

mal expression

may grow

us learn this beautiful

the body to right nor-

that through reflex action a sickly spirit

into uprightness.

SYSTEM OF PHYSICAL TRAINING.

15

LESSON L
FOISK.
In the brief resume of a great subject I can not of
course give in detail

The following

all

that will be valuable to you.

lesson will

however give the fundamen-

tals of life, viz., breathing,

with

ation,

with right thinking

energy

conservation of

relax-

energizing, with

creation and direction of energy.

We

need now to generalize

Equilibrium

or

ITjirmonic

mind, a well-i>alanced

body

tl^.e

plastic

all

image

in the

Poise,

soul, a well

one grand theme

well-balanced

balanced body

the

of the soul.

Different parts of the ])ody are especially representative of different dopiirtments of the soul.

Broadly considered, the head represents thought, the

trunk feeling;

hut as in the head, especial parts are

representative of especial attributes of mind, so in the

trunk, especial paits are representative of especial qualities

of feeling.

If

you have ever seen a

skeleton,

doubt noticed three cage-like

you have without

cavities, the top

one con-

taining the brain, the ribs forming a cave for lungs and
heart, while the pelvic cage

becomes a kind of basket

THE GENEVIEVE STEBBINS

16

for supporting

the

important

functions

vital

of

the

body.

The

M. Alfred

celebrated metaphysician,

states that

"

Fouillee,

sensations stir analogous emotions."

For

instance, sensations in the pelvic region, if painful, pro-

duce the emotion of melancholy, and

trains of

thought.

love, jealousy, anger, hope,

as the action

is

stir

up mournful

Sensations in the rib cage produce

normal or

aspirations, fear, according

These again sug-

othervrise.

gest their corresponding images in the mind.

head more

in the

mind

Sensations

immediately produce the injages in the

that stir the analogous emotions.

We

are, indeed,

wonderful instruments for the play

of nature's forces, objective and subjective.

If

you follow

me

add that the head

tions in

is

understand when

so far, 3'ou will

mental, but

which the upper part of the face

mental, the intermediate section

divided into three sec-

is

is

the most

the most emotional

is

or moral, the lower section the most vital.

Again, the upper chest represents the most mental

section of the trnnk, the breast the

abdominal region the most

most loving, and

tlie

vital.

All of this must of course be taken very broadly, but,

broadly speaking, I think that your experience will bear

me out

and that you will find that

parts stir analogous emotions."

'

'

sensations in these


SYSTEM OF PHYSICAL TRAINING.

17

^ow

to control

Now, admitting

the problem

this,

is

become sane
" Poise on every plane

sensation so that emotion and thought shall

and healthy.

mental,

My

one answer

is,

moral, and vital."

The exercises given below

are for the purpose of train-

ing physical poise.

Exercise
Let the head

T/ie

I.

back, then raise

fall

off

raised

it

with a

little

and walk with

it.

Then take

the book

With thought

and think of the top of the head.

you walk, straighten the whole

directed there as

ten-

Place a book on the head

sion in the back of the neck.

when thus

Head.

spine.

This gives a royal carriage, other parts being adjusted.

The

attributes of

mind

in the top of the

head are among

the highest in nature.

Exercise

Shut the mouth,

II.

The

Jaw.

letting the teeth touch lightly at the

back, and open the

face near the outer corners of the

This poises the jaw and invigorates the muscles

eyes.

of the face.

Exercise

Rub

the face

tween the eyes,

more

III.

The Fcace.

upward from the jaw

all

of this

is

to the ear

to invigorate,

especially to stimulate breathing.

and be-

but the latter


THE GENEVIEVE STEBBINS

18

Exercise IV.

The

Chest.

Raise the chest as though you were trying to bring

your breast to your chin,

Do

shoulders down.

same time holding

at the

tlie

without the aid of the breath.

tliis

The Abdomen.

Exercise V.
(a)

Lie prone upon the floor, face down.

(5)

Fold the arms under the breast

(c)

Energize the whole frame and rest upon the toes

and the elbows. In

as pillows.

this tension raise the hips as

high as possible, then lower them until the ab-

domen touches
{d)

Now

high and hold them so sus-

raise the hips

pended for
This

the ground.

fifteen seconds.

the purpose of

last exercise is for

the abdominal muscles and

is

ing from prolapsus of the uterus.

pressive exercise

and the abdomen

is

to enable

Its

valne as an ex-

one to hold 'he hips back

in.

Exercise VI.

With head

invigorating

invaluable to anyone suffer-

The Calf.

well adjusted, as above, chest forward and

up, shoulders down, and hips back, poise forward until

the weight
self

slowly

is

over the balls of the

up and down.

gently on the heels, as

if

Be

feet,

careful

then raise yourto

come down

eggs were under them.


SYSTEM OF PHYSICAL TRAINING.
The Hips.

Exercise VII.

Practice poising body from right to

Adjust

and back.

19

tlie liips well, as

left,

then forward

above, in each poise

and carry the head slightly bent toward the leg which
holds the weight.

The Thighs.

Exercise VIII.
{a)

Take

(J)

Rise on the

(c)

Bend both

well- poised attitude on both feet.

balls.

knees, not letting

the heels touch the

ground.
{d)

Return

This

is

to position.

to strengthen the spine muscles for holding

for walki.ig.

It is invaluable for the rectum.

Exercise IX.

Our

exercises

Walking.

would be incomplete without a descrip-

tion of walking, for

we

true dynamic walk

recuperative.

It

is

and

is

all

must walk, well or

ill.

The

It is self-sustaining.

graceful in the last degree.

Standing in good position, send forth the leg from the

region of the lumbar plexus or small of the back.

Grasp the ground with the

toe

just

foot, the side of the little

grasping the ground, but so swiftly that the

whole foot seems to hold simultaneously.

The knee

of

THE GENEVIEVE STEBBINS

20

Immedi-

the leg holding the weight should be straight.

ately relax
ferred.

at

The

the knee as soon as the weight

feet

should

be

is

trans-

but slightly turned out

the shoulders observe a faint but graceful opposition to

tlie feet.

Each time the

foot strikes the

centre of gravity of the body.

ground

it is

The moving

the true

leg swings

free

and without any muscular bearing upon the other.

The

ball

and the heel

strike the

ground almost

In ordinary walking the heel strikes

first.

in unison.

SYSTEM OF PHYSICAL TRAINING.

LESSON

21

IL

DYNAMIC BRKATHING.
my

Several years ago, while in London,

was

attention

called to a peculiar niethod of recuperating brain exhaustion.

The

patients

were

some

tired brain -workers,

Oxford professors; the teacher was a Hindu

made

inquiry, and

or

upon further research was rewarded

by the discovery
Breathing,"

them

of

])undit.

what

of

have named "Dynamic

correspondence

the

and

breath

of

thought.

Few

that

of us realize

vice versa,

ing and

we

at

functions of

think as

we breathe

we

Ijreathe.

air

is

we

we

think, and

The most

interest-

the same time the least understood of the

life

is

the

phenomena

need to dwell deeply upon the

tainly

as

affinity

between mental action and

breathing.

We

which there

cer-

of

To

respiration.

breathe, as well as to the food

we

eat,

the

we owe

every minute of our mundane existence.

It is quite possible for a

man

to exist in

comparative

health for forty or fifty days without a single mouthful

of food but
half as

we can

not keep body and soul together for

many minutes

without breathing.

"We

all

know

THE GENEVIEVE STEBBINS

22

and yet the

this,

attention that

mental state
in the
Is

its

is

have escaped

fact seein.s to

tlie

general

Every change of

importance deserves.

accompanied bj a corresponding change

power, force, and rhythm of respiration.

it

not

legitimate

to

infer that

certain

ways of

breathing, by reflex action, will produce certain

of thought?

our grasp
ing

is

If

be true, what power

this

For breath

really in

and the power of breath-

is life,

draw

the ability to

is

trains

in the invisible essence of con-

tinued existence.

Does not everything breathe? the plants by the roadsides, the trees of the forest, the birds of the air?

Even

the fishes depend for their existence and continued life

upon the breath and the functions of

The atmosphere
radiation.

Apart from the

atmosphere, the

and more

finer

and

of the planets

air

we

is

respiration.

the product of solar

elements of the

piiysical

breathe

is

charged with nature's

ethereal essences, magnetism, electricity

ether.

Let us examine together a few of the correspondences

of thought and methods of breathing.
First, the

mind

We

respiration

called courage,

produced

when

called

by the

upon

find the inhalations long, deep,

dynamic

state of

the

face danger.

and vigorous, the

lungs inflated to their utmost capacity.

tracting the

to

They

are at-

forces of the atmosphere, to supply

SYSTEM OF PHYSICAL TRAINING.

the flashing

both mental

fires,

23

and physical, which cou-

rageous action demands.

Compare

this

reduces the
the

fear

action

with

opposite emotion, fear.

its

breathing to the

vigor of the

the less the

grows

and

less

minimum.

less until

Fear

The greater

The

inhalations.

muscles seem para-

the

lyzed and breathing stops.

We

know how exhausting

all

realize that

because

it is

we have

during anxious periods.

thought

mistic

enough oxygen

is

anxiety, but

is

Continued,

slow poison.

to purify the

few

not taken louir breaths

unhappy,

We

pessi-

do not take

system and

we

in

are literally

})oisoned.

On

the other hand, hope produces a similar breathing

courage.

to

It

is

more peaceful and

easier than the

breath of courage, requiring less grip and tension of the

diaphragm.
pansion to

The

The emotional
the

nectar of the gods

"As
paiiteth

the

my

tion, that

is

to

the

lungs.

quaffed.

hart panteth
soul

force of hope gives full ex-

mind and, consequently,

after

after Thee,

the water

O God,"

brooks,

so

expresses aspira-

complete exaltation of soul and mind which

is

rewarded by the deepest inspiration, psychical and physical.

The
are

its

opposite mental state to hope

physical expressions?

is

despair.

What

The muscles become

re-

THE GENEVIEVE STEBBINS

24

brain energy subsides, the whole being be-

laxed, the

comes devitalized while the breathing

is

scarcely per-

ceptible.

Anger and hate produce

piration, as

though each

a short, hard, grasping res-

effort

were the malicious

signal

for evil action.

Their opposites, love and peace, produce a gentle,

a yielding,

long-drawn, peaceful, receptive respiration;

soft breath

that speaks of joyful rest, of

summer

the delicious aroma of

Have you
most deeply
light

not

Paradise and

flowers.

observed in yourself that you breathe

in the presence of those objects

the mind and eye, and reverse

presence of those things which horrify the

How quick

displease the sight?

By
this

this time, I

thought with

fect the

must

be true,

delight,

and to rebel

disgust.

am
me

sure that those

will

admit that

How many

respiration.

also

mind and

the brain and the lungs

are to respond to the odors which

against those which

which de-

this condition in the

viz.

who have

followed

states of

mind

will see

af-

the converse

methods of breathing can affect

and change states of mind.

Long,

deep breathing,

united

with

bright,

happy

pictures in the mind, will go far to counteract anxiety,

fear,

and despair.

But, you reply to me, "All this

mechanical, not spontaneous.

Are we machines? "

is

SYSTEM OF PHYSICAL TRAINING.

Do you

not realize that while

he

instinctively,

rises to reason,

the law of

man

to

a creature of training.

is still

Instinct
effort

Regeneration or degeneration

Thoughts and emotions are

life.

all

much comes

and there can be no lessening of

would progress.

if lie

25

is

closely

connected with sensations.

Fear

Love and hope warm

the blood.

chills

A])-

it.

Con-

prehension and despair interfere with digestion.

fidence and contentment bring health.

The

attitudes of

the

body correspond with the emotions of the mind.

The

attitudes

of weakness and

fear contract the chest,

compress the lungs, retard the action of the heart and

bring a thousand
attitudes of
chest,

physical

in their train

courage,

firmness,

make vigorous

ills

while the

and hope expand the

the action of the

heart and

the

lungs, and thus directly imj^rove the health.

The
other

effect of the

reciprocal.

is

Alfred Fouillee,

emotions and the body upon

The

says:

"Reciprocally, the wilful ex-

we do

by generating the sensations

connected with

The

feeling
ideal.
full, it

not

generates

fc-el

it,

turn, are associated with analogous

actor
it

who

expresses and

to a certain extent.

It is

M.

celebrated Fi-enchman,

pression of an emotion which

in their

each

it

which,

emotions.

simulates anger ends by

Absolute hypocrisy

never complete with a man.

would be a contradiction of the

will

is

an

Realized iu

with

itself.


THE GENEVIEVE STEBBINS

5J6

In every case, nature

the

first

Admitting

ignorant of

this, it

all

the imagination
first,

is

law of nature as

through

work

it is

the

may

still

Is

first?

Genuineness

it.

be urged

Does not

not the mind

it

is

law of morals."

first

that

fancied state of hope or joy, affects the

its

body?
I

answer gladly, yes

been leading you, and

and

now

to this

I,

in turn, ask

The imagination

imagination?

around which

all

ject-glass of the soul in

bolic

all

is

the

is

realistic

once

at

have
is

the

action

intrinsic

derived.

the ob-

It is

when

it

realizes

movements

external forms and

jective images, the actual scenes

To come

What

which the human mind

when engaged with impersonal

conceptions, and

mental movements cluster, and from

which every other mental act

and interprets

very question

ideas and

sym-

creative

reproduces the sub-

and events of the

to a practical

example,

past.

we have

learned that hope has corresponding deep breathing, but

how

excite

hope when low

spirited

breathing will do nmch, but

ural.

The

will defeat

close

attention

your purpose.

it

to

and

should

in despair?
if

now.
crated

It is in

Realize

it

possible be nat-

the process of breathing

Instead, after

breaths, fix the attention on something

a definite image.

Deep

present,

in

you hope

for

your possession

your mind, and soon the joy of

by the image and the breathing,

few deep

life,

gen-

will completely

SYSTEM OF PHYSICAL TRAINING.

the

dispel

27

of melancholy and doubt which sent

cloud

despair to your very souL

The

logical

conclusion, which

we

naturally

derive

from observation of the methods and emotions which

dominate

us,

one and

all, is

First, that various states

and conditions of respiration'

owing

in the natural state are

to certain manifestations

of mind.

Second, that, seeing that certain states of respiration

are the outcome ot certain states of mind,

we

are led to

infer that with the powerful aid of the imagination and

a systematic

rhythmic breathing we can stimulate the

mental powers and through the ready response of the

many

organism overcome
Surely

one even

all this is

if it

of the discords of

worth a

trial,

life.

for air can not injure

does not help.

Patience and effort are necessary, for the system of

culture advocated

work

mind

not play. It will need attention and

but this necessary training will result in a great

art, viz.
self, to

is

the art of being always able to express the true

elevate the soul to

its

highest aspirations, and the

to its best thought.

thorough system of gymnastics must go hand in

hand with the breathing-exercises, and the power of concentrating the attention

be slowly acquired.

upon an image

in the

mind must

THE GENEVIEVE STEBBINS

28

The
and

three

vital

principles

are

our being

of

mental,

moral,

and strengthened by

strictly correlated to

breathing, mental imagery, and physical exercises

BREATHING-EXERCISES
Exercise

I.

{a)

Completely empty the lungs.

[b)

Allow the

air to

any muscular

effort

the

Energy

lungs.

effort to

draw

Do

the air-cells.

fill

not

expand

let tlie air-pressure

is

wasted

in

making an

in the air.

Breathe rhythmically.

The ingoing and

the outgoing

breath should be of exactly the same duration.

stance, if
it

in

you count four

two counts, then

breath.

Even

for

ten

let it

out during four counts.

holding,

seven

for

quickly and
air than

talking

bad
is

air

in-

If

incoming
out the

may be counted with impunity, always

how unevenly
let it

tlie

letting

holding one-half as long as you inhale.

realize

For

for the incoming breath, hold

the breathing be deeper, count sev^en for

breath, three

make

they breathe.

out slowly, so that

in

the lungs.

so fatiguing unless one

This
is

Few

They take

we have
is

people
in air

less fresh

one reason why

also a

good

listener.

SYSTEM OF PHYSICAL TRAINING.

Exercise
Lie or

back

sit

any easy position

in

relaxing

you

will

air,

less air

much

tacit

the will in

loss.

so

much; again

Each time you

air
let

will find less

pressed out, for the lungs retain the oxygen

longer than

tions to

all

you press out the

that

emptying

not feel like

nature replenish the

and

Put

then calmly wait until nature has

The second time

you.

on the

lie

one knee and one arm, extending the

pressing out the

filled

preferably,

Feel restful and dreamy.

other.

29

empty the

we imagine and
lungs.

At last

it

many

takes

the breathing

exhalais

quite

a deep exhalation a deep sigh follows.

The foregoing breathing

breathing that

when

the soul

is

is

the

is

the analysis of the kind of

correspondent of states of mind

receptive to states or scenes of loveliness

and beauty.
Exercise

III.

an easy position.

(a)

Lie relaxed

(b)

Breathe strongly, with a vigorous

in

vertical,

surging

motion, with the same rhythm as in Exercise

This stretches the whole trunk like an accordion.

Concentrate the mind as follows

(1)

Imagine

the ingoing and the outgoing breath being

through the

feet, as

drawn

though the legs were hoi-


THE GENEVIEVE STEBBINS

30

low

(2) direct

hands and the arras

(3) to

Now breathe

elbows. (5)

tlie

same mental idea

the

and the elbows together

the lips

(7)

the knees

to the
(4) to

through the knees

(6)

breathe through

breathe through the shoulders

(8)

breathe through the abdominal and pelvic lumregions; (9) breathe

bar

chest;

(10) complete

this

through the upper

mental imagery by

breathing through the head and the whole or-

ganism in one grand surging influx of organic

life.

This breathing corresponds to energetic states of mind

when

the concentrated will

of the body.
trains

Its

mind and body for

and

action,

is

directed to the given parts

value can not be overestimated.

It

strong, well-directed, energetic

rests the entire

system by the distribution of

nerve-force and quickened vigorous circulation, which

almost cure nervous pros-

ensues on

its

tration.

Fifteen minutes twice a day, about two hours

after eating,

practice.

is

It will

the prescription.

Exercise IV.

To Cure Headache.

(a)

Lie in a relaxed easy position.

(5)

Fold the hands on top of the head.

(c)

Breathe about four counts, heart rhythm.

{d)

Hold one count.

SYSTEM OF PHYSICAL TRAINING.

{e)

Think that you are forcing the

Breathe out four.

The hands on

out through your feet.

air

31

the

the

upper chest-muscles and force

deep breathing,

wliile the liold of breath is only

liead

lock

All this draws the blood from the head

one.

or stirs the circulation.

Exercise V.

To Invigorate

Base of the Brain.

the

{a)

Stand and, holding the hands

ih)

Breathe deeply, as you do

in front,

shake them

vigorously, relaxed from the wrist.

the
(c)

so,

gradually packing

air.

When lungs are

full,

and the shaking has continued

some time, suddenly

stiffen the

hands, and hold-

ing the breath, carry the hands to the base of

the brain, pressing the thumbs on the soft part
of the neck just under the
fingers clasp

bony structure, the

and meet above. Press vigorously,

holding the breath.

Exercise VI.

Take a

To Invigorate

good breath

and

hold

the

Ova/ries.

it,

while pressing

the second finger vigorously on the abdomen in the region

of the ovaries.
that regio

Strain

downward and

will

energy into


THE GENEVIEVE STEBBINS

82

Exercise

VIL To

Invigorate the Entire Lunq'Region

and Prevent Consumption.

(a) Fill the
(h)

upper part of the kings.

Hold the

and

breatli

witli

down

muscles force the air

Do

and then up.

tlie

this for

of the chest-

aid

into the lower chest,

some

little

time.

To Give Nerve- Power.

Exercise VIII.

Hold

Standing, take a good hreatli.

it

and clenching

the hands in front, draw tliem vigorously backward to

the shoulder.

Repeat several times with great rapidity.

These breathing-exercises constitute

culture

})hysical

for the diaphragm, the great centre muscle, the roof of

the stomach and the floor of the lungs.

fall,

contraction and relaxation,

muscles attached, and

all

toned and invigorated by

it

In

carries

its rise

with

it

and
all

the vital functions of life are

The

ab-

upward toward

the

energetic action.

its

dominal contents should be

lifted

chest, so that the great expansion is at the waist, although

a slighter outer swell of the

abdomen begins the

action.

The chest-muscles should always allow themselves

passively raised.

awaiting an

God's

air

is

empty receiver

heart and l)rain and soul.

to be

above and around us only

to

rush

in

and stimulate

SY6TEM OF PHYSICAL TRAINING.

LESSON

88

III.

RELAXATION.
This must not be mistaken for inertia.

means
It

rest after effort,

Relaxation

perfect rest after perfect effort.

means the conscious transfer of energy from one de-

partment of nature to another, with ease and economy,

after a tension of

mean complete
gravity, the

ferred

to

brain.

resignation

mind

body or

True relaxing would

of the body to the laws of

to nature,

and the entire energy

deep dynamic breathing.

breathing-exercises,

The complete

Before giving

one must understand

relaxation of

trans-

relaxation.

the voluntary muscles at

once transfers the energy to the involuntary parts, so

that, strictly speaking, there

can be no such thing as

laxing except in parts of the body

sufficient.

Relaxation,

tlien,

but this

is

re-

quite

recuperates power through

the repose.
It

is

the custom

among

the nomadic Arabs and the

caravan merchants journeying in the desert, as soon as

they reach an

oasis, or

other place in the desert, to seek

the shade and, throwing themselves prone on the ground,

to relax every muscle.

In this position they rest twenty

or thirty minutes, breathing deej)ly.

When

they arise

THE GENEVIEVE STEBBINS

34

they are refreshed

continue

such an extent that they could

to

journey another

their

twenty-four hours

if

necessary.

For many years

have followed a similar practice

after an exhausting day's

work, and

the evening as nothing else can.

able to rest at will,

The

brain must

refreshes

is

rest

can by

for

be

not sufficient.

the muscles must relax, the soul

This

is

a consummation not only de-

voutly to be wished, but to be attained

of

me

It is a great art to

merely lying down

rest,

its striving.

cease

it

repeated

effort

for the habit

thoroughly estab-

be

lished.

Exercise
Lie

down on

the floor, relax at once as completely as

possible, so that the

lifeless, as

idea

is

I.

though

it

body

shall

be practically limp and

was no part of you.

The mental

a calm and perfect consciousness of your separate

existence apart

from and superior

body undergoing the

exercise.

to

any part of the

This must be accom-

panied by rhythmic breathing, while in imagination the

mind seeks unaided a pleasing but dreamy kind of rapport with the natural surroundings,
ful

if

not, close

the eyes and

and sky, rose garden or

Bend one

leg, say

hill,

if

make

they are beautia picture of sea

lawn or bower.

the right, and bend the left arm, or

vice versa, while taking this exercise.

SYSTEM OF PHYSICAL TRAINING.

When you
as

it

may

go to bed, try

seem,

many

to lie heavily, for, strange

sleep tensely all night.

Exercise
Sit in a chair, well

against the chair

and the

II.

back, letting the shoulders rest

hold up the chest, but

legs feel heavy, that

is,

Learn

enough

ride in a

draw the

III.

the arms from the shoulders

foreign

to

to let the cushions carry you.

Exercise
Lift

the arms

let

Many

relax.

carriage spending nervous energy

vehicle.

85

objects;

feel

them over the head

their

weight.

swing them

as if they

were

Gradually

raise

in a

circle, feeling

their weight constantly.

Exercise IV.
Stand on a

stool

and swing leg from tho hip

feel its

weight.

Exercise V.

Drop
wise.

the head sidewise until

When

about to

fall

it

draws the trunk

suddenly recover balance.

Exercise VI.

Hang

side-

the head forward as though sleepy.

THE GENEVIEVE STEBBINS

86

Exercise VII.

Drop

the hand from the wrist, heavily.

Exercise YIII,

Shake the foot from the ankle,

as if the foot

was an

old boot.

Exercise IX.
Strive to shake the forearm, as

ing from the elbow.

This

if it

was a

stick

hang-

last is difficult.

Exercise X.

Shake the leg free

at the knee.

Exercise XI.

Shake the

fingers free at the knuckles.

Exercise XII.

Relax the jaw and the tongue

the

latter

to free

speech.

Unconscious expression of energy

cles,

when performing no

use,

fail

to avail ourselves of the

the

air,

but

we

is

in

voluntary mus-

wasted.

We

not only

magnificent lii'e-supply

heedlessly throw

force in unnecessary waste every

away the precious

moment

iji

life-

of our lives.

SYSTEM OF PHYSICAL TRAINING.

But here
have

it

let

ns pause, for I would not for one

thought that

energy,

37

counsel laziness.

whenever needed

No,

far

moment
from

it

but directed, willed, pur-

poseful energy, followed by right relaxation at the right

time.

Too many

of us are constantly working on the

fag end of our strength, not leaving in ourselves enough

force to direct

This

is

mind and body

a great mistake.

to their rest.

When

one

exhausted in the region of the pit of the

the base of the brain, the situation

need reserve force

is

feels

completely

stomach and

at

We

all

dangerous.

at the centre of strength.

THE GENEVIEVE STEBBJNS

38

LESSON

IV.

KNERGIZING.
The energizing

exercises are arranged for the purpose

of directing the will force to a given part of the body or

whole organism.

to the
sis

These exercises are the antithe-

of the relaxing ones, not rest, Ibut effort, strong and

powerful,
Ilav^e

is

their aim.

you never observed the unnecessary contortion

of the face as

some

irritated individual struggled with a

perverse corkscrew, bureau drawer, or umbrella?

In-

stead of putting the necessary energy into liand and arm,

force

is

parte.

wasted, because distributed over so

Witness the braced

leg,

many unused

tense arms, wrinkled

brow.

We

observe and laugh at our neighbors, not realizing

that they in turn laugh at us.

"

O wad some power

To
It

the giftie gie us

see oursels as others see us

wad

frae

mony a

blunder free us.

An' foolish notion."

Again we attempt
lungs.

to

do

many

Little children are wiser.

things on exhausted

wee boy

will

not

SYSTEM OF PHYSICAL TRAINING.

attempt to

lift

39

a stone without a big breath to aid

him

but children of an older growth have forgotten nature's

have

lesson,

lost the instinctive

nervous agitated

we

fashion

wisdom
rush

of infancy.

about,

In

attempting

herculean tasks with emptied lungs.

To

breathe

learn to

creases

the

personal

is

the secret of power.

magnetism

as

It in-

well as the vital

strength.

The mental

idea in these exercises

is

that of aljsolute

power possessed apart from the body, directed

to the

parts at will.

Caution

Do

not energize any part of the body but

the parts directed.

Exercise

I.

(a)

Stand in a normal position,

(J)

Extend the right leg forward,

above the

floor

and resting

lifting
tlie

it

slightly

weight on the

left leg.
(c)

Inhale, and as you do so, gradually contract every

muscle until the

left

leg

is

quite rigid at the

fourth count.
(d)

Hold the

tension and the breath while counting

four.
(?)

Slowly relax while you count four.

THE GENEVIEVE STEBBINS

40

EXEKCISE

Repeat

this exercise

with the

II,

left leg.

Exercise III,

Repeat the exercise by standing upon both

legs and

energizing them together, so that in inhaling the breath,

the whole body

is

upward

lifted

until

you stand upon

the toes.

EXEKCISE IV.
Energize the

left

arm

as

ing the arm and the hand.

you did the

The arm

is

left leg, clench-

extended

slightly.

Exercise Y.

Repeat with the right arm.

Exercise VI.

Repeat with both arms.

to

This will require

concentrate the will force in such a

way

much

care

as to leave

the throat and the face uninfluenced.

Exercise VII.
Gradually energize the chest- walls,
energizing the abdomen,

backward

to their

as if raising a

loins,

etc.

lifting
;

them, while

press the arms

utmost capacity, palms outstretched

heavy weight, making the whole trunk,

SYSTEM OF PHYSICAL TRAINING.

except the neck and the liead,

41

Slowly

quite rigid.

relax.

Exercise VIII.
Energize the head, drop

it

backward

then raise

it,

slowly energizing.

Exercise IX.
Stretch the right arm up, the left arm down, stretch-

ing the entire body.

Repeat with the

left

arm.

Exercise X.
Stretch the entire body in a great, broad, fully ex-

panded yawn,

legs astride.

Yield yourself to

it

as nat-

urally as possible.

All of the energizing exercises should be increased in

tension during inhalation

while the breath

age)

is

should be held at full tension

held (about four seconds

should be gradually relaxed

is

the aver-

and great care must

be observed to keep the parts not being energized free

from unnecessary

tension.

THE GEAEVIEVK STEBBINS

42

SPECIAL DRILL FOR

Exercise
Spread a sheet on the
ing, place

hands on

floor

chin rests on the floor.

in

floor

HOME

USE.

1.

and kneel on

it.

Kneel-

and lower the trunk until the

Then

place the arms at the side

an easy position, with the backs of the hands on the

floor.

Breathe deeply for several minutes, expanding

at the waist.

Exercise

Turn the head and

the floor

II.

rest the right side of the face

crook the arms and the

left

knee.

on

Breathe

deeply several minutes.

Exercise III.

Repeat the same on the opposite

Exercise IV.

side.

Place both hands, thumbs touching, at the small of

the back and curve trunk upward, head leading.

peat six times.

Re-

SYSTEM OF PHYSICAL TRAINING.

43

Exercise Y.
Place the palms of the hands on the floor and raise

Repeat

the trunk arms' length.

six times.

EXEKCISE YI.

Keeping the hands on the

floor, rise to

the knees and

give a good back stretch, like a dog stretching after a

nap.

Repeat

six times.

Exercise YII.

Elbows and

toes support

Repeat

hips, hold.

abdomen

straight.

Raise

six times.

Exercise YIII.

Relax and take position

in Exercise II.

Breathe.

Exercise IX.

Turn on
and

right side, rest on one elbow

raise hips.

Repeat

and on ankles,

six times.

Exercise X.

Repeat on

left side,

then

rest.

Exercise XI.
Lie on back.

Stretcli tlie

arms over head back of

THE GENEVIEVE STEBBINS

44

liands

on

floor.

Hold, then

Stretch the entire body.

rest.

Exercise XII.

Lay hands on top of head.

feet
feet.

Bend

tlie

knees, place

on floor and raise hips, resting on shoulders and

Rest.

Exercise XIII.

Keeping hands on top of the head, with bent knee

circle thigh

as completely as possible.

ber of times,

first

Repeat a num-

with right thigh, then with

left.

place a cushion on the floor, rest the back on

keeping knees bent and together,

circle

Then
it,

and

both thighs.

Exercise XIY.
Circle the right arm,

down
arm,

at the side.
left

curving over the head; then

Repeat a number of times with right

arm, and both

arras.

Exercise

XY.

Place hands on top of head and raise both legs about

45 degrees from the ground.

Hold

rest.

Exercise XYI.
Raise both legs 90 degrees from the ground, straight.

S YSTEM OF PHYSICA L TRAINING.

Holding right leg
laterally.

in

air,

45

gently lead the left leg

Repeat on other

down

side.

Exercise XVII.

Kneel wide,

Rise to knees; place hands on head.

then drop the body to the

right

and

to the left alter-

nately.

Exercise XVIII.
Bring

lists

to armpits, then

lean well back.

extend arms overhead and

Repeat several times.

Hold.

Exercise XIX.
Place the hands on

Rise and stand against the wall.

the hips and stand with the feet apart.

bend knees, stretch knees, heels

sink.

Raise heels,

Repeat several

times.

Exercise

Open some door and

XX.

place hands on the sides of the

frame of the doorway, elbows stretched.

toes.

firmly

Stand on

tip-

Firmly grasping the frame and holding the toes

on the ground,

let

the body swing forward.

Hold.

The foregoing

drill is

adapted from the

tarium work and the author considers

that

finest

it is

sani-

valuable

THE GENEVIEVE STEBBINS

45
to anyone.

in

good

ticed an

It

trim.

should be used to keep the entire body

Its best

effects will

follow

exercise, the author uses the foregoing

when

When

hour and a half after eating.

home

prac-

needing

drill.

Its

use by those troubled with sluggish action of liver, intestines, etc., is strongly advised.

It

will

also

reduce

the superfluous flesh from the region of the hips and the

abdomen, while making thin people larger by improving

the digestion and increasing the size

For reducing

flesh, starch

do the

rest.

the

muscles.

and sugar must be avoided in

the diet and the bowels kept open.

nastics will

of

Breathing and gym-

SYSTEM OF PHYSICAL TRAININQ.

PART

47

II.

SCHOOLROOM GYMNASTICS.
ADVICE TO TEACHERS.
Have

the scholars stand in aisles between desks, or

you have an empty room march your

Front

Raise

face.

left

arms

scholars to a line.

and

line

reach distance

is at

tended, touch the backs of

arm

from

distance

class are

tlie

their

(i.

The

neighbors.

is

When

Tlio class can

and are ready for

tlio drills.

also leftall

the

two, one two,

etc.,

columns; then give the order:

forward step."

sec-

arms, forward ex-

front row) and

thus standing, count one

for alternate

e.,

them

extend

sideways, touching the neighbor's shoulder.

ond

if

now extend

"Twos

both arms

In each advance lesson put some marching, and carefully follow the prescriljed order, viz.
1.

Respiratory.

2.

Legs.

3.

Arms.

4.

Trunk.

6.

Head.

6.

Marching.

7.

Respiratory.

THE GENEVIEVE STEBBINS

48

Thus

all

parts of the

tion to each other.

once

say

If

body are worked

you use two or three

two reviews and

one advance

hour with the respiratory, then give the

them

all

When

rela-

lessons

begin

series

at
tlie

and end

with marching and with breathing.

hands are not

in

use,

hands placed lightly on hips, one a

other, elbows back.
ing,

proper

in

The

order
little

the

backs

of

lower than the

relaxing, energizing, breath-

and walking can be introduced wlien convenient.

Teachers are earnestly/ advised

to insist

on their pupils

owning a copy of this hook for home practice.

Perform all the drills to music march or

waltz.

After carefully showing the exercise, blend the arm

series

with the fancy-step marching.

SYSTEM OF PHYSICAL TRAINING.

4y

KIRST SERIES.
Waltz Time.

ExEKCisE

Standing.

(a)

Heels on same

(h)

Feet turned out BO degrees.

((?)

Knees

{(l)

Head

line

and together.

straight.

held as

if

bearing a weight, or so a perpen-

from the

dicular line could be dropped

ceiling

or the skj to the centre of the crown.

(e)

(/*)

Trunk

erect, gluteal

Shoulders down, arms hanging

Caution

Avoid unnecessarj

Exercise
(a)

mass and hips well back.

II.

easily.

tension.

Rising and Sitting.

Stand before a chair, one foot

in

advance of the

other.
(h)

Bend
as

the trunk forward, the head backward, and,

it

Do

were, courtesy into a chair.

Caution

not exaggerate either the trunk or the head

motion.
(/)

Incline the trunk forward and the head backward,

and
Caution

rise

slowly by the power of the legs.

Do

not

press the

arms on any portion of

the body or of the chair.


THE GENEVIEVE STEBBINS

50

Exercise
{a)

Extend

(5)

Bend

;u!!;s

Stretching

{the

Yawn).

front, shoulder level,

palms down.

arm>, bringing finger-tips to chest, elbows

hhoulder level, drawn well back.

at
(c)

III.

Extend arms

laterally, still at

shoulder level.

((f)

Rotate arms, turning palms up.

{e)

Bend

elbows, carrying finger-tips, which do

elbows are extended

the

finger-tips

at side, the

touching,

not

In this position the

separate, to base of brain.

the

head erect,

shoulder-blades

well in.

{f) Bend arms, bringing

(y)

Drop

fists

to shoulder.

hands, placing them lightly on hips, fingers

to the front.
(Ji)

Take good
balls of

the

standing- position and gently rise to the

the feet.

Descend, without allowing

heels to touch tlie

ground.

Perforin this

several times.

To
the

the foregoing add the deep breathing and hold of

yawn

or tired stretch, for the exercise

is

base.l

on

Nature's restorer, the yawn.

Exercise IY,

By

Harmonic

the term "strong leg"

the weight.

is

Poising.

meant the

leg bearing

In these poising exercises, incline the trunk


SYSTEM OF PHYSICAL TRAINING.
away from the strong

leg, not

toward

51

There should

it.

be no slouching at the hips, and the muscles of the thorax

and the back should hold the abdomen up and

(a)

Side Poise

in.

Stand erect, with the feet slightly

apart

and the weight on both

Sway

to the right, putting the

right leg.

Then sway

weight on

the left leg.

feet

equally.

weight upon the

putting the

to the left,

Repeat

six times

in

slow continuous motion.

(J)

Forward and Backward Poise

short

distance

front of

in

on forward

Oblique Poise

Heel

to

foot.

Place one foot forward obliquely

from the body.

{d)

the weight

Sway backward, throwing

foot.

weight on backward

and back

the other, weight

Sway forward, throwing

on both.

(c)

Place one foot a

weight upon

Incline the

it

again.

Toe Poise

together.

Stand on both

Sway forward from

then backward

then sideways

feet, heels

heel

toe;

to

then obliquely.

SECOND SERIES.
Exercise

Marching with

I.

Arm

Positions.

Order of March.
(a)

Arms

thumbs

1.

Wing.

to the back.

Hands

resting

on

hips,

THE GENEVIEVE

52

Finger-tips touching at base of brain,

Rest.

2.

SI EB BINS

arras bent, elbows lateral.

3.

Bend. Fists

4.

Stretch.

5.

Reach.

at shoulder,

Arms

elbows down at

sides.

extended up, palms facing.

Arms extended forward

at shoulder

level.
6.

Hang.

7.

Fly.

Normal

position at side.

Ascending altitudes

at sides,

from hip

overhead, wrist leading; hanging hand when

ascending, i-aising hand back on

wrist

when

descending.

Arms forward, bend elbows at shoulder level.

9. Arms extend sideways.
10. Arms extend sideways, rotate at shoulder.
11. Arms extend sideways, bend carrying forearm
8.

up

vertically.

Shelter.

12.

Arms

lifted

and bent, carrying hands

on head, one hand on top of the

Basket aim.

13.

Arms

raised

otlier.

overhead, elbows

bent, hands back on wrist to support imaginary

basket.

Arms curved

Wreathe arms.

14.

palm up, the other down,

{h)

Legs

Time.

overhead, one

finger-tips touching.

Step in place

marking time

gently.
2.

Ordinary walking.

(See lesson.)

SYSTE3I OF PHYSICAL TRAINING.

3,

Heels

walk on

lift,

Back

5.

Short step.

6.

Long

T.

Search

step.

8.

High

Half of ordinary

step.

long, swinging step.

Knee bent

step.

touches

of feet.

Walk backward.

4,

stej

i)alls

58

slightly, ball of foot

first.

Lift thigh

step.

angles

right

to

with

leg hangs vertical, rise on ball of

trunk, lower

strong foot as step

is

taken.

In class-use blend the arm and leg orders.

THIRD SERIES.
1.

Swing

Circle step.

the outside of
2.

Change

step

bring

advance
3.

Left thigh.

catch step.

left

free foot in front of and to

wrong leg, walking on

and then again

to the heel of right,

right.

Step with

Keep knees

balls of feet.

Step with right foot,

left

and repeat.

straight

and walk with

strong uplifting of Jiips.

4.

Swing

leg.

Swing

right leg

backward, and step

Repeat with
5.

Side step.

07i

from hip, forward,

second

forward swing.

left.

Stand in

right foot in front

lateral

of

position,

strong.

carry free

Describing a

half-moon (concave to front), place

it

outside of


THE GENEVIEVE STEBBINS

54

strong foot and immediately

again carrying right foot to

Hop.

6.

Hop

first position.

on each

twice

transfer weight,

throwing free

foot,

foot back while advancing.

Rnn,

7.

Heels

breast

lift,

run on

knees bend, arms bend,

fists

at

throwing free foot well up

balls

behind, opposition of arms.

Halt.

8.

Take one step

after the order

bring heels together

given, then

halting after the run,

in

is

rise on the balls of both feet, one in front of

the other, and then swing weight to retired foot.

F'OURTH SERIES.
Henceforth, begin and end each lesson 'with a
spiratory exercise.

ber

in

As each new

review, this must

lesson

now be

may have

left

re-

num-

t^ the teacher.

Before the last respiratory exercise order the marching,

and take the breathing standing or

sitting.

namic Breathing," page 28, for the

Exercise

I.

See

exercises.

Foot Flexion.

(a)

Poise l)ody on one foot.

(h)

Lift the other lightly, bending knee,

(c)

Eaise foot from ankle,

first

down, then up.

Repeat several times, change and alternate;

waltz time.

"Dy-

all

to


SYSTEM OF PHYSICAL
Exercise
(a)

With

II.

Arms

wrist leading,

55

Front, Lift and Lower.

elbow,

straight

TRAININ(^.

lift

light

hand,

relaxed

arms from shoulders

and
to

vertical position at zenith.

(b)

Lower

hand well back on

Repeat several times, change and double.

ing.

Exercise
{a)

wrist, the latter lead-

Front LUhs Ln and Out.

III.

Stand in position, heels together.

{b)

Rest hands lightly on front

(c)

Bend forward

at

ribs.

waist, exhaling while pressing

ribs in.
{d) Inhale, pressing ribs strongly out, as trunk
lifted.

Repeat several times.

Exercise IV.

LLead

Bend.

Bend head back and forward, with

each way.

is in

elastic

neck pull

Repeat several times.

KIF^TH SERIBS.
Exercise
{a)

I.

Foot Side-Flexion.

Stand on one foot,

lift

the

other, knee bent

slightly.
(b)

Side bend of foot from ankle out and

several times,

time.

in.

change and alternate,

Repeat
to waltz


THE GENEVIEVE STEBBINS

56

Exercise
(a)

Stand on both

(h)

Turn elbows

Arms

II.

feet, hips firm.

in

arms hang

as

straight locked elbows

.

meet

Descend

in

{a)

and palms outward,

III.

sides,

until inside

and hand

curve,^ wrists leading,

Kepeat several times.

Waist,

Stand on both

lift

in an arch.

same

falling inward.

Exercise

and with

at sides,

arms Overhead with wrists leading,

of wrists

((')

Side-Lift.

Side Rih Pressure.

feet, hips firm,

and place hands on

thumbs near armpit.

{h)

Exhale, while pressing ribs

(c)

Inhale, while expanding ribs laterally.

in.

Repeat

several times.

Head Side Bend.

Exercise IV.
{a)

Body

in upright position.

(5)

Head

to the side,

front.

bend

first right,

then

left

face

Repeat several times.

SIXTH SKRIES.
Exercise
(a)

I.

Foot

Circle.

Standing firmly on one foot,

lift

the floor, knee slightly bent.

the other from

SYSTE3I OF PHYSICAL TRAINING.

(h)

57

Describe outward circle with foot, movement at

Repeat, change and alternate.

ankle.

Exercise
Describe

Ch'cle.

from front

circle

larffe

Arm

II.

back

over

Repeat.

shoulder, locked elbows, free hand.

Hand and Trunk

Exercise III.

to

in Opposition^

Circle.
(a)

Stand with weight on both

rest

(J)

hands

liglitly

feet,

keeping hips firm

upon them.

Descri])e a circle with trunk, keeping head in op-

which thus describes an opposite

position,

circle.

Repeat on the opposite curve. Caution: Bend

at waist-line, not at hips.

Exercise IV.

Head

Circle.

{a)

Bow

(J)

Describe a circle over shoulder, back, and again

head on chest.

Repeat on opposite curve.

to front.

Do

this with

going to

extreme relaxation, almost as

if

sleep.

SEVENTH
Exercise
(a)

Caution

I.

SERIES.

Leg Oblique^ Shake.

Standing firmly on one foot,

the floor.

lift

the other from


THE GENEVIEVE STEBBINS

58

(b)

Turn foot obliquely

(c)

Carry lower leg out and back with knee

out, point toe

and bend knee.

flexion.

Repeat, change and alternate.

Exercise

Arms

II.

Oblique, Swing.

arms obliquely ascending

(a)

Lift

{b)

Carry them down a

front, locked elbows

and free hands.

hammock
not
(c)

fall

The

line or arc of a circle.

much below

Return on the same

Exercise

then back, describing a

little,

must

the shoulder level.

Repeat several times.

line.

Trunk

III.

arc

Oblique,

Bend.

{a)

Place feet in position for oblique harmonic sway.

(b)

Keep

feet firmly planted

on

floor,

and sway body from one foot

peat

Head

Exercise IV.
front,

it

was

Oblique,

Bend.

bend head obliquely up and down.

Repeat; change. Caution

as if

Re-

Caution extreme hip action.

change.

Keeping face

knees locked

to the other.

elastic, in all

Always feel the neck

pulled,

these neck bends.

EIGHTH SERIES.
Exercise

I.

Leg Pendulum, Swing.

Stand firmly on one foot

lift

the other leg from the

SYSTEM OF PHYSICAL TRAINING.

floor

and swing

it

forward and backward freely from

Change and

hip, foot escaping floor.

Exercise
Lift

arms

be worked vigorously.

Exercise
(a)

Lift

arms

make

shoulder and

turning a crank.

if

alternate.

Arms, Crank Movement.

II.

level with

backward, as

59

The

movement

slioulders

must

Repeat several times.

Trunk Dervish

III.

to vertical position

/Swing.

with upward stretch

of trunk.
(h)

Bend forward
floor

at

hips,

touching finger-tips to

keep

knees

Head

Ohlique, Facing

locked.

Repeat

several

Up

Down.

times.

Exercise IV.
(a)

Face obliquely.

(5)

Bow

am,d

head up and down, with good, strong,

elastic

neck-pull.

NINTH SERIES.
Exercise

Leg Side Swing.

I.

(a)

Stand firmly on one

(J)

Lift opposite one

toe

pointing,

trunk.

leg.

from hip and swing to

side with

observing correct opposition of

Change.


THE GENEVIEVE STEBBIN8

60

Exercise
(a)

arms

Lift

(h)

froni shoulder, elbows locked,

laterally

palms down,

A7'ms Fly.

II.

to liip lev^el

Carry them successively

half-way

to zenith,

backs

wrists

of

then return to side.

to altitude of shoulder,

and

last to zenith,

meeting

Repeat

several

over head.

times.

Exercise 111. Trunk Side Bend with

(a)

Carry free foot out

at side

on

line

Arm.

with instep of

strong foot.
(J/)

Touch

(c)

Bend body

toe to floor.
to free side,

arm on strong

side

keeping knee straight,

lifts

as

overhead with palm

downward.
(d)

On

assuming upright position, turn palm outward,

as

arm

returns to place.

Repeat, change and

alternate.

Exercise IV.
(a)

Turn head

to right.

(h)

Turn head

to left.

TENTH
Exercise
(a)

I.

Head Turn.

Repeat.

SERIES.

J{7iee Lift.,

Stand firmly on one

foot.

Toe Point,


SYSTEM OF PHYSICAL TRAINING.

61

Lift the other leg tu hip level, lower leg hanging

(b)

Repeat, change and alter-

with toe pointing.

nate.

Exercise
{a)

Horizontal Swing of Arins.

II.

Carry arms

front of chest at shoulder level,

in

with palms facing.

(h)

Swing arms horizontally back and

front.

Repeat

several times.

Exercise
{a)

Heels

Trunk Vibration Up and Dovm.

III.

lift.

(b)

Knees bend.

{c)

"With hands on

down by

alternately raising and lowering

Exercise IV.
(a)

Head forward

(b)

Hold

this

vibrate the trunk up and

hips,

Head Bow,

it.

Side Bend.

bend.

j)osition

and bend from

side to side.

Repeat several times.

ELEVENTH
Exercise
{a)

I.

Leg

SERIES.

Circle from,

Hip.

Cross free foot in front of strong, touching an outside point

(5) Lift free leg

on

line of instep.

from hip and describe a complete

cir-


THE GENEVIEVE STEBBINS

62

cle,

carrying free leg behind strong until start-

ing-point

Exercise

Repeat and change.

reached.

is

Arm

II.

Circumduction.

(a)

Extend arms

{h)

Describe very small backward circles with power at

at side

on shoulder

level,

holding

palms upward.

shoulder.

Trunk

Exercise III.

Circle

hands on

from Hip.

[a)

Stand on both

(h)

Circle trunk iroxn hips, describing as large a circle

feet,

Reverse,

as possible.

Exercise IV.

hips.

Head Oblique,

(a)

Turn

(b)

Forward bow.

(c)

Hold a and

JBovj Side

Bend.

face oblique.

b,

and add from side

to side bend.

Reverse.

TWELFTH
Exercise

J^oot

I.

(a) Standing
floor

Floor and Knee Touch.

at centre

and

pointed toe,

Reverse.

of an imaginary circle, tap

standing

knee

following an

ference half round.

(J)

SERIES.

alternately

with

imaginary circum-


SYSTEM OF PHYSICAL TRAINING.
Exercise
(a)

Backvjm'd Looj) from Shoulder.

II.

Carry upper arm

and hand

(h)

to shoulder level front,

circles,

backward, making a loop

each time, unbending arm on

III.

forearm

relaxed,

Describe four

Exercise

63

last one.

Bend of Trunk, Arm

Side

Tra7isfer of
{a)

Carry free foot

(J)

As

(c)

Free hand

over Head,

Weight.

at side, pointing toe, opposite

arm

hanging over head.

hip muscles

in

falls

backward,

lift

as

body, weight
front of face,

opposite

is

transferred.

downward and

arm assumes

position

over head.

Exercise IV.

Head Back,

Side Bend.

(a)

Head backward bend.

(b)

In this position from side to side bend.

THIRTEENTH
Exercise
Lift lower leg,

knee

in.

Exercise
(a)

SERIES.

/A^> Action,

bend knee, point

Knee
toe,

In.

touching

floor,

Reverse.
II.

Arm

Stand on right

and Head in Lateral

leg.

Opposition.

THE GENEVIRVK STEB BINS

64

(h)

Carry

ana

rii^lit

to

left

shoulder as head turns

right.
{o)

Extend arm
left,

laterally to the

riij^ht

as

head turns to

opposing hand.

Caution: In extending the arm, he careful to

the ell)0\v

Exercise
(a)

Trunk

Ohliqne Bend.

Bend

liead.

trunk

entire

slightly
{<)

III.

Place free foot forward, ohliqne, and clasp fingers

over

(Ji)

carry

high as the shoulder.

avS

hending

Swing trunk

ohliquely

over

free

foot,

hotli knees.

to an upright position turned

strong leg and return to

first

position.

toward
Ilej>eat,

reverse.

Exercise IY.

Head Ohlique^ Back Bend., Side Bend.

{a)

Head

(}))

In a position from side to side, hend.

ohlicjue,

hack hend.

FOURTEENTH
Exercise
{a)

I.

Forward

SERIES.

Charge., Alternating Legs.

Carry right leg forward with weight, plant

turn toe out slightly
Charffino:
lifted.

and hend knee.

foot,

Caution

knee turned out and retired heel well


SYSTEM OF PHYSICAL TRAINING.
(l)

Return

(f)

Repeat several times on each

65

to place, lieels together,

side

and then

alter-

nate.

Exercise
(a)

head

bowed.

Return
as

Opj/osition Lift.

to a vertical position at zenith as

Carry arms
is

(b)

Arms and Head

II.

head

locked,

downward

place with strong

to

is
i.

pressure

bent backward, wrist leading, elbow

e.

tlie

arm

straight

from shoulder

to

wrist.

Backward Charging, Alternately Un-

Exercise III.

folding Arin8.
(a)

Carry arms

over head

in

finger-tips touching, one

(J)

broad outside

circle,

hand palm up.

Carry foot backward with weight and bent knee;

arms extended

laterally at shoulder level,

pahns

up.
{c)

Repeat;

change.

Exercise IV.

Alternate.

Head Fowwrd, Bow and Turn.

(a)

Head foward bend.

(/>)

Head

in this position, right

and

left turn.


THE GENEVIEVE STEBBINS

66

KIKTEENXH SERIES.
Fancy Step Alarching.

Exercise
'
'

Military heels

Military Heels Lift.

I.

'
'

means

heels together, toes turned

out,
(a)

Step with

left foot.

(J)

Bring right up to military

(c)

Rise on balls of

i^d)

Alternate

position,

feet.

right

and thus continue advancing,

stopping at each step for the heels

Exercise
(a)

II.

Step with

Knees Bend.

Military Heels;
left

foot,

lift.

bring right up to military

position,
(5)

Heels

(c)

Alternate and continue marching, stopping each

lift

knees bend,

step for the order

Exercise
(a)

Carrying

III.

heels

Toe.,

lift,

knees bend.

Heel Sink.

left foot front, oblique,

turn knee in,

tap floor with toe.

(5)

Turn knee

(c)

Carry foot forward and step with bent knee.

{d)

out,

and touch heel

to floor.

Change and continue advancing.

'

SYSTEM OF PHYSICAL TRAINING.

Exercise IV.
(a)

Throw

(h)

Then turn knee

67

Walk.

Serpentine

leg back, knee turned in.

and

front,

out,

as

you advance

it

to the

step,

Change and continue advancing.

{c)

Exercise V.

Step,

(a)

Bring foot

(5)

Turn

Turned Out and

Exercise VI.

'

'

Feet open, feet

Oblique

close.

knee of strong leg

at hips,

Give

'

Courtesy with Step.

Carry free foot obliquely forward, tap

ward

In.

to military position.

tees out as far as possible, then in.

the order

(a)

Toes

sliglitly,

bend

toe,

bend

slightly for-

head upright.

(h)

After tap carry foot directly in front and step.

(c)

Repeat on other side and walk.

SIXTEENTH SERIES.
Exercise
(a)

I.

Forward and Bach RocTdng.

Feet in position of backward charge, hands extended at shoulder lerel front, palms downward.

(h)

Transfer weight to position of forward charge as

arms are carried backward, palms up.


THE GENEVIEVE

68

(<?)

On

return

to

S'l

EBBIXS
carry palms

position,

first

down-

ward.

Exercise

Side Sioing of

Opposition

II.

Arm

and

Leg.
{a)

Swing

left leg

out at side, foot lifted, toe point-

ing as right arm

is

upward, palm down.

carried

(h)

Repeat on other

(<?)

Alternate legs, carrying both arms upward, while

side.

rising on ball of strong foot.

Exercise
(a)

III.

Hands on Knee.

on outside of knee, which

turned slightlv

{h)

Kneelitig^

Carry foot well back and kneel, clasped hands

falling

Bark

vanced

leg,

slightly

away

Ilise

in,

sliould

be

trunk screwed toward ad-

head in opposition,

i.

e.,

turned

from ihe forward leg.

on advanced foot and carry the hands over

the head, letting

them

lie

clasped on the crown

of the head.
((?)

Hepeat several times, and

Exercise IV.

alternate.

Front Kneeling unth

Clasped Hands

Over Head.
Carry right foot well forward and kneel.

advanced

foot, uplifted,

retired

leg slightly

Heel of
curved at

knee, toe well pointed, ti'unk screwed toward advanced


SYSTEM OF PHYSICAL TRAINING.
leg,

head in opposition, both arms over

pahn down,
elbow of

rests

left

on fingers of

hand

left

I.

liead, right

hand

hand with palm up,

slightly in advance.

SEVENTEENTH
Exercise

69

Oblique

SERIES.

Transfer of Weiglit vnth Floating Arms.

{a)

Extend free foot forward, oblique, touching toe

to floor.

(J)

Lift

arms obliquely back on strong

down, hands

front,

posite side, as weight

foot, heel of

while the head

and up obliquely on optransferred to forward

is

back one uplifted.

In this exercise the trunk

leg,

palms

falling free.

Swing arms down,

(c)

side,

is

is

twisted strongly to strong

turned to free, forming an op-

position to the arms.

Exercise
(a)

II.

Ohlique

Stand on

As the

backward, in opposition

at the

Change.

Bowing

right

arm swings

same time swing

arm forward.
Alternate.

Exercise III.
{a)

Legs.

extend the right leg forward,

touching toe to the floor.

the left
(b)

left leg,

Swing of Arms and

Courtesy.

the head, carry foot back on arc of circle,


THE GENEVIEVE STEBBINS

70

(b)

place

it

out as

it

behind the other and turn knee well

bends and receives weight on

Heel of advanced foot slightly

head
(c)

up

is

knee
as

upright

to free foot,

bend forward

slightly forward,

Lastly, the head assumes

adjusted.

is

position,

head bends

as if to kneel,

trunk

floor,

in opposition.

returning to

In

from

lifted

knee curves, trunk bends, forward

ball.

the erect position.

Exercise TV.

Foi'ward

Charge

Comhined with

Courtesy.
{a)

Carry leg forward

ward

a courtesy

in

N. B.

treating.
(/>)

Hands

lightly

forward charge, and back-

in

done quickly and as

The same

if

re-

leg.

on hips.

EIGHTKENI'H SERIES.
Exercise

I.

Runnirig in Place.

Standing in military position, arms crooked, hands

clenched,

move

the legs as

back of hip with

running, aiming to strike

foot, breathing slowly.

Exercise
(a)

if

II.

Angular Arm- Twist.

"With arms hanging at sides, clench

turn elbows well in.

hands and


SYSTEM OF PHYSICAL TRAINING.
(h)

Bend

(g)

Lift

elbows, bringing

arm

to shoulders.

fists

horizontally at

71

side,

elbows

bent,

still

and well back, front of wrist to front.

{d)

Extend arms

laterally, front

of

wrist

to

back.

Repeat, sending arms upward, then forward,

to normal.

Exercise

Bend Arms Downward While Rising

III.

on Toes,
{a)

Stand in military position.

{h)

Extend arms sideways

(c)

Clench hands, as

if

at shoulder level,

drawing a heavy weight, and

bend elbows near waist

Head

Exercise IV.
(a)

Head

(h)

In

(c)

Head

palms up.

as

you

rise

on

toes.

Side Bend^ TurnUj) arid

Down.

to the right, bend.

turn up and down,

this position,

to the left, bend, turn

up and down.

NINETEENTH SERIES.
Exercise

I.

Divot on

Balls of Feet,

{a)

Place one foot a

(h)

Rise on toes and pivot toward retired foot, which

little in

advance of the other.

receives weight.

Exercise
{a)

Place

II.

Wrist- Actiori from

finger-tips

on

Shoulder,

shoulder, upper

horizontal and well back.

arm held


THE GENEVIEVE STEBBINS

72

(b)

With

wrist leading, alternately

unbend and then

again bend the arm, keeping elbows horizontal.

(c)

First both

{d) Carry

arms and then

alternately.

hand obliquely up and

one

the

other

obliquely down, returning to shoulder and

re-

versing the direction each time.

Exercise

III.

Forward Charge^ Pimot and

(a)

Charge forward on right

(J)

Pivot as you

(c)

"While in this position, courtesy and

{d)

Bring feet together and face front.

Exercise IV.

rise,

Courtesy.

leg.

weight advanced.
rise.
^

Head Back Bend^ Right and Left

Turn.

(a)

Head back

(h)

To

bend.

the right and left turn.

TWKNTIKTH
Exercise

I.

Forward

SERIES.

Charge, Circle

{a)

Charge forward with right

(l)

Describe a circle with

right, at the

way round
Exercisr

II.

Pivot.

foot.

left,

swinging

same time pivoting

in froTit of

to right all the

(whirl).

Fan

(a) Lateral stand

and

Action trUh Oi)pofiitton Head,

with weiglit right.


SYSTEM OF PHYSICAL TRAINING.
Fan held

(h)

73

right hand, resting lightly near left

in

shoulder,
(c)

Turn head

{d)

As head

in opposition to right.

turns

swing fan

left,

to

back

right,

oblique and up, elbow held high, feeling as

entire

arm was

lifted

from

if

hip.

There can be no graceful uplifted arm-action, which

does not flow from the hip and raise the

Exercise

III.

Combine fan
forward on
right

should
is

foot
is

it

Action with Ste])ping.

carrying weight

action with stepping,

left

when

J^a7i

when

held

fan

\\\^\

always be turned

ribs.

is

left

and forward on

The trunk

and back.

toward strong

leg,

which

advanced.

Head

ExEKCisE IV.

Side Turn^

Forvmrd and Back

Bend.
{a)

Head

(Jj)

In this position forward and backward bend.

{a)

Reverse.

to the right, turn.

TWENTY-KIRST SERIES.
Exercise

I.

ITarnionic

Poifie

Start with side harmonic poise.

weight to right

with

On

Toe

Tapping.

couut one, carry

on two, three, four, tap toe of free


THE GENEVIEVE STEB BINS

74

foot lightly, supporting

well at hip

weight to opposite foot; on

six,

on

five, transfer

seven, eight, tap toe.

Kepeat forward and back, and obliquely.

Exercise

II.

Combine

Arm

wnd Horizontal

Circling

Swing.

arms extended, horizontally front.

{a)

Start with

(f>)

Describe a circle from shoulder, back,

up

down

to

front,

(c)

Send arm well back on horizontal

{d)

On

horizontal return, turn palm

line,

palm up.

down and

retrace

lines described.

Exercise

Rise on Toes Alternately.

III.

(a)

Extend

[h)

Rise on ball of

left foot in front of right

step, well
(c)

left,

near instep.

bringing right foot near in-

supported at hips.

Carry weight backward and place

left foot

near

instep of right.

Perform foregoing
Exercise TV.

lightly

Head

and

daintily.

Forward., Neck

St/retch.

Thrust head forward and elongate neck, giving

gjod

elastic

pull.

it


SYSTEM OF PHYSICAL TRAINING.

75

TWENTY-SECOND SERIES.
Exercise

I^eet

I.

Open and

Close.

{a)

Stand in military position, heels together.

(5)

Keeping heels together, open

laterally parallel

Close feet, bring toes well together.

(c)

Exercise

Extend the
der, the

entire

hand

Now

hang

lifeless

Arm.

in front, level with the shoul-

palm up, and

arm back,

the

being well back.

to

arm

the wrist

shoulder, until

hand

Directing

II.

lield easily,

Draw

tended.

arm

toes until they are

with heels.

is

first

level

still

finger ex-

with the

near the armpit, the elbow

raise the elbow, allowing the

from the

wrist.

Then extend the

same time sinking the elbow and

full length, at the

the wrist to the level of the shoulder, bringing the entire

arm and hand

to

hand up and the

backward
ercise to

out,

the same level, with the back of the

first

as possible.

finger extended, pointing as far

Care should be taken in

this ex-

keep the finger-tips at the same altitude through-

changing the relative position of the hand and the

arm by

raising

and sinking the wrist and the arm, not

the hand.

Exercise III.

Trunk

Twist,

Back Bend.

Standing in position, twist trunk to right and then

bend back, hands on

hips.

Repeat

left.

THE GENEVIEVE STEBBINS

76

Head

ExEKcisE IV.

Turn head

Oblique^

oblique and

to

Neck

stretch

Stretch.

the

neck as

if

elastic.

T^VENTY-THIRD SERIES.
Exercise

Toe Point,, Swing Free Foot.

I.

Standing firm! J on strong

and back of strong

swing free foot forward

leg,

leg, foot escaping floor.

Exercise

II.

Spiral

Arm.

Raise the arm in front, with will force as yet only in

Turn

the upper ami.

the

arm

in such a

manner

as to

allow the forearm and the hand to hang lifeless from the

Then

elbow.
it

pass will force into the forearm, raising

and unbending the elbow, but

Finally,

relaxed.

still

having the hand

by a rotary movement of the

wrist,

turn the palm upward, with the hand level with the

gradual development of

forearm.

In

movement

takes place, and unfolds the articulations one

after

arm.

this

exercise a

another as the will force progresses through the

The movement should be

Exercise

III.

Trunk

continuous.

Twist.,

Forward Bend.

Stand firm, keep hips firm, and twist trunk as far as

r,o.ssil)le

to right

and

left,

and bend forward at

hips.

SYSTE3I OF PHYSICAL TRAINING.

Head

Exercise IV.

Bend head

Side Bend^ Keck Stretch.

neck a good stretch,

to side, tlien give the

TWENTY -F^OURXH
Exercise
{a)

As

Flop

I.

and

right foot receives

SERIES.

Sicituj

Free Foot.

weight, swing left l)ack,

and then forward from knee, toe

As

{b)

])ointing.

receives weight, right swings

left

77

backward

and then forward.

Exercise

Solar Cross

II.

Support

Circle,

[a)

Cross hands below wrists in front and above head.

(h)

Throw hands back on

l>asket held

wrist,

as

if

on palms over head.

supporting a

Spread arms,

bend elbows,
(c)

^Maintaining

wrist

and

elbow position,

broadly l)ackward, relaxing

Exercise

III.

Hocking

Charge forward with

large circle

continues,

Legs.,

left leg as

when

backward from shoulder.

bend;

knees

arm

straighten, as

as

is lifted,

arms

nearly down.

Circling
right

circle

Arms.

arm swings

As arm

in

circling

go downward and

thereby giving a trunk

oscil-

lation.

Exercise IV.

Head

Oblique,

Back

Bend.,

Stretch.

Bend head

obliquely back and then pull neck.

Heck


THE GENEVIEVE STEBBINS

78

TWENTY-F^IF^TH SERIES.
Exercise

Serpentine Leg.

I,

upper

knee

{a)

Lift right leg in front, energy in

[h)

Witli knee turned out, carry leg to right, gradu-

turned

ally

in.

extending leg as

it

takes half- circle to back,

knee again being turned

(c)

leg,

in.

Finish by bringing leg to side of strong leg.

Exercise
Sink the wrist,

Serpentine

II.

holding

arm

the

Arm.
laterally

then

turn the wrist until the fingers point to the ground, the

palm

out.

Now

raise the

The elbow, which has

now bends and

shoulder.

Now

until

falls

still

up, and the back of the hand

until the fingers point

out.

hand, holding the wrist

raise the

the wrist near the armpit,

is

hitherto remained unbent,

the

elbow

hand

finger-tips

touch the

level with the shoulder,

falling lifelessly.

Then

lower the elbow and turn the forearm and the hand so
that

the fingers point outward.

elbow, extending the

arm out

Then

to the side,

straighten the

and

raise the

hand by sinking the wrist by one quick outward action,

thus coming back to the same position as in the beginning, the

arm out

at the side.

Exercise III
{a)

Bend both knees

Serpentine Body,

so that they are oblique to

each

SYSTEM OF PHYSICAL TRAINING.

79

other, heel of one foot to instep of other, clasp-

ing finger-tips over head.

(5)

Bend trunk extremely over

(c)

Swing forward

(d)

At

right rise a

little

and swing backward

(e)

On the

to left.

you whirl trunk

as

to right.

from the knee, bend and

as

you continue

to rise.

second revolution, substitute the waist twist

for the hip circle.

(y*)

Separate hands and

and shoulder, a
the

arms.

thigh up,
[g)

Feel
all

make

a third circle at the ribs

sort of writhe, while spiraling

the

spiral

the muscles

motion from the

moving and

Gradually quiet the motion until zenith

twisting.

reached,

is

then expand the arm in support position over

head, as

Exercise IV.

if

holding basket on palms.

Ilea^I

Back^ Bend Back^ Neck

Bend head backward and then

pull neck as

Stretch.

if elastic.

T>?SrENTY-SIXTH SERIES.
Fancy Step Marching.

Exercise
{a)

I.

Front

Cross,

Rise.,

Step.

Cross free foot in front of strong, then

balls.

{h)

Sink,

(c)

Step, with retired foot forward.

rise

on

THE GENEVIEVE STEBBINS

80
(d)
(e)

Repeat

witli other foot.

Toe tap backward, then with same

Repeat with other

step with bent knees.

ExEKcisK
{a)

foot forward

Side Slide,

II.

Lift right heel

Military position.

foot.

suddenly, bringing toes

and

left

toes

together as left

heel

swings out.
(5)

Lift right toes

and

left

heel again, bringing heels

together.

Exercise

Sids Swing

III.

of

Leg

Stepping

with

Behind.
Carry right foot behind

left

and swing

side before advancing and stepping on

it.

it

out to one

Repeat with

other leg and so advance.

TWENTY-SEVENTH

SERIES.

Fancy Step Marching Continued.

Exercise
Start with

Step 'with

I.

right

Deep

foot, take three

fourth bring left to military position.

leg and

step forward with left

Cov/rtesy.

steps forward

Courtesy on

leg, repeating

on

on
left

other

side.

Exercise

II.

Step uiith Peasant Courtesy.

Carry right foot back, take peasant courtesy and step

forward with same

foot.

Repeat on

left.

SYSTEM OF PHYSICAL TRAINING.

ExEKoisK

III.

S'ivhi(/

81

Free Ley Forward and Back-

ward vnth Double Hop.

Right foot receives weight

Hop

ward.
left falls

on right foot as

is

swung back-

As

swung forward.

swung backward.

is

S])anish Step.

Left foot front, toe of right brought to outside of

instep with these counts

left

right, three left.

{b)

left is

and receives weight, right

Exercise IV.
(a)

as left foot

Reverse,
thus,

still

three,

vance in

this

and

start

feet

way

flat-foot

right

One

left,

two

planted flat-footed.

two, left toe

flat-foot

sideways.

again.

Then

near

Ad-

reverse the

with the right foot in advance.

For these side-steps turn the

are desks.

is

keeping the right foot to the rear

one, right

right toe;

The left

class to

one side

if

there

THE GENEVIEVE STEBBINS

82

PART

III.

DRILLS.

word of caution

is

necessary to those

who

attempt

They require

to illustrate these drills in public.

a well-

developed physique, natural grace, and perfect aesthetic

training to reveal that beauty of motion which has given

them public

favor.

Consequently, they would

be a

dangerous experiment for the average individual without study to attempt upon the platform.

They

especially adapted,

are

commencement
be successful
a

number

if

As

exercises.

drills

lost in

at

When

perform any given exercise, the

lack of individual grace and

is

for

such, they will always

the pupils act in perfect unison.

of j^ersons

perfection

however,

much

the n.ass.

im-

of the physical

The audience view

the

But

picture as a whole, and

applaud accordingly.

one person

upon the platform, and every

stand alone

let

imperfection, either of personal grace or of physical de-

velopment, will stand out as clear as noonday.

I

have only one thing more to say, and that

the exercises here

pupils.

My

given are in

pupils will I

the form of

think understand

is

that

notes

my

to

terms

SYSTEM OF PHYSICAL TRAINING.

and method of

instruction.

83

have not the time nor

my command to write out each exercise for

those uninitiated into my system.
Never forget in all
your work my oft-repeated axiom that "life, mind and
the space at

soul

" must be manifest

in

your every action,

to constitute real beauty of expression.

in order

THE GENEVIEVE STEBBINS

84

EASTERN TEMPLE
The

DRILL.

following exercises are adapted from the various

forms of Oriental worship

observed in Persia,

at present

Turkey, and other parts of the East.

low

strictly

any one of the numerous

but are a blend

among

the

of

who

sects

fol-

found in Asia,

ceremonials found variously

the

Mohammedans,

and the Dervishes.

They do not

the Druses, the Marabouts

From

long association with one

has spent years in Oriental travel, as well as fre-

quent conversations with learned natives of the East,

have discovered that there

faith

that

from the

there

so called

is

much

heathen

His

life

a wonderful unity in their

yet for Christians to learn

and, lastly, that while a sin-

cere follower myself of the

liced

is

humble Nazarene who

sacri-

order to immortalize the truth of His

in

teachingB, I can not help admiring the wonderful and

beautiful

forms of motion in which

expresses

his adoration

whom Mahomet
The motive of

is

for

my

that great

Eastern brother
first

cause

of

the prophet.

the exercise

is

religious aspiration.

The

tiame motion

typifies the eternal spirit, the origin of life

and mind.

This

and

to

is

represented in the motions to east

west as the rising and the setting of our sun,

which gives

life

and mind

to the inhabitants of earth.

SYSTE3I OF PHYSICAL TRAINING.

The salaam and form

of the cross

is

85

hum-

the union of

ble adoration and praise for the manifested

wonders wit-

nessed in creation bj the union of spirit and matter.

The

imagination,

thoughts,

roused

with

these

sublime

a magnetism and a beauty into these

instils

movements

when

scarcely be realized

that can

by those who

mere mechanical motion without

see nothing but

soul.

KIRST SERIES.
1.

Place the backs of the hands on the forehead,

fingers touching, while standing erect on both
feet.

2.

Extend the arms

palms down, while

to the sides,

bowing the trunk and head

knees.

Be

form a

cross

careful to
;

do not bend the

have the arms and trunk

do not carry the arms too far

behind,
3.

Turn the hands and bring the arms above the

head,
M'hile

hands

in

prayer

trunk has been

form, palm to palm,

lifting.

4.

Again extend the arms sideways, trunk bowing,

5.

Raise trunk as arms sweep above head to Position

3,

which

is

the symbol of the flame, and hence-

forth will be
6.

Twist the trunk

Attitude.

named Flame

Attitude.

to the right, while holding

Flame

THE GENEVIEVE STEBBINS

86

7.

Extend arms sideways, bowing trunk

8.

Return

9.

Twist the trunk

in reverence

to rising sun.
to erect

Flame Attitude, facing

to

tlie left,

front.

holding Flame Atti-

tude.
10.

Extend arms sideways, bow trunk

in

prostration

to setting sun.

11.

Return

12.

Bow

to erect

position,

to altar front,

Flame Attitude,

front.

arms extending sideways, palm

down.
In

all

forward bowing, palms should be down and

great care taken to have a

flat

back and the hands level

with the forearm.

SECOND SERIES.
This series

may be

used as a continuation of the First

Series, or independently.
1.

Flame Attitude, facing

front, standing

on both

feet.
2.

Bring arms down, hands held

in

prayer form on

chest.

Flame Attitude.

3.

Return

4.

Again bring arms down, hands held

to

form on
5.

in

prayer

chest.

Carry hands in prayer form to right shoulder,

bending them gently from the
bending head to right

to rising sun.

wrist,

while


SYSTEM OF PHYSICAL TRAINING.
6.

Return

T.

Carry hands

to front,
in

hands

87

as in Position 4.

prayer form to

left shoulder,

bending and turning gently to

left

head

to setting

sun.
8.

Return

9.

Raise arms to Flame Attitude.

10.

to Position 4.

Hold Flame Attitude

of

arms and gently sway the

body sideways, moving only from the

one

right,

two

three

left,

waist, as,

right,

four

left.

11.

Hold Flame Attitude and

waist twice

around.

trunk at the

circle the

These

movements

latter

symbolize the flickering and blowing flame.

12.

Returning

Flame Attitude, bow

to erect

in front, while

to altar

sweeping arms to cross form, ex-

tending sideways.

THIRD SERIES.
This series

may

be a contiimation of the

last,

or can

be given independently.

Flame Attitude.

1.

Return

2.

Stand in Prostrate Attitude (Courtesy Attitude),

right

to

leg

behind,

while

extending

the

arms

sideways, palms up, trunk carried well back,

head back.

Be

careful

that the

cross with the trunk, and that

arms form a

the hands are

THE GENEVIEVE STEBBINS

88

This

level with the wrist.

is

the receptive cross

form
3.

Bend forward

leg as

sway forward on
to

if
it,

Flame Attitude

intending to kneel as you

while carrying the form

as

body regains Po-

the

sition 1.
4.

Twist trunk to right, Flame Attitude

feet

front, standing

to the

keep the

on both of them

in

Respect Attitude.
5.

Bend trunk back

to

at waist, while

Keep

form, palms up.

cross

extending arms
feet to the

front.

Flame Attitude

6.

Return

7.

Twist trunk at waist to

to

front.

left, to setting

sun,

Flame

Attitude.
8.

Bend trunk back, arms

9.

Return front

10.

to

in receptive cross

form,

Flame Attitude.

Left leg back, receives weight in Prostrate Attitude, while arms extend to receptive cross
as trunk

and head are thrown back.

exaggerate
11.

Return

form

Do

not

this.

to erect attitude as described in Position 3

of this series.
12.

Bow

trunk forward as arms extend sideways, palms

down, prostrate

cross form.

on both feet and the knees

Keep

erect.

the weight


SYSTEM OF PHYSICAL TRAINING.

89

KOTJRTH SERIES.
may

This series

be a continuation of the

last,

or used

independently.
1.

Prayer Attitude, hands on

chest.

2.

Flame Attitude attained by

raising

form above head

hands

as the legs bend,

prayer

in

and kneel

first

on one knee, quickly ])lacing the other knee on

the ground, final attitude being on both knees

the supreme prayer form.

3.

Extend arms sideways

in prostrate cross

Strive to have a

trunk bows.

flat

form

as

Return

back.

to 2.
4.

Flame Attitude of arms, trunk sideways bending,

one

5.

right,

two

cross

left, tliree

right, four

left.

bending, while arms take recep-

Body backward
tive

form,

Brace

palms up.

your toes

firmly against the floor to prevent falling

6.

Twist trunk to right to rising sun. Flame Attitude of arms and hands.

7.

Preparation for

7.

Trunk backward bending, arms sideways extending,

palms up,

head

thrown

b^ck,

receptive

cross form, knees to the front.

8.

Flame Attitude

front.

9.

Twist trunk to

left, to

backward,
form.

setting sun, trunk bending

arms extending

in

receptive

cross

THE GENEVIEVE STEBBINS

90

10.

Flame Attitude

11.

Trunk bending backward, arms extending

tive cross

12.

Returning

front.

form
to

recep-

toes braced.

Flame

Attitude, rise and sweep a

forward prostration to the

altar.

In the foregoing series the pupil should strive for

exact positions, firm attitudes, even, straight lines.

development of chest, back,

be excelled.

etc., these exercises

For

can not

SYSTEM OF PHYSICAL TRAINING.

THE ENGLISH

91

DRILL,

The May.
The English

Drill

is

so called

from

its

being a stud}'

of

the old-fashioned country festivals that once

the

merrymaking

of

England world famous. Performed

on the greensward to celebrate the May,

only

now

as a circling about the

light marches,

English songs,

we know
The

May-pole.

etc.,

The costume should be that known

something

made

furnish

as the

it

old

the time.

Dolly Yarden,

Dresden China Shepherdess.

like a

Strive to feel the joy of spring-time in your every

mo-

tion.

Figure
1.

Side Curve.

Arm

up and the arm

wrist

I.

hanging

is

at side is

turned palm

slowly raised, elbow bending,

hand dropping back on

leading,

Continue arm raising until the zenith

then hand
2.

The arm
side

reached,

forward.

falls

slowly lowered, keeping well at the

with bending elbow and forward hanging

hand.
right

is

is

wrist.

Perform
arm,

the

this
left

curve four times with the

toe

pointing at

the

side

THE GENEVIEVE UTEBBINS

92

and the trunk

on the opposite
3.

side.

Both arms should now

in

harmonic

Perform four times

bending.

left

Ije

used as the body sways

forward and back.

poise,

Four measures must be allowed for each curve, a

count to a measure.

Figure
1,

The

Oblique courtesy.
right

forward

the toe

is

right foot

knee

left

is

The knee

oblique.

pointed, the trunk

ward oblique,
is

II.

is

head

slightly bends, the

comrade.

to a

straight,

bent right for-

is

Fancy

raised in opposition to the trunk.

you bow merrily

carried out

that

One measure

or

ccunt must be allowed for the advanced foot action,

one for the return.

Perform four times on

the right, then four times on the

left.

perform eight times,

from right

alternating

Finally
to

left.

2.

Cross wave, long serpentine,

diagram

The
hand
This

is

is

carried

forearm

relaxed

wrist turns.

is

is

motion,

is

in the
:

(a)

carried across the chest,

sideways.

This

used

motions

and falling near

the cross

out

what

the following

to express

right

is

(h)

left

Arm

arnjpit.
is

Simultaneously

the ware,

(c)

then
the

Wrist leads

SYSTEM OF PHYSICAL TRAINING.

the

backward,

then

diagonallv

back

This

In

hand curved over

all

of

Hand thrown

liead.

Pahn

down.

the

leads

wrist

the

93

must be

these motions the

form twice on the

right,

hand should

free

twice on the

Sway

times with both arms.

to the right

the motion and to the left on the

Sway forward and back when

FiGUKE

1.

Country courtesy.
essentially the

manner

carried

Per-

and four

on two counts

two counts.

final

III.

named because

of

it

making a reverence

lasses,

{a)

The

is

as

right toe

behind and placed near the instep of

the left foot,

knees straighten,
to place.

left

rest

using both arms.

It is so

performed by country
is

out.

the long serpentine motion.

is

gracefully on the thigh or hold the dress daintily.

of

hand

{h)

Both knees bend,

{d)

The proper

place one foot a

The

right foot

(c)
is

returned

position for standing

little in

Both

is

to

advance of the other,

so

that the heel of the advanced foot

is

near the

in-

step of the retired foot, the weight being carried

by the

retired foot.

Perform four times with

the right foot, then four times with the left foot,
finally eight times alternately right

and

left.

THE GENEVIEVE STEBBINS

94

2.

Cross wave long serpentine

now performed

is

twice

on each side and four times alternatelj.

Figure IV.
1.

Full wreath anus with front cross leg

abbreviating the following

is

way

of

Place finger-tips of

one hand down in upturned fingers of the other,

forming a wreath of the arms.

Then

raise

them

over the head as the right leg crosses in front of

the left and the toe
still

is

pointed.

Four counts must be given

Perform twice with the right

left leg,

The same

leg,

to the motion.

twice with the

then four times alternately.

action

is

performed with the arms held

out at shoulder level while the leg

crossing back.

the

the arms,

with finger-tips touching, as foot returns to

place.

2.

Drop

The trunk

is

carried

slightly reverses

and

head looks over the shoulder to the front-

Perform the same number of times

Two, two, and

as before

four.

Figure V.
1.

Flower holding hand, toe pointing

in opposition, is

the abbreviated form of the following

movement

Curve the right arm, wrist leading diagonally and

SYSTEM OF PHYSICAL TRAINING.

95

sideways, then a slight return action of the wrist

places the hand.

lingers so that

The

head.

it

is

flower

poised up and out from the

the left toe points left

is

is

oblique on

One, two,

On

held.

Four

down.

held l)etween the

face turns and looks up at

side of the arm.

position

is

is

it

while

opposite

tlie

counted wliile the

three the hand

is

carried

used as a preparation and as part

of the next ascent.

Perform twice with the

arm and twice with the

left

arm,

rigiit

finally four

times alternately.
2.

The
II.

oblique courtesy has been described in

Perform twice with the right

with the
3.

left leg

leg, twice

and four times alternately.

Repeat the flower movements four times alternating from side to side.

On

Fig.

the last count take full wreath form.

DIAGRAM.
I.

Music
Side curve (1)
(
Side pt. toe op.
Har. p. bk. rev. turn

March or waltz
B. arms

arm

R.

arm

L.

I.,

foot

R. foot

Har.
8

p.

SYSTEM OF PHYSICAL TRAINING.

ENERGIZING DRAMATIC DRILL.

Ill

while

tlii^;

drill

sliould be taken

care

to inhale

attitude, holding the

preparing an

slowly

breath while

holding the attitude, and easily exhaling while returning

to position

from

There should he a few mo-

attitude.

ments of relaxation when the hands are dropped,

Breathe

in slowly while

attitude

is

reached

slowly until yon have

niind intent on the
the face to

hold breath

and 2

on attitude

that

we wish

until

exhale

attitude,

and allow

meaning.

Remember

show

mind and

to

life,

Keep your

finished Position 4.

meaning of the

show forth

in tliese exercises

doing Positions

viz.

that
soul.

RIRST SERIES.
1.

hand

Bring; right clenched

same time slowdy clenching

must be

erect,

weight on

pointing front, right

2.

left

both legs,

form a right angle.

arm

sideways,

right.

extends

fingers

Bring left clenched hand

turn head to look

left

which

The body
left

foot pointing right.

placed, the feet

Pight

liand,

head turns right.

liangs at left side;

the

to left shoulder, at

foot

Thus

pointing

to right shoulder,

carry the weight on

advanced, bent right leg, as

if

to

running right

THE GENEVIEVE STEBBINS

96

foot turns

left

toes point

by

and turn

lifting the
left

slightly, the

heel

the foregoing to be

all

done simultaneously.

Meaning

pointing to

Flight,

refuge,

calling to

another to follow.
3.

Return

4.

Drop both hands

to Position 1.

feet, left

to sides

change the angle of the

foot pointing left, heels together.

5.

Repeat

6.

Begin as in Position

1, 2, 3,

4 on

left side.

1,

except that the head

is

front.
7.

Advance
the

as in

weight,

forward

running;
right

arm

little

left leg bears

oblique, points

forward, head thrown well back,

arm bent

left

and drawn backward, hand clenched.

Meaning: Excited observation,

as if saying

" Look!

Look!"
8.

Return

9.

Drop arms; change

the

to Position 1.

right

the angle of the feet so that

foot points forward.

Do

this

by a

pivot on the heels.

10.

Repeat Position 7 on the opposite

on right leg and pointing

left

the opposition here between

tlie

leg

11.

side,

advancing

hand.

Observe

strong advanced

and the forward arm.

Return

to Position 1, reversed to left.

SYSTEM OF PHYSICAL TRAINING.

12.

Drop hands

99

to sides.

13. Position 1, feet turned out 60 degrees, head front.

14.

Courtesy backward

by carrying the right leg be-

and bending the right knee, Prostrate Atti-

liind

At

tude.

arm

hand pointing, head thrust forward

forward,

and a

the same time, extend the right

down,

little

left

arm bent and drawn

back, hand clenched.

little

15. Return

to Position 13.

16.

Drop hands

17.

Repeat Position 14, reversing arms and

18.

Return

19.

Drop hands

to sides.
legs.

to Position 13, reversed arms.

to sides.

These retreating attitudes show shrinking, horror,

while the hand points at the object feared.

SECOND SERIES.
arms hanging

1.

Position,

2.

Bring both arms (clenched hands) overhead (sweep

arms up

the

circle),

front,

at sides.

describing a portion of a

bending elbows and carrying clenched

hands back a

little,

head thrust forward slightly;

advance right leg as in running.

Meaning
3.

Anger, attack.

Bring clenched hands to shoulders, returning to

first

position of feet.

THE GENEVIEVE S'lEBBINS

100

4.

Drop arms

5.

Repeat Position

2, left leg

6.

Repeat Position

3.

T.

Repeat Position

4.

8.

Repeat arm motions of Position

leg

9.

is in

Return

to sides.

the right

to Position 3.

Drop arms

11.

Repeat Position

12.

Return
:

2, wliile

prostration behind.

10.

Meaning

forward.

to sides.
8, left leg

behind.

to Position 3,

The

prostrate

body

into a

sliow attack.

The

legs carry the

but the arms

meaning of

recoil,

face should

show repulsion and horror.

still

In

all

of these

attitudes strive for facial expression.

THIRD SERIES.
1.

Advance
Carry

right leg as

first

crooked, a
2.

Return

to

on

right

little

if

running front oblique.

thigh

carry

right

arm

back.

weight on both feet; drop

position,

hands.

reversing arms and legs.

3.

Repeat Position

4.

Return

5.

Carry right leg back, bending knee

1,

to Position 2.

time, bringing right

holding a

shield

to

at

the same

arm over head curved,

shelter

drawn back and clenched.

behind,

left

as if

liand

SYSTEM OF PHYSICAL TRAINING.

6.

Return

7.

Repeat Position

8.

Return to

Meaning

hands

to ordinary position,
5,

at sides.

reversing the sides.

position.

That of the

101

first

two attitudes of the Third

Series denotes excited observation, intention of throw-

ing

then

for

the

action to the left.

tudes

is

shield.

sake

the

exercise, transfer the

The meaning

of the retreating atti-

of

defense, and the right

For exercise

arm seems

this, too, is

also

to liold the

done

at

the left

side.

KOTJRTH SERIES.
1.

Position,

arms hanging.

2.

Advance

right leg as in running, arms sweep up-

ward, hands extended, head thrown back.

not carry the arms too high

Do

they should be held

ascending front.
3.

Clench the hands and bring them over head to

shoulders, continuing to Position 1 of

feet

and

hands.
4.

Advance

5.

Repeat Position

6.

Retire right leg. Prostrate Attitude.

and repeat Position

left leg

up imploringly.
T.

Return

S.

Repeat Position

9.

Return

2.

3.

ai in Position 3.
6,

reversing the leg.

to Position 1.

Sweep arms

THE GENEVIEVE STEBBINS

102

Meaning
two

two

First

attitudes, excited

ap})eal

last

attitudes, despairing appeal.

Do

not confuse the attitudes with

the

merely

transi-

tion positions.

rif^th:

series.

Position.

2.

Kneel forward, right knee on ground, right arm

3.

Return

curved as

making a

if

to position,

shield of the arm,

making

a transition position by

bringing the right clenched hand to

left shoul-

der.

Repeat Position

5.

Return

6.

(^arry riglit knee back and kneel, both hands lifted

2, left

as in Position 3.

in front of face as if
7.

Return to

8.

Repeat Position

9.

Return

Meaning

last

G,

reversing knee.

to position.

First

two

two, the fighter

overcome with

Every

pushing sometliing away.

position.

attitudes, a fight that has

the fighter to the ground

is

knee on ground.

4.

is

the

arm is

raised for defense

being crushed to the ground and

fear.

attitude

should

be

made

and yet the drill-forms maintained,

clenched, except
Facial

thrown

expression

when contrary

intensely dramatic,

Keep

directions

must accompany every

the hands
are

given.

attitude,

and

energizing breathing and relaxing carefully observed.

SYSTEM OF PHYSICAL TRAINING.

THE SPANISH

103

DRILL.

The Carmen.
This

is

called the Spanish Drill, as

lection of

Among modern

mantilla or scarf.

consists of a col-

motions with the famous

Spanish

beautiful

it

nations

stand supreme for graceful action and the

of the ancient

An

pantomime

enjoyment of

all

that

is still
is

tlio

lus-t

Spanish

remnants

found among them.

graceful and

lovely should

pervade your thought, as you daintily raise the mantilla

while the body sways and the feet mark the rhytlim of
the music.

FiGURK
1.

Catching the lace daintily be-

Mantilla Raising.

tween the thumb and second

2.

after first

the

right

to about the lieiglit of tlic hips, tlien

i^ink.

pinning

hand

finger,

it

on both shoulders

Raise the hand to

tlic

raise

height of the shoulder, then

sink.
3.

Raise the hand half

way between

the shoulder and

the zenith.
4. Raise the hand over head to the zenith.
is

the same

for the last as for the

The time
first.

One

measure allowed for the rising and one for the

THE OENEVIEVE STEBBINS

104

Sway on

sinking.

truding

it,

to the left

the right

slightly pro-

hip,

arm.

Sway

on sinking, but not so strongly.

Curve

in rising motions of the

the

unused arm, holding the mantilla gently,

and

rest the

back of the hand on the

5.

Perform

6.

Using both arms,

is

1, 2, 3,

left

and ^ four times on the

lift

As

the mantilla.

The

form a beautiful background.

left.

the lace

when

fastened behind, the long ends,

thigh.

feet

lifted,

being

brought near each other, heels alternately

rise

and sink with the rhythm of the arm motion,

one foot in front of the other.
7.

Both arms now make the four ascending motions

while the feet alternately cross in front one

of

the other and daintily point the toe.

8.

Both arms ascend

to the zenith as the

feet alter-

nately cross back one of the other, pointing toes

near instep.
9.

Both arms again make the four

toe points obliquely front
ing.

for the

two back

Fancy Step.

as in

cross-

a courtesy for

look back over the shoulder

ones.

Figure
1.

and back without

The trunk bends low

the two front ones

ascents, while the

II.

Standing on the

left foot, point

toe of the right foot at the right side.

the

SYSTEM OF PHYSICAL TRAINING.

2.

Carry

right foot behind and

tlie

make

105

a courtesy

by bending both knees, keeping the weight front.

3.

4.

Return the right foot

Cross the

left

to the right side

and

point.

leg with the right and point the right

toe in front.
5.

Stand on right foot and point

then, stand

on

and point right toe

left foot

oblique, then

left toe left oblique,

right

then right again, changing

left,

weight.

Repeat

1, 2, 3,

and

Perform

4.

1, 2, 3,

and 4 on

the left twice.

When

the

movement

the left foot on four

ing

same

is

brought

obliquely forward.
foot

is

to be transferred to the left,

is

On

to the

ground, toe point-

one of the new count the

jjointed at the side

ceeds as previously described.

and the movement pro-

slight

and graceful

agitation of the mantilla accompanies the foot

motion

and transfers are made with light instep action and bending knee.
Alternate the foregoing step four
mantilla raising,
lifting

Return

making four gradual ascents with

to

heel

and sinking.

Figure
1.

times.

Beckon.

III.

Stand on right

arm up and out

to

leg.

Raise the

right

head height, then turn the

THE GENEVIEVE STEBB INS

106

Sway on

hand and beckon.

make
2.

Bring
out,

the

arm

action.

down

liand

tlie

you

hip, as

i-igbt

to about slioulder level but

and make a side movement of negation

jou sway on the

entire motion;

Fonr counts for

leg.

left

a measure to a count.

as
tlie

See dia-

gram.
3.

Both arms are used on the

right side for the double

beckon and then brought down and placed

the hips, while the trunk turns to the
the head looks over the shoulder

The weight should

oblique back.
ferred to the
the
4.

left.

Repeat.

to

left

on
and

the right

not be trans-

Perform twice on

Alternate four times.

left.

Mantilla holding and swaj-ing with fancy-step op-

The fancy

position.

You must now add

described.
to

On

it.

the last

beckon" the left hand

tude and
mantilla.

step has

arm

arm motion

is

released

from

its

hip

atti-

curved over the head, carrying the

On

described.

down

the

previously

count four of the double

the count one of the

the toe of the right foot

as

been

On

is

new

figure

pointed, mantilla held

count two bring

diagonally from right to

the

hand

left, carrj-ing

the

as far behind as the shoulder will allow with-

out destroying the grace of the action.

The

SYSTEM OF PHYSICAL TRAINING.

courtesy of the fancy step

motion.
as the

On

107

must accompany

this

count three the hand turns on wrist

On

toe points.

count four the Iiand

is

again brought over the head as the foot crosses.

Joining the fingers over head, form a wreath or

frame and for four counts lightly alternate the

Perform

toe pointing, as previously described.

the foregoing alternately four times.

Figure IV.
1.

One, point the right toe for-

Mantilla veiling.

ward

oblique, each

Two,

lace.

toward the

hand holding an edge of the

raise the mantilla

left,

trunk to the

with both hands

Turning the

screening face.

left,

pivot

slightly

on

left

foot.

Three, raise arms over head, mantilla screening

face,

trunk

turning

fro.it.

Four, drop hands

gently to side, with large outward

fingers

still

holding mantilla.

arm motion,

Perform twice on

each side, then alternate four times.

2.

Mantilla

raising

has

been described

in

Fig.

I.

Perform with both arms four times gradually

ascending while

kneeling on

kneeling must also be

slipping right foot
3.

The

right knee.

made gradual by

slowly

backward and knee bends.

Mantilla,veiling while kneeling.

Throw

the

man-

THE GENEVIEVE STEBBINS

108

On

the right twice.

to

tilla

the second time

kneel on both knees.

With both hands perform

4.

times gradually ascending

mantilla raising, four

;

the fourth time raise

the right knee and perform twice.

Mantilla raising ascending with gradual rising and

5.

sinking of the knees until, each one being higher

than

its

preceding motion,

full

height

is

attained.

There must be four ascending and descending

motions.

After each figure a pretty interlude can be given,

viz.
(")

Grand Chain,

{a)

(h)

Heel and toe

side-step.

Opposite lines cross, fanning gracefully and looking

over the shoulders,

(c)

Courtesy to partners and walk

gracefully out, holding partner's hand high and fanning.

The costume can be

black

lace.

lace

yellow, trimmed

red

rose

in

Spanish

mantilla caught at the shoulders,

with two long ends falling from them,

before you.

with

is

necessary.

the hair, a high comb, and Carmen stands

DIAGRAM,
I.

Mantilla Raise

Hip sway
Heel

R.

arm

L.

B.

arms

alt. fr. cr. ft.

4 asc.

B.
alt.

arm

B.

4 asc.

4 asc.

lift

arms

bk. cr.

4 zen.

B.
ft.

arms

4 zen.

arms

alt. ob.

toe pt.

4 asc.

THE GENEVIEVE STEBBINS

no

THE ROMAN

DRILL.

The Amazon.
This

drill

is

the

called

athletic

nature, and

studies

from Amazon

Amazon from

because

its

its

figures are principally

Rome.

statues in the Vatican,

Figure

generally

I.

Preliminary Exercise.
1.

Bring both clenched hands

to shoulders,

and count

one.
2.

Raise elbows sideways,

still

keeping the bauds

at

shoulders, count two.

3.

Extend forearms sideways, clenched hand, palm

down, count

4.

three.

Turn clenched hands palm up;

this twists entire

arm, count four.

5.

Sink elbows to hips;

this

brings clenched hands to

shoulders, palms in, count one, and proceed in a

similar way, up, forward,
to

each direction.

or

not jerk the foregoing, but perform

morning
Attitude

tal

Repeat the four

oblique.

directions.

prepare for attitude.

Mild

Do

and down, four counts

it

like a

yawn

stretch, breathing deeply.

:

Amazon

holding a spear on high, horizon-

SYSTEM OF PHYSICAL TRAINING.

1.

Ill

Both arms np,

Right leg forward and strong.

with bent elbows and cienched hands, the

left

shoulder level, the

arm

the

more advanced

right

arm

the highest, head turned to left forward

at

Hold

oblique; fancy yourself hurling a spear.

the pose two counts.

2.

On

three return hands near shoulder level but well

On

out, feet together.

Repeat on the same

four to sides, keep

side.

Perform

fist.

and 2 on

opposite side.

With same arm motion

carry the right leg back and

returning as from front position.

stand on

it,

on same

side,

and perform twice on opposite

Figure
First Attitude

then take

side.

II.

Running Amazon.

Second Attitude

Perform the

Repeat

Amazon drawing
arm

angulai"

the bow.

as described twice,

stretch

first attitude.

right leg strong, rignt

arm extended, and slant-

ing up from shoulder level, palm

down index hand, head

Forward

looking to
hip,

left

oblique back, left

hand clenched.

Hold

turn as described in Fig.

on opposite
strong,

side.

knee bent,

this

I.

pose two counts.

Retired right leg

arm forward, and extended

ing up, right clenched hand

Re-

Repeat and perform twice

Second Attitude
left

arm bent back near

mar

i-ight

eai-.

slant-

Return

THE GENEVIEVE STEBBINS

112

as in Fig.

Take

I.

Repeat, and perform twice on opposite

attitudes obliquely.

Figure
Attitude
1,

side.

III.

Amazon heaving

a rock,

Perform the preliminary arm exercise

as per dia-

gram.
2.

Attitude

Forward right leg strong, bent knee,

both arms are held over the head with bent elbows,

hands seem to hold a huge rock with intention of

hurling

below.

it

Finish the figure as previously

described, and as per diagram.

Figure IV.
Attitude

Wounded Amazon.

1,

Preliminary exercise of arms.

2.

Attitude

Forward

right

leg

strong, right

arm

back of head, head bend to the back left oblique,

left

hand on

heart.

Hold two

as previously described.

on opposite
strong,

side.

same

counts.

Return

Repeat. Perform twice

Perform with

retired

legs

action of head and arms as per dia-

gram.

Figure V,
First Attitude

Second Attitude

Amazon

Amazon

Perform the preliminary

ing

First Attitude

charging.

retreating.

exercise.

Forward

right

Then take
leg

follow-

strong, knee

SYSTEM OF PHYSICAL TRAINING.

bent, right

arm

arm

body seeming

across

liigh

over liead holding battle-ax,

arm held high

right arm, which

form

is

left

Perform

to hold shield.

per diagram. Second Attitude

bent, left

113

as

Retired right leg, knee

as if protecting

head with shield,

the battle-ax arm, held low.

Per-

as per diagram.

Figure VI.
First Attitude

Amazon with broken bow.

Second Attitude

The Amazon's vow.

Preliminary exercise as per diagram, then. First Attitude: Right leg strong, right
so that

forearm

straight

is

arm up and bent at elbow,

and

level just

above head,

the right hand being thus carried to the left

The

front.

the side.
is

a study

arm

palm

but not touching

of bow.

This

from the most celebrated Amazon statue

Be

arm on the

sure to draw the figure well

leg strong, right

arm

Repeat.

right side.

opposite side twice.

in, left

falls at left side,

The hand holds the broken end

the world.

the

left

side,

Second Attitude

arm up

head thrown up.

Perform on the
:

Retired right

straight, clenched hand,

at side as if resting

in

up under

palm

on shield, clench hand,

Perform twice on opposite

Repeat.

sidr.

If musical phrase needs

taken at the end

of

each

it,

the heaving attitude can be

attitude,

changed

slightly

throwing the head back and bK>adening the arms.

by

DIAGRAM.
I.

(1)

Ang. A.

out. up, for.

SYSTEM OF PHYSICAL TRAINING.

115

MINUET FAN-DRILL.
1.

Enter,

Point

{a)

left toe obliqne,

hand over head,

and

upon

weight

carry

Place

(l)

it,

fan held in right

left foot

at

forward

the same time

gracefully fanning with light wrist motion

against breast,

Step on right foot,

{c)

behind close to right heel

Carry the fan through the

thumb uppermost.
the

little

air in a

long upward curve,

finger press the last fan stick in such a

;

way

as

follows a slight back-

then

reached

if

shading

as

the

it

left

from

This

light.

toe again

points;

bent at the hips toward the pointing toe.

throughout a

last

of

participants.

attitude

the trunk
It

The

drill

proces-

minuet step (an adaptation of the minuet step)

continued

until

all

have

entered

and

is

should be

The

study of oppositions.

fine

may have any number

sional

let

action of the wrist, prior to the fan hovering over

the head as
is

fan as before.

Just before poising over head

to turn the fan completely

ward

fan

left foot

formed

is

an

ellipse.
2.

{a)

Deep

line

of

court courtesy toward centre,

the

ellipse that

is

(h)

The

toward the audience

then turns facing audience, and alternate girls of

the entire

ellipse

step

back one step

all

then

THE GENEVIEVE

116

now

All are

courtesy.

STEJBBINS
facing audience ready to

begin.
3.

(a)

Toe points

head,

Fan

(b)

at the

and

The

1.

hip toward

raised

flourished through the air as

is

described in No.

hand holds fan over

right

left,

left

trunk, which has bent

slightly follows the

which holds the

is

now

rising right

arm

oblique pointing toe,

fan.

Be

careful both of the se-

quence and the opposition of motion.

the entire motion three times,

transfer fan to left hand,

placing left

(which
it

will

is

Raise

left

arm

motion over head to meet right arm,

in flowing

sy,

(c)

Repeat

leg

(d)

Deep

behind, so

court courte-

that in

rising

done by bending the forward right

leg)

be easy to point the right toe and take an

attitude with the left

the head,

all

hand holding the fan over

in opposition.

Repeat

all

on

to

places,

this

side as previously described.

4.

Position on both feet,

forming the

ellipse.

(They come on
alternately,

glide

in

one,

Girls

(a)

step

Face partners; courtesy.

single

file,

but are numbered

(b)

Ones kneel; twos

two.)

gracefully around

ones, with

long, slow

motions of the fan, fanning the kneelers.

Ones

rise,

fanning

twos kneel.

as described,

(c)

Ones glide about twos,

(d)

Grand

chain, minuet

SYSTEM OF PHYSICAL TRAINING.

and attitudes until half around, when

stepping

kneeling

is

repeated,

to

{f) Take

each other,

by twos,

places

original

Continue grand chain

{e)

courtesy

places,

to

117

stepping

back,

{g)

Courtesy to audience.
5.

Both hands hold fan over head,

sy on

Deep

courte-

right leg, fan held in both hands, sweep(J)

Repeat by courtesying on

rise

from the courtesy by bending

ing to knee.

Always

leg.

{a)

left

the forward knee, then adjusting the retired leg.

G.

Holding fan well out and up

{a)

sideways and look at

toe

and turn

Raise liead

it,

it

left,

point right

bending head.
the

to

left, as

(J)

fan

is

crossed across the breast to right shoulder.

This

movement

head

is

and arm.

study

in

opposition

Repeat three times,

of

(c)

Holding

fan over head with

both hands, courtesy as be-

up and down,

opposition of head and arms.

fore,

Drop

fan

back of the head, fan held

hands, the handle uppermost, for the

down

over head and

Repeat

{d)

all

to

knee

as

in both

start,

sweep

you courtesy.

of the foregoing on the opposite

side.
7.

{a)

Form

the

ellipse

again,

(b)

March

proces-

sionally in a spiral, with short, quick fannings.

(c)

Form two

lines,

{d) Cross fans,

forming an

THE GENEVIEVE STEBBINS

118

down which head

archway,

pair step.

They

moves

slightly

cross fans at the bottom as the line

This

up.
the

repeated until

is

arch,

(e)

Then

over

8.

join

right

heads

Turn

half

pairs

shoulders.

{/)

around and change hands and

fans.

{a) Ellipse

courtesies

right

have gone under

in left hands, as

opposite

hands on high, fans held

look

all

is

formed again and places taken;

are

repeated

as in

No.

1.

{b)

All

kneel and sweep fans, held in both hands, up

and down

in

opposition to the bending body;

for instance, the

body on both knees, bracing

toes against the floor,

while the

sways back as far as it can,

arms swing forward, and vice versa.

Repeat three times,

(c)

Fan

in both

hands held

over head, body sways from side to side twice.

{(I)

Right knee

obliquely toward

study in

is
it,

raised;

trunk sways down

following the arm-motion (a

sequence).

Repeat three times,

(e)

Again on both knees, hands hold fan over head,

trunk circling with fan attitude, fan reversed

back of head, trunk twisted to

right.

Repeat trunk

attitude.
9.

(/")

Raise

circling
left

head to

knee and repeat

Rise, fan flourish attitude, courtesy.

same way

left,

and reverse the

as described for entrance.

(c).

Exit in the

SYSTEM OF PHYSICAL TRAINING.

THE ATHENIAN
The
This

drill

is

DRILL.

Victory.

called the Victory as there

use of the grand victory circles, which

The

and power.

from

classic

attitudes

is

a constant

mean domination

have been carefully selected

models.

Figure
Attitude

119

Amazon

I.

holding an upright spear.

(Vati-

can.)
1.

Forward

left leg strong.

Right arm forward up-

Hold

ward, holding imaginary spear.

pose

this

two counts.
2.

Touch

fingers

straighten.
3.

Descend arms

over

One
in

head,

one palm up

count, same weight.

broad outside

circle, wrist

One

right retired leg, feet together.

Repeat on same

Perform

side.

opposite side, twice.

lead-

palms out, as you sway to

ing, elbows straight,

4.

and

1,

2,

count.

and

3,

on

Reverse the foregoing, turn-

ing the direction of feet and trunk to the rear but

facing the front, looking over shoulder of upheld

arm.
counts.

Hold the reversed

Then

pivot

attitudes

each

two

on the toe to the front,

THE GENEVIEVE STEBBINS

120

arms over head,

fingers touching.

Advance forward

as

One

arms sweep down

count.

in outside

curve on one count.

Victory attitudes can

now be

taken

if

needed to

finish

the musical phrase,

FiGUKE

II.

Attitude: Diana of Versailles.

1.

Forward

left

(Louvre, Paris.)

2.

Touch

finger-tips over

One

ward.
a'fe

hand taking

Right

strong.

leg

arrow-head turned to the right.

Two

head and stretch trunk up-

Descend

count.

in outside curve

right leg becomes the strong one.

Repeat on same
site

counts.

One count.

Perform twice on oppo-

side.

Reverse the foregoing, head to the

side.

front, looking over

arrow shoulder.

Observe

previous directions.

Figure

III.

Attitude: Fighting Gladiator.

Forward right leg advanced

out as

if seizing a

bridle.

(Louvre, Paris.)
as in running, left

Head

arm

looks to left arm.

Right arm back right oblique, hand holds short sword.

Hold

this pose

two counts.

viously described.
Figs.

I.

and

Make

Return

to position as pre-

the repeats and reverses as in

II.

Always look to the front in reverse attitudes over ad

vanced arm.

If needed, finish in victory attitudes.

SYSTEM OF PHYSICAL TRAINING.

121

Figure IV.
First attitude

Forward right
on

Quoit player.

(Louvre, Paris.)

leg strong, knee bent, left

hand nearly

Kight arm carried back and up

knee.

attitude of throwing quoit.

Follow directions

previously given for returns and repeats.

'

attitude

tude

is

This

not reversed, instead the second

is

in

atti-

taken.

Second attitude

Dying

warrior.

Rome.)

(Vatican,

Retired right leg, strong knee bent, right arm for-

ward and up, hand holds olive-branch.

repeats as previously given.

Returns

The counts

are the

(Vatican,

Rome.)

same.

Figure V.
First attitude

Warrior

Forward right

in attack.

leg strong, knee bent, left

arm squared

over head, right arm back,, hands clenched.

Re-

turns and repeats as before stated.

Second attitude
Retired right

"Warrior in defense.

leg,

head squared,

strong knee bent, right

left

arm back, hand

arm over
clenched.

Returns, repeats and counts as before stated.

There should be an extreme bending of the knee

all

of these warrior attitudes.

in

SYSTEM OF PHYSICAL

132

liAINIXG.

Figure VI.
Attitude:

anus over

leg,

straighter

little

(Rome.)

"Win sred Victory.

Forward right

liead in circle, left

and higher than

arm

right, index-linger

Returns, repeats and reverses as pre-

curved, but up.

viously described.

March on and

off.

The counts

slow time, two counts

quicker, double
used.
figure

the

if

one measure.

to

counts.

Winged Victory

is

it

as Fig.

VI.

If the time

is

Greek costume must be

sometimes added to each

the musical phrase needs

not perform

are arranged for very

it

in

which case do

DIAGRAM.
Music: March Tune, Andante.
I.

Amazon

att.

For. R. arm, L. leg

For. L. arm, R. leg

Back

Reverse

Back

R. arm, L. leg

L.

arm, R. leg

2
II.

Diana

att.

For. R. arm, L. leg

For. L. arm, R. leg

Back

Reverse

Back

R. arm, L. leg

arm, R. leg

L.

2
III.

Fighting Gladiator

att.

For. R. leg, L.

arm

For. L. leg, R.

Back

Reverse

R. leg, L.

Quoit Player.

1.

2.

arm

Back

__

att.

For. L. leg, R.

arm

arm

R. leg. For. R.

Back

L. leg, For. L.

1.

Back

arm

iatts.

arm

2nd

L. leg, R.

Dying Warrior

For. R. leg, L.

Ist att.

arm

arm

^
Warrior's Attack.

2.

Warrior's Defense.

For. R. leg, L.

Ist att.

arm

For. L. leg, R.

2nd

att.

Back

arm

R. leg. For. R.

arm

Back

L. leg, For. L.

arm

VI.

Winged

Victory.
For. R. leg,

arms up

For. L. leg,

Reverse

Back

R. leg,

arms up

arms up

Back

L. leg,

arms up

THE GENEVIEVE STEBBINS

124

THE GREEK

DRILL.

The Nymphs.
This

Nymphs

'

'

Greek

the

called

is

because

it is

aud named

Drill

'
'

The

a study of the beautiful motion

often carved to represent the various actions and sportive grace

of those ideal creations of the

supposed to people wood, water,

Figure
1.

ture's

veil concealing

the right
the

right

Continue

and

Greek fancy,

fire.

I.

Gradually seem

Unveil.

air,

to

lift

a long

fairy forms.

the

veil,

na-

Circle

arm over the head, while swaying on

hip,
this

harmonic

poise,

hip sway and

lateral

arm

action.

circling four

times, then perform the same motions the same

number
2.

of times on the left.

Alternate
right and

3.

arms four times with harmonic poise

left.

Perform the motion of the arms with both arms

four times, harmonic poise forward oblique and

back oblique.
little,

Reverse the back oblique ones a

facing the front.

Each arm

four measures.

Make

oppositions of head and arm.

circling takes

SYSTEM OF PHYSICAL TRAINING.

Figure

125

II.

This figure symbolizes the water-nymphs, the swim-

ming, floating and sudden uplifting as

1.

Begin with a

swimming motion, one arm

lateral

following the other as

Sway

water.

back

the weight

as

if

arms

the

in a spray.

is

you would
to

the

on the

lie

oblique

right

received by the right leg

retired w^ith bent knee.

2.

Expand the arms

as

you sway the weight

forward oblique.

left leg

Two

counts.

Observe the following

measures of music to each.

Two,

left leg

forward

Three, right leg retired strong.

P"'our,

forward strong.

strong.

One,

left leg

right leg retired strong.

strong.

to the

Six,

carry

right leg and

make

Five, right leg retired

the
it

left

leg

behind the
Seven,

the strong leg.

the right leg forward receives the weight while

the arms drop.

Eight, the left leg

is

now

ad-

vanced in front of the right leg and receives the

weight as the right arm
like

the

is

swept up, pointing up

statue of the Flying

Mercury.

This

represents the rising of the spray.

Repeat same
side.

Lift the

after taking the

side,

then perform twice on the opposite

arms over the head,

Mercury

finger-tips touching

attitude before repeating or

THE GENEVIEVE STEBBINS

126

changing.
the

The

Mercury

feet also

must be brought together.

attitude one foot

raised

is

from the

In

floor,

but can be taken without so doing.

Figure

III.

This figure symbolizes the wood-nymph as she

flies

through the forest and sways on the boughs.

1.

over head,

touching finger-tips

Lightly

bring the arms

diately

down

in a broad circling

motion until the arms are expanded

Right leg forward

level.
2.

The arms

are

now swept

finger-tips touch.

front,

weight on

at shoulder

strong.

is

to the left, rising until

One palm

Wreath form, trunk

imme-

little

up, the other down.

reversed, face to the

left leg retired.

3.

Pivot on toes to the front,

4.

Advance on

left leg

strong while

expanding the arms.

right leg, touching finger-tips over

head, one palm up.

allowed for
5.

1, 2, 3,

Eight measures must be

and

4.

Bringing the feet together, sway

side

eight

to

side,

site side.

from

arms wreathed over head during

measures.

Perform

at the waist

Repeat on

1, 2, 3, 4,

and

5,

the

twice

same

side.

on the oppo-

SYSTEM OF PHYSICAL TRAINING.

127

Figure IV.
This one

a figure in the nymphs' dance to Apollo.

is

extreme humiliation

It represents

and adoration of the risen sun

1.

Touch

fingers over

in the

bowed

upright one.

in the

head and then bend the trunk

very low over the right leg, oblique

weight

on the

is

attitude

Two

left leg retired.

The

line.

measures

must be allowed.
2.

Separate the fingers and turn the hands, uplifting

trunk,

ai'uis,

and head

in

a prayer- offering mo-

tion,

drawing the forward foot in and turning

the

left

This

is

oblique.

done

to

Do

not change

to

the weight.

two measures.

3.

Repeat three times.

4.

Perform motion and repeats on the opposite

5.

Alternate from side to side eight times, gradually

reversing

hands

trunk

but face

to

side.

the front as the

uplift.

FiGUKE Y.
This symbolizes the flame.
coils,

and

finally, as

so the flame form

1.

is

matter in

It
fire

sinks

and

rises

goes upward to God,

the prayer form.

Slowly kneel by bending the right knee and

ping the

and

left foot farther

slip-

and farther behind you,

swaying the arms laterally while doing

so.

Allow

THE GENEVIEVE STEBBINS

128

eight

measures for

when

the head on the eighth

2.

Gradually

rise

clasping the hands on

this,

finally

during eight measures, tinger-tips

touching and trunk circling.

tion of

on the knees.

slight separa-

hands takes place when half way up and

the arms perform spiral

are finally held

up

flame prayer form, finger-

in

Eight measures should be spent

tips touching.
in rising

serpentine motions and

and arm motion and

this twice

on each

attitude.

Perform

side.

This symbolizes the flame sinking and

rising

as a

prayer to God.

Figure YI.
This figure symbolizes the whirl of the wind and the
floating of the clouds
1.

Sway
left

the right
leg

the beings of
arm

crosses

laterally to the right, as the

right in front and then

the

carried as far around

toes,

air.

as

is

possible.

making one complete turn and

ger-tips as

you come

to the front,

is

Pivot on
joining fin-

one palm up.

The weight should now be on

the left foot re-

Four measures

must be allowed

tired.

of music

for the pivot.

2.

Sway forward

oblique, right

leg

strong.

gently at the waist during four measures,

3.

Pepeat

and 2 on same

side.

Sway

sVsTem of physical training.

4.

rerforni twice on opposite side.

.").

Spreading
I'iglit

tlie

arms and leaning well back, weight

retired, slowly pivot

on right toe, regula-

ting the turn by a continuous

heel and carrying

it

around

not raising the right toe.

The

left leg is

little

in a

The toe

raising of the

tiny circle, but

is

used to pivot.

extended and carried around

the action of the

The

right.

action

continuous whirl, but a series of

waits

129

The arms

and wreathe. One

Repeat on same

alternately

little

is

by

not one

turns and

open, serpentine

circling takes eight measures.

side.

Perform twice on oppo-

site side.

Entrances and
time, gracefully

exits

should

be performed in waltz

waving the arms.

The costume should

be Greek with drapery hanging from the shoulders.

THE GENEVIEJ'E STEBBLTS

131

-ESTHETIC DRILL.
Flying Series.
1.

Raise arms siclewise, hands hanging, fingers pointing

2.

Sink wrists as arms sink

3.

Again

4.

Sink wrist as arm sinks

5.

Continue raising arms and sinking wrists, each time a

to

ground.

trirte

to sides.

raise arms, this time a little higher than at first.

to side.

higher, until the fingers touch over head.

6.

Clasp hands over head and hring them hack of head

7.

Hold hands there while twisting body

in rest position.

right then to the

8.

Bring wrists

first

to

the

left.

to shoulders, then to sides, for finish.

Half-Serpentine Series.
Raise arms sidewise level with shoulder, sink wrist, turn

hand.

Hand

now

should

be well

bent back

on wrist,

fingers to floor.
1.

Bring wrist

2.

Raise wrist until fingers touch shoulder.

to shoulder.

3.

Unbend arm, hand

4.

Repeat ascending

5.

Repeat over head.

6.

Repeat horizontal oblique.

well back.

lateral.

7.

Repeat ascending oblique.

8.

Repeat front.

9.

Repeat ascending front.

wrists to sides,

Finish at sides, then sink

hanging arms.

SYSTEM OF PHYSICAL TRAINING

132

Serpentine

Arm

Series.

Carefully ;?tudy the serpentine motion of arm.*

1.

Then

Raise both arms sideways level with shoulders, hands

Make

hanging.

the serpentine motion as described

until the last unfolding.

the same line, push the

Instead of returning on

hand

out, lateral ascending.

2.

At that point again make the serpentine motion, but

return the hand over head.

3.

Repeat descending oblique.

4.

Repeat horizontal oblique.

5.

Repeat descending oblique.

6.

Repeat, right

arm ascending

scending oblique

oblique while left

repeat with left

arm

is

de-

ascending.

7.

Repeat, both arms carried to right ascending oblique.

8.

Both arms carried

9.

Both arms carried back

to left ascending oblique.

head and down.

of the

Spiral Series.
Carefully study the spiral arm.

Then unfold

the right

arm.
1.

Descending front.

2.

little

higher, but

still

3.

Horizontal front.

4.

Ascending

5.

Higher, but

6.

Immediately over head.

7.

Repeat the foregoing

8.

Repeat with the

9.

Repeat with both arms.

descending front.

front.
still

ascending front.

left

six in the oblique direction.

arm.

See "Society Gymnastics" ($1), page

37.

APPENDIX.
The Relation

of Physical Culture to

Expression.

Any

close observer of the trend of ediTcational

thought

in our art of expression will have heard tlie battle-cry of

two opposing

forces.
'

comes,

First

'

All

Yield to the within.

tal

should proceed from the mind.

Abandon

yourself entirely to

direction, to the impulses of the heart.

Follow the psychology of nature.

child.

mechanical,

false.

The shield

is

golden."

men-

Observe the
All else

And

is

I look

through their glasses and on their side and cry aloud,

" Yes, yes, the shield is golden

Who can dispute it? "
But afar off comes the distant tread of many feet and
!

soon on the mountain-top above the valley appear a

tri-

umphant band who shout, " The shield is silver! "

" All art must have its technique. Nothing comes
without work.
No one is worthy the name of an artist
who knows not the technique of his profession. And
technique

but
signs

is

not only the artisan part of the training,

also consists

it

of

irrespective of

This

is

in the

expression and

mind's knowledge of the

the

the emotions.

art's true psychology.

take

them

ability

to

This

is

art's true road.

For

art

is

not an exact

'

APPENDIX.

134

but deals in

nature,

of

imitation

symbols which are

truth by the oversoul of masseg. You must idealyou would reach the public. If you trust entirely
to the individual mind, uncorrected by a true technique,
you reveal, not the signs of universal truth, but only the
felt as

ize if

eccentricities of the individual

eccentricities often en-

upon him by a long line of abnormal heredity.

You must have technique. Plainly the shield is silvern
tailed

'

Crossing the valley and climbing the mountain,

down and exclaim with them, "The

shield

is

look

indeed

However, remembering my first impression,

Wandering into the forest to clear
I am still in doubt.
returning,
I look and lo! the flash of
my vision, and

silvern."

gold and silver illuminates the sky.

So, friends, leaving metaphor aside, will
listen while

my

clusions

you kindly

quickly review with you some of the con-

life

has brought to

me

life

whose early

were taken from two such opposed teachers as

Steele MacKaye, the representative of Delsarte, and
Regnier, late president of the Paris Conservatory?

lessons

Says MacKaye,

'

'

Be

your audience feel."

" If you are forced

ice yourself, if

to seek in the

should be in the heart,

you would have

head for that which

you are not an

artist," exclaims

Regnier,

And
me,

May

my
in

in the

blended thought of the two,

it

seems to

lies truth.

belief

show you the foundations upon which I rest

that mind, body and soul can not be divorced

any right

artistic

culture?

APPENDIX.
This

my

is

creed

All
Second These

fajulties lie

First

135

deep within the soul and are

there potential as the oak in the acorn

out

brain liaving

Third

faculties can

not be manifested with-

cooperation of the brain, each portion of the

tlie

its

own

Through

function.

the

nervous system

established

is

communication between brain and body each function

in the brain sympathizing with some part of the body,
;

and corresponding surfaces also having corresponding

the upper with the upper, the lower with
meanings,

the lower, the anterior witli the anterior, the posterior

with the posterior, and so on.

Fourth

The

j)sychic

faculties

brain, the physiological functions

are

throned

in the

find their seat in the

body, and action and reaction between the two swings

the great

pendulum

of

life.

Thus, when anger or love

quickens the circulation and changes the breathing,

we

recognize the physiological correspondence to the psychic

faculty

which,

unol)structed,

if

into pantomime.

ward

sion of

is

further carried out-

Pei' contra,

an emotion whicli we do not

wilful expres-

tlic

feel generates

generating the sensations connected with

are

turn,

their

Note,

friends,

associated
this

founded much of
Fifth

When

within or
into

my

with analogous
statement,

it

by

which, in
emotions.

upon

for

it

is

teaching.

emotion has been

stirred,

from either

without, impulses of expression are roused

action

brain.

latter

it,

This

not

primarily

we term

initiated

by

the

instinct or inspiration.

conscious

APPENDIX.

136

Sixth

Again the brain must

impulse, remembering

it

step in and judge of the

for future artistic use, other-

wise the emotional impulse

may

wrong road

indicate the

to true art.

Seventh
tion

Practice

when

Eighth

attained,

in

is

Absolute

guiding both intellect and emo-

the sure road to power,

in

justice

rendering unto Csesar

the things that are Ccesar's and unto

that are God's,
if

he would cultivate

which alone

God

the things

must be the constant aim of the

artist,

in himself those instincts of

will enable

him

to separate the gold

the dross, the true from the false.

right

from

This habit of right

judgment in the daily life alone leads

Ninth Trusting to his past work he

to

stored his life's lessons in this subconscious

memory and

true art.

feels

he has

can safely look within for his master, knowing that the
light

which shines there

is

for

him the

life-giving sun of

his universe.

In the foregoing summary, fellow-teachers, you have

heard the profound convictions of

my

life.

To me

it is

the only path to be followed by the artistic temperament,

temperament implying that its possessor lias a

sensitive nervous system and both imagination and feel-

such

ing.
is

But

to follow that path, line preliminary training

necessary in both body and voice.

We

must make the

we play upon it. Gymbody and voice should precede and ac-

instrument sure and true before

nastics

for the

company

all

expressional use, while the

mind should be

In many
filled with a knowledge of true artistic signs.
of us long years of repression have paralyzed the natural

APPENDIX.
of

instinct

And

expression.

137

must again be awakened.

made educational if due
reflex action which should take
It

a right use of signs can be

attention

claim,

paid to

is

when

place

all this is

tirely.

The

tlie

right signs are coordinated.

Delsarte's system.

But, you ex-

I answer, not en-

great, broad, primitive emotions arc selected

and the body trained

body has become

Then, when the

in their signs.

plastic, yield

it

an obedient servant to

The novice needs an experienced

intellect

and emotion.

teacher

gently to guide the subtle play of each one's

inner instinct to expression.

Truth has many

veils,

and the young

one and then another, gradually getting

centre.

The young

imitates his elders

doll

artist

is

like the

artist

may rend

to the beautiful

young

child

or exults in the glory of the tin soldier;

until life has

pleasure,

who

and moans over the broken leg of the

brought to each

attainment and

its

failure,

but not

lessons of pain

can

the

and

individual

have probed deep enough into the human heart, alone

and unaided,

to dare interpret its

Believing that

it is

agony or voice

its

joy.

impossible to divorce body, brain,

in any right training, I have been forced to

you through the labyrinth to make you see from
my standpoint the immense value of physical training to
Beginning with inexpressive gymnastics
expression.
for the body and singing-exercises for the voice, my
imthod has been to proceed from them to movements of
grace, beauty or meaning
and readings requiring
All the art-forms, carved,
thought and emotions.

and soul
lead

painted

or

seen,

that possess these requirements

have

APPENDIX.

138

been adapted into ray

gressive, advancing

stage of this

certain

Here

let

me

system, which

sestlietic

from the simple

pro-

is

At

to the complex.

work comes

in

statue- posing.

quickly add that I do not

mean tableaux

with wigs and whitewash.

The

statue-posing that I refer to

is

ing on to pantomime and gesture.

educational, lead-

Thus you

May

statue-posing occupies a transitional place.

your attention
the

to the great

importance of

stepping-stone

direct

from

that

see

I call

this

study as

meaningless

physical

The Greek gods

training to expressional culture ?

are

not expressive of individual mind but of universal ideas.

They were carved

to

laws of the universe

repose

in

embody

form,

those splendid abstract

power, balance, rhythm,

one word, beauty.

In these siatues

represented the emotions of the gods.

The

we

see

practice of

them gives ease, dignity and calm, removing all affectaCan one affect rhythm, balance and power?

tion.

You may

here ask,

"Do

And

attain?"

all

T an-

swer. Yes, if they work and have the artistic temperament and are normally built.
Again you may question, " Do they look like the
To this I answer emphatically, No! They
statues ? "

look themselves, obeying the laws of correspondence,

repose and rhythm.

And now
to

a third query comes to me,

put statue-posing on the platform as a

entertainment

"

And

I reply,

the artist before the public ?

or persuade

"

Is

Then has not

it

''

"

Is

it

true art

number

What

is

in an

the aim of

not to interest,

move

bfautifnl expressive

mo-

APPENDIX.

139

music

tion its place as well as beautiful

The abuse

of

Rant

is

no arguirent against a true elocution, and affectation

in

any good thing does not prove

lack of use.

its

the use of motion can not be used as a plea against grace

and meaning

in action.

In the Greek statues,

highest ideal of

man

we come

face to face with man's

by

as represented

art,

and wlien did

The imagination

the ideal ever belittle the student ?

is

brought into play by studying the probable emotion or

"When we conwhich preceded the carved one.

the immense value to the whole organism of
slow motion and held attitudes in forms of beauty and
power, must it not be acknowledged tliat in them We
action

sider also

have found a superb gymnastic

The Swedish system

is

based on the same premise of

attitude as giving

the value of slow motion and held

time

for nutritive changes in the cellular

exclusive use of the Swedish system

expression, but combined with
valuable.

It

is

is

An

tissues.

detrimental

the aesthetic

it

to

proves

because of this valuable element

that

such teachers of physical training as Drs. Anderson,

Seavcr, and Taylor have recognized
practice.

its

its

use and counseled

Delsarte's fundamental exercises must pre-

cede the statue-posing.

It

was

exercises that I studied the models

to

complement tlose

found

in the galleries

of Europe.

In taking other carved forms than those of the gods

we

learn another great

controlled

by

will

lesson

we

see strong emotion

and represented by beauty.

Is not that last lesson of

supreme importance

to the

APPENDIX.

14<J

artist
its

The study

of expression ?

of the statues has also

correlative literary value in familiarizing the student

with

classical

and poetic allusions

The student gathers

in a vital, living

way.

into his very being forms of beauty

and thoughts of God.

Ah!

dear ones of Olympus, your .frozen

as nature does.

Not

in

lips

whisper

hurry and turmoil, not in

tur-

bulence or passion, not in fear and anxiety, but in a

glorious calm of being of right rhythmic action and rest

do true manhood and womanhood

"Then

life is to

wake, not

lie.

sleep,

Rise and not rest but press

From Earth's level, where blindly creeps
Things perfected more or less

To the Heaven's height

far

and

steep."

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