OCR Interpretation

The day book. (Chicago, Ill.) 1911-1917, June 02, 1915, LAST EDITION, Image 14

Image and text provided by University of Illinois at Urbana-Champaign Library, Urbana, IL

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83045487/1915-06-02/ed-1/seq-14/

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The parent who fails to have the
eyes of his child treated is criminally
A life of blindness may be the price
of one week's neglect
To lift a young baby, slip the left
hand under the back beneath the
shoulders, spreading the fingers in
such a way as to support the neck
and head, and lift the feet and legs
with the right hand.
Never lift the child without thus
supporting the spine.
When a baby has learned to hold
up its head and has gained consider
able strength in the muscles of the
back and neck, he may be lifted by
grasping him with outspread fingers
under the armpits, the body held
firmly so that the entire strain does
not come on the shoulders.
A baby should never be lifted by
the arms. It is possible to dislocate
the shoulder joint by careless lifting.
o o
If a spot is made on the tablecloth,
slip a bowl under the spot and turn
boiling water through until the spot
fades away; place heavy towel under
and iron until dry.
(This is one of a series of articles
on new social dances and how to
master them, written by Anna Pav
lowa, greatest living dancer, exclus
ively for readers of The Day Book.
Editor's Note.)
Article III.
Lack of variety has done as much
as anything else to make the One
Step ordinary.
Smoothness of action, no swaying
of the body or swing of arms should
be precepts to remember.
Smoothness of action can come
only by dancing on the ball of the
foot (not the entire flat of the foot
including the heel.) I believe the
One-Step can be made a dance of
genuine beauty by slight changes and
the introduction of some semi-fancy
In this article I shall explain the
polka-variation. Please look care
fully at the illustration pn this page.
It shows me and M. Clustine on the
"one" count of the music, just start
ing the polka-variation.
This figure in my One-Step is in
troduced immediately on the com
pletion of the side-glide figure ex
plained in the last article. This the
dancers take to the lady's left and
the cavalier's right, over eight counts.
The lady finishes on her right foot,
which is drawn up alongside her left
and the cavalier finishes on his left
foot, drawn up on the eight count
close against his right
In "closed" position the dancers,
though having used their right and
left heel respectively for their trial
steps, are actually supporting their
weights on the opposite feet There
fore, moving to the right, it is easy
and natural on count "one" to make
a quick turn toward the direction
from which they have come, the lady
turning on the ball of her left foot
to her right, the cavalier turning on
the" ball of his right foot to his left.
As they make the turn, which is
one-quarter of a circle, the dancers
bend slightly forward from the
shoulders, extend their right and left
arms before them a little below
shoulder-height and extend the feet
upon which they are to" take their
first steps.
The complete polka-variation fig
ure, in the One-Step .as Lhave stand
ardized it, is four counts forward and
four backward, the dancers keeping
the appreximately relative attitures
shown in the illustration, but the
dancers instead of sliding the feet lift
the knees and take the step on the
ball of the fool

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