Dancing with Helen Möller, 1918

“The idea of Pan inspires the Greek dancer with a charming variety of interpretations of a lyrical, as well as of a sprightly and mischievous, character.” From ‘Dancing with Helen Möller’, 1918. Page 110. University of California Libraries. | src internet archive
“An adaptation of the classic idea of Pan — three manifestations emphasizing the gay and mischievous attributes of that minor deity of the Arcadian woodland.” From ‘Dancing with Helen Möller’, 1918. Page 28. University of California Libraries. | src internet archive
“All true physical expression has its generative centre in the region of the heart, the same as the emotions which actuate it. Movements flowing from any other source are aesthetically futile.” From ‘Dancing with Helen Moller’, 1918. Page 96. University of California Libraries. | src internet archive
“Both of these Bacchante figures exhibit original interpretations in which beauty of line is sustained in connection with appropriate gestures and facial expression.” From ‘Dancing with Helen Moller’, 1918. Page 81. University of California Libraries. | src internet archive
“Bacchante. Showing the moment of lustful anticipation of delight in the intoxicating product of the fruit — as though hardly to be restrained from seizing and devouring at once.” From ‘Dancing with Helen Moller’, 1918. Page 102. University of California Libraries. | src internet archive
“Woodland interpretation. The ocean-born Aphrodite being adorned by Goddesses of the Seasons for her first appearance among her peers on Olympus.”
Helen Moller and Curtis Dunham :: ‘Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day’, 1918. Page 112. University of California Libraries. | src internet archive

ACKNOWLEDGMENT: Many of the photographs reproduced in this book were taken by the author herself. For the privilege of reproducing other fine examples of the photographer’s art, she desires to express her grateful acknowledgments to Moody, to Maurice Goldberg, to Charles Albin and to Underwood and Underwood; also to Arnold Genthe for the plate [lost plate] on Page 36; and to Jeremiah Crowley for his admirable arrangement of the entire series of illustrative art plates. [quoted from source]

Dancing with Helen Möller, 1918

“The race, adapted from the classic Greek games, is useful in dance interpretations combining grace and swiftness of movement. The silhouettes compare fantastic with natural grace of movement.” From ‘Dancing with Helen Moller’, 1918. Page 106. University of California Libraries. | src internet archive
“Drigo’s Serenade — showing how modem music of this character inspires the creation of dance movements and figures adapted from the purest Greek models. The beginning of the interpretation is shown in the small plate.” From ‘Dancing with Helen Moller’, 1918. Page 74. University of California Libraries. | src internet archive
“A playful Spring movement — flowers and ribbons, and lightness of movement which seems almost to defy the force of gravitation. The small Tanagra figures suggest the same spirit.” From ‘Dancing with Helen Moller’, 1918. Page 42. University of California Libraries. | src internet archive
“Here the dancer, erect and recumbent, realizes in living movement the classic sculptor’s sense of the aesthetic value of simple draperies.” From ‘Dancing with Helen Moller’, 1918. Page 48. University of California Libraries. | src internet archive
“The ocean beach, upon which the surf rolls rhythmically, or is broken upon half submerged rocks, incites to the most open free and vital dancing expression.” From ‘Dancing with Helen Moller’, 1918. Page 86. University of California Libraries. | src internet archive
“Reacting to the breath of Spring — the most compelling of all impulses to dance, and provocative of the most joyous physical expression.”
Helen Möller and Curtis Dunham :: From ‘Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day’, 1918. Page 88. University of California Libraries. | src internet archive

ACKNOWLEDGMENT: Many of the photographs reproduced in this book were taken by the author herself. For the privilege of reproducing other fine examples of the photographer’s art, she desires to express her grateful acknowledgments to Moody, to Maurice Goldberg, to Charles Albin and to Underwood and Underwood; also to Arnold Genthe for the plate [lost plate] on Page 36; and to Jeremiah Crowley for his admirable arrangement of the entire series of illustrative art plates. [quoted from source]

Dancing with Helen Moller, 1918

“Votive incense, as from a novice to the Priestess of the Temple — an attitude of graceful humility combined with pride in serving.” From ‘Dancing with Helen Moller’, 1918. Page 62. University of California Libraries. | src internet archive
“Expressing wistful expectation — the hands in an upward receptive gesture and the countenance as of hope for some yearned-for gift from above.” From ‘Dancing with Helen Moller’, 1918. Page 22. University of California Libraries. | src internet archive
“Atalanta. Depicting the classical moment of the most intense physical and mental concentration upon two opposing motives — to win the race, yet pause to seize the prize.” From ‘Dancing with Helen Moller’, 1918. Page 24. University of California Libraries. | src internet archive
“Example of a very young dancer unconsciously coordinating movements of arms and torso with remarkably true and forceful expression of countenance.” From ‘Dancing with Helen Moller’, 1918. Page 38. University of California Libraries. | src internet archive
“Children are quick to feel the impulse to rise upon the ball of the foot even when that limb is sustaining the body’s entire weight — one of the principal requisites of Greek dancing.” From ‘Dancing with Helen Moller’, 1918. Page 32. University of California Libraries. | src internet archive
“Representing joyous abandonment to an impulse of Nature’s gently persuasive mood — as of floating forward borne upon a Summer breeze.” From ‘Dancing with Helen Moller’, 1918. Page 90. University of California Libraries. | src internet archive
Arms outstretched, and raised together, in movements which avoid unaesthetic angles, even in the energetic action shown on the left. The open, raised bust in the large figure illustrates the hygienic value of adhering to the heart centre of all true physical expression.”
Helen Moller and Curtis Dunham :: From ‘Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day’, 1918. Page 92. University of California Libraries. | src internet archive

ACKNOWLEDGMENT: Many of the photographs reproduced in this book were taken by the author herself. For the privilege of reproducing other fine examples of the photographer’s art, she desires to express her grateful acknowledgments to Moody, to Maurice Goldberg, to Charles Albin and to Underwood and Underwood; also to Arnold Genthe for the plate [lost plate] on Page 36; and to Jeremiah Crowley for his admirable arrangement of the entire series of illustrative art plates. [quoted from source]

Actress Valeska Suratt, ca. 1916

Underwood & Underwood :: Waist-up publicity still of Valeska Suratt wearing a jeweled headdress, ca. 1916. A stamp on the back of the print reads: ‘William Fox presents Valeska Suratt in photo plays supreme released through Fox Film Corp. | src Wisconsin Historical Society

Dancing with Helen Moller, 1918

“Unfolding, as though giving or about to receive — an idea of petals opening to exchange the flower’s perfume for the warmth of the sun’s rays.” From ‘Dancing with Helen Moller’, 1918. Page 26. University of California Libraries. | src internet archive
“A gentle and pleasantly expectant expression of aspiration — the lines of the entire body, arms, neck and head, having an upward tendency.” From ‘Dancing with Helen Moller’, 1918. Page 94. University of California Libraries. | src internet archive
“An expression of pleasurable relaxation pervading the entire body— a complete reaction to influences that are pervasive in their sweetness and charm.” From ‘Dancing with Helen Moller’, 1918. Page 94. University of California Libraries. | src internet archive
“The graceful management of draperies is an important requisite in Greek dancing. When the robe is voluminous, as in this instance, its manipulation demands considerable skill.” From ‘Dancing with Helen Moller’, 1918. Page 44. University of California Libraries. | src internet archive
“Classic perfection of repose, with one limb bearing the body’s weight while the other, with the knee flexed, preserves balance, is one of the Greek dancer’s earliest achievements.” From ‘Dancing with Helen Moller’, 1918. Page 44. University of California Libraries. | src internet archive
“Different individual reactions to the same sense of calamity -one erect as though petrified, the other crushed by despair; neither imitative, but each creative.”
Helen Moller and Curtis Dunham :: From ‘Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day’, 1918. Page 40. University of California Libraries. | src internet archive

ACKNOWLEDGMENT: Many of the photographs reproduced in this book were taken by the author herself. For the privilege of reproducing other fine examples of the photographer’s art, she desires to express her grateful acknowledgments to Moody, to Maurice Goldberg, to Charles Albin and to Underwood and Underwood; also to Arnold Genthe for the plate on Page 36; and to Jeremiah Crowley for his admirable arrangement of the entire series of illustrative art plates. [quoted from source]