sexual. In folk-dances we still see this element plainly. The
later development of dancing as a religious ceremony joins itself
to the preceding element and the two together take artistic form
and emerge as the ballet.

The ballet at the present time is in a state of chaos owing to
this double origin. Its external motives--the expression of love
and fear, etc.--are too material and naive for the abstract ideas
of the future. In the search for more subtle expression, our
modern reformers have looked to the past for help. Isadora Duncan
has forged a link between the Greek dancing and that of the
future. In this she is working on parallel lines to the painters
who are looking for inspiration from the primitives.

[Footnote: Kandinsky's example of Isadora Duncan is not perhaps
perfectly chosen. This famous dancer founds her art mainly upon a
study of Greek vases and not necessarily of the primitive period.
Her aims are distinctly towards what Kandinsky calls
"conventional beauty," and what is perhaps more important, her
movements are not dictated solely by the "inner harmony," but
largely by conscious outward imitation of Greek attitudes. Either
Nijinsky's later ballets: Le Sacre du Printemps, L'Apres-midi
d'un Faune, Jeux, or the idea actuating the Jacques Dalcroze
system of Eurhythmics seem to fall more into line with
Kandinsky's artistic forecast. In the first case "conventional
beauty" has been abandoned, to the dismay of numbers of writers
and spectators, and a definite return has been made to primitive
angles and abruptness. In the second case motion and dance are
brought out of the souls of the pupils, truly spontaneous, at.
the call of the "inner harmony." Indeed a comparison between