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1 The Dalcroze Approach to Music Therapy

R. J . David FregoGreta Gillmeister

Mika HamaRobin E. Liston

INTRODUCTION

American music education is and has been very eclectic in its approaches. Musiceducation simply reflects Americas national character, which is a diverse blend of cultures,philosophies, and academic practices. A basic tenet of educational philosophy and law is that

every child shall have access to free and appropriate education. This idea carries over intomusic education, in that music should be for every childnot just for the gifted and talentedminority. There are many music educators whose philosophies embrace the idea of music forall people. Among these music educators is mile-Henri Jaques-Dalcroze.

PHILOSOPHY

The Dalcroze philosophy centers on an idea that has been valued at various timesthroughout history, that the synthesis of the mind, the body, and the emotions is fundamentalto all learning. Plato said in his Laws: "Education has two branches, one of gymnastics,which is concerned with the body and the other of music, which is designed for the

improvement of the soul (Pennington, 1925, p. 9). Jaques-Dalcroze believed that the goal ofevery musician is to be sensitive and expressive, and to express music through movement,sound, thought, feeling, and creation.

Mead (1994) describes the Dalcroze philosophy in terms of four basic premises:1. Eurhythmics awakens physical, aural, and visual images of music in the mind.2. Solfge (sight-singing and ear training), improvisation, and eurhythmics together

work to improve expressive musicality and enhance intellectual understanding.3. Music may be experienced through speech, gesture, and movement. These can

likewise be experienced in time, space, and energy.4. Humans learn best when learning through the senses. Music should be taught through

the tactile, the kinesthetic, the aural, and the visual senses.

HISTORY

mile-Henri Jaques was born into a musical home on July 6, 1865. His Swiss parentswere living in Vienna, and young mile and his sister Hlne were supported in their artisticeducation by their mother Julie, herself a fine music teacher and pianist. She had studied thephilosophy and teaching methods of educational reformer Heinrich Pestalozzi (1746-1827).He was an early advocate of teaching through the senses and through experience, not merelythrough the written word. He also supported the addition of vocal music instruction to school

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2 Frego, Gillmeister, Hama & Liston

curricula. Pestalozzi's influence on Madame Jaques was evident in her son as well. Since theDalcroze approach centers on the philosophy that experience in music is key to musicalunderstanding, it seems that both Pestalozzi and Dalcroze philosophies share commonground (Collins, 1993). Childhood in the Jaques household was a time of singing, playing,

dancing, acting, and creating. Emile had a happy childhood and was described as "lively,friendly, and even contemplative for a child" (Spector, 1990, p. 5).In 1875, the family moved to Geneva. After several years in a private school, mile

Jaques enrolled at the Geneva Conservatory. At the age of eighteen, he had not yet decidedupon a career. The following year, 1884, he went to Paris where he studied drama at theComdie Franaiseand music at the Paris Conservatory. Young Emile reveled in the artisticatmosphere of the city. A passionate young actor and musician, he also found time tocompose and perform, singing as he accompanied himself on the piano.

While in Paris, mile Jaques became familiar with the teachings of Mathis Lussy (1828-1910), a piano instructor and writer. Lussy wrote extensively on the subject of expressivemusical performance and musical understanding (Caldwell, 1995). Through Lussy, mile

Jaques learned of the process of scholarly inquiry: to recognize problems; to approach themscientifically; and to devise methods for their solution (Spector, 1990). mile Jaquesinterests were shifting toward an emphasis in music, and after a visit with his family inGeneva in the summer of 1886, he accepted the position of assistant conductor and chorusmaster at the Thtre des Nouveaux in Algiers, North Africa. Algeria had been a Frenchcolony since 1847, and consequently felt the influence of Western European culture. mileJaques underwent two changes while enjoying his first professional employment. Feeling thathis youthful appearance might inhibit his effectiveness as a leader, he began sporting themustache and goatee he would maintain for the rest of his life. This was also the time whenhe added Dalcroze to his birth name Jaques. It seems that a composer of polkas in Bordeaux,France, also had the name Emile Jaques. To avoid confusion, mile-Henri borrowed the

name Valcroze from a friend, changed the first letter to D, and was known thereafter asEmile Jaques-Dalcroze (Spector, 1990).After one season, J aques-Dalcroze returned to Geneva in 1887 and, later that year, moved

to Vienna and enrolled at the Vienna Conservatory in the studio of Anton Bruckner (1824-1927). Their collaboration was brief: Bruckner insisted that "der dumme Franzose" studyharmony from the beginning, which Jaques-Dalcroze refused to do. Eventually Brucknerattempted to have Jaques-Dalcroze thrown out of the conservatory, but was thwarted by thefaculty. Adolf Prosniz (1827-1917) invited Jaques-Dalcroze into his studio. It may have beenProsniz who helped Jaques-Dalcroze focus his musical concentration and learn to studymusic with greater depth (Spector, 1990). In spite of his clashes with Bruckner, Jaques-Dalcroze considered their association valuable. Bruckner's intolerance and authoritative style

were the antithesis of Jaques-Dalcroze's loving, playful nature. Perhaps this experiencehelped to solidify his idea that an effective teacher is one who respects and educates thewhole child.

Spring of 1889 brought Jaques-Dalcroze's return to the Paris Conservatory andcomposition study with Gabriel Faur. The twenty-four-year-old musician made the most ofhis opportunities, moving in the same musical circles as Csar Franck and other artists of hisstature. Jaques-Dalcroze continued to compose an assortment of songs, ensembles, andsketches based on the customs of the day.

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Dalcroze 3

In 1892, Jaques-Dalcroze returned to the Geneva Conservatory, this time as a professorof solfge. He began to question the teaching methods of the day and wonder whatimprovements he could make. Careful observation of his students showed him that while thestudents could be good musical technicians, they often did not hear or feel the nuances of the

music they were required to play. Just keeping a steady beat was often difficult for thestudents. Jaques-Dalcroze began by getting the students up from their seats keeping a steadybeat by moving about the space. From there he added other fundamental qualities of singing,breathing, walking at various tempi, skipping, and conducting with large gestures (Odom,1998). He then added quality to the movement by asking them to physically react to theimprovised music that he was providing at the piano. These qualities included legato,marcato, and staccato movements to complement the music. Cooperative work with a partnerallowed the students to experience timing, space, strength and weight, creativity, andcooperative learning. By adding rhythmic movement to music, students acknowledged thebody as the first instrument of expression (Dutoit, 1971, p. 9). As instructor of solfge,Jaques-Dalcroze believed that the compartmentalization of music courses was detrimental to

the pupils' true musical development (Carder, 1990). By combining solfge with rhythmicmovement and improvisation into rhythmic gymnastics, as he first called this work, Jaques-Dalcroze began to teach in a holistic style.

From 1903 to 1910, Jaques-Dalcroze actively pursued the development of a teachingapproach based on rhythmic gymnastics. However, his colleagues at the GenevaConservatory considered him something of a radical. The disapproval that met hisinnovations was due partly to the conservatory faculty's unwillingness to condone hisexperimental techniques, and to have its students become "performing monkeys" (Dutoit,1971, p. 14). Another branch of resistance was from Genevan society itself. Jaques-Dalcroze's students dressed in short-sleeved tunics, with bare legs and feet, to allow freemovement in class. This was quite an affront to most Genevans, who lived according to the

rigid morality of the early twentieth century.People outside of Geneva, however, were keen to adopt Jaques-Dalcrozes philosophy ofmusic and movement education. After a demonstration of his approach in Berlin, Jaques-Dalcroze received an offer to develop an institution for rhythmic study at an experimentalGarden City being designed north of Dresden, Germany. The premise ofHellerau was to bea community that combined a planned industrial settlement with a school for artisticdevelopment attended by children and adults. Between the period of 1910 and 1914, Helleraubecame a cultural center for music, theatre, and dance.

In partnership with Adolphe Appia, a noted theatre designer, Jaques-Dalcrozesupervised the construction of a school and performance space that was noted for itsarchitectural and theatrical innovationsinstead of a proscenium, the space was now open,

which brought the audience closer in to the performances. In addition, all components werecompletely modular, which allowed the performers to move the stage in front of the audience(Spector, 1990). During performances, students were not categorized as musicians, dancers,or actors, but functioned as all three. In the summers of 1912 and 1913, audiences flocked toHellerau to see the student summer performance of Glucks Orfeo ed Euridice. Thesedemonstrations attracted notable artists and teachers from around the world: theatreluminaries Konstantin Stanislavsky and George Bernard Shaw; dancers Mary Wigman,Sergei Diaghilev and Rudolf von Laban; and musician Darius Milhaud (Martin, 1965).

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With the outbreak of World War I, the Hellerau school was closed and a permanentschool was founded in Geneva. Jaques-Dalcroze, recognizing the need for qualifiedinstructors, designed a professional training curriculum that enabled others to teach hisapproach. Instructors continue to graduate in Dalcroze Eurhythmics from the Dalcroze

School in Geneva. These graduates have established training schools in many cities aroundthe globe (Dutoit, 1971). Jaques-Dalcroze continued writing, composing, and teaching inGeneva until his death in 1950. Besides his teaching philosophy, he is also remembered as aprolific composer of songs, operettas, and large-scale festival presentations.

Today, Dalcroze Eurhythmics is taught in music preparatory schools and is part of themusic theory and aural skills curriculum in conservatories and universities throughout NorthAmerica, Europe, Asia and Australia. Training in the approach is available in the UnitedStates and in Europe. In addition, national and international professional organizations existto support eurhythmics teachers and those interested in pursuing the experience.

Jaques-Dalcroze wanted to create an approach to music education in which sensory andintellectual experiences are fused into one neuromuscular experiencereinforcing the bodys

response to music (Caldwell, 1995). He felt that this would lead to performance at highlevels, beyond expectation (Carder, 1990). He believed that music education should center onactive involvement in musical experience. Technique and intellectual understanding areimportant, but active experience must come first. Todays music education is based on the"sound before the symbol" philosophy, a legacy of Jaques-Dalcroze and Pestalozzi beforehim. Jaques-Dalcroze felt that students could practice and learn musical expression throughthe active discovery of time, space, and energy. He believed that as music moves, so shouldmusicians; therefore, rhythm is elemental to this philosophy. Jaques-Dalcroze taught thatthrough rhythmic movement, musicians could experience symmetry, form, tension andrelaxation, phrasing, melody, and harmony. Experience should teach the musical elements.

DESCRIPTION

The Dalcroze approach, often identified as Eurhythmics, consists of three relatedcomponents. The first component is solfge, or ear training. J aques-Dalcroze believed thatstudents must learn sophisticated listening skills and develop "inner hearing." Musiciansshould be able to hear what they write and write what they hear. Music notation ismeaningless unless realized in real performance or in the imagination.Solfgeis taught usingthe fixed-do approach, based on the French system. Students develop a sensitivity to pitches,their relation to each other, and to the tonal framework. What makes Dalcrozesolfgeuniqueis that it is always combined with rhythm and movement, both locomotor and nonlocomotor.

The second component of a Dalcroze music education is improvisation. Improvisationskills are developed sequentially and used in many ways. An instructor may play the pianowhile students improvise movement, react spontaneously to verbal instructions, or change inmusical character. In the reverse, a student might improvise movement while anotheraccompanied with a drum, at the piano, or in song. Students soon develop skills to be able toimprovise musically and expressively on their own instruments. These spontaneousperformance activities are designed to improve response time and communication accuracy(Mead, 1994).

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Dalcroze 5

The final piece in the puzzle is the eurhythmics itself. Often considered the core of theDalcroze approach, eurhythmics was actually the last part to be developed. It is of equalimportance with rhythmic solfgeand improvisation, but not more. The term eurhythmics isfrom the Greek "eu," meaning good, and "rhythmy," meaning rhythm, proportion, and

symmetry. This idea embodies Dalcroze philosophy in two ways. First, human beings canexperience symmetry, balance, and rhythmic accuracy in music through symmetry, balance,and rhythmic accuracy in movement. Second, the three components of the Dalcroze approach(rhythmic solfge, improvisation, and eurhythmics) are interdependent and must be taughttogether. The three complement and reinforce each other, providing a complete and balancedmusical education. Modern music educators and music therapists often identify the approachas Eurhythmics, though all three facets are implied.

A typical introductory Dalcroze lesson involves activities or games that require totalmental and kinesthetic awareness. The lesson is presented in a somatic approach that allowsthe participant to hear and react physically to the musical stimulus, which produces bodyawareness and sensations. These physical sensations are transmitted back to the brain as

emotions and a more developed comprehension of the experience. It is common to begin aDalcroze lesson with walking to improvised music and responding to changes in tempo,dynamics, and phrase inquick reactiongames. Through these activities, the students begin tounderstand how physical adjustments, such as energy and flow of the body weight, need tooccur in order to physicalize the music. Through these basic instructions, the teacher canaddress musical elements such as pulse, beat, subdivision, meter, rhythm, phrase, and form.

Intermediate Dalcroze lessons can address polymeters, polyrhythms, canon, tension andrelaxation, breathing, conducting, counterpoint, and the interactions of anacrusis, crusis, andmetacrusis. Creativity is pervasive throughout the lesson. All classes are in a group settingwhere the participants interact with partners or small groups to develop the nonverbalcommunication skills and creativity necessary in music and movement.

Plastique Anime, or more often referred to asplastique, is the culminating experience ina Dalcroze class. A plastiquecombines the skills addressed throughout the class, and fromprevious rhythmic experiences, into a loosely based choreography that is both physicallyexpressive and musical. The students are provided with the basics of the requirements andare asked to spontaneously create an interactive composition with the music. Someone who isstepping into a Dalcroze studio at that moment would see music in motion and might not beaware that the movement is spontaneous.

Modern music education benefits from Jaques-Dalcroze's teaching in many ways.Today's teachers focus on active learning on the part of the students. This implies lessinstruction and more experience for the students (Caldwell, 1993). Dalcroze philosophy alsoplaces emphasis on musical behavior and expression, and their demonstration through

observable movement. Visible evidence of musical understanding through experience takessome of the mystery out of the verbal definitions of musicality.Another aspect of modern music education inherited from Jaques-Dalcroze is the

celebration of the individual. Teachers expect to provide appropriate musical experiences forall their students. Creativity and imaginary play are encouraged through improvisation.Music class is student oriented, with groups of students actively thinking about, listening to,and analyzing and creating music (J ohnson, 1993).

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Dalcroze exercises and pedagogical principles are easy to apply to most teachingsituations (J ohnson, 1993). Multiage classrooms are becoming popular; Dalcroze exercisescan be adapted to suit a variety of student skill and experience levels. Dalcroze teachertraining allows instructors to become creative and flexible in the give-and-take of modern

education. The ability to be spontaneous in the classroom is valuable for all educators.Teachers can follow through unexpected teaching opportunities with ease, and providestudents with a model of an adaptable and creative personality.

DALCROZE PHILOSOPHY

Jaques-Dalcroze intended for his approach to develop musical understanding througheurhythmics and to help students develop immediate physical responsiveness to rhythmicstimuli. Developing muscular rhythms and nervous sensibility would ultimately lead to thecapacity to discriminate even slight gradations of duration, time, intensity, and phrasing.Through rhythmic movement, students would begin to think and express themselves more

musically. Initially, Jaques-Dalcrozes conception of eurhythmics was designed for theeducation of conservatory musicians but soon expanded to the early musical education ofchildren, and to those with special needs. His philosophy grew to include his belief in thedevelopment of a more musical society through rhythmic training in the schools (Campbell,1991).

Jaques-Dalcroze believed the learning process involved direct sensory experience. Headvocated kinesthetic learning. Through movement, learning comes through experience inaddition to observation. Varied musical experiencesincluding movement, singing,improvisation, music reading and writing, and playing instrumentsreinforce musicallearning (Johnson, 1993). Moreover, Jaques-Dalcroze believed that the way to health wasthrough a balance of mind, body, and senses. Many people have discovered that they can

improve and refine skills by rehearsing a combination of movements, first in the real bodyand then imagining going through these movements with special fluidity in the kinestheticbody. One can then return the same movement in the real body, allowing the improved flowof kinesthetic rehearsal to carry over into actual movement (Abramson, 1980).

Jaques-Dalcroze placed special emphasis on child-centered learning. He developed aparticular interest in the natural development of the child (Johnson, 1993). Across ages,Jaques-Dalcroze developed music teaching strategies that were age and ability-levelappropriate. His approach to music learning was broken down into experiences for theprimary grades, intermediate grades, and upper grades (Mead, 1994).

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Dalcroze 7

REFERENCES

Abramson, R. M. (1980). Dalcroze-Based Improvisation. Music Educators Journal. January,

1980.Brick, R. M. (1973). Eurhythmics: One aspect of audition. Volta Review, 75(3), 155-160.Brown, J., Sherrill, C., & Gench, B. (1981). Effects of an integrated physical education/music

program in changing early childhood perceptual/motor performance. Perceptual andMotor Skills, 53(1), 151-154.

Caldwell, J . T. (1993). A Dalcroze perspective on skills for learning music. Music EducatorsJ ournal, 79(7), 27-28.

Caldwell, J. T. (1995). Expressive singing: Dalcroze eurhythmics for voice. EnglewoodCliffs, NJ: Prentice Hall.

Campbell, P. S. (1991). Rhythmic movement and public school education: progressive viewsin the formative years.J ournal of Research in Music Education, 19, 12-22.

Carder, P. (Ed.). (1990).The eclectic curriculum in American music education (2nd ed.).Reston, VA: Music Educators National Conference.Collins, D. L. (1993).Teaching choral music. Englewood Cliffs, NJ: Prentice Hall.Dutoit, C. L. (1971). Music movement therapy. Geneva, Switzerland: Institut Jaques-

Dalcroze.Frego, R. J . D. (1995). Music movement therapy for people with AIDS: The use of music

movement therapy as a form of palliative care for people with AIDS. InternationalJ ournal of Arts Medicine, 4(2), 21-25.

Hibben, J. K. (1984).Movement as musical expression in a music therapy setting.MusicTherapy, 4, 91-97.

Hibben, J. K. (1991). Identifying dimensions of music therapy activities appropriate for

children at different stages of group development,Arts in Psychotherapy, 18, 301-10Jaques-Dalcroze, E. (1920). The Jaques-Dalcroze method of eurhythmics: rhythmicmovement, Vols. 1 and 2. London: Novello, 1920. (Orgininal work published in 1918)

Jaques-Dalcroze, E. (1921). Rhythm, music and education (H. F. Rubinstein, Trans.). NewYork: G.P. Putnam's Sons. (Original work published in 1921).

Jaques-Dalcroze, E. (1931). Eurhythmics, art and education (F. Rothwell, Trans.; C. Cox,Ed.). New York: Barnes. (Original work published in 1930).

Johnson, M. D. (1993). Dalcroze skills for all teachers. Music Educators J ournal, 79(8), 42-45.

Martin, F., Dnes, T., Berchtold, A., Gagnebin, H., Reichel, B., Dutoit, C., Stadler, E. (1965).mile Jaques-Dalcroze: Lhomme, le compositeur, le crateur de la rhythmique.Neuchtel, Swisse: Baconnire.

Mead, V. H. (1994). Dalcroze eurhythmics in today's music classroom. New York: SchottMusic Corporation.

Odom, S. L. (1998) J aques-Dalcroze, Emile. International Encyclopedia of Dance, Vol. 3.New York: Oxford.

Pennington, J. (1925).The importance of being rhythmic.New York: Knickerbocker Press.Spector, I. (1990). Rhythm and life: The work of Emile Jaques-Dalcroze. Stuyvesant, NY:

Pendragon Press.

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Swaiko, N. (1974). The role and value of a eurhythmics program in a curriculum for deafchildren.American Annals of the Deaf, 119(3), 155-160.

RECOMMENDED ADDITIONAL READINGS

Aronoff, F. W. (1983). Dalcroze strategies for music learning in the classroom. InternationalJ ournal of Music Education, 2, 23-25.

Bachmann, M. L. (1991). Dalcroze Today. An Education through and into Music (D. Parlett,Trans.). New York: Oxford University Press.

Dale, M. (2000). Eurhythmics for Young Children: Six Lessons for Fall. Ellicott City,Maryland: MusiKinesis, 2000.

Driver, E. (1951).A Pathway to Dalcroze Eurhythmics. London: T. Nelson and Sons.Findlay, E. (1971). Rhythm and Movement: Applications of Dalcroze Eurhythmics. Secaucus,

New Jersey: Summy Birchard, 1971.Joseph, A. (1982). A Dalcroze Eurhythmics Approach to Music Learning in Kindergarden

Through Rythmic Movement, Ear- training and Improvisation. Doctoral dissertation,Carnegie Mellon University, Pittsburgh.Moore, S. F. (1992).The Writings of Emile J aques-Dalcroze: Toward a theory for the per-

formance of musical rhythm. Doctoral dissertation, Indiana University. (UniversityMicro-films International, MI 48106).

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R. J . David FregoSchool of Music

The Ohio State UniversityColumbus, OH

Philosophy of a Dalcroze-based lesson:

The human body is the first instrument Rhythm bridges what we hear with what we do Lessons integrate rhythmic skills with ear-training and improvisation Music is abstractwe hear it moving through time Movement is concretewe see it moving through space Rhythmic movement manipulates time, space, and energy Movement generatesfeelings, which formemotions

All lessons develop listening skills, reaction, focus, self-control, coordination,cooperation, self-expression, imagination, and creativity

A Dalcroze-based lesson needs to contain:

Set-up with quick reaction games and focus activities Provide opportunities for the instructor to see ability levels of all Allow opportunities for participants to assess their own abilities Introduce the theme through movementensuring success by all Add sequential challenges in the way of games Introduce nuances in music to measure participants reactions

Create improvisation opportunities for the participants Introduce singing/chanting activities that respond to the music Facilitate large and small group cooperative activities Provide problem solving and creative development Culminate the theme in aPlastique anime, using composed or improvised music

Further reading:

Findlay, E. (1971). Rhythm and movement: Applications of DalcrozeEurhythmics.Miami: Warner.

Frego, D., & Leck, H. (2005). Creating Artistry Through Movement. (DVD).Milwaukee, Hal Leonard #08744511. ISBN: 0634098381.

Mead, V. H. (1994). Dalcroze eurhythmics in todays music classroom.Englewood Cliffs, NJ : Prentice Hall.

www.dalcrozeusa.org/

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Sample Dalcroze Lessons R. J . David Frego (2006)

Warm-up: A-1, B-2, C-3, D-41-A, 2-B, 3-C, 4-DA-1, B-2, 3-C, 4-D

Go! Stop! Melt! Grow!Finding your personal pulseDiscriminating pulseStrategies for movement in the classroom

Discovering Space:Discovering space in eight beats, four beats, and 16 beatsAwareness of ones own space and the space of othersLocomotor and nonlocomotor realization of space

Pulse & Beat:Circular clapping and quick reaction gamesDisappearing beat gameSubtract or add one beatSubstitute beat with a clapRankin Family: Fare Thee Well, Love (Tell My Ma)

Subdivision: Circular clapping; change size of circle onhipor hopTapping on a partners hand; use vertical spaceRock, Paper, ScissorsgameWalking the subdivisionsWalking and tapping the subdivisionsEnnio Morricone:The Mission (Falls)

Subdivision Canon:Walk the previous pulseMove the walking pulse up to the handsMove the hand pulse up to the tongueOverlapping and continuous canon

Meter: Rubber balls to discover anacrusis, crusis, & metacrusisManipulate meters of two, three, & fourQuick reaction to meter changesRolling the Ball between partnerstime, space, & energyAccents on beats other than the first beatSan Antonio Vocal Arts Ensemble:El Milagro de GuadalupeZap Mama:Adventures in Afropea (The Boat Goes to the Bottom)Loreena McKennitt:The Visit (Tango to Evora)

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Canon: Visual Canon: four beats behind; two beats behind; one beatInterrupted canon with partners and ropesInterrupted canon individuallyOverlapping canon with partners and individuallyBrother John Canon with movement

Tension & Relaxation:Use a stocking to feel the gradual increase and decrease of tensionWork with partners and in small groups to feel the group effect of tensionEnnio Morricone:The Mission (Gabriels Oboe)

Solfge: Vocal improvisation on a descending natural minor lineIncorporate the body with the voiceTry five different ways to sing the lineWork in ensembles of fiveMove and catch the wave with Arvo PrtsCantus in Memory of

Benjamin Britten

Mixed Meter:Thread pull game with partners ||: 5 | 3 | 2 :||Longer counts have longer threadsAdd to the meter ||: 5 | 3 | 2 | 4 | 1 :||Keep the thread at the same length and move with the threadStep every beat of the patternStep beat one and clap the complementsStep beat one and pull the thread from yourself

Change the meter to the following phrase ||: 4 | 6 | 8 :||Partners gesture moves to each other; getting progressively largerAlternate who begins the phraseCreate aplastique animewith the piecePhilip Glass: Songs From the Trilogy (Knee I)

Abstract Space:Working with the horizontal space1. mirror, 2. circus mirror, 3. magnet, 4. opposite magnetWork with a partner in eight beat phrases; Change leaders

SaraLee Hosiery, Leggs Products, PO Box 719, Marion, SC 29571

Enclose a check for $12.00 to cover shipping and handling of Leggs waste products. Askfor white because they can be dyed. Let them know that the material will be used foreducational purposes.

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