detect: rub the thumb across the fingers as if feeling
a texture held between them. (A movement often made when following a
train of thought.)

4. (a) To conceal: bring the palm of the hand toward you, the fingers
at the same time gently closing on palm; (b) to reveal: reverse the
above movement, exposing palm.

5. (a) To surrender: closed hand opens, palm down, action as if
dropping something on the ground; (b) to hold: the hand closes as if
to retain something.

6. (a) To accept: fingers close on upturned palm as if receiving
something; (b) to reject: fingers unclose from down-turned palm as if
throwing something away.

7. (a) To inquire: a tremulous movement of the outstretched fingers as
in the blind; palm down; (b) to acquire; hand drawn toward you,
fingers curved toward down-turned palm.

8. (a) To support: palm up, making a flat surface as if supporting a
weight; (b) to protect: palm down; a movement of fingers as if
covering what you protect.

9. (a) To caress: a movement of stroking up and down, or sideways. If
sideways, one caresses the animal nature; (b) to assail: palm down;
the fingers make a convulsive movement of clutching.

[Illustration: GERTRUDE LAWRENCE]

In other words, the hands give expression or emphasis to the thought
that it is desired to convey, both in speaking and in the pantomime of
the dance and the screen.

Learn, therefore, to use your hands correctly in every dance. There is
an idea to be put across in every step from your entrance--your first
greeting to your audience--through the measured cadence of your dance
steps, to the final exit--your appeal for approval. While you acquire
the necessary dance steps to make you a perfect dancer, also learn the
hand and arm movements that complement your steps and perfect the
picture into its most pleasing possibilities, movements that shall
develop the idea of the dance you are portraying and carry it across
the footlights.

As soon as you get command of your foot work and master the technical
steps of your routine, put your hands and arms into action and develop
their connection with your dancing steps so that both shall coordinate
as one, and thus your dance will grow into a complete and perfect
expression in the easiest way.

Do not neglect your hand-action. It is a positive necessity to
successful dancing, and the time to give it attention is while you are
learning the rudiments of your art. This work is taught in the Ned
Wayb