THE SONG IN THE KINDERGARTEN. 335 
movement ; movement delightful to the children, and of great physical 
value. Such gestures may be employed by half of the class as a sort of 
\ Greek chorus, illustrating objectively the story told in the song. In no 
sther way is violent gesture for a moment to be considered, unless one 
vould counteract all physical benefit derived from the act of singing. 
Every song, no matter how classified, calls for interpretation through 
the movement of the muscles of the face. The intention of the song 
should transfuse the countenance of the child ; its very spirit must shine 
shrough his eyes. But this expression is pernicious in the extreme if it 
se “put on.” The song-story and the music must be felt, or it ought 
aot to be used at all ; for unfelt expression is utterly false and artificial. 
s¢ Thanks to the sunshine, 
Thanks to the rain, 
Little White Lily is happy again,” 
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ing the children. It will not do to say to one dismal-faced little song- 
ster, <“ James, look happy.” One cannot look happy to order ; not hon- 
sstly happy. And with feeling of any kind that is not honest we want 
nothing to do. But if one says for the class generally, for James to hear : 
«1 can see that Mary is a happy little.lily ; see how her face shines,” then 
James forgets himself, ceases to be a child, and enters wholly into the 
tresh gladness of the flower. And at once the feeling will show in 
ais face. 
While care should be taken that no song that does not suggest action 
should have action thrust upon it, one should be equally observant not to 
discard gesture which the very nature of the song almost compels. I have 
heard singing rendered lame and lagging, because the kindergartner 
missed the impulse in it, of striving to push outward into action. A sug- 
gestion from her would have animated the singers and have wakened the 
song into life. 
Finally, I would urge that, be the song what it may, no gesture be 
permitted that does not mean something, that does not add to the song’s 
value as a means of expression, and that is not natural. I have seen 
songs so crowded with movement that not one gesture could be clearly 
and definitely finished. I have seen songs marred by gesture which would 
nave been tenfold more effective had they been sung quietly, without 
action, as both words and music demanded. And I have seen songs made 
ridiculous by misfitting everyday words to gestures that the child would 
never use in like connection in everyday life; as in some of the songs of 
greeting and of farewell : 
¢« Good-by, happy work : 
Good-by, happy play!” 
_ with both hands outward thrown as each good-by was said, in farcical 
sxagoeration of expression.