For educational purposes, besides the dithuramboi already mentioned, the two most important classes were the War-dance and the Naked-dance (γυμνοπαιδία).[446] In the War-dance the performers, clad in arms, imitated all the ways in which blows and spears might be avoided, now bending to one side, now drawing back, now leaping in the air, now crouching down: then, again, they acted as though they were hurling javelins and spears and dealing all manner of blows at close quarters.[447] The Kuretic dance in Crete was very similar; the dancers “in full armour beat their swords against their shields and leaped in an inspired and warlike manner.”[448] The field-days, when teams of boys and “packs” of epheboi fought one another to the sound of music, were only a more warlike sort of dance. In fact, war and the war-dance were as closely connected in Hellas as war and drill in Modern Europe. The Thessalians called their heroes “dancers”; Lucian quotes an inscription that “the people set up this statue to Eilation, who danced the battle well”: “chief dancer” (προορχηστήρ)[449] was a dignified title. The same author observes that in warlike Sparta the young men learn to dance as much as to fight, and that their military and gymnastic exercises alike were inextricably mixed up with dancing.[449]
The “Naked-dance” was to gymnastics what the war-dance was to war.[450] It represented the movements of the palaistra set to music, accompanied by some singing.[451] The style was solemn, like that of the ἐμμέλεια, or dance of Tragedy. It was performed in the main by boys, as the name γυμνοπαιδία implies; but grown men also took part, as at Sparta, where practically the whole male population danced it at once. Plato seems to mean a similar type by his “peace-dance” (in the Laws), which is to be a thanksgiving for past mercies or a prayer for continued prosperity.
In the regular system of education at Athens, it is true, the boys learned only to sing and play, not to dance. But owing to the perpetual demand for boys from each of the ten tribes to compete at the great festivals in war-dances and dithyrambs, dancing must have been a common accomplishment. These competitors also attracted and encouraged a large number of dancing-masters. Any boy who showed promise as a dancer, or perhaps even as a singer only, would be singled out by the agents who collected choroi for the choregoi.
Some rich man, let us call him Tisias,[452] has just been appointed choregos of the Erechtheid tribe for the war-dance of boys at the Panathenaic festival, or a boy-chorus in dithyrambs at the Thargelia. After drawing lots with the choregoi of other tribes, he gets Pantakles assigned to him as his poet and music-master, to teach the boys: he might, if he wished, hire at his own expense extra dancing- and music-masters.[453] Tisias then sends for Amunias, whom the Erechtheid tribe have chosen to collect their choroi and keep an eye on them while they are being trained. If Tisias bears a bad name or is unpopular with his tribe, he and his agent will have trouble in collecting the boys; for the fathers will refuse to give them up, and there will be fines imposed and securities taken, before the chorus assembles. But as a rule the parents will accept gladly; it is a chance of a free education for a month or so, for Tisias will pay all expenses, even of meals, and the State supplies the teacher; it is a chance, too, for the boy to distinguish himself.
Meanwhile, Tisias will have provided a suitable schoolroom, in his own house, if possible; rich men, to whom the post of choregos was a frequent burden, would keep an apartment for the purpose. If he himself is busy, he will depute friends, who can be trusted to swear in his favour before the Courts, to watch the teaching; the agent will also be present.[454] For sometimes accidents occurred. Once a boy was given a dose to drink, to improve his voice, and it killed him.[455]
When the day of the competition came, the chorus would be suitably dressed at Tisias’ expense; he might perhaps allow them gold crowns.[456] There might be nine other choroi entering for the prize, but in the time of Demosthenes this was not common. The whole Athenian people and many foreigners would be present at the contest, and it would be an anxious day for choregos, boys, and parents. The State gave the prizes,[457] usually a tripod, which went to the winning choregos, who would set it up in some public place with an appropriate inscription, such as—
The Oeneid tribe was victorious; a choros of boys. Eureimenes, son of Meleteon, was choregos. Nikostratos taught.[458]
Or—
Lusikrates, son of Lusitheides of Kikunna, was choregos. The boys of the Acamantid tribe won. Theon played the flute. Lusiades taught. Euainetos led.[459]
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