Légende de Cracovie. For the Exposition Internationale in Paris, the five opened at the Théâtre de Mogador in November 1937. Well received, the Exposition awarded Ballet Polonais the Grand Prix for performance and Nijinska the Grand Prix for choreography. The ballet company then continued on to perform their prize-winning program chiefly in London, Berlin, and Warsaw, also touring other cities in Germany and in Poland. For Le Chant de la Terre (Pieśń o ziemi naszej) [Song of the Earth], Nijinska drew in part on a recent folk festival in Vilna featuring dance. She also took inspiration from the drawings of Polish artist Zofja Stryjenska. "The first scene, 'Little Saturday,' depicted the spring rituals of sun and fire worship...The customs of the Slavic wedding were represented in the second scene when the celebrants danced 'wild Mazurkas and [steps] of the vital earth-stamping kind with complicated rhythms and...leaps in the air.'...The final scene, 'Harvest,' had powerful choreographic images of the ceremonies surrounding the season's harvest." In this powerful climax "a wedge of dancers, wielding curved scythes in great arcing movements, carved their way diagonally across the stage." Regarding her ballet Apollon et la Belle (Apolo i dziewczyna): "Nijinska ingeniously traced the incarnation of Apollo through five epochs of civilization. In each age, Nijinska's Apollo encounters his counterpart, the Dionysian earth element, in the form of a woman." "Program notes describe the incarnations of Apollo ranging from god of ancient Greece to athlete on a modern beach. In the first scene, Apollo is the celestial charioteer who must descend to earth to receive strength and purpose from the earth-mother feminine character. In successive scenes of inventive and sometimes humorous incarnations Apollo reappears in the guise of a medieval monk, Louis the XIV, a nineteenth-century poet, and finally as a modern-day champion of athleticism." Le Rappel (Wezwanie) [The recall] "begins in a Viennese ballroom of the eighteenth century, where a denationalized young Pole is enjoying the sophisticated society in which he finds himself. Yet the young woman whom he catches in a game of blind man's buff is Polish. She recalls for him the simpler manners and the more demonstrative dances of their native countryside. ... A large corps de ballet supports the principals in producing the contrast of the two types of dance, the Viennese and the Polish." The Concerto de Chopin "follows no plot but tries to reflect the shifting moods of