called for dancing en pointe "to elongate and stylize the line of the body". Her short, abstract Bach ballet was one of those creations "she cared most about." She continued to rework its choreography, and presented it in varying forms and under different titles: for Teatro Colón in 1926; for Ballets Nijinska in 1931, which continued to be staged throughout the 1930s; and in 1940 at the Hollywood Bowl. Five short modern pieces, four divertissements i. Touring (or The Sports and Touring Ballet Revue). Nijinska "took contemporary forms of locomotion as her theme", with music by Francis Poulenc, costumes and set by Exter. "Cycling, flying, horse-riding, carriage driving ... were all reduced to dancing." It further illustrated ballet's reach to modern life, following her brother Vaslav Nijinsky's Jeux of 1913, and her Les Biches and Le Train Bleu of 1924. ii. Jazz. The music was Igor Stravinsky's 1918 composition Ragtime. The composer writes it "was indicative of the passion I felt at that time for jazz ... enchanting me by its truly popular appeal, its freshness, and the novel rhythm..." Exter's costumes followed an 1897 Russian performance of L'Africaine. In 1921 Exter had written about her fascination with "interrelationship, co-intensity, rhythmization, and the transition to color construction..." Nininska's choreography, however, is lost. When children, she and her brother Vaslav had developed a friendship with two traveling African-American dance performers, house guests of their parents. iii. On the Road. A Japanese pantomime. Based on a Kabuki story, with music by Leighton Lucas, and costumes by Exter. Nancy Van Norman Baer conjectures that it developed from a solo called Fear designed and danced by Nijinsky in Kiev in 1919, and inspired by the dynamic movements of a Samurai warrior. In discussion, Nijinska mentions a Japanese influence on her early choreographic works, one source being a collection of prints purchased in 1911. iv. Le Guignol The title role is a character in a French puppet show, which became also a name for all puppet shows. Music by Joseph Lanner. It was later performed in 1926 at the Teatro Colón in Buenos Aires. v. Night on Bald Mountain. An abbreviated version of her 1924 work for Ballets Russes. "As in Holy Etudes and Les noces, Nijinska relied on the ensemble instead of using individual dancers to express the ballet-action." Four divertissements. The Musical Snuff Box was a restating of the solo La Poupée first