"WHY I DANCE JAZZ."

Auckland Star, Volume LX, Issue 242, 12 October 1929, Page 9 (Supplement)

"WHY I DANCE JAZZ."

PAVLOVA'S CONFESSION. DAZZLED »Y HE SHADOWS, MGHTS AND MUSIC. WANTED TO MAKE IT A THING OF BEAUTY. "Yes," declared recently Mine. Anna Pavlova, the world's greatest- classic dancer, "I have danced jazz—l, who , hitherto have looked down scornfully upon modern dances, and condemned them as being ungracious and, indeed, a disgrace to the fine art to which I have devoted the whole of my life. I thought that I should be able to dance jazz in secret. But, lo and behold! It might be thought that a fresh international crisis were threatening. It would appear that everybody who has eyes with which to read now knows that Anna Pavlova has been seen dancing a fox-trot. I have received hundreds of telegrams, letters and inquiries: Why? Why did I do it? They all ask the same question. "Because recently in Vienna I joined in the happy throng of dar.cers, that does not meant to say that my convictions have changed. Not less firmly than heretofore I still unconditionally disapprove of the horrible nigger distortions, the twisting and writhing motions which nowadays are witnessed on each and every dancing floor. They have degraded the art to which I am so passionately devoted, to something grotesque, repuleive even; and the white race has lowered itself to lend support to. something which many negroes themselves regard us revolting, and unfit for the amusement of decent people.

"Yet jazz is not entirely without charm. Some of its forme are considerably more graceful than others; and they could be made even more agreeable, both to the dancer and the onlooker, if they were only always danced really well, with poise, certainty, agility and smoothness. These modern dances have a 'catchy' rhythm; the jazz music is gradually losing its oM barbaric forms; and, an important point, the dances are easy to learn.

"Nowadays people have little time, after the day's work is done, to learn and perfect themselves in the older styles of dancing, with their complicated movements and involved technique. In all of us burns the desire to express in movement the aesthetic instincts that are common to civilised humanity, and to glide and dance deliciously to the rhythm of music. Thus the existence of jazz is justified—it has to take the place of the dances that were learnt in former years, when the world was quieter, and people had more leisure to devote to matters of courtesy and chivalrousness.

"Well, then, it will be asked, why did I dance jazz, seeing that I do not approve of jazz as a whole? To be candid, I did not 'jazz' in the true meaning of the word. I danced my own dance to jazz music. Being first and foremost a classic dancer I endeavoured to impart grace to the elementary motions, to impress my individuality upon the mechanical uniformity of- jazz. I wanted to make a thing of beauty of it, as if I were performing before the public of London, Paris, Berlin or Rome.

"Whenever I adversely criticised the modern dances their advocates replied that if only I would try them for myself I should be carried away by my own enthusiasm for jazz. That is the principle reason why at last I gave it a trial, .and'/thexeby.challenged.the critics. After all,'it is hardly fair to pooh-pooh something which one does not know or understand. But once arid for all, I jnust state that this dance appears to me now no better than before.

."Why did I dance jazz? I am only a woman after all, and as such I am as curious about new things as any other woman, especially where new dances arc concerned. There I was as eager as others to know all about this jazz business, and seeing everybody also joining 111 the dance, I felt a sudden impulse to join ,the happy throng.'. It was not a beautiful dance, at least, not what I should call beautiful, but it was a dance, for all that. For a brief spell' I was dazzled by the flitting, dancing shadows, the changing lights, and the rhythm of music."