Modern Development In Operatic Dancing

Manawatu Times, Volume 60, Issue 230, 30 September 1935, Page 8

Modern Development In Operatic Dancing

INTERVIEW WITH NOTED EXAMINER. Mr. Felix Demery, of London, member of the grand council, executive and technical committees of the Association of Operatic Dancing of Great Britain, arrived in Palmerston North on Saturday evening and will examine 13 operatic dancing pupils at the Broadway School of Dancing to-day. Mr Demery, who is a Fellow of the Imperial Society cf- Dance Teachers, is the first dancing examiner to visit New Zealand, his arrival marking a new development in the dancing world of the Dominion. His present tour has covered South Africa, Australia (also visited for tho first time) and the North Island of New Zealand. Speaking of the Association of Operatic Dancing of Great Britain (now known as the Royal Academy of Dancing), Mr. Demery gavo a little of its history, its aims and objects, to a “Times" representative last evening. Operatic dancing, defined as the basis of the art of dancing as seen on tho stage, began to take definite shapo in the seventeenth century when Louis XIV of France founded the first State school of dancing with the primary object of correcting tho many errors which were creeping into tho dance of that day owing to the absence of any controlling body into whose care could be entrusted the preservation of the correct and traditional technique. At different times and in other countries similar institutions wero created in Milan, in Copenhagen, in Petrograd and in Moscow. It might bo said that owing to tho existence of these schools, where the true technique of the dance was preserved, tho wonderful dancing

of Camargo, of Prevost, and in more recent days of Genee, of Pavlova, of Zambelli, and of the stars of tho Diaghileft’ Ballet, was made possible. Fifteen years ago the standard of teaching of operatic dancing in England was very unsatisfactory and it was realised something must be done to rectify this. A small body of enthusiasts who recognised tho value of operatic dancing from its artistic and health aspects, met together and discussed the situation. It was felt that the cause of the low standard of teaching was the absence of any State or Royal school, which could bo turned to as a criterion. As a result of mature consideration the association was founded in 1920, with Madamo Adeline Genee as president and a small committee of prominent teachers and dancers, representative of the famous schools of the Continent which had preserved for so many years the correct technique of the dance. The objects of the association wore the improvement of the standard of operatic dancing and the elevation and advancement of tho art of this form of dancing throughout the Empire. By its regulation of tho curricula and the institution of examinations the association had encouraged and required a uniformly high standard of teaching. It was becoming increasingly recognised that operatic dancing correctly taught developed the-, control of the bodily movements by the brain and thus had an educational value in mental development. Tho child learned to make quick decisions, to develop indi viduality, and to appreciate grace and movement. "When correctly taught and practised in healthy surroundings operatic dancing was most valuable to the growing child in the physical development of the muscles, heart, lungs and the bodily organs generally. Mr. Demery stressed the importance of the choice of teacher, particularly with regard to point work whero so much permanent, damage might be done to the feet if commenced before the muscles had been sufficiently strengthened, and controlled.

Speaking of the development of dancing in England, Mr. Demery stated that the standard was at its highest pitch, whereas 14 or 15 years of age it -was really bad. There was never a time in England when ballet had been so popular as to-day and it was amazing to note tho types of persons who frequented the theatres during the ballet season. Under Russian names a gratifying number of Ijluglisfi dancers were appearing, Markova and Anton Doliu being the greatest leading English artists among many. . South Africa has had examiners for dancing every two years for the past 14 years with the result that tho standard* iu that country had been raised right up to London standard, Mr. Demery said. In Australia some 1000 pupils had been examined by Mr. Demery, of whom 500 had been in Sydney. Much of tho work in that country had been excellent, but there had also been some faulty and poor technique. The standard of dancing in the Sydney Eisteddfod, at which Mr. Demery had adjudicated, had with few exceptions been rather low, he said. This was doubtless duo to the lack of opportunity of seeing tho ballets and the good dancers the teachers had in Europe. In Australia, three students had tho solo seal, which is the highest diploma that can be obtained by executants and "four had passed the advanced teachers’ examination. In New Zealand Mr. Demery had examined pupils in Auckland and Napier and expressed himself as being favourably impressed with some of the work. The criticism offered was that some of the pupils -lacked imagination and the same applied in New Zealand as in Australia—lack of opportunity of seeing good artists. The object of his visit was to set tho standard of the Old Country and to leave pupils something to work for. Mr. Demery will only bo in New Zealand a fortnight and returns to Australia this week en route to England.