FOLLOWING AMERICA.

Otago Daily Times, Issue 19802, 29 May 1926, Page 2

FOLLOWING AMERICA.

FASHIONS IN HANGING. ITS COURSE OF EVOLUTION. DANCE BANDS OF THE FUTURE. From waltz to two-step, from two-step to jazz, and from jazz to the modern foxtrot of to-day—that is roughly the evolution of modern ballroom dancing. The change has been rapid during and since the Great War. It has been viewed with horror by some and delight by others, but the fact remains that the lure of the modern dance has been felt in practically every civilised part of the world. New Zealand as a, whole has developed its own distinctive style in ballroom danc ing—a style recognised by experts as having a similarity, but no parallel in in any part of the world. And for that matter each city in the Dominion holds its own distinctive dancing fashion, just as no two social communities in Australia, America, or England perform on the ballroom floor in identical fashion. Dancers often wonder how thise still changing styles have been evolved, and guess at the source of inspiration tapped by New Zealand. The answer to such a question _ mn«t come from one to whom dancing is directly or indirectly a business and life occupation. Such a man is Mr Manuel Hyman, the young violinist who played at the head of his orchestra for thousands of Dunedin dancers and visitors during the course of the Exhibition. _ Manuel is a young man, but his experience extends over an exceedingly wide sphere, and_ it is not too much to say that no one Dunedin recently is more intimately associated with modern dancing. He has played in London at several of, the leading hotels and places of entertainment, in Copenhagen, where modern dancing bas achieved _ wonderful and 'anting popularity, and in all parts of the Dominion, taking the violin section or leading in dan bands of all kinds. He has also had experience as a dancing teacher, and is thus a competent judge of all departments. “STARS AND STRIPES GARB.” “New Zealand,” said Mr Hyman, “is almost completely Americanised as fur 1 ’ as ballroom dancing is concerned. _ ) Dancers from end tc end of the Dominion have followed Uie standards set by . America — standards received in this country through the medium of Australia. The reasons for Dame Fashion appearing- in the ballroom in Stars and Stripes garb are obscure, but the influence is there none the less, sound and easily followed. “To begin with, modern dancing is inevitably controlled and varied by the co music to which it is set. . The fox-trots of to-day follow the music and alter their style to suit the new melodies and the new methods of playing these melodies. Dor instance, we have the Charleston dance, which has been evolved to suit the peculiar rhythm and beat of the Charleston music. That Charleston dance mush came before the dance itself—not the dance before the music. Most of these new dance melodies are composed, adapted, and arranged in the United States. They are played from ’ coast to coast 1 —lran >' ce bands in typically American style, and later are wafted across the Pacific to Australia and New Zealand. In tbe Commonwealth the mnioritv of dance contain American players or have American ideas to suit the demands of the large and gro"-;ng dance-loving public. A modified American interpretation of dance melodies is, therefore, heard in Australia, and a slightly more modified form has reached Zealand. As I said before, the dancing style follows the music, and as a result New Zealand dancers follow American ideas. THE OLD-WORLD STYLE. “In England and Europe the same melodies are played, having found their way across the Atlantic. But they undergo a transformation when ■ they pass into the hands of the British and Continental bands. These bands have their own slower, easier, and, I think, more melodious interpretations, and the public is led along other lines, with the result that the style of ballroom dancing in the Old World is altogether different. Personally, I think it is better, but that is a matter of opinion. Of course, a great .many English gramophone records of dance music reach this country, but many are made by American bands, while those that are not are usually unconsciously adapted by New Zealanders to American time and effect by the simple process of increasing the speed.” What of the future of ballroom dancing? Mr Hyman also holds interesting opinions in this connection. “Dancing or fox-trotting, whatever it may he called, will become slower, simpler, and more effortless than at present,” he says. “There are certain crazes for ‘stunt’ dances —the Charleston is one—but these come and go, and the general trend is for dancing that is most easily acquired and executed by all. At the present time each city in New Zealand has its own little variation of style, and this may be accounted for by the /variation in the methods of the dance bands—some select a rapid tempo that seems to please their patrons, while others are more rhythmic and quieter In style. The change will be brought about by the changing typo of dance music. This will be more melodious, and will contain loss of what is commonly known as ‘Jazz’—that indefinite term that may be only correctly applied to the music of the blaring, crashing bands of a few years ago, most of which are now obsolete. ’/.ie bands will contain more stringed instruments, and while there will always be -wood-winds and a little brass to give blend and balance, the ‘effects’ will be less obtrusive. “Briefly, dance music and modern ballroom dancing Is improving. The improvement is more noticeable in the Old World, but here in New Zealand, although onr ideas came through American channels, the change is being felt.”