YOUR FACE WHEN YOU DANCE.

Timaru Herald, Volume CXXV, Issue 18286, 8 June 1929, Page 10

YOUR FACE WHEN YOU DANCE.

A GRAVE PROBLEM. “What do you do with your face when you dance? I assure you that this is a most serious question,” says a Londoner. Last night at supper I met a man who has been taking dancing lessons. “This morning,” he said, “there was no dancing in the lesson at all. The teacher spent the whole time trying to make me alter the expression of my face while I danced. He said that hundreds of really good dancers consistently ruin the effect of their dancing by weai-ing an incongruous expression on their faces.” And, looking around the dance floor of the restaurant in which we sat, I was forced to admit the truth of the teacher’s statement. One should aim; obviously, at what is called a “natural” expression; but it is so hard to look natural, deliberately, that most of the men I watched wore one of three varieties of expression. These were: — (1) The grim, set expression—very fashionable. (2) The expression of calculated nonchalence, which necessitates the raising of the eyebrows and the pursing of the lips as if about to whistle. (3) The utterly vacant expression, suggesting that its wearer is on the point of saying, “What a topping floor!” I should add that most of the women I watched did not make unsuitable faces as they danced. They were all watching each other's frocks, and looking, therefore, perfectly natural.