AN AGE OF DANCING

Waipa Post, Volume 32, Issue 1779, 6 July 1926, Page 6

AN AGE OF DANCING

PLEA FOR THE WALTZ. We are living’ in an age of 'dancing. Everywhere there is dancing. Everyone dances. The value of dancing is universally appreciated. The value of regular exercise for itown workers is dancing as a rhythmic training is fully realised. Rhythm is an essential; in rowing, golf, cricket, in every sort of game rhythm is needed. We talk of the need for .regular sleep, regular meals, regular work; all this may be summed up in one word—• rhythm. Educational authorities are realising ithe importance of rhythmic exercises. While we are enjoying ourselves in the-ballroom we are, or should be, moving to definite rhythm. An age of dancing means an age of health, an age of young people, able to walk well with the free swing that results from a good balance and poise (writes H. St. John Rumsey in the Daily Chronicle). An age of middle aged people displaying ithe grace of youth; an age of elderly people keeping their activity and taking a share in a form of exercise the value of which wa s fully realised by the ancient Greeks, who made, dancing a definite factor in athletic’ training. One thing is to be avoided as likely to hinder the progress of good dancing, that it motonony. When monotony is felt, interest wanes in spite of the indisputable claims of dancing as an ant and' as being beneficial to, health. Now, there is a tendency towards sameness in our dance programmes. The usual procedure is to start with a one>-step, followed by an hour of continuous fox trots, before the chain is broken by a -tfaltz or a tango. The inclusion of the waltz at frequent intervals would break the monotony which is felt if the fox trots are played for an hour with no variation of rhythm. The waltz’s claim for recognition if only for the safe of the variety it offers is beyond dispute. It is the only modern dance which has a rhythm in distinct contrast, with all the other,, danctes which come under the heading of the ‘walk’ or "even rhythm, for it must be noted that the fox trot is written in 4-4 time, the one step in 2-4, and the tango in 2-4; on the other hand, the waltz is totally different, being written in an uneven rhythm. * Again, the waltz has a strong claim on the expert dancer, whose dancing education is incomplete until he has ■learned to adapt his skill, exhibited in his body movement and footwork, to different 1 rhythms. Lastly, the waltz has its claim on the general dancing public, who, while feeling the attraction of the 'lilt, have insufficient opportunities at present for perfecting their steps and movement, so that they may be enabled to interpret the waltz rhythm adequately. There is no doubt that the waltz has been rather unfairly crowded out of ourl dance programmes during the last few years. It is for this reason that I venture to bring forward some arguments to uphold the claims of the waltz, which enjoyed fi well deserved popularity for more than 100 years.