ART IN DANCING.

Waikato Times, Volume 97, Issue 15152, 27 January 1923, Page 14 (Supplement)

ART IN DANCING.

(By Mrs Aileen Parkhousc).

In the first place it must he recognised that dancing is an art, anil as such deserves the highest consideration. In the same class as the musician, the sculptor, the picture painter, and the writer, the power to create a thing of beauty, the dancer presents his or her inspiration through the medium of the body. Of course I write chiefly on classical dancing, but even the every-day ballroom dancing can be made rythmical and beautiful, not as sonic interpret it —cither a rush round the ballroom, or in other cases, a half mesmerised glide. To be a successful dancer, a correct development of the following is absolutely essential: Imagination, origination, characterisation, music, colour and design. Without these the dance is nothing more than a few intricate steps, set to music, instead of being an expression of emotion. In Greek dancing the aim is to portray the exquisite poses of ancient statuary, and the artist not only portrays th e lines and symmetry, but should feel it in every muscle. In ballet dancing it is not so much pose that is required, here is needed originality, inspiration, personality. These must be developed, together with a sense of humour. In some classes of dancing the latter is a big essential, for instance in character dancing. I have often heard it remarked, that dancers ar e born, not made. This is true in one sense, but that remark applies equally to all the arts, yet we find many among musicians not geniuses, but still very pleasant to listen to. Correct training will work wonders in many cases. Many a true artist has been lost to the world through incorrect training. One would not expect a good music teacher to commence a pupil with little tunes and melodies, without first teaching the fingering of the notes and exercises. The same thing applies to dancing. It is practically impossible to try to make a dancer "in a few weeks. One may train the feet in a few steps, but to express any meaning other than keeping time with the music is impossible in so short a time. Steps are only the tools of the artist. A serious and careful study of technique, which embraces mental and physical control, as well as expression of emotion, coupled with temperament and charm, gives the world a finished artist, delightful to watch. In my experience as a teacher, it has not been the pupil who was quick at positions and steps that proved the best artist. It is temperament that counts, and the art of expressing. How quickly one tires of the jig-jog of some of the everyday ballets, and yet ballet dancing should bo as expressive in its class as the classics. Take, for instance, the classical ballet, exquisite in its daintiness and appeal, and uplifting gaiety. On G has only to watch such an artist as Maud Allen In “The Storm" to realise what expression In dancing means. Where the little frightened -bird seeks refuge in the room and is comforted by the girl, one can almost see the little thing fluttering round the room, to be caught at last, and held against the neck of the girl. This is where the artist works on imagination. Then there is the wellknown “Dying Swan," another exquisite example of expression in dancing. Too much time cannot be spent on" the theory of technique. To try to teach a child the “five positions” in one lesson is as ridiculous as it would be to give a boy a chapter of Emerson to learn and understand in a day. A teacher should strive to work on the pupil’s personality as much as possible, and try to bring out what is deficient. One would not continue to give a silvery tenor comic songs to sing. Then, a dancer must be trained in dancing accordingly. A child with temperament and graceful charm requires different coaching to the child suited to character work. The teacher’s best weapon is to encourage the child to feel, no matter what class of work is in hand. Rhythm anl poise, with suitable musical accompaniment, are the dancer’s greatest assets. Perfect symmetry of figure is, of course, a great advantage to the dancer, because as the body is the instrument through which he or she conveys expression, it is a big help; In some cases It is the big essential. Here again perfect training in curythmics is an advantage. Nothing gives graceful poise and contour to body and limb better than Russian and Greek eurythmics.