Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-10-12

mind that this dance Is purely and en-
tfrely expression. The molding of the
body into an instrument that is as alive
TO beauty's Interpretation the brush
in the hands OF the master painter or
the organ beneath the fingers of the
great musician. II is poetic expression.
II is not merely a dance for the sake
| OF the dance itself
There is one thing about these futurist
dancers which. IL possible, is more re-
marksble than anything else. They do
not regard music a series of rhythmic
bars to be followed Indeed, Miss
Baker pointed out. many OF the girls who
are leading In the crusade for the new
dance are not musical at all.
! Music is harmony. Music should be an
| accessory de facto. Thus. when Wash
| ington society seats itself OF an after
noon before one Of these new-style dane
ers and watches the flowing movements
| which interpret some emotion Washing
ton society viii get something rather new
| In the musical line
| The musical accomplishments. as they
| are best named. are entirely extenpo-
| raneous. The music which commonly fits
dances has no place In the style book or
the futurist Greek dancer OF Washing
ton. Some talented young musician IA
| seated at a piano. Before him Is a score
| representing the emotions which he Is
unsteady to depict. Calypso or Diana
fits forward and the notes OF the piano
/ takt up the tneTt
| There Is no hamper on the musician.
In the language of those whom the fu-
turst dancers hope some day to educate
he is allowed 10 ego to IT," He can play
anything he wants that describes the no.
ton OF the emotion OF the dancer.
Sometimes IL Is 81 single heavy minor
theme, a wall expressive OF the sorrow OF
the world. Again. lightsome nymph,
one Of those who dance for the sheer and
insensate 10y Of expression. without mo-
two without dasira a dance There
follows her a light. almost monotonous,
steady rhythm, AZ inconseuuential. Yet a.
alluring, as the grooming of the summer
wind
Some OF the impromptu composers have
saved their themes and have afterward
done things with them. But many of the
composers play and forget. After the
dance is over they can't for the life or
them remember what they have played.
In all cases the futnrists claim to have
proved beyond all doubt that there is a
direct sympathy between music and the
dance
| "All of the composers. said Miss
Baker. who talked to us have told us
frankly that our dancing gave them ideas
| of music which had never occurred be-
fore. These ideas seemed TO come as
naturally as the steps came to US. They
played without a theme and the theme
came to them. II seemed to be almost a
| mart of them. They played IL as easily
as II they we're in the habit OF compos-
ing at a moments notice day after day
Musicians have declared that this i'm
promptu composing is a most difficult
thing, and this statement would seem to
bear out the contention of the futurists
do you think" Miss Baker was asked
| "that the Greek dance will ever become
| popular ballroom dancer
mot for a long time" she replied.
is now In the process of development w
are the beginning. No one can tell what
the end will be-"
| And anybody can dance it?"
| ANY one who has learned to express
| emotion and who can learn the value or
free clothing"
THAT doesn't include very many now
does it?',
mo" she replied. But there must be
beginning" A.
And so there will be a beginning In
washington society this winter. There
| will be much of barefoot dancing at quiet
afternoon affairs. The girls who have be-
gun the struggle for reform, the war
upon the turkey trot and the tango, VIII
=. | not attempt to override the demands for
sandals II any Of their abashed witnesses
| arise from their chairs and demand them.
Otherwise Ii will be the unconstricted.
free and natural barefoot dance
And each time ii Is danced you can
hear the turkey trot and the tango emit
another moan.