Evening star. [volume] (Washington, D.C.) 1854-1972, 1935-06-23

ks or lew Spec1allSLS, ana It's |
ring it's influence into all walks
md mental exhilaration that Is !
effects of steady and unrelieved
and awaken a much-needed freedom |
in voicing any artistic impulse. While |
music Is still restricted by the neceS-
sity of a specialized talent, the dance
can, in its many folms, be utilized
with greater results than its sister
art.
There is no reason why physical
culture cannot take an artistic form
and still achieve its end for those who
think only Of That end. The training
of the body to be responsive is the
first step toward forming an art and
if this be done through the canoe,
The art creative impulse will find q
ready means at hand for its develop
ment. Naturally a vital dance art
cannot be formed without the cult
walton of the elements which make
for art, but what has already been
accomplished shows the worth OF our
dEGlSt1C dA11bgS "4l4S14 - - yCs LII ASo
infancy. What IS most essential at
present is that some incentive be
given to personal expression, and the
dance today ideally fulfills that need.
If the divine spark" is present at
all, it can be used in noble fashion
in the dance.
But if we are to have a great ma
tional dance art, which seems thor
oughly possible, the public requires
education for that end as well as in
dividuals. There is stin a tendency
to classify a dance recital as an en-
tertainment and one especially de-
signed for those interested in dancing.
This is great mistake and its gen.
eral acceptance retardS the serious
consideration of q fine art. Besides
making for a small following, which
is discouraging for q progressive ar
fist, it limits the public consciousness
Of art to certain branches difficult for
any but specialists understanding.
Dancing can, and it should, appeal
to every one, and with the co-opera-
ton of the public can be an art force
in every community. But this cannot
be accomplished until the presenta-
ton of the dance Is viewed with seri-
BUSINESS and until the dancers have
perfected their feeling for art.
There is no way in which an inter-
pretive technique can be borrowed
from one country and applied to
another with conviction. AL that the
Russian, French or italian dance art
can give can serve only as q basis on
which to model cur national art.
This was amply proven this Spring
at the New York appearance Of the
American Ballet School In q series Of
recitals. The school was founded
for the purpose Of producing in
consecutive seasons throughout the
country ballets conceived and exc
cuted by Americans, defining, per-
haps for the first time, on a scale
worthy OF its subject, what is most
lyric, indigenous and essential il
the American legend" Taking the
Russian method of training as q
basis, the school has made an earnest
attempt to live up to its promises,
yet at the recitals the flavor Of
continental color disturbed the Ameri-
can themes. However, the school has
existed but q year, and excellent as
were the performances, no appraisal
should be made Of how it will work
out its destiny. But the public per-
formanceS served to show still more
clearly that II o national dance art
Is to be developed, q national tech
nique, If one can call it SO, is the
first requisite. The founders Of this
school are the first definitely to plan
for the American future of the dance.
and the New York debut kindled the
interest still more In the method
which will hasten its perfection.
That the dance Is gradually break
ing the narrow boundaries which the
last century has formed around it
is further seen in the number Of men
who have taken seriously to its study.
A short time ago species Of oppro-
brium hung about the male dancer, a
strange idea II one but stops to con-
slider that men were the originatorS
and developers Of the dance from the
beginning Of time. The place of
woman was an inferior one In each
primitive dance ritual and, although
women are responsible for keeping
the dance alive in civilization, it
rightfully belongs to men.
Several colleges have recognized the
suitability of a dance art for men and
the idea is gaining favor constantly
This will mean the infusion of greater
virility into all aspects of the dance
and the widening Of creative ideas
which the modern dance technique of
women will be able to follow. Never
has the future Of the dance been as
brilliant as at present, and it includes
not only a continuance Of the known
forms, but the appeal of the I'M
known, for what will be the next
step in dance progress is impossible,
because Of its infinite possibilities, to
nrorict