Part 47

DANCING AND COUNTRY LIFE

For more than a generation the problem of checking the steady drift of the young people from American farms into the cities has occupied the attention of statesmen, able editors, farm leaders and economists. It is universally agreed that agriculture is the basic industry upon which the prosperity of manufacturing and commerce depends. When the farmers are prosperous their demands for all kinds of manufactured goods sets in motion the wheels of industry, labor is fully employed and merchants find increased sales to the rural communities and factory workers. When, as happened five years ago, there is a widespread depression among the farmers, it is felt by manufacturers, railways, merchants and industrial workers in every field. Today, as one hundred years ago, when Thomas Jefferson wrote that agriculture was the most important of all industries, the welfare of the American people as a whole is indissolubly bound up with the existence of a large and prosperous agricultural interest.

President Roosevelt twenty years ago recognized the importance of keeping on the farms the young and vigorous American men and women who are needed to maintain the enormous food supplies required by the vast populations of the great cities and industrial centers, and appointed a Country Life Commission to investigate and report on the conditions that were making life on the farms unattractive as compared with the cities. One of the reasons found by the Commission for the increasing flow of country youth cityward was the lack of social activities and amusements in the rural districts, and the consequent desire to migrate to localities where a denser population brought wide opportunities for social diversions. Curiously enough, the dance as a means of promoting sociability among the farm population was not discussed, possibly because of an old-fashioned prejudice against dancing that still prevails in many rural regions. Why certain good people should object to the dance, innocent, joyous and beneficial as it is in practically all its manifestations and associations, can only be explained on the grounds given by Lord Macaulay from the British Puritan's objection to the sport of bear-baiting. "The Puritan condemned bear-baiting, not because it gave pain to the bear, but because it gave pleasure to the spectators." There was a time when it was considered frivolous and wicked to be happy, and dancing and many other innocent amusements were put under the ban. This narrow view of life is, fortunately, becoming outgrown, and no power is now invoked to prevent pleasure-seekers finding diversion in sports, games, or the dance.

With the gradual disappearance of the ancient view of pleasure as akin to sinfulness, there is no good reason why dancing should not become as popular in the rural districts as it is in the cities. The automobile and good rural roads have combined to make possible social gatherings in central localities that would have been impossible twenty years ago. Improved farm machinery and implements have shortened working hours on the farm, so that the evenings are no longer devoted to finishing up the day's work. Then there are the long winter evenings when the heart of youth calls to youth, and when in every village or country hamlet there should be assembled joyous groups, finding in the dance an escape from the routine of daily cares. Picnics and outings would take on new attractions, and under the spur of rivalry the simpler forms of dancing would evolve into its more artistic branches. There would be something to look forward to outside the family circle; new acquaintances and agreeable companions. With the dance would come a wider knowledge and love of music that would stimulate its study and practice. In many thousands of farm homes the radio is now installed, and programs of dance music are arranged that make it possible for millions to join in moving to the strains of the best metropolitan bands and orchestras.

The contrast between the city residents and their "country cousins" is in no respect more marked than in their walk and carriage. Watch the city crowds, as with heads up, chins in, and shoulders back, they step out briskly along the sidewalks. They know how to walk. They may be going somewhere in a hurry, or sauntering to see and be seen, but in either case they carry themselves as individual personages. They have been taught grace of movement, and their self-confidence expresses their individuality. Compare with them a group of rural walkers. Too often the latter slouch carelessly and drag limbs that are awkward and aimless. They are frequently bent and listless, as though walking were hard labor imposed as a penalty. They do not know how to hold their arms to keep them in accord with their bodily progress. It is not an injustice to the country folk to say that by their walk they can nearly always be distinguished from the city resident. Instruction in even the simplest forms of the dance, and practice in their movements, will bring about a far-reaching change. The country boys and girls will learn to hold themselves erect, they will quickly see the difference between the sort of progress by what has been described as a process of falling over and recovering one's balance, and real walking by a coördinated entity. They will take pride in well developed bodies, and will show in every movement the results of the training that has enabled them to become proficient in the dance.

Is it not possible that the answer to the old query: "How you goin' to keep them down on the farm?" may be found in the advice: "Teach them to dance"?

Perhaps you are asking yourself, "What has country dancing to do with stage dancing?" And I will answer you:

Just this: The city has no monopoly of talent in any field. The candidate for dancing honors and emoluments comes as often from rural communities as from metropolitan. But first, whether in city or hamlet, there must be present in the aspirant the true love of dancing as an art, a sense of rhythm, an urge to step to music,--and these he or she discovers only as the ballroom dancing in the home community develops them.

This is no lure; it is a true word: There are young ladies and gentlemen in all localities who, if they but knew it, could rise to heights worth while, because possessed of genuine talent needing only correct training to develop its possibilities to the full.

The country-bred girls and boys in our courses have equal opportunity with their city cousins, and both are thriving alike.

DANCING AS A SOCIAL ACCOMPLISHMENT

Some years ago the editor of a great New York newspaper, who was nationally known as one of the foremost personalities of his era, invited a group of his friends to his home to enjoy a performance by the then celebrated Spanish dancer Carmencita. After the plaudits of the delighted guests had died away, a lady eminent in society inquired of her appreciative husband: "Why didn't we ever think of arranging for something of this kind?" And her worser half agreed that for the future they would follow their host's example, and make dancing by great artists a feature of their social entertainments.

Ever since that time there has been an increasing demand by those whose wealth, culture and good taste have made them the dominant force in American society, for the services of the leading exponents of the creative art of the dance. To the ballrooms of the great mansions that adorn every city of any considerable size there have come brilliant assemblages of the men and women who by reason of their special qualifications are recognized as social leaders, to see, enjoy and appreciate the charm and beauty of "woven paces and of weaving arms." The hosts whose invitation includes the announcement "special dances by Miss ---- or Mr. ----" know that there will be few declinations because of other engagements. The fortunate ones who are able to command the presence of any of the well known stars in the dancing firmament at a social gathering, are assured that their guests will carry away with them only pleasant recollections of a delightful occasion.

Even to those who may have often seen the artist in public performances, there is an additional charm in the dances as given in the more intimate conditions of a private gathering. The knowledge that the audience appreciates every detail, down to the slightest touch, stimulates the dancer to the highest mood of artistic endeavor. "Art," wrote William Morris, "is the expression of man's joy in his work." Emphatically is this true of the dancer's art, and the exaltation of joyousness into perfect harmony of motion comes only when the artist knows that the message conveyed is understood by the onlookers.

To those who wish to make their impress upon society by distinctive gatherings, the artist affords an ever new and always pleasing entertainment.

As knowledge of the illimitable possibilities of the dance expands, there is certain to be a growing demand for the types of dancers whose gifts make them peculiarly adapted to the exercise of their art at social functions.

UNIVERSAL APPRECIATION OF THE DANCE

The chief reason why dancing as a public entertainment will always maintain its present popularity, and will be in even greater demand in the future than in the past, is to be found in the fact that to appreciate and enjoy to the fullest degree the work of the creative dancer requires no special knowledge of the art itself on the part of the spectator. There are many who do not understand or appreciate classical music. To many others the speaking drama makes no appeal. Still others care nothing for the motion picture, and cannot be induced to witness a performance on the screen. But everyone--men and women, young or mature, can enjoy the beauty, harmony, and exhilaration of a well conceived and well executed dance. There is something in the nature of us all that responds immediately to the message that the dancer conveys. Perfection of form, grace of movement, harmony of action with appropriate music, all combine to make up a spectacle that thrills and inspires. To slightly paraphrase Robert Browning:

"Others may reason and welcome, But seeing the dance, we know."

As was said of the Athenians of old, the American people are always looking for something new. They are quick to take up this or that fad in dress, games, sports or amusements, and after a brief time throw it aside. There is nothing of the fancy of the hour in the popular acceptance of the dance, either for personal practice, or as a stage entertainment. What has been seen in all the American cities during the past ten or twenty years--the steady growth in popularity of the dance in all its forms--is no whim that will presently pass. On the contrary, nothing can be more certain than that each year will find a greater increase in dancing, both by the people themselves, and for them by the artists of the profession. It was said for a long time by visiting foreigners that Americans had not learned how to enjoy themselves. This may have been true at one time, but it is not today. The chief object of life, it has been discovered, is to live abundantly and joyously. Everything that helps to make living more cheerful, healthful and agreeable; that satisfies aesthetic needs; that ministers to the sense of beauty and harmony, will be encouraged and developed, and as one important means to these ends, the dance must of necessity flourish and endure.

THE MELTING POT OF THE DANCE

A great deal is being talked and written about changing the millions who have come to this country from foreign lands, or are the children of immigrants, into 100 per cent Americans. So far as the advocacy of measures for this purpose is based on a sincere desire to bring home to everyone living under the national flag a knowledge of the essential principles of our government and institutions, this is worthy of the encouragement and aid of all patriotic citizens. There is, however, another aspect of the Americanization movement, that is not so admirable. This is the attack on ideas, manners, customs and amusements peculiar to certain foreign peoples, not because they are necessarily wrong, or antagonistic to genuine Americanism, but merely because they are different. According to some of these self-constituted authorities the way to instill patriotism and love of country into the benighted aliens is to persuade them to abandon all that links them with the land of their ancestors, and become exactly like the prevailing type of Bangor, Maine, Augusta, Georgia, or Portland, Oregon.

Oliver Wendell Holmes tells how when he was a boy living in Cambridge, Mass., there was a constant warfare between the boys of his district and those who lived down by the water front, who were regarded as foreigners, because they seemed to be in some way different. He concluded that most of the racial antagonisms and hatreds that so often lead to quarrels and war are due to the same notion; that the foreign man is inferior because his ways are different from ours.

Against the narrow ideas that would reject many things of great value because they are of foreign origin, there is need for a wise and discriminating selection of the best that all regions of the earth have to offer in the domain of science, literature, music, painting, the dance, and other arts, and their combination with the results attained by American creative effort.

In no respect is there a more urgent need for the development of a truly American art spirit than in the wide field offered by artistic dancing, yet it would surely be a mistake to ignore all that has been learned and accomplished in the long experience of other peoples. A foolish prejudice against foreign dances should not be allowed to prevent the incorporation of their best features into what will ultimately be the distinctive American school.

That there assuredly will be an essentially American type of dancing in all its branches, that will reach heights far above that yet achieved by any other country, cannot be doubtful. As the increase of wealth, not only for a few, but for the great mass of the people, gives more leisure, creates new desires, and brings increased capacity for enjoyment, it is inevitable that more and more will the public appreciation of the dance call for still greater advances. As the various races from other lands have mingled their several qualities and gifts, and have produced the highest civilization on a broad scale that the world has ever seen, so will the creators of new and more beautiful dance forms utilize the characteristic dances of all nations in achieving what will be the 100 per cent American dance.

YOUR OPPORTUNITIES

Those of you who are perfecting yourselves for a stage career are naturally giving consideration to your future as you advance in the courses, and are wondering just how you will go about it to get well placed in your chosen line of work.