Dance: A Creative Art Experience

Preface

Preface In essence, Dance: a Creative Art Experience is a discussion of the basic aspects and enduring qualities of dance, which are within the reach of everyone. Its main purpose is to set forth a theory and a philosophy that will help us to see dance scientifically as well as artistically. In this respect it parallels certain phases of my earlier book, Dance and Its Place in Education. In a few instances material from the earlier book has been included here in an expanded form. But the purposes of the two are different. Many excellent books concerning professional dancers and their contributions to the art have recently been published. For this reason, and because there seems to be a need for a presentation of dance from a more general point of view, there are several of its aspects which I do not attempt to cover. There are no descriptions of dances; there is no discussion of trends as such. Nor is there any reference to individual dancers whether of yesterday or of today. Rather, this book is designed to show that dance is available to all if they desire it and that it is an activity in which some degree of enjoyment and aesthetic satisfaction for all may be found. If we can think, feel, and move, we can dance. In presenting dance from this point of view I have made an attempt to show its nature and conditions. From a knowledge of these conditions the reader may evaluate for himself the trends in contemporary dance; he may distinguish according to his own understanding XIX Copyrighted Material PREFACE between those phases that are evanescent and those that are lasting. If dance is to be brought into universal use, if it is to help in the development of a more general appreciation of human art values, it must be considered educationally. The future of dance as a democratic art activity rests with our educational system. Not everyone can avail himself of studio training, and even those who can afford such training will find that few studios arc interested in this aspect of dance. One of the ways dance can reach everyone is through the schools. Expression through spontaneous bodily activity is as natural to the child as breathing. This inborn tendency to expressive movement provides a reliable equipment with which to build a vocabulary for artistic dance expression. If every child in every school from his entrance until his graduation from high school or college were given the opportunity to experience dance as a creative art, and if his dancing kept pace with his developing physical, mental, and spiritual needs, the enrichment of his adult life might reach beyond any results we can now contemplate. Dance considered from this standpoint can be of great social value, but to achieve these results we must bring it within the reach of the laity. It must be a vitalizing experience to them. Dance's power of civilization has always been felt whenever it has been experienced as a control over life in giving artistic form to its expression. This element has proven to be an enduring and vitally important power in the cultural life of all ages. It is for us today to rediscover this power and seek its influence. Only when xx Copyrighted Material PREFACE dance is communally conceived can it exert a cultural influence. When a people possesses such a dance spirit, many artists will rise from the ranks to carry dance to its highest unfoldment. Without this broad knowledge and belief, our artists will be few. The development of genius needs a sympathetic and understanding public just as much as the public needs the artist to realize and give back its dreams. As a growing and struggling art, dance needs above all the philosopher-scientist-artist, and he in turn needs a sympathetic public informed on the values and meaning of art. MARGARET N. H'DOUBLER Professor Emeritus Department of Physical Education for Women University of Wisconsin XXI Copyrighted Material Copyrighted Material ...