FOLK DANCING

Hokitika Guardian, 31 July 1929, Page 5

FOLK DANCING

REVIVAL IN THE SCHOOLS. “ The revival of teaching folk dancing in our schools has an effect which should not be ignored,” writes in the current number of National Education. “Almost every natioh has its particular form of national and folk dance; our own nation has its full share, but these were in danger of being lost, had it not been Ifor the untiring efforts of Cecil J Sharp, who made the collecting of these dances his life’s work. He spared no time or effort, living among the village folk to ensure collecting the dances in their original form with the traditional tune. Those who had the privilege to attend his instruction say that his mastership at the piano was past description. It must be recognised that folk dances were essentially danced by adults or older children, traditional games are more the folk dance of the tiny folk; games olf this type are numerous. Simple folk dances which can he performed by smaTl children exist, but few are of English origin, our most suitable ones coming from Denmark, Norway, and Sweden. “ I wish to stress the definite mental training achieved by this means,” says the. writer. “ Concentration is called for, otherwise the various figures cannot be performed, the ear is trained, and, further, ryhthmic instinct developed. Quick thinking is necessary, the child’s sense of - order is strengthened, and, above all, the physical recreative element is strongly marked. I mention this because T know an impression exists among some head teachers and even in the inspectorate that folk dancing is mere frivol and waste of time.

“When teaching folk dancing, do not select the children who ‘ learn dancing.’ The folk dance is for the community, not the specialist. Inspire simple pleasure in the dance, avoiding that baneful spirit of conscious superiority so often exhibited by the child used to the limelight in the solo and fancy dnnco.”