Mrs- Dart

Miss Byrn

Mrss« Dart

Miss Byrn

Yes, Miss Byrn, it is doubtful that tnore hae ever boon a singte Pus
of ballroom dancing which has not broughs forth controversial opit:o>
and objections on the part of somes

However, I strongly suspect that most of tho dostructive critic¢isa Saucy
is s0 prevalent comes from those who have not ‘Sakon part in waat thoy
are criticising, As a matter of fact, this point was made by o class
of deans of women in a Teachers College who took the souse in sow...)
dancing primarily to learn how to judge and guide the expression in she
social dance among their students. After loarning all the prevailing
fads in turns, hops and intriguing twists, they admitted that vhey
appreciated for the first time the sheer joy that was to be dorivec
from the rhythmic responses which they had previously so harshly scn~
demned. After this experionce they were willing to accept the modern
departures from the old fashioned waltz without any further justificat-
jon of their popularity than the sheer fun of doing theme |

It is a woll known fact that we distrust the unknown and I suppose the. t
accounts for the fact that each new style of dancing has immediately
outraged the public, which remains os 4 whole, resistant to change in
any field of endeavore The fact that fashions in dancing change so
rapidly may have something to do with the reluctance of many teachers
to attempt to keep informed in the currently popular dances.e

Yes, one of my friends teaching a high school class in social dancing
was confronted with the request of students who wanted to be taught the
shage She later confided to me that only a week before she had spoken
to the P.T.A. on "The Awkward Age" but not until the moment of this ro~
quest was she ever aware of having reached it. But whether we teach
the waltz or the shag, the importance of helping young people to make

a successful adjustments to all of life mst not be forgotteme "The
teacher remains, potentially, the artist of character."