Sherbon--Yould you say that our social dance tas suffered or profited by the merging of these influenges? Dunkel-- Personally I feel our social dance is a pretty sterile form as done now, : and it is hardly sociel, It eertainly has lost the zest of the original folk forms and the dignity of the aristoeratie dmce., In fact, I know of a famous Cancer who compares our social dancing with the movements of an amoeba, devoid of intelligence, arage, peauty, rhythm or design, and says that a crowded ball room floor watehcd from a sound proof room would give you much the same impression as the bumping and jerking thet you get from a drop of dirty water seen through a mécroscope. Sherbon- Well, after all, there is not much that you cm do to the music that we have nowadays. The same mm seys - the music is such that no self-respecting savage would make, it has no variety of rhythm, but merely a kick in the solar plexis on the first bent of every measure. Blizabeth, is that what you teach in your social dmce classes? Dunkel-- Now, Alice, is that qiite fair? Youtre bringing that pretty close to home. No, we are not trying to revolutionize the music, we do try to zet over some ideals for beauty of »osition and line and some variety of steps that will at least be competible with good taste. Dr. Allen-I know that you could go on with social dnncine all evening, but I still Have something else on my mind. I've been celling everything interpretive Cancing and you've alwsys laughed at me. Now, you have mentioned so many forms that I am mre ecnfused than ever. What I vant to know is there such a thing as interpretive dancing? Sherbon- Yes, there is such a thing as interpretive dencing. Thank goodness, you don't call it fancy dancing! You see, in the concert field, several forms have enjoyed popularity at different periods of cultural development. Uf course, the first great flowering of dence as a fine art was the classical ballet developed in France in the courts of the Louis' and later enriched at the Russian court under imperial subsidy. The Russian ballet, which was introduced to the world through Diaslieffs zrezt Monte Carlo ballet reached heights that the dance had never known before. It produced such great names as Nijinski, Pavlowa, and Karsavina. But just as the culture which nourished the lavish snectacle of the ballet was supplanted by newer con- cepts 5f social relationships, so new dance forms emerged as the expression of these concepts. Dunkel -- That's all very true, Alice, but elucidate a little further on Dr. Allen's question. Dr.Allen-Yes, that's exactly what I want to know. Sherbon--That's just whet I'm coming to. Succeeding the ballet form ve find the def- initely romentie interpretive school which put its emrhagis on self expres- sionism m@ simplicity. This neriod was in turn supplanted by the practics! realism and dynamic intensity of contemnorary social forces, from which has evolved 2 new dance mvement - the so-called moder dance. The fallacy of such 2 name is immediately appnrent when you consider that all of these forms were modern at the time of their emersence. Modern music, modern painting, and modern architecture reflect these same social forces. Be- cause the modern dance is new and unfamiliar many »eople find it hard to accept. Only the perspective of time can evaluate its intrinsic worth.