Allen

Bauman

Allen

Dunkel

—A—

Thank you, Miss Dunkel. By the way, Mrse Bauman, will you be helping
with this program, also? oe

Yes, I have been rehearsing a group on a dance problem concerned with
American themes, and that group will appear on the modern part of Tau
Signats recital, JI am working out the dance composition and Professor
Cunkle, of the School of Fine Arts, is composing the special music to
accompany the dance, and I believe that we will have something of real
worth. If interest, cooperation and effort mean anything, we should
achieve something our college girls can be proud ofe

Oh, yes, by the way - I sec there is a lot of teamwork between the School
of Fine Arts and the Department of Physical Education, I had the pleas-=
ure of hearing Professor Cunkle at the organ during Professor Wilcy's
very excellent University Band Concert last Monday night, and I am certain
that with the combined talents of the leaders in these two departments
you will produce something very much worth whilee I wish to commend

the idea of collaboration with other departacnts. The process of sclecte
ing the best should produce a very rich and interesting recital which 11
lovers of the dance would enjoy to the fulleste We do not have time

here to go into a discussion of detailed comparisons concerning the dance
forms of which you speake So I, for one, and any listenors whose ourios-
ity may be aroused, will have to wit for the Tau Sigma progrome One
question does occur to me which I believe you will have time to answer,
Miss Dunkel. I was wondering which of these forms you teach in theo
University dance classos, I notice in our class schedule the dance

class is listed as interpretivo. Is it your believe that this is the
best form for education?

Not particularly. If I had my way our classes would be called just
dancing, for I do not believe in limiting oneself to only one forme My
philosophy has always been an eclectic one, and I believe what is taught
must be adapted to the group being taught and to the purpose of one's
teachinge I do not feel that the same aims necessarily exist for the
dance in education that obtain for the dance in the professional worlde
In my college dance classes I keep in mind four definite aims. First

is the physical effect on the bodye That means I must consider The age
and development of the Girls in my classes. I must think of all rowd
development fér symnctry and fundamental controls, and always I strive
for the ideal of extended, buoyant posture and movomente Second are the
emotional concomitants of the dancee Movement is so closely hooked up
with omotional and mental responses that thoy become important corall-
aricse I emphasize movement that will oall forth oxpansive, freeing
emotions, and try to avoid dance themes that involve experiences and
emotional reactions umwholesome for a growing girl. Third are tho educe
ational possibilities in the dance. I feol the dance class is an admire
able place to toach knowledges of correlated fields, like music, design,
dramatics, and so forthe All these auxiliary lmowledges increase the
appeal and richness of dance possibilities, and no teacher should lose
sight of them, Fourth and last of my aims is to koop in mind that I am
developing a group of dance lovers rather than a group of skilled arte
istse It is in our college classes that appreciations are learned which
will provide the audiences of tomorrow, and to open a vista for one moro