The Dance of Life

The Dance of Life By HAVELOCK ELLIS (Reviewed by Elsie Talma&e Brandley) scientific knowledge. He has learned the mystery of measure- ment and of mathematics; he has formulated laws and command- ments. IN this book Mr. Ellis has pre- sented ideas which not only have caught the public thought, but held it. The first edition, printed in 1923, has been followed by eighteen consecutive impressions, the last this very year, 1929. The book, between intro- duction and conclusion, contains chapters on the Art of Dancing, of Thinking, of Writing, of Religion and of Morals. Much that is most stimulating and valuable is set forth on each subject, but for purposes of brevity and emphasis only the sec- tion on Dancing, together with the introduction will be given here :~g - h f liy. . and He calls life a dance— not merely | intention underlying it. A as a figure of speech, but as a literal ^M^ ^^ ^ on the Loyalty Islands, east of New Cal- edonia, typify in their lives the natural beauty which is true art. Possessing high moral qualities, they are withal a laughter-loving people, and joyous. They can work very hard for days, without rest, if need be, and then, after it is over, relax and sleep to recuperate. Every one of them learns music, dancing and song; they consider rhythm and grace as a part of life, and they cultivate beauty in all their social relationships. when gifts are made — it is the na- tural and the beautiful thing to share. Helping others is one way of helping one's self, for it con- tributes to the common weal. Their habits governing the matter TS Life an art? Many people of food and eating might well be 1 think that art has to do only emulated by other nations and with a group of eccentric beings people. They eat slowly, and who do incomprehensible things refrain from noticing any dainties in its name. The conception of placed out of their reach; and no art among us has been so narrowed one ever eats in the presence of one and debased that it seems to us who is not eating One always either unintelligible or erratic, or shares, however small his own por- too unfamiliar to be interesting. As tion, and one always accepts a - though slowly and with reluct- ance, what is offered. a matter of fact, every phase of life is artistic or inartistic, accord- comparison, for the dance is the rule of number and rhythm, meas- ure and order, the controlling in- fluence of form and the subordina- tion of parts to the whole — and so is life. The classic spirit of these things permeates not only life, but the universe itself; so not only life, but the whole universal scheme of things is a dance. TT has always been difficult, Mr. *■ Ellis says, for man to realize that life is an art, even though in his actions he proclaims it artistic. In the beginning the creation of the world was the work of the Su- preme Artist; in the book of Genesis we read that the whole cosmos was fashioned in a measur '"THEFT among these people is rare, and punishable by death, but taking an article when the owner is looking is not theft. Ly- ing with intent to deceive is a seri- ous offense, though a harmless lie is excusable. They have no fear of death, and a strong love of cleanliness. "Old age is a term of respect, and everyone is pleased to be considered older than he is, for it is honorable." One always ex- presses thanks at hearing good news, even though it does not af- fect him personally. Good news is a gift, for he is able to rejoice with another. According to one TO a primitive people, living is who has observed them, they are 1 inevitably concerned with conspicuous for their honesty, eating; and here no one goes truthfulness, good humor, moral- hungry if his neighbor has food, it kindness and poHteness— a able period of time, by the art of so no great demonstration is made fine, intelligent people. 1 heir lives one Jehovah, who pro ceeded methodically by first forming it in the rough, and gradually working in the details, the finest and most deli- cate last, just as a sculptor might fashion a statue. In primitive times artists and craftsmen who have made beautiful things for the world have been re- garded almost with rev- erence. Since then, how- ever, man has lost some of this conception of art with the increase of his jLJlRT is not a sermon, and the artist is not a preacher. Art accomplishes by indirection. The beautiful refines. The perfect in art suggests the perfect in conduct. The harmony in music teaches, without intention, the lesson of proportion in life. The bird in his song has no moral purpose, and yet the influence is humanizing. The beautiful in nature acts through appreciation and sym- pathy.- It does not browbeat, neither does it humiliate. It is beautiful without regard to you. Roses would be unbearable if in their red and per- fumed hearts were mottoes to the effect that bears eat bad boys and that honesty is the best policy. Art creates an atmosphere in which the proprieties, the amenities, and the virtues unconsciously grow. The rain does not lecture the seed. The light does not make rules for the vine and flower. The heart is softened by the pathos of the perfect. — Robert G. Ingersolt. are artistic because they [ are filled with beauty. "Dancing and building arc the two primary and essential arts. The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person ; and in the end they unite. Music, acting, poetry, proceed in the one mighty stream; sculpture, painting, all the arts of design, in the other. There is no pri- mary art outside these two arts, for their origin is far earlier than man himself; and dancing came first. * * * If we are

The Improvement Era for December, 1929 127 indifferent to the art of dancing, we have failed to understand, not merely the supreme manifestation of physical life, but also the supreme symbol of spiritual life." '"FHE appeal of dancing is simply that it has the significance of the great rhythm of the universe. It is a primitive expression of re- ligion and love, of war, of labor, of pleasure, of education, and some regard it, of morals. To primitive people, religion is not possible apart from life; and dancing is an operation which, because it imparts strength and harmony, achieves importance; thus the dance itself was of religious importance. For all solemn occasions — bridals and funerals, seedtime and harvest, war and peace, there were fitting dances. Today we pray for rain, or the restoration of our friends to health, just as our forefathers long ago danced for these blessings. TIJOR centuries dancing was com- mon in some Christian rituals. In English cathedrals it went on until the 14th century; in France, until the 1 7th, and in Spain, where dancing is a deep and tremendous impulse, religious dances flourished longest. Throughout history, dancing has been an essential and funda- mental part, not only of religion, but of love as well. In this con- nection, the relationship is more primitive than man, for among in- sects and birds, dancing is often associated with courtship, the male dancing to attract the female, and the female joining in a dance of consent. Some of the least intelli- gent of creatures have developed at this time a beauty and grace en- chanting to even human eyes. The dance of love is an effort to display all the force and energy, the skill and endurance, the beauty and grace which are yearning to be poured into the stream of life. P VERY part of the human body has been brought into play by the dance, with rhythm and meas- ure. In Northern Europe, danc- ing is an activity of the legs, a twinkling of feet. In Japan and Java and Madagascar it is some- times exclusively with arms and hands, and in some South Sea Islands, of hands and fingers alone. In other localities it may be a swaying of the head alone, and in others still, of the trunk, the entire body. The complete dance is the one in which these are harmoni- L HERE are two ways of being happy: We may either diminish our wants or augment our means — either will do — the result is the same; and it is for each man to decide for himself, and dp that which happens to be the easiest. If you are idle or sick or poor, however hard it may be to diminish your wants, it will be harder to augment your means. If you are active and prosperous or young or in good health, it may be easier for you to augment your means than to diminish your wants. But if you are wise, you will do both at the same time, young or old, rich or poor, sick or well; and if you are very wise you will do both in such a way as to aug- ment the general happiness of so- ciety.— Franklin. ously interwoven. In Spain, per- haps, has this type of dance at- tained its noblest and most harmo- niously beautiful expression. From the vital function of danc- ing in love, and its sacred function in religion, to dancing as an art, a profession and an amusement, may seem at first glance, a sudden leap. It has been, however, a gradual transition. Courtship after 'all, is a form of art, and dancing ex- presses the beauty of it. In re- ligion dancing, like the ministry, became a profession. In Hawaii, the hula was a religious dance re- quiring special education and ardu- ous training, because of which it was danced by paid performers. In India are sacred dancing girls, religious and professional. They dance in church ceremonials, and also in the homes of people rich enough to pay for them. TN our modern world, dancing is associated with neither religion nor love; and on the western hem- isphere it is difficult to trace it back to either source. In Europe there are two trends to be discerned in the development of the art, one classical, of Egyptian origin, the other romantic, of Italian origin. Without question Egypt has been, for thousands of years, a great dancing center, called by one "the mother country of all civilized dancing." Egyptian dancing was and is, simple, personal, passion- ate— classic. The real beginning of the ballet was in Italy, the home of romantic dancing — expressive, dramatic, picturesque. The fash- ion of the ballet soon spread throughout all the Italian courts, and thence into France. Here it became very popular, and kings and queens participated. Other countries adopted the idea, with racial changes, and in the 18th century a high degree of perfection was reached, which a century later had declined. It became almost unrespectable to admire dancing or dancers, a condition which was remedied by the appearance of the Russian ballet, which raised danc- ing to heights never perhaps pre- viously surpassed as an expressive form of living art. Classic and romantic dancing have recently been renewed, the first by Isadora Duncan who brought back the free naturalism of the Greek dance, and Ruth St. Denis, who has endeavored to re- vitalize the secrets of old Indian and Egyptian traditions. p\ANCING as an art can never die out, but may decline and re- vive. As a social custom it is being renewed constantly in the souls of the people; as a social custom it is a form of social discipline, and so ties up with not only love and re- ligion and art, but with morals as well. All human activity, under na- tural conditions, is a sort of dance in that it is essentially rhythmic, and efforts toward it must be har- monized. The singing and dancing of sailors as they hoist topsail yards and work pumps; the swing of the blacksmith's hammer on his anvil; the musical cadence of engines grinding over rails; and all work connected with musical instruments is a kind of dance. Work shows the necessity of harmonious rhythmic cooperation which the dance develops, and which imparts a beneficent impetus to all activi- ties. Participants in a dance ex- hibit a wonderful unison; they are fused into a single being, stirred by a single impulse. The dance has done much to socialize man. In a large sense it possesses peculiar value as a method of national edu- cation. AN ancient Chinese maxim says, "One may judge of a king by the state of dancing during his reign." And Plato declared, "A good education consists in knowing how to sing and dance well." G. Stanley Hall says that the revival of dancing is imperatively needed to give poise to the nerves, school- (Continued on page 171)