Winter 1948 • Vol. X No. 1 NonfictionJanuary 1, 1948 |

The Firstness of Dance

Around the world it is always the same—in Labadi, British West Africa; in Dizful, Iran; in Slippery Rock, Pennsylvania—the human body. Of course it may have a black finish or a white one, its gluteal muscles may be large in Africa and small in India, it may not function as well when it is ill fed as when it is properly nourished, but its potentialities and limitations are substantially the same the world around. This human body is man's link with man, it is his common heritage, it is mankind's common denominator. The art which has its substance, its tools, and its fulfillment in the human body is, of course, the art of dancing, and since this art product of the human body is also the art product of man's common denominator, it follows that dance reflects the equality of men of every race, sect, and fortune. Immediately that the word "equality" is mentioned, someone is likely to remark that some dances are barbaric while others are civilized, that some tribes revolve their pe

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