The English dance unites the guests of an evening by the spell of rhythmical movement into a chance casual community.

In the earliest cultures any tie between the dancers is slight. In a higher level the choral dancers almost always touch one another and thus force themselves into the same stride and the same movement. The closer the contact, the stronger is the social character of the choral.

The superhuman power which exhiliration and hypnosis bring to a dancer is shown especially clearly in his almost inconceivable staying powers in a state of high tension. "In the dance even the weakest can do wonders."

Music as a whole, in its overwhelming wealth and endlessness, is inaccessible unless we free ourselves from the limitations of our own restricted training.

The dance is the mother of the arts. Music and poetry exist in time; painting and architecture in space. But the dance lives at once in time and space.

The dance lives in all mankind as a necessary motor-rhythmic expression of excess energy and the joy of living.

If you ask an Auin Bushman what realty happens at the puberty ceremonials, he will tell you, "We dance." In the initiation customs of all peoples the dances play an especially important part. The dance is the center of wedding festivities.