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Hove, Arthur O. (ed.) / Wisconsin alumnus
Volume 69, Number 4 (Jan. 1968)

Kloepper, Louise
Form and feeling in the dance,   pp. [6]-13


Page 13


    Molly Lynn assistant professor of
dance-Real development of perform-
ing dancers, I believe, takes place
when consistent experiences are assimi-
lated over a long enough period of
time to give the dancer the materials
and motivation for self-direction and
the inner power to execute the dance
form.
   Rejpetition,practe technical strug-
gles, objective analysis, invention of
movement and assimilation of move-
ment already invented by the chore-
ographer or teacher only make sense
when structural limitation is thor-
oughly understood and transcended by
inner desire. You do not learn unless
you want, and really want, what is
available to you at a given moment.
  John Wilson, lecturer in dance-A
truly gifted fine artist is a devoted
student of the liberal arts and sciences.
He could not be otherwise. Without
relentless and objective probing into
his society and his culture he would
not have the capacity to construct his
metaphors in movement, sound, paint,
stone, or word, and his efforts would
produceno artThe --primitive-under-
stands his limited culture and society
without benefit of "liberal education,"
and his artistic metaphors are none-
theless universally significant. But our
sophisticated culture and society re-
quires artists who, like society itself,
have lost their childhood naivete and
must synthesize anew.
   In dance at Wisconsin, I am work-
ing with my students toward that syn-
thesis, and toward understanding the
depth of the soul and the breadth of
experience through endowment of
movement. Man is by nature a dancer.
He danced long before he conceived
of "fine" and "liberal" arts. It is a
phenomenon more basic to education
in its most valuable sense than text
books or test tubes. Dance is a synthe-
sizer without itself being synthetic.
13


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