The activities in our Saturday classes for little tots do all of this. They are called dancing classes, and they become that, but the gradation from romping play into systematic dancing instruction is accomplished practically without consciousness on their part, and thus they learn the rudiments of stage routine almost without knowing it.
I don't know of any bunch of children anywhere that have a happier time than do our littlest pupils in their dainty lessons in the studios. They love every bit of the "work." In the first place, it is adapted to their years, and their instructors are both competent and kindly; and[255] while it is quite a problem to handle a roomful of little folks bent on mischief, and direct their playing along systematized lines, we do it, and before they know it the little feet are stepping in unison to bright music, and gradually there is awakened a pride in perfect performance, and the little playmates become little dancers, each trying his best to equal or excel his or her fellows.
I go on record as saying that the age of eight years is the most favorable for the beginning of a dancing career, for then the young pupil has a mind sufficiently developed to easily comprehend instruction, and a body readily responsive to training. Yet we take children from four to seven years of age for specialized training which prepares them properly in the fundamentals and technique that is so necessary. Occasionally some five-year-old dancing marvel is discovered. Young years are learning years the world over, and right training in foundation work for the future great dancer, as taught in our studios, is so attractive in itself and so suggestive of real "fun" to the little learner, that both child and parents give it their hearty approval.
Dancing teachers in other cities send promising children to New York to study for professional careers; mothers bring the little dancers to New York, anxious to put them on the stage at once. But that is not possible, as a state law prohibits any child under sixteen from appearing before a paid audience to sing or dance, while permitting them to go on for dialogue parts only, if they are past ten years. Producers demand birth certificates and live up to the law. There is in New York City a Gerry Society, which controls the situation and is sharply on the alert.
CHILDREN’S SATURDAY HOUR
Here in New York City there is a professional school for stage children, which many attend.
The great majority of the children who come to our studios for dancing instruction are from families who do not want the children to take up stage careers, but wish them to be properly and thoroughly trained in every type of dancing, which incidentally brings out all the natural grace in the body, develops health, poise, charm of manner, personality and symmetrical bodies. Parents naturally desire to see their little ones graceful, accomplished, pleasing in deportment, and able to exhibit a few clever steps in home or amateur entertainments—a parent's proper pride. Others, especially professional stage people, active or retired, enter their young folks in my courses with a view to their ultimately becoming professional stage dancers. They know the emoluments. They know that one daughter on the dancing stage is worth ten in the parlor—financially. They know, too, that old adage "as the twig is bent," and the rest of it, so they start their twigs straight and in fertile soil with faith that in this way their child's future is well and happily provided for. A knowledge of stage dancing is a life insurance policy that pays big dividends during one's lifetime. The dancer is her own—and perhaps her parents'—beneficiary.
We have tots here in the studio at our Saturday classes as young as four. Usually, however, they are five, six, or over. In their primary work we give them all sorts of jolly exercises—walking, running, galloping, and for the tiniest we have "skipping special," "baby work," body building and dancing games.