In September 1912, I had up to town from Bampton two traditional dancers who imparted three dances, “The Rose Tree,” “Glorisheers,” and “The Flowers of Edinburgh,” to a group of working boys and girls. About two months later these same boys and girls were teaching others the three dances. Looking on with great interest were six children, whose average age was eleven, all from elementary schools. These children had already learnt several of the Headington and Bidford dances, but had not seen the Bampton dances, the steps of which vary considerably from those of the two other places. In about an hour, as I thought it was rather dull for the children, I said, “Let me see if you can dance ‘The Rose Tree’ while the elder ones have a rest.” The children were delighted with the suggestion, and to my surprise went through the dance almost perfectly as to both step and evolution. A few corrections and two more attempts, and the dance was quite correctly danced. This being a fact of which this is only one of many proofs, it is quite evident that a series of demonstrations by those who know the dance is all that is needed to pass it on to those interested enough to watch. There seems to be in these traditional dance movements something natural and inevitable, so that it is more easy to dance them correctly than to do them wrongly, and I think it is in this spirit that they should be taught. There is nothing strained and difficult, nothing artificial or exotic; all is simple, dignified, vigorous, and joyful. For this reason I have sometimes regretted that the folk-dance has become officially recognised as part of the school curriculum, and I regret too the necessity for books of instructions. I would rather the dances had remained in the memories of dancers and that the right atmosphere had been secured only by the verbal telling of folk-tale and legend. But books seem to be a necessity to-day, and lest again we lose our national heritage of dance, perhaps it is well that some records have been made.