IT IS 36 years since Philip Conroy founded Billingham international folklore festival and the question that arises now is: has the approach to folk lore and dancing changed for the worse since 1965?

I get the impression it has, writes Dave Robson. In many cases, spontaneity and simple delights have given way to carefully choreographed and highly polished versions of the originals, with folk ballet succeeding folk dance.

The "flying by the seat of your pants" excitement of bygone days has largely been succeeded by professional groups.

Among these this year, Israel's Karmei Rishon and the Chilean Bafoci ensembles are examples where the effects of pop music, Hollywood and Come Dancing have taken over.

The Russian group, Rus, also has a tendency to be over-theatrical and to dress up basic folk dance simplicity. Ikons and other stage props are an unnecessary detraction, though this is not to deny that the dancers gave superb performances full of remarkable skill and excitement, even if the music was rather over-amplified.

The Mexican group, Guenda Nabani, was spectacularly costumed. The presentation of a dance performed before and after going to war left one wondering if there would have been enough energy left to fight or enough adrenaline for celebrating afterwards. It was a splendid performance which suggested the glory of Aztec forebears.

From Poland, the lively young members of the Pruszkowjacy dance ensemble in many ways stole the show in a programme recalling the elegance of the aristocracy and vitality of peasant classes.

The Chinese Hunan Xiaoxiang drew most effectively on the theatrical aspects of folk art, using the influences of classical dancing, Chinese opera and circus, and unusual - to western ears - musical idioms which are often haunting and soon attuned to.

Nearer to the original idea of village folklore were groups from Slovakia and Spain. From the former, Janosik staged earthy dance full of vitality and exuberance, accompanied by extremely piercing whistles and cries. The Basque group, Itsasi, from northern Spain did a marvellous job in international relations for this torn homeland. Accompanied by txistu, pipes and drums, here was authenticity unsullied by modern sophistication.

The group's big set dance made spectacular use of a large deed box, not unlike a coffin in appearance, which was carried on the shoulders of six dancers. On this, a solo dancer performed steps so intricate they were hair-raising.

Another matter for general concern is the use of amplification. Some groups this year seemed almost afraid to let their instruments be heard naturally or for balancing purposes; many of the singers have voices capable of filling the theatre unaided.

In support of the case for no amplification, or just a discreet touch, one can cite the brief pre-performance spots when musicians play front stage before the main performance - none was amplified, but all projected perfectly well.

I was sorry not to see and hear promised groups from Turkey, Georgia and South Africa, which all pulled out.

Reports on the Hungarian children's dance group, the Basques' full programme and those by the Chinese and Slovaks follow next week.