PAGE 2 - N.C. ESSAY
Commentary And Perspective
Are You For Peace?
by Celia Sparger
PRIDE AT NCSA
Photo by Bruce Roberts
EDITORIAL by Cortlandt Jones
From my renaissance of
training at The North Carolina
School of the Arts, a sense of
pride has built within me. This
pride stems from the in
volvement of the total school
community that never stops
moving. In music, drama, visual
art or dance, there is always
something happening on campus.
For instance, there are student
recitals, concerts, plays, films,
dance productions, auditions,
visiting dignitaries and artistic
professionals. Hence, students
are busy either performing,
rehearsing, touring, practicing,
studying or just attending
regularly scheduled classes. This
may not excite the average
student but for me it does.
All of the forementioned
student activities fall under the
topic heading of education. At
NCSA, the word education is
prefaced by “artistic
professionalized” education. In
Agnes de Mille’s book “To A
Young Dancer”, she states that
the dancing college student
learns how to discipline himself
“and how to study, how to
analyze ;ind interpret”. This can
be said for any of the arts taught
in this school and should be
reemphasized as
professionalism. This sense,
worthy of high standards, is a
commodity that must be un
derstood to grasp the challenges
of the artistic world outside our
campus.
In that world outside, there is
competition. The striving for the
sarno objectives, usually in ac
cordance with certain fixed rules,
should be harnessed and instilled
throuj'hout each student. The
point i.s, it should be cherished as
a building block for personal
'■haracter and 'if'velopment.
Some people have not discovered
this and I believe they will fail in
their art.
Another factor of my pride is
being exposed to the constant
interplay of the four schools
fDrama, Music, Dance, and
Design and Production). A
student learns, and could use,
more then he realizes. His course
of study does not stop in the
classroom or at the desk. It
should be carried over and mixed
with the exposure to the other
arts: the result is mind ex
pansion.
A better description of ex
pansion is a statement by John
Dewey. “The artist is driven to
submit himself in humility to the
discipline of Objective Vision.
Rut the inner vision is not cast
out. It remains the organ by
which outer vision is controlled,
and it takes on structure as the
latter is absorbed within it. The
interaction is Imagination.”
The transfused injection of all
t)ie factors is leaving an ac
cumulation of development.
Resides giving me a training in
dance, a sense of
professionalism, an attitude
toward competition and basic
academic instruction, NCSA is
widening my visions in areas that
are in need of exploring; for this I
am proud and thankful.
Granted, the common practice
among men is to find fault in
something rather than to find
good. Why discuss the good points
when the bad should be con
centrated on an corrected?
Nevertheless, as a college fresh
man whose major is dance, I find
a lot of good in The North
Carolina School of the Arts and
would rather expand upon that
point »hrn *he other.
F^dilor
Managing Editor
Copy F,fliti>r
T’hotographcr
Reporters
; Advisor
■ Hovering Guru
i Publisher
Emeritus
N.C. Essay Staff, liHl:
Michael ,F. Ferguson
Kathy Fitzgerald
Ed Schloss
Sam Barcelona
Fred Avery, Kevin Dreyer, .Ion Thompson,
Cortlandt .Jones, Robin Kaplan, Alexander
Marsh. Gavin.
Donna .lean Dreyer
Ruzhee
N.C. School of the Arts
Fragola
On Friday, 5 March, the newly
formed North Carolina Com
mittee to End the War in In
dochina sponsored a public
lecture with David Schoenbrun as
guest speaker. The committee,
which began forming several
weeks ago, is composed of
prominent business, educational,
civic, and church leaders from
throughout the state. Dr. Irving
E. Carlyle, co-chairman of the
committee, introduced the
committee and defined its pur
pose of striving, through
educational and legislative ap
proaches, to achieve a rapid end
to all American military in
volvement in Indochina.
Mr. Schoenbrun repeated the
familiar, but not-so-funny joke
that the secret plan for with
drawal from Vietnam that Nixon
spoke of in his campaign has now
become evident as a withdrawal
from Vietnam into Cambodia,
laos, and possibly other In
dochinese nations.
Referring to Nixon’s recent
press conference on foreign af
fairs, Mr. Schoenbrun proved
sophistic Nixon’s argument of
ending the war by spreading it
throughout Indochina, with the
alleged function of destroying the
enemy’s main roads and sup
plies, by relating incidents in
which he had seen the North
Vietnamese repair roads and
bridges immediately after the
U.S. Air Force had dropped its
bombs and disappeared. And, of
course, the Air Force reports
“mission accomplished” to
Washington. As for the
destruction of Vietnamese
trucks, Mr. Schoenbrun said that
this is impossible because the
Vietnamese ride bicycles.
Regarding prisoners of war.
Mr. Schoenbrun restated the
present deadlock between
Hanoi’s refusal to release the
prisoners until all American
forces are out of Vietnam, and
Washington’s refusal to make a
total withdrawal until the
prisoners are released. Mr.
Schoenbrun believes that the
prisoners will be released when
all Americans are out of Vietnam
because of the precedent set by
Hanoi’s releasing French
prisoners after the French had
made a total withdrawal.
Vietnamese sentiment towards
Americans in their country can
best be expressed by restating
Mr. Schoenbrun’s quote from a
Vietnamese high official; “If
you’re getting out, why should I
interfere with your departure?”
It is this Vietnamese distaste for
American interference that has
led Mr. Schoenbrun to believe
that a major North Vietnamese
offensive will occur, not while
Americans are leaving, but after
all but a residual force, of no
fewer than 200,000 troops, are out.
This, of course, will lead to a
“protective reaction” re
escalation of the war and it is this
that Mr. Schoenbrun believes to
be the danger of a residual
American force in Vietnam.
Mr. Schoenbrun, claiming no
powers of prophecy, but only the
ability to see patterns, gave his
rendition of Nixon’s 1972 cam
paign theme: his reminder to the
country of the cutdowns in the
number of American troops,
casualties, and finances in
Vietnam in the last five years,
with the conclusive slogan, “Re
elect me and I’ll finish the job.”
Mr. Schoenbrun vehemently
warned against the public’s
accepting such a statement as a
promise to be fulfilled.
The Public Messiah
by Robin Kaplan
As dawn broke yesterday
morning, I could have been (and I
was) seen running naked, spear
in hand, through Washington
Park.
I would like you to come and
see me here in this gypsy camp of
higher intellect. Cashew here is a
great guy. And Oiey all worship
me like crazy because in me they
see themselves.
I have no doubt, you will be
glad to hear that I have found,
what the Inner Council of Gypsies
will recognize as my ^and-
mother’s long lost broomstick.
With this means of transportation
all things are now possible.
And toe farthest distance is but
a thought away.
I will see you when I see you.
Here I remain for a while —
Bobby, the First, Dardin, King of
the Gypsies.
Dardin was in the observation
ward. He was eating, but he
stopped.
Hello...Hello, Klein! I get four
meals a day here and get higher
on waiting for them then I’ve
been on anything...
Letter To
The Editor:
Letter To The Editor:
To The N.C. Essay:
I fail to see the purpose behind
the article concerning “Ma’s”
boarding house, other than
angering a few townspeople who
might happen to read it. Nor do I
.see the humor in ridiculing what
is obviously an un-pretensious
boarding house, not indented for
the sophistication of our N.C.
Essay reporter.
Art Ciompi
When he was sufficiently high
on waiting for the food, he went
back to eat it. But the con
versation was interrupted by a
man, hopping on one foot, who
had translated the diaries by a
contemporary of Cellini; the man
turned out to be Cashew, who ate
goats’ brains. Klein made a note.
To Dardin the place meant
nothing. He had daubed a large
notice in the Occupational
Therapy Ward;
DARDIN SLEPT HERE AND
LEFT WITHOUT PAYING HIS
RENT, and in small letters below
it
how else can one hope to
remain in the memory the
commercial classes?
Above his bed he had written;
All the great men are dead.
Omar Hiayyam is dead.
Confucius is dead.
Oscar Wilde is dead.
I am not feeling too well
myself.
His only worry was that he
would be classified as a
professional patient and would be
deprived of four meals a day to
fall back on when he wanted
them.
Dardin described the last tune
he was in a mental hospital.
Continued on Page 4
I ROCKnROLL |
I by Tony Angevine |
One of the most important
aspects of rock and roll is its
relative new-ness as an art form
and its consequent constant
experimentation to discover and
achieve whatever it is that it
wants to become. Rock has by
now pretty much outgrown its
raucous heavy psychedelic days -
- a time of experimentation when
Eric Clapton achieved godhood
with the wah-wah, fuzz toned,
full-volumned shrieks of his still-
screaming-guitar - and is now
relaxing into a quieter, more
reflective mood. In fact, rock is
so firmly entrenched in the
worldwide youth culture (as
much an addiction as a diversion
or a form of communication)
and, unavoidably, in the
capitalist market, that wide
experimentation is taking place,
and the groups follow each other
through fads as rapidly as a new
approach is conceived. From the
screaming, stomping bom
bardment of Grand Funk and I.«d
Zepplin, through dope and sex,
through the call to revolution,
through a turning to Jesus, to a
more passive championship of
the down-and-out lifestyle, rock
has nurtured the needs and ideals
of its vastly diverse audience.
After the wildness, this
calming is welcome, and we at
last take the time to look around
at what we’ve been through and
what lies ahead. We are
maturing, and suddenly the I>ast
of the Big Screamers come off as
juvenile.
Crazy Horse is one of the
milder “new” groups whose
approach leans toward this
reflective, “grown older and
wiser” style without alienating
themselves from half their
audience and without sacrificing
the earthy origins of rock and
roll. A new band only in that this
is the first record they have put
out on their own, they have all
worked together before and they
have all lent a helping hand to
Neil Young at one time and
another on all of his albums. This
influence is strongly evident in
their mournful mountain ballad
style: simple, very singable
songs, whose simplicity enhances
their soulful beauty, sung over
jumping, uncluttered, unforced
rhythms. Possibly, though not
necessarily, indebted to Young,
the band is by no means
dependent on him, having the
distinction, now, of one of the
most skillful writer- musicians
around, i.e. Jack Nitzsche, whose
knowledge of, and experience in,
the medium are no doubt
responsible for the rockingest
rock songs in the old style that
any band has produced any time
lately. His “Crow Jane I^dy”
epitomizes the rock style, with
emphasis on the man - woman
sexual relationship; beginning
with a lazy drum beat backing up
a prominent bass, lead guitar
moaning, unhurried but very
tight, the vocal pinched and fast;
then, the entire thing stops for a
beat and carries on in a very
slow, lazy refrain. A Fifties’
feeling inherent in the Seventies’
quality. “Carolay”, another
Nitzsche tune, is, on the other
Continued on Page 4
GRQTUM
Richard Watkins