LETTERS AND
MORE LETTERS
See page 2
MISS STUDENT TEACHER
TO BE SELECTED
See page 4
Y-Cabinet To Present Happenings
For Religious Emphasis Week
Miss Vickie Rucker of the Orchesis group at Hollins.
"Diversiforms’
By Anne Campbell
Religious Emphasis Week is com
ing up February 2-6, sponsored by
the Y-Cabinet. The entire week is
one full of religious happenings to
disclose various areas such as litera
ture, sociology, music, and art.
The kick-off begins Tuesday
evening at 6:30 with a “Collage”
presented by Nelson Eisenhower of
Wake Forest. The collage will be
aided by various media to produce
an invigorating trip of self dis
covery.
Wednesday at the 11 a.m. as
sembly, Dr. McLeod Bryan of
Wake Forest University will speak
If
on “Futurism, Fiction and Fantasy,”
which will be a scientific, techno
logical vision of what man can
realize in the future. He will then
relate this to the utopian fantasy
that has been reproduced in our
world. An evening potpourri at 7
p.m. will be led by Dr. Bryan, Dr.
Karl Garrison of Davidson College,
and Mr. William White of St. An
drews Presbyterian College.
Thursday a ‘“Religious Happen
ing” night will reach a climax with
encounter groups conducted by
Clark Thompson and Dean Virginia
Johnson; singing, guitar playing
and poetry reading led by Dee Dee
Geraty; and dancing and a light
show presented by the School of
the Arts. All will be conducted
simultaneously, so the choice is
yours.
The culmination of Religious
Emphasis Week is Friday’s 11 a.m.
assembly, an ecumenical panel con
sisting of Father Holleman of the
Catholic Church, Rabbi David Rose
of the Jewish faith and Reverend
Mayo Little, a Protestant. They
will offer prophecy into what the
future holds for their separate re
ligions.
An open invitation is extended to
all students and faculty for an ex
citing turn on, tune in time during
February 2-6.
So come to some soul searching
religious happenings!
Hollins 4-1-4 Sponsors Dancers
Diversiforms is a dance program
to be presented by the Orchesis
group of Hollins College. Consist
ing of three traditional Japanese
dances choreographed by Haruki
Fujimoto, three dances choreo
graphed by Rachel Lampert, and
four by their students, this program
will offer a wide variety of styles
and choreography. The company
consists of nine students in Orche
sis and their instructors. Miss Lam
pert and Mr. Fujimoto. Diversi
forms will be . presented Monday,
January 19, at 8 p.m. in the Hanes
Auditorium in the Fine Arts Center.
Miss Lampert and Mr. Fujimoto
are both accomplished dancers and
choreographers with impressive cre
dentials. Haruki Fujimoto, origin
ally a Japanese star, is now a well-
known dancer in New York. Rachel
Lampert has recently graduated
from N. Y. U. and has studied
under many superb dancers in New
York.
Rachel Lampert received her
B. F. A. in Dance at New York
University, School of the Arts in
June, 1969. While in New York
she danced professionally in the
Lincoln Center production of “West
seven other musicals, including
“Guys and Dolls.”
Haruki Fujimoto has recently
completed a tour with the Donald
McKayle Dance Company and ap-
Ched Vocational
Oflice For Jobs,
Grad Schools
Are you at a loss as to what you
want to do this summer or even
next year? Then visit Salem’s Vo
cational Office downstairs in Main
Hall.
There you will find information on
graduate schools, summer schools,
programs such as the Peace Corps,
career opportunities, and work,
School, and travel abroad. Appli
cations for jobs and schools are
also available.
For those of you who have not
chosen your major yet, the vo
cational office would be helpful.
There is information on careers
open to certain majors.
The Vocational Office is open
every day, so drop by to see what’s
going on there and let them show
you what could be in store for you.
Side Story." In 1969 at Cape Cod,
she danced in the North Shore-
South Shore production of “Milk
and Honey.”
Miss Lampert has studied ballet
under Maria Tallchief and Nanette
Charisse, modern dance under
Donny McKayle, Jean Erdman,
Gladys Bailin, and James Truitte,
jazz under Matt Mattox, and Afri
can dance under Jean Leon Destine.
Haruki Fujimoto graduated from
the Hanayagi Japanese Dance
School in Osaka. From 1963 to 1969
he studied in New York at the
Martha Graham School, the Juilli-
ard School of Music, Robert Jef
frey’s American Ballet Center, the
Luigi Jazz Center, and the School
of American Ballet.
Born in Hiroshima, Japan, Mr.
Fujimoto came to this country in
1963 at the insistence of actress
Shirley MacLaine who had seen
him dance in Tokyo. A Japanese
star, Mr. Fujimoto came to this
country where he was unknown and
could not speak English.
Annually for five years, he ap
peared at Madison Square Garden
with Sophie Maslow’s Dance Com
pany in the Chanukah Festivals for
Israel always before audiences of
at least 18,000.
In 1965 he was a leading dancer
with the American Dance Theater
and has toured with the Juilliard
Dance Ensemble. His television
performances have included N.E.T.
programs and the CBS “Camera
Three.” He was Dance Captain for
the National Company of “On a
Cle^r Day” and has appeared in
peared at the New York City Cen
ter in its inaugural American Dance
Season. Shortly before the tour,
he appeared in repertory with the
Group Dance Theatre in perfor
mances presented by the New
Dance Group Studio, where he
teaches classes in modern dance
technique.
Beginning Artists Exhibit
Brown Paper Drawings
By Lynn Williamson
You must have noticed those tre
mendous sheets of brown paper
adorning the main hall of the
F.A.C., the sheets with several
figures of various types, arrange
ments and forms. They are not the
work of an unknown school or art
group, but of our very own Salem
beginning drawers.
And they are good! for a begin
ning class. After thinking back on
personal experience in that drawing
composition class, this class’ work
is a definite step ahead.
However, like all beginners, they
obviously fall down in the areas of
arrangement, texture, and propor
tion. The first composition you
meet as you walk into the hall re
sembles floating balloons in space.
The bottom figure looks like a frog;
no rear end can possibly be like
that girl’s! Yet, eight drawings
down, there is an excellently drawn
500 Teachers To Be Relocated
By Federal Court Decision
By Lindsay McLaughlin
In preparing to write this article
I talked with Mr. Jim Bray of
Salem’s Education-Psychology de
partment. He is a very concerned
and active citizen of Winston-
Salem’s educational policies. Mr.
Bray gave me a brief history of de
segregation in Winston-Salem and
the facts behind the recent issue of
relocating faculties to obtain more
even integration.
In 1954, the Supreme Court,
liberal at the time and headed by
Chief Justice Earl Warren, in the
Brown Decision ruled that inte
gration in the public schools must
begin. Not until 1957 was a single
step taken toward meeting this.
In that year one Negro girl
entered Reynolds High School.
Since that time integration of
school children has progressed at
the amazing rate of one percent a
year and at the beginning of the
present school year, fifteen years
after the court order to desegregate,
Winston-Salem has reached a
height of 15% integration. Mr.
Bray is quick to comment that at
this rate of one percent a year
complete integration will be reached
in 85 years.
In the past several weeks the
Burger court made a unanimous
decision for districts in Mississippi
to integrate completely this year.
With this development the local
school board, headed by Supt. Mar
vin Ward, initiated action to inte
grate uniformly the faculties of the
Winston-Salem, Forsyth County
schools at a 3 to 1 ratio. This
action was taken independently,
without the force of a court order.
With this proposal around 500
teachers would be relocated to
achieve this ratio. Each school
principal would be allowed to
choose tentatively a core, not ex
ceeding 20%, of his staff to keep.
However, if needed to reach the
goals, this core could be split up
and moved about.
Meetings on this proposal have
been held and by the printing of
this article, the decision will have
to be reached as to whether this
action will be taken by February 1,
or postponed until the beginning
of school next September. This
will depend on court action taken
in similar situations in other areas.
The decisions have already been
made for the transferral of teachers
in the event that it is done next
month, as many feel it will be.
The other major area in this issue
is the integration of the students.
It is very likely that the courts will
order similar integration of the stu
dents this spring or early next year.
At present, Winston-Salem has a
citizens committee, of which Dr.
Gramley is a member, whose pur
pose is to study the situation in the
city and report to the school board.
One major responsibility will be
the placement of pupils once the
decision to integrate is reached. No
one knows the method that will be
used but a probable course will be
re-drawing district lines to relocate
students. A ratio for this will prob
ably be established by the courts.
Major changes such as these in
the middle of a school year would
be unavoidably chaotic for the
teachers, pupils, and school system
in general; but how long can such
reforms be delayed ?
ANNOUNCEMENT
During exams there will be only
one lunch period—12:30 p.m. This
will include Sunday also. After
exams during the midterm break,
there will be one lunch—at 12 noon,
with the exception of Sun. Feb. 1,
which will go back to regular sche
dule of 1 p.m.
rear end. Moving on to the last
drawing on the hall, you can really
see the lack of proportioning. The
bodies are big blobs—just like the
clouds—thrown together in a “hope
I hit it right this time” fashion.
This problem is not limited to just
these two drawings. It is true of
almost every work exhibited. There
is nothing wrong with exaggerating
or deforming parts of the body—if
you know how they really go to
gether first. But, like every be
ginning drawer, these girls need to
stare into the mirror and see how
a human body really looks. Not
everybody is a round, boneless,
formless blob.
Now, there are several in which
the proportioning is fine. The work
next to the sign explaining who did
these drawings, is an example of
exaggerated proportioning that very
definitely works. The three bal
lerina drawings also have their good
points. The leg of the far left
thing is just marvelous! Even the
front figure works—except for that
awful face! Then there is another
—one near the auditorium with four
figures in it—which has a beauti
fully done form in the foreground.
This lack of perception in correct
proportioning is natural, though. So
is the lack of perception in texture.
As I said before, the figures seem
like boneless, rounded blobs—very
wishy-washy blobs. The shading in
the gladiator drawing is perfect—
for a cylinder. The figures in the
cloud drawing would also be fine,
if they were clouds. The figures in
the Michelangelo drawing might
momentarily evaporate. This same
flimsy feeling runs throughout most
of the compositions.
The drawings that work the best,
as far as texture is concerned, are
the ones that have sharp divisions
of black and white. They give the
work solidity and interest as well
as texture.
There still remains the problem
of how and where to place the
figures. The victim of the gladia
tors shows movement that is car
ried out somewhat by the man hold
ing the spear. However, that figure
in the background, along with those
lollipop trees has got to go! The
balloon figures of the first drawing
are just—floating? The four figured
composition near the auditorium
has put a floor and wall in that
helps tremendously. But there is
no relationship between the figures.
It would have been much better to
(Continued on page 4)