4

_ ed in an Education Project.

“pointed out,
“- who. must be prepared to be ‘sub:
merged for two years in a culture)
entirely different from their-own:”-It

“: @iative audience,

v

Page Four

THE COLLEGE NEWS

Wednesday, January 16, 1963 °°



by Vicky Grafstrom

For twelve days, Mr. Dudden,
Professor of History at Bryn Mawr,

visited. the tropical paradise of Cey-

lon. He was sent there by the
Peace Corps to determine’ the effec-
tiveness and appropriateness of the
training of the 38 icerasrernte sta-
tioned. there. :

Mr. Dudden Sette an 1 advisory:
capacity in the field of American
Studies during the instruction per-
iod for the Ceylon Peace Corps

trainees at the University of Penn-_

sylvania last: summer.

The Ceylonese group was engag-
Its
members were assigned to*teach: in
central high schools and Teachers’

.-Training--colleges--outside- -Celombo;

the capital of Ceylon, as well as ru-
ral and village schools.

No-Easy Task

“It is no easy task,” Mr. Dudden —
“for these, yolunteers

is nécessary for a:Peace Corps vol-

unteer to have a strong sense of .
_*. gelf-reliance, enabling him to adjust .
-to the demands made by solitude and

isolation from: a. familiar way of.

. life; to rely on their own resources

for diversion.”

Though the volunteers are trained
in the language of the country they
visit (in the case of Ceylon, Sing-
halese and Tamil), their Knowledge
inevitably comprises only the basic
words needed for simple communica-
tion.

The members of the Peace Corps —

group to Ceylon shared the diet of |
-the native students and teachers,
food which often “falls short of ap-
petizing by U. S. standards,” Mr.
Dudden says.

The group has to be prepared for
any kind of activity, often very dif-
ferent Yrom their specified work’ of



teaching..-The-Peace Corpssmembers. =

cooperated with the Ceylonese-gov-
ernment in a project to: reclaim land
from the jungle for cultivation to
combat the food shortage resulting
from overpopulation, (8% increase
of population per year). Shovelling
earth is a far .cry from teaching.

Mr. Dudden said he realized
from his visit the great difficulty

‘involved in becoming a Peace Corps

member, and has a great admiration

Professor Visits Ceylon,
- Reviews U. S. Volunteers Reviewer Finds Concert

he was “much better able to under

stand the position of the waceid
countries of South Asia. _The Cey-
lonese deplore the border. between
India and. China and are afraid of
being subjected to the pressures of
the cold war. Thos¢ Ceylonese who
are drawn toward the East, are dis-
tressed to find that the nations they
feel are the. great Socialist -hope

of the world and .whom they most °

admire are fighting.

~ Crocodiles

Mr. Dudden. found his-short--visit
to .Ceylon..a .rewarding experience.

The people, he said, are charming,
endowed with a gentle sense of. hu-

‘mor and possess a habit at first dis-

concerting, of shaking their heads

—to--indicate’-an-affirmativé- answer. -

The beauty~ of the. country is en-
hanced by the extreme variation of
scenery ‘and animals; crocodiles,
monkeys, cobras, and cockroaches.
Mr. Dudden even found fish with

~ small limbs, swimming in the India
‘ocean, flopping over the rocks, still

in the process of. evolution.

Mr. ‘Dudden “also affirms ‘that: he
can’t go anywhere without running

into someone connected with Bryn .

‘Mawr College. In Colombo he met

Charles David, former Professor of

History at: Bryn Mawr and his wife,
Margaret, who was responsible: for
the publication of the college cata-
logue until 1950. “You just can’t
get away from Bryn Mawr,” Mr.
Dudden--says:~ Bryn Mawrters are
ubiquitous.

NEWS Girl Lasers
New York Strike
~~ Pleads for Puzzle

Since December 8, when Local 6
of the International Typographical
Union went on. strike,. New York
City has grown: accustomed, to the
sight of closed newsstands and

newspaperless, subway. £ars. and..com-_

muter trains.

It has. not grown ‘accustomed,
however, to relying on television

and _ out-of-town papers for ‘news

coverage, having to guess ‘what’s
playing at the local theaters and be-

ing, unable to advertise pre-Christ-

mas merchandise and _post-Christ-

mas sales. —
Among: the union’s. demands are

raises (from $141 a week to $161 on

for what is expected of these pedr, day shifts), shorter working hours

ple. They will bring back to Amer-

‘ica knowledge of the world..and its —
people, knowledge which, dissemi- .

nated to the public, may ease ten-
sions and fears arising from lack of
understanding among peoples.

>~Mr. Dudden feels that the value
of the Peace Corps organization lies

‘in its constant ‘effort to re-evaluate

itself. It realizes the complications
and difficulties of the. varied -pros-
pects for success of the Peace Corps
in different countries.

From his ‘visit,. Mr.

Guitarist Montoya
Plays at Haverford

by Gillian Bunshaft 65. .

On January 12, 1963 Carlos
Montoya, ‘noted® Flamenco guitar-
ist, .performed at Roberts Hall,
Heverford. He had a very appre-
including’ blue-
grass and Joan Baez-minded ama-
teur guitarists,

It would be an “understatement

Dudden’ said

to say that the program was per- .

formed anything less than _bril-

_ liantly.. Senor Montoya’s technique

is breath-taking. His tone in the

" first piece seemed a bit flat and ‘it

was hard to hear the harmonics
at the back of the hall. This, how-
ever, did not last long.’

* The high point of the concert

_ came when “he announced that he
__ would | play. the “San Luis Blus,”
the St. Louis Blues, which the au- »

dience found quite amusing. ~— _
It was generally agreed that

oe > ~ Carlos Montoya, is every bit the
rentertainar and musician that_he
es eronewned puzzles back.

is a Sapeeted, to be.

(a 35-hour work week), ‘which .
would» mean mahy hours of over-
time at higher pay and longer: va-
cations.

But the chief reason for the strike ©

seems to be the purchase of new
printing machines by the papers in
question. The machines would, eli-
minate the need for the manual set-
ting of type, requiring only one man
to opérate. This would consider-
ably cut dewn the number of type-
setters “employed.

~The union cariot dispute the pa-

. pers’ right to purchase- these ma-.

chines, but it is concerned with the
fate of the’.workers who will lose
present jobs with their arrival. One
of the reasons for*the ITU’s concern
-with the. shorter -work week. is its
desire to, spread. out the manual work
-yemaining among the papers’. em-
ployees. It is also hoping to es-
tablish an earlier retirement age in
order to speed a “natural” drop. in

the number of printers with the pa-

pers.

By now, however, the central is-
sues in the strike have become sub-

~ Bryn. Mawr's Dance. Club Goes to New-York; —

by Pauline Dubkin

The Bryn Mawr College Dance
Club’s New-York.concert. on Jan-
uary 5 was a heterogeneous af-
tair:
saw high artistic sincerity com-
bined .with a not-quite-sq-highly-

developed. technique; Jook.. again,
and there was rather: sloppy chor-

eography danced rather sloppily;
and once again, pieces of superb

intensity superbly executed. For’

all three kinds of work the concert
‘was interesting; for the latter, it
was highly successful.
Eleanor Schick, a young New
York dancer who shared the pro-
gram with the Bryn Mawr com-

“pany, opened the concert and per-

formed three other numbers. Her
movement was simple, sometimes

close’ to- mime’ as~ she _ danced - to~
“Maybe .

three. Odetta folksongs,
She Go,” “Midnight Special” and
»Take This Hammer.” Her remark-
able eyes blazed with anger; her
face contorting, she filled the stage
and beyond with the un-showy but
unforgettable’ movements ‘of ~ her
tightly-controlled body. The inten-
sity and ‘anger evident in all her

outwardly uncomplicated pieces

could hardly help but hold’ _ the
audience spellbound.

First Dance —

The Bryn Mawr company’s first
work, “Artists of Destruction,”
choreographed by Senta Driver and
taken from. “The House of Bernar-
da Alba” by Garcia Lorca, con-
tinued i in large part the atmosphere
of intensity.
Senta Driver ‘as
Bernarda danced with technical

_ accomplishment and coldly sustain-

=formed-well-enough:-te-keep-the-re=*5

ed characterization.

Barbara Hurwitz as Adela, in a
looser, more ‘subservient part, sev-
eral times noticably dropped her
tension and her projection but per-

lationship of the two from becom:
ing static.. The piece, working with
an essentially dramatic situation,
‘always looked like what. it should,
at dance, and not a drama shoved
silidenty into an abstract medium.
Senta _Driver’s: face and hands
were particularly compelling.

On the other hand I found “Three
To Get Ready,” choreographed by
Pamela; Mulac and performed by
Pam, Teresa Santini, Elena Mestra,
Minna Nkoum, Gretchen Field, and
Barbara Hurwitz, showy and false.
The movement was not intrinsical-
‘ly bad: but when, in a concert. such

as this one, six girls wearing:,irri- =
descent blue costumes and smiling” ”

cutely prance about the stage to

a Brubeck number, I expect them |

to have sométhing — anything —
to say. I do not think this dance
did have anything to say.

Too Cute‘*

The movements were sae with
enough “precision to keep the piece
from becoming ludicrous, but I
simply got bored with all that
cuteness. To-be fair, some of the
dancers, notably Teresa - Santini,
made the: best of a bad thing and
performed with a good —_ of
style.

“Dance Figure +- for the Mar-
riage of Cana of Gallilee,” choreo-
graphed by Senta “Driver and
, dancéd to’ recorder music and the
reading of an ‘Pzra Pound poem,
was, I felt,'the most polished and
the most, self-contained entity. on

ordinated §o the desire of each side, the program.

to hold out Jonger than. the ‘other.
The union knows that_ several of the |
papers. involved are near ‘to financial

ruin, while the newspapers’ man-~-

agements, anxious to avoid a prece-

Danced by Senta and Nicsle’

Schupf, everything contributed
‘smoothly and definitively to _ the
. total-effect: ‘the sinudus: movement,

“the expressions .of. wonder some- |

_ .dent_ofleniency.. which_ will. encov=... times found on the dancers’ faces,

rage future strikes at this season,

hope to deplete the union’s reserve

_the long, ' ‘lingering reading of each
“word of.the poem, the heavy,. rich

funds,..which..provide. strike. nanghie- colors.of.the- costumes.

for its members.

. Here were two dancers at the’

It is to be hoped that ‘labor and top of their technique doing move-

management can set aside-their pet-
ty differences in the face of the
deeper issues at hand: we want our

or Ne



i

i

‘a
er

‘ments not quite like those found’
, anywhere else. ir

the program,

movements suggéstive of warmth

«-and,-somehow, of a sénsuous East

‘ /
y .
ai i ati iid. inl i hil



look one moment and you.

created by ‘Miss.
Schick’s _ piece. _

* Here,

_were the expected ones,

_THEATER.

¢

pb call ih F a Ree Meistee teh ees ts poet

MOVIES... swore
~An -exceptional film: of Romeo ‘and Juliet: weareing’ Lawn Hatey will a :

instead of a frenetic West. Nicole’s
face and -‘Senta’s -hands were: par-
ticularly expressive. of -the “quali-
ties I- admired yebiuanieaal the
work, Oe

The tone of the program diuiit
ly. switched in another Driver
piece,- “Ikons,” performed by Sen-

ta; Toby Williams, and Jane Rob-_
—bins:-In--a sophisticated, satirical,

and -indisputably “cool”

“Tkons’ ”

piece,

fing. some traditional dance ‘con-
cepts: Though. the movement. was
well-done. in ‘most places, it occas-

idnally. turned ‘“‘straight,”and 1°
am ‘not..sure- the audience..could .al-

ways distinguish - the ‘satire from
the thing satirized.

_l. generally. dislike melahges. of
two or more artistic, media. How-

ever, Eleanor Schick’s piece danc-. .

ed-to- Yeats’ ‘Leda and the Swan”
made’ me drop my prejudice, for
the case at hand at least.

It was not the’ usual movement- >

tacked-on-to-words performance.

words each enhanced the other’s

“power —*perhaps partly because

the.dancer was also'the speaker. If
the movements for such lines as,
“the great wings Beating still”
it really
did not matter: Miss Schick’s prime

goal seems.to be to extract every

drop of power and intensity out of
her uncluttered, sometimes obvi-
ous, movements,: and this she dc-
complishes admirably. And I might
add. that what. she.does with her
face_is_almost—superhuman-

The first thing I feel compelled
to say about. “Mysteries,” the final
and longest work on the program,
is: that the program notes. for it
are. almost. unbearable (‘“Pulse:
out of the life beat of the pri-
mal group;” “Prayer: again to find

i peace-“in--basie~ unity”); Unfortun- ~~
ately, they foreshadow the dance

itself to a great extent. The-chor-.
eography; by Ann Mason, I found.

black-masked “dance r'’s™
swayed and swung’ and jumped to.
loosely: jazzy music, gently spoof--

_ the. movements and_ the.

‘Heterogeneous , Affair’

for the most part both pretentious§ ,
and sloppy, like a book full of -
technical philosophical terms which
hide a fuzziness of thought.

The dancing I found. both very.
good and very bad. When. there

‘were a great many performers on —
stage (and: there: ‘were often-many’"\>")
~ ‘too many) ‘as in the first section,

“Pulse,”
Schupf,

a few, such as Nicole
Senta Driver, Barbara

“Hurwitz, and Teresa Santini, stood

out from. the chaos with precise
movements and a~-combination of
tension and stage-presence. ‘The ,

‘rest, I am_afraid,. too often _lookeg-

like -children~ playing - follow-the-
leader and not doing it very well.
In- “Flight,” Nicole -and- Senta
danced as well as could be expect-
ed considering, the frantic move-
ments .. they..were---given. — Leslie
Hartley, whom I ‘have seen dance
better, looked sloppy and scratchy;
again, the. primary..impression...I.
received was one of non-calculated
confusion.

Inthe “Prayer”: sector: when ©
the entire cast babbles-meaning-
less syllables,. I received the same —
impression, It is well and good to
represent chaos-on the stage; but

~ one should ‘not imitate what- one

is trying to project to such an ex-
tent. that the idea becomes mean-
ingless.

Senta Driver: had the task of

bringing the scene back to normal-
cy and

she. accomplished it far
better than she knew. ‘Her move-
ments, . precise, calculated, and
well-executed, had a calming ef-
feet on the audience as well, I felt.

-At—least, her polished presence on
the stage kept this section from ©

becoming totally ridiculous.
The last section, “Dithyramb,” ~
held up no better than the rest but
was, at. least, characterized by -.
greater projection and stage pre-
sence on the part of the dancers.

well ‘to the dance and was played

--adequately -on the part ofthe
String Quartet. ‘



~ In-and Around Philadelphia

Eugene Ormandy will saaieinn the Philadelphia Orchestra in a program fea-
_ turing violinist Isaac Stern and including.as selections—Strauss: Tone
Poem, Thus Spake Zarathustra; Prokofiev: Concerto: No. 1; Harris:.
Symphony No. 9. The program will be performed on Friday, January

18 at 2:00; Saturday, January 19, at 8: 30; and -pcaaasael January 28,

MUSIC

at 8:30 at the Academy,

-The famous Metropolitan Opera soprano, “Victoria de los Angeles’ will the

presented ‘in recital by the Philadelphia All Star Concert Series, on

- Thursday, January 17 at 8:30 at the Academy.

Geula Gill and The Oranim, Israel’s Most Exciting Folksingers, will appear
at Town Hall, Broad and Race Streets, on Sunday, January 20 at 8:30.

Anshel Brusilow will conduct. the Philadelphia Chamber Orchestra in a pro-
- gram ‘ineluding Corelli’s Concerto Grosso Op. 6, No. 4; Bach’s Violin.
Concerto in E Major; and Beethoven’s Violin Concerto in D Major.
The concert will take place on’ Sunday, January, 20 at 8:00 at the

Academy.

The Philadelphia All Star Concert Series will present the Robert Shaw
Chorale on Thursday, January-~ 24, at 8:30 at the Academy.

Offenbach’s Tales ‘of Hoffman will be presented by the Rittenhouse Cusia
Society at the Society Hill Playhouse, 507 S. 8th Street, on Thursday,
Friday, and Saturday, January 24, 25, and 26, at 8:15.

Anton. Guadagno ‘will conduct the Philadelphia Lyric Opera Company’s
presentation of the Puccini opera, Madame Butterfly; ‘on Tuesday; parr

ary 29, at-8:15 at the Academy.

Leopold: Stokowski will conduct the Philadelphia Orchestra in a ‘pala pro-

gram for the 106th Acedenty Anniversay Concert on Jantary ea - 8:30. ’

eee,

nity

The popular musical, My Fair Lady, will be at the Shubert ‘through ‘January: ie

26.

Elizabeth Seal stars in the comedy, A

through January 26.

a

A Shot in the Dark. at the Forrest

Milk and Honey, the musical starring Molly Picon, ee to the Shubert
on January 28 and will run through February 28.

Cards’of Identity, Nigel Dennis’ satiric cofnedy on Freud and modern psy-
. chology, will be presented at the Society Hill Playhouse on eT. 19

and 20 at 8:80.

The Towne Players wil}: present “The Music “Man at the Towne Raghonmage

on January 18 and 19 at 8:30,

Pins and Needles, a musical review, -willebe-presented: -at-the- Sabares sheantets =
Fo “Upstairs East,” - through February 3.

csr oe een or

- presented at the Van Pelt Auditorium on Saturday; January 19, at 2:00/

The film showing is free.:

The delightfully satirical film Divorce—Italian Style is “currently at fhe

-'Bryn Mawr. .



Carly | on Teacher is being held. over: for the third week at the A more

Theater.

— woh ——— —

$m tuats eBuan gti od

Pi ellie Sat ign Sk Ns ORY hte teens Aa ae ashe 3 Stil 8 pt







Roger Mason’s score lent itself.