Monday, September 29, 1997 The University Daily Kansan Section A-Page 5 Dancers swing to music of past at Puff Pant Prom By Rachale Detweiler rdetweiler@kansan.com Kansas staff writer Lawrence resident Marion Howey was the woman of the moment Saturday night at the Puff Pant Prom at the Riverfront Mall. When the band Junk Yard Jazz dedicated "All of Me" to Howey, 81, she stood up and dramatically blew a kiss to the band and the crowd. As she sat down, her smile was as lively as the dancers spinning and swinging in their 1920s-style costumes. This year's prom was a revival of one of Lawrence's most original and enjoyable parties, said Billie Archer, president of the Friends of KU Women's Studies, which sponsored the event. This was Howey's evening to remember her involvement with the original Puff Pant Proms back in the 1930s as a member of Tau Sigma sorority at the University of Kansas. The original Puff Pant Proms were held at Robinson Gymnasium and were for women only. They came as couples, and many women dressed in men's clothes. The proms ended in 1941 because of World War II. The tradition ended at the same time as the era of big bands, spirited dancing and flashy costumes. "Everything was about dancing when I was in college," Howey said as she scanned the dance floor filled with 20 people. "I can't dance like they do now. It has no style. It's just jumping around." Back in her college days, the women made all the costumes they wore to the dances, or they borrowed tuxedos from male friends. Howey said. As she looked around the room Saturday, Howey talked about how other forms of entertainment had crowded out dancing. "Not many kids came," she said. "They're too busy. I have six grandchildren, but they all better learn to dance." During the band's intermission, Howey spoke with band member Clyde Bysom, Lawrence resident. Bysom and his band played tunes for the original Puff Pant Proms. Bysom said that dancing and playing music was therapy and a way to remember the past. He said that he would play for anyone who would take him. He saw jazz greats such as Frank Sinatra and Tommy Dorsey play in Lawrence during his college days. "We really like to play for dancing," Bysom said. "I hate to see dancing fade away. It used to be the main thing for entertainment." Local dance instructors Di Anne Damro and Mike Rendel taught original dances of 1920s and 1930s, such as the Charleston, the Varsity Drag and the Swing, to the participants, some in vintage clothing of the era and others in modern dress clothes. "It makes them get giddy and have a fun time," said Nate Folland of the flowing 1920s costumes, shining jewelry and long-stemmed cigarette holders. "But if you feel like you had to dress up, it would take away the fun." Basket exhibit meshes form, function By Linus Williams Special to the Kansan A collection of bamboo baskets representing rural Japanese craftsmanship that, one critic called unforgettable is now on display at the Spencer Museum of Art. "A Basketmaker in Rural Japan," on loan from the Smithsonian Institution, features 100 bamboo baskets made by Hiroshima Kazuo, who has been making baskets for 65 years. The exhibit, which opened in August and will be at the museum through Oct. 12, contains baskets that serve the utilitarian functions of rural Japanese communities. Each basket has its own unique shape and size, ranging from the size of a purse to the size of a bathtub. "If someone walking through this exhibit would give themselves the opportunity to follow the lines of how these baskets are tightly woven and placed together, they would be amazed at the kind of practicality that's there," said John Teramoto, curator of Asian art at the museum. "Everything in these baskets is made for a purpose. Everything fits together in a way that strengthens something else." The collection includes baskets for catching eel and trapping fish. There are sturdy delivery baskets, backpacks, sieves, funnels, colanders and a woven bamboo tray for raising silkworms. Throughout the exhibit, some baskets may be handled and examined by the public. "The baskets represent a long tradition of craftsmanship, as well as the overall idea of craftsmanship in Japanese culture." Teramoto said. injury in his childhood prohibited him from working in the fields. At age 15, he was apprenticed to a basketmaker, and three years later he took up the trade on his own. Hiroshima Kazuo was born in 1915 in southern Japan. A hip Kazuo traveled to families who needed his skills and stayed with them until he had completed making and repairing baskets. He studied each basket he repaired, combining his own style producing unique blends of traditional Japanese baskets. In 1948, he and his wife opened a workshop on the southern Japanese island of Kyushu, where he still makes baskets today. In a review of the exhibit in "The Kansas City Star," critic Alice Thorson wrote, "Handmade bamboo baskets, which began as functional objects, do not immediately suggest notions of "art" in the Western sense, but as presented in this exhibit, they are unforgettable." 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