Pavlova's pupil
Dancer charmed world
Ruth Page
Homeward bound, Campers look back
By JUDIE BLACK Kamper Kansan Reporter
Very soon you will be weighted down with suitcases, boxes, dresses, sacks of uneaten food, shoes and dirty laundry for the long trip home.
You will walk through the doors of your dorm for the last time and be amazed that six weeks could have passed so quickly.
Although you will be slow to admit it, you have grown to like dormitory living. It will be hard to leave...
● the hole you kicked in your right closet door.
● the shower nozzle that never sprayed, only dripped.
- the air-conditioned bliss of your room which was kept at a constant 98 degrees.
- the privacy of the hall telephone.
● the thorough, daily maid service of your roommate.
● the community hair dryer that blew cold air for 15 minutes.
- the quiet elegance of the cafeteria.
● the yellow couch in the northwest corner of the lounge.
● the loving, parental care and concern of your counselor.
- the panoramic view of the parking lot from your fifth story window.
- the sometimes cool, often beautiful and never predictable Kansas weather.
- the cute little black bugs in your bed.
- ● the expensive excursions to downtown Lawrence.
- the nights of stereo, radio and conversational solitude.
● the unwelcomed rapping at your door each morning at 6 a.m.
● the fourth tree in the third row at the bottom of the hill.
the unwelcomed rapping at
- the pair of sandals at the bottom of Potter's Lake.
- ● the fluffy lumps in your 56- year-old mattress.
- the five inches of new muscles in each of your legs.
able voice of the public address system.
the clear, easily understand-
the tears of paring.
the last glimpse of Daisy Hill.
4 KAMPER Jly. 25
1969
the tears of parting.
By LEA ANNE BROWN
Kamner Feature Editor
Little more than five feet from the floor, a wispy cap of fawn-colored hair frames the animated face of Ruth Page.
Tragic brown eyes dominate that face, yet the lines surrounding them tell of laughter and success. Watching this woman, one does not think immediately of bourées and arabesques, but Ruth Page was perhaps the greatest American ballerina of her time.
AT THE age of 11, without any formal training, Miss Page danced for Anna Pavlova and was immediately invited to study privately with the great prima donna in Chicago. According to Miss Page, Pavlova gave her the "spark" which launched the fabulous career including performances all over the world.
Looking back, she said, "I was one of those people things just happened to ... I don't know why."
MISS PAGE no longer dances professionally, but she has a noticeable reputation as a choreographer and director. "Frankie and Johnny," "The Bells." "Billie Sunday" and "Carmina Burana" are some of her more famous accomplishments.
She claims none of the new futuristic ballets really shock her since she was doing "wild things with elastic, masks and strange costumes long ago."
A native of Indianapolis, she now divides her time among her home in Chicago, a Paris studio and a villa at St. Tropez on the French Riviera.
Advising today's youth, Miss Page chuckled, "Oh, I think all boys should take ballet so they can play football." She continued more seriously, "Dancers of today mustn't ruin their lives for the ballet. They have to be hep about other things too."
Then, gesturing impulsively Miss Page concluded, "I guess I was lucky. My life has been one great, marvelous adventure."
—Photo by Steve Yelvington
Victor Alessandro
Conductor started on back row seat
By SAYE SUTTON Kamper Co-Editor
Standing on a seat in the back row of a concert hall during World War I, a conductor was in the making.
With his grandfather by his side and pencil in hand, Victor
Spectacular jump-17-700!
By BRAD REYNOLDS
"The student plays as much music in these six weeks of Camp as he would normally play during three years of high school," said LeRoy Esau, Camp administrative assistant.
The music division has remained the dominant part of Camp enrollment since the Camp began in 1935 with 17 students. Since then the division has expanded, adding more bands, orchestras and choirs along with other classes. This year there are over 700 students in the music section alone.
Most Music Campers are busy all week. Each is in an orchestra, band and/or chorus all of which present a concert every weekend. Besides practicing with these groups, many students also take private lessons from instructors at KU.
The Campers are expected to practice about one to two hours a day, besides attending their regular classes. There are classes in theory and advanced theory which give the students an opportunity to compose their own music.
Emphasis is also placed on individual performance. Auditions are held to give the Campers a chance to play at one of the advanced student recitals which are given Wednesday nights during the last three weeks of Camp.
This division is also highlighted with the visits of 14 nationally known musicians who serve as guest conductors during the weekend concerts. Regular conductors include Russell Wiley, Camp Director, who heads the Concert Band; LeRoy Esau, Red Band; Kenneth Bloomquist, Gold Band; Dick Caton, Blue Band; and Gerald Carney, associate director, who heads the Symphony and Concert Orchestras. Choral director is James Ralston.
Alessandro waved just as hard and intensely as the conductor before him. Here is where he learned to love music before he could even talk well.
For the fourteenth year Alessandro returns as a Camp guest conductor. He controls the young musicians well and though they sit in awe of his demand for excellence, they respect him.
PACING BACK and forth he runs through a piece for the first time. The band is tired before he starts. He senses it. He starts out slowly. "Fine, now let's crank it up a bit," comes while rubbing a deservingly tired right arm. They play it again. This time he snaps out the beat orally as if trying to bite the notes off to get the rhythm wanted.
Sitting behind a desk later, Alessandro said, "Conducting here at the Camp keeps me posted on how the next generation is developing and thinking musically and otherwise." He said he knows no "generation gap" because his summer work here gives him a definite cross-section of youth across the country.
At 16, the NBC Symphony performed a piece that he composed. Since that time he has decided that a good conductor needs to devote himself to conducting alone. In the 31 years that he has been conducting professionally since his first post with the Oklahoma Symphony at the age of 22, he has toured internationally.
ALESSANDRO BELIEVES good music needs to have a certain balance between the emotional and intellectual. Too much fantasy or too much reality seem to throw it off in his opinion.
Being a conductor of his intensity is demanding. While conducting the New York City Opera in 1967 he became so involved that he unknowingly stuck his baton into the bone of his left hand and went right on directing. It was only when he finished that he realized that half of his baton was in one hand and the other half in the other.
In spite of all the snapping and growling he does from the stand, he produces clear and melodic music every time. That is pretty good for a kid with nothing but a pencil.