Friday, April 20, 1979
University Daily Kansan
7
'Norma Rae'a winner
Bv LESLIE GUILD
Reviewer
It's all true, what they say. Norma Rae is a winner.
A movie that is sometimes referred to as a sequel to "Rocky",
"Norma Rae" is a female version of someone who fights the odds
with her strength.
But unlike the success of Rocky Balboa, Norma Rae's success is not just a personal triumph, it is a victory for the undergirls in life. Norma Rae Webster, as a modern mother Mother Jones, joins up with a union organizer and, after a series of wrong-does by the Henley Textile Mill, she's able to convince herself and her fellow workers that a union is the answer.
The film begins with Norma Rae's discovery that noise conditions in the southern mall are contributing to her mother's temporary deftness. She also discovers that the management of the Henley Text Mill does not plan to do anything about it.
Although Norma Rae, played by Saly Field, decides to let this situation subside, she later, after a series of coincidential meetings with the organizer, begins to think about what a union might do for her.
IN THE FILM, an important interaction takes place between a New York union man, Reuben Wordyousk, and Norma Rae. Their relation to each other represents a learning and sharing of sophistication and simplicity. She gives him the ability to understand the risks local workers take in supporting the union and he in turn helps her realize her own ability to think and lead.
Most of the other textile workers realize that they are being abused by the management of the mill, but it is only after the death of her father from overwork at the mill, that Norma Rae truly devotes herself to leading the fight for the union.
KANSAN Review
Her dramatic denials of the policies of the mill take her from standing on a table in the mill and promoting a work shut-down to going to jail. This is followed by an equally dramatic buttress scene in which Norma Rae tells her children that, although she is now considered a jail bird, she's acting out of dedication to something she really believes in.
IN THE ROLE of Norma Rae, Sally Field is utterly convincing. From the beginning of the movie, when she portrays a small southern town "easy," to the end when she is an involved, liberated individual. Norma Rae is real. Field injects into the role a perfect mix between Norma Rae's strong social conscience and her ability to be a compassionate, understanding woman.
Both Ron Leibman, who plays Reuben Wordewicz, the union organizer, and Beau Bridges, who plays Sunny Webster, Norma Rae's husband, do an excellent job to enhance the reality of the film.
ONE SUCCESS OF the film is it's display of the abuse of southern labor and the gains made by the people at the top. But the real success of the film is the growth of the character of Norma Rae.
Norma Rae becomes a symbol—a way to reach the textile workers. Norma Rae triumphs over wrong. She wins for herself by thinking for herself, but she also wins for others who are mistreated and powerless. As the absorbing theme song of the film, written by Norman Gorman and David Shire, says, "It Goes Like it Goes," and for "Norma Rae" it goes great.
The structure juts up from the luscious, green hill overlooking Potter Lake and the football stadium. The Campanile's chimes float in the air as students stroll to class.
3y DAVID LEWIS Staff Reporter
Hard work keeps bells ringing
Inside the Campanile, near the top of the mighty giant, a slight, scholarly man is poised over a huge keyboard. He plays the keyboard with a finger, damp room houses $3 casted bronze bells.
Mark Holmberg, assistant professor of music theory and assistant carillonear, has been playing the instrument for three years.
They make good music together.
Transcription music, originally written for other instruments and adapted for the concert setting.
Holmberg plays a lot of music on the carillon. He listed "Carry Me Back Old Virginia" and "Listen to the Mockingbird" as two of his favorite tunes.
"I ALSO LIKE patriotic, contemporary and wedding tunes," he said.
Holmberg knows he has an audience
"Once in a while, I hear bravos or claps from downstairs."
Holmberg assists Albert Gerken, head carilourein, with the formal recitals held
each semester and often performs informally during the week.
"I guess the job just sort of happened," he said. "Mr. Gerken approached me about the job, and after the necessary approval, I had the job."
Holmberg is not paid for his services.
"I play the carillon strictly as a hobby.
It's different," he said.
The job sometimes has surprises for Holmberg.
"Last week, I was practicing, minding my own business, when suddenly I heard a saxophone. It turned out someone was playing my saxophone on the fifth floor practice room.
"AT TIMES, nothing happens when I push down the keys because the console becomes frozen during the winter. Overall, not a lot of unusual things happen," he said.
The job,however,has its peculiarities.
"You do not see an audience and have no idea whether 10 or 400 people are listening.
"It's also hard to hear yourself because you are in a room about 10 by 12 feet. Unfortunately, the people listening can tell if you have made a mistake," he said.
The job is demanding, he said.
for April 22, May 6 and May 21, the latter being for graduation exercises.
Holmberg also helps to maintain une carillon.
"The linkage of the wires has to be adjusted about twice a week because the temperature is constantly changing," he said.
FILING THE clappers ensures the continuity of sound, he said.
"The clappers, which sound off the bells,
must be filled with steel brushes."
"The bells have to be turned six or eight inches so that the clappers can hit a new spot. The bells are filled two or three times during the school year."
The bells weigh from 12 pounds to seven tons, he said.
"The bells hang above the oak console in five tiers, with the heaviest ones at the bottom and the lightest ones at the top. The oak console is one of which look like broommatack ends." he said.
"I instead of slightly pressing the keys as one would do with a piano, I have to push the keys down. I use both my hands and feet to press them because because the carlson has a pedal," he said.
KU dancers learn art of teaching
The carillon has been played regularly since the Cammannite was dedicated in 1961
By TONI WOOD Staff Reporter
Staff Reporter
"Step on-out and out. Take a little longer here. That's it! That's good. That's what I want."
Kaye Cline, assistant professor of dance, snaps her fingers to the music's beat, directing members of the University Dance Ensemble they rehearse in front of the studio mirrors.
The bells were made in England by the John Taylor Co.
The dancers move together with quiet grace, then move apart with quick energy. Like all artists, their work creates a certain mood.
But unlike other artists at the University of Kansas, the dancers are part of a group that is not necessarily a university.
The dance program is in the health, physical education and recreation department of the School of Education. The 13 students now majoring in dance will graduate from KU with Bachelors of Science in Education.
Musicians, actors and artists at KU study in the School of Fine Arts. Students who want to teach music or art can enroll in the Department. But dancers do not have that option.
dance program become part of the fine arts school.
ROSE ANNE SPRADLIN, special student majoring in dance, said, "I would prefer that it (the dance program) be in the fine arts." He also suggested that automatically granted time for creativity.
Tom Welsh, a member of the dance company, said he, too, would like to see the
"The people in physical education understand games and competition," he said, "but they don't understand performance and the professionalism that does with it."
"The P.E. department has been good to us. They tried to do everything they could."
Wayne Ossess, chairman of the HPER department, said the decision to keep the dance program in the School of Education resulted from a study done two years ago.
Cost effectiveness, location of facilities,
Kansas requirements for teaching dance
and other choreography.
"WE FEEL STRONGLY that dance is a very critical area in the P.E. department." Ossense said. "We still would continue to have dance in this department (even if it were made a part of the fine arts department.)"
Sus Carpenter, graduate assistant in dance, said that to her, dance was an art, but music was a passion.
"I'd rather see the program in the department where it got the most support—financially, from the administration, and, students, whether in education or fine arts."
James Moeser, dean of the School of Fine Arts, said he considered dance a performing art. He said a main reason the program was successful is that students at the studios were in Robinson Gymnasium.
"In terms of being funded, the dance program would be no better off in this way."
CLINE SAID THE dance program was relatively new, and this was the first year the administration had been serious enough about dance to hire two full-time in-
She works with Joan Sloss, assistant professor of dance. Together they coordinate the舞 curriculum, which includes ballet, fokking-dancing, modern dance, jazz dance.
Two graduate assistants, Faria Clark and Sue Carpenter, help teach the classes.
"I'm very sympathetic to it," he said.
Cline said that her classes were not highly oriented toward education but that her students learned teaching techniques in a "roundabout way."
"It's almost by omission," she said. "They learn to teach by being taught. They're not quite trained."
"Since we're so new, we really don't have a sharp delimitation between education and performance. The performing area is stronger, though, because of the classes educators need to learn performing aspects, so there shouldn't be a sharp division."
Sloss said, "I feel that, primarily, dance starts with movement and becomes an art after a large part of training. I personally like to see dance in the health, physical education and recreation department. I'm very comfortable."
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Music series to conclude with Mirecourt Trio
843-3470
A program of Beethoven, Mendelssohn and Martini will be performed at the Mirecourt Trio of 3:30 p.m. Sunday and 8 p.m. Monday with Rehearsal Royal Hall in Murphy Hall.
The trio, made up of Kenneth Goldsmith, violin; Terry King, cello; and Johnensen, piano, has been playing together for four or five years, Raymond Stilbur, student emeritus of cello and director of the Chamber Music Series, said.
The group is based in Los Angeles where King was an assistant of collector and conductor Gregor Flatig士 at the University of Southern California.
Admission for the concerts, which will be the last two performances of the Chamber Music Series, will be $2 for students and $4 for the general public.
Platigoryk once said about the trio,
"An ensemble such as this is rare indeed—marvelous unity, musicality, taste and all above, all great artistry marked their playing. I consider them second to none in the world."
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