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Thursday, December 3, 1987 / University Daily Kansan
Campus/Area
Ramaley lists goals for future
By a Kansan reporter
The University of Kansas wants the state to toss lots of pennies into its wishing well during the next legislative session.
Judith Ramaley, KU executive vice chancellor, presented a list of goals for fiscal years 1989 and 1990 to members of the University Senate Executive Committee on Tuesday.
There are good students talking about leaving the University because they can't get the classes they need.
- Mel Dubnick presiding officer, University Senate
Ramaley said the wish list would help to guide distribution of money from the Margin of Excellence proposal this year and future KU budget requests.
KU's wish list includes money for:
■ faculty and staff salary increases,
including stipend increases for graduate teaching assistants.
undergraduate and graduate education
cation.
off-campus instruction
- for campus instruction.
- research.
- public service.
- academic support services.
- student services.
- campus environment and admini-
strative support services.
Ramaley said she had not yet ranked the goals from highest to lowest priority but that when she finished the job, half of her salaries would be the top priority.
Performance artists find few limitations in an undefinable art
By BRIAN BARESCH Staff writer
Mel Dubnick, presiding officer of University Senate, said he hoped some money for student services and enrichment equipment and registration procedures.
Other goals for faculty and staff include hiring more teachers to improve student-faculty ratios, reduce teacher turnover, and staff and improving fringe benefits.
"There are good students talking about leaving the University because they can't get the classes they need."
No one in the room knew quite what to make of that funny machine or the slides that started out the performance art piece, "Open Trench." A cabib made of old storm doors stood in the middle of a garbage-strewn stage, surrounded by a fence made of discarded porch railings.
Behind the audience, a noisy machine made out of a clothes rack, a director's chair, a searchlight, a slide projector and other odds and ends too odd to identify lumbered toward the stage, playing its lights around the stage and the audience. A man on stage started arguing with a tape recorder for demonstrating under-understanding the importance of creation. The tape recorder seemed to be coming out on top until the man broke it.
Soon a two-person discussion about existence and the meaning of life got under way, and "Open Trench," a piece of performance art, had been performed.
Although performance art eludes definition, its practitioners find few limitations in the forms it can take, and it is becoming a popular form of artistic expression. Roger Shimura-mon, professor of art, teaches performances and creates a history of Kumu and his students will display their creations at 8 p.m. today at the Lawrence Arts Center, Ninth and Vermont streets.
Performance art is whatever the artist makes it. Tesday night, a show of performance art included a discourse on spirituality by candlelight, a slide show and monologue mocking an artist's own demeanor. Mimicking shoes and detergent boxes on a bucket on her head as a discourse on monkeys played in the background, and a man in red long johns talking about tools and raking.
the performance was given by students of Patrick Clancy, who teaches performance art at the Kansas City Art Institute in Kansas City, Mo. His students played to an audience of about 60, who weren't quite sure what to make of what they were seeing.
of art, Clancy said. In fact, only in the last few decades have the various forms of artistic expression separated from each other. Especially in Africa, he said, sculpture, dance and music are intertwined.
David Gaines/Special to the KANSAN
"We isolated sculpture from its ritual context when we took it and put into museums." Clancy said.
Performance art differs from regular acting, he said, in that while an actor will assume the personality of the character he is portraying, the performance artist makes himself the medium of expression, using whatever props he can and creating whatever context is appropriate.
Historically, artists in various media always have collaborated, in part by hanging out together in bars and schools. Clancy said.
'We isolated sculpture from its ritual context when we took it and put into museums.'
Patrick Clancy
performance art teacher
Performance art is the oldest form
Sheri Frye, Kansas City Art Institute student, visually expresses "Healing" during a performance art piece.
In the years after World War II, Clancy said, barriers between the media of artistic expression began to be erected. Eventually, however, those barriers began to come down through the group-participation efforts of John Cage, Charles Olsen and others.
Shimomura said performance art was becoming more popular thanks to the multimedia eforts of artists David Byrne, of the Talking Heads, and Laurie Anderson.
"Open Trench" presented an example of a group interacting on a piece. Ben Arnold of Kansas City, Mo., who argued with the tape recorder, said the performers Tuesday had to deal with the unfamiliar shape of the room, which put them a little off their rhythm.
Shimomura he started his students out with narrow guidelines, then worked to expand their imaginations from there. Ultimately they would interpret given subjects as they saw fit.
"A lot of it had to do with us trying to deal with the space," he said. "We're just trying to work this out."
Arnold said much of what happened was improvised, and that it hadn't quite clicked. "You have my point of view, and his point of view," he said. "When you have three points of view you have to find some kind of common meeting point."
The audience wasn't sure what to make of the show, either John Ferdico of Kansas City, Mo., who mimicked artists' lectures with a slide show and monologue, said he
was disappointed by the reaction to his piece and the one that followed, both of which were intended to be funny but which barely drew a chuckle from the crowd. Ferdico said he thought the audience might have been unsure how to react because it was trying to see the performances as art rather than just reacting as they felt.
One audience member, Ari, Lawrence resident, said he found the medium of performance art interesting but was reserved in his reflections on the show.
Employees of Kansas may vote on union
By NOEL GERDES Staff writer
Staff writer
Bob Redling, the spokesman, said the KAPE board of directors voted Oct. 3 to become an affiliate of the National Employees based in Washington D.C.
The Kansas Association of Public Employees could become an indirect affidate of the AFL-CIO by June 1989. The AFL-CIO took the TeapekA OFFICE office, said Tuesday.
The Federation of State Employees is an affiliate of the American Federation of Teachers, which is an affiliate of the AFL-CIO.
The AFL-CIO is the United States largest national labor organization.
KAPE's approximately 6,200 members must vote by June 30, 1989 whether to become a permanent member of State Employees, Redling said. Until members vote, the affiliation is temporary.
KAPE members would not have to pay the federation's full national organization dues until 1989. Now, those dues might be about $3 a member each month for a state the size of Kansas, Redling said. KAPE dues are $5 a month.
Ernest Dyer, president of the Douglas County chapter of KAPE, said the biggest benefit of joining the Federation of State Employees would be that it would identify KAPE with a larger, more visible organization.
Redling said affiliation with the Federation of State Employees would provide KAPE members with new services, such as professional polling, media campaigns and recruitment training.
Dyer said some KAPE members might be reluctant to affiliate with the Federation of State Employees because they didn't want to be part of a union. Kansas is traditionally a non-union state, he said.
But Dyer said that by definition, KAPE already was a union.
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