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The Other Paper Student As A education takes place in the schools. How could it? You can educate slaves; you can only train them. Or, to use an even uglier and more timely word, you can only program them. At my school we even grade people on how they read poetry. That’s like grading people on how they — . But we do it. God help me, I do it. I’m the Adolph Eich- mann of English 323. Simon Lagree of the poetry plantation. “Tote that famb! Lift that spon dee!” Even to discuss a good poem in that environment is potentially dangerous because the very classroom is contaminated. As hard as I may try to turn students on to poetry, I know that the desks, the seats, the IBM cards, their own attitude toward school, and my own residue o UCLA method are turning them off. Another result of student slavery is equally serious. Students don’t get em ancipated when they graduated. As a matter of fact, we don’t let them graduate until they’ve dem o n strated their willingness - over 16 years - to remain slaves. And for important jobs, like teaching, we make them go through more years, just to make sure. What I’m getting at is that we’re all more or less niggers and slaves, teachers and students alike. This is a fact you want to start with in trying to understand wider social phenomena, say, politics, in our country and in other countries. Intimidate or Kill Educational Oppression is trickier to fight than racial op pression. If you’re a black rebel, they can’t exile you; they either have to intimidate you or kill you. But in high school or college, they can just bounce you out of the fold. And they do. Rebel students and renegade faculty members got smothered or shot down with devastating accuracy. In high school, it’s usually the student who gets it; in college, it’s more often the teacher. Others get tired of Nigger fighting and voluntarily leave the system. Dropping out of college, for a rebel, is a little like going North, for a Negro. You can’t really get away from it so you might as well stay and raise hell. How do you raise hell? That’s a whole other article. But just for a start, why not stay with the analogy? What have black people done? They have, first of all, faced the fact of their slavery. They’ve stopped kidding themselves about an eventual reward in that Great Watermelon in the sky. They’ve organized; they’ve decided to get freedom now, and they’ve started taking it. Students, like black people, have immense unused power. They could, theoretically, insist on par ticipating in their own education. They could make academic freedom bilateral. They could teach their teachers to thrive on love and admiration, rather than fear and respect, and to lay down their weapons. Students could discover community. And they could learn to dance by dancing on the IBM cards. They could make coloring books out of the catalogs and they could put the grading system in a museum. They could raise another set of walls and let education flow out and flood the streets. They could turn the classroom into where it’s at - a “field of action” as Peter Marin describes it. And, believe it or not, they could study eagerly and learn prodigiously for the best of all possible reasons - their own reasons. They could, theoretically. They have the power. But only in a very few places, like Berkeley, have they even begun to think about using it. For students, as for black people, the hardest battle isnJt lith Mr. C h a rlie. I t ’s w ith w h a t M r. C h a rlie has done to your mind. Edited by Joseph Blase. Entire text available upon request from English Dept., Room 271, Office G. THE THEATRE Zorba The Greek Salt City Playhouse opened its 5 th season Friday, Sept. 22 with their performance of “Zorba”. The musical was adapted from the movie “Zorba the Greek”. As usual SCP has produced an enter taining musical hit. The character portrayal of “Zorba” done by Joe Latito was excellent. Latito, managing director of SCP, carried “Zorba’s” philosophy of life throughout the show, “Zorba” is a fantasy character who dances thru life and shares his philosophy with a stranger, “Niko” played by Joe Bova. Bova who has been in theatre for years, was excellent. His interpretation of Niko, the logical businessman, seeming in sensitive to life, was great. He then falls in love, much to his own sur prise, with the widow, the “Whore” of the village, played by Lynn Girourid. Lynn’s sensitive por trayal of the widow moved the audience and left her audience in tears at her death. Meanwhile, “Zorba” also has been forced to fall in love with the French woman at “the top of the bill”. Mm. Har- Although slow in a few spots, “Zorba” gives its audience an exhilarating performance and commands the stage with music and talent at all times. tense played by Barb Gibbons, is a refreshingly beautiful girl and the typical French lover. Zorba and Hartense become engaged and Barb sparkles the stage with the characteristics of woman in love. The Leader of the chorus and the Cretan Village was played by Chris Lightcap. Her stage presence as the Leader was demanding of her audience and her mocking tones towards “ Z o rba” and his Philosophy were terrifically played. Credit must go where credit is due—G. Rcidenbaugh’s magnificent stage direction com bined with Pat Latito’s fine musical direction, made for an excellent production. The show will run Friday thru Monday during the remainder of October. Tickets are available at SCP—half-price for students and Senior citizens. T.V. b A stunning French television ballet based on the ancient Greek Fhaedra myth will be presented on International Performance Thur sday (October 26). “Phedre” will air at 9:00 p.m. on Channel 24. French prima ballerina Claire Mott, who made her American television debut three weeks ago on International Performance in Stravinsky’s “The Firebird” stars in the title role of “Phedre”, which combines the forceful choreography of Milko Sparem- blek with a libretto by Jean Coc teau. “Phedre” was produced by the Office de Radiodiffusion et Television Francaise, and is one of several French programs being featured in the PBS series. In the ballet, Miss Motte is Phedre, whose husband Theseus has gone off to war and is believed dead. Jean Pierre Bonnefous por trays Theseus handsome step-son Hippolytus, who becomes P-hedre’s lover, and Sparemblek is the god like Theseus, who returns to find he has been cuckolded by his own step-son. International Performance is presented by WETA, Washington, D.C. with a grant from General Electric. BAR jpOuft&l If© f o o d P r i n k s Games C S W T k f l i - B e m n o t h e campus D R A F T S 3 0 C ALWAYS MIXED DRINKS 5 s:oo — 7:00 pm . . THE BETTER BAR Israel Since Israel became a state 24 years ago, the Middle East has been involved in continuous ar med conflict. One of the most serious obstacles to peace there, is the inability of Arabs and Israelis to sit down together and discuss possible solutions. On the David Susskind Show Saturday (October 28) at 10:00 p.rri. on Channel 24, four Arabs and four Israelis will sit down together. David Susskind has accom plished the near impossible by get ting Arabs and Israelis now atten ding graduate schools in this coun try to meet in a confrontation of words. The Israelis participating are: Joel Mokyr, Economics at Yale; Michael Handel, PhD candidate in Government at Harvard; Samuel Harlap, Government at Harvard; and Pnina LaHav, PhD candidate in Law at Yale. Representing the Arab position are: Omar Chamma, at the Center for Middle Eastern Studies at Columbia; Sana Hassan, Government and International Af fairs at Harvard; Namid Habra, Computer Sciences at Columbia School of Engineering; and George Khyrallah, Atomic Physics at Yale. Attention If the Library were able to open on weekends, which time would you prefer to use these services? □ Saturday Morning □ Saturday Afternoon □ Sunday Morning □ Sunday Afternoon Please check one, tear out and return to Library circulation desk. Page 13 Everson Museum IVAN MORAVEC - Pianist; Wed nesday, November 1, 1972. Among record enthusiasts the Czechoslovakian pianist, Ivan Moravec, is something of a legend. His now famous recor dings for Connoisseur Society of Chopin, Beethoven and Debussy won him rave acclaim including an award by Stereo Review for one of the “10 Best Records of the Year” . Among musicians throughout the world he is known as a connoisseur's pianist. FREDERICA VAN STADE - Mezzosoprano; Wednesday, November 29, 1972. Acclaimed by critics and public as one of the brightest young talents at the Metropolitan Opera, the 25 year old American soprano has a busy season this year which includes appearances with the New York Philharmonic under Bernstein, a Carnegie Hall con cert with Marilyn Horne, a debut at the Paris Opera as “Cherubino” in a new production of \The Marriage of Figaro” direc ted by Georg Solti and a British debut at Glyndebourne. JAMES KREGER - Cellist; Wed nesday, January 24, 1973. , Of his New York debut in March, 1971, the New York Times critic wrote, “ Since phenomenally good debut recitals do not hap pen very often, James Kreger's formal entry into the ranks of cello virtuosi at Carnegie Recital Hall must be accounted a memorable event. — Mr. Kreger’s playing resembles that of Mstislav Rostropovich and Jacqueline du Pre in that it is strong, vigorous and impassioned.” This young American cellist is 25 years old. MURRAY PERAHIA - Pianist; Wednesday, April 4, 1973. Am e rican pianist, Murray Perahia, comes to Syracuse fresh from winning top prize in this year’s prestigious Leeds inter national Competition in England. As a result of this triumph he debuts in London in January with the Royal Philharmonic Orchestra and appears next year with the London Symphony, the BBC Sym phony, the New Philharmonia Or-, chestra and the Israel Philhar monic and plays at the world famous Edinburgh and Bath Festivals. Women & War Continued From Page 11, CoL 5 haired Army (Militia girls) and of the Army of Mothers of fighters (Mama’s play an important part in Vietnam). She mentioned the female founder of the Right to Live Committee in the South who was carried to her own trial on a stretcher after repeated beatings by Theui officials. But Jane Fonda did something far more important than merely citing facts and listing statistics. She gave faces and per sonalities to the women of Viet nam. In her moving portrait of Min, a young peasant girl, she revealed the strength and infinite patience of- the resistance. Min, an illiterate girl from South Vietnam had come to the realization that her people would never be free un til the Americans left. For aiding the resistance, she had been thrown into prison three times and three times she had escaped. Her leg had been opened with a knife, the heel of her foot shot off, her skin pigmentation darkened by the chemicals. Despite the fact that she involuntarily rellives her torture daily, she talks of going back to continue the fight. Ms. Fonda quoted a Vietnamese proverb. “They say if you walk out your door, you will meet a heroine.” For every Mme Ky ship ping heroine across the border from Cambodia, there is a Min continuing the struggle — the rock cannot last forever. . . •Ms. Nicholson a freelance writer. She is affiliated with the Women's Information Center.
