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Ol)£ Campus 5ttirror
Published by the Students of Spelman College, Atlanta, Georgia
During the College Year
Vol. VII MAY, 1930 Number 8
EDUCATIONAL SYSTEM OF
FLORIDA
INTERVIEW WITH MRS. MARY
McLEOD BETHUNE
During Mrs. Mary McLeod Bethune’s visit
on the campus it was a rare opportunity for
one of the students to have an interview
with her. Since she has done so much in the
furtherance of education in the state of Flor
ida it was suggested that she would tell
something about the Educational System in
that state.
She stated that for a long time Florida
was far behind in the educational scale as
compared with many of the progressive
Southern states. Within ten years very rapid
strides have been made looking toward a
higher standard of education for all the
people of Florida. Within the last five years
a very decided change has come about par
ticularly in regard to Negro education. The
legislative body of the state of Florida has
committed itself in an unusual way to the task
of investing larger sums of money in the
Negro State College, to provide it with build
ings, equipment and faculty. “While we have
not a class A accredited college for Negroes
in the state of Florida, very rapid progress is
being made in that direction.’’ The building
of more and more high schools is going on.
The standard as to curricula and types of
teachers is being raised in the rural districts
and more emphasis is being put upon the
type of work that is being done. The section
and county organizations of teachers are of
great value in equipping teachers for more
efficient service in rural districts. The sum
mer normals at the Florida State College,
Edward Waters College and Betlume-Cook-
man College are the only summer normals
held for teachers in the State. The work of
private institutes such as Edward Waters
College at Jacksonville, Florida Normal at
Tallahasse and Bethune-Cookman at Day
tona are increasing and lifting their stand
ards so as to help in the furnishing of effi
cient Christian leadership in the educational de
velopment of the State. “There is a grow
ing tendency toward a more equal distribution of
school funds among the authorities of the
state.
At 4 o'clock. May 9, Mr. Louis Palmer Skid
more of the Atlanta Art Association and High
Museum of Art spoke in one of the rooms on
the campus where the Harmon Exhibit of bine
Arts is being shown. Leading up to a discus
sion of special pictures and groups of pictures,
Mr. Skidmore gave same clear ideas of the fact
that genuine appreciation of art knows no lines
of caste or class. He illustrated by the pictures
some of the differences between the Symbolic
Art produced in the last ten years and the
older accepted methods of artistic expression.
THE CAMPUS MIRROR STAFF OF
1929-1930
Reading from left to right, first row: Annie
Hudson, Frankye Berry, Augusta J. Johnson;
second row: Flora McKinney, Mabel Dockett,
Edith Tate, Beautinc Hubert, Elisc Edmonson;
third row: Oteclc Nichols, Mary DuBose, Mae-
nclle Dixon, Ruby Sampson, Mary Alice Dunn,
Miss Neptune, Adviser, and Phyllis Kimbrough.
ANNUAL EXHIBIT OF
NEGRO ART
By Mamie A. Bynes, ’31
For three years the Harmon Foundation and
the Commission on the Church and Race Rela
tions of the Federal Council of Churches have
made possible the promotion and presentation of
awards for distinguished achievement among
Negroes, in fine arts.
Again the community of Spelman College has
been favored and honored with the exhibition
of the works of many of these outstanding
artists. This presentation is made for the pur
pose of interesting the public more generally
in accomplishments by Negroes in the field of
art. It is hoped not only to encourage the
Negro in creative expression of high order, but
to assist him to a more satisfactory economic
position in the field of fine art.
The exhibit has been artistically arranged on
the walls of four convenient rooms in Laura
Spelman Hall. Nearly 3,000 enthusiastic visitors
will have both viewed and studied the pictures
before they are gone. Among those who have
enjoyed the paintings, beside the Spelman people
have been the faculty and students of Morehouse
College, Atlanta University, Morris Brown Col
lege, Clark University, more than 1,000 students
from the Booker T. Washington High School,
many business men and women of the city and
many people from the white colleges and busi
ness firms who are interested in Negro art.
The paintings have been finished in a variety
of ways, the most of them being flat oil painted,
as “Twilight" and other paintings of Mary Lee
(Continued on Page 2)
MUSINGS ON MOTHER’S
DAY
By Augusta J. Johnson, ’32
A rosebud red rests o’er my heart
And smiles its fragrance to impart;
I look again and now ’tis changed—
Its petals all are rearranged.
The smile, however, still I see
As on a face, and tenderly
I cry with glee
"My Mother!’’
MOREHOUSE-SPELMAN
CONCERT
The third annual Morehouse-Spelman Concert
was given in Sisters Chapel, Spelman College,
Friday evening, April 25, 1930, under the direc
tion of Professor Kemper Harreld, assisted by
his associate directors: Misses Naomi Hayman,
Lillian Webster, and Irene Dobbs. The
audience, which was made up of students from
both colleges, and friends, including both local
and national musicians, heard an exceptionally
fine concert.
Tbe Morehouse-Spelman orchestra made up
of fifty instruments opened the concert with a
March of Drumm, following this was Gavottee
by Gluck and Minuet by Handel. The chorus
of fifty-two voices sang, The Lass "with the
Delicate Air. by Arne and Under the Trees
by Bliss. Hinton Jones played Minuet by Mo
zart and the Hungarian Dance No. 5 by Brahms.
The former was especially well played and at
the same time showed the exceptional technique
of the player. Gypsy Love Song by the More
house quartet was so pleasing to the audience
that its hearty applause brought an encore which
was a Negro spiritual. The Spelman orchestra
played a very pretty waltz by Bennett, followed
by two soprano solos, Strickland’s My Lover is
a Fisherman and Carew’s Love's a Merchant by
Sara Blocker; both numbers were well done.
The Morehouse-Spelman orchestra played the
well-known overture, Orpheus by Offenback
which was one of the high points in the con
cert and showed the skillful training the orches
tra had received under its director. Two pleas
ing numbers by the Spelman Glee Club were
I he Walnut Free by Schumann-Saac, with
violin obligato played by Thelma Brock, and
I he Birth of Mom by Lioni. Carol Blanton’s
interpretation of her piano number. Polonaise in
F. by Liszt was beautiful. The group of Negro
Spirituals was very effective. Joseph Bailey,
baritone, did well his two solos, Ships That Pass
in the Night by Gerald Tyler and Life and
Death by Coleridge-Taylor. Another high
point in the concert was the Spelman Quartet,
singing On the Steppe by Gretchaninoff. Fol
lowing this was the Morehouse Glee Club; they
sang. Morning by Speaks, and the concert closed
with Haydn’s The Heavens arc Telling.