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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.