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in full. “When an individual
becomes involved in the par
ticipation and execution of an
art. many ‘false’ values can be
changed. The quest and neces
sity, for instance, for things
material only can become sec
ondary. When time and effort
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are spent in creative self ex-
pression and appreciation.
People already involved in
coYnmunity affairs who also be
come involved in the arts can
spread their taste and interest
in many directions and there
fore help expose the total com
munity to the arts. In a time
in many directions and there-
when affairs are at such a point
of unrest, if we lose our indi
viduality, our ability to express
ourselves and communicate
with others and share the ex
citement of things artistic -
what else is left?”
Among the exhibits shown
recently at the Center one
called the “Shtetle Life is with
People” by Beryl Satteo should
especially be noted. It pictured
the life of the European Jewish
Ghetto. There were 60 illustra
tions all in wood.
Others included Graphic-
Prints based on Biblical
Themes of the Old Testament
loaned by the L. A. Jewish
Centers Association in celebra
tion of its 50th anniversary.
Thirty artists participated in
showing their works. They
were all Jews, except the work
of a nun. Among those includ
ed was Perli Pelzig who had a
woodcut, entitled The Four
Seasons. The readers of The
Southern Israelite will recall
Pelzig as the Israeli artist who
created the unique front of the
Center, the mosaics on the lob
by floor and the large panel in
mosaics outside the auditorium
showing the name of the Cen
ter.
Israeli Art Exhibit — about
60 graphics, prints and oils —
200 guests attended the formal
Edward At. Kalm, author of
this perceptive article, is the
former director of the Atlanta
Jewish Welfare Fund, Federation
and Community
Council. Not long
ago, when he
met John Slaw-
son, veteran ex-
ecu tive vice
president of the
American Jew
ish Committee,
commented, “You
don't look re
tired" Mr. Slaw- Ed Kahn
son had in mind the stereotype
of retired persons — “doing
nothing." Mr. Kahn does not fit
this category. He is very busy,
reading, studying as usual and
doing other things near and dear
to him, such as chairing the re
cent dedication committee of the
Hebrew Academy and writing
articles, such as this one. for The
Southern'T^raelite.
opening of the show.
At this writing there is an
exhibit of etchings, lithographs
etc. of the Emancipated Jew as
an artist loaned by the Jewish
Museum of New York.
In addition to Polly, who al
so teaches, the department now
has a staff of 8 instructors
(part-time) in the creative
dance, crafts, sculpture, paint
ing, ceramics, drama and even
a guitar teacher for all ages.
Some people still think that
art has no place in the activi
ties of the Center. It just does
n’t belong. It has nothing to do
with basketball. Does the Cen
ter aim to become an Art Gal
lery? Should the Center all
an art school?
Physical education is a nec<
sary part of any Center pi
gram. If Jews are to survr
they must be physically !
Max Nordau once characteii
ed it as “Muscle Yudenthun
But the cultural arts are an >
sential part of a balanced pi
gram in a Jewish setting.
The Cultural Arts Depar
ment in the Center in Atlanta
is dominated by the personal:
ty, character and commitment
of its director, Polly Marson
She gives it the tone and quali
ty of sincerity and artistic in
tegrity.
Ralph Waldo Emerson, the
American essayist, poet and
philosopher, has written in his
essay on Self Reliance that “an
institution is the lengthened
shadow of one man.” The valid
ity of this concept does not
negate the practice of democ
racy. It merely emphasizes the
importance of the leadership,
the guidance, the integrity and
the vision of one who directs
the destinies of an institution
If this is true of an institu
tion it may be truthfully said
that the Cultural Arts Depart
ment of the Center is “the len
gthened shadow of one wo
man" — Polly Marson.
Cultural Arts are an impor
tant element in the “constant
renewal of Jewish life.”
Visiting art galleries and mu
seums cultivate a sense of ap
preciation and can be an ex
citing experience. But nothing
can be a substitute for the
sense of creation, the personal
participation and exhilaration
of the process of achieving an
object of beauty.
Polly remembers all her
“drop outs”. She calls them
“my famous dropouts”. They
include “arty” females, bash
ful and timid single adults,
business men and women, pre
cious little children, profession
als, compulsive husbands and
neurotic wives and even talka
tive psychiatrists — they are
all members of her family of
“famous dropouts”.
When any one of them meets
Polly on the stairway, on their
way to the locker rooms for a
swim or to the Health Club
one can overhear this sort of
dialogue:
“Hello, Polly. I really mean
to come back. I have been so
busy. But I haven’t abandoned
the idea of returning to art"
And Polly smiles and accepts
their words as an earnest of
their intentions. Most of them
pave their return road with
good intentions only.
But it is paved as well with
a new appreciation of art—a tie
which links them culturally to
the creative world. Some will
return . . . perhaps but all will
possess the experience of the
magical and charming teacher
known as Polly Marson.
The Southern Israelite
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