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THE SPELMAN SPOTLIGHT
November, 1967
Art Exhibitions
The Spotlight’s Fine Arts Staff wishes to keep the student
body informed about the kinds of activities that will be taking
place in art, music and drama throughout the A.U. Center.
With this in mind we are presenting a list of the art exhibitions
planned for the 1967-68 school year:
1. 56 Color Photographs of “Oscillions”
by Ben Laposky. November, 1967
2. Work by the Art Faculty of the Atlanta
University Center Colleges—Clark,
2. Work by the Art Faculty of the
Atlanta University Center Colleges—
Clark, Morehouse, Morris Brown
and Spelman December, 1967
3. Andean Collection (Fabrics) by
Jack Larsen January, 1968
4. The Printmakers Image from I.B.M. February, 1968
5. Paintings by James & Nieves Billmyers March, 1968
6. Retrospective Exhibition of Romare
Beardon’s Paintings April, 1968
7. Japanese Woodcuts, Etchings and
Lithographs by Tamami Shima and
Hans Bhalla May, 1968
Morris Brown co-ed and Bonnie Bohannan model costumes from
the Dunham collection.
Theater Circuit
Poetry Comer
In
The AMS Players opened
their 1967-68 season with the
production of In Splendid Er
ror by William Branch.
In Splendid Error is a play
that involves a dramatic tri
angle that includes Frederick
Douglas, John Brown, and the
incident at Harper’s Ferry.
The cast for this perform
ance included a number of
newcomers. Douglass Webb’s
impressive appearance lent a
great deal to the role of Fred
erick Douglass, but he seemed
to be somewhat unsure of him
self and failed in some places
to capture the power and ap
peal of Douglass’ personality.
Bettye Coleman who played
Douglass’ wife was no new
comer, but this was her first
starring role. She combined
self-confidence and real talent
to give a really great perform
ance. Our hats are off to little
Christell Holloway who played
Douglass’ daughter. Hannibal
Penny shows great versatility
in the two roles he played. His
English accent was pretty con
vincing, and Hannibal always
makes a very fine villain. Rob
ert Garcia gave a very stirring
performance in the role of
John Brown, but he lacked the
polish that a little more ex
perience might give. We were
happy to see our regulars,
Phillip Kimball and Edwin
Cerney who made very fine
19th century gentlemen.
This performance had the
advantage of very good tech
nical assistance. The settings
were designed by Luis Maza,
the lighting by Dan Kennedy,
formerly of Theatre Atlanta,
and the costumes were de
signed by Eaves, a national
costume company.
The next play to be pre
sented will be Ossie Davis’
Pur lie Victorious.
Sounds
Said
'Soulful'
Soulful, soothing and sensu
ous were the sounds that
spewed forth from Jimmy
Owens, Hubert Laws, Tom
McIntosh, Ron Carter, Billy
Cobham, and a young pianist
substituting for Roland Han
nah—the six musicians who
constituted the New York Jazz
Sextet. The group was spon
sored in concert by the Atlanta
University Center Corporation
this past October 25, in Arch
er Hall. Loud, then soft, up
and then down, the group en
veloped its audience in a sea
of soulful sounds.
They tossed the sounds
among themselves: from the
trumpet to the saxophone, then
to the bass, to the piano and
to the drums. Each instrument
strained to make its own
unique contribution. The mu
sic hopelessly entangled all the
listeners in a tightly woven net
of interlocking melodies, caus
ing them to drift along, then
fall, then soar, dreaming of
other places, other times, other
people, other....
“Whose Child Are You?”
was the question presented to
the listeners during the second
part of the concert. The ques
tion evolved from our ferment
ing ideas and concepts—our
roots. What do they mean?
Confusion and turmoil. . . the
fragility of our existence . . .
smoldering fires of dissent. No
asbestos shields can protect
us from these things. Love,
peace, hate, fear, recurring
themes in the “movement” of
now, all confront us in our
quest for identity. Where do
the answers lie? With us. We
must search to produce them.
The question raisers, musi
cians like these, through the
medium of music, arouse us
and provoke us to formulate
the “why’s” for existence. They
do not just play music for a
night’s enjoyment; they play
to reach out and instigate, to
encourage us to dig and ques
tion our findings.
—Gail Marshall
Walter
Jackson
to appear
Dec 2, 1967
That's Giles
Fresh paint where cobwebs
used to hide
Spacious halls where one
can stride.
Stairs and even an elevator
to ride
That’s Giles.
Sparkling windows, crystal
bright
Soothing, soft, eyesaving, light
And steps, yes flights and
flights
That’s Giles.
Water coolers carefully
spaced
Are found at every thirsty
place
Sweet smelling lounges for
fixing one’s face
That’s Giles.
A huge room with hundreds
of books
A card catalog where one
can look
Busy work tables or
private nooks
That’s Giles.
In this modern antique many
minds meet
To enter life’s society and
compete
Equipped with competent
instructors, it’s really quite
complete
That’s Giles.
Linda Susan Cobb
The Paper Doll
One card board doll made of
Crepe and craft,
Lifted in a phantic
House permeated
With stalwart and tophet.
She was hiding there
With oblivion
And Poly anna.
One day the door opened and
She fell out and warped
Her tendency,
When the door closed,
She was on the inside.
Lillie Kate Walker
It>
It hits you like a flashing bolt
Whose origin is unknown
It stumbles like a newborn colt
Whose innocence is profound
It tries your will
It makes you cry
From bitter it turns to sweet
It often makes you wonder why
Happiness is never complete
With all its faults
It’s wonderful
Without it life couldn’t be
It’s goodness makes up for all
bad
This is love to me.
—Olivia Nesby Robinson
Defense
°f
Ugly
Women
Dere’s sum’thin I meant t’be
saying
Fu’ de las coupl’a days
Evah sence you fo’ks been
Preachin’
’Bout dis hair an’ African
ways.
I hyeah you think Black
Women
Wid natu’l hair’s de thing
Now al a dis soun’s lovely
But it got a funny ring!
’Cause I r’membuh when we
fu’s got hyeah
On dis hyeah ’merican scene
You said we’s de ugl’est
creatures
Dat you men had evah seen.
De white woman wuz lovely
Wid huh long ’n’ gold’n hair
And her fine ’n’ shapely body
An’ d’expensive clothes she
wear.
Fu’s you ran t’us aw smilin’
A solution to the problem
you’d foun’
You said “Hyeah, use dis
pressin’ comb!”
To tone yo natr’l curl down.
Fu’ fo’ hund’ed years we been
cut down,
Taught T’ be ’shamed
d’ouahself,
Made to feel like nothin’
bettah
Den de rats on d’ kitchen
shelf.
All a sudden you sez we’s
beautiful
Ouah hair is natu’lly fine
Dat de white women ain’t
nothin’
’Cause now you got a
“black mind!”
Don’t get me wrong—we
’predate
Evah thing you’s tryin’ to
say
It’s just we been told we’s
ugly
So long we’s use to bein’
dis way.
Fu’ you see, we’s been tryin’
so hard but in vain
To please black men all
dese years
Dat dis new insight dat you
got now
Is a failin’ on deaf ears.
—Kathleen Billups
