1974_11 The Daily Collegian November 1974

              ■S-THE DAILY COLLEGIAN        Thursday, November 1
Children's world
displayed in art
Interested in devils?
Two classes to be offered
By Kathy Freem;
Collegian Staff Wr
•You never ask a chili
It?' You say 'Do you wn
n they v
philosophy major.
She said 50 children between
the ages of two-and-a-half and
five-and-a-half are participating
tn the show. Natural sculptures,
paintings   and   drawings   will be
dren's art exhibit tn the CSUF
College Union today and tomor¬
row,   said Judle Rarlden, prga-
•A Child's World Thru Art"
ls being presented by the children
of  the  CSUF   Day  Car
Anyone Interested In demons,
devils, vampires and other mani¬
festations of the supernatural
should have no trouble choosing
classes for the spring 1075 se¬
mester at CSUF
Two classes In the subject are
.:eptioi-
»  3 p.m
Although   the courses ar
ested la the subject may hi
link them together,* said Selb.
However, he added some of the
films will be based on the llter-
MI chad Tate, associate pro¬
fessor of English, said the'films
go almost hand In hand with that
course."  Tate  will Instruct the
"Traditional works oU the
supernatural like Frankenstein
and Dracula,- will be studied in
Seib's class. Students Interested
In myths, sociology and anthro¬
pology will benefit from the
course, which Selb said was nol
limited lo English majors.
The tl
.vill  h,
e Day Care Cent
>r.
«l  couldn't   flgu
t show for
prehenslve review of the horror
genre." according to Tale. The
development of horror films from
ON CAMPUS
WORLD NEWS IN BRIEF
•The people Yes" will play
nightly through Saturday and
Tuesday through Saturday next
week In the Arena Theatre. Cur-
fan early German
film) to *Nlght of the Living Dead"
will be viewed.
Interest In the supernatural Is
high at present, according to
Selb, whosaid It seemed tocome
allsm. the feeling that the na-
terial is not everythlng.'hesald.
In addition, "younger people are
especially disenchanted with
technology . . there's also this
feeling more and more ... that
there's something that lies be¬
yond the physical."
And, of course, "people always
like   to be frightened," he said.
Metzger
(Continued from Page 1)
precise." It contains "the gem of
thoughts," she said.
far enough developed to have a
language of Its own. she feels,
so how can you say something If
you don't have a language
She said it ls absolutely es-
■ en make public
Black players to b^Lca|t Wichita game?
By John Karlukl
. Uhuru Editor
Tomorrow evening the CSUF
football team (aces the Wichita
State Shockers In the last home
,:ame of the seasoa admlst ru¬
mors that the Black players on
the team Intend to boycott this
very vital game for the 5-GBull-
logs. The Bulldogs will be "try¬
ing to redeem themselves* for
last week's 24.-28 loss to Long
In
the 49ers, the
Bulldogs were ahead by 17 points
early In the Second half, but
failed to score the final 29 min¬
utes of the game.   .-
Rumors persisted of a last,
rninute scrubbing of a contem¬
plated boycott of the game by
several Black members of the
Fresno State team.
As will happen with rumors,
some versions have been so dis¬
torted that accusations of certain
*F»ERSITY
players not ferayinY WAie best of
their ability during the 28-24
defeat have been mouthed.
ConfroWT,w"»,flh#rV!fegatlon'
the head Todtball ToafcTf refused
to deny or confirm the rumored
VknoWjI couldn't
According to Eddte Lopez, a
Fresno Bee sports writer, one'
of the players contacted Monday
admitted he had heard the boy-
UHURU
FRIDAY, NOVEMBER 15,1974
cott rumor. He also said several
other players were aware of It.
But they treated It as a Joke.
"No. I- don't actually know If
anyone planned to stay borne
Saturday or not. I did hear two
players (Blacks) talking to one
"■-- before the game. They
satd something like, 'Hey, I hear
.we're supposed to boycott tbe
game.'  And then they laughed.*
For tbe first time since the
football team problems surfaced,
In an article by Uhuru writer
Melvin Ricks, coach J R Boone
admitted that problems do exist
In the team.
I'll admit there have been
some problems, said Boone in an
Interview with Lopez, "but they
have been more Internal than
external. But there seems to be
certain radicals who want to keep
stirring things up.
Tbey Just won't let things
die. I don't intend to make a lot
of
their     s
the  «
llllll s\\|)S III MONSI
Gambling can cost
Convocation will be held
today for CSUF professor
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I fclnk It's Just ridiculous.
"My first responsibility Is to
the school. I can't help lt If some
of the radicals keep on talking
about certain things which we all ■
felt were solved. It's Just selfish
actions by selfish people, that's
all.
tott.*
Among the accusations made
by some of tbe players were
lack of communication and re¬
spect between Boone and his as¬
sistants and the team. Racial
discrimination waa also charged.
These charges led to the expul¬
sion of running back Ron Parker
Everything may now be smooth
sailing for Boom, bul the team
probleme were never solved.
Whether the boycott will come
through, all we can do Is watt and
see. Whether lt comas through
or not. there Is still a horrible
smell coming out ot the Doghouse.
African art versus Black American art:    any differences?
By Kwesl Kay
[I all goes well, the postponed
invocation of Black artists will
• held In Nigeria In November
>7S. It will be the second such^
stlval; the first was In Senegal
1966.
1 complex
>n In Nigeria's
tal. Lagos, to accommodate
it 25,000 artists, who areex¬
it lsi
s of
■ orga
rs, but the obvious e
Its that will accrue-not to
on the prestige — to the
Ian Government (by way of
st trade) and to the sponsors
»ay of TV and ancillary
l) will more, than cpmpen-
or the outlay.
I Idea behind-the festival
s to be to promote and fos-
lack culture'and forge clos-
ks and solidarity, moral and
hi Black and African Festl-
ol Arts and Culture. Judging
the plethora of literature that
appeared in the world press
it it. the 1975 festival would
m to be more outward looking
1366 festival v
iloneer spirit and was thus
ve. But the 1975 festival
trlve for greater commlt-
o create a lasting cohesion
acts of the Third World.
Ipants will come from as
field   as   Latin   America,
described as original when placed
beside African art. What orig¬
inality 11
by Its li
which Is neither African nor
American but a combination of
both. Although that kind of art
ls derivative, lt can be expansive
because Its origins are to be found
In social beliefs which are
brought to bear on the envlronr
ment In which lt grew, serving
specifically the needs of a social
Its milieu Is political, because
lt Is protest art an art In search
of art and Identity, a gestation of
historical awareness and a coun¬
ter-attack on constricting politi¬
cal and emotional pressures. It
is thus otward looking and draws
Its primary cohesion and uni¬
formity from an underlying meta¬
physics peculiarly Us own. Its
Immediate surrounding being
hostile. It sometimes commands-
response by resorting to ex-
thereby becoming coun-
tends far beyond, the topical
problems of the Third World. Its
two-faced nature prevents It from
achieving any kind of commit¬
ment. On the one*tiand, there I5
the cry for return to Africa and,
on the other, a demand tor more
:k arl* 1
a term canonly
superficial and
rapid-
id where migra¬
tions are becoming a way of life
and improved communication
bring the nations closer to one
another, It Is not too difficult to
foresee the establishment of new
polarisations; It may then even
sound absurd to talk of 'Black
While   there   Is  nothing ap¬
parently wrong In using a •West¬
ern" format to present 'Black*
art. Ihe danger la that In the
absence of clearly identifiable
genres, theatre, especially
'Black* may lose Its entertain¬
ment value.and become, a plat¬
form for political agitation.
It must be said, however, that
one advantage of using a well-
presslon Is the facility afforded
thereby In communication.
Whereas It behooves African art¬
ists to re-seek and establish the
moulds In which African art can
best be cast and which conse¬
quently will show their art tobest
advantage, Afro-Americans must
make do with the Western forms
chain; African art to develop what
has been suppressed for cen¬
turies by Imperialism. Insofar as
they complement each other, both
pure African art and Afro-
American art, or any art of the
Afro-American plays displays
kind of unity which Is lacking In
.their African counterpart. The
plays of Soylnka, for example,
portray characters who ara es¬
sentially Nigerian, not Congo¬
lese, not Camblan, whereas Afro-
American ones are without such
1 all-embracing prob-
deal   1
h Ihey
It 1
* "original art* from -Africa
id the hybrid forms from out-
i" the continent.
Among the discussions the ven-
re has generated, one thing Is,
" 10 tie resolved - that Is the
•rinltion of "Black Arts.* To
'«gest that are can be divided
'0 "Black* and 'White* on the
1 me lines as political dlfferen-
J'ion based on pigmentation
wld be the height of naively.
I! ATrlcan art ts original, most
it Is not only traditional but
*"ped in tradition. Historically
"1 e of its social Importance
■•■ have waned or even been
si on later generations of the
rage.
it Its si
"on still generates heated argu¬
ments between traditionalists and
'•''• new Iconoclasts. Its origins
Jre to be found not in social be¬
liefs but In nature Itself In alius
aspects. Being traditional It ts
incapable essentially of fast
srowth or development.
Afro-American art cannot be
Given the various for
the channels through w
baffling for a clear definition of
BUck art to be constructed. Col¬
onialism, Imperialism and the
slave trade have had a marked
effect on them, so that they re¬
flect as much psychological dif¬
ferences as linguistic attitudes.
What makes them acceptable
Into one matrix of speculation is
that they are products of, and are
fired by, the Black imagination.
But although they can fit Into the
•Black experience*, their diver¬
sity (the Black experience Itself
ls very diverse) makes It Im¬
possible to assume a uniformity
which has been removed through
alien imposition.
The diversity becomes clear¬
er when one considers the exe¬
cutive arts. In Africa, where the
cantata and the communal story*
telling under the silvery moon
were part and parcel of commun¬
ity life, the advent of the theater
The fund of ritual and animistic
purification has so far failed to
yield an eloquent and Identifiable
continental theater. Thesongand
dance routine, which served Attic
Greece so well, has not been cap¬
able of creating a continental
Identity.
The Black American theatre
Is,- In form, a Western theatre,
whoso only distinction to being
considered Black ls that It deals
with themes peculiar totheBlack
American experience. Theoreti¬
cally, lt Is original. Its symbol-
Ism may be plantation-Influenced
but as it deals to an extent with
tha socio-political plight of the
deprived and the minority, Us
relevance Is universal and ex-