PAGE TWO THE MICHIGAN DAILY .4TTNlnav_ IANTAR.'V a.rt _ i ahA '71 : PAGE TWO THE MICHIGAN DAILV ~TThZflAV TA~rTTA11'~Y '~1 1Bi~o a i Ltix, .1ti1VUAItY ;G 1, lyb2S dance Novel Interpretation NATfONAL GENERAL CORPORATION art Highlights Japanese Prints at Art Museum F'OX EASTERN THEATR Upm FOR VIL I E 375 No. MAPLE RD.-769.1300 1:1- usave the children home". NOW SHOWING___ Feature Times: 3:15-5:15-7:00-9:00 : . ti -'--r.. -:- .. .-,. Indian Dance Performance i -Daily-Jay Cassidy APPEARING LAST NIGHT at the- Lydia Mendelssohn Theatre, Mrs. Sudha Sekhar gave a performance of Indian classical dances (Bharata Natyam). The dance was sponsored by the India. Students Association. music Chicago's Little* Smhony Performs W1th Precision By SURI An exciting and most enjoyable evening of Indian classical dances was arranged last night by the In- dia Students' Association at the Lydia Mendelssohn theatre. Inspite of the many other pro- grammes on campus, the theatre was almost completely filled. Mrs. Sudha Chandrasekhar thrilled the audience with her skill and original representation of various moods. The program was all the more enjoyable because at the begin- ning of each number, Mrs. Sekhar gave a brief introduction explain- ing the highlights of the partic- ular dance. Mrs. Sekhar is an economics graduate from Bombay University and an ardant devotee of the an- cient and most traditional classical :iance of India, Bharata Natyam. By her grace, charm, originality and ease, Mrs. Sekhar won the hearts of the large audience. One must make special mention of the "Kumbha Nritya," where extreme control over her body movements were clearly depicted, and of the Aandal Nrityam, the concluding number. A point of special mention about Mrs. Sekhar's performance: Very few dancers in India are at ease at both Bharata Natyam and Kuchipoodi. Mrs.Sekhar possesses that rare gift and that made her programme all the more appealing. Indian classical dance is by no means simple. It takes rigorous and strenouous training, and Mrs. Sekhar spends at least eight hours a day in her dance practice. All in all, Mrs. Sekhar's perform- ance in Ann Arbor was unique and will be long remembered. Indian Classical Dance The two styles of Indian clas- sical dances that Mrs. Sekhar per- formed last night are Bharata Natyam and Kuchipoodi. Bharata Natyam is basically an Indian ballet, which gives depth to such music through vivid facial and bodily expression. It is char- acterised by vigourous movements, fast' rhythm and gay abandon. The graceful postures, intense fa- cial expressions and hand gestures )r "Mudras" make Bharatan Natyam an aesthetic delight. Kuchipoodi is an offshoot of Bharata Natyam, but unlike the later was originally performed by male artists from the state of Andhra Pradesh, in India. Music, dance and drama are richly com- bined in this form of dance. The Artist Mrs. Sekhar started learning dancing at the early age of five, and gave her first public perform- ance when she was eight years old. Mrs. Sekhar spent over 18 years in attaining excellence in these; two forms. Indian classical dan cing. She occupies a unique place in the world of Indian classical dancing. She gave over 600 per- formances in India between 1958 and 1967, collecting more than half a million rupees for charities. This bears adequate testimony of her high calibre. She strives in her zeal for greater and greater per- fection. Not only is she an artist, but a choreographer, par excellence too. EDITOR'S NOTE - "Japanese divided into 300 feudal territories, Prints: Traditions in Costume" i ieah it a00local goernmorent on so ttheMseu "ofAt each with a local government through Feb. 18. The following headed by a daimvo or feudal lord. article discusses the importance These, aided by their samurai or of the printin Japanese life and warriors, kept the lower classes its'use in costumes.I under firm control, but were pre- The Japanese wood-block print vented from becoming too powerful or ukiyo-e originated during the themselves. Edo period (1615-1867), a time of Ukiyo-e is not basically an aris- peace and prosperity. The Toku- tocratic art, although the first ar- gawa Clan, after a long period of tist whose name is associated with civil war, had overthrown the wood-block tradition, Iwasa Mata- Mikado (Emperor) in 1600 and bei, was a daimyo's son. Because established itself at Edo (present- it was relatively inexpensive to day Tokyo) from which it ruled produce, it was patronized pri- the country for two and a half marily by the merchants of the centuries. All foreign relations middle-class. Thus it describes were severed and the country was their daily life, their entertain- ment, and their festivals as well as the more traditional subjects of legend, history, and landscape. Genre scenes portraying the lower class were also frequently depicted. However, ukiyo-e masters par- ticularly delighted in designing actors in popular roles and beauti- ful women (usually geisha). The latter were often used in parodies of literature, drama, or aristocratic life. Artists took care to represent the dress of their subjects accu- rately and elegantly, for the Ja- panese appreciate both the beauty of the garment itself and the sym- colic significance of the motifs in the textiles, many of which have been adapted to contemporary fashion. Thus these prints have left a valuable record of the' changing traditions in costumes. The earliest prints, called sumi- e, were taken from a single cherry- wood block charged with black ink. The simple, handsome black-and- white designs which resulted were used as book or album illustrations and were sometimes issued singly. Soon these were enlivened by color added by hand, first red (tan-e), then orange and green (beni-e). [shikawa Toyonobu (1711-1785) was the first to use blocks to add I colors (primarily red and green) to the basic black outlines; this was called bene-suri-e. He also experimented with superimposing two colors to create new tones. When fully developed polychrome prints (nishiki-e) were first pro- duced by Suzuki Harunobu around 1743 they were likened to silk bro- cade because of their beautiful colors. The dyes used for these prints had vegetable or mineral bases which have unfortunately faded from their original strong, but harmonious tones. The pat- terns and colors of the prints re- flect changes in weaving and dying processes made to meet the in- ;reasing demand for more elabor- ate and ostentatious design in tex- tiles and costumes. SATURDAY & SUNDAY LA NOTTE (1960h) by MICHELANGELO ANTONIONI the director of ".Red Desert" and "Blow-Up" "The sweet life has gone sour!" Starring: Jeanne Moreau, Monica Vitti, and Marcello Mastroianni ELIZABET TAYLOR MARLON BRANDO IN THE JOHN HUSTON-RAY STARK PRODUCTION REFLECTIONS IN A GOLDEN EYE - ~-G~U~ILD 4* 7:00 & 9:05 P.M. ARCHITECTURE AUDITORIUM NOW ONLY 75c By MARK LAFER PROGRAM Symphony No. 6 in D major . Haydn Pastorale d'ete ... ...... Honegger Five pieces for Small Orchestra (1962) . Wallace Berry Concerto for Flute and . Orchestra ........... .....Ibert Symphonieaconcertante for Violin and Viola ...Carl Stamitz Danses concertantes ...Stravinsky The Chicago Little Symphony, its 21 members performing like a fine-jeweled watch, presented a . thoughtfully chosen and widely varied selecton Of worasin a well played,,, performance last rlight in Rackham Aud. And. it is the rare concert in- :eed which is marked by so large quantity of solo work as was the one heard from 'this, youthful group. After reading through one of the more interesting of the early Eaydn symphonies, "Le Matin," and the quite relaxing Pastorale Fete" of Honegger, Conductor Thor Johnson's "little symphony" approached the more formidable "Five Pieces for Small Orches- tra" by Wallace Berry. Berry, a member..of the Univer- sity music school faculty, wrote' this work on commission for the Little Symphony in 1962, but, I believe, this was its first complete performance in Ann Arbor. Being unfamiliar with the work, I can Jo little more than comment that I found it quite listenable, and definitely can not find fault with the playing." CORECTION .Due to a typographical error" one paragraph from :. a pge. one story- by Urban Lehner in yesterday's edition was inad- vertently inserted into an ar- ticle by Steve" Nissen. The paragraph sread: "Re- gents Alvin Bentley, Robert Brown and Paul Goebel voted with Matthaei and Cutlip in favor of' the appeal. Regents Robert Briggs, Gertrude lueb- ner and Otis Smith voted against."j This paragraph referred to. the 5-3 'vote approving a, court challenge on IAv079' as r6- ported by Lehner. The vote to abolish curfew and let students in university housing units make their own visitation rules' was 7-1 with Regent Paul Goe- bel dissenting.. In addition Regent 'Otis' Smith was identified as head of- the General Motors Legal Divi- sion. Actually he is. assistant general counsel for GM. The final three selections of the rogram perhaps showed off the %bility of the individual members f the ensemble to a greater ex- tent than the earlier ones. In the [bert flute concerto, the flutist nary Sigurdson, displayed a defi- nite feeling for the music and ex- 3ellent technical ability. His per- formance was marred only by his pendency to make the same physi- al motions regardless of the mu- sic. The Stamitz piece, written in an earlier hey-day of the small or- chestral group, and the Stravin- Sky "Danses," written in a style aot far removed from that ex- amplified in the compositions of the Mannheim school, showed the iuallties ofthe reduced symphony at-their-best. The readings were crisp and light; each part could be clearly ;icked out. In the Stamitz "Sym- phonie concertante," it was re- warding to hear the solo instru- rnentalists, Alfio Pignotti, violin- st, and Raymond Stilwell, violist, without having to wade through ;he lushness of a 50-man string section. The evening concluded with an encore, the "White Peacock," by rhe American composer Charles I'. Griffes. 'Mickey One' Passes 'Bonni By ELLEN FRANK One of the most rewarding outcomes of the success of "Bonnie and Clyde" is a reap- prisal of the earlier works of its director, Arthur Penn. "Mickey One"-(a critical success at the' 1965 New York Film Festival, but a commercial failure - is thankfully joining in the reviv- al at the Fifth Forum. "From the Star, Producer and Director of 'Bonnie and Clyde'" should not be resented as an ad- vertising lure. "Mickey One" stands on its own, yet retains notable features from Penn's "Bonnie and Clyde" and "The Left Handed Gun," a late 1950's interpretation of the Billy the Kid legend, starring Paul New- man. These three films, which Penn himself has said are his best, all deal with violence, particularly the crime-pursuit-capture pat- tern directed toward the indi- vsdual whom Penn consistently rfuses to call a "criminal". The director's unique attitude to- ward his heroes is capsilized by i te and Clyde' a few remarks in "Mickey One" -Mickey's gril friend asks him if he really is guilty. He replies, "What does that mean? Isn't guilt simply the absence of in- nocence?" "Mickey One," well known in Europe as the best of Anerican films, is in many ways superior to "Bonnie and Clyde". It is a far richer film, employing every possible device, including music by Stan Getz atid the noises of the city to stress Mickey's strange guilt and flight. THIS PRINT is from a collection entitled "Japanese Prints: Traditions in Costume," now appearing at the Museum of Art. "ARABS or ISRAELIS ? A DILEMMA IN THE AMERICAN LEFT" A DEBATE SPONSORED BY THE ORGANIZATION OF ARAB STUDENTS DAVID GUTMANN LARRY HOCHMAN Assoc. Prof. Psychology, U of M Assoc. Prof. Physics, E.M.U. Moderator: KAMAL IBRACHI UNION BALLROOM, 7:30 P.M., WEDNESDAY, JAN. 24 Vth Forum 210 S. F I FTH AVE.-761-9700 Between Washington and Liberty NEW SHOW TIME POLICY: CONVENIENT MATINEES Every Day-LATE SHOWS at 11:00 Every Fri. & Sot, MON. thru THUR. Shows, 2:30, 7:00, 9:00. F RI., SAT. & SUN. continuous from 1:00 FRI. & SAT. 1:00, 3:00, 5:00, 7:00, 9:00, 11 :00-SUN. 1:00, 3:00, 5:00, 7:00, 9:00 HELD OVER BY UNPRECEDENTED POPULAR DEMAND The Makers of "BONNIE AND CLYDE" present WARREN BEATTY * I i I INP"Pmmmrmgwmqmma DIAL 5-6290 ,~4'!?~IT~TY' 3rd 1~~al~II~uJNWeek "The Tension Is Terrific !" -N.Y. TIMES "Keeps You Glued To Your Seat !" -MICHIGAN DAILY AUDRE HIEPBURN K SUPERB! Stunningly put to- gether and uncommonly well played! Arthur Penn' has put extraordinary scenes on film! Warren Beatty's performance is original and brilliant!" -NEWSWEEK "Arthur Penn has made an American film that raised the N.Y. Film Festival to rare heights, a brilliant screen work, visually exciting and intellectually satisfying. Mickey One is told in stark, fast-mov- ing nightmare terms that sparkle with cinematic excitement and is marked I I fi b C 'f.Y 1 da k ti a i+ 1 r r I InMETROCOLOR ISIRRYMOORE 'JAN MURA'SEANE LANGDON'PAUL MANTfE SHOWS AT 1,3,5,7,9 P.M. .4 -1 HI 4l 'I i I Feature at 1:25-3:25-5:30-7:30-9:30 av} ?; :i4: 7;"i::"ii'r.'r}}': :: ".u.S::::ti{};: