When did
(Continued from Page 1)
after the centennial celebraton, the
University had its sesquicentennial,
which coincided with Hatcher's
retirement. To mark both. occasions,
the University hosted "an international
conference with distinguished scholars
from all over the world" talking on a
variety of subjects, Hatcher said.
So that's the way it was. Or is. Take
your choice-1817, 1837, or maybe even
1841 as the date when students first
came to this campus. Like so many
questions at this University, there's
more than one right answer.
The Michigan Daily-Sunday, September 30, 1979--Page 7
Ann Arbor, Michigh
the University was founded as 1817, but the Daily Photo by JIM KRUZ
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The official University seal (right) shows the date
Graduate Library (left) shows the year as 1837.
Classroom time dominates ELI schools
(Continued from Page 1)
some are in their 30th printing with
volumes up to 40,000 copies which,
Sears said, enables the University of
Michigan Press to print some of its
more esoteric works which may have
volumes of only a few hundred copies.
Distinguishing between the produc-
tion of teachingnaterials and basic
research, new ELI director Selinker
said ELI has developed "no body of
research that one can point to." This
factor was also of concern at a recent
regularly-scheduled meeting between
the Executive Committee of ELI and
the (LSA) College Executive Commit-
tee. At that meeting, according to Frye,
the question "Why are we in this
business if teaching (and production of
teaching materials) is the only thing
we're doing well?'.' was raised.
The classic University conflict bet-
ween research. and teaching is par-
ticularly acute at ELI due to its special
institutional status as, in official
University jargon, a "unit" reporting
directly to LSA Dean Frye, not a depar-
tment. This distinction disqualifies its
staff from receiving professorships and
the benefits the title confers - par-
ticularly, sabbaticals and other paid
time off to do research.
SEVERAL ELI staff members con-
firmed that with their present teaching
loads, there is little time left over for
research.
Selinker was appointed director in
1977 and given a written mandate from
Frye stressing "the need to rebuild
quality throughout the staff at ELI"
and "the need to create i healthy
balance ... for teaching, preparation
of pedagogical materials, and resear-
ch."
This need was motivated by a
growing concern that, according to
Frye, "The intellectual capital on
which ELI was built may be becoming
exhausted and a new generation of
research is needed or (ELI's)
reputation is bound to slip, if it hasn't
already."
SELINKER emphasized his own
research background and said he finds
the mandate consistent with his own
goal to "make ELI an excellent place
for applied linguistics research" and to
strike a new balance between teaching
and research. "The pressure comes
from me," Selinker said in respect to
his drive for a greater research role at
ELI.
The signs of a stronger emphasis on
research at ELI are already evident.
For example, Selinker has filled three
recent staff vacancies with outside ap-
pointments, granting contracts that
specifically include time for research.
In addition, the ELI staff has defined
numerous areas relevant to applied
linguistics research as a base for
achieving Selinker's aim of "building
an academic discipline here at ELI."
Selinkoer and many instructors said
some of these subjects will have ap-
plication to other areas of the Univer-
sity - particularly, the School of
Engineering with its many foreign
students, the School of Education, and
English composition courses.
Frye acknowledges, however, that
any major effort to promote research
by lightening the staff's teaching load,
such as hiring more instructional staff
or reducing the student enrollment, is
impeded by ELI's role as a generator of
income for the University.
"I have not always felt complete
freedom" in making such policy
decisions concerning ELI, Frye said,
explaining that over the years, the ELI
revenue has gradually become built in-
to the overall University budget.
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Sun Ra's spaceship of soul
EL CI
SUN., SEPT. 30
8:00 P.M.
AUD "A!'
SUN., OCT. 7
8:00 P.M.
AUD "B' (note change)
SUN., OCT. 14
8:00 P.M.
AUD "aBI (note change)
SUN OCT. 21
8:00 P.M.
AUD "B
NE
POLITICO
BURN! (Queimada)
Marion Brando plays Sir William Walker, a cynical tree-lonce secret agent and
adventurer who is hired by the British government to dismantle Portugal's
sugar trade monopoly in its Caribbean island colony of Queimado. Sir William
came to the same stratetic conclusion in the 1840's as did the'Pentagon in the
1960's, that the way to fight a guerrilla movement with a broad popular base
is to fight the people themselves. Thus in both cases we see used as routine
weapons widespread torture and executions, the recruitment of native mer-
cenorv armies to kill their own people, the razina of villaaes. the destruction of
craps. And both colonial warmokers were forced to learn the some lesson.
that the battle against an ideal cannot be wan by force of arms.
Nicaragua: Patia Libre 0 Morir
Film beings with scenes of Fall 1978 upgising by FSLN -explores history of
intervention in Nicaragua and role as Sandino-Eden Pastora (Commandante
Cero) discusses organization and armed struggle-interviews women and men
of FSLN-Ernesto Cordenal celebrates Mass in camp and speaks of the oppressed
and liberation.
Six Days In Soweto
*Six Days In Soweto" is a cinematically stunning and emotionally powerful
-film'-not merely a record of rebellion against the violence of apartheid, but
an insight into the daily lives and consciousness cif the people of Soweto.
VENEZUELA TODAY: Contrasts Wealthy and Poor.
LISTEN CARACAS: The lost Yecuano Chamon speaks
from Amazonas.
GUAT;EM ALA: The-Cosof Cotton"-for the Quiche.
o
(Continued from Page 5
relinquished the band to Sun Ra, a
cosmic metamorphi.s began and con-
tinues still. While always keeping one
foot in the swing tradition, Ra extended
past the structure of bebop to the outer
limits of free form improvisation. The
big band format has been constantly
expanded by Ra-first through the ad-
dition of instruments from french horn
and bassoon to an endless array of
African percussion, then the expanding
sense of theatricality that has earned
the Arkestra its "spectacular"
reputation. This overwhelming com-
bination of musical styles, instruments,
vocals, dancers, and homemade
costumes is held together by a strange
mix of visual imagery and Sun Ra's in-
terplanetary vision.
THE SOLAR ARKESTRA is probably
the most imposing presence to ever
confront a Hill audience, in size alone.
Without dancers and acrobats, the band
consists of 19 members interchanging
horn and reed combinations with a wide
range of percussion and not one but
three bass players. By setting them-
selves free from any musical constric-
tions, the band is free to literally play
whatever comes to mind in varying,
unique combinations. From the very
beginning there is a sense of communal
direction that holds these wildly
disparate elements together in a
cohesive form.
Friday evening's performance was a
wild tour de force of every American
musical movement from gospel to
swing to free-form jazz, with healthy,
doses of African percussion ensemble
playing and cosmic chaos. From his
dramatic entrance in a sea of incensed
fog, Sun Ra was the focal point of the
band's inspiration. He seemed to draw
on an unknown source, stretching the
entire gamut of solo jazz piano and then
some on "Somewhere Over the Rain-
bow," assaulting his electric keyboards
in a spastic-yet-somehow-musical fury.
THIS DRIVE IS shared by the band
members, who seem driven at times by
an almost schizophrenic intensity. Sax
player Marshall Allen embodied this
alien motivation, blowing with a wicked
intensity that hardly seemed to
emenate from his wiry frame. The
discipline and spirit of cooperation that
allowed the band to slide from swing
riffs behind vocalist June Tyson.
through varied solo combinations to the
irresistible chanting and dancing is a
tribute to the talent of all involved.
However, trumpeter Michael Ray and
Elo Umo's performance on Egyptian
log drum deserve special notice, as
does Sun Ra's inimitable soloing on
what sounded like a ballpark organ.
Drawing not only on the entire range
of Black American Music as well as the
minstrel and music hall tradition, the
band presents itself with a casual spon-
taneity (right down to the funkily
cosmic homemade costumes) that
prevents anyone from taking them too
seriously and their unbelievable range
precludes anyone getting bored; the
folks sitting next to me that left during
a drawn out percussion rave came run-
ning back as June Tyson launched the
band into the evoctive theme song
'Spacein the Place."
The show ended with what can only
be described as a celebration-of
music, art, and life, with the band and
audience dancing and chanting
together. If this sounds unforgivably
corny, experience Sun Ra for yourself.
Their unique synthesic develops con-
tinually, as does Dexter Gordon's in-
strumental ability. Both deserved to be
checked out.
Eclipse's presentations of old
favorites bodes well not only for the rest
of the festival, but for the continuing
success of creative music in Ann Arbor.
Here's hoping Dexter and Sun Ra keep
coming back.
For information:
Ethics and Religion
764-7442
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