THR MICHIGAN
DAIL Y
FRIDAY, MAY 1, 1931
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MANAGING EDITOR
Chairman Editorial Board
HENRY MERRY
FRANK E. COOPER, City Editor
aVs Editor..............Gurney Williams
itorial Director-........ .... ..Walter W. Wilds
sistant City Editor.......Harold O. Warren
,orts Editor............Joseph A. Russell
men's Editor............M.ary L. Behrnyer
rsic, Drama, Books. ,........i. J. Gorman
sistant News Editor.......Charles R. Sprowl
legraph Editor............George A. Stauter
py Editor...................Wm. E. Pyper
NIGHT EDITORS-
Beach Conger Charles R. Sprowli
Ar S. Forsythe Richard L. Tobin
vid M. Nichol Harold 0. Warren
dn D. Reindel
Sports Assistants
eldon C. Fullertons A . Cullen Kennedy
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Campus Opinion
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opinion of The Daily.
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Music and Drama1
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THE DIRTY GARG-
To the Editor:
Although there has been no lack
of material offensive to good taste
in the Gargoyle, the latest issuet
absolutely out-does itself. I refer,
particularly, to the out and out
rankness of the cartoon on page
thirteen. And then, right above it,
in amusing (or is one to actually
credit the Gargoyle with irony),
juxtaposition, appears this sent-
ence: "Deciding on how to fill
twenty pages effectively with short;
jokes, articles, and drawings which
will not offend the vigilant and
camel-straining pulpit or the sensi-
tive faculty element, but which at
the same time will flatter the ordin-
ary undergraduate into thinking
he's sufficiently sophisticated to
discover sexual innuendos in nur-
sery rhymes, soon gets tiresome.".
Of course, it may be that the
Gargoyle can't live without its smut.
Certainly, the present issue was so
dull that it wouldn't have had a
ghost of a chance of selling if it
hadn't been for its off-color stuff.
Suppose the Gargoyle adopt for its
permanent slogan "Ours for bigger
and better smut" and put it in a
conspicuous place on the next
month's cover. R. E., '32.
>inas M. Cooley
rton Frank
nk B.4>ilbreth
ul Friedberg
and Goodmnan
>rton Helper.'"
van Jones
ibur J. Meyers
Icn Blunt'
nette Demhitz
ie Feldman
ith Gallmeyer .
ily G. Grimes
n Levy
rothy Magee
san Manchester
Robert L. Pierce
Richard Racine
Karl. Seiffert
Jerry E. Rosenthal
George A. Stauter
John W. Thomas
Johni S. Townsend
Mary McCall
Cuie Miller
Margaret O'Blrien
Eleanor Rairdon
Anne Margaret Tobini
arg arets hompson
Olaire Trussell
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Acounts ..................Thomas S. Muir
usiness Secretary ...........Mary J. Kenan
Harry R. Begley
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r.,,'......._
FRIDAY, MAY 1, 1931
Night Editor-CARL S. FORSYTHE
IN MEMORIAM
With the passing of Walter H.
Sawyer, regent of the University'
who died suddenly on Tuesday
afternoon, the state and institution
which he served so well lost one of
the most highly respected men in
the history of Michigan. Epitaphs
and comments following the an-
nouncement of his death were filled
with stirring accounts of his work
and his personality. University offi-
cials were joined by state legislators
in their praise of his 40 years of
public service.
But Governor Wilber M. Brucker,
himself a Michigan man and a per-
sonal friend of Mr. Sawyer, has
given the most remarkable tribute
to the late Regent, and has picked
the single quality which stood out
above all the'-others in his charac-
ter. The statement follows:
"Dr. Sawyer has been active in
public service for over 40 years and
his sudden death comes as a regret-
able termination of a life of out-,
standing usefulness. He was a
leader in his profession and at one
'time he served as president of the
state medical"society, but he also
had time for service as a member of
the board of regents of the Uni-
versity and such other activities as
the state medical board and the
Republican state central committee.
"But more than that, Dr. Sawyer
possessed a most generous and gen-
ial personality which attracted a
host of friends. He had an immense
capacity for public work and his
long experience is replete with ac-
complishments that stamped him
as a leader in state affairs."
It is usual, at the death of a pro-
minent man, to eulogize him, pro-
cure statements from his colleagues,
and print a statement of his funeral.I
The process often becomes mechan-
ical, and the statements and eulo-
gies trite. But the words of praise
about Regent Sawyer-as a doctor,"
as an official,"and as a man-have
a true ring which is unmistakably"
honest and sincere. To add to the
usual sources of tribute, the gov-
ernor of the state which Regent
Sawyer served voluntarily issues a
statement which calls him "a man
of immense capacity for work .. .
a generous and genial personality
.. .a leader in state affairs."
Few deaths in University circles
have been more heartfelt than the
passing of this great Michigan man.
jEditorial Commentj
The Ph. D. Degree.
(The Daily Princetonian)
A recent editorial in the New
York Herald-Tribune adds its voice
to the growing hue and cry against
the Ph. D. degree. "The graduate
student in an American univer-
sity," the editorial states, "is like
the apprentice in a printing shop
serving a prescribed term before
he will be allowed to earn the full
union scale. He may know as much
as a full-fledged Ph. D., he may
be a better teacher, but until he
gets his degree he cannot have his
full title or salary." That a Ph.D
degree may require merely knowl-
edge of some minute particular
which has virtually nothing to do
with a man's teaching' ability is
I fairly obvious. Yet college author-
'ities continue to favor those teach-
1ers who possess what Dr. (Ph.D.)
Duggan calls "a professional trade-
union label," many of them having
a gradual scale of academic re-
quirements for promotions.
There are of course certain ad-
vantages which attach to the Ph.D
degree. The mental discipline gain
ed in its acquirement, and the con-
sequent satisfaction of having sift.
ed some problem in scholarship are
invaluable assets for future re-
search. But in these very advan
tages lies the principal drawbacks
Three years spent in concentrate
study of abstruse and technica
matters tend to throw the empha-
sis on the research side of an aca-
demic career, to the possible detri-
ment of the teaching side. The re
sult is, in only too many cases, tha
teaching comes to be considere
as an avocation or, still worse, a
a sort of necessary evil coming t
interrupt the serious business o
scholarship.
At Princeton it is gratifying t
R note that an effort is being mad
to lessen the emphasis of the Ph.D
degree which prevails in many in-
stitutions. Neither the possessio
of such a degree nor the publica
tion of scholarly books and article
is a guarantee of, or a requisite t
Faculty appointment or promotion
'eaching capacity is still consid
ered of paramount importance, bu
even here academic degrees an
distinctions are considered import
ant criteria for judging that capa
city. In spite of the difficulty o
accurately determining actual abil
ity at teaching, it is to be hope
that here at Princeton increasin
consideration will be given t
teaching in itself and less to tha
latest emblem of standardization
the Ph.D. degree.
Every once in a while when some-
body talks of a third party, w
think of dear old Catiline and th
one he tried to form.-Free Press.
The Case For The American Dancer
AN ARTICLE BY MARTHA GRAHAM
EI)ITo iS NoTE: Miss Graham, formerly preiiire daseuse with Ruth St. Mis land
Ted Shawn, is now the featured star of the new Dane lepertor Theatre in New York
and proal y th e formost womau d a nler si A in r. fi is to appealr inlte for -
coning dramatic Festival as Leader of t he (Ahorus ii te pouti~i~ olof sopioloelc'
"Electra" and will also give a matinee solo recital.
Interest in the dance as an art and from America, is new-even
to dancers themselves, fettered as they have been, together with the
general public, to things European. Recognition of the place the dance
is destined to hold in the future of the people has been slow in coming
--but to a few of the initiate and the lay, it is already a peculiarly great
force, an exciting and glorious vitality, that is gradually assuming a
form. Although she may not yet know it, America is cradling an art
that is destined to be a ruler, in that its urge is masculine and creative
rather than imitative.
Strangely enough the America that produced Isadora Duncan, the
greatest individual stimulus to the dance of modern times, has been
blinded for so long by the shining glory of an old culture. There crossed
this country in majesty and splendor such great dancers and dance
forms as were produced by the Russian ballet, justly arousing a great
wave of enthusiasm but leaving in its wake an impression imitative of
a culture foreign to us rather than an expression creatively from us.
Subject as we are to immigration physically, and sympathetic to_
it as we are spiritually, these waves of influence almost engulfed us.
With what result to the art of the dance? That as an integral art
form it did not exist and that the foreign forms were reduced to deca-
dence in this country by the transplanting. This is true of the Russian
dance, born in integrity, of fierce climatic and social conditions, impos-
sible to duplicate-the Spanish dance, which in its tradition, its beauty,
its cruelty, its pride, its essential nationalism, is impossible to imitate-
the Oriental dance, least comprehensible of all, with its hieratic sym-
bolic gesture, impossible of assimilation because of its involved philo-
sophy-and last the German dance, nearest to us of all, dangerously
near, the voice of a determined, tired, but forever mentally undefeated
people.
Fatuous in our adulation of all things European, we gazed long-
ingly at the fruits of a tired culture, while Europe smiled and reached
past us to help itself to the wine of our land; its monstrous vital
rhythms, crude, glowing colors, dynamic economy of gesture, and that
divine awkwardness which is ever a part of what is vital, fresh and
masculine in the arts. We are still blind. Our dance performances had
become in their misuse of borrowed forms and culturesnot unlike a
Roman holiday, equally obscene in their lack of artistic integrity.
Granted that rhythm be the sum total of one's experience, then the
dance form of America will of necessity differ greatly from that of any
other. country. So far the dance derived or transplanted has retarded
our creative growth, in spite of the fact that there are thousands of
ardent dance pupils in this country. We must first determine what is
for us the Primitive-that expression of its psyche only possible to a
supremely cultured and integrated people.
In America the revolt of a few visionaries from European dance
culture has not been animated by a spirit of nationalism. It is not
to establish something American that we are striving, but to create a
I form and expression that will have for us integrity and creative force.
So far we have some six individuals distinctly American in type.
There has come about the establishment of the Dance Repertory theatre
in New York; which has stung a public into protest and curiosity-a
few artists, musicians and painters, it has intoxicated by its daring and
honesty and its potentialities; there has been created the need for dance
critics on all the leading New York newspapers; musical organizations
have been fired-the Philadelphia Orchestra, the League of Composers,
the Cleveland Symphony, to collaborate in a production for stage and
orchestra. This spring I am personally to have the opportunity of
working definitely in the theatric production of the "Electra" with Miss
Blanche Yurka. It is an opportunity that I regard as exciting and
fraught with possibilities.
As to form, which -is the heart, there is begininng to be manifest
an economy of gesture in the American dance, an intensity and integrity
of mood, a simplified external means, and above all a concentration on
"the Stuff" of the dance, which is-movement divinely significant.
We are an essentially dramatic country. We build in mass and are
built in mass, spiritually and physically. We have two primitive sources,
. dangerous and hard to handle in the arts, but of intense psychic signi-
ficance-the Indian and the negro. That these influence us is certain-
- the negro with his rhythms of disintegration, the Indian by his intense
integration, his sense of ritualistic tribal drama. Our greatest dance
e form will eventually be an orchestration of various physical rhythms and
- spiritual melodies in mass movement. It is life as seen through our
- eyes and manifested in our art that is essential and of value to the
future of the dance. So the answer to the problem of the American
d dance and the American dancer on the part of the individual artists
l who point the way is "Know the Land." Know its exciting strange con-
- trasts of bareness and fertility--its great sweep of distances-its mon-
strous architecture-and the divine machinery of its invention.
From these will come the great mass drama that is the American
- dance. And the American dance will come through its American dancers,
so brilliantly springing to life and talent throughout the country.
d
s Japanese Print Exhibition
)
'f Since the time when Whistler first sang the praises of the Japanese
Prints of the Ukiyo-e movement there has been, particularly in America,
o something of a cult devoted to their collection and appreciation. The
e danger has probably always been that the Japanese Print would become
a fad with no particular discrimination shown in selection: a danger
- heightened by the fact that this movement-a "vulgar" middle-class
n movement whose prominence in Western salons is deplored by the
- Japanese aristocracy-yielded many more garish and meaningless prints
s than it did excellent ones.
o It is a tribute, then, to the taste of the Ann Arbor Art Association-
, whose members have lent their privately owned prints to make up this
- exhibition which is open from April 26 to May 10 in the West gallery
a of Alumnae Memorial Hall-that the collection is so uniformly good.
d The exhibition is also a fortunate one in that it contains example of
- the movement from the so-called "Primitives" through Harunobu, who
instituted the practice of using all colors, to Utamaro who was its climax
in the eighteenth century, and finally to the better-known work of the
- "landscape renaissance" by Hokusai and Hiroshige. In quality and
inclusiveness the present exhibition is excellent and something of a
triumph for the local association and local owners.
g The most immediately attractive prints in the collection are, of
o course, Hokusai's absolutely faultless landscapes. Considering the rigid-
t ity of the method-the limitations imposed by absence of shadows and
, the difficulties of grading color-the effects achieved are remarkable.
The' designs, too, have charm. But better than that (for the charm
may be merely the picturesque novelty of detail), the designs have
- strength; they satisfy one's search for a merely linear harmony. Their
e predominant mood of soft repose is very refreshing. Similar things are
e true of the landscapes of Hiroshige who is represented by about twenty
prints. He is less economical and less subtle than Hokusai, his effort to
render light and atmosphere carrying him into an elaboration of detail
e that sometimes gets out of hand, the decoration occasionally stifling
y rather than expressing the lyric mood. But most of his scenes are
d lovely, probably being best described as "melodic."
- But even of more interest than these, I think, are some of the
k eighteenth century figure-prints: particularly the several of Shunsho
and the one by Shunyei, the subjects of which are contemporary actors.
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Speaking. of rationalization, w
heard of a student the other day
who came right out and out anc
admitted that he cheated on ex-
aminations. I always take my book
to class, he said, so that later in
lift T rill nrofit h thee vnerienee
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