Friday, July K W50
Yodoo Dance Tops
Artists Series Show
The Katherine Flowers Dancers
promise to perform the famous
Voodo Ritual Dance of the Black
Magic Snake Worship when they
appear in the Union ballroom,
Wednesday, July 19, at, eight
o'clock as the finale in the 1950
Summer Artist Series.
Katherine Flowers, the director
of the company says, "The Voodoo
Ritual Dance was the weirdest and
most exciting of all slave dances'
The Voodoo cult believed in
charms and black magic, and the
dances had a definite purpose be
hind them: the "initiate" to dance
frantically until he became "pos
sessed of the spirit" of the snake
they worshiped.
"The Voodoo dances were never
done in public because true Voo
doo was a strictly private ritual,
centered around snake worship.
It has been said that many un
duly curious people died through
violation of this sacred privacy,
as "others died in performance.
"Voodoo dancing is still going
on in some parts of the world as
a serious ritual, but in the United
States today, probably no one be
lieves the dances have any power
other than the magic of exciting
entertainment."
The study of Negro dance has
been ' Mrs. . Flower hobby ever
since undergraduate .days at
Northwestern University. Inter
viewed, she said about them, "It
is the purpose of bur Katherine
Flowers Dancers not only to en
tertain, but also 'to show the
evolution of Negro Dancing in the
United States, and the contribu
tion the Negro has made to
American dancing. We begin with
some; of the early slave-dances
and from there demonstrate the
mofet famous dances of each
perijpd, down to the current Be
Bop Most of all, we try to dem
onstrate that in the field of danc
ing,, as well as music, the Ameri
can Negro has come a long way
from his original primitive
source."'
"Our story begins back in 1619
when the first slaves were taken
to Virginia and Carolina. These
ancestors of ours brought with
them from Africa many primitive
dances such as the Bamboula and
the Congo.
"The Eastern colony slave own
ers, however, felt these dances
were sacreligious and so they were
suppressed. These primitive dances
might never have become known
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In the United States, except that
in 1712 when the slaves were im
ported into the Louisiana Terri
tory, they were given the freedom
to express the folklore which they
brought -with them. For a cen
tury, these dances were kept alive
and passed down from parents to
their children. Then in 1805, the
Mayor of New Orleans set aside a
special plot of ground called the
Congo Plains. There, on Sunday
afternoons, the slaves were per
mitted to dance, and we recreate
four of their dances. Since none
of them are being performed in
the United States today, we have
re-constructed them from descrip
tions found in old documents and
tales of old folks.
"Our first dance in the July 19
performance, the Bamboula, de
rived its name from the Bamboo
drums which were used in Africa
as the musical accompaniment. In
contrast to the Bamboula which
is fast, furious, and violent, our
third number is the Calenda, a
minuet type of dance, showing the
French influence from Martinique.
Our costuming of the Calenda is
based on the fact that at Congo
Plains it was not unusual to see
the slaves dancing in their mas
ter's cast-off finery.
"Congo plains is still in exist
ence in New Orleans today, but is
now called Beauregard Square. No
dancing is going on there now, but
way back 150 years ago when the
crowds gathered to watch the
slaves on their afternoons off, they
saw essentially what we perform,
and the Bamboula was their fa
vorite." '
Poetry Recital Feature
Of Interpretation Class
The interpretation class of the
Speech department, under the di
rection of Dallas Williams, will
present a poetry reading recital
today, July 14, in Room 201,
Temple.
There will be readings given
from Poe, Sandberg, Runyon,
Thomas Hardy, and Emily Bronte.
Classified
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50
THE DAILY NEBRASKA!!
YM to Show
'Rossini' Film
In Library
"Rossini," produced in Italy to
commemorate the 150th anniver
sary of the musician Gioacchimo
Rossini, composer of "The Bar
ber of Seville," "Othello," "Moses
in Egypt," "William Tell," and
many other selections, will be
shown twice, once at 3 p.m. and
again at 8 p.m. in Love Library
auditorium, Tuesday, July 18.
Admission price is 50 cents.
A Musician
The film begins in the early
part of Rossini's career in Italy.
His music is scoffed at by many,
but his good friend, the impre
sario Barbaia, realizes that he
has a great talent.
Barbaia arranges a reception in
his honor at the Court of Naples.
Barbaia introduces Rossini to the
prima ballerina, Margherita Co
ralli, who is at once infatuated
with him. Next he is introduced
to the renowned and beautiful
contralto, Isabella Colbran, and a
vicious rivalry for the affections
of Rossini develops between the
two.
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MAGEES Third. fW
Draft.
(Continued from T&g 14
The exact wording of the draft
law follows.
Class I
Class 1-A: Available for mili
tary service.
Class 1-A-0: Conscientious ob-
On the following day Rossini
Is presented to the King. As a
test of his ability the King hands
him a libretto and commands him
to compose an aria on the spot
within 20 minutes. He composes
a beautiful little melody, which is
sung by Isabella, much to the de
light of the King. In spite of this
the King orders him to compose
an opera within 15 days. Rossini
writes the opera "Queen Eliza
beth," and it is a smashing suc
cess. Riches to Rao
The picture continues with the
story of Rossini's rise to riches
and prominence, and, finally, his
downfall, during which he writes
"William Tell."
Rossini Is played by Nino Bex
ozzi, Isabella by Paola Barbara,
Barbaia by Camillo Pilotto and
Ballerina Coralli by Greta Gonda.
Etude magazine calls "Rossini,"
"A genuinely distinguished and
moving biography of the reat
genius."
Your Quality Clothing Store
PUGS 3
lector available for non-combatant
service only.
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Forces of the United States, Coast
Guard, Coast and Geodetic Survey
or the Public Health Service, and
certain registrants separated there
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Class I-D: Member of the re
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jector opposed to both combatant
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vice. Class IV-F: Physically, mentally
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