Oriole and Tower-Light, 1922-1927, Part 75

Author: Maryland State Normal School (Towson, Md.)
Publication date: 1922-1927
Publisher: Maryland State Normal School (Towson, Md.)
Number of Pages: 1024

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4. If the membership in a par- ticular class in which you expect to enroll is limited to a small number, mail your application for enrolment in this class as early as possible be- fore registration.

5. Write early for information concerning living quarters. Don't waste the first week of summer school hunting for a place to live.

6. Select one or two courses that will be of greatest help to you in your particular work next year. Consider taking at least one course that is purely avocational. Register for a play course ,learn to swim, or renew your pleasure in tennis, etc.

7. Register for

a reasonable amount of work. Change of work is a vacation, but overwork is not. 8. Make contacts with people whom you will enjoy knowing. Re- ceptions, outings, and parties are planned especially for summer- school students. Show your ap- preciation by attending and having a good time.

9. If you are working toward a college degree ascertain whether the courses you are going to take

meet the requirements which you think they do.

10. Work hard but have a good time; store up life enthusiasms. -From The Journal of National Education.

SCHOOL SPIRIT.

School spirit is the vivacity, the life, the enthusiasm, the courage, the love and loyalty, of the students to- ward their Alma Mater.

This embodies a far greater field than we at first imagined. It does not mean merely giving support to the school you attend in athletic vic- tory or defeat. We lack school spir- it when we are infringing upon the rights of others. Perhaps we are not always conscious that we are tread- ing upon the toes of our fellows.

Loud speaking or laughing in the library; shifting the burden of a task that you yourself can do upon an- other, speaking in slanderous, libel- ous terms about your fellow-man, failing to develop natural ability. This is lack of school spirit.

If democracy, founded upon the pedestal of freedom for all people is to exist we must learn school spirit in its larger sense.

Let us therefore as students and as prospective teachers, moulders of the plastic minds of children, resolve to learn the true meaning of school spirit and live it .- From The Normal Trumpet, West Liberty, W. Va.

Compliments

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Page 4

THE ORIOLE

March, 1925.

THE ORIOLE

PUBLISHED MONTHLY

BY THE STUDENTS OF THE MARY- LAND STATE NORMAL SCHOOL, TOWSON, MD.

Managing Editor: ALICE L. MUNN

Ilusiness Managers: JOHN GILDE.A EARL PRICE

Advertising Managers: MARGARET ESKRIDGE CORNELIA CANNON MARY LOUISE HOFFMAN

Cireulation Managers: ANNA TRAIL CATHARINE HAGAN PRICE: Que Dollar For Ten Copies.

MARCH, 1925.

OUR FACULTY GOES TO FIND FOUNTAIN OF YOUTH.

Reports On N. E. A.

On Monday, March 2, certain mem- bers of the faculty told about their observations while attending a Sup- erintendents' meeting of the N. E. A. in Cincinatti, Ohio, the previous week.

Mr. Bishop gave us a message brief but vital. "Be Human," was his plea. Education is a means to human living. Educators are deal- ing with means; as long as you keep hopeful, have laughter your hearts, hold your head and eyes up, you are all right. "Stay human; you can be human and be a school teacher at The sanie time."

Miss Brown, who has attended these meetings since 1916, stated that this one to her meant three im- portant things: (1) It was a means of stimulation; (2) lt afforded re- creation and travel, and (3) The per- sonal contact with educators of the country was desirable.

A group of people all working to- ward the same end are stimulated anew to higher and bigher aims. It is a mistaken conception that the teacher must direct every step in the planning of a dramatization. Mr. Woelfel went on two quests. First, he wanted to see if the millen- nium was closer. Second, he was in search of the fountain of youth. The children's love for the story is their greatest weapon for success and the teacher is wise who is an adviser, not a director of their ideas. She "The arrival of the millennium de-, should see that the language used in pends upon many people doing many the presentation is faultless; so far

things well. Children are being as possible the exact words of the sent out of school hating to read. story. This develops the child's ap- We can't blame them, for it is be- preciation of exquisite English and cause they haven't been properly in- ,lends dignity and grace to the per- structed how to read." He sug-' formance. She should also see that gested to the students that if they every child is included in the play, are deeply interested in preventing if only to take the part of onlooker. schoolroom tragedies they'll use one In the actual working out of dramat- dollar and fifty cents ($1.50) in pur- ization, the choice of the story should chasing a copy of

the "24th Year he left with the children, since they Book" of the National Society for will undoubtedly choose the one the Study of Education on the sub-, which they can do best. The work of ject of reading. In searching for the planning seenes, number of charac- fountain of youth he tried "to find ters, and other details will be en-

some plan to make the soul grow in- versely with the growth of the body; some way to make the day before yes- terday become the day after tomor- row." In this group of educators he found the way to eternal youth; he saw the light on their faces that never was on land or sea. Each member of that large group of people had some unsolved problem, the solution of which they were ever seeking. "If you want to keep young stay awake; find problems and seek to solve them."

Miss Tall was especially interested in the Department of Research. In reading, writing and arithmetic it was found that both the bright and the slow children do better in large classes than in small ones. She suggested that we find information upon Character study in the "Pre- School Age" by Dr. Haggerty, of Uni- versity of Illinois.

WHAT DRAMATIZATION OF CHILDREN'S LITERA- TURE SHOULD BE.

Dramatization in the schools is the

factor which develops the child's indi- Sophia Jenkins started home after a

viduality and gives the teacher her best insight into the peculiarities and capabilities of each child. Aside from its value to the teacher, however, there is another, and infinitely more vital aim to dramatization, "to play' for the sheer joy of doing it."

As the child is introduced to, and becomes familiar with a poem story, he begins to see himself as the hero, and is involuntairly transported to realms of far-off lands, where he goes through the details of the story with delight. His imagination, taxed to its utmost, together with his love for the story, brings him to the point where he wants to act the theme of the tale, interpret it, not extravagant- ly or artificially, but simply and naturally, just as he thinks and feels it should be done.

thusiastically prepared, because each child will be anxious to cooperate In .planning "his" play. The response will be spontaneous, with no mention of a showy prformance with elabor- ate costumes and scenic effects, and a ready-made audience. The children's aim is only to experience the joy of living another's part; the teacher's aims are primarily to give them the pleasure which is their right and to have them interpret the story for a greater understanding of what they have already learned.

The standards for dramatization are few but important, and only a teacher's full appreciation of their meaning will do justice to the beauty of the interpretation of Children's Literature.

YETTA BRINKMAN, Jr. 4.

A DESCRIPTION IMITATING IRVING'S STYLE.

The moon shone full and round, throwing a lurid light on the ma- jestic trees, which made weird shadows across the narrow pathway. Sneh was the night when Matilda day's work at Squire Johnson's. She was usually quite bold as she walked into the night, hut this evening the squire had entertained some friends around his fireside with gruesome tales. These weird stories and the intriguing moonlight, with its moving shadows in the woods beyond, seemed to go together. As Matilda walked along, each shadow seemed to take shape and run behind the trees, pointing at her with long, bony fin- gers. Some way ahead, she could discern a dim light coming toward her, which, perchance, might be the blinking orb of some monstrous animal. The closer it came the more frightened was Matilda. It continued in her direction and it seemed to be calling someone's name. Closer and closer it proceeded, until finally Ma- tilda's capable legs were rendered in- capable and she sank helplessly among the taunting shadows. The next thing Matilda knew, this phan- tom had stretched out two arms and had picked her up and put her into a carriage. Poor Matilda, ready to shriek, heard a comforting voice telling her not to he frightened he- cause it was only Hiram Baxter, her fiance. Matilda, under the influence of the ghostly tales and night, had forgotten that Hiram had promised to meet her at that very spot.

MARGARET MICHAEL.

BREAKING IT GENTLY.

Daughter-May I go to a wedding, father?

Father-Must you go? Daughter-I suppose so. I'm the bride.

-Exchange.

Page 5

THE ORIOLE

March, 1925.

THE PEDAGOGIQUE SEEMFUNNY ORKESTRA.

( Continued rroin Page 1)

enlarged by three new sets, the S-R street cars. After this propitions start a long pause depicts simultane- ously the break-down of munity busses and the usual long wait at Greenmonnt and North ave- the com- Bonds, constructed along the general lines of the violin, cello and double bass. These were played in the fol- lowing order: S-R small violins by nnes for the Towson car. The mu-

Miss Cobb and Miss Birdsong, of the Psychology Department; S-R cellos by Miss Halberg, Miss Brown and Mr. Hulsizer, Supervisors of Practice, and the S-R bass-viol by Mr. Bishop, head of the Education Department.

The wind choir was angmented by the microscope of the Biology De-

partment, and was played like a slide trombone by Miss Medwedeff. Mrs. Stapleton blew the horns of the Pest and Normal Societies. The per- cussion choir was surprisingly large. The typewriters, pencil-sharpener and mimeograph machine kept up a steady thump at the hand of Miss Osborn. A small-wheeled cart called "motivation" was propelled by Miss Evans. A cafeteria tray resounded to the stroke of a wooden spoon as Miss Andres accentuated character- istic rhythms. Miss Snyder worked with her in giving solemn effects

with the drums. Cadenzas were played on the "nightingale" by Miss Stolfus. Mrs. McCord effectively

managed the xylophone, while light bell tones were given by Miss Wel- din, Miss Johnson, Miss Bonn and Miss Mink. Especially descriptive were the themes by the sand-paper

covered blocks played

cymbal

fashion by Miss Thompson and Miss Sperry. A pair of dumb-bells was played by Miss Cook, and cymbals and tambourines by Mrs. Sibley and Mr. Phipps. Miss McEachern played the piano, and was assisted by Miss Wolf. Miss Moss steadily clicked the castagnets first in a monotonous drawl and then in spirited animation. Miss Barry directed, and in spite of the vehement applause accorded the orkestra she explained that "a sym- phony program is complete in itself, therefore there would be no en- chores."

The program notes which fully explain the meaning of the symphony follow:

The musical number this evening bears the title "A Normal Day At Towson." The program takes the motif of the latest approved lesson plan, so you will notice that the four usual movements of the symphony are, respectively :

1. Introduction-Allegro. stose.

2. Child's Purpose-Minuetto.

3. Development-Trio-Rondo.

4. Summary Assignment-Presto. Through the first few measures there runs a parallel of ideas. The opening bars represent the early

morning rising hour and its accom- panying hurry-scurry around the dormitory. The galloping rhythm of the next few measures suggests the race of the city students for the

sic resumes with martial-like tread. In this you hear the trndging tramp of student feet up the long narrow path. Nine bells ring out from the tower. One last mad rnsh-then

all is quiet and serene. We now have the calm of the class-room. The frequent repetition of theme, apparently monotonous, merely de- picts the necessary drill to fix ideas. The increase in tempo and the sprightly notes which culminate in lond crashing chords represent the students' alert reaction.

The third movement- The Devel- opment. This is quite elaborate and is in trio form, representing not only students and faculty but also janitor- ial service. The music symbolizes the three-fold idea of class-room, extra curricular activities and the dormitory life of a Normal student. The rondo introduces surprises- -probably a faint suggestion of jazz interjected even in a Normal School.

Fourth movement-Summary As- signment. This is presto, very brisk and fast, suggesting the accumula- tion of many things to be done and the hurry of the final hour. Thus the symphony ends with trndging! footsteps at the close as at the begin- ning of the day.

ROSE MARIE BARRY,

Dept. of Musle.

CLARISE EVANS,

IN MEMORIAM.

(To Lillian Jackson.)

Gone from this land of sunshine and rain,

The land of joys and sorrow; But what goal would there be for us to attain,

If there was not the great tomorrow?

You left us dear, when the spring- time came,

Bnt your going darkened the hours; And we who loved you best must bow

To the will of the one Supreme Power.

Gone, but not forgotten, Dead- bnt living still

The second movement-the Child's In the hearts of those who loved Purpose. You will notice that this! you-

goes more slowly and that the S-R. Your friends, your pals- "Onr Lil." bonds perform with more difficulty. I The motivation works hard and all| RUTH FRANCES JONES, Senior 4. the instruments are called upon to further this theme.

THE

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WILLIAM KOERNER

A shave? Just step this way, sir. A hair cut? Take that chair. You wish to phone? You may, sir. A shoe-shine? Over there. A match? The cigar stand, sir.

A manicure? This way.

That girl will hold your hand, sir.

Industrlal Arts Dept. Thanks. Call again. Good-day.

Reserved for Joel Gutman & Co.

THE ORIOLE

Page 6

WOULD YOU LIKE IT?

How cosy it feels to sit around the fire-place on a cool night in March. The fire gleams and crackles in de- fiance to the whining wind that whips against the windows. As we listen to weird ghost tales , we shiver and glance at the dark corners of the room, which the faint rays of the lamp fail to penetrate. Sometimes our merry laughter darts up the chimney along with the sparks and the smoke as mother tells of the gay barn dances of her youth, or when Daddy recounts the pranks he played on Hallow'een. Best of all, however, are the hours when I may sit here alone and dream. Faces form in the fireglow. Old Omar lives again and breathes his immortal verses; once more Shelley sings his "Indian Sere- nade." Or perhaps Sydney Carton gazes over the throng of pitiless faces and dies, even as die the embers of the fire.

ANNETTA REHLING,

SENTIMENTS.

We'we worked, we've toiled, we've labored.

We've laughed, and we've been blue.

Our courage almost left us, And then we began anew.

We've burned the midnight candle. We've greeted the blushing morn, When assignments have been heavy In the subject matter form.

Some of us were homesick, And some of us were tired.

Some few were brave and dauntless. Some wished they could be fired!

But when the year is over With diplomas for a sign.

We'll remember our Alma Mater As in days of Auld Lang Syne. R. HORN, Senior, '15.

A UNIT OF GEOGRAPHY.

The student body of the Normal School witnessed the final lessons of a large unit of work on the Southern States when the Sixth Grade gave an assembly in the Auditorium on Feb- ruary 18th.

For seven weeks the work had been carried on with a spirit of in- tense interest. The subject had be- gun with "Why Should We Study the Southern States?" Next came "What Question Would You Ask A South- erner If He Were Here?"

It was suggested that the class center their work around the loca- tion of a cotton mill. The class di- vided itself into a board of directors with a chairman and secretary, and stockholders in the mill. This situ-'clothes line nor an ordinary lightning ation readily lead to the problem : "What Conditions Are Necessary For

the Location of My Cotton Mill?" Next followed, "To What Extent Are These Conditions Found in the South ?" This problem, after being

analyzed and divided into minor problems, resulted in problems about raw materials, power, labor, trans- portation and market.

After the South as a whole had been covered as to its advantages for cotton mill location the group de- cided to study certain cities. New Orleans, Mobile, Charleston, S. C .; Savannah and Augusta were selected. The class collected a wealth of useful information by writing to the various Chambers of Commerce in the Southern cities, to cotton mills and other advertising agencies. From this information, from source books, and from newspaper clippings very effective arguments for and against each city were compiled.

Each city was represented by

-....

member of the class who designated more complete understanding of a himself as the representative from current topic; enjoying history in the his city's Chamber of Commerce. After hearing the delegation from the various Chambers of Commerce, the stockholders and board of direc- tors voted and Mobile won by fifteen votes.

This project was valuable for various reasons:

1. It helped develop many geo- graphy habits and skills.

2. It gave the children new and true conceptions of the South. It uprooted many old opinions and pre- judices. It really developed new at- titudes and appreciations.

3. It made one of our big indus- tries real.

4. It helped the children to judge, evaluate, select and reject.

5. It lead the children to realize that geography is a real, live, vital subject; that it is simply living fully and in the present.

ANNE ARUNDEL IS PROGRESSIVE.

Whether the radio will ever take any great part in public education will probably remain a question for sometime to come; but there can be ' no doubt about the practical part which it may play at times.

On last Wednesday, March 4, & real demonstration of its value was experienced when every word of the inaugural ceremonies at Washington, D. C., was heard by the Pasadena Consolidated School.

This was made possible through the efforts of the principal, Mr. Frank C. Gunderloy, who spent recess and noon periods, Tuesday, erecting an aerial, making ground ·connections, and assuring many pupils that the new apparatus was neither a high

rod. That same evening, he hooked up the modern six tube set which he

had just constructed, connected the two loud speakers, which were to be used. and listened to programs from Chicago, Cleveland, New York, Schenectady, Washington and many other places in order to log the dial settings and be optimistic of the proper results on the following day.

At 10.05 A. M., March 4, the switch was turned, a dial twisted and the inaugural program was on. It was perfect. The pupils were intensely interested. Some, who had never had the opportunity of seeing or listen- ing to a set in operation, were amazed. They were learning-what? The President's Inaugural Address? No-few, if any, understood the words of the nation's leader, but they were enjoying citizenship, hear- ing a thing which they had never heard before and which some will never hear again, (an inaugural ad- dress) broadening their minds by a

making, studying the geographical location of the nation's capital, en- joying the splendid descriptions, awakening to the wonders of science, and besides, many were experiencing that often quoted thrill-listening to a radio for the first time.

Is Pasadena behind the times in education ?

E. F.

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Page 7

THE ORIOLE

March, 1925.

THE PASSION PLAY OF OBERAMMERGAU.

At this season of the year it is particularly appropriate to turn our readers' thoughts to the work of the Oberrammergau players, who, every ten years reproduce the principal events in the life of Christ.

"In this close valley, from the world divided,

Where rock and pine point upward to the sky,

By thoughtful prayers the soul to God is guided,

Whom in His work she strives to glorify."

Miracle-Play-The Founding of Ettal.

Oberammergau is a tiny village shut in among the pine-clad heights and snow-capped mountains of the Bavarian Highlands. It is the gate and out-post to a region which may well claim to be one of the beauty spots of the world. The chief feature of Oberammergau is the peculiar- Hofel Peak crowned with a colossal cross. It forms a picturesque back- ground for the little village, which seems to nestle under its green slopes. Other peaks, the Zugspitze and Kar- vendal, two of the most beautiful of the Tyrolean Alps, hem in the little town.

The houses are, for the most part of wood, built in the Swiss style, with balconies and broad eaves, roomy and comfortable. Each house stands in its own grounds; each has its stretch of meadow-land, its flower garden and its orchard.

The most remarkable thing in the village is the Passion Theatre. It is simply an enclosed space, open to the elements. The stage alone is a per- manent erection, and is made of rough wooden boards. It is 127 feet long and 55 feet deep. It is ar- ranged after the Greek method ex- cept that the center space is hidden when required by a curtain. This central position is the stage proper. It is used for the tableaux. The foreground of the proscenium is oc- cupied by the chorus of the masses of people in a "mob scene." To the right of the curtained stage is the house of Pilate, with a windowed bal- cony. On the left is a similar house, that of Annas. On each side of these houses are wide gateways which open into the city of Jerusalem. On each side of the proscenium are narrow recesses into which the chorus re- tire during the action of the play. No artificial lights are permitted on the stage. The open air, the sweet, fresh mountain breezes, the passing lights and shadows that flit over the scene as the clouds sweep by, the singing of the birds, the soft rustling of the trees and the encircling am- phitheatre of verdant mountains seem

fitly to represent the hills surround- ing Jerusalem.

The Passion Play or Christus Drama as it is called is a remnant and a survival of the mediaeval form of drama kuows as the Miracle-Plays. It passed beyond this stage when in 1662 its text was collated and print- ed. Daisenberger perfected the play and gave to it a unity of design and of religious doctrine as well as of dramatic action.

In 1634, when the plague held heyday in Bavaria, Oberammergau quarantined itself against the world. Armed watchmen guarded road and path. On Christmas Eve a villager, who had been employed outside, | Lang, the Christus of 1922 received overpowered the sentries and crept back to his family, bringing with him the dreaded disease. The village was almost depopulated. Those who re- mained prayed and pledged them- selves to give a performance of the Passion Play every ten years. From

that moment none died. In 1634, tion for

the play was first presented. The decadal period was chosen for 1680 and the Passion Play has been given every tenth year, with only two or three interruptions, caused by wars, since that time.

more tableaux taken from Old Testa- ment incidents, each one having some special refrence to the portion of Christ's life which is afterwards to. be represented.

The players are Bavarian peasants, simple, art-loving, earnest and relig- ious. They are not, however, mere tillers of the soil, or hewers of wood; but they are, both by training and by nature, artists. They possess a nat-

ural talent for music. Sons follow the trade of their fathers. All are artisans, not mere mechanics, but creative artists. Every cottage in the village is a workshop and Ober- ammergau is celebrated for its wood carvings. For eight years out of ten,

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the people lead industrious lives wholly apart from Passion Play ac- tivities. On the ninth year, a com- mittee to supervise the play is voted. The men let their hair and beards grow. They are selected tentatively for parts according to their resem- blance to the different characters. When the season is over, the men re- turn to their shops.

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Oriole and Tower-Light, 1922-1927, Part 75

Author: Maryland State Normal School (Towson, Md.) Publication date: 1922-1927 Publisher: Maryland State Normal School (Towson, Md.) Number of Pages: 1024

Author: Maryland State Normal School (Towson, Md.)
Publication date: 1922-1927
Publisher: Maryland State Normal School (Towson, Md.)
Number of Pages: 1024