Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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I-'irst, lvt mc cxplqiin thc Jen. Jen is thc ulti l'hincsc xvortl for humainitics. .-Xt 'l'.k'.S. lt-ii's iuirposc is In stimulate :tn intcrcst in thc Kris x'i.i .ill coiit'cix'4ililt- nictliu. l-In-i'y' iiicniht-i' ot' thc School has access lu thc .lt-n. 'l'host- uitcrcstctl in it should come toru.irtl with itlcus and ht-Ip with its develop- ment .ind progress. lt is .ui organization which ittcnipts lu expose thc Arts lu our eyes. lt is l c-iiict-i'iit-tl with Arts in thc hroadcst scnsc. loctry intl short story contests are going to he V initiated. lhoto sliows and contests, films and music arc also lu hc arranged But most im- port.int. its aim is to rcvcal thc creative elements ut' .ill possess. As for thc Paint-ln: lin October 8. thc first Jcn was held. Room .Z was trriiisforinctl into a multi-coloured. in- rt-nst-'fillctl chainhcr with vast paper panels on u.iIls and floor. Let it be said that Mr. l3lackwood's co-operation helped in procuring materials and ideas. People came and enjoyed themselves. One skeptic said You win . Quickly the room took on colour and more painting surfaces were put up. The music was excellent. The Electric Rope Blues Band and Pete Raymont's folk group, once plugged in for sound, were highlights of the afternoon. People wandered near the incense and commented on the designs. There was great activity and everyone seemed pleased. As time ran out a general ery for alast song and a drum solo by Chris Cakebread finished the meeting in great spirit. Still tive or six people remained behind, obsessed by some creation. This first meeting was a success. The par- ticipation was great and most of the school came. People enjoyed painting and listening to the groups. We hope that this faith and favour will be put behind your Jen this year. - F. E. Foster Lf,

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ARTS

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. JAY K. DONNA!! IRISINTI RHVI T i n S ,l ' , F' 5 A X-X L :A accompanied by ALLA RAKHA, nbll. MASSEY HALL TOIIUIIT IIN MI. S350 3.30 4.50 Manly Ihl IN Vldodl Shu! i I 4 5 :WI ,W pf. If . f '1 I W , Il, , 0 'if A 4 lui l C! . A W sw . 'Wil is 204, If I . W - . 7237 qt 'f f 2 f l jill 7 I C: Un Saturday, St-ptcmhcr ISU, the gn-:tt classical Indian sitarist, ltztvi Sliankcr, perlortm-il at Massey llall, liastcrn Music, as you may or may not know, has ht-en gradually inhltraililig into thc sounds of thc 'Now' generation and even into the jazz idiom. This is the idea thrcc thousand people had when they attended this concert. The three Indians entered separately and seated tlieinsclvcs on zi low rugvcovered dais in the centre of the slitgc. One of Mr.Sl1ankar's accompanists was Alla Rakha, playing tabla, a two piece drum. The other was Kamala Chalcravarty who played tamboura, or five-stringed instrument tuned to the raga. This produced an ever-present hypnotic drone and provided the raga with tonic quality. Each piece moved generally from slow im- provisation through added rhythmic elcmentand innumerable melodic counterweavings. through seemingly effortless ornamentation, through turns and slides and sitar tabla dialogue. This con- tinued until the climax was reached at the top of the most rapid improvisation imaginable. Shankar's numbers could communicate in- numerable feelings to the audience. The audience sensed the changing of his moods. Shankar could put the audience in a mood of greatde- pression and then bring them up to a feeling of wondrous joy. He could bring about a pious feeling and then bring in a romanticism just by the sounds coming from the tabla and sitar. The concluding piece was the highlight of the night. It consisted of a series of ragas. many based on folk tunes, ending with a sitar tabla dialogue. Shankar and Rakha exchanged phrases freely. Music flowed back and fourth. The stresses of the climax camequicker and in unison. bringing the audience, as well as the performers. to a breaking point. As the final note echoed through the hall, three thousand frenzied minds were freed as the audience jumped to its feet and gave the three performers a standing ovation. 4 CC. Crrlccbrerzrl