Massachusetts College of Art and Design - Palette and Pen Yearbook (Boston, MA)

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DEMOCRACY AND EDUCATION Out of the whirlwind of destruction comes a voice calling the sal- vation of the world, “Democracy.” We, as Americans, have suddenly become aware of our uniqueness among the host of nations on the globe. Our rights and privileges have come to the fore: freedom of speech, religion and the press. Freedom in education and the arts have suddenly impressed themselves on our consciousness. We suddenly wonder how we are to preserve these rights, how we are to direct our energies and talents in order that they may exist safely in a world gone mad with cruelty, greed, and suppression. Our system of government is not dated. It was made to withstand the test of time and it has done it nobly where other democratic systems have failed. What of the individuals in our government? Are they prepared to protect their inalienable privileges? They are, we know. Education has played a vital part in this preparedness, but its job is not done. It is through education that hope for democracy remains bright. In a dic- tatorship, national ideologies have determined the pattern of educa- tion; the subjugation of the individual has been the result. Here, where education guarantees the individual and his rights, we have no such problem. Our ideal, then, is to perpetuate democracy through educa- tion. In the field of art education the possibilities are vast, for the in- dividual is given opportunity to develop In a fuller, richer way. Children develop into tolerant, cooperative, creative members of society through

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veloped a new looser handling in his Vermontscapes, approximating a happy medium between the usual Guild theme and any Aldro Hibbard. Among other things came water colors by John Whorf and por- traits in oil by the late Robert Henri, the former at Grace Horne, the latter at Vose. Henri, richly bewildering in color and facility, captivated us, as always. We are still waiting hopefully for John Whorf to say something a la J. Whorf. Important among exhibits of the season was the sculpture of American-made, Swedish-born Carl Milles, at the Institute. The shy Scandinavian is the author of fauns, myth-gods, and naiads. We found Milles strong, solid, quite lyrical, if a little cold. He can be poetic even when modeling fish which lack only twin-screw propellers. M.S.A. turned out to hear, see, and otherwise experience “Fan- tasia.” Disney’s most serious attempt to date was tragic in its degrada- tion of Beethoven to centaurettes, highly successful in its interpretation of Tchaikowsky. Disney, I hope, will continue experiments using music more adaptable to the visual (Scheherazade, for instance), and leave such pure abstractionists as Bach and Beethoven to survive of their own genius. Stokowski will always get by as a Hollywood matinee idol; Deems Taylor and the sound track were highly intelligent. ABBOTT GOMBERG

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a progressive art program. What more profound contribution can be made to the America of the future? The days of the pioneers are not over, as many think. New roads and byways are opening up. The vast changes being wrought by the present warfare will call for complete reorganization on the part of the democratic nations. Only through education can we hope to undertake this herculean responsibility of reconstruction. ROBERT FILBIN AWAKENING Had I but thought the morning sun could wake My weary soul to happiness again — A pale bloom’s tilted face my fetters shake, A quivering brook indented by the rain — I never would have shrugged and turned away To labor in the blackness of my den; I never would have bolted out the day And blindly groped with wretched-hearted men; Nor all my brighter hours surrendered soon. In custody of disillusionment; Nor so unwittingly submit my boon. Thus chained to earth by homely task and bent; For now I rise on fettered arms to mark The nimble be auty of a meadow lark. MARIAN SOSZYNSKA