Waukesha High School - Megaphone Yearbook (Waukesha, WI)

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Special Capacities of the American Indian HUGH HLFLBERT All races seem to have distinguishing features aside from speech or color. Just as there is a difference between German music and French music, so there is a difference between the white race and th: red race. We do not find this distinc- tion in the mental capacity of the two. The Indians of America have. on the average. the sam: degree of intelligence, the same I. as the average white person in America. Racial distinctions are no longer drawn on mental capacity, for the consensus of scientific opinion falls on th: side of equality in race intelligence. If we were to distinguish between the Indian and the white man, we could not do it here. Yet. the Indian has certain capacities and abilities which the white man does not possess. and it cannot be doubted that certain abilities well-developed in the white man are only primitively present in the Indian. The lndian's chief contri- bution to civilization must be along the line of his special abilities. If the Indian has made a lasting imprint of the culture of this world, if he is to make any worthwhile contribution to the great mass of civilization. such a contribution must lie along the line of his special abilities. The Indian is an artist by nature. I-Ie is born with a capacity for discipline and careful work. and a fine sense of line and rhythm. I-Iis artistic development, his forms and ideas. are peculiarly his own, evolved through many thousands of years of struggles and progress. His modes of expression are diHferent from any other nation. I-Iis pictures have often become conventionalized and symbolic, but their meaning is by no means lessened to him, or their artistic values lost to the outside world. Modern Indians, notably the Kiowas and Pueblos, have taken these old sym- bols and forms and reuiuvenated them. They have put them together in a union of material and technique both symbolic and intelligible. John Sloan and Oliver La Izarge in their Introduction to American Indian's Hut say: XVise young Indians have applied to the painting of their pictures the diszipline of line and color developed through many centuries of decorating every imaginable object of daily or sacred use with designs innately suited to the objects decorated and charged with traditional cultural concepts. The Indian was not accustomed to paint his picture on a canvas and hang it on the wall to grow dim with dust and niglect. I-Ie put his art where he could see and use it. I-Ie painted on his water jars and clay dishes. I-Iis pottery has long been noted for its artistic as well as This is another view of the Equestrian Statue. which is shown in the large picture on Page 50. Page One Hundred Twelve

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S. C. A. CASHIERS First Row. left to right-Boteler, Jump, Olson. Lorraine: Davis. Van Brocklin. Sawyer. Judy: Eason. Neufer, Hahn, Cook, Alm. Second Row-Baird. Jessie Ann: Dresdow. Hughes, Schmidt, James: Zick, Smith. Price, Gwyneth: Cohan, Schultz, Baclciong, Miss Gill. Third Row-Schriber. Schmoller, Miller, Hulbert, Brechlin, Biwer, Ray: Maragos. Fourth Roxy-Wilcox, Kuhn, Haynes, Clark, Vinger, Doughty, Owen, Hernandez. Senior High Banking TI-IRIFT-The Wise management of money: of time: of all one's posses- sions: of life itself. Every Tuesday is bank day. School banking is a student activity in which all students take an active part: such participation does not mean a saving of money only. Through personal budgeting, each student is encouraged to bank a part of earnings or allowances for future needs: to make the most of school time and opportunities. BANK CASHIERS First Row, left to right-Horn. Jolly, Torhorst, Stanfied, Hey, Beck, Zeirface, Martner, Hunter, Thompson. Second Row-Anderson. Goebel, Schroeder, Pugh. Renna, Mielke. NVilsori, Merten, Cleland, Schmuki. Third Row- ltaliano, XVolfe, Fischer, Klart, B. Bugbee. Bruce, Hardtke, Klein. Miller. Fourth Row-Piepenburg, Adviser: Walthan, Strand, Mackey, King, A. Bugbee, Raht, Stollberg, Murray. Page One Hundred Eleven

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material values. He wove his Gods into his mats and blankets. His legends he put into his basketry and bead Work, there to become a part of his daily life and, at last, a part of him and his heritage. It was thus that the Indian became innately an artist. His paintings, his designs, his songs, were all a part of his life, and it was as unnatural to use an undecorated piece of pottery as to use none at all. He sang at Work. He had a song for corn planting, and a song to bring the deer down from the moutain. His houses were dedicated in song, and his own soul de- ft, parted in the midst of it. That the White man was able to plant corn, and THE Moouf PRAYER PoR not sing, that the white man could enjoy his songs and RAIN still not share their meaning was a disconcerting dis- The Returning of the Snakes. a . . . . bronze Smuem, dgng by Humon covery by the Indian. In his songs and stories, his A' MACNQH' 3 Contemporary Amen' basketry and blankets, his pottery and his Water-colors later, lie the greatest and most lasting of Indian contri- butions to our civilization. Still. in these periods of speculation and doubt as to the stability and Wis- dom of our economic structure, perhaps the Indian can afford us a great contribu- tion in the form of his social organization of the small community. Of more than historical interest is this organization, for in the survivals of community, arts, village industry, and Wholesome rural life, we may find the saving force for the mass living of our American industrialism. Perhaps here. in this long successful experiment of community living, We can find that something is needed in our civilization. Our task is to develop this talent, to discover and draw out the best from the Indian. More Widespread education is the best means of doing this. The Indian is capable of this education: it should be afforded him. When this is done, he will fill a larger and better place in our civilization than he now can possibly occupy. vvv TREES IN THE RAIN Trees in the rain Are like broken-hearted children crying Sobbing in the wind With dripping leaves. can sculptor born in 1866. They stand with drooping heads As if grieving for a long-lost friend. Lonely, disconsolate, Giving way to pent-up grief. Agnes Gerard. Page One Hundred Thirteen