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AUGUST 25, 1978 PAGE 3
Gypsies Wander into Warm Springs
by Cynthia Stowell
It is not often that a dance
company plans a performance in
Warm Springs immediately fol
lowing its hometown premier.
But as soon as the Reed College
Repertory Dance
Company
finished its first four nights in
Portland, the dancers packed up
their leotards and headed over
the mountains to perform at the
Warm Springs Community Cen
ter.
The “Gypsies” provided a
unique evening of entertainment
August 15 for the small but
enthusiastic crowd in the com
munity center gym. Even with
out their customary lighting and
thirteen-piece chamber orches
tra, the company captured the
attention and imagination of the
diverse audience of central Ore
gonians.
Three very different pieces
and an encore were performed,
each one well accepted for its
particular mood and style. The
show ended because “that’s all
we know” — a proud admission
on the part of director-choreo
grapher V. Keith Martin that the
Gypsies are newborns — but
solidly on their feet.
The company grew out of
Martin’s Summer Dance Work
shop, in its fifth year at Reed
College. Because many of the
twelve dancers are studying in
New York City, the company will
be based in Portland during the
summer and New York in the
winter.
The Gypsies’ wandering will
not only take them from one
coast to another, but also to
communities where their art
form is rarely seen. Last week’s
performance in Warm Springs
was evidence of the company’s
commitment to take their music
and dance beyond the urban cul
tural centers.
Dancing before a backdrop
of white panels and to the ac
companiment of a piano and
recorded sound, the Gypsies of
fered simplicity — in staging if
not in content.
The opening piece, choreo
graphed by Keith Martin and
entitled “Charon,” was the most
unusual of the works presented.
To the music of Tangerine
Dream and Krzysztof Pendere
cki, dancers moved
slowly,
struggling against what Martin
described as a water-like en
vironment.
More conventional dance
characterized the two segments
of “Journey into the Wilder
ness,” also Martin’s work. Solo
dancers brought a nightmare to
life with an agonized dreamer
encircled by harrassing figures.
The second movement brought
the dancers closer to a peaceful
sleep state as they moved more
in unison.
The heavy
psychological
drama shifted to
flirtacious
gaiety after the intermission
when the company performed
Charles Weidman’s “Brahms
Waltzes.” Smile lit the dancers’
faces and winks flashed from
their eyes as they teased each
other and the audience in a
playful interpretation of the
waltz.
When the lights went on, the
Gypsies offered themselves to
the audience for a question and
answer session. Dancer inform
ed the crowd that they practice
five to six hours a day and have
danced anywhere from two to ten
years.
An encore of Martin’s “Con
certo Grosso,” which the pianist
played without music,
was
warmly received, the Gypsies’
spell having been cast success
fully over the crowd.
(Above) “Charon” was the name of an unusual piece performed by the Reed College Repertory Dance
Company. Dancers moved slowly in a water-like environment, explained choreographer V. Keith Martin.
(Left) “Gypsies” chatted with the audience at the end of the show, telling people about their rigorous
hours of practice. They were persuaded to do an encore.
CDS Photos
Earl Certified To Train Other Head Start Teachers
“Headstart and the Head-
Start-Day Care trailer need new
things to stimulate the students
and teachers” stated Dorothy
Earl, recent recipient of a Child
Development Associate certifi
cate (CDA) “And I think the
CDA certificates and training
will help with that.”
Dorothy, along with her
family of four children and hus
band, Clayton, has lived in the
Warm Springs area for 16 years.
She has worked with an average
class size of 20 four-year-olds per
day for nine years. “For some
reason there are less four-year-
olds now, so Hazel Suppah and I
teach some of the older three
year olds,” she commented.
By 1979, all Federally funded
HeadStart programs will require
that at least one head teacher per
four classrooms have a CDA.
And by 1971 all five head tea
chers in the Early Childhood
Development programs will have
to have or be working toward a
CDA credential.
The procedure for acquiring
a CDA is a long and seemingly
endless process. Dorothy first
applied to the National Consor
tium, a non-profit organization in
Washington D.C. requesting as
sessment by a representative.
The consortium, in turn, sent
information and suggestions for
Dorothy to assemble a portfolio,
justifying her competence in
order to receive the credential.
Also sent were packets for a
trainer and a parent representa
tive listing guidelines to help
with the portfolio.
After five months of hard
work, Cody Soules, who served
as trainer, and Jewel Minnick
who was parent representative,
along with Dorothy, felt assured
that the portfolio was ready to be
sent to the National Consortium.
After the national office review
ed the brochure, they sent a
consortium representative from
their Portland office to perform
the necessary assessment.
The assessment was a long
and grueling one. TJhe evaluator
observed one session in the class
room which was followed by a
two hour personal interview with
the candidate and a team meet
ing lasting no less than four
hours.
Dorothy, along with her
trainer and parent representa
tive had to prove to the con
sortium representative that she
was competent to work in the
area of Early Childhood Edu
cation. There were
thirteen
functional areas outlined by the
consortium where excellence
was required.
Dorothy said that on the day
of her assessment, her assistant
teacher was attending a funeral
and her aide didn’t come to work,
making the whole day discoura
ging and rather doubtful.
But five days later, Dorothy
received word that she had been
awarded her CDA credential. So
far, she is the only head teacher
at HeadStart to have received
her CDA, but 19 women working
in the Early Childhood programs
have requested they be trained
for their CDA.
Dorothy’s job, in addition to
teaching every day, will be to
help those women with their
training and portfolios. All staff
members are welcome to seek
their CDA, but this year, empha
sis will be put on the head
teachers of each room, so they
can be certified before the end of
1979.
OUIZ
(1) Were there more or less
Indians a hundred years ago
than today?
(2) Look closely at the portrait
of Mona Lisa. She doesn’t have
something everyone else has.
What is it?
(3) Does it mean anything spe
cial when a cow moos while
being milked?
(4) Who always said, “Here’s
another fine mess you got me
into”?
(5) When Custer made his last
stand, what state was he in?
Montana, Wyoming, or South
Dakota?
(6) Roy Rogers owned the horse
Trigger, Dale Evan’s horse’s
name was Butter Milk. What
was Zorro’s horse’s name?
ANSWERS
DOROTHY EARL
— HEADSTART TEACHER AND TRAINER
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