The M. I. A. Contests: Significance of the Movement

The M. I. A. Contests

BY rOHN HENRY EVANS. OF THE LATTER-DAY SAINTS UNIVERSITY

/ — Significance of the Movement.

No member of the Church but must feel proud of the contests that have been carried on this year in the Mutual Improvement Associations. Contests were conducted in music, in public speak- ing, in story-telling, and in debating". Of course, this was not the first of the kind that the Associations have held. For several years now they have been going on, not to speak of some that were h Id many years ago. But there has been nothing like that which we have witnessed this year, either in the number of persons who have entered them or in the general excellence of the work done. In Salt Lake O'ty, for instance, there were more contestants this year by several hundred per cent than at any previous time, and the enthusiasm and good will of all concerned were unprecedented.

I wish to discuss, in this and the three following papers, the importance of this movement to the M. I. A. and to the Church generally, to consider some aspects of the work that need atten- tion just now, and to offer, if I may, some suggestions growing out of an interest in these contests and a rather close connection w'th them.

What is the significance of this movement?

I am inclined to think that most of us underestimate, instead of overrate, this work. That is always likely to be the case with what we do out here in the West in everything other than the material. It is the price we inevitably pay for lack of perspective, want of upness in our standpoint, and too much dependence on the judgment of others. The other day, for instance, a literary friend of mine said to me, "We have more talent in this State in music, in art. and in literature than can be found in all the States between California and the Missouri river, and more than can be found in some of the States on the other side of that stream." And that is true — only, it hadn't occurred to me before. Had it to you ? When yon come to think of it, the thing is very remark- able, to say the least. Long after the world has forgotten our boasted commercial prosperity, our money value, it will hold in high estimation our intellectual, our spiritual, our artistic attain- ments— of which we sometimes think so little. These will then 1 e our glory. Even now those who look at us through the tele- scope of Old Father Time point, not to our material enterprises,

THE M. I. A. CONTESTS 1131

but rather to things that promise to be far more permanent. "To me," said an Eastern educator not long ago in speaking of what the "Mormons" have done, "the greatest achievement is a parents' class."

That there is lots of talent in music, in public speaking, and in story-telling among our people, goes without saying. The in- terest we have always had in these activities would naturally awaken talent. As a people we have had more use for music and public speaking than any other community. In other communi- ties these activities are undertaken mainly by the few ; with us they are distributed very generally. These contests, by reason partly of the fact that they give exercise to this sort of talent and partly by reason of the fact that they arc contests, will develop the power of song, of speech, and of declamation in the young people of the Church. And whatever heights our young men and women attain in these respects will reflect credit on the whole community. As I write this, I see in a morning paper an inter- view by a noted Eastern educator in which he says that the "Mor- mon" people must be somewhat, artistically, for "Utah has con- tributed more largely to musical and artistic efforts that are dis- tinctly American than has any other State in proportion to popu- lation."

But that is not all. These contests are worth while if for no other reason than that they attract attention to and arouse interest in the Association work. A contest instantly puts ginger and red pepper into any activity. An organization may be dead, but a contest of any sort will raise it from the dead. There is some- thing about a clash, whether of body or of mind, that creates and sustains interest. Perhaps it is the call of the wild, the Old Adam in us, an echo of the time when our forebears fought each other with clubs and hatchets in the olden day. But however we came by it, here it is, keen and strong. It sounds the alarm, it calls us to arms, it cries out, "Come on!" And then look at what it does for the contestant. If there is anything in him, it will come out in the contest. Nor is there anything wrong in a contest, if you take it in the right spirit. Should anybody doubt the efficacy of a contest to rouse and to keep up interest in the M. I. A., let him talk to any one who lived in Liberty or Granite stakes, during the contest of this year. There was as much enthusiasm exhibited at their ward contests as there is usually at college ath- letics. Liberty stake alone almost filled the Assembly Hall on the Temple grounds, each ward with banners, mottoes, and other signs of friendly battle.

If this movement, therefore, becomes general and is taken up in the right spirit, no organization need have any trouble in get- ting recruits from the young people of the Church.

But a word of caution is necessary.

1132 IMPROVEMENT ERA

I said above that these contests should be conducted in the right spirit. That is it exactly. At one of the contests last year, where there were two sets of judges, one for the story and an- other for the music, it happened that two of the musical judges did not appear on time, in consequence of which the audience was kept waiting for more than half an hour. One of the other set of judges jocularly remarked that the judges on story-telling ought to be allowed to judge the musical numbers also, for the reason that" there would not be any hard feelings on the part of the losers, since they would have the consolation that the judges didn't know anything about music anyhow ! Sometimes there is a disposition manifest not to take the decision of the judges, even when they do know the thing they are expected to render a de- cision on. And occasionally there is a disposition to berate the judges and otherwise discredit their decisions.

This is wrong. Whether the decision is for us or against us should not matter. We are always a bit partial to our own work and the work of our friends. And this tends to disqualify us from judging. If you were falsely accused of a crime, how would you like to be tried before a judge who wanted you to be con- demned ? Your accuser would hardly wish you to be tried before a court and jury made up of your particular friends. Now, the judges are generally neither friends nor enemies. They have usually no desire to see any particular person win out over an- other. In this respect, therefore, they are qualified to render a just decision. Then, too, the judges are chosen generally for their knowledge of the principles underlying the activity they are to adjudicate. Their judgment ought therefore to be worth some- thing. It may, and as a matter of fact it often does, differ from the popular judgment. But that is not anything against it. The truth is, that competent judges render their decisions according to certain pretty definite principles of art, whereas the average audience decides according to its feelings and general impressions. In any event, the contestants and their friends should accept the decision of the judges, whatever it may be. And so should the presiding officers. For the presiding officers to say anything in derogation of the judges' decision is at once a veritable folly of the most inexcusable sort, a needless offense to the judges, and an invitation to render decisions according' to the popular whim in- stead of the fixed principles of the art. Judges whose decisions are discredited in one contest will think twice before acting in another. Besides, the whole thing is manifestly unfair, and un- fairness is unsportsmanlike.

And this leads to a suggestion concerning the manner of pre- paring for the contest. The first thing to consider is the rules of the contest. This is true whether it is a contest in public speak- ing, in story-telling, or in music. Rules prescribe certain limita-

THE M. I. A. CONTESTS 1133

tions, and these limitations it is necessary to recognize in the contest. If the contestant does not consider them carefully with a view to complying with them, he may be sure that the judges will not disregard them. I personally know of instances where this has proved the turning-point in the decision.

Again, whoever enters a contest should have in mind mainly self-improvement. As already stated, one who contests for any- thing is under bonds, so to speak, to do his best. But public speaking, singing, and declamation are not arts, perfection in which can be attained in a night. Rather they imply slow growth, gradual improvement. The powers brought into play need to be subjected to a long course of training — practice under the best criticism. Hence the contestant should possess his soul in pa- tience. Hence, too, he should avail himself of the help of some competent person where he lives. Or if there is no one accessi- ble, perhaps the necessary information may be procured from books. In this way Evan Stephens learned music. I know a man, now one of our best singers, who used to go along the street singing the scale with his fingers for the bars. There are many good books nowadays on the art of story-telling and public speak- ing. No one need be discouraged. Work, intelligently directed, will accomplish wonders. They say that O. F. Whitney got a good deal of practice preaching to the canyon stream, the rocks, and the brush on its banks, just as Patrick Henry is said to have practiced on the cows and the horses in his father's barn.

Sons and daughters of the "Mormon" pioneers, to adapt an eloquent word of David Starr Jordan's, yours is the best blood of the realm! The cleanliness of your lives, the fresh air of our mountains, and the hard exercise of brain and brawn throw open before you illimitable possibilities. What will you do with your powers? How will you reach the end of the vista? One of our best public speakers told me once that when he was a young man he had great dreams of a public ministry in the "Mormon" Church where the gospel would be preached by the gift of eloquence, dig- nified, stately, and powerful ; and he never lost track of this ideal. That is the thing — a high ideal and an ambition to reach it ! No wonder he became, in Mr. Brvan's phrase, one of the five or six great orators in America! What do you want to be— a singer? Put yourself in touch with the fine spirit of the Association. What do you want to be— a story-teller? Put your soul into this work under circumstances where the best in you will be brought out. What do you want to be— an orator? Enter these contests where you will get the stimulus of work and inspiration. For there is the widest field for high development in art. Dream ! Work ! Realize ! (The next article under this title will treat on "Story-Telling.")

STAKE SUPERINTENDENTS Y. M- M- I- A.

Top row: Truman C. Barlow, Bingham stake, Idaho; John A. Aylett, Jordan stake; John R. Rampton, South David stake; second row : J. C. Larsen, Jr., Benson stake ; John D. Giles, Ensign stake, Utah ; C. W. Hall, Malad stake, Idaho ; bottom row : Wm. Leslie, Thompson, Millard stake; J. H. McKnight, Juab stake, Utah.