#WeArePamplin, Vol. 3, Issue 2

#WeArePamplin SPRING 2021 • VOL. 3, NO. 2

ARTS

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HUMANITIES

Alumna Succeeding in Film Industry Georgia sees a boom in filmmaking

Music That Heals Music therapy supports ‘whole health model’ in healthcare

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SOCIAL SCIENCES

In This Issue 6 Pamplin Pedagogy

Faculty navigate challenges amidst move to distance teaching during pandemic

9 Student Spotlight

Bell Ringer wins awards at GCPA, SRPI

11 Light and Shadows

AU’s Morris Eminent Scholar creates space to ‘express the inexpressible’

13 Pamplin College welcomes new dean

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14 Art alumna succeeding in film industry 16 Listen to this

Pamplin faculty and students join the world of podcasting

19 Scholarship Spotlight

Scholarship helps those studying race, social justice

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21 Communication’s Debbie van Tuyll to retire 23 Music that heals

Music therapy supports ‘whole health model’ in healthcare

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24 Meaningful struggles and the struggle to make meaning

Theatre production offers questions but leaves answers to the audience

27 New biological anthropology courses offered 28 In Memoriam

Philip Morsberger: With Others

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A Minute with the Dean

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(Photos by Gabi Moore)

CPTED walk Every semester in Dr. Griffith’s Criminology (CRJU/SOCI 4431) course, she has students conduct a Crime Prevention Through Environmental Design (CPTED) walk through campus. The purpose is to locate areas of campus that could be redesigned to deter crime from occurring. The premise lies in Routine Activities Theory which posits that if you have a suitable target, a motivated offender, and the absence of capable guardians, crime is more likely to occur. The goal of CPTED is to reduce the number of suitable targets available. Dr. Griffith has students walk through campus as an experiential learning exercise where they apply a theoretical concept to everyday life.

This particular activity has the added benefit of having Criminal Justice Students network with Augusta University Police officers and all involved help keep Augusta University safer.

ver a year of teaching during the Coronavirus pandemic has left many of us tired of team meetings, teaching our own children, and ready to get back to “normal.” Others of us are grieving the loss of our loved ones who succumbed to COVID-19 or other ailments during a time when being with family and friends has been a challenge. Here in the Pamplin College, staff and faculty continue to work diligently with students as they have struggled to adjust to learning in unfamiliar ways during trying times. Many of us are hopeful that in fall, we will have hallways and classrooms full of students and we will feel safe interacting with one another again. For some of us, we are excited, as we will have classrooms refreshed in Washington Hall with new equipment to replace the outdated projectors and new TVC Lab equipment for students in Communication and Art and Design courses.

In this issue,we delve into Metaphysique D’Ephemera, a wonderful spectacle that we braved the cold (for Augusta anyway) to see in March. We also interview our accomplished and erudite Morris Eminent Scholar, Anila Quayyum Agha. We learn about the amazing contributions that Dr. Debbie van Tuyll, the

#WeArePamplin DEAN’S OFFICE Dr. Kim Davies, Dean Dr. Wes Kisting, Associate Dean Dr. Christine Crookall, Associate Dean Dr. Kimberly Gray, Director of College Assessment and Strategic Initiatives PAMPLIN COLLEGE OF ARTS, HUMANITIES, AND SOCIAL SCIENCES 1120 15th St., AH-N210 Augusta, GA 30912 T: (706) 737-1738 E: pamplin@augusta.edu www.augusta.edu/pamplin

(Photo by Augusta University)

Pamplin Faculty Member of the year, has made during her career at Augusta University.

In our new section, Pamplin Pedagogy, we talk to some of our faculty about how they adjusted to distant teaching and what they learned about their teaching during the pandemic. And importantly, we have a great

feature on alumni, new courses, theatre productions and more important happenings in our busy and diverse Pamplin College!

Kim Davies, PhD Dean of Pamplin College of Arts, Humanities, and Social Sciences

CONTRIBUTORS

PHOTOGRAPHY

Dr. Christine Crookall Dr. Kimberly Gray Dr. Kim Davies Dr. Wes Kisting Gabi Moore, Pamplin College Communications Specialist Dr. David Bulla, Chair, Department of Communication Jennifer Onofrio, Professor, Department of Art and Design Dr. Andrew Goss, Chair, Department of History, Anthropology, and Philosophy Dr. Lita Sacks, Lecturer, Department of History, Anthropology, and Philosophy Dr. Candace Griffith, Assistant Professor, Department of Social Sciences

Gabi Moore Gary Nipple, Student Assistant Lucas O’Meara DESIGN Gabi Moore COVER Design: Gabi Moore Photography: Photo provided by Beth Gleason

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Pamplin Pedagogy

Faculty navigate challenges amidst move to distance teaching during pandemic

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or many faculty, the usual familiarity of teaching in a physical classroom with four walls was thrown out the window into the virtual world of distance learning when all faculty were forced to move their courses online in spring 2020. Some faculty continued to teach at a distance during the 20-21 academic year, while others took to the challenge of teaching at a distance while teaching in person. In this semester’s issue, we ask four faculty about their experiences with teaching online and in the face of Covid-19 over the past year.

The faculty are Dr. Rosalyn Floyd, Professor of Music; Dr. Martin David Jones, Professor of Music; Ms. Amber Routh, Communication Lecturer; and Dr. Michael Schwartz, Professor of Art.

How did you adapt to teaching when we were forced to go online in spring 2020?

Dr. Rosalyn Floyd: I bought an iPad, since my computer at home is over 7 years old. I had to figure out ways to have class piano send videos, and working with Zoom, Teams and FaceTime sufficed for applied lessons.

Dr. Martin David Jones: Music has many aspects that are best taught Face to Face. And as college music teachers, there are several different types of instruction: Private lessons, classroom, and ensembles (like choir, band, and orchestra). Currently I am not a large ensemble director, but I do teach in the classroom and also private lessons. I will first discuss private lessons. I taught my private lessons online with myself at a piano and the student at their piano (or often times an electric keyboard). I used an iPad and I taught the lessons from my house. The students used laptop computers, tablet computers, or most often a smartphone. As far as the classroom, I was teaching Advanced Ear Training and Sight Singing II. This is a class that is really best taught Face to Face because the students do much of the sight singing as a group and thus learn from that group experience. It would be really difficult if not impossible to get the same effect in a Microsoft Teams situation (or any Zoom-like experience). I made the decision to do all recorded lectures. I basically recorded the sound of my voice and used my computer screen as if it was a chalkboard or doc-cam. The program I used was Echo 360. As far as sight singing exams, which are done individually, I used either Skype or FaceTime. (Microsoft Teams is not really good for doing this. I know FaceTime is not officially approved by the University, but it proved to be very effective.) For Dictation exams, I made videos (which were really just audios) of the music. The students wrote down their answers on staff paper and sent pictures or scans to me via email. These exams were administered at a particular time so that the students had to complete the dictations between a specified time block.

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Dr. Rosalyn Floyd

Amber Routh

Dr. Martin David Jones

Dr. Michael Schwartz

Ms. Amber Routh: It was interesting because the adaptation of my courses was quite different for each one. I think the sudden changes required me to be flexible and think creatively.

My Fundamentals of Human Communication was a fully face-toface course where we get to know each other well. Students were really disappointed because the school closed suddenly—they came to class

on Thursday expecting to see their friends again the next Tuesday, and then we never met again. So I worked to help them still interact with each other and find closure. I did make the class asynchronous because I felt students could use more flexibility during these stressful changes.

However, they posted videos on discussion boards, and they were much more responsive to each other than you usually find in an asynchronous online class, replying to posts, making personal comments, and even joking with each other.

I was really lucky because I had already been teaching online in other courses, and I had even helped launch an online version of this class the summer before, so I had a good understanding of what would work well when I moved my fundamentals class online.

Another course, Communication for Professionals, was already mostly online, but it was actually the hardest to adapt in many ways.

The final exam was a group presentation on an adaptation of a campus resource that occurred on campus during the final exam time. The preparation for that project was very integrated into a number of other assignments and lectures. The pandemic made it more difficult for them to connect with campus resources, and the stress of sudden unexpected expectations and quarantines made it harder for them to work in groups.

I had to make the tough call to scrap that project and create a new final project —an individualized virtual presentation on a company and position of interest. Students adjusted well, and I got such great feedback on the new project, I decided to keep it moving forward.

In my internship course, it really took personalized feedback. Every internship site wanted to do something different, so each student needed a different response. I felt my goal was to give the students and internship supervisors lots of options. Some continued in person, some went virtual, some took an incomplete and then finished later, and some switched to another internship site or worked for my department to finish their hours. I really needed to up my game to keep tabs on each student’s changing internship situation, and it was a lot of moving parts.

Dr. Michael Schwartz: Quickly! I was slow learning the tech. But it was decently effective. My kind of classes work well online as they involve screens of artworks and films.

What have you found most challenging [in terms of teaching] over the last year?

RF: It was most challenging to keep students engaged online.

Sometimes connections were not good, and finding software that supported music demonstration was a concern.

MDJ: There were particular challenges with technology. Teaching a piano lesson virtually means that you are listening to the student playing the piano or keyboard through the following journey. The student plays, the music is captured by their phone’s microphone, the signal is sent through that student’s home’s WiFi, and then it travels to the teacher’s WiFi, and then comes out the teacher’s computer. If the microphone on their phone isn’t good, things will sound terrible.

If the WiFi in the student’s house isn’t good, the signal will fade in and out. So...basically things like tone production and dynamic contrast are really hard to even hear. Some student’s tone just sounded really ugly.

But I knew they weren’t playing ugly, it was their equipment or their WiFi. Also, one method of teaching lessons is to play the same musical passage together. (Basically the teacher plays what the student is

Recommended Reading Below are some faculty recommended readings from their disciplines or for escaping during these challenging times.

Dr. Rosalyn Floyd: My recommendation is Becoming by Michelle Obama.

Ms. Amber Routh: For my professional communication course, I’ve been reviewing some books in that field including The New Rules of Word: The Modern Playbook for Navigating Your Career by Alexandra Cavoulacos and Kathryn Minshew. When I want to escape with a page-turning crime thriller, I like The Patrick Bowers Files Series by Steven James.

Dr. Michael Schwartz: Too many. On a personal note, I am perusing through Renaissance Neo-Platonist Marsilio Ficino’s commentary on Plato’s Timaeus, which is confirming my sense of Raphael’s School of Athens, which I teach in the core and in art history. Maybe one day I’ll write this all up...

playing, each participant on their own piano.). This is very useful for the student to really learn the teacher’s musical timing and it really works communicating a lot of musical ideas to the student. This method of teaching goes completely out the window when you do virtual lessons, because there is so much latency (or time delay). Also, some student’s pianos or keyboards were not very good instruments.

They were very out of tune, or didn’t have particularly good sound.

AR: I think the biggest challenge is the loss of a lot of the personal touch that comes from being in person. It was really hard not to get to say goodbye in my fundamentals communication class when we closed suddenly last spring. We had developed a close bond, so I hated that we didn’t get to celebrate finishing the course together in-person.

I also used to see my online internship and professional communication students during the final exam period, and before the pandemic, I really looked forward to seeing them in person after communicating virtually all semester. It is hard to fully replace that personal touch.

I also think it is hard to support students in public speaking when they unexpectedly have to give virtual speeches. One of my students commented, “I envy your ability to do this, being in front of a camera turns my brain to jello.” Of course, I don’t want any jello-brained students.

MS: Student morale. Keeping them engaged and attending and their being up in their spirit. This is better for my art department classes, less so for my core class, where attendance is lower. Of course this could be due less to online per se and more to the overall pandemic and political-cultural contexts.

Having to shift from screen to screen—and tech issues—often amongst three. This is often messy.

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What have you learned from the covid-19 teaching experience that you will take forward to improve your teaching?

RF: I will continue to use the BrightSpace application for posting assignments, content, and assessments. Everyone knows how to access this and it saves time for all concerned.

MDJ: When I have taught Ear Training and Sight Singing in the past, I always assumed that the act of having the students singing the assignments together was the best way for the students to be better sight singers. There is a great deal of merit, however, to having recorded videos that the student can sing along with. One of the important reasons why recorded lectures work so well is that the student can practice with the material multiple times. They can really learn at their own pace. I started to notice some strong improvement in some of the more average students.

AR: I had been very reluctant to change my Communication for Professionals in-person group presentation final. However, I was really pleased with the new virtual final presentation where they developed a tailored pitch to a company of interest which they had to research with an informational interview. The project got great feedback. Since I had to alter this project mid-semester last spring, the students were familiar with the original final, so I was able to gather feedback on what they preferred and most liked the new project better. So the experience forced me to try new things I might not have tried, and I found a project that works better than the original. Also, working with students in internships during the pandemic, I have become more adept at helping students with a variety of needs face challenges and overcome.

MS: Tech is good. It can be used in creative ways. Videos of a session is very helpful for students—although I do see less of them take notes.

Translating my classroom practice to virtual was fairly seamless, to be honest.

Was there anything that surprised you about the change in class structure?

RF: Not really. Music classes always tend to be small.

MDJ: So...to continue with the end of my answer to question No.3, this was a surprise to me. Students learning at their own pace and being able to practice the lecture over and over produced some surprisingly good results. I know that your series of questions relates to the Spring 2021 semester, but I have had to continue some of these practices with a similar class this fall. I have had to continue the recorded lectures for Sight Singing because it is not safe for the students to sing in groups. I have noticed that the recorded lectures have produced some good test grades for many students. It does put a lot more responsibility on the student’s own work ethic and personal discipline, however.

AR: Having taught asynchronous courses in the past, I understand how hard it can be to get students to engage with each other in the virtual classroom. What shocked me was how responsive my Fundamentals of Human Communication students were with each other when we moved from in-person to an asynchronous class. They all seemed to actually watch each others’ speech videos and they sent long personal responses and replies back and forth—even making jokes.

I think this was because they already had a personal relationship before interacting virtually and the suddenness and stress of the quarantine left many of them missing each other and looking for a way to connect.

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So I was pleasantly surprised by how well virtual discussions worked, especially during the early quarantine period.

MS: Not so much. Mostly testing. In the core class I shifted in the in-class writing on an essay exam to a take home and expanded the review time—the essays have been just as good as before. In the art academic classes I have shifted the testing format, mainly because I am not clear how to test data in real time online (I know it can be done) as identifying works would be super easy with a cellphone next to someone. So I have opted for a variant as a take-home exam, and the essays have often been great, especially for the upper division courses.

Anything else you want to add? Any wins you want to share?

RF: I felt that my students remained connected enough to continue to ask for help, and there were so many ways to keep in touch.

MDJ: While there are elements that I will probably use in the future (like using recorded lectures), I was really glad to return to Face-to-Face piano lessons. It is so much better than virtual teaching. In general, I think Face-to-Face lessons are vastly superior. To make virtual lessons work requires an upfront expense in technology upgrade for not only the faculty member, but for every student. I know that some famous music conservatories (like Juilliard in New York) were able to make virtual teaching reasonably successful. But the student must purchase a really good microphone, buy an audio interface, use plug-in Ethernet and not WiFi, use a computer and not a phone, and get special software (like Soundjack). This is something that a Juilliard student would be willing to do. But it is not practical for our particular student body.

So...the students and I did the best we could in a very difficult circumstance.

AR: This past year brought a lot of unexpected challenges into many of our lives—students, faculty, and staff. Adjusting to sudden changes, worrying about health, assisting parents, caring for children, serving in front-line positions, facing loss, and dealing with isolation were just a few of the things faced. Through this, many of us learned to be more gracious with ourselves and extend that graciousness to others. I think that is a positive that has bloomed out of a lot of broken places.

And there have been some specific exciting positives that occurred this year. On a specific curricular note, a big “win” was the new project in Communication for Professionals required them to set up an informational interview with a company of interest. Students really liked this because as one put it, “the presentation resulted in my having a resource to rely on in the future when it was time for me to look for a job after graduation.” Plus, one of the companies was so impressed when a student reached out, they ended up offering them a job. I was thrilled because most companies went into hiring freezes during quarantine. Whenever students can use my class to achieve personal career goals, I’m elated. And we could all use a “win” during this past year.

MS: I think that the upper level art history class on contemporary art, which culminates a four course sequence, works BETTER online.

The students breaking out into rooms and preparing presentations on the readings and artworks have been the best ever in this course.

When they do that in class the presentations have not been quite as good. Same with the aesthetics class, less so with intro art history so far.

I now prefer synchronous online teaching. And I think the learning results are parallel to face to face in my given courses, although I could be wrong. <<

Student Spotlight

Bell Ringer wins awards at GCPA, SRPI

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he Bell Ringer, the student newspaper of Augusta University, recently won several press awards, in the annual Georgia College Press Association contest.

The best sports photography award was won by Art major Shelby Foster for a photograph she took of Augusta University men’s basketball player Rafael Monteiro last March during an AU game. The GCPA judges were impressed by Foster’s composition as one noted: “So much story being told on a layup. You see the determination on Monteiro’s face and I can practically hear what the coach on the bench is saying. Great stuff.”

The Bell Ringer sports section, led by sports editor and Communication major Carlos Rodriguez, finished in third place for Best Campus Community Service behind University of Georgia’s The Red & Black and the Valdosta State Spectator.

In the Southern Regional Press Institute contest, Rodriguez took first place for Best Sports Story with his article on AU’s

Mackenzie Taylor, who converted from being a soccer player to a conference champion in cross-country. Rodriguez also won for best sports photography for his photo of Integrated Studies major and men’s basketball center Tyshaun Crawford dunking against four USC Aiken players. Bell Ringer sports writer Justin Brosemer, who majors in Communication, came in third in sports photography for his photo of an AU preseason practice.

At SRPI, Sam Turner, who graduated with a degree in communication in December, won for Best Commercial or PSA. Her PSA titled “It Wasn’t Worth It” was done in Arthur Takahashi’s audiovisual production class last fall and was part of the Georgia Cancer Center’s PSA campaign against smoking.

Turner now works for Fox 54 TV in Augusta.

“I am incredibly proud of Sam,” Takahashi said. “I know she put a lot of time and effort into her PSA. This award recognizes not just her outstanding video but more importantly her hard work throughout the

production process. And we are grateful for our partnership with the Georgia Cancer Center and Ms. Christine O’Meara. The PSA project shows the opportunities we can offer our students when we build bridges across campus.”

Bell Ringer managing editor Rakiyah Lenon, a Communication program major, took third place in news reporting for her piece on last fall’s senatorial campaigns in Georgia. She covered press conferences at the Augusta airport.

Even The Bell Ringer website (www. aubellringer.com/) finished in third place in the Best Website competition.

“Our journalism students did very well in both the GCPA and SRPI competitions,” said Professor David Bulla, chair of the Department of Communication. “I think you can see that they take a great deal of pride in their work. I am especially grateful to our faculty for how hard they work to help our students develop their nonfiction story-telling skills.” <<

Student News Hunter Kimball (Integrated Studies, 2021) was awarded the Outstanding Student in Integrated Studies plaque.

“After graduation I will commission into the U.S. Army as a Second Lieutenant (2LT) and will be a quartermaster officer,” Kimball said. “I will go to Basic Officer Leaders Course in Fort Lee, Va., where I will learn my specific job and duties, then I will be stationed at Fort Campbell, Ky., in the 101st Airborne Division and be working closely with units and soldiers to make sure they are mission ready.” << (Photo provided by Dr. Pam Hayward)

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Light and Shadows AU’s Morris Eminent Scholar creates space to ‘express the inexpressible’

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Artist: Anila Quayyum Agha Artwork Title: Intersections Materials: Laser-cut and lacquered steel Size: 6.5 ft cube Year: 2014 Location Shown: Toledo art museum, Ohio, 2020 (Photo courtesy of Anila Agha)

nila Quayyam Agha was born and raised in Lahore, Pakistan, where she earned her Bachelor of Fine Arts from the National College of Arts before moving to the United States. In Pakistan, Agha felt that she had hit a glass ceiling that many women have experienced across the world, both in terms of advancement and salary. She came to the U.S. looking for more challenges and opportunities, and earned her Master of Fine Arts degree at the University of North Texas. Agha entered the workforce as an adjunct faculty member, which made her realize how difficult it is for an educated person to survive as an educator in this country.

Agha’s first full-time tenure track position brought her to Indianapolis, Indiana, where she taught at the Herron School of Art and Design at Indiana University-Purdue University Indianapolis. During her time at Herron, Agha earned tenure and established herself as a prolific artist of international renown.

Agha’s work focuses on the idea of creating safe spaces for everyone, especially refugees, minorities, women, and people who identify as LGBTQ+. Her works examine the continued inequality she witnessed and experienced over the years in both Pakistan and the United States, and she uses this platform to shed light (often literally) on these issues. As she became internationally known, the requests for shows multiplied. Most of the requested shows are strenuous, requiring much time, money, and energy to complete. She taught many classes at Herron, which, in terms of time, competed with her studio practice.

The time crunch issue made her look for opportunities to enable her to spend more of her valuable time on her research and creative activities—a search that ultimately brought her to Augusta University as our Morris Eminent Scholar.

The art Agha is creating in Augusta has turned in a slightly different direction, and is influenced by the natural environment of Georgia. She projects that these differences will start emerging in her artwork over the next few years as it takes time to process new influences. Due to the pandemic, she has been able to devote more time to reading about environmental issues which have put our world in such crisis. These influences have seeped into her work, which previously emphasized the rights of the marginalized but now elevates them to a global level through the all-encompassing lens of the environment and its erosion. She feels that environmental concerns like land erosion, loss of resources, and the ever-decreasing availability of drinking water is a reality that will largely affect poor black and brown populations in post-colonial third-world countries first. This situation will exasperate the already intense refugee crises we have seen in the past five years in regions like the Mediterranean and United States southern border.

Anila Agha (Photo by Randy Pace, Senior Lecturer, Department of Art and Design)

Refugees, living between borders in desolate locations where most refugee camps are set up, suffer loss of dignity and are most often dehumanized. This makes Agha very concerned for Pakistan (her home country) and other post-colonialized countries who lost vast resources to the Euro-Western world, and are now suffering due to wars that create unstable and corrupt governments, poor and burdened economies, and eroding natural environments. She feels her larger concern for the environmental crisis actually encompasses all her previous concerns for equity and justice for women, minorities, and the marginalized. She wants her work to capture what is happening around us.

Agha gives the following example, “The COVID-19 pandemic knows no barriers of East, West, North or South. I think the world needs to deal with this head-on. Instead of Euro-Western countries amassing vaccines, there needs to be a push for the entire world’s population to be vaccinated, in spite of the cost associated with it. Without Continues on page 12

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Anila Agha’s 2020-2022 Solo and Group Exhibitions • Anila Quayyum Agha: All the Flowers Are for Me (Red), December 15, 2020–May 30, 2021,Cincinnati Art Museum, Cincinnati, OH • Light Upon Light: Light Art Since 1960, International Group Show at the Noor Festival, Riyadh, 2021, Curator: Susan Davidson, retired Guggenheim curator/ NYC. • Itinerant Shadows–White, International Group Show at the Delhi Art Week -7-15 April, 2021.Exhibit 320 at Bikaner House.

This event is hosted and organized by important Delhi art galleries, India: Nature Morte, Vadhera, Espace, Latitude28, Blueprint and Exhibit320 and 1x1 Art Gallery.

• Charity Auction for Syrian Refugees – UNHCR (USA for UNHCR –The UN Refugee Agency), Group Auction, April 29, 2021, Kasmin Gallery/NYC, Online/ In-person Previews. Nikki Grizzle-Events Coordinator • Shimmering Mirage, A show at Marriott International during Art Basel 2021 in Hong Kong. A hybrid online-offline event.

Opens in May 2021.

• A Beautiful Despair, September 25, 2021– January 9, 2022, Amon Carter Museum of American Art, Fort Worth, TX. The show is accompanied with an Artist Book. Curator: Shirley Reece-Hughes • Weight of Black, Opening October 5, 2021, Jule Collins Smith Museum, Curator: Cindi Malinick, Auburn University, Auburn, AL • Anila Quayyum Agha: Let a Million Flowers Bloom, Spring 2022, Curator: Catherine Walworth, Columbia Museum of Art, Columbia, SC • Forthcoming Show, Spring 2022, University of New Mexico Art Museum, Albuquerque, NM. Curator: Mary Statzer, Finalizing title, artworks, lecture and attendance dates.

• Forthcoming Show, March 2022, Sundaram Tagore Art Gallery, New York City, NY 12 | #WeArePamplin · Spring 2021

these vaccines, this [pandemic] will keep recurring, and its continuation will tank the world economy. We are creating a different set of problems for the world to solve. It’s time for the wealthier countries to give back what they plundered during colonial times and work to address inequity, poverty, hunger, overpopulation, and the erosion of natural resources across the world, and to empower everyone not just their own populations. It’s a controversial view but this is what I have been thinking about this past year. Being internationally known for my art, along with the recognition associated with the Morris Eminent Scholar of Art position at AU, I feel I have a visible platform, which allows me to touch upon and bring awareness and visibility to these overwhelming concerns.”

Many of Agha’s installations involve large steel cubes lit from within with intricate patterned cutouts on all six surfaces. The cubes are usually suspended central to the room transforming the space with patterns of light and shadow. The viewer becomes enveloped in the artwork and the resultant shadows which simultaneously affords intimacy and the feeling of being part of a larger community.

Agha says, “My initial idea of the cube was inspired by a negative experience related to my upbringing in Pakistan. As a woman, I was excluded from praying inside mosques. And the few times I did visit the famous medieval Badshahi mosque of historical renown, I went as a tourist to observe the beauty of its art and architecture. Culturally, women were discouraged to go to mosques being relegated to praying at home... to the extent that they were often harassed when and if they did enter. Keep in mind that in a third world country, mosques are more than just religious houses of worship; but also fulfill the role of libraries, art galleries, and community centers. I felt that to relegate 50 percent of one’s population from participating within an environment of beauty, community, and learning suggested the lack of value attributed to the female population. I often wondered how women were supposed to learn to interact with men on a daily basis if they were denied these communal experiences? It is this segregation I was trying to address through my first cube.”

Agha was inspired by a visit to The Alhambra Palace in Granada, Spain, where she experienced an amazing sense of familiarity—“like I was home, visiting an old familiar and much-loved historical building, yet no one was chasing me out,” she says. After that visit, she was determined to create a space that represented a similarly beautiful environment open to multiplicity of genders, religions, caste and class structures and cultures. “I think I will continue to make the cubes.” she says.

“However, I also want to look at them from different facets; to continue to develop work that may not always be beautiful or give a sense of community/spirituality... but also touch upon the controversial subjects dealing with race, class, creed or gender... to represent the side that is not so equitable.”

Currently, she is working on a new idea that involves small charred cubes. She explains: “It may not end up looking beautiful or create a sublime sensation, but will have an ominous presence, and allow me to continue my exploration of the cube.” Agha acknowledges that her interests and her approach to exploring this new direction in her art may be difficult for some people to understand or appreciate, especially those who prefer the relatively straightforward empirical and explanatory mode of the natural sciences.

“I think the arts and humanities are different from the sciences,” she explains. “For example, many people are writing articles about COVID from a tangible health and sciences perspective”—perspectives that frequently ignores a sea of less conspicuous and less tangible, but no less impactful, experiences that many of us have had to navigate amid the pandemic. It is this less visible, less quantifiable dimension of human experience that Agha feels driven to capture and represent for others.

“I spend a lot of my time thinking how to make visible something that is completely invisible. Artists often address esoteric questions without being explicit, and allow ambiguity in their work so the viewer can interpret the work based on their own personal feelings of alienation or connectivity. Through my abstract art, I try to make an environment in order to express the inexpressible.” <<

Dr. Kim Davies, who became interim dean last summer, is now leading Pamplin College as its new dean. (Photo by Augusta University)

Pamplin College welcomes new dean

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amplin College of Arts, Humanities, and Social Sciences is proud to announce its new dean, Dr. Kim Davies, effective April 15.

Dr. Davies joined the Augusta University faculty in 1996, and was formerly the chair of the Department of Social Sciences until stepping into the role of interim dean in July 2020. She earned

her bachelor’s, master’s, and doctoral degrees in Sociology from The Ohio State University. During her time at AU, Dr. Davies has won multiple University awards for her research, publication, and leadership.

We look forward to her leadership in Pamplin and the continued growth of our College. <<

More on Dr. Davies To learn more about Dr. Kim Davies, read the full Jagwire article at https://jagwire.augusta.edu/daviesnamed-dean-of-pamplin-college-ataugusta-university/

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Art alumna succeeding in film industry

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he feature film business is thriving in Atlanta and actively growing in other areas of Georgia, including Augusta, bringing a growing number of creative jobs to the state.

Pamplin alumna Beth Gleason (BFA Art-Ceramics, 2010) applies her creative knowledge as a freelance set dresser for major productions filmed in studios around Atlanta. As a set dresser, she places the furniture and decorations in each of the sets to help establish the location, mood, and “feel” of each scene. Although she is restricted from telling us which production, she is currently working on the set of a popular TV series, where she puts in 12-hour days up to six days each week. The hours can be grueling, but Gleason loves this work.

Gleason got her start in the film industry 11 years ago, as an unpaid intern, working first as a bookkeeper, then as a production assistant.

After putting in the hours, learning the craft, and making industry contacts, she was able to join the artists’ union—a prerequisite for a paid role in the industry. She started out on the sets of independent films, and slowly worked her way up to major motion pictures such as Watchmen.

The industry has changed and grown a lot in the 11 years Gleason has been in the business. Encounters with film industry professionals were once rare, but now you can hang out in any Atlanta neighborhood and bump into them regularly. In fact, there are now multiple sound studios in the Atlanta area. Production companies rent these studios to shoot significant portions of their films, but they also need to go out “on location” for many shots, which often involves closing streets or buildings while filming is underway. This will continue as long as films have need of urban settings, but many films seek out other locations in Georgia for a literal “change of scenery,” including coming to Augusta. Recently, Mel Gibson was in downtown Augusta filming a spy thriller—the latest in a steadily growing number of films that have made use of Augusta locations. The Augusta Film Office is working on bringing more films to our area, but critical to these efforts is the need to increase the number of qualified workers who have the requisite knowledge and skills to work effectively on a film crew or set.

Liberal arts degrees – especially those in art, design, and communication – give students the diverse array of skills they use as they progress in film careers. Career paths in film often include a variety of jobs just as Gleason’s has been because there are so many moving parts to a film. In the art department where Gleason now works, she and her team are responsible for achieving the director’s vision for the overall look of the film.

14 | #WeArePamplin · Spring 2021

The camera is the set dressing.

Beth Gleason was standing next to it to show size and scale for the decorator and production designer.

(Photo provided by Beth Gleason)

“Together, they design, build, and decorate the sets on which the actors shoot,” she says, “being mindful of every little detail that can support the director’s vision.”

In addition to specific technical skills, strong communication skills are also vital to a successful career in this creative, collaborative environment. Beth works with many different people in dressing the

sets, all of whom need to communicate and work together to succeed at their jobs and produce a good film. Gleason also says it’s very important to be able to “read a room” by paying close attention to the people and their roles, taking care not to talk too much, and occasionally stepping back to contextualize what you are seeing. Interpersonal relationships and strong rapport are key to one’s professional advancement in the

industry, so making an inappropriate or “green” remark in front of a director, for example, may not help your career.

Walking onto a production is a completely new level of learning, and everyone needs to keep that in mind their first day on set. With her degree in art from Augusta University, Beth Gleason set the foundation for her career in the growing film industry. << www.augusta.edu/pamplin | 15

Listen to this Pamplin faculty, students join the world of podcasting

From research to sports to creative discussions, Pamplin faculty and students are covering a wide range of topics in these podcasts.

Note: the episode and season counts are as of May 1.

Beyond Bias: The Open-Minded Perspective Podcast, hosted by Dr. Craig Albert 3 episodes available Listen to it everywhere, including video episodes on YouTube Host: Dr. Craig Albert, associate professor and graduate director of the Master of Arts in Intelligence and Security Studies program, Department of Social Sciences Can you give a brief summary of the podcast and why you decided to start it?

Are you curious about the world around you? Do you love the news but would like to go deeper? Through open-minded discussions, we believe in elevating the conversation on real-world issues. We strive to share all perspectives, however unpopular, to let you decide for yourself how to understand the world around us. Nothing will be left unsaid in the show. Each episode will feature a guest and will then examine how they view the world through their related experiences. The

conversations will be open-minded, not slanted one way or another.

The show will include discussions about academic research focusing on current real-world problems. Not sure how to view the events around you or how to make sense of it all? This show is for you! Tune in!

How frequently are episodes released?

The first of the month!

What’s been your favorite episode so far and why?

All of them! Each one discusses a unique subject with an expert guest!

Any exciting episodes you have planned for the future?

Oh ya... But I can’t tell...

Who would you recommend this podcast to?

Fans of NPR and GPB.

My Professor Has a Life?, hosted by Clayton Richardson 2 episodes available Listen to it at www.aubellringer.com/podcasts Host: The Bell Ringer’s Clayton Richardson, Communication student Can you give a brief summary of the podcast and why you decided to start it?

We usually only know our teachers through our university, but they are people, they have lives outside of school. The pandemic has made it harder for us to connect with one another. Now, more than ever, it is important for us to get to know each other. I first came up with the idea when I found out one of my professors was also a Christian rapper.

That blew my mind and I realized I did not know educators as well as I thought.

How frequently are episodes released?

Usually once every two weeks, hopefully more episodes will be

16 | #WeArePamplin · Spring 2021

produced on a regular basis soon.

What’s been your favorite episode so far and why?

I really liked the last episode I did. I think it was far more fluid, as I was able to get into the groove and timing easier.

Any exciting episodes you have planned for the future?

So far, I’ve only been able to interview Comm professors but hopefully I’ll have some Art department staff as guests. I love picking brains of artist, so this feels promising!

Who would you recommend this podcast to?

It sounds cheesy but if you’re a student I think you should listen.

The podcast is not long by any means, usually no more than 15 minutes. You may find out some interesting hobbies of a professor you may have. It could quickly lead into a conversation and some nice relatability.

Most of the podcasts produced in Pamplin College come from the Department of Communication. (Photo provided by the Department of Communication)

The Research Report, hosted by Dr. David W. Bulla 1 Season, 2 Episodes (a third to come this summer) Listen to it on Soundcloud Host: Dr. David W. Bulla, chair, Department of Communication Can you give a brief summary of the podcast and why you decided to start it?

I interview Augusta researchers about their recent work. For example, Episode One I interviewed Dr. Debbie van Tuyll about her latest book, on the Irish American press.

How frequently are episodes released?

Starting in the fall, two a semester.

What’s been your favorite episode so far and why?

Episode Two. In that Episode, I interviewed Sea Stachura, who made the GPB/NPR podcast “Shots in the Back,” about the 1970 Augusta Riot.

Any exciting episodes you have planned for the future?

I hope to interview Dustin Avent-Holt soon. He has done some outstanding research in sociology in recent years.

Who would you recommend this podcast to?

Writers, nerds and intellectuals

Spill the Tea, hosted by Communication students 1 Season Listen to it on Archive.org and on social media (Facebook and Twitter) Host: Episodes are from Department of Communication Lecturer Rachel Balducci’s COMM 2000 classes Can you give a brief summary of the podcast and why you decided to start it?

These are shows about various topics in the news and of importance to college students. For example, two are about student financial planning during the pandemic.

How frequently are episodes released?

Several times as semester What’s been your favorite episode so far and why?

The one on religion with Kiara Heffner, who went on to do an internship with DCM’s “Into the Wild” show with Raysean Ricks.

Any exciting episodes you have planned for the future?

There are several more rolling out in the next few weeks.

Who would you recommend this podcast to?

AU students and other college students.

Continues on page 18

www.augusta.edu/pamplin | 17

Scholarship Spotlight

Scholarship helps those studying race, social justice

L

What’s been your favorite episode so far and why?

Season 3, Episode 5 with Carlos Rodriguez, Jaelyn Autman and Chad Cook. Good chemistry on this one.

ast summer, Dr. Holly Pinheiro, Assistant Professor of African American History at Augusta University, received a call from Dave Haywood, Augusta native and member of the Grammy award-winning trio, Lady A. That one call became a long and wonderful conversation, exploring race, racism, commemoration, and social justice in our country, and they have since developed a close friendship. Dr. Pinheiro showed Dave Haywood how thinking historically about the American Dr. Holly Pinheiro past allows us to understand, and even begin to solve, some of the challenges the U.S. faces today.

For Dave Haywood, these have been illuminating discussions, “I see that advancing the social justice movement requires all of us to step up and outside of our comfort zones, and this goes beyond just a post on social media. It’s time to reflect on how we can each invest long-term efforts into changing the course of history.”

Since he and fellow band member Charles Kelley are originally from the Augusta region, he saw advancing educational opportunities at Augusta University as one way to do more.

He took up this challenge by providing scholarship funding for Augusta University students interested in race and social justice. This past year, Dave Haywood and his family, as well as Lady A’s foundation,

Any exciting episodes you have planned for the future?

We are planning a year in review soon.

Alumni Spotlight

Leeroy Francis Jr. – now an alum – interviews Augusta University Basketball Coach Dip Metress. (Photo provided by the Department of Communication)

The Sports Squad, hosted by The Bell Ringer sports editors Seasons 1-3, 33 episodes Listen to it on Soundcloud Host: The shows have been run by the sports editors of The Bell Ringer, Leeroy Francis Jr. and Carlos Rodriguez Can you give a brief summary of the podcast and why you decided to start it?

I [Dr. David Bulla] went to a sports journalism conference at Vanderbilt three years ago, and there was a panel about podcasting. I took notes and said, ‘We can do this.’

How frequently are episodes released?

Every two weeks usually. This year, because of the pandemic, we have not come out as often. Sports have been really scaled back by COVID-19.

Who would you recommend this podcast to?

Fans of AU Athletics teams.

Think on This, hosted by Dr. Will Bryant 16 episodes Listen to it on Soundcloud, iTunes, and Spotify Host: Dr. Will Bryant, Senior Lecturer, Department of Communication Can you give a brief summary of the podcast and why you decided to start it?

The podcast explores the unique interests, talents, and skills of everyday people. I decided to start the podcast because I believe that it’s important to capture peoples’ voices for posterity and to demonstrate the power of conversation and storytelling.

How frequently are episodes released?

Periodically throughout the semester.

18 | #WeArePamplin · Spring 2021

What’s been your favorite episode so far and why?

My favorite episode is Derby Girls. The conversation between the three of us was lighthearted and flowed effortlessly. Also, I found learning about roller derby and its history, especially in Augusta, quite fascinating.

Any exciting episodes you have planned for the future?

Lots of them! Tune-in to find out!

Who would you recommend this podcast to?

Anyone who enjoys learning about people and their unique perspectives and experiences in life. Also, anyone who simply enjoys a nice conversation. <<

Alumni Notes

Want to donate?

You can contribute to the Storytellers Scholarship by mailing donations to: Augusta University Foundation 1120 15th Street, AD-1104 Augusta, GA 30912 Donors should reference Storyteller’s Scholarship on their check.

LadyAID, provided almost $20,000 in direct scholarship support to 12 Augusta University students. These scholarships were a bright spot in what was a difficult year for the students, and provided much needed financial support. Removing financial strain and stress meant the scholarship recipients had greater ability for success in their studies.

In addition to these direct funds, in early 2020, LadyAID donated an additional $10,000 to start an endowed Storytellers Scholarship at Augusta University. The Storytellers scholarship will allow Augusta University to provide scholarship funding to underrepresented students majoring in history, who are interested in advancing the goals of race and social justice. This seed money is ready to grow and anyone can contribute to the foundation account. <<

Have alumni news to share?

Sam Turner, who graduated with a degree in Communication from AU in December, has begun working at Fox 54 (WFXG) as a digital content producer. Fox 54 has also hired former student office assistant Ravyn Chatmon as a producer. They join Megan Johnson, Ceara Hester and Cynthia Panzella as Communication alums at Fox 54.

also worked for The Arizona Republic.

Louie Villalobos, an Augusta State Communication alumnus, has joined the editorial board of USA TODAY. Villalobos, who attended ASU in the 1990s, started his journalism career as editor of The Bell Ringer. He then moved on to serve as a sports reporter for The Augusta Chronicle and he has

The Lucy Craft Laney Museum of Black History awarded Lillian Wan (BA in Art, 1984; AA in Criminal Justice, 1990) in February 2020 with one of two 2020 Historian Awards. Their press release noted, “Lillian is one of the most well respected researchers in the Augusta area. She has been

Are you an alumni with exciting news to share? A new degree or job?

Submit your alumni notes to pamplin@augusta.edu with “Alumni Notes” in the subject line. Please include the year of graduation, degree earned, and a line or two about your news.

an asset to the Laney Museum for many years and continues to provide the museum with resources that are used in the development of annual exhibits, lectures and publications.”

Aspasia Luster (BA, Anthropology, 2018) graduated from Valdosta State University on May 8, 2021, with a Master’s degree in Library Science. << www.augusta.edu/pamplin | 19

Communication’s Debbie van Tuyll to retire

P

By Dr. David W. Bulla Chair, Department of Communication

rofessor Debbie van Tuyll of the Augusta University Department of Communication will retire on June 30, 2021, after nearly three decades of service to the university. She retires just as she publishes yet another book, this one titled Politics, Culture, and the Irish American Press, 1784-1963, from Syracuse University Press.

Professor van Tuyll is a highly decorated scholar. In the last two years alone, she has won major awards in research. In 2019, she received the Sidney Kobre Lifetime Achievement Award from the American Journalism Historians Association (AJHA).

Then, in November 2020, van Tuyll was the recipient of the Donald Shaw Lifetime Achievement Award from the Symposium on the 19th Century Press, the Civil War, and Free Expression at the University of Tennessee at Chattanooga.

While she has established an international reputation in journalism history, her colleagues, well aware of her scholarly productivity, think first of her service to the department and collegiality.

“Debbie’s research achievements would be laudable under any circumstances, but what elevates her accomplishments has been the fact that she has attained such a high level of research productivity while carrying a heavy teaching and service load,” said Professor Pam Hayward of Communication. “She has been highly participative in service for her department, college, university, her professional organizations and the local community. I have more than once jokingly asked her when she sleeps.”

Edgar Johnson, another Communication professor, says it’s the little things that make Professor van Tuyll stand out.

“When my family moved to Augusta, Debbie was there and ready to help unload the truck,” Johnson said. “I didn’t even ask; she offered. She was helpful in so many ways to so many people and wasn’t one to toot her own horn about it. She just did the work that needed to be done and moved on to the next thing. A lot of us have good reason to be grateful, and I wish the best for her and her family as she moves into the next part of her life. I’m sure she’ll stay busy and keep helping people.”

Hayward said that van Tuyll’s sense of selflessness extends to the community, not just the campus.

“Her service to the local community has been substantial,” Hayward said.

“Through her public relations classes, she teams her students up with local nonprofit organizations and the students provide professional-level promotional plans and materials to these community groups. For one such project launched after 9/11, her students were able to raise enough money to fund an ongoing AU scholarship for local firefighters.”

Continues on page 22

Dr. Debbie van Tuyll speaks to a group of students. (Photo provided by the Department of Communication)

www.augusta.edu/pamplin | 21

Johnson said one of the things that has always stood out about Professor van Tuyll is her appreciation of quality work from her students.

“Dr. van Tuyll has been a relentless champion of academic rigor,” Johnson said. “She expected the best from her students and from the Communication curriculum.”

Another major part of Professor van Tuyll’s contribution to AU has been her work with Study Abroad. Usually, she has taken students to Ireland or Scotland. Leza Witherington, who now works in the AU Registrar’s Office, was the administrative assistant in Communication for many years, and she well remembers Study Abroad trips to Ireland with Dr. van Tuyll and her husband History Professor Hubert van Tuyll.

“We made new friends that we still keep in touch with and there is nothing like wrangling a bus full of college students across a country— lots of impromptu Irish music, laughter, yelling and eye rolling,” Witherington said.

Professor van Tuyll has a reputation for being a challenging but fair teacher.

“Debbie is the kind of teacher that students dread taking,” Witherington said. “Her ‘no-nonsense’ reputation precedes her, but I have witnessed those same students tell her at graduation how much she taught them or how they used the skills learned from her to land a job or impress the boss. She is the professor who makes you want to do better, learn more, the one you call or email years later to thank for not allowing you to B.S. your way through her class.”

Kim Vickers, who took two courses with van Tuyll while studying at AU, appreciates Professor van Tuyll’s high teaching standards.

“She is a professor who has a vast amount of knowledge to share, and her students are so lucky that she wants to share it with them,” said Vickers, now a reporter for WJBF TV in Augusta. “She’s a tough professor who expects a lot from her students. In my case, that pushed me to do my absolute best to meet those expectations.

“One of my biggest takeaways from her Media Law and Ethics class was that there is a fine line to walk. When it comes to media law, you must know your stuff, and you have to check and double check because one word can get you sued. The other thing that she said that is always in the back of my mind, particularly when it comes to sensitive topics such as assault or death, is not to cross that ethical line. As a journalist, you have to get that story, but you need to be ethical about it. One particular example is when I had to cover an elderly couple who had been attacked and beaten in their home. They fought back and the assailant later died. I had to get the story, but the family wanted privacy. I could have gone after the family for an interview, but that was not going to get me what I needed. So, I respected their wishes and followed another avenue. Dr. van Tuyll was in my head the whole time.”

Vickers also got plenty of knowledge from van Tuyll about how to navigate the world of professional journalism—that is, how to get that first job and keep it.

“The greatest lesson I learned from Dr. van Tuyll was how to market myself to potential employers,” Vickers said. “The last class I took with her was my capstone seminar course, and as I was putting the finishing touches on my online portfolio, I remember thinking she was being nitpicky about little things. Later, as a professional, I started noticing little things in the work of some colleagues and realized that people notice the little things. She wasn’t being nitpicky; she was teaching me

22 | #WeArePamplin · Spring 2021

to pay attention to detail.”

Dr. van Tuyll says she won’t slow down in retirement, particularly when it comes to her research. Her latest book carries on her legacy of rigorous mass communication history. She opens the book with a chapter titled “Seditionists and Revolutionaries: Planting the Radical Roots of the Irish American Press during the ‘Reign of Witches.’”

Another chapter from Professor van Tuyll is titled “John Mitchel: Transnational Journalist,” and she is co-author of the “Afterword,” along with editors Marcel Broersma and Mark O’Brien.

The book evolved out of the Transnational Journalism Conference, of which van Tuyll is a co-founder with conferences having been held in Augusta; Dublin, Ireland; Montreal, Canada; and Groningen, the Netherlands.

“The value of this project is that we worked with an international team to put the book together,” Professor van Tuyll said. “That means we have Irish, English, and American perspectives on a topic that touches all three countries. It felt like we’ve been doing what we were writing about.”

The book is global in nature, as the authors are from countries around the world, including from England, Ireland, the Netherlands, and the United States.

Dr. van Tuyll also recently was on a C-SPAN3 telecast titled “Western Press During the Civil War.” This was from a panel at the 2020 Symposium on the 19th Century Press, the Civil War, and Freedom Expression from the University of Tennessee at Chattanooga that she has been a part of for more than two decades—which included being co-author of the first book to come out of the conference.

Hubert van Tuyll, an AU history professor who is also retiring at the end of the spring semester, was another panelist on the C-SPAN3 telecast.

The next scholarly assignment for Professor Debbie van Tuyll is finishing up two more books. Professor van Tuyll and Mary Lamonica of New Mexico State University have a contract for books on the Civil War Western and Midwestern presses.

“Virtually no scholarship exists on the Trans-Mississippi press in the Civil War. We’ve literally written the book on the topic,” Professor van Tuyll said. “We know a bit more about the Midwestern press, but it’s been dwarfed by research on the metropolitan press in the North.

Showing the more typical journalism of the period is our maid objective with this book.”

Van Tuyll will also continue to be the editor in chief of The Southeastern Review of Journalism History, which is supported by Pamplin College and AJHA Southeast.

Her awards were not limited to research. In March, Professor van Tuyll was named the Outstanding Pamplin Faculty Member by her college. One of her less obvious roles was mentoring other faculty members, as well as undergraduates who decided to go into academia.

Witherington says that Debbie van Tuyll has many accomplishments, but perhaps the one she ought to be remembered for most is her leadership of a major transformation for the Department of Communication.

“Debbie is one of the ‘founding fathers’ of the Communication Department,” Witherington said. “She, Pam and Edgar are pretty much the only ones left that remember when we were part of Languages, Literature, and Communications and how hard they (and others like Rick Davis and Jim Garvey) worked to create this department (now 15 years old). ” <<

Music that heals

“

Music therapy supports ‘whole health model’ in healthcare

M

usicians use music as a form of communication; music can express what words cannot.

For Music Therapist Stephen Montgomery, music is an integral part of how he communicates with his clients.

Music Therapy uses music to address all sorts of individual needs. As Montgomery says, “Music therapy is like any other therapy where instead of talking the whole time, I’m going to engage you musically on some level to figure things out, or to just open the conversation.”

When we hear a familiar piece of music, we have all experienced the physical and emotional effect it has on us. We may associate certain music with an event or person in our lives, or it may transport us to the place we were when we first experienced that song or piece of music. Music Therapists use and create music to build rapport and address the emotional, cognitive, physical, and social needs of their clients.

Montgomery grew up in a musical family, studied percussion performance as an undergraduate student in Florida, and then came back to Augusta to teach and direct the music academy at a local music store.

Knowing that he wanted to pursue a graduate degree, he started looking online at degree programs and noticed there was something called “music therapy” on some music school webpages. After reading the course descriptions, it reminded him of how some of the middle and high school percussion students he taught were dealing with different attention deficit and behavioral issues.

Finding out that there was an area of therapy that uses music to help address these issues was a life-changing moment.

Montgomery has always been an advocate for passing on the knowledge and love of music to the next generation through teaching, so he embraced the idea of pursuing a music therapy degree where he could

Music therapy is like any other therapy where instead of talking the whole time, I’m going to engage you musically on some level to figure things out, or to just open the conversation.

– Stephen Montgomery Music Therapy instructor, Department of Music

”

use music to help people. After receiving a graduate degree in Music Therapy, Montgomery is now working at the Charlie Norwood VA Medical Center.

This fall, Montgomery will be teaching Introduction to Music Therapy on Mondays and Wednesdays from 4:00 to 5:15 p.m. in the Fine Arts Center on the Summerville Campus. This course is open to students in all majors, no previous musical experience is required. Montgomery says that it is open to anyone who wants to learn something new. That being said, this course would definitely be beneficial to those studying any healthcare fields such as psychology, nursing, and physical/occupational therapy. Music, education, and art majors would also find it to be an excellent addition to their degrees.

This class is to educate people about this type of therapy and how it can be useful and beneficial in many different areas of education and healthcare.

Stephen Montgomery

Want to learn more?

For more information on upcoming Music Therapy courses, visit the Department of Music website at, www. augusta.edu/pamplin/music/

Music Therapy helps support the “whole health model” which is the future of healthcare. As Montgomery says, “we are no longer just looking at the problem, we are looking at the whole person... we need to look at diet, spirituality, general well-being, mental, and physical health. That is where healthcare is going. [Music Therapy] is an avenue of healthcare that operates within an interdisciplinary team, an integral part of overall healthcare.” << www.augusta.edu/pamplin | 23

The theatre production of Metaphysique D’Ephemera was performed on the portico of the Maxwell Theatre. (Photo by Lucas O’Meara)

Meaningful struggles and the struggle to make meaning Theatre production offers questions but leaves answers to the audience 24 | #WeArePamplin · Spring 2021

A

smartly dressed rabbit paces back and forth waving a slender, illuminated wand. A prince peers at the sky through a colorful cardboard cutout of a telescope. A large bird in a nest of black pipes flaps its feather-tipped wings and scolds a personified curtain for attempting to do things curtains cannot do.

Behind them is a veritable feast for the eyes: vinyl designs, projected patterns of light and shadow, videos playing on loop, and ballerinas dancing behind backlit screens as if in the haze of a dream. Nearby, the audience—masked, socially distanced, and shivering in the chilly night air—watches in rapt attention, trying to make sense of it all.

This is Metaphysique D’Ephemera, an experimental performance piece directed by Dr. Melanie O’Meara and performed on the portico of the

Maxwell Performing Arts Theatre this March. As the first theatrical piece performed on Summerville since the pandemic began, health and safety were important to the planning—hence the outdoor venue, amply spaced seating, and staging decisions that had the performers interact at a distance.

Despite these reminders of our COVID-troubled times, it was exhilarating to experience a live performance after a full year without that privilege. Although those expecting a clear plot were likely disappointed (the piece does not lend itself easily to interpretation), all came away with plenty to talk about. For performers and audience Continues on page 26

www.augusta.edu/pamplin | 25

New biological anthropology courses offered

alike, everyone seemed delighted to gather together to experience art again—smiling and chatting afterward with an energetic joy that their masks could not hide.

Written by Sarah Jackson and Christopher Shipman, Metaphysique D’Ephemera defies easy explanation. More performance piece than play, it eschews linear plot in favor of abstract expressionism that centers around the prince’s surreal struggle with time, memory, and loss. Evidently, the prince has trapped himself in fantasies or idealized memories of his past in order to escape some trauma or grief that has befallen him. This impression accrues gradually from the recurring pattern of his interactions with an inquisitive rabbit. Each time the rabbit tries to coax the prince to examine reality, the prince responds with a sharp, defensive “No!” and veers into child-like idealizations that seem desperate to avoid any hint of pain or loss.

This exchange, from late in the piece, is typical of those interactions:

By Dr. Andrew Goss and Dr. Lita Sacks Department of History, Anthropology, and Philosophy

I

Prince:

No! We are here, looking at the light that eats the darkness you define.

And we are there in the sky, peering over the side of a boat at a giant constellated crab

eating a dictionary.

Rabbit:

Strange, because maybe you are, and maybe you aren’t looking at anything.

Time, you now.

Tricky.

No matter how gently the rabbit tries to challenge the prince’s perceptions of reality, the prince resists. This dynamic is made visible by a large, cartoonish telescope that the prince uses to direct his gaze at the unseen stars of fantasy instead of at the chaotic, visual banquet of his immediate surroundings. He is in some kind of denial, and averse to looking at his current plight.

Based on the life of Joseph Cornell and his assemblages (found objects arranged and displayed in shallow wooden boxes), Metaphysique D’Ephemera draws heavily on the idea of bricolage: making art and meaning from the things around us by repurposing everyday items and found objects we often overlook or take for granted.

According to O’Meara, “When Max Ernst and some of the surrealists came to show in New York [in the 1930s], Cornell just happened to see their work and said ‘Oh I can do that too.’ He went and put some boxes together, brought them to the gallery, and ended up showing next to all these famous surrealists and that’s sort of how he made his work.”

In graduate school at LSU, playwright Jackson drew upon Cornell’s biography and artistic works for her dissertation, an effort that eventually took shape as Metaphysique D’Ephemera. Like Cornell’s work, Jackson’s piece has an eclectic feel that assembles many different parts to create a surreal, dream-like experience. O’Meara, who was a few years ahead of Jackson in the same program, had been impressed by the brilliance of Jackson’s work and long wanted to explore how it might be put into performance. It was pure coincidence this opportunity arose

26 | #WeArePamplin · Spring 2021

(Photos by Lucas O’Meara)

in the midst of a global pandemic, but O’Meara sees it as fortuitous.

The play’s themes—coping with loss, learning to re-examine our lives and see new meaning in familiar things—are sure to resonate with contemporary audiences.

“I have always taught students to look at things carefully and see what we might not otherwise see, and to appreciate the things around us,” O’Meara says. “That’s what all of us do in performance studies to some extent. With the pandemic, the people who have fared the best mentally are those who were able to hunker down and see anew in the old. So many of us have had to figure out ways to keep ourselves sane, be creative with how we’re entertaining our children and just how we’re doing life. It makes a lot of sense to do the show right now.”

Those who attended one of the evening performances this March were treated to the spectacle of the Maxwell’s portico transformed into a large-scale version of one of Cornell’s assemblages, with a stunningly diverse array of objects juxtaposed to form a surreal set. For approximately 90 minutes, audiences were challenged to make sense of lights, shapes, colors, patterns, costumes, and poetic dialogue. That it ended without easy answers was precisely the point. Audiences instead went away curious and delighted, wondering what it all could possibly mean—and pleased to have forgotten, if only for awhile, the specters of loss and loneliness that still loom so large over our lives right now.

<<

n the United States, anthropology has long valued the interconnectivity of its four subfields: cultural anthropology, archaeology, linguistics, and biological anthropology (formerly called physical anthropology). Anthropology literally means “the study of humans,” and so often explores the intersections of culture and biology, both in the present and the deep past. For instance, anthropology is deeply concerned with the cultural constructions of race, which are falsely connected to anatomical and behavioral traits. Studying these cultural and biological variations in concert has allowed anthropologists to characterize much of human biological diversity as being adaptations for improved survival in certain environments. By undermining the idea of a biological basis for race, anthropologists are able to overturn much of the pseudoscience often used to justify widespread racist thinking.

Biological anthropology is an incredibly diverse discipline. In addition to human biology, its keystone topics include nonhuman primates, forensic anthropology, and human evolution, among others. And, because biological anthropology straddles the natural sciences and liberal arts, it provides an accessible introduction for humanities majors to the natural sciences and vice versa.

Prior to this year, the Anthropology program at Augusta University was only able to offer a single, junior-level biological anthropology course that provides a strong foundation for the undergraduate anthropology curriculum. However, the Anthropology faculty have developed and expanded their offerings in biological anthropology, including the creation of a new lower-level course intended for non-science majors that provides hands-on laboratory experiences. This new course (ANTH 1105 - Introduction to Biological Anthropology) received administrative approval in 2019 and is the first Pamplin course that counts towards the General Education Core Area D for non-science, non-math, and non-health professions majors.

Skulls were on display during the 2019 Anthropology Day event on campus. (Photo by Gabi Moore)

In anticipation of teaching the new courses and expanding the curriculum in biological anthropology, the department of History, Anthropology, and Philosophy hired a new full-time faculty member, Dr. Lita Sacks, who arrived in Augusta in the summer of 2020.

Dr. Sacks initially trained as a biological scientist at Vassar College. She first became interested in anthropology through an undergraduate introductory class in biological anthropology about human origins. She found quickly that biological anthropology synthesized the natural sciences, social sciences, and humanities in a way that gave a more nuanced and well-rounded perspective of human existence than any other academic field she had encountered. After finishing her undergraduate education, she completed a PhD in Biological Anthropology at Indiana University.

Since arriving at Augusta University, Dr. Sacks has taught four lecture sections of Introduction to Biological Anthropology,

with the inaugural sections being taught in Fall 2020. Student responses have been overwhelmingly positive, emphasizing how the class brought into focus the big questions about human evolution, biological diversity, and ethics—and complimenting Dr. Sacks’ instruction as well.

Starting in Fall 2021, Dr. Sacks will also be offering an optional laboratory accompaniment to the lecture (ANTH 1105L).

Anthropology’s new upper-level courses being developed by Dr. Sacks will also be of interest to students from any number of majors.

These courses will include Bioarchaeology, Paleopathology, and Forensic Anthropology.

Dr. Sacks’ goal in developing and teaching these courses is to provide students a window into some of the more obscure topics they are likely to encounter during their academic careers while also illustrating the extent to which biological anthropology impacts us, not just as a species but as individual humans on a daily basis. << www.augusta.edu/pamplin | 27

In Memoriam

Philip Morsberger: With Others

I

By Jennifer Onofrio Professor, Department of Art and Design

’m on a fool’s errand. And like any fool might do, I actually volunteered. How can I possibly describe the incredible influence of Philip Morsberger to Pamplin College, Augusta University, and the city of Augusta?

Thankfully, I’m not alone in my admiration.

In 1996, the then Augusta State University Department of Art voted unanimously in favor of Philip Morsberger as the William S. Morris Eminent Scholar of Art. We knew Philip would be a tremendous addition to the department but did not realize how great an impact he would have on the campus and surrounding community.

At that time, downtown Augusta had a hungry group of talented artists and creatives looking for a jolt of new energy and something or someone to fire a spark to energize and bring the diverse set of artists together. Among those was Coco Rubio, co-founder of the Soul Bar on Broad Street and informally “Downtown Augusta’s Ambassador.”

Rubio fondly remembers when Morsberger brought his former student and street artist Brett Cook Dizney to town to install his mural The Masters in 1998 and largely credits Morsberger for his personal drive to revitalize the downtown area.

“After meeting and hanging out with Philip Morsberger, I realized that Philip was the coolest,” Rubio recalls. “His mentorship and relationship with a young, black, street artist like Brett Cook Dizney left a big impression on me. I wanted to be like Philip in how he interacted and supported young artists.”

In fact, Morsberger’s impact was consuming. People didn’t even need to know him to feel his presence.

“Philip’s influence was felt and applied to what I did in the studio long before I ever met him,” explains local artist Jay Jacobs.

For my part, when I first met Philip, he struck me as a kind man of great accomplishment. As a young colleague, I was a bit hesitant to approach him. One day, Philip saw me toting my photography equipment and in a gracious and unassuming way asked, “Jennifer, might you consider photographing my artwork?”

I immediately thought, “Oh my gosh, oh my gosh, oh my gosh! Philip is asking me to come to his studio—a sacred place—and entrust in me the accurate documentation of his work! How exciting! How scary!”

I stammered out, “sure.”

As the day approached, I grew increasingly nervous. He met me outside his studio, sensed my anxiety, grabbed a swatch of Spanish moss, placed it on his head, and said, “would you like to get started?”

And in his usual form, while being bitten by chiggers, he didn’t skip a beat nor did he complain about the bites. This gesture immediately put me at ease and our friendship was born.

Within weeks, the impact that Philip was having on students, department, and community was palpable. Studios that were previously

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Above: Philip Morsberger’s “Options” 1986-1996, 2001, 2007 Oil on Canvas 30 3/8” x 29 7/8” (Photographed by Jennifer Onofrio) At Left: Philip Morsberger’s “Shorn! (The Crew Cut)” 1995-1996 2001 2002 Oil on Canvas 18” x 14” (Photographed by Jennifer Onofrio) At Right: Portrait of Philip Morsberger (©JerrySiegel)

only occupied during class time were now buzzing 24/7. Students would clamor to Philip’s classes early to get the seat next to him with the knowledge they would leave sharper and more inspired. Philip was known to lock the door to his classroom as soon as the minute hand hit the start of class. No one complained. Just the opposite—they would arrive early and stay late. They would hope their work was worthy of a “Bravo” from Philip, and they would work tirelessly to receive his approval.

“He was the kind of professor that when he talked, everyone hung on each word because he brought such a magic and energy to the studio,” according to former student and artist, Tom Crowther.

Continues on page 30

Philip Morsberger’s Abbreviated Biography 1956 Received his BFA from Carnegie Institute of Technology, now Carnegie Mellon, and married Mary Ann Gallien 1956-1958 Was a student at Ruskin School of Drawing, Oxford England 1957 Philip’s Daughter Wendy was born 1959 Philip’s Son Robert was born 1958 Received University of Oxford Certificate in Fine Arts with distinction 1959-1968 Joined faculty at Miami University in Oxford, Ohio 1968-1970 Appointed Artist in Residence at Rochester Institute of Technology 1971 Appointed Ruskin Master of Drawing, University of Oxford, England and granted MA degree 1976 Took leave from Oxford to be a Fellow at Harvard 1978 Established a BFA at the Ruskin School of Drawing and was made Fellow of St. Edmund Hall, Oxford, England (1978-84) 1983 Took leave from Oxford to be Artist in Residence at Dartmouth College 1984 Appointed Visiting Artist at the College of St. Benedict/St. Joseph and neighboring St. John’s University 1986-87 Appointed the Chair of Art Practice at the University of California at Berkeley 1987-1996 Appointed President’s Fellow in Painting and Drawing at the California College of Arts and Crafts 1996-2002 Appointed William S. Morris Eminent Scholar in Art at Augusta State University (Emeritus from 2001)

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Another former student and current Assistant Chair of the Department of Art and Design, Raoul Pacheco, concurs. “He shared in the glee of accomplishment by his students and maintained an ever-present support encouraging exploration, skillful execution and relentless research”.

Morsberger’s desire to bring people together to have meaningful exchanges resulted in his Friday evening gatherings. He would invite people to have a few drinks downtown in the event that anyone wished to join him. What started as a small group of art faculty expanded to include artists, writers, musicians, and lovers of the arts. Once word got out that these gatherings were not simply for academics—they were an opportunity for people to come together, have a drink, share ideas, ask hard questions, share anecdotal stories, or just be in the company of a creative community—it became hard to find a place large enough to accommodate everyone.

Amy Etheridge, former Executive Director of the Gertrude Herbert Institute of Art recalls, “Like many others, my shared experiences with Philip were thoughtful and inquisitive, often leaving me in fits of laughter or pondering the human condition.”

Although he was a Ruskin Master from Oxford University with an immense list of accomplishments, he never exuded pretense. One of the amazing things about Morsberger is that whenever he would meet someone for the first time, he inevitably had a connection to them through location, artists, musicians, curators, creatives, and critics. He made the seemingly large world of creativity seem small, accessible, and familial. He had the ability to know exactly what to say and when to say it. His selfless nature created a desire to truly relate to everyone.

Brian Rust, professor and artist, recalls, “Philip’s conversations were always about creativity, family, and friends. Whenever Philip met someone new, within five minutes he would find some connection between them.”

According to Sherry Foster, former editor of Augusta Magazine and frequent Friday evening participant, “There was a charisma about him... a gentle aura—a sort of serenity paired with a focused thoughtfulness that was always present in every conversation I had with him.”

Morsberger’s joy for living and his absolute commitment to being an artist was evident to anyone that had the honor of knowing him. Artist and close friend Ed Rice recalls a time he was with Morsberger and someone asked, “How often do you go to your studio.” Morsberger replied “Well, only seven days a week.”

“Philip was the model of a dedicated artist and considered painting a kind of prayer,” Rice continued. “In his last days this kind of prayer could have easily gone dark but did not—it stayed joyful. That was Philip’s way. It is surely a lesson for us all.”

Cheryl Goldsleger, the Morris Eminent Scholar of Art from 2015 to 2020, also noted Morsberger’s “lust for life.” “Philip was full of the joy of life with insights into its irony, too. Philip’s curious mind and dedicated work ethic were qualities I always admired, and I will always remember Philip, with his knowing smile, hard at work.”

In July of 2015, Augusta Mayor Hardee Davis recognized the impact that Morsberger has had on Augusta by establishing Philip Morsberger Day to be recognized every June 19.

Tom Nakashima, Morris Eminent Scholar of Art from 2002 to 2010, believes Morsberger’s influence goes beyond Augusta’s art community and the University.

“So you ask me if I can recall Philip ever speaking one single word of criticism about another traveler who walks this earth. No, never!” Nakashima explains.

“For sure—he is both a saint and a Bodhisattva who cashed in his ticket at the gates to return and help us mortals out. And I seriously doubt he used his ticket this time. For sure, he’s back here somewhere hiding behind a tree, making sure the bad guys leave us be.” <<

Music students practice for the Da Vinci Project performance in February 2020. (Photo by Gary Nipple)

Support Pamplin College We hope you have been inspired by something you have read in #WeArePamplin. If you would like to support our students directly, there are more than 40 scholarship funds in Pamplin College to which you could contribute. If you would like to support our faculty, there is a “discretionary fund” set up for each department. If you would like to support one of our specific programs (Opera, Jazz, the Center for Georgia History, the Harry Jacobs Society, and others), they all have foundation accounts as well.

You can go to the website to look up these various funds and make a gift: www.augusta.edu/giving/makeagift.php.

Still not sure where to contribute? Maybe donate to the College as a whole: www.augusta.edu/giving/pamplin.php.

And thank you!

www.augusta.edu/pamplin | 31

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Cover: The camera is the set dressing. Beth Gleason was standing next to it to show size and scale for the decorator and production designer. (Photo provided by Beth Gleason)