The Green Room / February 2018

Colorado State University / THE UNIVERSITY CENTER FOR THE ARTS / VOLUME 3 / ISSUE 24 / FEBRUARY 2018

Garrett Ayers explores the crumbling foundation of an American family coming to terms with their past in APPROPRIATE

WELCOME TO

THE GREEN ROOM I hope you’re not experiencing the joys of cold and flu season, but I’m up with a cough at 3 a.m. The light of the supermoon one day removed, combined with the reflective snow that’s really picking up, is illuminating my room. I hope it wakes up my thoughts too as I write this note.

First of all, welcome back to The Green Room and our first issue for Director of the School of Marketing Director Creative Director Publicity and Marketing Music, Theatre, and Dance Assistant the spring semester. I hope you’ve received your copy of the Spring Performance Guide, found it online here, or have perused our calendar listings here. No matter how you choose to receive our event schedule, if you live in the region, we look forward to seeing you at the University Center for the Arts over the coming months!

Dan Goble

Jennifer Clary Jacobs

Mike Solo

Brandon Adams

And for our friends further away, we enjoy the opportunity to stay in touch, whether we see you in-person or not!

This semester is chock-full of the excellent visual and performing arts programming you’ve come to expect and enjoy at Colorado State University. A few highlights of this semester include the Ralph Opera Program’s presentation of W.A. Mozart’s The Magic Flute, CSU Theatre’s production of Urinetown, The Musical by Greg Kotis, the dance students’ Senior Capstone Concert, a robust program of artist talks, readings, and collaborative music concerts offered by the Gregory Allicar Museum of Art, and so much more. We’re excited about all the semester holds!

I recently sat down with Garrett Ayers who is directing our next live theatre production called Appropriate by Branden Jacobs-Jenkins (please read the story on page 18 for the scoop). He said that, for him, traditional plays tend to be more black and white in reference to liking or disliking the characters, while contemporary scripts tend to illicit more complex feelings. We agree that this is a broad stroke, but for me it does a good job explaining how audiences might respond to the standards, the known, and the beloved repertoire in comparison to new music and scripts or modern dance and art.

While most arts patrons like or even love Mozart, some are not sure about trying something unfamiliar, but this semester, we hope you will! From Appropriate to the Aries Composers Festival, which welcomes composers, music theorists, and musicologists to campus and to The Music District venue, there is plenty of new, but accessible creative works for curious souls to explore.

Please join the adventure this spring!

Sincerely, Jennifer Clary Jacobs, Director of Marketing, University Center for the Arts

TABLE OF TICKETS Online Sales: CSUArtsTickets.com Ticket Office: Griffin Lobby, University Center for the Arts (UCA) Ticket Office Hours: M–F, 3:30–5:30 p.m., and 60 minutes prior to performances Information: (970) 491-ARTS (2787) / Email: CSUArts@colostate.edu Group rate: 15% off on ten or more tickets, applied at the time of purchase Tickets may be purchased, both online and at the UCA Ticket Office until 30 minutes after curtain. Print-at-home tickets are available online. All tickets are subject to a $1 ticket fee for both online and at-the-door purchases. At-the-door and phone purchases will incur a $3 processing fee per order. Advance ticket purchase is highly recommended to avoid lines and the at-the-door fee.

Purchase Policy: All sales are final. No refunds or exchanges. Seating after the start of any performance is at the discretion of the house manager.

Photography and recording of performances are strictly prohibited. Food and beverages prohibited in all theatres. Parents with disruptive children may be asked to excuse themselves if the performance is disturbed without refund.

CONTENTS Faculty Notes....................................................... 04 Canadian Brass Master Class........................... 12 Concerto Competition....................................... 14 Appropriate.......................................................... 18 Weird Science...................................................... 27 Color of Change.................................................. 30 Mindful Engagement.......................................... 35 Class Notes.......................................................... 41 Upcoming Music Events.................................... 42

Visualize............................................................... 51 Pas De Deux........................................................ 60 Music in the Museum......................................... 64

EXECUTIVE EDITOR: JENNIFER CLARY JACOBS CREATIVE DIRECTOR: MIKE SOLO PUBLICITY AND MARKETING ASST. BRANDON ADAMS

SOCIAL MEDIA

STAFF WRITERS: BRANDON ADAMS JENNIFER CLARY JACOBS NICOLE TOWNE

This is your UCA! Stay connected with the University Center for the Arts by connecting with us on social media.

Facebook: facebook.com/CSU.UCA Instagram: ColoradoStateUniversity_UCA Twitter: @CSUUCA Youtube: YouTube.com/ColoradoStateUniv Flickr: flickr.com/photos/csulibarts

FOR ADVERTISING PLEASE CONTACT: JENNIFER CLARY JACOBS, DIRECTOR OF MARKETING jennifer.clary@colostate.edu / 970.491.3603

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Avenir Galleries .................................................. 44

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FACULTY NOTES

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Set Design Professor Roger Hanna received a 2017 True West Award from the Denver Center for the Performing Arts’ Senior Arts Journalist John Moore.

Hana was recognized for his work on Elephant’s Graveyard by George Brant, a production at Bas Bleu Theatre directed by Garrett Ayers. Five other designers from across Colorado were also recognized.

“The magical worlds scenic designers conjure on Colorado stages come in all scopes and budget sizes.

And in 2017, the challenges thrown their way were thrillingly varied and exhilaratingly executed,” said Moore in the DCPA Newsletter.

“The True West Awards are not about “bests,” so singling out just one compellingly executed design this year seemed entirely inadequate. So instead, we chose to spotlight six inventions of varying scopes and budget sizes that have just two things in common: The sets are themselves essential characters in all of their stories, and each presented boggling challenges for their creators that begged for playful innovation.”

The challenge: The setting of this play is a dirt floor on the grounds of a 1916 circus where witnesses tell us the true tale of the tragic collision between a struggling circus and a tiny town in Tennessee that resulted in the only ever-known lynching of an elephant. And here, that meant covering the stage with 15 metric tons of dirt.

Roger Hanna (who doubled as Lighting Director): “Our biggest challenge was how to make our empty space actually look like an empty space. We achieved that by adding mirrors in the windows and extending walls to make the space closed off. Our production manager naturally wondered if we couldn’t just paint the floor brown, rather than shovel in all that dirt. Fortunately, the whole creative team and cast was on board with the dirt, and Jonathan Burns found a way to make it happen. Once the dirt was down, I was concerned with how the actors would know where to stand for each light cue since there’s no way to use spike tape on dirt.

But that worry proved unfounded. It was really a joyous collaboration from start to finish, thanks to the smart way Garrett, and the company, and the staff, and the volunteers all embraced the style of the show."

CSU UNIVERSITY SYMPHONY ORCHESTRA PRESENTS

FEATURING THE DRAMATIC FIRST SYMPHONY OF FINNISH COMPOSER

JEAN SIBELIUS CONDUCTED BY

DMITRI ASCARRUNZ (VIOLIN), SICONG ZHOU (PIANO), KATE GELSINGER (CLARINET) AND OMAR CALIXTO (CLARINET)

FEBRUARY 7, 7:30 PM / GRIFFIN CONCERT HALL C S U A R T S T I C K E T S . C O M

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WITH 2018 CONCERTO COMPETITION FINALISTS

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FACULTY NOTES

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Music Professor Adam Torres will conduct the Loveland Opera Theatre on performances of Franz Lehár’s The Merry Widow at the Rialto Theater on Feb. 23, 24, 25 and March 2, 3, and 4. Matinee performances of The Merry Widow for Kids will be on Feb. 24 and March 3. Tickets at rialtotheatercenter.org

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Music Education Professor Erik Johnson received the College of Liberal Arts Distinction in Outreach Award for his work on the Middle School Outreach Ensembles at CSU. The award recognizes a member of the College who has made outstanding outreach efforts. Outreach is integrated scholarship that engages the college's academic missions of research, creativity, teaching, and service outside the University. The recipient will have strengthened relationships and collaborative efforts for the College of Liberal Arts by enhancing its image, sharing their talent, and creating and sustaining substantive and valuable connections among the College’s many constituencies. Congratulations, Dr. Johnson.

A series of blog entries at music.colostate.edu/blog document their unique and exciting experience. You’ll want to read it for the Maestro’s descriptions of the food alone!

In describing the genesis of the trip, Wes Kenney said, “We are deeply indebted to David and Alison Dennis, ardent supporters of the Fort Collins Symphony, heavily involved volunteers in the FCS's educational programs, and coordinators of the Friends of the Symphony's Musical Zoo. David and Alison lived in Hanoi from 2005 to 2011, where David worked for the Center for Disease Control and Alison taught English.

While there, they met Thang and Lan, and ended up introducing me to this wonderful family, including their very talented violinist daughter Do Phuong Nhi. The Fort Collins Symphony is proud to have given Nhi her American debut two seasons ago, and it was a great pleasure to work with her as a soloist in her own home country. [The trip], one of the highlights of our lives, would not have happened without their efforts. For this we are extremely grateful. I'd also like to thank Mary Kopco, FCS executive director, and Daniel Slaymaker, FCS administrative assistant, for providing administrative support for this trip.”

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Director of Orchestras Wes Kenney and Music Professor Leslie Stewart (director of CSU's Master of Music, Music Education, Conducting Specialization and director of string pedagogy), spent ten days over winter break in Hanoi, Vietnam. Kenney, who is music director of the Fort Collins Symphony (FCS), conducted the Vietnam National Symphony Orchestra (VNSO) at the Hanoi Opera House as part of an ongoing international exchange program; the concert included Aaron Copland’s Suite from Rodeo, Antonín Dvořák’s Symphony No. 6, and Max Bruch’s Violin Concerto with soloist Do Phoung Nhi, who performed the piece with the FCS in 2016. Nhi’s parents, Le Hoang Lan and Do Xuan Thang, are professional violinists and members of the VNSO. Both Kenney and Stewart, taught classes at the Vietnam Academy of Music where Thang teaches, and Stewart played violin on the concert.

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YASUHIDE ITO’S

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CONDUCTED BY

RICHARD FREY WEDNESDAY, FEBRUARY 28, 7:30 P.M.

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This all-ages event features masterclasses and a performance by students from CSU, UNC, CU, DU, MSU, and UW, as well as clinics with audience participation. Bring your instrument for the opportunity to play along! Daytime events are free and open to the public, and Tim Glessman from Sax Alley will have horns to try.

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Clinics, performances, and masterclasses by professionals and professors from along the Front Range, with guests NEW THIRD STREAM QUARTET featuring RICK VANMATRE and JAMES BUNTE from the Cincinnati College-Conservatory of Music, JIM ROMAIN from Drake University, and PETER SOMMER from Colorado State University.

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7:30 P.M. FEB. 21

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GRIFFIN CONCERT HALL

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(From LEFT to RIGHT Chris Coletti, trumpet; Bernhard Scully, horn; Chuck Daellenbach, tuba; Achilles Liarmakopoulos, trombone; Caleb Hudson, trumpet)

CANADIAN BRASS MASTERCLASS In conjunction with their performance at the Fort Collins Lincoln Center, the School of Music, Theatre, and Dance hosted the Canadian Brass for a masterclass on Friday, Jan. 19 at the University Center for the Arts. Over 150 people attended the free class.

The masterclass involved performances by two CSU student brass quintets, followed by a coaching session with the Canadian Brass members.

During the critiques, the Canadian Brass shared their ideas and perspectives on performance, air and sound production, listening and communicating with one another and the audience, and connecting with the music. The master class concluded with an audience Q&A and performance by Canadian Brass.

Bottom Photo: CSU Student Quintet (pictures with the Canadian Brass): Karla Rogers, trumpet; Ayo Derbyshire, horn; Connor Challey, tuba; Holly Morris, trombone; and Brian Thomas, trumpet

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GRE E N ROOM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Top Photo: CSU Student Quintet (pictured with the Canadian Brass): Thad Alberty, trumpet; Isabel Waterbury, horn; Kelci Hartz, tuba; William Gamach, trombone; and Max Heavner, trumpet

Photos by Jennifer Clary Jacobs

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F I N A L I S T S

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DMITRI ASCARRUNZ / VIOLIN Julius Conus Violin Concerto, 1st Movement by Julius Conus

SICONG ZHOU / PIANO Schumann Piano Concerto, Op. 54, Movements 2 and 3 by Robert Schumann

KATE GELSINGER / CLARINET OMAR CALIXTO / CLARINET Concerto for Two Clarinets and Orchestra, Op. 91 by Franz Krommer

PERFORMING WITH THE

UNIVERSITY SYMPHONY ORCHESTRA CONDUCTED BY

WES KENNEY FEBRUARY 7, 7:30 PM / GRIFFIN CONCERT HALL C S U A R T S T I C K E T S . C O M

Student Musicians Prepare for Final Round of Annual Concerto Competition

BY NICOLE TOWNE, PUBLICITY INTERN A love for music, passionate performances, and a bit of competition will be spotlighted at the University Center for the Arts during the Finnish and Fabulous Finals concert Feb. 7. CSU students Dmitri Ascarrunz, Sicong Zhou, Kate Gelsinger, and Omar Calixto take the stage with the University Symphony Orchestra, conducted by Wes Kenney, to compete in the finals of the annual Concerto Competition.

Zhou, a senior studying piano, presents movements two and three of Robert Schumann’s Piano Concerto. Op. 54.

“It’s really charming,” Zhou says. “I’m really impressed by the piece.”

“[Schumann’s Concerto] sounds easy, but when you play it, it’s very hard to play perfectly,” Zhou says.

Gelsinger and Calixto met during their undergraduate studies at the Fredonia School of Music in New York. They have known about the piece for a while and shared a common interest in it, so when the opportunity came about, they signed up for the competition together.

“I think it really brings out some of my favorite characteristics of clarinet,” Calixto said. “The harmonies in the piece really demonstrate what the clarinet can do.”

This is Gelsinger’s first time getting to perform competitively, and the experience has been a lot of fun, but also a lot of work.

“Dr. Ferreira, our professor, was so helpful in getting us to understand the competition mindset and what that’s like,” Gelsinger said. “I feel like I have developed a new level of focus putting [the piece] together.”

In the several months Gelsinger and Calixto have been practicing, they have been developing as individual performers but also as a team.

For senior violinist Dmitri Ascarrunz, playing in the annual concerto competition gives him his first opportunity to perform as a soloist in Griffin Concert Hall.

“It’s been really special working with Kate,” Calixto said. “I feel like we speak the same musical language.”

“I’ve performed a lot on the Griffin stage since it’s my fourth year performing with the University Symphony Orchestra, but I’ve never played as a soloist on that stage,” Ascarrunz said. “The experience of playing as a soloist is completely different, and the feel of the hall is completely different than when you are in an ensemble section.”

The soloists will share the stage with the University Symphony Orchestra on Wednesday, Feb. 7 at the University Center for the Arts. The program also includes one of Maestro Kenney’s favorite pieces, the highly dramatic first symphony of the great Finnish composer Jean Sibelius. The performance begins at 7:30 p.m., and tickets are available at csuartstickets.com.

Ascarrunz will perform the first movement of Julius Conus’s Violin Concerto, saying that the piece contains sections of quick ascending notes, which create drama and musical build up, as well as moments of beauty.

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GRE E N ROOM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Zhou has been practicing piano since age three.

His mother was his first piano teacher and has been supporting him ever since. Zhou is a perfectionist when it comes to piano. Having his mother’s support has been a counter balance as she helps him relax and not take every onstage mistake to heart. Zhou’s piano concerto is putting his attention to detail and precision to the test.

Graduate students Kate Gelsinger and Omar Calixto will play Franz Krommer’s Concerto for Two Clarinets and Orchestra.

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THE SCHOOL OF MUSIC, THEATRE, AND DAN

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PERCUSSION ENSEMBLE CONCERT SUNDAY, FEBRUARY 11, 6 P.M / GRIFFIN CONCERT HALL, UCA

The inspiring and meaningful performance of modern percussion music is comprised of pieces selected from over 400 world-wide submissions to the festival, and features a wide variety of percussion instruments.

FACULTY CHAMBER MUSIC CONCERT Features works involving percussion, strings, and winds selected from hundreds of submissions.

ELECTROACOUSTIC PERCUSSION CONCERT TUESDAY, FEBRUARY, 13, 4 P.M. / THE MUSIC DISTRICT / FREE Innovative works for solo percussion and live electronics, performed by the composers.

FOR A FULL SCHEDULE OF FESTIVAL EVENTS, VISIT ARIESCOMPOSERSFESTIVAL.ORG FOR TICKETS, VISIT CSUARTSTICKETS.COM

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

MONDAY, FEBRUARY, 12, 7:30 P.M. / ORGAN RECITAL HALL, UCA

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CSU THEATRE

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New play at CSU considers when is it suitable to take for one’s benefit

By Jennifer Clary Jacobs, Director of Marketing

~ Prologue, Appropriate by Branden Jacobs-Jenkins

Drenched in historic and relevant themes dealing with race relations and suppressed emotions, Colorado State University Theatre’s daring play is fairly new and being performed in the region for the first time. Originally directed by Theatre Professor Garrett Ayers’ mentor, Liesl Tommy, Appropriate premiered in New York just three years ago and won the 2014 Obie Award for Best New American Play.

“I asked Liesl for the script because it had a huge buzz and had won all of these awards. I was immediately taken with it when I read it, and when I proposed it for the [CSU] season selections, the students loved it too,” said Ayers while chatting over coffee at the Wild Boar Café with Mike Solo, creative director for the School of Music, Theatre, and Dance, and me.

CSU Theatre’s latest production deals with race in a contemporary way, but with an all-white cast. At a university where ethnic diversity is a challenge, Appropriate was a “big draw in that we can put on a play that deals with race with our student population,” explained Ayers.

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"Light abandons us and a darkness replaces it."

Instantly, a billion cicadas begin trilling in the dense, velvety void.

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Set design by Abby Jordan and Roger Hanna

Parallel Plays Amidst the overarching theme is a beautifully dramatic script that echoes the 20th century writings of Arthur Miller, Sam Shepard, and Edward Albee, which the playwright, Branden Jacobs-Jenkins, has described as a collage inspired by their work.

“The reason this play is informed by them is that you have a naturalistic play running parallel to a symbolic play,” Ayers said.

Particularly reminiscent of Albee’s method, the audience will receive an abundance of value from the dialogue, but “the set, characters, the sounds of cicadas, and staging are also representative of larger themes and symbols that make it more complex and layered.”

As one of the largest sets ever created in the University Theatre, the play’s setting is a plantation house, which not only represents the family’s own heritage, but is symbolic of America itself. “As we are zooming in and zooming out on the house, we discover intense human themes are there and are going to come out exponentially as we dig into them,” said Ayers, setting the basis for the rest of the conversation.

In the play, the Lafayette family gathers at the decaying family plantation in Arkansas to settle their father’s accounts, making a disturbing discovery about the deceased patriarch’s activities. The dual meaning of play’s title constantly flips between adjective (suitable) and verb (to take for one’s benefit) as the finding unleashes a series of explosive confrontations between the estranged adult children.

Collective resentments and buried offenses In preparation, Ayers had his cast do improvisational exercises around their own family fights, recreating events at the Thanksgiving dinner table or a sister’s bachelorette party in Vegas. “We got to the straws that broke the camel’s back and buried offenses where these things, slowly over time, created resentments,” said Ayers about his approach.

And likewise, collective resentments spanning our country’s 400-year history have created a similar state of rage and Appropriate examines this difficult emotion. “How do we own up to things and apologize? How do we own up to other grievances and the wounds we’ve caused?” asks Ayers.

Ayers believes dialogue is the vehicle to healing and hopes patrons will look in the mirror and start a discussion. “This process has invited me to ask myself where are the parts of my life where I can be more aware, empathetic, and walk in other people’s shoes. When am I being defensive? Where can I apologize? When can I be better with my children, myself, my partner? It really is a dialogue,” Ayers said earnestly about the process of self-revelation.

Ayers admits that he becomes most excited about directing plays that scare him. Although the play opens in a few weeks, he remains diligent about staging a play about race with an all-white cast, and a white director. “Am I going to

A Place for Rage and Vulnerability That responsibility drove an ongoing three-dimensional analysis of all of the play’s aspects for the director. Over winter break, Ayers read Fates and Furies by Lauren Groff, a novel about female rage that ended up influencing the production. “After reading the book about the invisible and intangible rage that women have to live with, I realized [that Appropriate] isn’t just about race, but about deep, primal rage, and the inability to express it.” The climax of the play is the family fight where there is the opportunity for articulating individual grievances, but no one knows what to do with their rage.

If Appropriate scrutinizes aspects of female rage, it equally studies male vulnerability through an ongoing interplay between anger and peace, openness and oppression. “It really is about the barriers to becoming fully human. What does ‘being a man’ or ‘being a woman,’ or the roles of mom or dad, really mean? Many of these labels, and the expectations attached, limit and restrain our individual capacity and potential. We’ve made strides but have a long way to go where people feel safe to be fully human.”

As Ayers expects the play to be a catalyst for dialogue about race relations, he also hopes it spurs discussion about how rage and vulnerability can be experienced in a safe place where people aren’t judged or punished. “In the play people are punished for not having the tools for expression and it comes out as dysfunction.”

“This process has invited me to ask myself where are the parts of my life where I can be more aware, empathetic, and walk in other people’s shoes. When am I being defensive? Where can I apologize? When can I be better with my children, myself, my partner? It really is a dialogue”

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While Appropriate doesn’t offer solutions to race relations, Ayers thinks it is honest about the obstacles and challenges in categorizing them. “Jacobs-Jenkins gives us a window into potential ways that we can start the process, but he doesn’t give easy answers. And I think it starts with ownership of, and atonement for, the past. We can’t begin to fix these things without acknowledging it.”

present this play in a way that is myopic with tunnel vision, or hold myself accountable as much as the country, the elite, or obvious targets?” he worries.

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A Challenging Process

The Painful Side of Funny

Appropriate may contain difficult content, but faced production challenges as well, one being the risk of casting students as 40-year olds. Without the age-linked costumes of a period-piece, or the character recognition of a well-known story, Ayers wondered if they could pull it off. “We are babyfaced…maybe there’s a part of the audience that won’t buy it, but I think we lucked out.” Many of CSU’s student actors read more mature and Ayers feels the cast is believable as a family of different ages. “The look was a lot more important in this show because it is a family,” he added.

Until this point in our conversation, nothing about Appropriate sounded especially funny and Ayers explained. “I read a quote where humor is a direct way to self-discovery, which is an indirect way to catharsis.”

Although rehearsals started earlier in real time than most CSU productions, the University’s winter break interrupted the process. “It’s a give and take having [the script] longer, but with more breaks,” explained Ayers, who actually likes this time slot in the season the best as it mirrors his background. In his seminal experience as an intern with the Wooster Group in New York early in his career, it was common for the company to work on a production for up to two years, with people coming and going to other projects.

“It isn’t a continuous, self-contained process, but you get to live with it, and it becomes richer as you live with it, research it, reconsider it, and work on lines,” said the experienced director. “The extra time is a blessing, not a hindrance, and gives the work, and the actors, time to ripen.”

Ayers hopes the play shapes the audience in a positive way.

“It’s such a well-written play with bottomless themes and elements.”

See Appropriate by Branden Jacobs-Jenkins at the University Center for the Arts with nightly performances at 7:30 p.m. on Feb. 16, 17, 22, 23, and 24. Matinees are on Feb. 18 and 25 at 2 p.m. Tickets available at csuartstickets. com. For mature audiences only.

SIDEBAR Eight-year-old Adrian Ayers is totally pumped to be in Appropriate. After two summers in Kids Do It All, CSU Theatre’s annual summer theatre camp, he was more than willing to be the play’s huge distraction. When asked by his dad, Director Garrett Ayers, to participate, he said, “I get to run around and make mischief? OK!” In the role without any lines, young Ayers terrorizes everyone, causing chaos with his toys and noise and enjoying every minute. “We picked the Bop It as the most annoying toy, and the cast cannot beat him at it,” laughed Director Ayers. “It is great to work with your kid, and it’s neat for him to get a glimpse into my life,” he said. “And the cast has really embraced him!”

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In addition to the extra time, improvising the family fights at the start created a unique level of role ownership and development by the actors, who have become less quick to judge their characters through the process. It’s essential that the audience cares about each character and finds humor in the story through them. “We’re intentionally leaning into the surprises and what’s less obvious to create threedimensional characters,” he said.

Insistent that they aren’t manufacturing its existence in the show, humor strategically balances out the heavy aspects because it isn’t expected. “It makes the drama more compelling and you can stand to watch the really hard things as it fleshes out everything else and it feels more human.

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2018 Alliance Summer Institute

SOCIAL JUSTICE THRU THE ARTS JUNE 17-22

EXPLORE COLLEGE LIFE at COLORADO STATE UNIVERSITY

T HE UN IVERS IT Y CEN T ER FOR T HE ARTS TH E GRE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Join with your peers to dialogue, connect, and create a MURAL based on your story, your community, and your dreams for a socially just future.

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LIVE IN A RESIDENCE HALL ALONGSIDE PEERS AND COLLEGE STUDENT MENTORS WORKSHOPS ON COLLEGE FINANCIAL AID AND THE ADMISSIONS PROCESS NO COST FOR ALLIANCE STUDENTS

This summer institute will teach basic social justice concepts and advocacy through the arts. Participants will collaborate with renowned Washington D.C. based mural artist Rose Jaffe, CSU faculty and students and community educators through teambuilding, intercultural dialogue, nurturing individual and collective voice, and fostering communication across differences.

Students can expect to engage in hands-on learning in storytelling, movement and dance, image theatre, designing and painting, writing, and film/video. Once installed on the CSU campus, the mural will be permanently installed in your own community, facilitated by YOU – the student muralists. The mural will circulate to the different communities of student muralists to foster dialogue about art and social justice.

APPLICATION DEADLINE: FRIDAY, MARCH 16, 2018 COLORADO STATE UNIVERSITY Dr. Caridad Souza Director of Center for Women’s Studies & Gender Research 1790 Campus Delivery, Fort Collins, CO 80523 caridad.souza@colostate.edu

WE WILL EXPLORE TOGETHER HOW TO ADVOCATE FOR SOCIAL JUSTICE IN OUR COMMUNITIES ISSUES OF GENDER EQUITY, BELONGING, ACCESS, AND JUSTICE WHERE I FIT IN ON A COLLEGE CAMPUS WHAT A CAREER IN THE ARTS LOOKS LIKE THAT FOCUSES ON SOCIAL JUSTICE ADVOCACY THROUGH A GENDER STUDIES LENS HOW THE CREATIVE PROCESS IS A PART OF YOUR STORY

S E R I E S

C O N C E R T

ERIC HOLLENBECK CSU FACU LTY PE R C U SS I O N

7:30 P.M. / FEB. 5

CSU FACU LTY CLARI N ET

TIM BURNS CSU FACU LTY PIAN O

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ORGAN RECITAL HALL

ORGAN RECITAL HALL 7:30 P.M. / FEB 6.

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THERE’S A CHOIR, BAND, AND ORCHESTRA FOR YOU AT CSU

T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

CSU Music Ensembles are open to all majors!

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Join a choir, band, or orchestra, regardless of your major! Students in these ensembles come from biological sciences, business, engineering, computer sciences, English, political science, zoology, music, and more.

No auditions are required – just register and show up!

If you don’t have an instrument with you on campus, don’t worry! Many instruments are available for rental.

TO RENT AN INSTRUMENT, CONTACT: Copper.Ferreira@colostate.edu University Center for the Arts 1400 Remington St. music.colostate.edu

NON-AUDITIONED ENSEMBLES: • UNIVERSITY CHORUS (MU202) T/TH, 5:30-7 p.m.

Contact: James.Kim@colostate.edu • CONCERT ORCHESTRA (MU206) M/W, 1-2:30 p.m. Contact: Leslie2.Stewart@colostate.edu • CONCERT BAND (MU205/ SPRING ONLY W/F, 4:15-5:45 p.m. Contact: E.Johnson@colostate.edu AUDITION FOR A TOP ENSEMBLE: Ensemble auditions take place at the University Center for the Arts at the beginning of each semester.

Information about audition times and suggested repertoire at music.colostate.edu/auditions • CSU MARCHING BAND Auditions: June 9, 2018 bands.colostate.edu

By Tony Phifer, CSU External Relations

Beyond physical therapy, the only treatment advice she got was to simply stop playing the clarinet and rest.

She was not happy.

“I was told to consider putting down the instrument for a year,” said the Fort Collins, native now a sophomore at CSU. “As a musician, you can’t just put down your instrument for a few weeks. There are concerts, recitals and practicing that demand a lot of work that do not allow a lot of down time.

“The physical therapist I worked with knew that I couldn’t simply not play my clarinet for a few months, so we worked around that to help me through my treatment while allowing me to continue to do what I was so passionate about.”

Lana started at CSU as a music education major, but eventually switched majors so she could pursue another interest – health and exercise science. She also made time to pursue her musical passion in the renowned CSU Marching Band.

TRUE LOVES: SCIENCE AND MUSIC And that gave her an idea: How could she combine her passions to come up with potential solutions for musicians dealing with muscle-related ailments like tendinitis. And that’s when she heard about the Muscles Alive! program – a project of health and exercise science professor Brian Tracy.

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Rachel Lana loves to play the clarinet, but when she developed tendinitis in high school from playing the instrument she wondered what she could do to treat the painful condition.

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T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Chase Hildebrandt demonstrates how muscles work while drumming.

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“When I first heard about Dr. Tracy’s Muscles Alive! program I started looking into it and saw countless videos showing people being fascinated by seeing their muscles work while they were performing everyday tasks,” Lana said. “I immediately thought the marching band would be a great place to show people how their muscles work.”

Tracy, director of the Neuromuscular Function Laboratory, created Muscle Alive! as a neuroscience educational outreach program. The program uses hands-on, kid-friendly equipment to perform experiential demonstrations to teach fourth through 12th graders about how their brain communicates with their muscles and how their muscles communicate with their brain.

Lana talked to Tracy about using Muscles Alive! technology to track muscle movement and, perhaps, offer clues about how musicians’ health issues might be addressed. Many students have come up with their own ideas for illustrating muscle connection to the brain – something Tracy fully embraces.

STUDENTS TAKING OWNERSHIP “A student who comes up with their own idea will have more ownership over that idea; it makes it a more immersive and meaningful experience for that student,” Tracy said. “(Rachel’s) is the type of project that gets me excited, seeing a student taking ownership of their own education. I can’t tell you how many times I’ve been geeking-out with students and getting

just as excited about a project like this one. To me, that’s a really powerful thing.”

Lana enlisted Chase Hildebrandt, a sophomore music education major who graduated from Loveland High School, to help with the project. Hildebrandt plays the tenor drums – a 35-pound set of five that makes every performance a workout – and was a perfect subject for Lana’s project.

Electrodes were attached to Hildebrandt’s forearms for the drumming. The muscle signals were amplified with a device from Dr. Tracy’s neuroscience education collaborators at Backyard Brains, Inc., and then displayed using a wearable iPad-based system. For Lana, electrodes were placed over the muscles that control her mouth and lips.

Lana hopes to take what she’s learned and use it to help herself and her fellow musicians stay healthy.

‘NERDING-OUT’ “What a better way to blend the two things I’ve always been passionate about – music and science?” she said of the project. “I definitely have a lot of nerding-out moments when I talk about this. It’s not just STEM, it’s not just something out of liberal arts.

I believe we are a combination of all our interests. To combine my greatest interests is a tremendous feeling.”

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GRE E N ROOM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Rachel Lana spearheaded the Muscles Alive! project, combining her love for science and music.

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THE COLOR OF The Color of CHANGE BRINGS Change Brings Artistic ARTISTIC Collaboration COLLABORATION “Playing the violin lets me express whatever feelings I have or express the feelings the music is conveying. The world slows down and all the million thoughts you have quiet and you just lose yourself in a feeling.”

TO CSU

T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

By Nicole Towne, CSU Publicity Intern

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After a busy first semester of teaching and performing, the dance department’s newest faculty members, Madeline and Matthew Harvey, are bringing an all new dance experience to CSU and the community. The Color of Change features live music, dance, and conversation centered around community partnership while honoring some of the greatest African American composers.

CSU’s School of Music, Theatre, and Dance is collaborating with the nonprofit Classical Revolution Northern Colorado, who will provide live music. Part of the organization’s mission is to bring classical music into non-traditional settings and to make it as accessible as possible to new audiences.

Madeline Harvey said the idea for the performance came out of a group dialogue and became something she wanted to bring to CSU. “As a land grant institution, CSU is committed to engaged scholarship and bridging the gap between our community and our academy,” she said. “I thought this would be the perfect opportunity to explore that idea.”

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S E R I E S

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C O N C E R T

ORGAN RECITAL H

7:30 P.M. / FEB.

John Carlo

PIERCE CSU FACU LTY TEN O R

JOEL BACON CSU FACU LTY PIAN O GRIFFIN CONCERT HALL 7:30 P.M. / FEB. 28

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— Elizabeth Telling of Classical Revolution

Along with helping coordinate the performance, Madeline Harvey will perform in the show alongside her husband Matthew in their second co-choreographed piece.

Dancers from the School of Music, Theatre, and Dance will also take the stage, including a select group of soloists from the professor’s Choreography One class, where students have the opportunity to premier their own work.

CSU Associate Professor Michelle Stanley will be featured on flute and Fort Collins’ Anthony P. McGlaun will provide vocals. The musical focus of the show is on African American composers from throughout the nineteenth and twentieth centuries such as William Grant Still, Florence B. Price, and Hale Smith.

“While many of the composers are known and performed much over seas, their work is underrepresented in the U.S.,” Madeline Harvey said. “We have chosen a selection of works all by African American composers to tie into Black History Month.” Harvey hopes that the multi-sensory artistic performance will inspire community dialogues on diversity and inclusion. “[The audience] can expect an interesting program of a diverse offering of classical chamber and vocal music by African American composers combined with newly choreographed dance accompaniment,” said musician Elizabeth Telling of Classical Revolution. “Much of the music is based on traditional black folk songs, which highlight a narrative of the American black experience.”

The Color of Change takes place at the University Center for the Arts’ Dance Theatre on Saturday, Feb. 3 at 7 p.m. A pre-show talk with Mr. McGlaun begins at 6 p.m.

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

HALL

The audience can expect an interesting program of a diverse offering of classical chamber and vocal music by African American composers combined with newly choreographed dance accompaniment

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T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Featuring the music of Schmitt, Schmit, and Ticheli

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WITH GUESTS

MICHELLE STANLEY AND JOHN MCGUIRE FEBRUARY 23, 7:30 P.M. / GRIFFIN CONCERT HALL

Mindful Engagement Inspires Environmental Art Exhibition

BY JENNIFER CLARY JACOBS

K

yle Singer and Emily Sullivan most likely woke up on a school day last fall anticipating that it would be transformative. The two Colorado State University M.F.A. students are just that sort, sensing meaning and expecting eye opening moments at every turn of their education.

As one of the locations with the highest densities of hydraulic fracturing well pads in the nation, Osborne prepared her students for a field trip to Weld County. “For the fracking section of the course, we begin by discussing art and activism, we look at artists who have tackled environmental issues in their work, and then we dive into the local issue of fracking. We read articles, watch films, and read scientific studies,” she explained.

The “Tour de Frack” excursion was led by Shane Davis, a ‘fractivist’ and data miner who once lived in Weld County. According to his website, Davis utilizes official data to create awareness around the consequences of oil and gas extraction, hoping people will “better understand the various ways the oil and gas industry and the State of Colorado have failed to prevent adverse impacts to the environment and the citizens.” (www.fractivist.org) The day’s assemblage also included David Brooks, an artist known for studying the relationship between individuals and the built and natural world. Brooks’ involvement stemmed from the Gregory Allicar Museum of Art’s desire to commission an environmental artist, and the New York resident was invited to select one of Osborne’s class field trips in 2016. “I gave him the list of trips I had planned and he was most interested in touring Weld County as the [possible] basis for an installation he would create in the year following,” said the arts and the environment professor.

With the students prepared to fully engage with what they would see on the tour, class members Kyle Singer and Emily Sullivan happened to hop into the same white CSU van as Brooks and Davis and struck a rapport that was to have further significance.

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In Oct. 2016, Erika Osborne’s Art and Environment course started a segment titled Environmental Issues: People and Place, and the Department of Art and Art History Professor orchestrated several field trips designed to tap into key environmental issues facing Northern Colorado.

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T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

As the class toured fracking pad sites, the camouflaged aspect of the wells and their apposition to suburban life was unsettling for many classmates.

“What struck me most was the proximity,” said a solemn Sullivan. “You have a house or a playground and there is a fracking pad 100 feet away.”

She went on to describe fish statues – with environmentally-minded placards – in an open space next to a pad site in Firestone, Colorado. “They put up a barrier and no one knows that it’s there and it blends in.”

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DOING THE GROUND WORK Throughout the day, Singer and Sullivan watched an artist at work as Brooks quietly observed and took notes.

It was following months of research back in New York, capped off with the Firestone site explosion in April 2017, that Brooks involved Singer and Sullivan in what evolved into the Gregory Allicar Museum of Arts’ current installation, Case Study: Weld County, Colorado, and appointing them as his boots on the ground. “We were able to obtain the source imagery for David this past summer,” Sullivan stated about her connection to the early steps of the artistic process.

Reminiscent of the method Andy Warhol employed while working with a CSU graduate student in the 1980s on the well-known Campbell’s soup cans, the two received specific instructions on how to assist. “We did close-frame imagery and sent him the reference

photos; he did all the cropping and printing from the hundreds of photos we took,” Sullivan further explained.

For Singer, a critical component of David Brooks’ artistic process is his field work. “To think that David is used to field work, like in the Amazon, and we got to fulfill a portion of that part means so much,” he said. As he skateboarded on the incredibly smooth neighborhood streets near the fracking pads to gather his photos, Singer pondered the possible malevolence behind an idea generated during the field trip – “were the great roads there on purpose, to hide what’s underneath?”

All of the newly developed areas where Sullivan and Singer procured photos correspond with a map illustrating an underground network of active gas extraction lines below the surface. “I really don’t know if the community knows that it’s underneath – what is the mindset of the people who live there?” wondered Sullivan. “Maybe they don’t know, maybe they are just ok with it, maybe the price point [of their home] is more important.”

MEANINGFUL WORK FOR A MEANINGFUL LIFE As the project moved forward, compartmentalized ideas of authorship became homogenous as ideas about the deeper purpose of their art were solidified for the two students.

“Meaningful work/meaningful life is such a great way of summarizing what I aim to

get at with this course,” said Osborne, who mindfully fuses the practice of teaching art with her life routine of leaving the studio and engaging with the world around her. “This is what I try to instill in my students. They are artists studying in Northern Colorado, not New York City. So, what’s unique about this place? What authentic artistic practice can result from engaging the community and environment here? In these questions lies the ‘good stuff.’”

Even as the semester unfolded, Singer and Sullivan recognized that the class’ best work was in response to outside influences, such as a Forest Service project designing and fabricating bee habitats with the purpose of bolstering the North American Mason Bee population. “In addition to critical theory, the class has forced us to get involved and give back and meet people,” said Singer.

Other projects included escaping light pollution to star gaze at the Shortgrass Steppe Research Center east of Wellington, surveying the Rist Canyon burn areas and after-effects with a fire historian, trekking through Lory State Park with a landscape plotter, unfolding the story of an area of land based on foliage, and visualizing the power of land preservation through buffalo population levels. “There’s a movement in art where things are a lot more interconnected and silos are coming down and we’re connecting and being in touch with the land. [Professor

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T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Osborne] has great pride in working with the land,” said Singer.

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As the students made art related to prevalent environmental issues in the region, they were inspired by each other and the process, recognizing massive and rapid shifts in their work.

“New ideas, new ideas, and more new ideas,” exclaimed Sullivan, whose work has evolved from traditional, landscaped based painting to be more community and environmentally oriented. “Working with David [Brooks], and taking this class has helped me contextualize where I am right now. The history of wildfires and fracking defines the place I am right now.”

This realization is exactly what Osborne expects to occur as she instructs students to apply critical analysis of their immediate world to conceptual frameworks. “It’s exhilarating for them.

I think this excitement and investment comes out in the work,” said Osborne, recalling Sullivan’s poignant response to the fracking field trip – the creation of a Russian Roulette table with identical looking glasses of water except one was filled with produced water from a well pad, acquired with Shane Davis’ assistance. “She asked participants to spin the wheel and take a drink. After studying the chemicals in produced water (which looks benign but is extremely toxic), not a single student was willing!”

During this time frame, Singer started really digging into his thesis on abjection and the permeable boundaries of

identity. As conveyed in his abstract submission for the Graduate Student Showcase, held at CSU in Nov., Singer is considering “all that is suppressed/ repressed within my psyche to form the culturally accepted version of myself,” revisiting the fracking exhibition as an inspiration. “I’m Kyle as a person, but what goes on underneath is like the hidden violence beneath the landscape in fracking. There are the mental boundaries people put up to not have to think about things like air quality, and the fracking exhibition started to break into that.”

AN ARTISTIC MODEL For both students, Brooks’ modeled an effective process for determining what affects people in their locality, getting to the crux of contemporary issues, while operating within the heart of one’s established artistic practices.

It was impressed upon them that the responsibility of working within a cause requires sensitive, careful, and in-depth research.

Singer found himself intensely interested in Brooks’ presentation of powerful ideas, realizing that hours of pouring over data is what gives the artist the right to dramatize the information in the end. “Through David’s artist talk, it was so clear how he follows his passion,” said Singer. “It may not be my passion, but I could follow his train of thought because he pinpoints what is the thing that has been percolating and how to bring out real meaning.”

For Gregory Allicar Museum of Art Director Lynn Boland, Brooks’ exhibition accomplished a key museum objective, which is fostering dialogue that resonates with a broad public interest.

“Art can be a nuance when issues are particularly challenging,” feels Boland.

“Not to say that the artist doesn’t have an opinion personally, but it’s not our place to be dogmatic, as much as be a catalyst for discussion.”

With Singer’s interest in the psychology of art, he agrees with the exhibition’s subtly as an effective method of confronting confirmation bias. “Brooks’ ideas were controversial, but not overtly, and everyone became open to the conversation because they weren’t being attacked. He didn’t say that [fracking] is right or wrong, but that we need to talk about it and how to manage it in a super healthy way. It’s a very mature way to present art. We can’t throw it in their faces.”

AN IDEAL MENTOR In addition to increasing Singer and Sullivan’s awareness about discovering and presenting environmental – and sometimes volatile – issues through their art, the time spent with Brooks informed their understanding about teaching and being professional artists, career destinations for both students.

“Mentoring under such an acclaimed artist is worth its weight in gold,” proclaimed Osborne.

Brooks insight about funding his art, which includes grants, fellowships,

workshops, and residencies as components of his diverse revenue stream, was invaluable. Those activities, in combination with savvy packaging of his scientific research, consistently elicit the requisite support, such as Sotheby’s sponsorship of Brooks’ Desert Rooftops (2011–2012), a commissioned installation in Times Square.

As Singer has learned, there are many ways to frame his art degree. “For me, David advocated for me to follow my dreams, but provided specific examples for figuring out my skills and marketing myself. It’s being romantic yet pragmatic at the same time.”

“By working with David, Kyle and Emily got an intimate look at a high level working artist’s practice. They got to witness the decision-making, vetting, adapting, etc. that goes on when bringing an installation like Case Study: Weld County to fruition,” expressed Osborne.

The gracious artist went out of his way to share the spotlight on the

AN ENGAGED FUTURE Singer and Sullivan plan to apply the past year’s insights to their teaching esthetic as both students are more encouraged about the profession than ever before. Sullivan, who graduates in Spring 2019 and aspires to teach at the college level, already anticipates being better equipped to engage her students. “I’m thinking about how can I bring in these issues that help root students where they are, and help them look across disciplines to inform their art.” Singer shares Sullivan’s confidence, hoping to build a web of connections to engage his students.

In the end, the unique opportunities created by a cherished professor, combined with a relationship with a wise professional, have contributed tangible layers in the evolution of two determined artists. “Both Kyle and Emily are here (in the M.F.A. program at CSU) to get all that they possibly can out of it,” said Osborne. And the level of Singer and Sullivan’s work continues to be extremely regarded as they each received the College of Liberal Arts’ highest achievement award at the 2017 Graduate Student Showcase.

Looking back on the class that created so much meaning for them, the students see it as an “aha moment” in their education. “As artists, we can get lost in the act of making that we forget to come back to the original motivation and inspiration as the most important part, and Brooks made me remember my main motivation,” exclaimed Singer!

WELD COUNTY, CO WOULD NOT HAVE BEEN POSSIBLE WITHOUT THE DISCERNING EYES OF EMILY BOUTILIER SULLIVAN AND KYLE SINGER AND THEIR KEEN EFFORTS IN SCANNING THE HOUSES USED HERE AS CASE STUDIES. Artist Statement by David Brooks

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“I learned about diversifying and finding ways to make it as an artist, including the necessity of being able to write about your work,” said Sullivan, who now counts the ability to convey a vision as one of the most important and practical skills she can subscribe to as a professional artist. “It was a great educational opportunity to hear about that and I can see it fitting into the schema of what I’m going to do. He gave me more tools.”

important exhibition, instructing Singer and Sullivan to list themselves as collaborators on their CVs. “He cited them as collaborators in the museum wall text and when he gave his talk at the UCA,” added Osborne, confident that Brooks will remain an important connection in their future.

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Stop by and see us in the Lory Student Center, next to the RamCard Office, to open a First National Free Checking Account and get your CSU Visa Debit Card on the spot.

Learn more at 1stnationalbank.com/CSU

Member FDIC

Chloe Patrick, 2016, B.A. Music I grad-

Carrie Demos, 2004, B.A. Performing Arts Carrie is currently on faculty at the 92nd St Y Harkness Dance Center, Peridance Capezio Dance Center, and is honored to serve as a teaching artist for New York City Ballet Education, teaching NYCB curricula/residencies in New York City Public Schools. Carrie has also worked with the New York City Dept. of Education, in collaboration with the Dance Education Laboratory, to further advance standards for dance education in grades K-8 by helping to train Pre-K educators by serving as a co-facilitator for the NYCDOE’s 2015 Universal Pre-Kindergarten Teacher Training, and as an adjudicator for their Arts Achieve initiative. Carrie is a certified Pilates instructor (Kane School of Core Integration), working to create alignment centered classes for adults (The Living Room, Brooklyn) and continues to strengthen her own teaching by studying kinesiology/anatomy from master teacher, Irene Dowd. As a dancer, Carrie has performed with Community Dance Project (N.Y.) and in her home town of Denver with Louder Than Words Dance Theatre.

Gregory Marxen, 2016, B.A. Music After graduating from CSU, I became a substitute music teacher for Poudre School District before finding my job at Aspen View Academy K-8 Charter School in Castle Rock, Colorado. I teach kindergarten through third grade music, in addition to preschool music once a week. I love my job, and have a tremendous enjoyment of music and a passion for my career. After gaining more experience in the field, I plan to go back to school to get a master’s degree and D.M.A. in music education.

In my free time, I like watching movies and documentaries, going to the gym, and reading! I also perform in two ensembles: 3rd cornet in the Rocky Mountain Brassworks, and principal horn in the Aurora Symphony.

To submit your Class Note: Email Brandon Adams at brandon.adams@colostate.edu

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GRE E N ROOM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

uated from CSU with a degree in music and a minor in business administration. I am currently the customer service representative at Squires Insurance Solutions LLC, and obtained my Property and Casualty Producer icense earlier this year. However, music is my passion; it always has been, and always will be. Up until recently, playing in ensembles was a daily part of my schedule, and I greatly miss it. I am currently in the process of auditioning for the Army bands, which would allow me to live out my dream of living in the world of music and serving my country in the process. This goal was strengthened when I was able to play with the Alumni Marching Band at the CSU Homecoming game. It has increased my desire to play, and I look forward to the years to come!

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THE MAGIC FLUTE by Wolfg a ng

Amadeus Mozart

OPENING

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

APR. 4

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FEBRUARY MUSIC PERFORMANCES AND WORKSHOPS Virtuoso Series Concert / Eric Hollenbeck, Percussion Virtuoso Series Concert / Wesley Ferreira, Clarinet University Symphony Orchestra Concert Aries Composers Festival / Percussion Ensemble Aries Composers Festival / Faculty Chamber Music Aries Composers Festival / Electroacoustic Percussion / FREE Music in the Museum Concert Series / FREE Guest Artist Concert / Andy Harnsberger, Percussion / FREE Virtuoso Series Concert / Mendelssohn Trio Voice Area Recital / FREE Jazz Ensembles Concert Wind Symphony Concert Singer of the Year Competition / FREE Virtuoso Series Concert / John Carlo Pierce, Tenor Symphonic Band Concert

FOR A FULL LISTING OF EVENTS PLEASE VISIT UCA.COLOSTATE.EDU

February 5, 7:30 p.m.

February 6, 7:30 p.m.

February 7, 7:30 p.m.

February 11, 6 p.m.

February 12, 7:30 p.m.

February 13, 4 p.m.

February 13, noon and 6 p.m.

February 15, 7:30 p.m.

February 19, 7:30 p.m.

February 20, 7:30 p.m.

February 21, 7:30 p.m.

February 23, 7:30 p.m.

February 24, 7:30 p.m.

February 26, 7:30 p.m.

February 28, 7:30 p.m.

ORH ORH GCH GCH ORH ORH GAMA ORH ORH ORH GCH GCH ORH ORH GCH ORH ORGAN RECITAL HALL GCH GRIFFIN CONCERT HALL LC LINCOLN CENTER RH RUNYAN HALL IRH INSTRUMENT REHEARSAL HALL UDT UNIVERSITY DANCE THEATRE UT UNIVERSITY THEATRE UCA UNIVERSITY CENTER FOR THE ARTS ST STUDIO THEATRE

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AVENIR GALLERY

One Woman – 1,107 handkerchiefs AVENIR’S NEW EXHIBITIONS INCLUDE ONE THAT’S NOTHING TO SNEEZE AT

By Jeff Dodge, CSU External Relations Shortly after Florence Luebke died in 1985, her nephew decided to donate her collection of handkerchiefs to Colorado State University. All 1,107 of them.

T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Now, the massive hanky collection has been put on display by the Avenir Museum of Design and Merchandising.

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There are handkerchiefs of almost every conceivable type. Black ones for funerals. Festive ones for holidays, including Mother’s Day. Commemorative ones from states along Route 66. The one from Seattle World’s Fair of 1962. One with images of foods and their calorie counts? Got it. There’s even a placard outlining the hanky’s language of love – the many ways it was used for flirtation and communication by potential romantic partners.

Handkerchiefs. And they’re not all square – one display case showcases handkerchiefs of different shapes and sizes. Another shows off the ones Luebke received between 1947 and 1963 from the various “Hanky of the Month” clubs that were in existence at the time.

(June 1948 was a banner month — she got nine of them.)

There’s also a section in the Avenir exhibit about how Kleenex got its start: After World War I, the hanky got a bad rap as a transfer mechanism for Spanish influenza virus, so the disposable tissue company seized on the opportunity in 1924 with the slogan, “Don’t put a cold in your pocket.”

Mystery solved

Unfortunately, when CSU employee Paul Gilbert dropped off the boxes and boxes of handkerchiefs in the mid-1980s, museum staff didn’t get his aunt’s last name. So Avenir employees and volunteers only knew her by how she was addressed in greeting cards that accompanied handkerchiefs she

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received as gifts – and that she kept as part of a meticulous hanky filing system.

“It’s a curator’s dream to have that archival evidence to go along with many of these pieces,” says Avenir Curator Katie Knowles. “But most of the cards referred to her as just ‘Flo.’” Finally, Avenir volunteer Terrie Cornell found a single envelope bearing the last name “Luebke,” and verified her identity through some genealogical research.

The exhibition, “Nothing to Sneeze At: One Woman – 1,107 handkerchiefs,” was designed and developed by Avenir volunteer and guest curator Marcella Wells, and will be on display in the Avenir Gallery at the University Center for the Arts until Aug. 3. It is one of four new offerings that opened at the museum Jan. 16. The other three are on display in the Avenir Museum of Design and Merchandising at 216 E. Lake St.

A line of dresses illustrates how the use of the color orange in fashion changed over the span of a century, from the subdued burnt orange of the 1890s through the bright neons and fluorescents of the 1960s and ’70s.

Conceived by Avenir Museum volunteer Jan Alexander, who was struck by the large number of orange garments in the museum’s collection, the exhibition explores the various meanings of orange in society as well as the technological advances that were needed to develop brighter dyes and the synthetic fabrics that would hold them.

And, of course, one display features an Aggie letterman sweater, Denver Broncos apparel bearing “Orange Crush” and “United in Orange” mottos, as well as an old orange Bronco helmet from the ’60s loaned by John Beake, former general manager of the team.

The exhibition ends July 17.

This exploration of one the most important colors in the history of CSU – not to mention the Denver Broncos — features more than sports apparel.

‘FABRICation’ The first large-scale traveling exhibition brought in by the Avenir, Virginia Commonwealth University’s “FABRICation” is a textile and fiber arts examination of “slow making” by hand, featuring seven artists.

The theme is “Slow Looking,” suggesting that visitors take their time soaking in each piece to notice details that may not be evident at first glance.

Many of the pieces feature mixed media. Erin Castellan uses a variety of materials to create hybrid works that drape

off the wall. Kristy Deetz paints wood to look like a textile surface. Virginia Derryberry sews garments such as dresses onto quilts. Reni Gower’s work features colorful vertically hanging layers. Natalie Smith’s minimalist, multidimensional pieces explore repeating patterns on different surfaces. CSU alumna Susan Iverson created striking tapestries that hang in the shape of the letter U – and she’ll deliver an evening lecture about FABRICation at the Avenir on March 22 (see events at right). Finally, the largest of Rachel Hayes “stripquilting” works features a combination of burlap sacks, polyester chiffon and vinyl. The exhibition is on display until May 11.

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Evening Lecture Series The Avenir will host four free public evening lectures this spring. They will all be held from 7 to 9 p.m. in the Avenir Museum Classroom, Room 157, at 216 E. Lake St. The galleries stay open from 5 to 7 p.m. on lecture evenings.

FEB. 15: FASHION FUNDAMENTALS

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Design and Merchandising faculty members Karen Hyllegard and Jennifer Ogle will discuss the unique Fashion FUNdamentals program they have developed for middle school girls, which offers both technical programming, to address real-world problems in the global fashion industry and cultivate interest in the STEM (science, technology, engineering and math) disciplines, and social programming, to address topics of concern among adolescent girls and to build self-worth. Program participants also gain an introduction to the world of historic apparel and textiles, as represented in the Avenir Museum collections. Several young graduates will talk about their new Fashion FUNdamentals skills.

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MARCH 22: FABRICATION Susan Iverson is professor emerita in the Department of Craft/Material Studies at Virginia Commonwealth University in Richmond, Virginia, and co-director of the American Tapestry Alliance. A weaver whose artistic work is included in FABRICation, Iverson will introduce guests to this exhibition of seven artists who incorporate a textile sensibility through elements of fabric and fabrication. The artists’ “slow making” – repetitive processes that invoke introspection and reflection – leads to appreciative “slow looking” on the part of viewers. Iverson will also offer a weaving demonstration during a different portion of her visit to CSU; please see the Avenir website in early February for specific details about date, time and location.

APRIL 12: EMBROIDERING WITHIN BOUNDARIES Mary Littrell, former chair of the CSU Department of Design and Merchandising, will give a presentation about her travel to Afghanistan and co-authorship with Rangina Hamidi of the new book Embroidering within Boundaries: Afghan Women Creating a Future, published by Thrums Books. Littrell will describe her experiences traveling to Kandahar in 2015 to meet with women working in the embroidery collective called Kandahar Treasure, producing exquisite traditional khamak embroidery to realize an income and provide for their futures, within the safety of societal rules.

MAY 3: ORANGE, A SHORT HISTORY OF ORANGE IN FASHION Come hear how orange – the color of vitality and the unconventional – appeared in broad pendulum swings across 20th-century fashion, and learn the back stories of the bold apparel featured in the current exhibition. Why is “Aggie Orange” back in a big way?

Photocaption

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GREGORY ALLICAR MUSEUM

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photos by Jennifer Clary Jacobs

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m o o l B rt in l a u n n A a l a G e z i l a isu

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SPONSORS: LEAD SPONSOR College of Liberal Arts GOLD ($1000)

T HE UN IVERS IT Y CEN T ER FO R T H E A RTS TH E G RE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

Lynn Boland, director of the Gregory Allicar Museum of Art, enjoys the moment at Visualize.

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isualize is the annual benefit gala in support of the Gregory Allicar Museum of Art at Colorado State University. The 2018 event, held on Jan. 20, celebrated the first year of being in the museum’s expanded spaces, as well as the recent accreditation by the American Alliance of Museums (AAM), another major milestone for the museum.

The evening featured remarks by Ben Withers, dean of the College of Liberal Arts, and Lynn Boland, director of the museum, with special recognition of Linny Frickman, the former museum director. Visualize guests enjoyed live jazz, operatic performances in the galleries, a silent art auction, a pop-up floral exhibition, and delicious hors d’oeuvres and drinks.

Art in Bloom floral arrangement were inspired by the museum’s permanent collection with thanks to Jordan’s Flowers, More Flowers, Palmer Flowers, and Paul Wood Florist Elmo and Linny Frickman donated the wine, while New Belgium Brewery provided beer.

CSU voice students Anna Bonjour and Angela Lamar, accompanied by piano faculty Alaine Debellevue, performed opera selections by Claudio Monteverdi, Antonio Vivaldi, and George Frideric Handel. The Jazz Combo was comprised of Garret Welch, Jack Harrington, and Michael Rinko.

Lloyd Crumb Linny and Elmo Frickman Gary and Carol Ann Hixon Bob and Maureen Hoffert Tom Lundberg and Richard Christensen Mike and Debra McQueen Deborah Shields and Chris Jensen GREEN ($500) Artisan Framing Lynn Boland and Katherine McQueen Dennis and Mickey Bookstaber Loren Crabtree and Monica Christen Pat and Chip Coronel Bruce Froseth and Susan Kreul-Froseth Gwen Hatchette Hord Coplan Macht Tom and Marie Livingston Tonya Malik-Carson and Derrick Carson Jim and Christy Martell Michael and Keren Rosser Joel and Barbara Rutstein Torleif Tandstad Gary Voss and Judy Sawyer-Voss Dave and Joan Yust

(BOTTOM)Voice student Angela Lamar is accompanied by Alaine De Bellevue as guests mingle in the Griffin Foundation Gallery.

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(TOP) Donors Torlief Tandstad and Lloyd Crumb (on the right) give their guests, Edward and Kelsey Furst, a tour of the Hartford-Tandstad galleries.

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LEFT: Dean Ben Withers gives a toast to former museum director, Linny Frickman.

ABOVE: With Elmo Frickman, "don't touch the art" takes on a whole new meaning!

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Little Shop of Horrors by Howard Ashman and Alan Menken / Photo by John Eisele

MAKE YOUR GIFT ONLINE TODAY AT

GIVETO.COLOSTATE.EDU/SMTD

I S S UE 2 4 , F EB R UA RY 2 0 1 8 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Your gift provides crucial scholarship support, enables the evolution of our programs and performances, and gives our students the opportunity to obtain their education in one of the region’s most distinctive facilities for arts students.

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CSU DANCE

Madeline and Matthew Harvey Take Root at CSU

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BY NICOLE TOWNE, PUBLICITY INTERN

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M

adeline Harvey and Matthew Harvey are dancers. They started before the age of 10. They are professionals on the stage. They are professors in the classroom, and in 2013, they decided to make a life-long commitment to each other that remains intact with and without the ballet slippers. Meet Colorado State University’s newest dance faculty.

Long before Madeline and Matthew chose CSU or each other, they chose dance.

“I started dancing probably in the womb,” Madeline said.

“I came into the world hand first and ready to move…I would become very entranced if I saw dance on TV or movies or in books.”

Before age six, Madeline was already enrolled in her first ballet class. Her first pair of ballet shoes now proudly sits on top of a filing cabinet in her office.

Matthew started dance at age nine when he was offered a scholarship to take classes at Repertory Dance Theatre in his hometown, Allentown, Pennsylvania. He continued dancing with Repertory Dance Theatre all through high school.

Both Madeline and Matthew have graced many stages, performing professionally with the Charlotte Ballet and

the Carolina Ballet Theatre. They have worked under many choreographers including Alonzo King and Dwight Rhoden. The Harveys have performed statewide and abroad, and prior to coming to CSU they served as dance faculty at the University of South Carolina.

The two met in their mid to late teens at the Chautauqua Institute summer dance intensive in western New York.

Despite their different personalities, Madeline identifying as type A, extroverted, and organized and Matthew as laid back and reserved, the two connected.

“What I really love about dance and the dance world in general, there is this perfect harmony between actor and athlete,” Matthew Harvey said. “We have the athleticism of some of the best athletes in the world, but then are like actors that disguise everything so it doesn’t look like it costs us anything. We have to disguise it so it looks effortless.”

Both dancers continue to portray a sense of effortless and ease on stage. In Nov., they performed the Romeo and Juliet Balcony Pas De Deux in CSU’s fall dance concert.

Getting to partner together for the Romeo and Juliet excerpt was a meaningful experience for both dancers.

“It’s a magical feeling to get to tap into that very youthful love that is still evident in our daily lives,” Madeline Harvey said. “It’s interesting to try to journey back.”

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“I think we really hope to offer to the students a space to take risks, a space to feel supported, and a space to try new things and be innovators. I feel a T HE UN IVER SIT Y CE NT ER F OR T HE ARTS THE GRE E N R OOM / I S S UE 2 4 , F EB R UA RY 2 0 1 8

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starting in this new place and this new chapter. I see a lot of possibilities and

Matthew Harvey said that working on the pas de deux together has been nostalgic.

“We don’t have to build that sense of physical trust every time we step into the studio,” he said. “It’s really refreshing sometimes to get to have that level of closeness and be able to work on such a deep level with someone you’re that connected to.”

When it comes to the classroom, Madeline and Matthew want to create a safe place for their students to experiment and grow.

“I think we really hope to offer to the students a space to take risks, a space to feel supported, and a space to try new things and be innovators,” Madeline Harvey said.

“I feel a lot of invigoration starting in this new place and this new chapter. I see a lot of possibilities and potential for us to grow.”

Katelyn Doyle, a third-year dance major, took Madeline Harvey’s ballet technique class this semester. “She gives a new kind of energy to the class. She is so positive, and I really like the way that she teaches,” she said.

Third year dance major, Jenny Trenchard got to work with Matthew Harvey by performing in the fall dance concert piece, “Ricochet.” For many students, it was unique opportunity to work with a professor who took an improvisational approach to choreography.

potential for us to grow.”

— Madeline Harvey

“Usually the professors come in with something set already, and so this is a new experience for me, being able to work with a faculty member who choreographs on the spot,” Trenchard said. “It’s been kind of inspiring. I’ve enjoyed my time working with him a lot.”

Professors Madeline and Matthew Harvey have only been at Colorado State University for a semester, but they have already inspired dozens of students in the classroom and even more dancers and audience members alike by their onstage performance. They aren’t afraid to get sweaty or messy while practicing in the studio, but when they grace the stage they move with a cleanness and ease that we can only hope to comprehend.

You can see the Harvey’s perform in an upcoming special event at CSU. Enjoy The Color of Change, a live music and dance experience on Saturday, Feb. 3. Tickets at csuartstickets.com.

THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS

spring

dance

OPENING

concert

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2018

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Apr. 20

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The Gregory Allicar Museum of Art and the School of Music, Theatre, and Dance are entering a second season of the collaborative visual and auditory experience with the Music in the Museum Concert Series. The series explores the cross-fertilization between music and the visual arts, with performances

by CSU Music faculty and brief historic background given by faculty from the Department of Art and Art History and the School of Music, Theatre, and Dance.

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In this series, music is performed against the backdrop of works of art ranging from Renaissance and Baroque paintings and sculpture to expressions by contemporary artists from around the globe. We invite you to holistically absorb the power of music and the visual arts and the relationships between them through these unique presentations.

Please register for each event, due to limited seating, at artmuseum.colostate.edu.

February 13, noon and 6 p.m.

Griffin Foundation Gallery Musicians: John Seesholtz, baritone, Anna Bonjour, Soprano, Angela Lamar, Soprano, Anyaleen Bradley, Soprano, Natalie Simpson, Soprano, Arika Drake, Mezzo-soprano Art Historian: Lynn Boland Music program: Ancient world and classical themes “Pur ti miro” from l'incoronazione di poppea by Claudio Monteverdi Anna Bonjour, soprano and Angela Lamar, soprano

“Vedro con mio di letto” from Il Giusto by Antonio Vivaldi Anyaleen Bradley, Soprano

“Toglietemi la vita ancor” from Pompeo by Domenico Scarlatti John Seesholtz, Baritone

“Sposa son disprezzata” from Bajazet by Antonio Vivaldi Natalie Simpson, Soprano

“When I am laid in earth” from Dido and Aneas by Henry Purcell Arika Drake, Mezzo-soprano

March 20, noon and 6 p.m.

Hartford-Tandstad Gallery, Approaching Nature Musicians: John Pierce, Andrew Jacobson Art Historian: TBA Music Program: themes of pastoral and the natural world featuring "Ten Blake Songs" by Ralph Vaughn Williams.

April 10, noon and 6 p.m.

Griffin Foundation Gallery Musicians and Art Historian: TBA Music Program: Avant-garde and experimentalism

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■■■

CO-PRESENTED BY THE LINCOLN CENTER AND COLORADO STATE UNIVERSITY

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Delivering the unexpected, SHUFFLE allows audiences to choose the programming from a range of more than 30 works in a variety of styles and genres for an engaging, high-energy performance.

MARCH 5, 7:30 P.M. GRIFFIN CONCERT HALL / UCA

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