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Ampersand: Fernanda Castillo Presents: The Ballet for the World Initiative
Dancing toward a world where the arts belong to everyone.
18 Touchstone Magazine Flourishes with 45th Edition Celebrating 45 years of creativity and literary genius
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Photostory: Indya Mckoy A look behind the lens
When thinking about this theme of Fusion, I think of all of the intersections in life. As young adults in such a transitional and expansive period of life, college, we are aptly aware of where our lines blur together. From work, to school, to hobbies, we are spread across a myriad of activities that require us to fuse and connect with ourselves and others in uncharted ways. In reading this edition of The Reporter, I implore you to open yourself to the possibilities that can come your way if you are ready to make waves and leave an impact. Allow yourself to make ripples, new connections, and new opportunities to be the best you there is. I am always one to say, “try anything once!” As the seasons change, and summer is right around the corner, there is no better time than now to push yourself and challenge your own boundaries. Now go, enjoy these pages and what you may find here!
Editor-in-Chief, Ali Burgess ’25
In this edition of The Reporter, the writers looked for the ways that topics can merge into something new and creative. In doing so, we learned that there are many connections in our daily lives at Stetson; a topic you learn in one class might help you engage with someone, and an idea from an article you once read might help you write the perfect hook. Finding these small connections is a persistent theme in this edition and throughout our magazines this year. Connecting with the other branches of Hatter Network to create this edition of The Reporter gave us an amazing opportunity to fuse creativity and talent. Not only will you find interesting articles, but you will be able to visualize them through the dynamic photography and designs that accompany them.
Managing Editor, Reagan Shivers ’26
One of the most rewarding parts of exploration is discovering who we are. As we transition from Exploration to Fusion, I encourage you, loyal readers, to take what you’ve learned about yourself and apply it to your identity. Push yourself to collaborate with others—after all, life is more meaningful when shared. Just because you can do something alone doesn’t mean you should. People need people. Stetson is a place rich in relationships, offering countless opportunities to blend your interests with those of others, uncovering more about yourself and the world than you ever imagined. With this magazine, I hope you continue embracing who you are while seeking out the community that makes this school truly unique. Whether you're drawn to stories about our sister publication Touchstone or the intersection of culture and religion, I hope you find something in these pages that sparks your interest. Happy reading!
Executive Editor, Sara Ward ’27
Throughout the course of this semester, I have gotten better at 'fusing' things together. Between work, school, and my personal life, I know that I am becoming fluent in multitasking. It's exhausting, but it is challenges like these that also draws out some of my most creative solutions to problems. As you look over this edition of The Reporter, I hope that you can identify some ways you mash things up in your life. Maybe combining tasks is how you conquer your to-do list, perhaps you mentally combine two of your favorite songs, or love tasting a myriad of foods at the same time! All life needs some variety, and a true method of creativity is taking two existing things and combining them into something new. I wonder how you might challenge yourself to try something new this semester!
Creative Director, Michelle Marshall ’25
coke and peanuts cucumbers and tzatziki
Ali Burgess , Editor-in-Chief
Michelle Marshall, Creative Director
Sara Ward, Executive Editor
Reagan Shivers, Managing Editor
De’Vanese John-Baptiste, News Editor
rice and bananas
chocolate and strawberries
Katie Eudy, Copy Editor & Fact Checker
Nico Alonso, Arts & Culture Editor
Breanna Gergen, Staff Writer
Callahan Kendall, Staff Writer
Michaela Hawthorne, Staff Writer
Natalie McCoy, Staff Writer
Maria Latour, Spread & Graphic Designer
Parker Moore, Spread & Graphic Designer
Arnold Shakirov, Spread & Graphic Designer
Emy Acosta, Photographer & Photo Editor
Indya Mckoy, Photographer & Photo Editor
Sully Sullivan, Social Media Director
When it comes to joining Hatter Network, we are never not excited about someone wanting to join our ranks. If you want to write, The Reporter is the place. If you like to appreciate art, music and writing, Touchstone Literary Arts Journal is where it’s at. If you want to create your own podcast, or learn how to use the tech in our radio station, WHAT Radio is there. Hatter Network is an extacurricular media program run by students, for students, to provide them with the information we think they need to know, or an outlet for their creative endeavors.
If you’re interesed in getting involved, please email our Editor-inChief, Ali Burgess, at ajburgess@stetson.edu or apply on Engage.
The Reporter, as part of Hatter Network, is the oldest collegiate magazine in the state of Florida. We publish four times per year, twice per semester. Florida Sun Printing prints 300 copies per issue on 8.5 x 11 inch, 80# Gloss Test. Most body text is set at 11 point Adobe Garamond Pro or Times New Roman with 13 point leading set with a combination of regular, italic and bold. All pages are designed using Adobe Creative Suite Photoshop, Illustrator, and Indesign. For additional information please visit hatternetwork.com.
Questions or concerns can be mailed to 421 N Woodland Blvd. Deland, FL 32723 or emailed to hatternetwork@gmail.com.
Ampersand: Maria Fernanda Castillo-Enriquez
Dancing toward a world where the arts belong to everyone
“Unplugged from the Matrix”: Redpill Rhetoric and the Manosphere
How red pill rhetoric warps reality
Not So Small Businesses
Big dreams and local impact in our hatterconomy
Professional Meets Pedagogical Through Stetson Careers
Campus jobs as launchpads for lifelong success
Touchstone Magazine Flourishes with 45th Edition
Celebrating 45 years of creativity and literary genius
Fusion in the Key of “A Major”: Stetson’s Music Education Program
Harmonizing education and innovation
Red Cups or Real Connections?
Where do you fit into brotherhood and sisterhood on campus?
Promised Land: Belonging, Sacrifice, and Invasion
Christian nationalism and its modern consequences
Photo Story: Indya Mckoy
A look behind the lens
Written by Katie Eudy Graphics & Layout by Michelle Marshall
Fernanda Castillo ‘ 26 is a firstgeneration college student-and former ballerina-from Guatemala, studying political science in the Stetson University Honors Program. Castillo transferred to Stetson from Daytona State where she founded the Ballet for the World Initiative, which aims to make fine arts, ballet, and creative writing accessible to children in the United States and Guatemala, regardless of their financial background.
Enriquez and her team provide free, weekly creative writing and ballet classes to students staying at Hope Place in Daytona Beach, an emergency shelter for displaced families. Enriquez also provides business consulting for Transformación Ballet, another youth dancing service in Guatemala.
Who do you serve?
“[At Hope Place], usually there's around 60 families. I have from five kids to 20 kids per class, depending on how many children are at the shelter. Every single Friday I am at Hope Place, and I teach children how to dance [and write creatively]. We facilitate [ballet and creative writing] practice to these children because they wouldn't have access to these classes any other way. Their parents cannot afford them, or their parents do not have a vehicle to take the children to extracurricular classes in the area.”
Where did your idea for the initiative come from?
“The idea came up at Daytona State College. We were required to meet 60 hours of community work, and I knew that I wanted to do something different; I knew that I did not want to go to [a] place and just volunteer for a few hours. I knew that I wanted to get involved in the community and give back to Volusia County, because I'm able to study at Stetson University because I have sponsors in Ormond Beach and I live with an American family. So, the community of Volusia County has been extremely supportive of me and my dreams and my goals as a
student. I might not be able to give back to the extent that people are helping me, but I can help others with the knowledge I have.
I realized that ballet is a very elitist, very expensive art form, and it shouldn't be like that. Anyone who likes dance, who likes to practice, should have access to it.
And that's when I realized, okay, this is something that needs to be addressed, because not a lot of people are doing something like this, either in the United States or in Guatemala.
I started the program, and the Rotary Club of Downton Ormond Beach heard about my idea… They [gave] $ 5, 500 that we used to purchase all the materials that we needed to create our mini studio at Hope Place.”
Last year, we facilitated approximately 130 plus classes in creative writing and ballet. We impacted more than 100 US children.
Why ballet?
“The opportunities are very limited where I'm from, so where I grew up, we didn't have a ballet school. I used to beg my mom to take me to ballet classes… But there was nothing in the area. Finally, when I was nine years old, a school opened, and it used to operate at a military barrack here in the area.
Ballet schools have bars, mirrors, [and] specific boards. We didn't have that. We used to meet in a room with rustic boards that military men used to walk on before [it was a] historical building. We used to meet there three times a week and dance there. And that program helped me realize [that] I loved it. I love dancing, and [ballet] is what I want to do for the rest of my life.
My mom [brought] me along the way, and then I moved to Guatemala City to do further training. But then I realized, okay, there's not enough opportunities in my country for me to continue developing. So, I moved to Florida. I trained there with a Russian teacher, and then I was able to get into a ballet in Chicago. However, COVID 19 started, and I was stuck in Chicago; I was not able to continue with this career and [pursue] my dream of becoming a
ballet dancer, and I had to come back to Guatemala.
So, when I could no longer dance, I said, 'Okay, I think it's time for me to give back to the community.'”
How does your organization support your home country, Guatemala?
“In Guatemala, I operate in partnership with another non-governmental organization… Transformación Ballet. The director is from the United States. There are specific needs that Transformación Ballet has, such as understanding cultural backgrounds, because [the director is] American.
The idea is that in the future, whenever I finish my studies and I’m able to come back to my home country, Ballet for the World Initiative will work as a nationwide program, offering fine art classes for children in Guatemala.”
How many students has the Ballet for the World Initiative impacted?
“Last year, we facilitated approximately 130 plus classes in creative writing and ballet. We impacted more than 100 US children. Our team comprised [of] one Managing Director, one Creative Writing director, and seven
volunteers. We partnered with a community organization, and we operated with a budget of $2,000.”
What’s next? How can Stetson Students volunteer?
“Right now my main goal is to work on sustainability. I still have one year and a half left at Stetson, and after that, I'm not quite [sure] what I will be doing, I might be transferring to law school. I might be taking a gap year and coming back to Guatemala. And so it is really important for me that I find the people to support this program. I need to get this program out there.”
“I'm looking for other students who have knowledge in the fine arts. [Students that] take dance classes or any instrument or choir, and can commit to one day a week and teach one day a week for one hour. They can email me [at mcastilloenriquez@stetson.edu].”
Written by Nico Alonso Graphics & Layout by Maria Latour
“Take the blue pill, the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I can show you how deep the rabbit hole goes. Remember, all I’m offering is the truth, nothing more.” Morpheus said to Neo.
This quote from The Matrix was meant to be an offering of the truth– staunch symbolism for having the courage to face life-changing choices and difficult truths. Little did the creators of this film know that these words would take on a whole new meaning just twenty years down the line, fueling the fire of an online movement that distorts the original message into something far more contentious. The taking of the “red pill” has become a
metaphor synonymous with toxic and divisive rhetoric thinly veiled in a supposed awakening to harsh realities about gender dynamics. Much like in The Matrix, one is believed to not receive these supposed truths without entering a rebellious group to help others “wake up;” in the case of these red pill rebels, this space is called the manosphere.
The manosphere is a tangled web of forums, blogs, and social media spaces that get more radical the deeper one goes. Just scratching the surface, there is “looksmaxxing” content that pushes an unhealthy beauty ideal for men, perpetuated by self-procvlaimed “alpha males” like Andrew Cobra Tate, a known antagonist whose home has previously been raided for sex trafficking and the exploitation of women more than once. This rabbit hole reaches down to the deepest, most depraved corners of the internet in forums like 4chan and 8chan, where self-proclaimed involuntary celibates– or incels for short– spout misogynistic rhetoric that is founded in the idea that women are evil for not sleeping with them. Going back up to the surface, platforms like Reddit, YouTube and TikTok have been instrumental in spreading these ideals. Influencers in the manosphere often create content targeting young men, capitalizing on feelings of loneliness, rejection, and/or
frustration. These figures posit that they are only mentors– like a modern-day Morpheus–offering what they pass off as practical advice on dating and self-improvement while subliminally embedding misogynistic messages in their posts. This messaging is resounding, especially among college-aged men, pandering to broad and relatable issues of rejection and self-doubt. Gender dynamics are paramount in modern romance and relationships, especially in digital spaces. All of these hot-button issues and contentious debates can be found among all demographics on campus and it’s all rooted in the same source– our generation’s easy access to the internet. All across Stetson University’s campus people scroll through phones and laptops, seeing grifters and “sigma males,” proposing negative ideals about dating, hookup culture and gender roles in relationships and society. This cultural phenomenon leaves many astounded; fragments of red-pill culture on my campus? It's more likely than you think.
“Sigma Males” and “Soy Boys”
on Stetson’s campus were willing to share their thoughts on this phenomenon.
John Young `26 expresses that his understanding of red-pill culture is due to his longstanding presence on the internet. “I've been online, YouTube, Instagram, all the social media sites, and I have come across a lot of the videos and influencers of the manosphere,” Young said.
“My understanding of the manosphere is that it's intended to sort of uplift men…to make
them feel more masculine and more secure in masculinity…but at the same time [they] push a sort of socio-political agenda of male superiority,” Young explained. Harboring a similar understanding, Sean McGrane `26 said, “I've not heard of the manosphere. I have heard of red pill culture.” McGrane elaborated, “My understanding of it is mostly from memes about it that come up on my YouTube feed…I don't have social media, so I don't get an [Instagram] or a TikTok,
anything like that. But I do see YouTube shorts and my YouTube creators that I subscribe to post memes about, like, Red Pill culture.”
When asked his opinion on the message portrayed in many a manosphere post, Young continued, “For the most part, I've seen it's very sort of anti-women, anti-women's liberation, very pro-male dominance, whether it's in a family setting, a romantic setting, or socioeconomic setting, and from what I've seen, it's very toxic.”
This perception of vitriol was not unique to Young. McGrane, although not very present online, expressed his awareness of the toxicity of top manosphere content creators, and how their followers ascribe to the lifestyle of “known scumbag, Andrew Tate.”
Elaborating on this point, Young said, “A lot of the influencers are very toxic…They're very bad influences on young men, especially
in our modern age where information and technology are so freely available, and you know young teenager or pre-teen can come across a video like that and be influenced by it going forward in life.”
But eventually, opinions splinter and we can see where influence and bias enter the equation on both ends.
The adoption of this “red pill” ideology is not without its consequences. Although it may begin as something innocent, a comment here and there on a forum or two soon begins to take over, much like any mediatized movement. We find ourselves actively participating in the commodification of daily social ritual; this time we find it not in dating, but in the lack thereof. Grifters have and will continue to capitalize on widespread feelings of loneliness, rejection, and frustration, positioning themselves as mentors to men just looking for some outlet.
from what I've seen, it's very toxic...
“
Written by Callahan Kendall
Graphics & Layout by Michelle Marshall
College campuses offer great opportunities to support your fellow classmates' small businesses as well as avenues to start your own entrepreneurial journeys. Many student-owned businesses are very charming, and the students who run them are hardworking and passionate about their products.
Skye Simmons ’ 25 , president of the Entrepreneurship Club started her skincare business when she was in high school. She focuses on making her products “handmade with creativity, love, and soul.” Selling handmade face and body creams, promoting her business
through social media and going to entrepreneurship competitions, she has seen a lot of success around campus. In 2023, she entered the Volusia Innovation Challenge with her skin care line and won $5,000, which she put directly into funding her business. She explained that when she went to this competition, she “went through so many different yes’s and no’s with getting critiques.” Simmons opened up about how the harsh criticism broke her down in the moment. “But I feel like it highlights the whole reason for being an entrepreneur, you know, being able to persevere.” Through this perseverance, she was able to
win the competition and build her company even more. After being asked about what she hopes for the future she says, “Eventually I want to open up a store front, also ultimately gaining more of an audience online, and then from there having an in-person storefront [and] then eventually having something bigger than that like a mall.”
Jessica Enuyen ’26, Vice President of the Entrepreneurship Club is a licensed nail technician and created her own nail powder line called Perfection By Jess (PBJ). After being asked about her previous experience in the nail art world she explained how her parents owned a nail business for over 23 years, which helped her learn about, “being an entrepreneur, how to manage a business, how a to run a business and customer service” This helped her feel comfortable in the entrepreneurship world and have
the motivation to start her own company.
When asked about her favorite part of opening and maintaining her own business, Enuyen states, “A lot of people do things out of wanting to make a profit, but that's not really my reasoning for it. I do it because that's what makes me happy and it makes other people happy as well.”
She describes that having her nail business is the way for her to be creative and serve a purpose for others, stating “The whole sense of getting your nails done is to boost your confidence and give you a sense of happiness.” After being asked what she would say to those that have a business idea but just don't know where to start, she states “Just kind of go for it. I think a lot of it comes from people having the idea, but they never act on it…The hardest part is always doing something the first time. Just like going through
the gym. It's always hard to get your butt up until the first day, but after you go, you'll get used to it.”
You don't necessarily need a business idea to join, the entrepreneurship club is a great way to kick off your small business journey. This club offers support to students, while allowing them to attend competitions with possible monetary awards while gaining helpful experience. Joining the club also comes with the added possibility of a mentor, to help guide you in learning the basics of starting and maintaining your business. The entrepreneurship club offers a lot of different experiences, with a variety of opportunities. Enuyen discussed that in the entrepreneurship club, “You meet a lot of different people in a lot of different fields, because every field essentially is business”. This club helps students open their creativity, and learn more about the entrepreneurship world.
Plus, the skills gained along the way have undoubtedly prepared her for a career. “I’m not scared to work on a computer anymore, especially because I’m dealing with potentially leaking someone’s 800 number!” said Hodge with a laugh.
Jamie Vanderlip is a long-time director in Stetson’s admissions, and as of last year, titleholder of the prestigious Woman of Stetson award, an alumni-sponsored award recognizing female cornerstone figures within the university. Over the years, “There have been, in volume, lots of students that I have been a supervisor to… probably one hundred plus,” said Vanderlip. As a boss, she truly values the contributions made by her young team. “I really do see them as my employees who are also students. By viewing them that way, there is accountability, there is growth, and it is not just something they are doing to make money but to actually gain experience,” Vanderlip mentioned. Referring to Hodge, “My current student employee is incredible. We have implemented a lot of new strategies with military benefits, and I have worked very closely with her…she was new to the role, and so was I, so it worked really well for both of us,” said Vanderlip with a smile.
Undeniably, Vanderlip forges lasting bonds with each of her employees–sometimes ones that reach beyond the graduation ceremony. “I could list a very long list of students that I have… stayed in touch with,” Vanderlip claimed.
For dedicated Hatters like Hodge and Vanderlip–one being a sophomore and the other being twelve years into her Stetson career–there is beauty in the shared workplace. Campus jobs incite collaborations that wouldn’t happen elsewhere. They not only become stepping stones for careers but mentorships which prove worth remembering, long after commencement. In Hodge’s words, “Everyone here at Stetson wants you to work with them. You will have a lot of help along the way, and hopefully you will love your job as much as I do now.”
Written by Michaela Hawthorne Graphics & Layout by
Like the flowers that indicate spring, the yearly edition of Touchstone Literary Arts Magazine is nearly in bloom. The campus organization is gearing up for its 45th issue, which will be released April 26. The magazine showcases students’ talents through multiple artistic mediums: poetry, prose, visual art and photography. The theme of this year’s magazine highlights all things whimsical, with a focus on the soft, tranquil and floral. This year’s theme is a stark contrast to the dark and broody side of art that was showcased in previous issues.
Sheridan Macon ’26 is the current Executive Editor of Touchstone. Macon described the theme of this year’s magazine as an emergence from the woods into a field of flowers, a metaphor for the magazine transitioning to a lighter theme. “The past three years of touchstone have all been dark and broody and swampy and that’s so cool,” Macon said. “But also, I love whimsy. I’m a very whimsical guy. And so we decided that would be the theme.”
The invisible string that led Macon to Touchstone began before his time at Stetson. Macon recalled that he participated in a shadow visit to Stetson and attended events for admitted students like Scholars Day and Hatter Saturday. It was here that he accumulated a few Touchstone magazines and learned about Touchstone’s weekly open mic event, Uncouth Hour. “I was coming into Stetson as an English major with a creative writing minor, and anybody who you told that to would go, ‘Have you heard of Uncouth Hour?’” he said. Macon attended
Uncouth Hour and became enthralled, making it a weekly priority. He eventually joined Touchstone staff and applied to the executive board last spring, with the encouragement of the prior Executive Editor, Ali Burgess ’25.
Macon is continuing the tradition of theme-driven issues, which began with Burgess and the staff that created the 44th edition of Touchstone. Macon is also continuing the recent tradition of creating a magazine organized by mood rather than medium. Many previous editions of Touchstone separated the magazine into sections based on art form. “Combining visual and literary arts and allowing them to play together in the same space enhances both of them. It brings both of them up a level in the way that just putting a bunch of words together side by side, or just putting a bunch of pictures together side by side, does not allow,” Macon said.
Complimentary art is placed together during the design process, but submissions are not chosen based on which pieces go “best” together. Each piece of art is judged individually and anonymously. There is one committee per
art form, and each member scores individual pieces on a one-to-five scale, five being the “best” and one being “not ideal for the magazine.” The committee convenes to share their scores and average them. If there is a discrepancy in scoring, which is rare, the committee will discuss the piece further to come to a shared conclusion on the scoring.
Touchstone begins filling the magazine with pieces that scored a five, and if they have room, they will begin to move down the scoreboard, beginning with including pieces that scored a four. Each editor of Touchstone is guaranteed one piece in the magazine to mitigate any editor bias in the selection process.
Once pieces are chosen, Touchstone staff designs the magazine all on their own, during their “InDesign party,” a long staff design session. Using the Adobe InDesign program, the staff leads art to its rightful place on the glossy page.
“The way that visual artists and writers can just make each other’s work sing, it’s just so fascinating,”
“If you see a poem and you see a piece of art next to it, it’s because we felt like they went together in some way,” said Burgess. The prior Executive Editor of Touchstone and current Editor-in-Chief of Hatter Network expressed their support of fusion not just on the page, but within Hatter artists.
Burgess described how Touchstone helps staff artists find their specialties and kindred spirits along the way. “We have a lot of artists who are multimedium on Touchstone this year and last,” they said. “We have a lot of people who perhaps hadn’t connected with a specific type of art, and now they’re meeting [artists] who they’re connecting with now.”
world, Macon appreciates Touchstone for being a space where artists can collaborate with other artists, whether it be on their Touchstone submissions or performance pieces during Uncouth Hour. Through the organization, Macon said that artists have the freedom to not mundanely create art but to live in the process, “I believe that the communities that we build surrounding our art are just as important as the art we end up making.”
“I believe that the communities that we build surrounding our art are just as important as the art we end up making.”
Burgess shares Macon’s communal sentiment on the topic of pushing boundaries, “It sounds silly to say that community is pushing a boundary, but making people connect in a way that perhaps they wouldn’t be inclined to, or perhaps they’ve felt ashamed to, I feel like that pushes a boundary in every way.”
Touchstone artists are pushing boundaries internally as they demonstrate emotional vulnerability. “For a lot of people, things that they may feel ashamed of or outcasted for is often expressed into beautiful and personal art,” Burgess said. They describe the voices of the younger and developing generations as uniquely important and often undermined, “I think that there is a lot of expression that perhaps has not yet been stifled by more aggressive later-
“The way that visual artists and writers can just make each other’s work so fascinating,” Macon said. “I love it so much. I’m so glad that Touchstone is a place where we can foster that and showcase that, and get it out to all of campus.” He recognizes the perfectionism that irks artists during the creative process and encourages a perspective that looks past the end product. In a fast-paced
“I think that there is a lot of expression that perhaps has not yet been stifled by more aggressive later-in-life experiences.”
Touchstone staff and the selected artists for this year’s edition will gather on April 25 for a release party. The next day, Hatters retrieve their own copies of the magazine around campus, free of charge. Macon encourages students to read Touchstone and allow art to slowly reveal answers to us in a world where we itch for their immediacy, “It’s hard to put in the work to analyze and observe. I get it. We’ve been trained not to. But by picking up a Touchstone and giving every single one of those pieces the time of day, the attention that it deserves, the attention that you believe you have for it, maybe you’ll find something.”
Written by Natalie McCoy Graphics & Layout by Maria Latour
“I love music more than anything. It is a wonderful way to relieve stress and inspire others to create and express themselves in a way that words cannot. It is one of my greatest joys to see other people experience that and, as a teacher in general, you get to see someone’s love for a subject inspired first-hand. As a music educator, you get to witness how people get their love for music. I feel like that’s more rewarding than performing,”
said Colin J. Rhoads ’27, an aspiring music educator. Emma C. Floyd ’26, shared a similar sentiment; “[Music education] is where we all started as musicians,” said Floyd. “Those are my fondest memories.” Music is inspirational and I believe it is needed in schools, so learning to be a person… that can provide excitement for someone else really excites me.”
As a music educator, you get to witness how people get their love for music. I feel like that’s more rewarding than performing,”
How do aspiring music educators like Rhoads and Floyd, whose passion for music is rivaled only by theirs for education, choose between majoring in Music and Education? At Stetson University, they do not have to. The School of Music has composed a flawless fusion between both fields of study in the form of a major: Music Education. To tune into what makes it so note-worthy, I interviewed two Music Education Majors, junior Emma C. Floyd and sophomore Colin J. Rhoads, about the Music Education program. Floyd is a vocal student and Stetson’s NAfME Collegiate chapter president, with hopes to teach elementary, middle and high school music while continuing her musical education in graduate school. Rhoads’s is a piano student, and he plans to pursue a doctoral degree and teach Music Education courses at the elementary and university level, as well as music direct for a church.
The Bachelor of Music Education program’s curriculum at Stetson contains courses in the arts, sciences, music, professional education and music education, ensuring that students are wellversed in the musical disciplines of theory, history
and performance, as well as professional pedagogy— the study of the methods and practices of teaching, especially regarding the endeavors of education— in both the historic and modern classroom. “It is basically two majors in one,” said Emma C. Floyd. Through the School of Music, Music Education students enrich their musicianship in either the applied instrumental or vocal arts through private lessons, studio classes and workshops with renowned artist-educators, as well as through music ensembles: orchestra, band, jazz band and various choirs, to name a few. Courses, such as Elementary School Music Methods, provide pre-student teaching field experiences through classroom observations, where students conceptualize how to integrate music in elementary and secondary classes. The School of Music also collaborates closely with Stetson’s Department of Education, where students take classes that prepare them to teach from a pedagogically and psychologically informed perspective, create curriculum for the K-12 classroom, and meet the developmental and social needs of diverse learners. Unique to Stetson University, all graduates of the Bachelor of Music Education degree program, upon receiving the recommendations of both the Director of Music Education and the Director of Student Teaching, are certified by the State of Florida Department of Education to teach instrumental, vocal and general music to grades K-12 in the public schools of Florida, setting Stetson students apart when applying for graduate studies, internships and jobs as music educators. “The Bachelor of Music Education program is challenging,” Rhoads said. “But equally, if not more so, it is rewarding. You get to take a lot of classes that will both equip you for your professional career and enrich your learning experience.”
“It is basically two majors in one,”
“The Bachelor of Music Education program is challenging,” Rhoads said. “But equally, if not more so, it is rewarding.
In addition to graduating with the Florida Professional Certificate for teaching, Music Education students join Stetson University’s National Association for Music Education (NAfME) Collegiate chapter. NAfME Collegiate is a branch of the National Association for Music Education, one of the world’s largest arts organizations and national professional affiliation for music educators. Stetson’s NAfME Collegiate chapter prepares its members for careers as music educators by providing them with access to music journals, newsletters, workshops and professional development conferences that encourage them to stay up to date on the latest news, research, teaching methods and progress in music education. “It’s giving the future generation of this career a voice now,” said Floyd, Stetson’s NAfME Collegiate chapter president.
eye-opening because Stetson is considered one of the smaller schools that attends FMEA, but I would say we are one of the more advanced in terms of NAfME,” said Floyd.
Members of Stetson’s NAfME Collegiate chapter also serve in local community outreach – such as through the Community School of Music, where Music Education students may tutor children, ages 8-18, or adults in applied instrumental or vocal arts, and assist in Orff programs, Young Singers and Youth Strings. Floyd helps orchestrate the Honor Chamber Festival in the fall semester. “We offer middle schoolers the chance to learn from us for a day. We have brass, wind, percussion, chorus and string ensembles, and we teach them one or two pieces which, at the end of the day, they perform in a concert. No Stetson professors help us – we run and plan it all. It really opens your eyes to what being a teacher is; providing food for the kids, making sure they are safe and get where they need to go. It prepares you for the real world,” said Floyd.
In January of 2025, members of Stetson’s NAfME Collegiate chapter attended FMEA, the Florida Music Education Association conference. “It was an indelible experience,” Rhoads said. “Oftentimes, being a music educator can be an isolating job, especially in the elementary world; a lot of schools have more than one English teacher, more than one History teacher and more than one Science teacher. FMEA is a great way to connect with other people in the profession.”
As president of Stetson’s NAfME Collegiate chapter, Floyd “got to go to the Presidents’ Forum for all the collegiate chapter presidents” at FMEA. “We all went around and shared the great things our chapters have been doing for music education, which was really
Perhaps the most illustrious fusion between music and education in the Music Education program comes to fruition throughout the students’ final year. During the first semester, students collaborate with the School of Music faculty, Music Education Faculty and applied instrumental or vocal arts private lesson and studio class professor to produce and promote their Senior Recital, which showcases selections from the musical repertoire Music Education students have studied and performed throughout their education at Stetson, proving their prowess not only as well-rounded educators but as musicians and performers. They are adjudicated for their craftsmanship, showmanship and unflappable dedication to the mastery of music. Second semester, students begin their professional work in music education with an internship. Working as apprentices to practiced music educators, seniors are granted full-day teaching experience— for a minimum of twelve weeks— in elementary, middle, or secondary schools, often in Volusia County. The internship challenges students to apply everything they have studied as not Stetson University School of Music Bachelor of Music Education program majors, not just Stetson’s NAfME Collegiate chapter members, not just musicians, not just future educators, but a finishing fusion of them all: full-fledged music educators.
Written by Sara Ward Graphics & Layout by Parker Moore
Often times, the term “Greek life” may bring up visual images of lavish house parties with neon lights, red Solo cups and music-blasting speakers. Sorority sisters in coordinated outfits practicing choreographed chants and fraternity brothers clad in matching jerseys, tossing footballs on manicured lawns. Behind the stereotypes, is a community that fosters collaboration in ways that may not necessarily come to mind immediately. Especially in Stetson's relationship-rich environment, sororities and fraternities alike are able to collaborate within their respective communities and beyond.
A commonly overlooked aspect of Greek life that requires collaboration is the philanthropic efforts from each Greek organization. Typically, every fraternity and sorority will have a national or local philanthropy that they raise money towards. “They’ll host a [philanthropy week],” Dubois said. “The other organizations rally around them and all come together to support one another, which is really awesome to see happen.” By the end of the 2023-24 academic school year the fraternities and sororities raised a total of $80,000 for their respective philanthropies, Dubois told The Reporter.
According to Appalachian State University, Greek life was established in the mid to late nineteenth century, when students formed debating and literary societies to explore topics beyond the rigid college curriculum. These groups fostered intellectual growth and camaraderie, eventually expanding their focus to include social activities involving sports and dances while maintaining an emphasis on academic discourse. “That’s in their nature,” Director of Fraternity & Sorority Life Renee Dubois said. “That's what they are called Social Greek organizations…they have to work together with other groups.” -Jack Mertz ’26, Interfraternity Council president -Clara Wait ’25, Panhellenic Conference president
“Working with other guys in the Greek community helps to build my network and opens me up to new opportunities. I have gained different perspectives on both my own chapter as well as my individual school work. It helps to build lifelong connections that will benefit both your personal and professional life.”
Greek life at Stetson is more than just a social experience— it’s a force for positive change. The money raised in these philanthropy weeks supported organizations like St. Jude’s and MeStrong, benefiting both the larger and immediate DeLand community. By coming together for meaningful causes, fraternities and sororities show that Greek life isn’t just about tradition—it’s about making a difference.
“I have learned so much collaborating with my fellow peers in Greek Life. It has allowed me to become open minded to differing perspectives and experiences that I may have never considered before.”
Written by De'Vanese John-Baptiste Graphics & Layout by Maria Latour
In 1863, Sam Houston wrote a letter from Texas expressing his faith in God after taking down General Santa Anna’s army. 161 years later, Dr. Sam Houston, a religion professor at Stetson, looks at what led us to modern-day Texas through the lens of religious ethics. Acknowledging the rise in xenophobia among Americans, he attributes part of the alienation to assimilation. A term Houston understands as inferring,“there's…one way of being an American, culturally, and to be a proper American, you should adopt that…and that often meant Christian.”
However, reflecting on how secular powers often tend to demonize religion. Houston advises against downplaying its’ unifying power. “They see religion…only as something which divides,” Houston shared. “ I think it's unwise to take that approach…especially when most Americans… belong to some faith tradition.” This all-or-nothing approach highlights the hurdle theorists face when examining Christianity's role in the United States (U.S.), partly because of apprehension to see it as a political community in addition to a religious practice.
In conversation, Houston shared that theorist Benedict Anderson “thinks about nation as an imagined political community.” However, for most American citizens the word “politics” evokes feelings of allegiance to a specific political party. The U.S. is pulled between two (or more) conflicting deep stories.
Martin Blackwell, a visiting professor of History with expertise in Russia & East European Studies (SPREES), also shared opinions on the Christian roots of the U.S. One piece of literature informing his overarching views is entitled The Flag and the Cross. Authors Philip Gorski and Samuel L. Perry present their understanding of America’s “deep story…told and retold so many times and across so
many generations that they feel natural and true. Even, and perhaps especially when they are at odds with history… more precisely, it is a mythological version of history.” This deep story becomes not only an understanding of the past but a political vision and unconscious desire for the future.
The authors speak on the belief that traditional Christians founded the U.S. and its documents on Christian principles for Christians, ie. Christian nationalism. Additionally, in this deep story, the nation is blessed by God with ordained purpose but “these blessings are threatened by cultural degradation from un-American influences both inside and outside our borders.” However, this is only one perspective.
“ “ they feel natural and true. Even, and perhaps especially when they are at odds with history…more precisely, it is a mythological version of history.
“E pluribus unum”
Michael A. Denner, another Stetson professor in the SPREES department says “the West, forget[s] how narrow our worldview is.” In the West, as Denner calls it, there is a tendency to see the practice of Christianity as uniform, made easier by internal delineation of variable practice, for example, Catholicism. However, The Flag and the Cross hypothesizes corporate America invented Christian America to fight the Soviet Union’s “godless” communism, evidenced by the 1956 introduction of “In God We Trust” American Christianity is influenced by the larger social order. Denner shared reflectively, “In sociology, they use an acronym…It’s [W.E.I.R.D]…Western, Educated, Industrialized, I always forget what the R stands for, and D is Democratic.” The R stands for rich and while the U.S. is rich, the wealth is disproportionately distributed. Case in point, the inauguration of Donald Trump, featuring men and women suited up in Pearce Bespoke and adorned
as the national motto. Since then, Christianity has become America’s dominant religion. According to PRRI’s 2023 survey, Christianity is not more common amongst any particular racial group. All Christian nationalists surveyed were more likely to support political violence and have a more favorable opinion of President Trump than former President, Joe Biden. They also abstain from regular interactions with people of different religions.
Capitalist Democracy Sanctified as Promised Land
in custom velvet gowns from Oscar de laRenta, the event flaunted a tax bracket only attainable to 0.0002% of Americans. Finances are not what Americans have in common with Trump. If the imagined political community of Christian nationalism connects the nation and their deep story tells them they have an ordained purpose, perhaps in Trump they found a prophet who extends the biblical narrative.
Alarm over a "threat to democracy” has been spread by both parties in recent elections. While many Americans have expressed exhaustion over politicians’ broken campaign promises, 2016 Trump voters took action, voting for a candidate they felt better represented “the middle-class American.” This election cycle, a grazed ear, and the accompanying spilled blood tugged on traditional Puritan themes of persecution. Supporters of the “fallen”
candidate partook in an act of, quoting The Flag and The Cross, “righteous violence to defend their freedom and maintain social and racial order.” The 34 felony counts raised against Trump only stood to revitalize the urgency of their calling. Despite arms sales increasing by 29% under his administration, then-President Joe Biden condemned “political violence” against Trump. Despite its irony, it was a rare moment of unity across parties.
If political parties within the U.S. can be united, it is worth considering a new outlook on what it means to be a nation. Although Houston does not believe the U.S. should emphasize any one religion, he does offer advice: “If we say that national identity has to do with the affirmation…of freedom and liberty and justice…[any]one can affirm those values. No matter what cultural background you have, no matter what religious background you have.” He is painting a picture of a pluralistic nation, one where communities of different backgrounds are affirmed. The idea of the country culturally degrading, whether your deep story tells you it is becoming “too liberal” or “too conservative”, “too Christian”
or “too Muslim” is to admit America is not the “Land of the Free.” It is unequivocally false that America was built to be an inclusive nation, evidenced by our history of colonialism and persistent inclination to delineate ourselves from other world actors through ethnic-traditionalism. However, this does not relinquish culpability for actions Americans, 46th President, Joe Biden included, would otherwise label “political violence” if perpetrated against us. More simply, while we all deserve a sense of belonging, fear-mongering has failed to culturally preserve or unite the nation. Ideas on how to bridge this divide are the focus of Dr. Houston’s course “God and Country?” and there is no simple answer.
“ freedom and liberty and justice… [any]one can affirm those values. No matter what cultural background you have, no matter what religious background you have.
“
I am so glad that the photo stories are coming back! For these photos I honestly ended up going in a slightly different direction than my original plan (which is what happens with most of my projects). When I thought about the theme “Fusion” my brain immediately went to jazz fusion. Then I thought about those videos on social media of people playing jazz music for cows, and (believe it or not) THAT is what made my creative juices begin to flow. So, my original plan for one of the images was to photoshop cows floating in the sky because I thought it would be a funny representation of how they might be reacting to hearing various instruments. That idea obviously ended up falling through, though, because I felt that the image of the cows would not match the vibe I was going for, and I considered it to be more of a private project.
One image is of hands crawling through the grass. Another image is of a model standing in the center of a field with three heads. The other image is of two embracing hands in the sky. My full vision was to tell a story, and I hope that was successful! The hands in the grass are longing to embrace, or ‘fuse’ with each other. I had a similar thought process when creating the image of the model with three heads, or, in other words, three heads that are ‘fused’ together. I wanted that image to include the grass and the sky to emphasize their relationship. Then the third image, which is my sky-oriented image, is the icing on the fusion cake. The two hands embracing is, in my eyes, a basic representation of what fusion is, or could be.
March 14th March 14th 2:30pm 2:30pm
Lee’s Garage Lee’s Garage
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METAMORPHOSIS - INTERWORLD
LOCUST LACED - SLEIGH BELLS
BIG TIME NOTHING - ST. VINCENT BUT ME - SLADE COULTER
RAMON AYALA - GIOVANNIE AND THE HIRED GUNS
BURY MY BONES - WHISKEY MYERS
DAMN - SOUTHALL
…WHO WILL SURVIVE AMERICAAMIRA BARAKA
RIO GRANDE - THE OH HELLOS
The writers and editors of the Reporter have a tradition of including a playlist along with each magazine issue. The songs on the playlist reflect both the theme of the issue and the mood of the team while creating this issue. This page includes a selection of the songs on the playlist; head over to Spotify to listen to the full playlist.
17 songs, 56 min 25 sec
SMOKE - CAROLINE POLACHEK
TOCKA - MOLCHAT DOMA
WHAT IS THIS FEELING? - ARIANA
GRANDE AND CYNTHIA ERIVO
TV OFF - KENDRICK LAMAR
NUEVAYOL - BAD BUNNY
HUMBLE - KENDRICK LAMAR
SOMETHING, SOMEHOW, SOMEDAYROLE MODEL
BROKEN - SEETHER, AMY LEE
