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VOLUME 137, ISSUE 23 | THURSDAY, APRIL 18, 2019
UC DAVIS’ MORGAN BERTSCH DRAFTED TO WNBA
Bertsch capitalizes on historic season, becomes first Aggie drafted to WNBA
J U ST IN HA N / AGG IE
BY CA RSO N PAROD I sports@theaggie.org The story begins with a Santa Rosa High School basketball player back in 2014, who, even at 6 foot 4 inches, was flying under the radar of most college scouts. She’s discovered, more or less on accident, by UC Davis Head Coach Jennifer Gross and is offered a division one scholarship. But there’s a catch: she wants to run track too. So she competes in the high jump for three seasons. She also wants to major in biomedical engineering — no problem. “You do you,” she said. Five years later, the senior UC Davis women’s basketball forward Morgan Bertsch is continuing to engineer a path of her own. On Thursday, she was selected 29th overall by the Dallas Wings in the 2019 WNBA draft, becoming one of 36 women in the world to be chosen to play at the sport’s highest level. “I could sit here and tell you that of course I knew this was going to be what happened, but I think it was at the start of this year I kind of set [the WNBA] as a possibility for myself and kind of as a little goal,” Bertsch said. “I’m not going to say it’s something that I’ve been striving for forever […] It still blows my mind. It doesn’t really seem real that it actually happened.”
There’s a thread of relatability in Bertsch’s voice, that encapsulates the dream all athletes have but only rarely actualize. Thursday’s WNBA draft marks the first time ever that a player from the UC Davis women’s program has realized that dream. But really it should come as no surprise, over the past five years Bertsch has had many ‘firsts.’ In November, she surpassed the Aggie great Carol Rische to become the all-time leading basketball scorer in women’s program history. In December, she surpassed the men’s mark. Now, with 2,422 career points, Bertsch stands alone as the sin-
gle greatest basketball scorer in UC Davis history. “The second she arrived on campus and started practicing and we saw the efficiency that she played with — we knew she was going to be special,” Gross said. In her first year, she scored 13.9 points per game at a 58.2% shooting clip and continued to dominate the low post for the Aggies well into her third season. But Gross and Bertsch still weren’t satisfied. “We saw the vision of her playing the three, playing a stretch four,” Gross said. “This year, as a staff we basically said, ‘She’s pretty good down there
[playing in the post],’ and Matt Klemen works with the guards and we said, ‘Alright, Matt, you’re gonna take her every day and basically do the pre-practice guard workout and start to develop those skills.’ We saw that whole skill set start to evolve.” And soon the staff had unlocked an entirely new part of the same beast. Bertsch began launching threes. In her first three seasons, Bertsch only attempted a combined 11 three-pointers and made just four. During her final season, the senior shot 48 and made 23. Her near 50% shooting from beyond the arc
immediately made Bertsch reach that stretch Gross and the coaching staff dreamed of and helped catapult the Aggies to a Big West conference title. With the 6-foot-4-inch forward now a threat from the perimeter, opposing defenses were stretched thin. Leave her open from deep, and she stripes a three. Take away the outside shot and force her into the paint. Let her work one-onone, and she’s getting a bucket. Double team her in the low post to take away the one-onone game, and she’s dishing the ball back out to one of her sharpshooting teammates for an open shot.
For senior backcourt duo Karly and Kourtney Eaton, Bertsch’s ability to spread the floor and expand the offense helped their games grow, too. The pair shot 43% and 44.5% from deep, respectively. “I knew I’d be able to get outside shots because of the threat Morgan creates inside,” Kourtney said. “So I worked all year at being consistent and feeling really confident, so I could knock down shots for my team. I wanted to score more this year, so I knew I needed to shoot a good percentage from three to do that. I think it was important because it created an outside threat and created more space for Morgan to go to work.” How to beat the UC Davis women’s basketball team quickly became a question void of answer. Teams in the Big West Conference are still scratching their heads over that one, because they certainly didn’t. The Aggies dominated the conference for a third straight season, finishing with a 15-1 record in the Big West and 25-7 overall. But with the presence of a few veteran seniors, the Aggies were eyeing the tournament title from the start. “We had a new core and, as expected, it took a month or two to really gel and play well together,” Karley said. “After everyone settled into their role[s] and utilized our individual strengths, we really came together and became a great team.” UC Davis won the Big West Tournament for the second time in program history and earned a berth in the NCAA Tournament for the
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NATIVE AMERICAN STUDIES DEPARTMENT, NATIVE AMERICAN ELDERS EXPRESS DISMAY WITH MANETTI SHREM EXHIBIT Certain items removed from exhibition BY R EBE CC A BIHN-WA L L AC E campus@theaggie.org The Native American Studies (NAS) department at UC Davis, as well as Native American elders in the Davis community, have expressed concern about the use of ceremonial objects in the Xicanx Futurity exhibition at the Manetti Shrem Museum on campus. The NAS department alleged that it was not aware of the exhibition’s content until it opened in January of 2019. They objected to the use of ceremonial indigenous objects. These sacred objects included eagle feathers and tobacco ties. The NAS letter cited the American Indian Religious Freedom Act, the Indian Arts and Crafts Act and the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) as evidence of Native American cultural protocols which forbid the use of ceremonial objects as art. “The main thrust of our concern is that [the artists in the exhibition] are using our sacred objects as art,” said Susan Reece, a Native American elder who lives in Davis. “Our religion is not art. It never has been.” Reece alleged that the NAS department wasn’t consulted about the exhibition.
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“You have a world-recognized NAS department at UC Davis,” Reece said. “The experts are there, so there’s absolutely no excuse for them not to know.” Rachel Teagle, the founding director of the Manetti Shrem, responded to the NAS allegations in an email. “Our purpose at the Manetti Shrem Museum is to cultivate transformational art experiences to inspire new thinking and the open exchange of ideas,” Teagle said via email. “Xicanx Futurity’s guest curatorial team has helped us deliver our mission. It is not our intention nor purpose to offend and we regret when it happens. We honor the important and difficult concerns that have arisen around the exhibition. This is our work and we endeavor to deliver it with care.” She also said that the museum does not plan on releasing a public statement about the issue. According to Teagle, a
symposium is being planned to address the concerns raised. The Xicanx Futurity exhibition was curated by Carlos Jackson, an associate professor and chair of the Chicano/a Studies department at UCD; Susy Zepeda, an assistant professor of Chicano/a Studies at UCD; and Maria Esther Fernandez, the chief curator at the Triton Museum of Art. The artists featured in Xicanx Futurity are Margaret “Quica” Alarcon, Gina Aparicio, Melanie Cervantes, Felicia “Fe” Montes, Gilda Posada and Celia Herrera Rodríguez. “As the co-curators, we want to assure our communities that deep prayers were offered by the six featured artists,” the guest curators said in a letter. “In collaboration with the curators, the museum worked thoughtfully to support the fulfillment of the artists’ intentions [...] The tensions that have arisen demonstrate the need for greater dialogue so as
to encourage healing and solidarity.” The curators objected to the characterization that the artists featured in the exhibition misrepresented indigenous identity, noting that many of their practices are rooted in ceremonial teaching from elders. “[The artists] never misrepresented their identities,” the curators said. “Direct and indirect feedback that the curators have received from some critics of the exhibition reflects a belief that UNDRIP does not provide protection to detribalized indigenous people of the Americas (as defined by settler colonial governments), Xicanxs included.” They also emphasized the political nature of Xicanx art and the importance of the dialogues that it can elicit, stating that, “for diasporic communities, it is a political act to affirm the right to self-determination through embodied practice.” The NAS department said
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that the eagle feathers used in the exhibition are protected by both the Bald and Golden Eagle Protections Act and the Migratory Bird Treaty Act. NAS alleged that these acts stipulate that only members of federally recognized tribes can own eagle feathers. “According to these protocols, eagle feathers are sacred, and for use in prayer and ceremony; they are not for display in a museum,” the letter said. According to Teagle, the artist Celia Herrera Rodríguez requested the release of the eagle feathers in her mixed media installation on March 25. The feathers have since been removed. “The most difficult thing for me at this moment is to reckon with how [my] installation has been stripped down to its elements and objectified and that then my piece [...] has been isolated from the entire exhibition [...] I feel kind of taken apart and censored, at the end
of it all,” Herrera Rodriguez said in an interview, referring to her installation, “Grandfather Earth”, in which the eagle feathers were previously featured. “In an installation, all of the parts become a whole, [but here] only half is being focused on,” she added. Herrera Rodriguez said that she had never been in direct communication with any of the people who made complaints about the exhibition. The director of the Manetti Shrem was the first to contact her regarding the accusations, she said. She also said that she later received an email from university lawyers asking her to provide the provenance of the eagle feathers used in the exhibit. To her, the indirect nature of the accusations leveled also indicated that the curators of the exhibition had not been formally contacted by the complainants. “As an artist, there should have been a point A, a conversation,” Herrera Rodriguez said. “A dialogue, a question directed my way if I was being discussed. My work was being discussed as an element in a museum and everything got taken apart—me, the production of my work, the piece itself, the whole exhibit.” Herrera Rodriguez, an Oakland-based artist born in Sacramento, identifies with the Tephuanes community in Durango, Mexico. She stressed the complexity of Chicana/o
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