Renaissance Magazine 2016

Issue 9 - 2016

University of Central Missouri

About the Cover Featured on the cover is a photo of Hendricks Hall taken in 2008. Since that date, the stage floor has been covered with temporary, black substrate to protect the deteriorating hardwood floor. Phase 1 of the Hendricks Hall Renovation Project, addressing safety issues and outdated systems, began in 2012 with the replacement of cabling and rigging systems, followed by new stage curtains in 2014 and an updated lighting system in 2015.

Contents 4

A Message from the Dean

8

UCM Returns to Carnegie, Kauffman

11

Theatre and Dance Department Invades New York City for Spring Break

12

Re-Imagine Cuba

14

Self Exploration: Finding Myself Through My Study Abroad Experience

15

Global Vision Scholarship 2015: St. Lucia

18

Show-Me Justice Film Festival 2016

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Classroom Technology: Social Studies Education

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Engaged Learning in the College of Arts, Humanities, and Social Sciences

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Critical Thinking Workshops and Our Work

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New Score for Cinema: High Impact Learning Grant

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Mid-America Arts Alliance

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UCM's First Annual Trading Moon Pow Wow

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"It Swept Me Off My Feet": The Story of Gust

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National Theatre Winners

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Kelly Johnson 2016 Distinguished Alumni in Music

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Donald Johnson Receives Ed See Outstanding Theatre Alumnus Award

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Book Review: The Actor As Fire and Cloud By John Wilson

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Book Review: Jane Austen and the State of the Nation By Sheryl Craig

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Hendricks Hall Renovation Project

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A Life of Living and Giving

45

Augmented Reality Course Project Makes History

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In Memoriam: Dr. Carla Jo Maltas

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In Memoriam: Dr. Roger Schupp

50

In Memoriam: Harold Reynolds

The

Class of

1966

A Message From Dean Gersham Nelson

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A

mong the special privileges that an academic dean has is meeting with alumni and friends of the university.

In early April, I had the opportunity of meeting with a special group of alumni. As you are aware, all alumni and friends are special, but this group had the distinction of graduating from the university in 1966. This class had much to reflect upon: The launch of Gemini VIII and its early return to earth; the first artificial heart transplantation in the US; the overthrow of President Kwame Nkrumah of Ghana with the assistance of the CIA; escalation of the Vietnam War and its ramifications; and the hosting of South Vietnam Ambassador to the US, Vu Van Thai, by the campus. The reader with some familiarity with our campus will have already guessed that Ambassador Vu Van Thai spoke in Hendricks Hall.

Regardless of what year one graduated from UCM, Hendricks Hall will likely have been a part of the individual’s campus experience, and my 50-year reunion guests were enthusiastic to learn that we were in the process of renovating that space to preserve the grandeur of that hall while restoring its acoustical qualities, and enhancing its aesthetic appeal. It is understandable that all my guests wanted to preserve their part of this legacy. I believe that graduates of all classes will want to join them.

Discussion with this group covered the globe, revealing a wide range of topics. I was struck with the interest that these alumni exhibited when I shared with them some of the activities in which our students were engaged: A group of

Speech and Debate students traveled to the United Kingdom and successfully competed for the Montgomery Cup; music students performed at Carnegie Hall in New York, some of these same students and their faculty and peers performed at the Kauffman Center for the Performing Arts in Kansas City in March; and still others engaged in regional and national competitions, returning with top awards. There were also students who visited St. Lucia to provide services and inspire young people in that Caribbean Island, others spent time in Cuba and returned with a heightened appreciation for the pros and cons of international engagement. I also shared with my guests the High Impact Learning Initiatives in which a number of students were engaged under the guidance of their faculty. One member of the team asked, “How is it that we did not have such opportunities when we were in college?

We went to class, took notes and exams, received grades, and that was it.� Another member consoled her classmate with the observation that the world had changed dramatically since the 1960s. Everyone agreed that it was a terrific time to be a student with the many opportunities available for national and international engagement.

Yes, the world has changed considerably since the 1960s.

Our world is one in which the acquisition and application of knowledge have never been more vital for success. Many US leaders and organizations have actually gone on the offensive, advocating for young people to enter STEM fields. Such calls are often as misguided as they are myopic. In an environment where the market determines the distribution of resources

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including jobs and income, leadership has a role in seeking to address shortages in any given field, but we need much more than individuals trained in the fields of science, technology, engineering, and math. We need scientists, engineers, technicians, and mathematicians to have some understanding of our complex world: its history, cultures, languages, philosophies, and the wide range of communication and artistic expressions represented globally.

As the UCM-CAHSS class of 1966 shared reflections, I thought of the class of 2016 and wondered what their story will be in 2066.

As we work diligently to prepare the next generation of scientists, we would do a disservice to humanity if we fail to address some of the conspicuous challenges besetting our global community today. The evidence that we are faltering miserably is compelling. We observe our government representatives flounder in their ability to reach agreements

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to serve our communities and country; we observe a wide range of civil unrest accompanied by refugee crises in multiple regions of the globe, and many of us see evidence of significant environmental challenges. Should the call not be for more individuals to be educated in the awareness of human potential, global awareness, innovation in solving a wide range of challenges faced by human societies, and the knowledge and skills to foster cooperation for mutual advantage, and to help create a world of sustainable development? We obviously cannot achieve this kind of education without STEM, but the absence of a clearer awareness of our national and global needs suggests that those with the experience and insight regarding what makes for a great human community have the challenge of engaging with, and inspiring the next generation to aspire to much more than a job to pay bills.

As the UCM-CAHSS class of 1966 shared reflections, I thought of the class of 2016 and wondered what their story will be in 2066.

Whether through clairvoyance or prophetic gifts, those who have already seen the future may not need to take any action, but those of us without such gifts should be aware that we have the opportunity and the responsibility to create that future.

Creating the future includes helping to prepare the present generation to leverage interests and aptitudes in preparation for fulfillment through cultivating the habit of mind, with the attending accountability, which is the foundation for excellence regardless of the field. Many alumni and friends understand this and have supported our efforts to keep highquality education affordable for our students particularly

those who show special promise but have significant needs.

Anyone who is interested in support a Needy Students Initiative is encouraged to contact the College of Arts, Humanities, and Social Sciences or the UCM Foundation for more information.

As most of us are aware, modest assistance can often mean the difference between a fulfilled life and a colossal failure. In either case, the community and country will be affected.

In addition to the student successes that I shared with our 50 Year Reunion guests, CAHSS also had Mock Trial and Model UN students registering significant levels of engagement within the region and beyond. Speech and Debate students took 1st place in Debate Sweepstakes at the state level, garnered an impressive number of awards at the national competition, and placed 4th in the National President’s Division II Cup. Mule Skinner’s Leah Wankum won the National Society of Professional Journalists Award; Theatre and Dance had several first, second, and runner-up placements at the regional competition of the Kennedy Center American College Theatre Festival Region V. They took that success to the national competition in Washington DC where Nellie Maple and her acting partner, Daniel Parman came away the top acting prize, the Irene Ryan Acting Award. Nellie Maple also won the Mark Twain Comic Acting Award.

Exceptional performances by our students represent extraordinary commitment and work by our faculty. Despite all the successes reported here, however, the CAHSS faculty

and staff understand that as we celebrate the achievements of one year, we are obliged to gear-up for the next year with a new class of students who will be provided tools then challenged, charged, and inspired to succeed. Can you guess where that first charge will be given as part of the First Year Convocation?

Of course, it will be in Hendricks Hall. The Legacy lives on, and we offer you an exceedingly rare opportunity to become enshrined in this iconic space. To discover how you can leave a legacy, type hendrickshall.com in your browser.

As in the past, this issue of Renaissance will provide a sketch of some truly exciting activities including high impact learning projects in which our students and faculty are engaged. Be sure to share our mission and achievements with friends; young and old alike.

Gersham Nelson Dean, College of Arts, Humanities, and Social Sciences

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UCM RETURNS TO CARNEGIE, KAUFFMAN Scott Lubaroff

S

pring 2016 was a busy, and undoubtedly memorable semester for students and faculty members in the University of Central Missouri’s Department of Music most notably, those in the department's premiere performing ensembles. In the span of approximately six weeks, the department, college and university were showcased in two of the world's finest and most prestigious concert halls one newer to the world of concert venues and the other, the universal dream of nearly every performer.

On Feb. 13, UCM's Concert Choir and Wind Ensemble gave featured concert performances in New York's famed Carnegie Hall, and barely six weeks later, on March 29, the department presented its 2016 President's Gala Concert in Helzberg Hall at the Kauffman Center for the Performing Arts, downtown Kansas City. Both of these performances represent return engagements for UCM ensembles to these revered halls, and each also represented special collaborations, with living composers, faculty performances, and with special guest artists.

The UCM Concert Choir and Wind Ensemble, under the direction of Dr. Alan Zabriskie and Dr. Scott Lubaroff, respectively, were invited to open the 33rd season of the Ensemble Spotlight

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Series at Carnegie Hall, a subscription concert series produced

by Mid-America Productions, Maestro Peter Tiboris, artistic director. UCM students performed on this world stage for an audience of approximately 1,800, including University President Charles Ambrose and his wife, Kris, as well as Vice President for Advancement and Executive Director of the UCM Foundation, Jason Drummond, and members of the UCM Foundation Advisory Board.

Dr. Zabriskie is in his sixth year as UCM Director of Choral Activities and he and members of the UCM Concert Choir made their first appearance at Carnegie Hall. Dr. Lubaroff is in his 11th year as UCM Director of Bands and second as Chair of the Department of Music. This is the second appearance for the UCM Wind Ensemble at Carnegie, following the group’s debut in March 2010.

The Concert Choir opened its portion of the concert, titled “The Long Road Home," with a work, White Stones, by Thomas LaVoy, who joined the Concert Choir in New York for its final rehearsals and for the performance. The choir proceeded with Selga Mence's Kalējs Kala Debesīs, Miten wir im Leben sind,

by Felix Mendelssohn; Kanaval, by Sydney Guillaue; Come to Me, My Love, by Norman Dello Joio; I Am, by Dominick DiOrio,

Photo by Bryan Tebbencamp Wayfaring Stranger, by Nathan Bigler; and Way Over in Beulah Lan’, arranged by Stacey V. Gibbs.

The Wind Ensemble started its performance with two compositions that were each completed in the last year.

Similar to the choir, the ensemble began with a new work by a renowned composer who traveled to New York to join the musicians for their rehearsals and concert. John Frantzen, a Los Angeles-based composer, wrote the work that began the Wind Ensemble’s portion of the concert, a vivacious and technical spectacle titled Skronk. The ensemble then proceeded with the colorful Chicago, 2012, for wind ensemble and laptop, by Mason Bates. UCM assistant director of bands.

Dr. Ernest Jennings then conducted Percy Aldridge Grainger's Bell Piece for solo voice and Wind Ensemble before Dr. Lubaroff conducted the evening's finale, David Maslanka's very emotional, Give Us This Day. The President's Gala Concert is an annual showcase of the Department of Music's top ensembles. Since the 2013 Gala, this was the second time the event was presented at Kansas

City's Kauffman Center for the Performing Arts, and the third showcase for UCM ensembles in Helzberg Hall, including the Concert Choir's feature at the Choral Invitational that it hosted there in spring 2014. This year's Gala was also connected to the College of Arts, Humanities, and Social Sciences’ “Day of Giving,” a comprehensive campaign to raise funds toward the renovation of UCM's historic Hendricks Hall. The evening was emceed by UCM alumna and Warrensburg native, Meryl Lin McKean of Kansas City's Fox 4 Television, and included comments from President Ambrose and Dr. Gersham Nelson, Dean of the College of Arts, Humanities, and Social Sciences.

A full house enjoyed UCM Jazz Ensemble I, directed by Dr. David Aaberg, director of jazz-commercial music, performing Francy Boland’s Griff’s Groove and an arrangement of America, from Leonard Bernstein’s landmark musical, West Side Story. This was followed by the Kauffman Center premiere of UCM’s New Technologies Ensemble (NTE), directed by Dr. Eric Honour. UCM’s Department of Music recently became the first nationally-accredited collegiate music program to admit students whose primary applied performance area is

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technology. The NTE performed a work for electronics and interactive video on each half of the concert - first, Z2Y, a digital realization inspired by the rock group Rush’s YYZ. In the second half, they presented a beautiful rendering of Adoramus Te, originally written by Renaissance composer, Giovanni Palestrina. The department’s two outstanding piano faculty, Drs. Mia and Jon Hynes, performed the first of two Faculty Features, presenting a stunning rendition of Franz Liszt’s Hungarian Rhapsody, No. 2 for two pianos.

Later in the evening, three of UCM’s studio voice faculty members, Drs. Kristee Haney, Stella Roden, and Jacob Sentgeorge, were joined by guest artist, Ray Feener, from the UMKC voice faculty, performing the dramatic quartet, Bella figlia dell’amore, from Giuseppe Verdi’s opera, Rigoletto, accompanied by Mia Hynes.

The remainder of the evening’s program included UCM’s Concert Choir, performing Eric Whitacre’s Five Hebrew Love Songs, with a string quartet comprised of musicians from the

Photo by Bryan Tebbencamp

Renaissance Magazine 2016

Kansas City Symphony, Symphony Orchestra, directed by Dr. John Rutland, performing three movements from Nikolai Rimsky-Korsakov’s Capriccio Espagnole. Additionally, the Wind Ensemble once again presented Mason Bates’ Chicago, 2012, and closed the evening with the rousing Slava!, by Leonard Bernstein.

The evening began with a special dinner at the Webster House restaurant, adjacent to the Kauffman Center, hosted by Musical Director of the Kansas City Symphony, Maestro Michael Stern, introducing the “Day of Giving” campaign, and closing with a curtain call for the evening’s performers and an enthusiastic standing ovation from the near-capacity crowd in Helzberg Hall.

The UCM Department of Music hopes to return to the Kauffman Center again in the future, and hopes to someday inaugurate the fully renovated and restored Hendricks Hall with a similar showcase, here on our home campus in Warrensburg.

Theatre and Dance Department

Invades New York City for

Spring Break

Richard Herman and John Wilson

D

uring the 2016 spring break, Richard and Diana Herman took 62 students, alumni, retired professors and community members to New York City for a six-day theatre tour. Members of the group saw a total of 23 different Broadway shows including Hamilton, An American in Paris, The Curious Incident of a Dog in the Nighttime, Something Rotten, Phantom of the Opera, The Crucible and Beautiful.

While in New York, UCM theatre students attended workshops at the Broadway Dance Center and with the Acting Company.

Specifically, Bachelor of Fine Arts Performance and Musical Theatre seniors got to perform their senior showcase pieces in front of industry professionals connected with the Acting Company. UCM’s Department of Theatre and Dance is in the midst of a three-year artistic partnership with TAC as part of a Midwest consortium of different universities and their theatre programs.

Other adventures for the spring break attendees included tours backstage at Radio City Music Hall and at the Palace Theatre.

UCM Professor and Chair Emeritus Dr. Ed See, with Professor Emeritus Dave Peerbolte and his wife, Toni; Norma Highlander, wife of Professor and Chair Emeritus, James L. Highlander; and Associate Professor Ashley Miller were part of the group and helped host an alumni reunion on Monday evening, March 21 in Times Square. UCM theatre and dance alums attending the event included Todd Potter, Matt Jones, Tyler Mullen, Joe Burkard, Joe Reece, Matt Pedersen, Louis Wells, Jason Bohon, Amanda Duffy, Tim Schaffer, Geoff Pottorff and Joe Drobezko.

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Re-Imagine

Cuba Akis Kalaitzidis

G

oing on a study abroad trip is as old as politics. Aristotle, among others, the great teacher of politics, understood well the benefits of living with and learning from others. His pupil, Alexander the Great, became the first known world ruler to exhort the benefits of understanding different cultures and political contexts when he married Roxana.

Several thousand years later we still see the value of learning by immersion through study abroad programs. For students, study abroad is the opportunity to immerse themselves in a different culture, learn the language and the customs and understand the politics of a country. Finally, completing a study abroad program, is evidence of successfully managing the complexities of life, gaining a fair amount of independence and showing the ability to think on one’s feet.

UCM’s first study group in Havana Cuba, took place on Dec. 26, 2015. Professor Kalaitzidis, faculty member in the Department of Government, International Studies and Languages, led a group of students and alumni to study a country that is located close to the U.S., yet sheltered from the American public eye.

The group was comprised of the following people: James Bates, Luis DeLeon, Cody Foster, Ashley Garrard, Michaela Murphy, Keli Myracle, David Rogers, Ian Sneid, Stephanie Spellman,

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Jessica Stever, Kadijah Willis and Arliie Cummins. Although thousands of Americans must have snuck a peak at life on the island during the 60 years of political animosity between the two countries, nothing prepares the visitor for the change of pace one experiences in Cuba. We were greeted at our hotel by a guy wearing a UCM Mules T-shirt. The first lesson in study abroad programs, be prepared for the unexpected. The young man at the hotel was Chris Webber, a student athlete from Canada who plays baseball for the UCM Mules.

For students, study abroad is the opportunity to immerse themselves in a different culture, learn the language and the customs and understand the politics of a country.

Our main efforts in the course were geared towards understanding the traditional political animosity between the U.S. and Cuba, its historical roots, the historical developments and the state of our present day relationship. Our visit to the Museo De La Revolution only reinforced the image of two great nations struggling against each other. The class stood in front of the wall-size mural depicting caricatures of three U.S. presidents, unflatteringly. President Ronald Reagan is depicted as a cowboy, George, H. W. Bush as a Roman emperor and George W. Bush is wearing a helmet with swastika painted on the front while holding the book of U.S.-Cuba relations upside down. Imagine, therefore, our surprise when on our historical car tour of Havana, the driver asked, “Are you Americans? We have been waiting for you.� There are great political and social developments afoot in Cuba, and you cannot miss them when you are there.

Whether they attended a church or went sailing, members of the group experienced the island of Cuba in their own unique way and the academic learning results were spectacular. In our last meeting there, the students were asked to reflect on our time in Havana as a whole. It was the unanimous reaction of the group that Americans must experience Cuba by visiting themselves.

As part of our effort to learn more about the country and its people the students were asked to produce a 10-minute documentary about a particular aspect of Cuba they found most interesting. The topics range from cigars, to Cuban music, baseball, to health care. Several students took dance lessons while others visited Cuban households and made new friends.

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Self Exploration:

Finding Myself through My

Study Abroad

Experience

Samantha Rooney

I

grab onto the overhead bar tighter as the tram speeds up.

“Prochain arrêt: Saint Mihiel,” I hear over the intercom and quickly translate in my head: “Next stop is Saint Mihiel.”

I brace myself as the tram slows and eventually stops. The automatic doors open and I get off the tram quickly, muttering “pardon” to those I must pass in order to reach the door.

Walking down the street, I make sure not to trip over the uneven parts in the cobble stone sidewalk. The mass of people continue walking as I stop briefly to look at the water under the Saint Mihiel Bridge. Boats are stationed on the west bank of the Erdre River. One boat houses an art studio and another is the place of a crêperie. The Japanese- inspired park on the island directly ahead cuts the river and is something very unique to the area.

On the east bank, people sitting on the sidewalk next to the water drink wine and eat dinner with friends. Some are sitting

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on the benches smoking. Others walk their dogs along the river.

Everyone is enjoying life, I realize. I capture the perfect moment with a photograph and continue walking.

That was my daily walk back to my university dorm room in Nantes, France during my spring semester abroad. The walk and the French culture will always be treasured in my heart.

I learned so much from my time abroad including the French and European culture as well as history about Nantes, Bretagne, and France in general. I expanded my knowledge of the French language through my writing, speaking, and the phonetics classes I took at the University of Nantes. I also widened my French vocabulary by talking to a multitude of new people. It was scary, of course, to start a conversation with a stranger in another language. It’s even scary to begin a conversation with

a stranger in English sometimes. But that is how I made the friends with whom I have stayed in contact, even after leaving France.

On a similar note, I noticed a change in myself once I returned to the United States. For example, after being forced to either explore a city on my own or not at all, I now do not let anything, especially fear, stop me from going on an adventure. After my many weekends of travel, I realized how much fun it is to go around a city alone. No one else is there to dictate where I go or what I do. I had complete control over everything on my trips.

I recommend taking the opportunity to explore a city if anyone is put in a similar, lonely position. Traveling alone can open someone’s eyes to specific likes and desires which may not be realized on a trip with other people.

Exploring Paris, Pisa, Venice, and Barcelona by myself, I became much more aware of everything and everyone around

me. I found my way through the public transportation system which, ultimately, strengthened my sense of direction. I now feel confident enough to navigate around most cities. It is empowering for me to have gained experience as a young woman traveling around Europe by myself and thoroughly enjoying it.

I advise others who find themselves abroad to take advantage of every opportunity. There is so much to explore in every city, no matter how small. Also, my advice to people is to not be afraid to try new things. This can lead to new discoveries, maybe even a new favorite dish.

I hope to return to France one day soon. I miss the fresh bread and pastries, the view from the Saint Mihiel bridge every day, the easy-to-use public transportation, and the relaxed French lifestyle. Someday I hope to return to Nantes to visit friends I made and to again explore the city I called home for five months.

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Global Vision Scholarship 2015:

St. Lucia

Darlene Budd

M

ention the island of St. Lucia and images of whitesandy beaches, beautiful sunsets, and outdoor activities come to mind. St. Lucia is a beautiful island and St. Lucians do live up to their reputation as the friendliest islanders in the Caribbean. However, not far beyond the resorts and restaurants that make-up the tourism industry, the disparity in development and living standards is apparent.

In terms of overall development, St. Lucia is categorized as a “Medium-High” by the United Nations. However, towns such as Anse la Raye highlight the disparity in not just income, but also health, education and opportunity. Studies reveal that low-income St. Lucian children have poor diets and as a result perform poorly on general IQ tests. In recent years, the approximately 1,000 residents of the town of Anse la Raye agreed to participate in the United Nations “12 Essential Services” program designed to help families live healthier and more productive lives. As part of the program local government agencies and churches frequently work together with non-profit organizations and international volunteers on community and educational projects.

The UCM Global Vision Scholarship, emphasizing the importance of community service and giving back provides UCM students with such a service learning experience. The scholarship is awarded to students who share a desire to help those less fortunate here in the U.S., and abroad. For recipients who have done little or no traveling, the scholarship provides the opportunity for them to experience a different culture and way of life while helping to spread a culture of volunteerism

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and service both internationally and locally. Created in 2008 and funded by an anonymous alumna, the scholarship to date has provided nearly 50 UCM students with a “high-impact” learning experience in seven different countries.

“High-impact learning” occurs when students are actively engaged in the educational process outside the classroom.

According to George Kuh in High-Impact Educational Practices, the knowledge and experiences students acquire in such situations are very often applied in their personal and work lives long after graduation. Service or community-based learning as well as diversity and global learning in programs that examine "difficult differences" are examples of learning that goes beyond the classroom.

For two weeks in July of 2016, six UCM students - Shayne Fisk, Brenda Hendrix, Andrea Lopez, Chase Johnson, Miranda Maher, and Mariah Wurdeman - representing each of UCM’s four academic Colleges had the opportunity to work alongside

In terms of overall development, St. Lucia is categorized as a “MediumHigh” by the United Nations.

residents of Anse La Raye, St. Lucia as international volunteers.

Working along-side St. Lucians in a village in Anse la Raye, students helped build furniture for a local primary school, paint the local cemetery fence, and teach students performance arts, public speaking and photography. Several of the students also participated in two local teacher workshops. Given the variety of projects, each of the six students had the opportunity to utilize the skills and knowledge acquired in UCM classrooms to help make a difference in the lives of others. In the process, students experienced first hand, another culture, and a different way of life.

On the first day in Anse la Raye, about 30 local residents were net fishing in the bay and Chase Johnson stepped up without hesitation to lend a hand. Our entire group joined in to help sort fish and clear the beach of any debris. Mariah Wurdeman and Chase Johnson (Special Education and Social Work Majors) were asked by the local teachers to share with them information on U.S. special education programs and social work practices and services. Andrea Lopez, a digital media major, enjoyed teaching local children photography and video techniques.

She and the children produced a wonderful short documentary “St. Lucia 2015 -- Global Volunteers from UCM” that may be viewed at https://www.youtube.com/watch?v=SqV7I_eUmnk.

Working in a variety of capacities, Shayne Fisk wrote in the group journal, “Today I helped work on some benches and fixed a computer in the CARE school. Even though there are days where we may do something that seems small, we are here to immerse ourselves in the community. I came here with a far-off perception of what school and the village would be like, and although there are some differences, there are many similarities.”

One such similarity is friendship. The documentary includes an interview with a resident St. Lucian who is deaf. Miranda Maher conducted the interview in sign-language. A psychology major, Maher had taken several sign-language classes at UCM. While visiting a community one afternoon, she asked one of the residents if he knew anyone who was deaf. He mentioned a man known as Kendall, who had a job washing cars across the bay. The next day after volunteering, Maher went across the bay and found Kendall, who shared with her the fact that he rarely has the opportunity to communicate with anyone in sign language. They remain Facebook friends today.

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Show-Me

Justice

Film Festival 2016

Mark von Schlemmer

G

iven the turbulent issues concerning race in the state of Missouri this past year, we decided to try several different approaches in the Sixth Annual Show Me Justice Film Festival which took place April 7-8 on the University of Central Missouri campus. As with each year of the festival, we programmed a wonderfully diverse group of films both in content and in film format. However, this year we crafted a Friday evening program of films that specifically explored issues of race. From a poetic glance back at a history of racism and violence in films such as Lisa Mills’ experimental documentary Hymns of Three Cities, and a re-creation of the non-violent challenges to segregation in Ryan Nanni’s short narrative Ketchup and Blood, to a touching exploration of people surviving and overcoming violence in a gang-ridden city in Mele Mason’s heart-wrenching documentary I Dream of an Omaha where . . .

These films challenged audiences in a variety of ways – both with their fascinating social justice content, but also with their unique approach to storytelling through the art of film.

And from a few of the festival response papers I received in my classes, filmgoers found these films thought-provoking

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and complex. Each of the films mentioned above also was accompanied by filmmakers and film subjects who journeyed to the festival and contributed to the cultural impact of their films. Lisa Mills, director of Hymns of Three Cities, teaches film production at the University of Central Florida. While in Warrensburg, she also conducted a filmmaking workshop on digital storytelling for the middle and high school students who came to campus on Friday, April 8 as part of the Modern Language program’s Foreign Film Festival as well as led a Q&A session after the screening of her film.

One of the pleasant surprises that speaks well of these cultural events at UCM was to find out that one of the other visiting filmmakers – Bret Hamilton, who produced Ketchup and Blood – attended high school in Lee’s Summit and had actually attended the Foreign Language Film Festival a few years ago.

He graduated from Columbia College in Chicago last year and is currently a working filmmaker. It is nice to see the ripples of the UCM educational pond bounce back to us!

The Q&A after I Dream of an Omaha where . . was especially poignant thanks to the attendance of not only the director,

but also of three of the subjects featured in the film. Tabatha Manning’s story in the film was especially heartbreaking – a stray bullet from a gang-related drive-by that had nothing to do with her took the life of her five-year-old daughter. This incident spurred some of the dramatic town hall meetings seen in the film where former gang members began their journeys away from the violence that caused such a tragedy. Within the documentary, viewers see a local theatre group put together a play where victims and former participants in gangs come together to help envision a more peaceful future for Omaha.

The other new vision we had for the festival this year was to add a theme to the filmmakers roundtable that took place on Friday afternoon before the evening of films on race. This year, the topic was: Representing Race in Film. Dr. Delia Cook Gillis, a professor in the department of History and Anthropology and director of the Center for Africana Studies at UCM, was invited to join in the discussion along with visiting filmmakers. The

seats were nearly filled – with students, community members, and visitors to the campus – and students in the Digital Media Production program in the Department of Communication recorded the event for later airing on UCM TV and streaming on the UCM Media Network YouTube channel. It was a thoughtful, fascinating, and insightful discussion about race and media, one that I firmly believe needs to be taking place all over the country at this turbulent time. We were proud to participate in our own small way in this national discussion.

Our new approaches seemed to work well and, as I turn over responsibilities as festival director to my colleague Shannon Johnson, I look forward to volunteering to help produce the festival each year in the future – as can all of you by simply emailing him at filmfest@ucmo.edu. Our first call to duty is in September 2016 when we begin reviewing next year’s submissions for the Seventh Annual Show-MeJustice Film Festival. For updates and schedules please visit ShowMeJusticeFilmFestival.com.

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Classroom Technology:

Social Studies Education

Starlynn Nance

T

he social studies education program promotes constructivist learning theory and the importance of active, rather than passive learning. Following John Dewey's recommendation to “give the pupils something to do, not something to learn..." social studies students actively engaged in one-to-one technology for the first time in their social studies courses last fall.

One-to-one technology is a tool for instruction and is recommended for use in high school classrooms in most school districts throughout Missouri. For students to accomplish this goal, the social studies courses require students to participate in one-to-one instruction at every class period. This allows students to learn the technology from the student's side and the teacher's side. Experiencing both sides of the desk

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is imperative for understanding what difficulties some high school students may have with technology or that the application chosen may not be effective for the objectives of the lesson. Students begin to understand that one-to-one is not a replacement for the teacher but a tool to enhance instruction.

They learn that planning for technology instruction is very different from just paper/pencil activities and they always need a “Plan B.� Through each social studies course, the students must learn how to manipulate different applications, webbased instruction and iPads/Apple TV. iPads are an excellent instructional tool for co-teaching, centers, differentiated instruction and basic research. Students have fun learning the different aspects of instruction and modeling lessons for their peers but the real test is in the high school classroom.

Social studies students are required to take their knowledge of technology and implement it in prepared lessons they teach high school students. They do this in three different levels of their field experiences. First, they use basic technology in their 30-hour observation such as Kahoot!, Google school, Socrative or imbedded videos in a PowerPoint. Secondly, the students develop a lesson that uses a web-based instructional tool as the main body of the lesson during their 50-hour observation.

Spring semester the students used Zaption and taught with it at three different school districts. One cooperative teacher was so impressed he announced it at a professional development meeting to the faculty. Another teacher took the lesson and taught it to all her classes after she observed her 50-hour student successfully implement it in her first block. Lastly, the pre-service teachers are encouraged to have the high school

students create a product using technology. This goes beyond PowerPoints and Word documents. One student teacher created gamification during her student teaching experience and the students created different projects through Google school.

It is imperative that UCM’s social studies students get as much one-to-one instruction as possible. Looking into the future, the social studies students will continue to learn the latest trends and applications in technology. Through their social studies courses they will be certified in Google school, 365 and continue to implement technology in their field experiences.

21

Engaged Learning in the

College of Arts, Humanities, and Social Sciences

Darlena Ciraulo, Kathleen Desmond, and Gregory Streich

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rofessors at the University of Central Missouri constantly seek new strategies to engage students in the classroom. Should we be “Sages on the Stage” who impart our knowledge to students in a traditional lecture format? Or, should we be “Guides on the Side” who encourage students to ask and answer questions themselves with professorial guidance in a flipped classroom? How can we help students go beyond the memorization of important information that will help them pass quizzes and exams to build communication, analytical, and critical thinking skills that will help them succeed in their careers? There are no easy answers to questions such as these. But given that UCM faculty are committed to excellence in teaching, these are questions that constantly motivate us to find the most useful teaching strategies for our respective disciplines.

As professors we have to admit that while students come to class willing to take notes, not all of them have read the assigned reading for the day. In such situations, it is difficult to have a well-informed classroom discussion, and any attempts often fall short, with a handful of students carrying the conversational load for the entire class. Many professors respond to this dynamic by lapsing into lecture mode whereby they simply deliver material to the students. However, a student might then pick up on a pattern: if the professor is going to tell me what I need to know in the lecture, maybe I don’t need to

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keep up with the assigned readings. Ultimately, this leads us to a question: what, if anything, can be done to get more students to come to class prepared to engage with the material?

To help find answers to this question, and with the support of Dr. Gersham Nelson, dean of the College of Arts, Humanities, and Social Sciences, we attended an intensive day-long workshop sponsored by The Teaching Professor in October 2015 where we learned about strategies that help students come to class prepared to learn. One of those strategies is called “Course Preparation Assignments,” or CPAs. One of the crucial aspects of CPAs lies in their ability to promote and sustain an interactive classroom. In this type of learning environment, students become active and engaged learners instead of passive auditors. There are many ways in which to create an active course; however, with the use of CPAs, students arrive to class prepared to discuss the material under consideration.

This strategy combines outside reading with class discussion to promote a dynamic educational environment, one in which students feel empowered to engage directly with coursework.

Although the professor, as the specialist, guides student responses to ensure proper attention and treatment, he or she encourages students to think freely and also critically about the assigned material.

CPAs encompass six levels of knowledge:

Recall

Comprehension

Application

CPAs can help students develop and sharpen critical thinking abilities. As students improve their understanding and skill sets in this type of classroom environment, they will also increase their aptitude for implementing elements of higher learning. Drawing on Benjamin Bloom’s pedagogical theory, widely known as Bloom’s Taxonomy, the instructor identifies six levels of knowledge that CPAs generally encompass. These levels of learning progress in ascending order as follows: recall, comprehension, application, analysis, synthesis/ creation, and evaluation. The level of “recall” aids students in the retention of information; “comprehension” assists students in the expression of data; “application” supports the use of ideas/skills; “analysis” helps in the organization of concepts; “synthesis” fosters composition and modification; and “evaluation” strengthens assessment and judgment. Each step of this learning process is crucially important, ultimately leading students to a greater awareness and appreciation for the studied subject.

Using CPAs, teachers can motivate students to participate in the learning experience by crafting questions that specifically address the various academic level and goals of a particular class. The aim is to design CPAs with a particular objective in mind, while simultaneously remaining flexible and open to the needs of the classroom as a whole.

Kathleen Desmond has long practiced and written about active teaching, or the “flipped classroom” as it is now called.

The image of the teacher pouring knowledge through a funnel into students’ brains motivated Desmond to develop teaching strategies for going beyond covering the material to students learning the material. She creates a learning environment in which students discover how knowledge is constructed.

Analysis

Synthesis

Evaluation

Upon returning from The Teaching Professor workshop, Desmond experimented with CPAs in her upper division course, Art Theory and Criticism, which incorporates extensive practice in higher order thinking, writing and speaking (discussion). In terms of Bloom’s Taxonomy, her objectives include students not only remembering and understanding concepts but also applying and analyzing them. The goal is for students to able to evaluate current theories, construct their own arguments and defend their thinking, thus, making the course content their own.

The results of using CPAs in this class were immediately evident.

Students said they enjoyed writing answers to CPA questions because it helped them know what to look for in their reading.

They felt prepared to contribute to class discussions, and in fact, they learned so much from their fellow classmates’ comments that they wanted to revise and resubmit their written answers.

Each of us uses CPAs in our classes with adaptations to our respective disciplines. CPAs are not “one size fits all” but are an adaptable teaching strategy to promote engaged learning and a richer in-class experience for students. Feedback from our students is uniformly positive: students are better prepared for class, they enjoy the informed discussion in class, and they are even better prepared for quizzes, exams, and papers. We are convinced that CPAs are an important tool in our “took kit” of teaching strategies. Thanks to Dean Nelson, we were able to share these insights with CAHSS faculty on March 2, 2016, when we led two workshops on CPAs. Given the turnout at these workshops, we are convinced CAHSS faculty are interested in using effective teaching practices for significant student learning.

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Critical Thinking Workshops and Our Work Julie Stephens and Kathleen Leicht

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enaissance readers may remember that issue No. VII included an account of faculty development efforts related to critical thinking. Faculty members in the College of Arts, Humanities, and Social Sciences (CAHSS) continue to work with UCM’s Center for Teaching and Learning to invite to campus speakers with diverse perspectives on critical thinking and to organize workshops on how to incorporate critical thinking into courses and assignments.

Critical thinking merits this level of time and attention because, although scholars define and conceptualize it differently, most agree that students need more of it.

As of this writing, we are looking forward to two half-day workshops facilitated by Dr. Linda Nilson of Clemson University.

The author of Creating Self-Regulated Learners: Strategies to Strengthen Students’ Self-Awareness and Learning Skills (Stylus, 2013), Dr. Nilson will present “How the Mind Works” and “How to Get Your Students to Do and Comprehend the Readings.”

One successful workshop the previous year focused on using writing to foster critical thinking. Sometimes called writing to learn, this approach challenges the assumption that students learn content first and write about it later. Instead, it conceives of the process in reverse and views writing as an essential tool in learning. The facilitator for that session, Dr. Martha Townsend, an expert on Writing Across the Curriculum (WAC) and Writing in the Disciplines (WID) from the University

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of Missouri, demonstrated that, in reality, writing drives and shapes the thinking process. Students need to write in order to acquire skills and content. Faculty members who attended learned about a wide range of teaching strategies that underscore and expand writing’s integral role in learning and thinking. Dr. Townsend stressed the value of frequent short writing assignments that give faculty feedback about student learning while allowing students low-stakes writing practice.

UCM faculty from a variety of disciplines, some who rarely use writing in their classes and some who have been teaching writing for years, found ways to apply writing-tolearn techniques in their teaching. Brenda Woods, instructor of English, said, “I benefited immensely from Townsend's workshop and implemented her ‘minimal marking’ technique in my Comp 1 course last summer. Although I found it difficult to stick to the extremely minimal feedback style modeled in Townsend's presentation, practicing that approach has freed me from the perception that more is more, so to speak, when I'm marking student essays. I no longer feel compelled to mark every error I find, but to look for two or three problems that the student can tackle.” Faculty members in areas outside of the College also noted that what they learned and implemented made a difference for their students, and we hope to expand WAC/WID initiatives in the future.

In another workshop, Dr. Heather Butler, assistant professor of psychology at California State University, Dominguez Hills,

offered a comprehensive overview of current research in critical thinking. She began by demonstrating through a series of short experiments and examples why human thinking is inherently flawed. For example, Dr. Butler asked workshop participants to answer an apparently simple question: A bat and ball cost $1.10. The bat costs one dollar more than the ball. How much does the ball cost? Research suggests that many college students give an incorrect answer. The intuitive, but incorrect answer, is 10 cents. The correct response, however, is 5 cents ($1.05 + .05 = $1.10). Many people give the incorrect answer, not because they are not intelligent, but rather because we tend to approach problems with heuristics (shortcuts) that often do not work. This example and others given by Dr. Butler revealed that much of human thinking is quick, intuitive, emotional and biased. After describing the barriers to thinking critically, Dr. Butler offered a number of ways to integrate critical thinking strategies and assessments into higher education.

Like the students in Melody Niesen’s class, CAHSS faculty find that with each critical thinking workshop, we get a little closer to capturing something worthwhile about this elusive concept.

We look forward to doing our best to convey it to students.

Melody Niesen, instructor of English, commented, “This particular workshop was effective because it was handson; we were asked to actually practice the things Dr. Butler was modelling, and then we were encouraged to discuss them with others outside of our fields, which helped open the door to more integrated approaches.” The ripple effects of such workshops continue, as in Ms. Niesen’s case. She went on to present additional ideas at a follow-up event, discussing how she learned to differentiate between the cognitive and non-cognitive outcomes she wanted students to attain in her composition courses: “I knew I wanted to integrate both in some activities because learning composition--to write, read, and think critically--does not happen in a vacuum.”

One assignment she devised asked teams to work on the cognitive skills of analysis and a variety of non-cognitive skills associated with communicating in a group. Teams of three or four students were asked to lead two class discussions over some difficult material the class was reading. Between the two discussions, teams wrote reflective responses in which individuals evaluated the group effort, described the result of the discussion, and planned changes for the next discussion.

By the second go around, students usually realized that they had to go deeper in the questions they asked about the text, which provided a platform for more engaging discussion.

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New Score for Old Cinema:

High Impact Learning Grant Supports Creation of Live-Performance

Film Score for The Great Train Robbery Lee Hartman

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he opening crawl of Star Wars. Winona Ryder and Johnny Depp swirling in the midst of snowflakes of Edward Scissorhands. Time bending in Inception. The arrival at Skull Island in King Kong. Chariots race around the Coliseum in Ben Hur. Psycho’s shower scene. The ascent on Mt. Doom in Lord of the Rings. Kate Winslet and Leonardo DiCaprio at the bow of the Titanic.

Chances are, upon reading those iconic scene synopses, not only did you picture that moment but also recalled the music that accompanied it. The music is as indelible as the visual.

But what about silent films that predated the innovation of synchronized sound that transformed cinema in 1927 with The Jazz Singer? Often improvisatory music or precomposed pieces were performed live along with silent films to complement the comedy, highlight the action, or heighten the drama.

Charlie Chaplin wrote some film scores to accompany his films. Ranging from small chamber groups of piano, violin, and percussion, to massive theatre organs and full orchestras, music directors were able to put their own stamp on the film they were accompanying.

Andrew Hamilton, a sophomore music composition major, has received a High Impact Learning Grant from the College of Arts, Humanities, and Social Sciences to compose a liveperformance film score to accompany Edwin S. Porter’s The Great Train Robbery of 1903. With one foot in performance

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the audience especially as it accompanies the robbers daintily negotiating their crossing over some half-submerged rocks.

The process of adding new scores to public domain or older cinema is a current trend in composition and provides an excellent opportunity for students to hone their craft before tackling newly created works and feature-length films. Philip Glass’ popular rescoring of Dracula and La Belle et la Bête serve as just two examples of this trend, as do the numerous scores composed for the sadly now defunct Turner Classic Movies Young Film Composers Competition.

It has been a pleasure to serve as Andrew Hamilton’s mentor as he finds his compositional voice, so that his music may best reflect himself and the vision of those of his future collaborators.

The High Impact Learning Grant program has afforded Hamilton and his collaborative musicians a professional experience that would not have been possible without CAHSS’s support.

practice part of the time and the other playing on our modern reception of the film, Andrew’s score for flute, oboe, bassoon, trumpet, tuba, and percussion playfully honors and politely teases the melodramatic Western action film.

After the process of “spotting” the film—figuring out where music cues need to occur, how long they should be, and what effect would be most appropriate for the scene—Andrew produced his 15-minute score over winter break. Lengthy revisions followed which focused on notational clarity, thematic development, orchestration, and enhancing the material to be more expressive. The work is now in evolving rehearsals during which the performers offer feedback and learn to work with a click-track. Plans for multiple public performances of the score with film are in the works for fall 2016.

Driving percussion and pitch-bending winds recall the train’s arrival and a country square-dance is rendered in a jaunty tune. Equally important to the process was capturing the overacted death scenes and the unintentional awkwardness of actors unaccustomed to working in early cinema. For instance when the robbers race through the woods and find their progress impeded by a shallow stream, Andrew launches into a purposefully cheesy waltz that is sure to elicit laughter from

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Mid-America

Arts Alliance Amber Clifford-Napoleone

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or over two decades, the UCM community has had access to the Nance Collections, the largest collection of traditional Bedouin material culture in the United States.

Beginning this summer, people across the country will have an opportunity to view some of these rare artifacts as well.

The exhibition "Traditional Arts of the Bedouin," featuring 53 artifacts from the Nance Collections, will begin a threeyear national tour in May 2016. The exhibition includes rare Bedouin jewelry and textiles, household items, and artifacts from a Bedouin coffee ceremony. While the exhibition includes artifacts from countries such as Yemen and Iraq, the focus is on the Bedouin people of Saudi Arabia. The goal of the exhibition is not only to inform visitors about Bedouin cultures, but also to dispel some misconceptions about Bedouin people through their crafts.

There are many stereotypes about the Bedouin peoples of the Middle East. For example, many people envision scenes of famous films such as Lawrence of Arabia with its iconic image of a lone man in the desert. Other misconceptions revolve around the idea that the Bedouin are in poverty, landless, and suffering in their desert home. In fact, Bedouin tribes across the Middle East have a rich history of collaboration, sustainable living, and a rich tapestry of traditions that revolve around family, honor, hospitality, and tremendously skilled artisanal crafts.

Today these crafts are considered antiques, and because so few Bedouin traditional crafts survive intact around the world, they are poorly understood. These crafts serve as evidence of the ingenuity, artistic sensibility, and endurance of Bedouin tribes in Saudi Arabia.

"Traditional Arts of the Bedouin" was created through a grant from the Mid-America Arts Alliance, and will be part of

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the national exhibition program ExhibitsUSA. "Working on the Bedouin exhibition has been the highlight of our team’s exhibition production season," stated Kathy Dowell, MidAmerica's director of arts and humanities programming, "Not only is the collection deep and well-researched, but we get to share the amazing work being done in our own region with museums around the country." Institutions are already booking the exhibition, and future stops on the tour will include Louisiana, Texas, Arkansas, and Florida.

For more information, or to book the exhibition, go online to the Mid-America Arts Alliance website for "Traditional Arts of the Bedouin": http://eusa.org/exhibit/Bedouin.

Cross-Cultural Education, Sharing, and Friendship:

UCM’s First Annual Trading Moon

Pow Wow Rose Gubele

D

uring the fall 2015 semester, UCM hosted for for the first time the Trading Moon Pow Wow. The event occurred Saturday, Nov. 14, on the lower level of the Student Recreation and Wellness Center. The pow wow was named for the English translation of the Cherokee word for the month of November, (Nv-da-de-qua), or “trading moon.” November was traditionally a time for Cherokee peoples to trade with neighboring towns and the time of a friendship festival called Ado Huna, which means “New Friends Made.” Keeping with tradition, the Trading Moon Pow Wow offered an opportunity for Native Americans from Missouri and beyond to celebrate with UCM students.

The event’s coordinators included Catherine Burris, director of Religious Studies, who handled much of the work for the pow wow, with assistance from Rose Gubele and Jenny Molberg from the Department of English and Philosophy. Gubele served as cultural advisor, trained student volunteers, and wrote the event’s program, while Molberg created the pow wow’s website (http://tradingmoon.wix.com/powwow) and social media pages (Facebook: https://www.facebook.com/tradingmoon and Twitter: https://twitter.com/tradingmoonucmo). The pow wow was funded by the Missouri Arts Council, the Missouri Humanities Council, and the National Education Association as well as UCM College of Arts, Humanities and Social Sciences, the Department of English and Philosophy, the Center for Religious Studies, and Sigma Tau Delta. Food for dancers and volunteers was provided by Sodexo.

The coordinators also received assistance from consultants and advisors. Burris, Gubele, and Molberg worked closely

with two official pow wow consultants, Colleen Green and Dona McKinney. Colleen Green, who is the Director of Native American Programs at Central Michigan University, organizes pow wows at her own institution. Dr. Dona McKinney, director of Office of Sponsored Research and Grants at Lincoln University, has organized pow wows in Missouri for many years. Green said about her experience, “The first annual pow wow brought the American Indian culture to central Missouri. Having the opportunity to consult on this event allowed me to see the drive these faculty and student had to undertake the planning and implementation of the pow wow. It was well coordinated and arranged by the campus and local community members.”

In addition, there were many unofficial advisors from the local community. Among them, Tonja Hooton, who is a UCM graduate English student, and her husband and son, Nathan and William. Nathan and William (Cowlitz) both dance in pow wows across the country.

left to right, Nathan Hooton, Catherine Burris, and William Hooton Photo Courtesy of Tonya Hooton

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The pow wow brought together students from many different disciplines. Students volunteered to help on the day of the event, and volunteers included English and Philosophy students, Department of Communication students, Music Technology and Digital Media students, as well as members of student groups, Natives and Allies and Sigma Tau Delta.

Volunteers had the opportunity to engage in high-impact learning and cross-cultural exchange as they worked. They learned about Native American cultures, dances, art, crafts, and food. Molly Torrence, one of the head volunteers, said the following about her experience as a volunteer:

with laughter as friends, families, and allies joined in the festivities. It was an absolutely wonderful event.”

“I had neither attended nor helped facilitate a pow wow previous to the Trading Moon Pow Wow. It was a fascinating experience…I am unable to pinpoint exactly which aspect of the Pow Wow was the most fascinating. I think I was most impressed with the stamina which the drummers displayed.

They drummed for hours, and with such gusto that when I was showing someone where to find the cafeteria, I could hear the drums from outside the building. The entire time I was on the same floor as the drummers I could feel the beat vibrating through my body.”

Photo courtesy of Tonja Hooton Photo courtesy of Tonja Hooton

Another head volunteer, Amy Holmes, was impressed with the pow wow dancers. She noted, “Being part of the pow wow was an amazing experience.

The regalia was absolutely beautiful. So much time and effort went into each, tiny, bit of beading and each piece was absolutely covered in intricate detail. Aside from sheer beauty, the meaning behind each piece of regalia and each dance created an atmosphere of reverence. But it wasn't all seriousness. The room rang

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Another volunteer, Molly Torrence, was impressed with the Native food offered at the pow wow. Dolores Woolery, one of the vendors, served frybread. Torrence, who sampled her bread, said, “The most delicious part of the ceremony was without a doubt the hot, fluffy fry bread. The vendor revealed that she had attained third place in a national fry bread contest, but she absolutely should have received first place. Taking a bite of her fry bread was like taking a bite out of a fried cloud.”

Nathan Hooton also was impressed with the evening meal,

which was provided by Sodexo. He said, “The meal provided by the committee during the dance sessions was probably the biggest hit of the entire event. It was unlike anything most of us had ever seen at a dance.”

Nathan and William Hooton both attended and danced in the pow wow. Regarding his experience at the event, Nathan said: “I was very impressed from the minute I walked into the facility were the dance was being held. Equally impressive what the evidence that careful and thoughtful planning was made by the committee, considering this was the first pow wow they had put together. From my perspective, the participants, spectators, and even the volunteers that were there were excited to be a part of the pow wow…I am excited for the future of this dance and for the Native American Studies program currently under development by the university. The university should be very pleased with how they are being represented by the faculty, staff, and students that are a part of this dance. Everyone was welcomed, and treated with complete honor and respect; the way it should be. My family and friends left the Trading Moon Pow Wow with a very satisfied experience, and excitement for next year's dance.”

William Hooton said, “The pow wow was great. It was cool to see a new program at a college put together such a great dance, and I am looking forward to coming again next year.”

I was approached by many Native Americans, from a variety of tribes, who said that they were former UCM students. They all said that they wished that UCM had held a pow wow while they were students here. Master of Ceremonies, Ed Smith (Osage) spoke about the significance of the pow wow for future Native students who attend UCM: “I had a great time at the pow wow. I found it very organized and very well run for a first year event. There are typically little behind-the-scenes issues that get overlooked when putting on an event such as this that I did not see. I look forward to watching this event grow in the future. It may seem like having a pow wow is just a for fun thing, but that couldn’t be further from the truth. Cultural events like pow wows on predominantly white campuses are important tools for colleges and universities to recruit and retain Native students. Native students are often overlooked when it comes to the recruitment plans of colleges and universities. It has been shown repeatedly that even when colleges and universities have outstanding academic programs they fail to retain Native students. Native students may first attend an academic institution based on its credentials, but if they do not feel welcome at the institution they often leave.

Cultural events, such as this one, play a vital role in retaining Native students, and as time goes on, will play a vital role in the recruitment of Native students. Having a pow wow on campus lets future Native students know that they matter on your campus and an institution can prove this by literally putting their money where their mouth is and financially supporting the event, at least in part. A little can go a long way it making a campus appear friendly to Native students, having a powwow with campus support helps achieve that.”

The Trading Moon Pow Wow was truly an Ado Huna, a time for making new friends and establishing connections between people from surrounding areas, but it also could be seen as a way for UCM to demonstrate its commitment to current and future Native students.

"Grand Entry"Photo courtesy of Tonja Hooton

The pow wow was a very enjoyable event, and a learning experience for students, but it is important to remember that a pow wow also is a sacred ceremonial event which holds great significance to Native communities. On the day of the pow wow,

.

Photo courtesy of Tonja Hooton

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“It Swept Me Off My Feet”:

The Story of

Gust Samantha Rooney

I remembered my home then, the door blown in and everything scattered before I left. I didn't know if it was still there. “Your home is gone and so is mine.”

“Let's build a new one, then," Horas says. "Fit for two kings and a queen!”

-Georgianna Smith, Gust Renaissance Magazine 2016

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n May 2011, a devastating tornado hit Joplin, Mo., killing 158 people and injuring 1,150 others. Many of the victims were children. How can we make sense of such loss? How can we explain such tragedies to our own children? Literature, painting, dance – when we are confronted with forces larger than we can understand, Gust shows how we can turn to art for comfort.

Gust is a graphic novel for young adult readers that tells the story of a small group of middle schoolers caught up in the winds of the tornado. These children must find a way to build a new life out of the wreckage. The book is inspired, in part, by Gust, a modern dance conceived and choreographed by Ashley Miller and Julie Mollenkamp, then performed by students at the University of Central Missouri in fall 2011. Ashley Miller, assistant professor of dance at UCM, explained that “Gust was a devised theatre and dance piece that gave students

an opportunity to create a new work from the ground up.

Within this piece they created and designed the choreography, script, costumes and sound score. They were given creative freedom to explore who they are as artists and human beings in reaction to the devastating Joplin tornado.” After a tragedy, it is typical to look around for those who will come to help.

Instead, these students took an artistic path to help cope with so much destruction. Miller also discussed the effect that creating Gust had on her students, saying, “I believe the experience of creating and performing Gust empowered the students by giving them confidence in themselves as artists and human beings. It taught them that they all have a voice that they shouldn’t be afraid to share with others.”

Later, Georgianna Smith and Louise Garbs took the students’ performance as inspiration to create the illustrated narrative of Gust in book form. Smith received a Bachelor of Arts in English and Creative Writing degree at UCM. Her family comes from the Joplin region and she currently works as a live media developer and entertainer in Shawnee, Kan. The book is illustrated by the windswept watercolors of Louise Garbs, another Missouri native who spent her childhood in the Midwest’s tornado alley.

She has degrees in studio art and graphic design from UCM, and works as a freelance designer and screen printer.

component in the UCM Creative Writing program’s curriculum.

Georgianna Smith developed the text in partnership with professors from the program. Also, the production and marketing of the book was a major project in Kathryn Nuernberger’s Practicum in Literary Editing and Publishing class. Nuernberger said, “Fostering and nurturing students who have such a beautiful view of the world is a wonderful aspect of my job.” Through the course and the Gust project, students learned about marketing, editing, and the nitty-gritty practicalities of selling books through Pleiades Press, the literary press housed at UCM. Members of the art department also contributed expertise to the publication of Gust. Instructor Sarah Nguyen was the mastermind behind the layout and design. Along with Dr. Melanie Johnson, Nguyen served as a mentor to Garbs throughout her undergraduate career and during the illustration process of Gust.

Pleiades Press has been publishing works of poetry, fiction, and translations for 15 years. Thanks to a generous grant from the Mid-American Arts Alliance, Pleiades Press was pleased to publish this first work of illustrated young adult literature, which is widely available for sale and also distributed free of charge to schools in tornado-affected regions.

Smith and Garbs successfully used language and illustrations to make a simple story into a memorable masterpiece. The story begins with a small group of young students who are caught in a tornado and take refuge in a tree. After the torrential rain, large hail, and unbelievably strong winds die out, the children explore the town in the wake of the destruction. One child, wandering home after the tornado, observes, “Everything else stays still, though it’s eerie. No one is here to welcome me into open arms and ask me where I’ve been.” Gust follows these children as they try to create a new life from the rubble; a new life with a new house that is, as one child exclaims, “Fit for two kings and a queen!”

Gust is the product of high-impact learning opportunities that UCM is known for providing to students. Ashley Miller, praised this initiative. She noted that, “Providing hands-on learning experiences where students apply what they’ve been learning in the classroom is invaluable in the performing arts.” In addition, the literary interpretation of Gust was an important

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National Theatre Winners Richard Herman

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ellie Maple, senior Bachelor of Fine Arts in Performance student and her acting partner, Daniel Parman, Master of Arts in Theatre major, won the Kennedy Center American College Theatre Festival Irene Ryan National Acting Scholarship Auditions at the Kennedy Center in Washington, D.C, Friday evening, April 15, 2016.

The Irene Ryan Foundation was established in 1971 to award scholarships to the most talented student actors performing in the Kennedy Center American College Theatre Festival. This year marked the 43rd anniversary of the scholarship program.

More than 2,500 students competing nation wide and at each of the eight regional festivals, judges selected one outstanding student actor. Each of the regional awardees received a $500 scholarship. Maple received a $500 regional scholarship and then won the National Scholarship of $3,000 at the National Festival. In addition, she won the Mark Twain Comic Acting Award, which is a $2,000 scholarship.

Maple performed a six minutes selection of songs, scenes and monologues. Her song was “Perfect” from the musical ‘Til Death Do Us Part book by Caroline Prugh and music and lyrics by Bobby Cronin. Her monologue was from William Shakespeare’s Twelfth Night, and her acting scene was from

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The Kiss by Mark Harvey Levine.

Maple attended Raymore-Peculiar High School and has been a major performer in the mainstage program at UCM since her freshman year. She has performed in The Drowsy Chaperone, Street Scene, The Pirates of Penzance, Kindertransport, The Wedding Singer, Barefoot in the Park, Spring Awakening, Chicago, Vanya and Sonia and Masha and Spike, and The Taming of the Shrew. She also was part of the company of Zooom! which performed at the Edinburgh Fringe Festival in Scotland. Maple is a member of the Honors Program and has held numerous scholarships including the New Theatre Guild Scholarship, the Lucy Bergman Scholarship and the Charles G. and Laura Keynon Kuhn Distinguished Theatre Artist Award.

Parman attended Harrisonville High School and State Fair Community College. While seeking a Bachelor of Fine Arts Musical Theatre degree and now a Master of Arts in Theatre degree, Parman has performed at UCM in The Pirates of Penzance, Louder Than Words, Spring Awakening, Erin Elevator’s Extraordinary Adventure, Chicago, and The Taming of the Shrew. He also was part of Zooom! which performed at the Edinburgh Fringe Festival.

Kelly Johnson

2016 Distinguished Alumni in Music

Michael Sekelsky

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he University of Central Missouri Department of Music honored Dr. Kelly Johnson with the 2016 Distinguished Music Alumnus Award. Dr. Johnson received her undergraduate degree in clarinet performance from UCM in 1992 where she studied with Dr. Russell Coleman. She received her Master of Music degree in clarinet performance from Arizona State University where she served as teaching assistant for the ASU Clarinet Studio. Selected as Outstanding Graduate Performance Student in 1994, she completed the Doctor of Musical Arts degree in Clarinet Performance from ASU in 1999.

Dr. Johnson is principal clarinetist with the Arkansas Symphony Orchestra and Associate Professor of Clarinet at the University of Central Arkansas. She has been a soloist at several international clarinet conventions including the 2007 International Clarinet Convention in Vancouver, Canada, the 2005 International Clarinet Association Convention in

Tokyo, Japan, and the 1998 International Clarinet Association Convention in Ohio. She also performed at the 1999 International Clarinet Association Convention in Belgium where she released her solo CD titled “Clarinet Unlimited,” which features the clarinet works of Belgian composer Norbert Goddaer. Dr. Johnson's most recent CD project, “Child’s Play: Stories, Songs, and Dances, featuring the works of Philip Parker, Eric Mandat, Rodney Rogers and Jim David was released in 2011.

Originally from Clinton, Mo., she is the daughter of UCM music alums Gay and Mark Smith. Dr. Johnson married Todd Johnson, a UCM music graduate, shortly after completing her degree. They reside in Conway, Ark., with their family.

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Liberty High School’s

Donald L. Johnson Receives Ed See Outstanding Theatre Alumnus Award John Wilson

U

pon his retirement from the University of Central Missouri in 2001, Dr. Ed See, professor and chair emeritus of the Department of Theatre, established the Ed See Outstanding Theatre Alumnus Award through the University Foundation. The purpose of the endowment is to honor UCM theatre alumni who have, in some way, distinguished themselves in theatre education, community theatre, or in some area of professional theatre and have demonstrated commitment and love for the theatre arts.

The award recognizes those alumni who have honored their alma mater through their dedication and various theatrical achievements.

Donald L. Johnson graduated in 1994 from what was then known as Central Missouri State University with a Bachelor of Science in Education degree in speech and theatre and a minor in English. He began teaching in 1999 at Raytown South High School until 2008. He returned to Central Missouri in 2001 to begin pursuit of his post graduate degree in the summers. In 2006 he graduated from University of Central Missouri with a Master of Arts in Theatre degree.

Johnson has been teaching at Liberty High School since 2008, and has directed approximately 70 productions. Some of his favorites were All My Sons, Hello, Dolly!, The Wizard of Oz, Macbeth, Death of a Salesman, and Steel Magnolias.

Johnson’s accolades are numerous. In 2003-2004 he was honored as Teacher of the Year at Raytown South High School. In 2008-2009 he was awarded the Speech and Theatre

Renaissance Magazine 2016

Association of Missouri Wayne Brown Award for Outstanding Teacher. He has directed three first-place one acts at the Missouri State High School Activities Association Competition (2009, 2014, 2015), and has also directed three Best Actresses, two Best Actors, two Best Supporting Actors, and a Best Supporting Actress. Since joining the Starlight Theater’s Blue Star Awards in 2012-2013 his productions have been nominated for Outstanding Overall Musical every year; and in 2013-14 Tarzan won Outstanding Overall Musical.

Art at Central A HISTORY OF THE DEPARTMENT OF ART AND DESIGN UNIVERSITY OF CENTRAL MISSOURI RICH MONSON 2016

This book detailing the history of the Art & Design program at UCM is expected to be available in the early fall 2016.

For purchasing information, please email: cahss@ucmo.edu or call: 660-543-4364.

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Book Review

The Actor as Fire and Cloud

By John Wilson

Joe Moore

H

ugh Jackman. Evangeline Lilly. Emma Watson.

Mark Wahlberg. All prominent actors. All professed Christians. As a fan of the stage and screen, I have often wondered how they balance their faith with performing roles that might be thought to compromise their values. After all, since the opening of the first theater, the stage and the church have been in conflict. Actors have proclaimed themselves artists who are merely portraying a role, telling a story or bringing attention to the human condition. Clergy have cried foul, claiming the stage the house of Satan and actors are like demons playing on the perversity of mankind. So how does one balance his passion for the stage with his faith? How does she overcome the dissonance between "acting in the world" while "living by the word?�

In The Actor as Fire and Cloud, University of Central Missouri Professor of Theatre, John Wilson, draws on his own faith and his experience as an actor and director to provide hope for actors and actresses, both novice and professional, as they seek balance. Wilson is completely transparent in sharing his own struggles and triumphs. He addresses concepts such as humility, listening and being present, defining one's

Renaissance Magazine 2016

worldview, and exercising his faith while being true to the story. He answers questions about balancing intimacy while being true to one's spouse, dealing with profanity, and making decisions about when to stick with a job and when, because of personal convictions, to walk away.

The Actor as Fire and Cloud is more than just another "how to" textbook on acting. It is a thought-provoking look into one's own soul as he or she creates art while serving a higher calling.

Wilson masterfully challenges and inspires while addressing a topic others have avoided. Each chapter is followed by table talk topics to encourage discussion as the reader takes the journey into a Godly perspective on the stage.

Published by Bold Vision Books (boldvisionbooks.com), The Actor as Fire and Cloud is available through amazon.com and barnesandnoble.com.

Book Review

Jane Austen and the State of the Nation

By Sheryl Craig

Dan Schiernbeck

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or most people, Jane Austen’s novels (or the many film adaptations), conjure images of love stories set on beautiful English manors, far from the politics and economics of nineteenth-century Britain. Dr. Sheryl Craig’s new book, Jane Austen and the State of the Nation, however, challenges these popular images of Austen and persuasively argues “that all of Austen’s books engage in the ongoing debate about the national economy and reflect the political and economic tensions of the year or years when each book was written.”

In delineating the contemporary political and economic references that many of today’s readers miss, Craig opens new ways of readings Austen’s novels that are more likely in line with how her original audience would have read them. The sections on Austen’s more well-known novels are bookended with chapters on her juvenilia and unfinished novel, Sanditon, where Craig deftly demonstrates how Austen satirizes extreme Whig and Tory political views in order promote her own liberalTory political bias. In the chapters of Austen’s more popular fiction, Craig reads economic and political sources (as well as The Hampshire Chronicle) in order to provide smart, new

readings of Austen that bring the historical context to the forefront. For example, in Sense and Sensibility she cleverly interprets the three different Johns as different ways that John Bull (Britain) deals with the poor and sees the large number of servants in Pride and Prejudice as a refutation of radical Whig politicians. Similarly, she cogently argues that Mansfield Park is an early Condition-of-England novel, “an obvious parody of politicians and of business as usual in the House of Commons,” and ably shows how Emma promotes a model of local, community cooperation as the means to weather Britain’s financial crisis.

Perhaps what is most striking about Craig’s study is the abundance of details of nineteenth-century Britain that she provides in her readings of Austen. In doing so, she brings into clear focus Britain’s concerns about financial crises, economic recessions, and bank failures – the everyday life and realities that Austen’s novels usually are thought of as excluding. The result, then, is a study that is of interest not only to Austen fans and scholars but also to all those interested in politics, economics, and history.

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Hendricks Hall

Renovation Project

Mike Greife

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uilt to serve the campus and the community as a venue for the performing arts and public forums, Hendricks Hall has served in a variety of roles since its dedication on Oct. 22, 1923. Through the years the use of the hall has been as diverse as the individuals who have graced its doorways, from student assemblies, convocations and senior exams to Broadway plays, musicals and operas; from lectures by world leaders, first ladies and Supreme Court justices to famous comedians, magicians and country music stars.

With the growth of what was then known as Central Missouri State Teachers College in the post-World War I era, college administrators and the Board of Regents found a need for an

Renaissance Magazine 2016

auditorium that would serve for generations to come. With the appropriation of $150,000 in funding by the state legislature in September 1921, President E. L. Hendricks and the board acted quickly to make the new structure a reality. With the still-new, five-year-old Administration Building now the focal point of the campus, it made sense to attach Hendricks Hall to the back of the building taking advantage of the vacant land to the east.

On Dec. 21 of the same year, the Board of Regents hired Kansas City architect Samuel Hitt to design and prepare working documents for construction, giving him a deadline of Feb. 17 to submit the final plans. Hitt delivered, and on May 5, 1922 the board accepted a bid of $140,000 from Marxer Construction

Company of Des Moines, Iowa, to build the new auditorium with a planned completion date of fall 1923.

The Central Missouri State Teachers College auditorium was dedicated during 1st Assembly Oct. 24, 1923, only two months shy of the original completion date. The college student newspaper, “The Student,” wrote “…To step into the beautiful, spacious new auditorium for assembly gives us a grand and glorious feeling…an auditorium of which any college might be proud…”

About 2,000 people could be comfortably seated in the new wooden opera seats. The stage was considered spacious at the time, equipped with several sets of beautiful scenery and curtains, including the brown velour outer curtain with letters CMSTC cleverly arranged in old gold. The ivory walls had touches of blue and gold, with real gold leaf design surrounding the stage front.

The decision to build the new auditorium gave new life to what had been a lingering effort to raise funds to purchase and install a pipe organ on campus in memory of those members of the campus community who had given their lives in World War I. By 1921 $1,327 had been collected, but it became apparent that there was no proper location on the campus to install the organ.

With the construction of the new grand auditorium, the organ would now have a home. The necessary funds were raised, and the organ was purchased and donated by the CMSCT Alumni

Association, with a dedicatory recital of the memorial pipe organ on Jan. 11, 1924, by Powell Weaver, the organist for the Grand Avenue Temple in Kansas City.

Oct. 13, 1933 marked the rededication of the auditorium which was renamed to Hendricks Hall in honor of Eldo L. Hendricks, president of the college from 1915 to 1937.

A suspended acoustic ceiling was added in the 1950s in order to reduce reverberation in the hall, making the facility primarily a lecture space. The acoustic ceiling not only covered a beautiful carved ceiling with ornate moldings, medallions and cornices, it rendered the hall nearly useless for performing ensembles that rely on reverberation to allow for the highest quality experience for audiences and performers.

Since the installation of the acoustic ceiling little work has been done in Hendricks Hall other than replacement of seats, attempts to add amplified sound, and small cosmetic updates.

The pipe organ is no longer functional. A temporary stage extension must be erected for ensemble performances to place performers outside the proscenium and add what little reverberation is still possible with the acoustic ceiling.

Throughout the generations, the function of Hendricks Hall has changed with the arrival of new venues. The construction of Hart Recital Hall in the Utt Music Building in 1959, named after former department chair Ralph Hart, provided a new, more intimate venue for some of the smaller Department of Music performances. Department of Theatre performances found

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their own home in 1971 with the construction of the university theatre, which was dedicated as the James L. Highlander Theatre in 1992 in honor of the former department chair.

identified as a start toward the $3.2 million dollars needed to complete the following renovation and restoration phases: Phase 2: Restoration of the original plaster ceiling

With the development of the new strategic plan for the UCM campus in 2012, Hendricks Hall has become a focal point of the desire to develop a new performing arts venue for the university and surrounding area. Future plans call for the renovation of both Hendricks Hall and Hart Recital Hall into state-of-the-art facilities that will showcase UCM’s outstanding student talent, giving new life to a UCM landmark.

Throughout its 93-year history, this grand facility has served generations of patrons and students as a venue for musical and theatrical productions, guest speakers, recitals, convocations, church services, assemblies and commencements. The Hendricks Hall Renovation Project was created to ensure that this beautiful historic hall will continue to be enjoyed by generations to come as it serves the cultural and educational needs of our community.

Phase 1 of the Hendricks Hall Renovation Project, addressing safety issues and outdated systems, began in 2012 with the replacement of the cabling and rigging systems, followed by new stage curtains in 2014 and an updated lighting system in 2015. To date, $250,000 in pledges and gifts have been

Renaissance Magazine 2016

Phase 3: New organ built and installed/New stage extension and acoustic proscenium Phase 4: Renovation of the dressing rooms, green room, and audio and aesthetic updates At a recent pre-performance dinner for the 2016 President’s Gala at the Kauffman Center for the Performing Arts, guest host Michael Stern, musical director of the Kansas City Symphony Orchestra, addressed those in attendance making the following comment, “The performing ensembles at UCM are of the highest quality. It is time that their performance venue matches the quality that the students and faculty have achieved”.

Please consider supporting this important project by making a donation or pledge. Naming opportunities are also available.

Follow our progress and consider leaving your legacy gift for the Hendricks Hall Renovation Project at: hendrickshall.com.

A Life of

Living and Giving Gail M. Staines

“

It was a hard-scrabble existence. There were eight of us kids, four to a bed inside the thin walls of the small frame sharecropper’s cottage we rented. We had a coal-burning stove in the middle of the living room as the sole source of heat, and an unheated outhouse out back. There was never enough food and what we did have was often courtesy of local county assistance. There were no special treats, birthday cakes, or Christmas presents…Once I got a light blue sweater, generically given to a “Boy, age 9.” These are the recollections of Dr. William Reed from his book The Pulse of Hope: A Surgeon’s Memoirs from Poverty to Prosperity.

From his impoverished childhood, Dr. Reed has created an extraordinary life of service to others. A pioneer heart transplant surgeon and nationally renowned horseman, poet, philosopher, and philanthropist, he and his wife, Mary, continue to give generously of their time and resources.

In The Pulse of Hope, Dr. Reed shares a remarkable story of a young patient who needed an esophagus transplant. A very young boy drank oven cleaner, destroying his esophagus. Dr. Reed had viewed a movie clip at a recent medical conference about a procedure that might work, however, this would be the first time he would perform the surgery. Using the little knowledge he had, Dr. Reed made the boy a new esophagus by removing part of the boy’s large bowel. That little boy, James Still, grew up to be an award-winning American playwright!

This is the essence of Dr. William Reed.

making heart transplant patients live longer and fuller lives.

What makes Dr. Reed’s life even more remarkable is that he has become a top breeder of Thoroughbred racehorses. While looking for something to do when he semi-retired, Dr. Reed explored the possibility of breeding Thoroughbreds to run different types of races – short, long, on the dirt, and on the turf. What began as a hobby has turned into an international breeding and racing operation. One of his racehorses, Perfect Drift, placed third in the 2002 Kentucky Derby. His numerous wins and placings totaling $4.7 million makes Perfect Drift the third richest racehorse in North America. As a result of their tremendous love for these horses, the Reeds reached out to support the Kansas City Mounted Patrol so that they can continue to do their important work.

Dr. Reed’s philanthropy and willingness to give of himself is evident in his passion for human life and in helping others. He is Founder of the William A. and Mary J. Reed Cardiovascular Surgery Center and chair of the Department of Cardiovascular Services at the University of Kansas Hospital. Additionally, Dr. Reed and his wife Mary have endowed charitable programs and scholarships and universities, churches and medical institutions nationwide.

Over many decades, Dr. Reed has performed more than 10,000 heart surgeries including numerous heart transplants.

In the early years of heart transplantation, instruments and procedures were primitive. Many more lives were lost than saved. However, learning, practicing, and honing his surgical skills enabled Dr. Reed to develop pioneering techniques

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To interact with our images, download and then open the free Aurasma app 1

2

3

4 NBAM

ucmhistory’s Public Auras by ucmhistory

Create FREE Account and/or login

Swipe screen from Right to Left

5 ucmhistory’s Public Auras

6

Search for ucmhistory

Select ucmhistory’s Public Auras

7

8

Select the Camera icon bottom center

Aim camera at an interactive image

ucmhistory

ucmhistory’s Public Auras by ucmhistory

by ucmhistory

Select the FOLLOW button Then Tap upper left corner to return to previous screen

Tutorial by Terry McNeeley

Renaissance Magazine 2016

Select the Cancel link, upper right corner

Center for Teaching & Learning Current for Aurasma v5.0.2

Augmented Reality Course Project

Makes History

Jessica A. Cannon

H

istory students at the University of Central Missouri were among the first in the country to participate in a student-driven course project during the fall 2015 semester that leverages cutting-edge augmented reality technology to create museum displays. As part of Dr. Jessica Cannon’s HIST 4328 History of Flight course, students researched and produced historical documentary materials, and then converted those materials to augmented reality displays and content for the Nicholas Beazley Aviation Museum in Marshall, Mo. Although a select few museums—the Smithsonian, the Metropolitan Museum of Art, and the British Museum among them—have used professional staff to create their own augmented reality content, what was unique about

the experience is that UCM students researched and produced the content that is now accessible to patrons who visit the museum through the Aurasma app.

Augmented reality technologies already inhabit and inform our daily lives in countless ways. Something as simple as voice-activated search technology (think Siri on you iPhone) is a form of augmented reality, as are maps that show you what restaurants or activities are available in your current location.

Google glass is a wearable technology that is another form of augmented reality. Augmented reality does not replace the real world experience, as virtual reality headsets do, but instead aims to make supplemental information or content available to users in real time with a wearable or hand-held device. It allows you to look at something, or point your phone’s camera at an object, and see additional information that may be relevant to your experience. It is this interactive element of augmented reality that allows any event (such as visiting a museum or looking at a static image) to instantly become an interactive educational experience.

For the project, UCM students spent the semester researching, writing, and producing mini documentary movies on topics important to both local and national aviation history. Course readings provided the historical content and background for the project, as well as informed discussions on museum display design, video production, and documentary strategies.

Students then worked in teams of four or five to create a total of six augmented reality “auras” using the Aurasma app. Each “aura” runs two to three minutes when viewed in the museum,

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Augmented Realities Photo

their UCM education to the real world: “It was cool being able to research and put all the information together, then finalize the project through audio/visual recordings that we got to edit.

I thought this project was great at having us work on multiple skills that varied from computer editing software, to writing, to team leadership. It was fascinating to make this project come to life, and to know that it was actually going to be used in a museum. The older I have gotten, I realize how cool these opportunities and projects are as they are applicable to the real world and ensure that I am actually using my knowledge.”

There are several apps that can be downloaded to tablets or smart phones, and specifically the Aurasma app (aurasma. com) was used for this project. It works through the camera on your device, which sees a target image and pulls the related content from the Aurasma server. Several images in this article will launch additional augmented reality content. You can see that content by downloading the app in Apple’s app store or through Google Play. Once you download the app, you will need to create a free account and then search for “ucmhistory” Augmented Realities Photo

providing additional context or detail to what can be found in the museum. A seventh “aura” was filmed at the museum and is a demonstration by museum staff about how a wooden propeller is made.

Students gained experience with augmented reality, video production, and video editing technologies, which look great on their resumes, but they also learned about completing large, professional-quality projects that will be used by thousands of visitors. As Michael Gawlick, a senior history major who took the course,, noted, it was an opportunity for students to apply and follow that account to view the content. The chart below provides more detailed instructions.

The image of Nicholas and Beazley, as well as the image of Barney Zimmerley, will launch content that was created as part of this history project. The image of Dr. Cannon and student Michael Gawlick will launch a short interview discussing the student experience with the project. Additional examples of auras created for the project, as well as an overview video and additional information, are available at the website drjessicacannon.com/aurasma/.

Renaissance Magazine 2016

In Memoriam

Dr. Roger Schupp Michael Sekelsky

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r. Roger Brett Schupp, 55, Bowling Green, Ohio, passed away Tuesday, Dec . 15, 2015. He was born June 24, 1960 in Sedalia, Mo. Dr. Schupp received his undergraduate and master's degrees from the University of Central Missouri where he studied percussion with Dr. Michael Sekelsky and Jazz Studies with Dr. David Aaberg. He went on to earn his Doctorate of Musical Arts degree from The University of Texas at Austin. Shortly after the completion of his DMA, Dr. Schupp was hired at Bowling Green State University where he met his wife, Tracy, and earned the rank of professor of music.

his career, and toured with "Up with People" immediately following high school graduation. He shared his gift of music with students and colleagues internationally while presenting concerts, clinics, and masterclasses in more than 30 states and 20 countries on five continents.

Dr. Schupp performed in the areas of classical, jazz, and world music in a variety of ensembles including the Toledo and Austin Symphonies, the Kansas City Civic Orchestra, Toledo and Austin Jazz Orchestras, Professional Musicians of Northwest Ohio, and the BGSU Faculty Jazz Group. He performed and recorded with such diverse artists and ensembles as the Royal Ballet of London, New York Voices, Marvin Hamlisch, Tommy Tune, Bob James, Clark Terry, Terrance Blanchard, Chuck Berry, Amy Grant and the Broadway touring casts of "A Chorus Line,� "Spamalot,� and "Wicked."

As an alumnus of UCM, Dr. Schupp earned two distinct honors.

In 1999 he was recognized by the university as the second recipient of the Outstanding Recent Alumni Award. Four years later, in 2003, the Department of Music recognized him with the Distinguished Alumni in Music Award. He returned to UCM several times to present clinics, masterclasses, and recitals for the percussion and jazz studies areas. Dr. Schupp was an active member of the Percussive Arts Society throughout

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In Memoriam

Dr. Carla Jo Maltas Sheri Mattson

“

Life is an exciting business, and most exciting when it is lived for others.” - Helen Keller

Dr. Carla Jo Maltas (1962-2015) certainly lived her life for others. She was a passionate Music Educator and Arts Advocate who was an associate professor of music education and director of the Summer Kodaly Institute at UCM from 2006 until her death in December 2015.

Born in Des Moines, Iowa, Dr. Maltas earned her Bachelor of Music Education in K-12 Vocal and Instrumental Music degree and her Master of Music in Early Childhood Education and Church Music degree from the University of Nebraska - Lincoln.

After teaching Elementary and General Music in Nebraska for 15 years, she earned her Ph.D. in Music Education (Kodaly/Early Childhood Music Ed.) from the University of Oklahoma. She was nationally certified in Kodaly Music Education and held a Master’s Certificate in Orff-Schulwerk from the University of Memphis. She taught General Music Education at Ball State University in Muncie, Ind., before coming to UCM. Dr. Maltas always said that her knowledge was broad, but not very deep. Her research on rural music education, arts

Renaissance Magazine 2016

integration, assessment in the music classroom and mentoring of beginning music educators earned her published articles in many prestigious music journals. She also presented on these topics at music conferences throughout the nation.

She considered service to the profession important, so she often held leadership positions in arts organizations such as the National Association of Music Education (NAfME), the Organization of American Kodaly Educators (OAKE), Mu Phi Epsilon, the American Choir Director’s Association (ACDA) and the Missouri Arts Council. She took mentoring beginner music educators seriously by advising UCM’s collegiate chapter of NAfME. She also was the state advisor for all NAfME chapters in Missouri for a few years. She tried to include students in her research and presentations and UCM’s music students and student organizations often benefited from working with her.

She often nominated students and colleagues for awards and positions when she thought they deserved recognition.

Dr. Maltas’ passion for elementary arts education showed in her children’s opera projects at Ball State and her children’s integrated arts projects at UCM. These partner programs with local elementary schools integrated music, visual arts, and theatre in elementary arts curriculum and class attendance

at a concert presented by university performing ensembles.

At UCM, Dr. Maltas created “Jazzy Ella” for presentation by the UCM Jazz Ensemble, and “Mo Goes to the Symphony” for presentation by the UCM Symphony Orchestra and Mo the Mule for hundreds of area elementary school students. She also was the director of the Warrensburg Junior Community Chorus and encouraged advanced vocal music education students to volunteer to help with this group.

Her love for music theatre was evident in her participation as piano accompanist for three of the Department of Theatre and Dance’s musicals, and she often travelled into Kansas City to attend music and theatre events. She was a reviewer for KCMetropolis.org.

When she began teaching at UCM, her office was across the hall from the Essig Collection on Musical Instruments hanging in the Utt Music Building. She greatly valued these neglected treasures and began researching their collector, Don Essig, one of UCM’s first music educators. This research grew into a large project including interviews with alumni that worked with Essig and the instruments, photographs of the instruments, and the history of the instruments and how they were acquired by

Essig. Some of this work was in Renaissance, but the intended book remains unfinished.

Dr. Maltas also considered supporting arts and culture in the community very important. She was a member for the Warrensburg Arts Council, a board member for the Warrensburg Friends of Music, and a member of the Johnson County Historical Society. Dr. Maltas served as a church musician and children’s ministry puppeteer (Harley the Dog) for the United Methodist Church, and a clarinetist and accordionist for local German bands.

Devoted to her family, she is survived by brother William J. Maltas (Ranelle); sister Karen Maltas-Moore (Jim); nieces and nephews Zane, Ian, Jarod, and Stephanie; and grand-niece McKenna.

Contributions to the Carla Maltas Music Education Scholarship can be made through the UCM Foundation.

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In Memoriam

Harold Reynolds Mick Luehrman

D

r. Harold “Harry” Reynolds came to the Art Department in 1969, having received his Doctorate in Education from Oklahoma State University. Dr. Reynolds served the Art Department for more than 32 years, teaching such courses as Figure Drawing and Art Education.

During his tenure, Dr. Reynolds forged strong relationships with his colleagues and with the many students whose lives he touched and whom he enjoyed immensely. A popular teacher and loyal colleague, Dr. Reynolds was an equally talented artisan, designing the Distinguished Alumni Award medal and working on the mace that was used in the 1985 inaugural ceremony for former University President Ed Elliot.

During his retirement in Florida, Dr. Reynolds enjoyed creating masterpiece gardens, drinking wine with neighbors, hanging out with friends and hounds at the dog park, and working hard to elect local, state, and national Democrats with his wife, Professor Emerita, Dr. Janice Reynolds.

Upon his passing, Dr. Reynolds was surrounded by his loving wife, Jan, and his devoted children, Erica Reynolds Clayton and Mark Reynolds.

Through the generosity of Dr. Reynolds’ Florida friends and family, more than $3,000 in scholarships was awarded to UCM art and design majors this past year in his memory.

Renaissance Magazine 2016

Renaissance Magazine is published by the College of Arts, Humanities, and Social Sciences at the University of Central Missouri. This 2016 issue was made possible through the generous efforts of many contributors. Thanks to the following individuals for their hard work, guidance, and support in making this publication possible: Dr. Gersham Nelson, dean of the College of Arts, Humanities, and Social Sciences; associate dean Dr. Michael Sekelsky; student designer/illustrators Blake Hatfield and Harrison Weathers; faculty mentor Clint Orr, associate professor of Art & Design; David Barabas, director of printing production; Jeff Murphy, assistant director of University Relations-Media relations; Bryan Tebbenkamp, photography manager, University Relations; and the students, staff, and faculty that “penned” and “proofed” the articles. © 2016 University of Central Missouri

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