The Green Room / September 2017

Colorado State University / THE UNIVERSITY CENTER FOR THE ARTS / VOLUME 3 / ISSUE 20 / SEPTEMBER 2017

The Gregory Allicar Museum of Art is under new management

WELCOME TO

THE GREEN ROOM

Dan Goble

Director of the School of Music, Theatre and Dance

Jennifer Clary Jacobs Marketing Director

Mike Solo

Creative Director

Brandon Adams

Publicity and Marketing Assistant

We’re only two weeks into the Fall 2017 semester, and as is the standard at Colorado State University, there seems to be no lack of highlights and happenings across campus. From CSU art major Devan Kallas winning first place in the International Art Olympia, to the beloved Temple Grandin celebrating her 70 birthday, to the opening of the new stadium, incoming freshman and older alums are already excited about the 2017-2018 school year!

Thank you for cracking open the Sept. issue of The Green Room, highlighting the new director of the Gregory Allicar Museum of Art, Lynn Boland. We’ve enjoyed having Lynn at the University Center for the Arts the past two months, and are excited to introduce you to him through a two-part story. We hope you’ll stop by the museum and meet him yourself!

This issue also features an in-depth look at CSU Theatre and the University Symphony Orchestra’s upcoming collaborative performance of Every Good Boy Deserves Favor by Tom Stoppard, an overview of the Classical Convergence Concert Series season, and the 20th Biennial Colorado International Invitational Poster Exhibition schedule, all of which happen in Sept.

As mentioned before, there’s no shortage of fantastic moments at CSU, and whether its keeping tabs on us through the pages of this magazine, cheering on the CSU Marching Band at a game, or coming to the UCA for a concert, production, or exhibition, we hope you’ll choose to be a part of the performing and visual arts this semester!

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

THIS IS YOUR UCA

TABLE OF TICKETS Online Sales: CSUArtsTickets.com Ticket Office: Griffin Lobby, University Center for the Arts (UCA) Spring 2015 Ticket Office Hours: M–F, 3:30–5:30 p.m., and 60 minutes prior to performances Information: (970) 491-ARTS (2787) / Email: CSUArts@colostate.edu Group rate: 15% off on ten or more tickets, applied at the time of purchase Tickets may be purchased, both online and at the UCA Ticket Office until 30 minutes after curtain. Print-at-home tickets are available online. All tickets are subject to a $1 ticket fee for both online and at-the-door purchases. At-the-door and phone purchases will incur a $3 processing fee per order. Advance ticket purchase is highly recommended to avoid lines and the at-the-door fee.

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

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

CONTENTS Under New Management: Lynn Bolland........ 06 Classical Convergence Returns....................... 12 20th CIIPE............................................................ 16 Music for Life....................................................... 23 Perennial Home.................................................. 31 The Color of Music............................................. 36 High-Fashion Caftans........................................ 39 Homecoming 2017............................................. 42 What Do You Think?........................................... 44 The Gift of Music................................................. 50 Every Good Boy Deserves Favor..................... 52 Upcoming Music Events.................................... 60 Gregory Allicar.................................................... 64

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

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

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

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

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Class Notes.......................................................... 63

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THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS

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Depa rtment of

Art & A rt His tory Lory Student Center

Arts Program

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COLORADO INTERNATIONAL INVITATIONAL POSTER EXHIBITION

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GREGORY ALLICAR MUSEUM

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Meet Lynn Boland, the New Director of the Gregory Allicar Museum of Art

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by JENNIFER CLARY JACOBS “The whole building is so lively,” says Lynn Boland enthusiastically. And with his infectious laugh and warm demeanor, the same could be said about the new director of the Gregory Allicar Museum of Art. Lynn Boland brings more than 20 years of dynamic experience in various academic and university museum roles. Since 2009, he has been the Pierre Daura Curator of European Art at the Georgia Museum of Art and adjunct professor in the Department of Art History at the University of Georgia.

Boland received his undergraduate degree in art history from the University of Georgia and a master’s and doctoral degree from the University of Texas at Austin. He received his Ph.D. in 2014 for his dissertation: A Culture of Dissonance: Wassily Kandinsky, Atonality, and Abstraction about the dissonance in modern European art and music. Boland’s specialty is 19th and 20th century European art with a secondary emphasis in contemporary American art.

“Lynn’s broad and deep experience working with art and art museums will be a wonderful asset to CSU,” said Ben Withers, dean of the College of Liberal Arts, about the new director. “He brings clear and compelling vision for the Allicar that builds on the strong foundation created by Linny Frickman and the staff and faculty who serve the museum and its community.”

Despite his background and expertise, when Boland arrived at the University Center for the Arts in July, he planned to listen before talking, and get input before offering ideas, but he quickly discovered CSU’s can-do approach. “Linny [Frickman, former director of the museum] left

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Lynn Bolland and Keith Jentzsch examine the Native American gallery

everything so well organized and everyone has been so helpful that I was able to get up to speed more quickly than I could have imagined,” said Boland about his first monthand-a-half on the job.

A TRAJECTORY OF EXCELLENCE

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As a campus and community gem, the museum’s strengths and appeal is threepronged: a world-class collection spanning 2,000 years and countless cultures; a history of exceptional exhibitions and educational programs that are models of what an academic museum can offer; and state-of-the-art facilities that ensure responsible stewardship of the objects in the museum’s care.

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In a recent museum newsletter, Boland stated his intent to continue the trajectory of excellence that is already solidly established, continuing to realize the vast potential of the Gregory Allicar Museum of Art as an exemplary resource. And if the title of director is synonymous with visionary, Dr. Boland’s desire to engage his visitors is at the heart of his purpose, creating deeper value and meaning for them through the collection, outreach and engagement, exhibitions and programming, and publications.

His complete conviction in the museum’s accomplishments over the past ten years, paired with his focused direction for it during the next five, has enthusiastically emerged as Boland admits to an unbridled optimism for what lies ahead. Immediate access to a swath of museum patrons and stakeholders enabled Boland to evaluate his initial vision for the museum. “Everything was preliminary, but I would double-down on every single thing I said before I even got the job,” he stated. “Strategies may have changed and people have offered great suggestions, yet the general shape of things to come is what I thought.”

And what exactly does lie ahead? In visiting with him, Boland shared compelling narrative for each of the four main areas previously mentioned. However, with the physical expansion of the museum footprint, combined with bringing the Hartford-Tandstad Collection in-house last year, Boland recognizes that the museum staff is realistically at capacity, “but happily so,” he adds, with a tone of admiration.

With that in mind, Boland doesn’t anticipate drastic changes from month to month.

“I do think it’s like watching your kid grow,” he mused. “Things are so good that I don’t need to rip anything down and start over, but in five years, you’ll notice the transformation because of the scale and caliber. It will all rise.”

“Things are so good that I don’t need to rip anything down and start over, but in five years, you’ll notice the transformtion because of the scale and caliber.

It will all rise.”

THE ART OF ATTITUDE The Gregory Allicar Museum of Art is currently seeking national accreditation, and during a recent visit from the American Alliance of Museums, site visitors recognized the special environment perpetuated by the museum and its staff. For instance, they conceded that the strong relationship between the museum and the art department was unique, and they asked the secret.

Boland immediately credited the people at CSU, starting with Frickman. “The people here have good attitudes, are collaborative, and good in nature. Not only are they experts, but the friendly environment they’ve created more than contributes to it. It’s special.”

This summer, Boland witnessed a similar scenario on the Ram Tour for new hires, a two-day excursion showcasing the university’s impact around the state, while providing insight to the land grant mission. With his own agricultural lineage based in North Dakota ranching, Boland was particularly

struck by the Betty Ford Alpine Botanical Garden in Vail, with its interesting and beautiful native plants, and warmed by the 4-H kids’ presentation in Eagle, Colo.

But what struck Boland most was that the university would do this for new hires. “I don’t know that every place does something like this,” he exclaimed. “Meeting people is what I’m all about, and to have it delivered perfectly, in as efficient and fun way possible – it did its job so well.”

For Boland, the Ram Tour illustrates the genuine support, deep caring, and thoughtfulness he’s experienced at Colorado State University so far.

“I feel pretty honored to be among those hired here.”

Join us in The Green Room in Oct. for Part II of this story as we explore Dr. Lynn Boland’s five-year vision for the museum.

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Hartford –Tandstad Gallery

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CLASSICAL CONVERGENCE

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CLASSICAL CONVERGENCE RETURNS

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By Brandon Adams With the Fall 2017 semester in full swing, there is great anticipation for the continuation of the Classical Convergence Concert Series, co-presented by the Colorado State University School of Music, Theatre, and Dance, and the Fort Collins Lincoln Center. Now in its fourth season, the Classical Convergence has garnered tremendous traction among the music enthusiasts in Fort Collins.

The idea for the series, which was finalized over burgers at Austin’s American Grill in Old Town in 2013, was a natural fit for the two organizations. Jack Rogers, executive director of the Lincoln Center, shared the philosophical ideals behind the collaboration. “This series was quickly identified as a way where the two entities working together could be more than the sum of our parts,” he explained. “The title ‘Classical Convergence’ expresses the philosophy and vision for the series from the get go - a convergence of multiple entities: the university and the city, the traditional and the avantgarde, the young and the old.”

One of the unique aspects of Classical Convergence is the consistent opportunity for students and community

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Black

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members to learn from and engage with worldrenowned performers. Whenever possible, Classical Convergence artists arrive a day or two before their performance to give master classes at CSU and performances at select K-12 schools in the district.

Although the content of the master classes varies by artist, the intent is for the musicians to give professional tips and advice to their young counterparts. Often times, participants are encouraged to bring their instruments, play along, and receive focused instruction in front of the larger audience.

Another tremendous benefit of the partnership is the student discount on tickets. “The Classical Convergence series has provided CSU students with the opportunity to experience some of the best young

and established chamber music acts, for a fraction of the cost that it would be in a major city,” explained Dan Goble, director of the School of Music, Theatre, and Dance at CSU. “Our relationship with Jack Rogers and the Lincoln Center has provided the school with a conduit to outstanding programming and an opportunity for our students, faculty, and staff to be a part of an outstanding chamber music series.”

With each passing year, the Classical Convergence Concert Series’ reputation becomes more entrenched throughout the city. Tickets sell out quickly, word spreads, and there is great anticipation around subsequent season announcements.

BLACK VIOLIN

SATURDAY, SEPTEMBER 30, 7:30 P.M. FORT COLLINS LINCOLN CENTER

CANADIAN BRASS

FRIDAY, JANUARY 19, 7:30 P.M. FORT COLLINS LINCOLN CENTER

Two classically trained violinists – along with

Hailed as the “Kings of Brass,” this quintet

their band, featuring turntable whiz DJ SPS

has performed in virtually every major

– blend classical, hip-hop, rock, R&B, and

concert hall in the world. Displaying a full

bluegrass into a groundbreaking signature

stylistic range from Baroque to Dixieland and

sound. Black Violin‘s collaborations with P.

contemporary compositions, their virtuosity

Diddy, Tom Petty, Aerosmith, Aretha Franklin,

is served up with trademark audience-

and The Eagles attest to their genre-bending

engaging light-hearted banter.

prowess.

$30+/regular, $15/Big Deal, $15/student

$28+/regular, $15/Big Deal, $15/student

RE-IMAGINING SONDHEIM FROM THE PIANO TUESDAY, APRIL 17, 7:30 P.M., ORGAN RECITAL HALL, UCA

Liaisons, conceived and performed by acclaimed concert pianist Anthony de Mare, brings together the world’s foremost contemporary composers, crossing multiple musical genres, to "re-imagine" Stephen Sondheim’s songs as solo piano pieces. $20+/regular, $10/student

SHUFFLE

TUESDAY, OCTOBER 24, 7:30 P.M. ORGAN RECITAL HALL, UCA

MONDAY, MARCH 5, 7:30 P.M. GRIFFIN CONCERT HALL, UCA Delivering the unexpected, SHUFFLE allows

This ‘genre-independent’ string quartet

audiences to choose the programming

pushes traditional boundaries by showcasing

from a range of more than 30 works

new music and supporting emerging

in a variety of styles and genres for an

composers, featuring works that range

engaging, high-energy performance.

from the classical canon to jazz, and often

$23+/regular, $10/student

including open-form improvisation. $20+/regular, $10/student

BORROMEO STRING QUARTET WITH SPECIAL GUEST JOEL BACON, ORGAN

MORGENSTERN TRIO

TUESDAY, NOVEMBER 14, 7:30 P.M. ORGAN RECITAL HALL, UCA Named after the famed poet Christian Morgenstern, this German piano trio has been praised for their “unanimity, polished technique and musical imagination” by The

FRIDAY, MARCH 23, 7:30 P.M., Organ Recital Hall, UCA The Borromeo String Quartet is joined

by Organ Professor Dr. Joel Bacon for an extraordinary concert celebrating the 50th anniversary of Colorado State University’s renowned Casavant Organ. $20+/regular, $10/student

$20+/regular, $10/student Ticket prices vary by performance, and are available online at www.lctix.com or by calling (970) 221-6730

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PUBLIQUARTET

Washington Post.

ANTHONY DE MARE: LIAISONS

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VISUAL ARTS

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CIIPE: 20TH Biennial Colorado International Invitational Poster Exhibition The 20th biennial Colorado International Invitational Poster Exhibition – the only exhibition of its kind in North America featuring the world’s top poster artists and designers – returns to Colorado State University this fall.

The 20th anniversary CIIPE begins with a lecture at the University Center for the Arts by honor laureates Joe Scorsone and Alice Drueding, whose work will be shown in the Gregory Allicar Museum of Art. The main opening for CIIPE, hosted by the Department of Art and Art History, is Sept. 22 in the Lory Student Center’s Curfman Gallery and the Visual Arts Building, where posters are on display until early Nov. “Since 1979, the goal of this show has been to expose CSU and the surrounding community to these leading international designers,” said CIIPE co-director and coordinator Jason Frazier, assistant professor of graphic design. “The 20th exhibition is sure to have continued impact.”

CIIPE SCHEDULE AND LOCATIONS CIIPE Honor Laureates: Joe Scorsone and Alice Drueding Exhibition: Sept. 20 – Dec. 15, Works on Paper Gallery Gregory Allicar Museum of Art, UCA Visiting Artist Lecture: Wednesday, Sept. 20, 5-6 p.m.

Organ Recital Hall, UCA

CIIPE Human Rights Panel Thursday, Sept. 21, 5 p.m., Robert W. Hoffert Learning Center Gregory Allicar Museum of Art, UCA Speakers: Silvia Canetto, Department of Psychology and CSU faculty guests join Alice Drueding and Joe Scorsone

(TOP) Where Is My Vote?, Erin Wright (BOTTOM) Gift From the Earth, Toyotsugu Itoh

CIIPE Main Exhibition Sept. 22 – Nov. 3 Curfman Gallery, Lory Student Center and Hatton Gallery Visual Arts Building

ADDITIONAL DETAILS ABOUT CIIPE – the 20th Colorado International Invitational Poster Exhibition: CIIPE remains the only international poster exhibition of its kind in the United States and one of a growing number of similar exhibitions in the world. First organized in 1979 by the Colorado State University (CSU) Department of Art and Art History’s highly regarded graphic design unit, the exhibition brings outstanding examples of international poster design to an American audience by inviting

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CIIPE Main Exhibition Opening Night Friday, Sept. 22, 6-9 p.m.

Social Hour: 6 p.m., Lory Student Center Theatre Comments and Ribbon Cutting: 7 p.m., Lory Student Center Theatre and Curfman Gallery, LSC Exhibition Hours: 7-9 p.m., Curfman Gallery, Lory Student Center and Hatton Gallery, Visual Arts Building Posters and an exhibition retrospective will be available for sale at the opening.

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(LEFT) Child Marriage (RIGHT) Greed Joe Scorsone and Alice Drueding

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entries from distinguished poster artists around the world.

In addition to the work of a selected Honor Laureate (this year, a couple) that is highlighted, each biennial exhibition features 140 posters created by more than 70 artists from about 25 countries. Each artist submits two copies of up to two posters, resulting in exhibitions approaching 200 posters. One copy of the poster is exhibited and sold, while the other copy becomes a part of the International Poster Collection in the CSU Libraries. With the variety of subjects, viewpoints, and techniques that the posters represent, both the exhibition and the collection are excellent sources of education, enlightenment, and enjoyment.

CIIPE HONOR LAUREATES: The 2017 Colorado International Invitational Poster Exhibition (CIIPE) Honor Laureates, Joe Scorsone and Alice Drueding, have been designing posters together since 1986. Scorsone received his B.F.A. from The University of Buffalo and M.F.A. from The University of Illinois, both in graphic design. Drueding has a degree in art history and in graphic design from Brown University, and a degree in graphic design from Temple University. They are both currently professors emeritus at the Tyler School of Art at Temple University. Recipients of numerous awards, included in more than a dozen publica-

tions, and exhibited around the world, they are best known for their advocacy and support of pressing issues of the day. Typical subjects of their work include public health, environment protection, human rights, and free speech. With a clarity of ideas presented through compelling designs, often using humor to provide access to difficult issues, Scorsone and Drueding draw attention to their causes while frequently raising funds for them as well.

PICTURING HUMAN RIGHTS PANEL: CIIPE Honor Laureates, Joe Scorsone and Alice Drueding, are best known for their poster designs promoting social causes, including public health, environment protection, women’s rights, and free speech. This panel discussion will examine how the visual arts can help bring attention to human rights, informing people’s thoughts on these critical issues and enacting positive change. Moderated by Lindsey Nielsen, of ACT Human Rights Film Festival, discussants include the artists Alice Drueding and Joe Scorsone; and Silvia Canetto, Professor of Psychology of Gender, Psychology of Women in the CSU Psychology Department; Caridad Souza, Director of the Center for Women’s Studies and Gender Studies at CSU.

ALICE DRUEDING JOHN SCORSONE Wednesday SEPT 20, 2017 5 P.M. FREE

Organ Recital Hall University Center for the Arts

(970) 491-1989 | artmuseum.colostate.edu Tuesday-Saturday, 10 a.m. - 6 p.m.

Thursday Open Until 7:30 p.m.

Joe Scorsone and Alice Drueding have been designing posters together since 1986. Their work has appeared in many international publications and exhibitions, has received numerous awards, and is in permanent collections around the world. The two are honored as judges and laureates for the 20th anniversary of the Colorado International Invitational Poster Exhibition. The artists are known for creating compelling posters based on critical topical issues including social justice, human rights, and human impacts on the environment.

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ARTIST TALK

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PANEL

PICTURING HUMAN RIGHTS Thursday SEPT 21, 2017 5:30 P.M. FREE

CIIPE Honor Laureates, Joe Scorsone and Alice Drueding, are best known for their poster designs promoting social causes, including public health, environment protection, women’s rights, and free speech. This panel discussion will examine how the visual arts can help bring attention to human rights, informing people’s thoughts on these critical issues and enacting positive change.

Robert W. Hoffert Learning Center GREGORY ALLICAR MUSEUM OF ART University Center for the Arts

(970) 491-1989 | artmuseum.colostate.edu Tuesday-Saturday, 10 a.m. - 6 p.m.

Thursday Open Until 7:30 p.m.

Presented in partnership with ACT Human Rights Film Festival

S E R I E S

C O N C E R T

CSU FACU LTY VI O LA

TIM BURNS CSU FACU LTY PIAN O ORGAN RECITAL HALL

7:30 P.M. / SEPT. 18

CSU FACU LTY PERCUSSI O N

GRIFFIN CONCERT HALL 7:30 P.M. / SEPT. 18

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FACUTLY VOICE: FOREST GREENOUGH

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Music For Life and Why It Matters in Business AN INTERVIEW WITH LOCAL BASSIST, ARTS ADVOCATE, AND ENTREPRENEUR CHRIS KAY

BY FOREST GREENOUGH

Forest Greenough: When did you first start playing music?

Chris Kay: I started with violin when I was in first or second grade—my mother’s side of the family is the musical side of the family. My grandmother was a concert pianist and my grandfather played viola for the Houston Symphony and Trombone…before he also decided later on that he was a better businessman than an instrumentalist. So, I had exposure to that. I played violin, but never really practiced very much. In junior high I played trombone…still had my braces on but I was “always supposed to get them off within the next semester,” but when that didn’t happen I was like “I can’t do this anymore, that hurts too much!” I had bought a (electric) bass in ninth grade, because I thought it would be cool and chicks would dig it (laughs)…get in a rock band…and never really practiced. But, I signed up for the jazz band when I was a junior in high school. Mr. McDaniel, Jim McDaniel—he says I can call him that

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s the double bass professor at Colorado State University, it is very common for me to receive inquiries from local residents about bass lessons for their son or daughter—but every now and then, an adult learner from the community will contact me seeking lessons themselves. Sometimes the goal is perhaps just getting back into playing music again, or maybe wanting a little guidance on how they can continue to improve as a performing amateur/hobbyist, or perhaps even work to transition from hobbyist to music professional. Around a decade or so ago, early in my teaching career at CSU, I received an email from Chris Kay, a local bassist whom I would later learn to be a successful Fort Collins businessman and entrepreneur, and he was wanting to get back into playing the double bass again after a good deal of time away. Over the years of getting to know Chris through various events and some of the discussions we’ve had, I realized he had some great insight into why music training is so important, even for those who ultimately go on to different careers. With arts advocacy and the value of music training both in the public schools and higher education often being a hotly debated topic, his insight as a business professional is both timely and relevant. Chris and I sat down back in the spring for a wide-ranging conversation about these topics.

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(Jim) now, but it is still always very difficult! I still vividly remember him looking at my playing that very first day, shaking his head and saying, “we’re gonna have to do something different!”

Something snapped inside of me, because Mr. McDaniel was one of those teachers that you didn’t want to disappoint. So, I went home and practiced two hours that day! And that year I was All-City bassist in Dallas. Both of my years with the jazz band, they wouldn’t even nominate anyone else for “most dedicated” …the marching band would go to play at the football games, and they would lock me up in the practice room while they were gone. So they’d be gone for three hours and I’d practice, and they’d come back after the game and we’d all go out and have pizza and pop.

FG: How did you decide to pick up the upright bass (double bass)?

CK: So, I played electric bass as a junior, and then I decided, “I need to do more... electric bass isn’t enough!”

So, I decided I would pick up the upright bass, and I joined the orchestra and started learning… I had been gradually increasing my practice time to three or four hours a day. I was the featured soloist at my high school baccalaureate.

FG: That’s funny because that’s really similar to how I started bass. I was a saxophone player, and my band director said, “You’re gonna play bass,” and I said, “But I don’t play bass!” and he said, “We’ll, you’re gonna

learn!” He was also one of those guys that you always wanted to work for because he had a way of motivating people, and you didn’t want to disappoint him.

CK: Exactly!

FG: So who would you say has been most influential?

CK: Mr. McDaniel is the only teacher of any that I still keep in touch with to this day, but my orchestra conductors I always thought made me work and not slack off. When I started practicing (my musical influences were) Stanley Clarke and Jaco Pastorius on electric and Gary Karr (on double bass), so those are my three idols. I got to see Stanley multiple times and Gary once. Incredibly impressive, inspiring musicians… I thought, “now I want to work even more. I have to at least see if I can touch that.”

FG: What was your university experience?

CK: I auditioned at University of Texas at Arlington for jazz band and symphony. While I don’t remember the symphonic audition, I remember the jazz audition VERY well! Mr. Snodgrass was the director, and you walk in, he’s very pleasant…he says, “so, you ready?” He has the music turned over, and I say “yep,” so he turns the music over, and, “one, two, one two three four!” And of course it’s not just in C major, it has five or seven flats and chord changes galore. I did

alright, as I did get a partial jazz and classical scholarship to UTA, so felt pretty motivated from there.

FG: So, that brings me to a question about the difference between a state school like CSU and a conservatory.

Generally speaking, the bassists and other music students here tend to be very supportive of each other, and often have diverse skill sets, with a double major and/or a music minor being more common. Older students do a great job mentoring and just giving support and advice to the younger students. Conservatory students tend to be very focused on singular skills (like getting an orchestra job) due to curricular requirements, and also since they don’t have the option to pursue another major, for example.

CK: Well, I don’t have conservatory experience, but I do believe that the support aspect is very important. I recite now—my kids will say too many times—a Wall Street Journal article that’s probably ten years old now, that says, “the CEOs of most Fortune 500 companies come from state schools.” Why? Because they had to pay for it. So, you don’t have to go to an Ivy League school or a conservatory. If you’re paying for it, you’re going to work. Just in business, I’ve gotten lots of great, A+ people out of Colorado State. Having that collaborative aspect [is important], because in business, if you’ve been raised in a strictly competitive environment, and if you're too used to not being collaborative, how are you going to

learn to play together if you feel it is a zero-sum game? I don’t believe it ever is. I believe in business, and any good ensemble, you’ve got to work together. I was working with HP at the printed circuit shop in Germany… blue collar guys, assembling printed circuit boards. They had no supervisor, but they worked harder than any group in the United States who had supervisors, because they were all a self-managed team and you would not let down your buddies…they would call you on it! “Hey, we’re not carrying your slack!”

CK: So, [music] is a leadership discipline. You are encouraging others

— A n t o n

Sep.29 OPENING

FG: So, a major struggle for us in the arts these days is making sure that music doesn’t solely exist just as a support network for other areas.

While music clearly develops great

C h e k h o v ’ s

skills that carry to other disciplines and this is very beneficial obviously, we seem to be losing the intrinsic value of music in and of itself. I’m wondering what your thoughts are not only as a benefactor of the arts, but also as a performer and as a businessman. How does it play a role for you as opposed to someone who is playing music full time?

CK: Well, I absolutely believe that having an outlet for the creative side is important. Business can be very rote and repetitive. I also believe that most jobs require levels of creativity.

What does music teach you? It helps you to express your thoughts—you’ve got to understand the intention of the composer, what you are supposed to bring out. I believe there’s a large crossover there to success in busi-

C l a s s i c —

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FG: How do you feel music training plays a role in collaboration and skill building?

through your own behaviors. Even if [students] are never going to be another Gary Karr, which most of us are not going to be, if you’re still getting the maximum you can get out of it and you’re enjoying the process and building your character along the way, as well as having a good time and enjoying the music that comes out—to me that’s a valuable life lesson. Learning the appropriate way to approach the instrument, the appropriate way to approach your job, what are the essential processes, etc… if you work, opportunities will present themselves.

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ness. I believe my strategic thinking, creativity, and other aspects are all enhanced by my music. I also think just on a personal level, it’s a way to stay sane. If I was just doing the business stuff all day long—there are many times I’ve been doing it all day, and it’s time to go to practice, and I think, “I don’t want to go, I’m too tired.” And every single time, by the time we hit the first note, it’s like “whew, I’m so glad I’m here!” because all the stuff of the day is just washed away. So, one aspect is that it’s a way to stay healthy, but I also believe that it greatly expands your ability to be creative because you are creating music. People talk about “are we as innovative as we were?” or “are we losing creativity?” Well, I really believe that is because people are not participating in the arts as much.

FG: Are there any other challenging aspects we face in highlighting the importance of arts education from your vantage point?

CK: I think too many times in the U.S. we don’t see a direct causal link between how investment in the arts leads to a more well-rounded person who’s more creative and can be more successful. How do you measure that? But, you look at many successful entrepreneurs, engineers, and others, and they play some instrument.

They have some musical or artistic endeavor. To me, that keeps them balanced. How do you ever assign a number to that? I think we try and make it, in one sense, too quantitative. We’re supposed to produce

well rounded human beings, it’s not just reading, writing, and arithmetic.

Those are all important and essential, but to me, you’re making a very shallow person if that’s all they have.

FG: So, it sounds like from your vantage point, even as someone who made their career in business, you would consider music and the arts in general as an essential skill?

CK: I think it’s essential.

FG: Many of my students at CSU are double majors or music minors. What advice would you give these students about pursuing a career in music as opposed to pursuing a career in some other field?

CK: My dad was terrified I was going to leave school and tour with a band, and I had the opportunity to do that, but I didn’t, because I thought, “it’s really risk mitigation.” I was enjoying what I was getting out of my music training there (at UTA)—I had only really been studying three years, and I didn’t feel quite ready, even though we were just playing rock ‘n’ roll and it would’ve been fine. But to really be an accomplished musician, I needed more training. So, one, for more training, but also for risk mitigation.

I recommend kids try things when they’re young—so, if you want to be a musician, go be a musician! Try it!

There’s nothing wrong with it. Try getting into a symphony. Now’s the time to do it! Don’t wait until after you have a car, and a house, and kids. You can’t do it, too many financial obliga-

tions. But, if you get another degree that you can fall back on if that dream doesn’t come to fruition, or at least doesn’t come to fruition how you would like it, then you have another set of skills that you can fall back on to get another job.

FG: Where do you think you’re headed with your music now?

CK: Where it’ll go, who knows. But bottom line is, it’s further enrichment and enjoyment. If I’m entering a different phase, and I'm not saying I am, meaning, “will I do another startup again?” I don’t know. But, if I’m not, golf is just not going to do it (laughs).

I’m crazy enough that I’d rather sit in the practice room and work my tush off and try out for the Fort Collins Symphony at some point! Who knows whether that will ever happen or not…

FG: All you know is that if you do nothing, then nothing will happen. When I was brand new at CSU, one of my high school students came in really frustrated with the piece she was playing.

I asked her, “How much did you work on this this week?” And she said, “Well, not at all.” And I said, “If you do nothing, then nothing will happen!” It sounded really asinine to even say that out loud, but it turned out to be one of the best pieces of advice I ever gave a student.

CK: But sometimes you need an independent person out there to say the asinine thing that you can’t see, because you’re too close to it. So for me, right now it’s just taking it to the next level. As long as I’m getting

good checkpoints on my journey, then it’s really just “how much do I want to work on it?”

FG: And that’s exactly the same for anyone on any level. I think sometimes, too, we expect a certain level of return…like if we put in X amount of time we will get directly back exactly X amount of benefit, but it doesn’t always work that way. There are many different curves involved in terms of the feedback we get from what we put into something, especially music.

CK: Especially music! There is a lot

FG: Right, and that’s a hard thing to see. I think that’s one of the things that younger students struggle with the most. You have to be patient with keeping up with your process and you will see returns. Sometimes you get so caught up in what you’re doing, you don’t realize how much progress you’ve made.

CK: And to me, if you’re a performing musician or not—that’s not the right metric. I believe the arts creates a more well-rounded person…one who can interact and integrate with his environment better than others can, and can be more successful both in relationships and in careers, than one can without it (the arts). Don’t you want that? Isn’t that really success vs. “I’m with the Dallas Symphony” or “I’m with the Chicago Symphony?” Yes, that’s obviously wonderful, but that can’t be the reality for everyone.

Known as a very diverse performer, Colorado State University bass and music theory professor DR. FOREST GREENOUGH has performed concerts and given clinics on four continents, and is a regular member of the Fort Collins Symphony, Principal Bass of the Steamboat Symphony Orchestra, Principal Bass of the Colorado Bach Ensemble, and has toured nationally with artists across the musical spectrum, ranging from Andrea Bocelli to indie rock bands.

As a chamber musician, composer, and proponent of the many different voices and roles of the double bass, he has received commissions and premiered many new works in many genres with his own groups, and performs with the Front Range Chamber Players. Also a jazz bassist, Dr. Greenough currently plays regular jazz engagements throughout Colo., and is also in demand nationally and internationally as a clinician, adjudicator, and pedagogue.

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of investment that goes in before you even get a lot of return.

CHRIS KAY is the former president and CEO of Integware, consultants and leaders in Product Lifecycle Management. Prior to joining Integware, Mr. Kay was a founder of three successful startup companies, and has held numerous roles in Research and Development, consulting, and IT. He spent 17 years with Hewlett-Packard in R&D and Product Data Management, and three years in PDM consulting where he was the Chief Architect to General Motors. Mr. Kay is also a co-inventor of multiple patents. Mr. Kay holds a Bachelor of Business Administration in Systems Analysis with a minor in music from the University of Texas at Arlington. He is a supporter and donor to several CSU programs, including music and athletics. He performs regularly in a Fort Collins Blues band and the Fort Collins/UC Health “Health and Wellness” Orchestra.

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

MAKE YOUR GIFT ONLINE TODAY AT

GIVETO.COLOSTATE.EDU/SMTD

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

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EXTERNAL RELATIONS

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By Tony Phifer CSU External Relations Jim Klett could have a negative attitude about having to uproot Colorado State University’s Plant Environmental Research Center (PERC) 36 years after he created the iconic garden “out of a patch of dirt” on West Lake Street at the southwestern corner of the main campus. Klett, though, sees the move to the northwest corner of the University Center for the Arts, at the corner of Pitkin and Remington streets, as a positive.

After all, when CSU’s Annual Trial Garden – another project overseen by the longtime professor of landscape horticulture, ornamentals, and nursery management – was moved from the same relatively obscure location on Lake Street to its current home in front of the UCA, it became one of the most-visited spots in Fort Collins.

“When we moved the Trial Garden it became much more visible and really brought a lot of positive attention to the program,” Klett said. “I’m hoping the change will have the same impact on PERC.” Moving PERC’s nearly 1,000 varieties of perennial plants was an enormous undertaking – a process that began last summer and wasn’t completed until November. The new on-campus stadium now occupies Klett’s “patch of dirt.”

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MORE VISIBLE LOCATION AT UCA COULD HAVE POSITIVE IMPACT ON PERC GARDEN RESEARCH

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The UCA garden is not only a much larger space, it also offers several improvements and amenities not available at the previous site. The garden includes raised and bermed plant beds, sitting walls, benches and gravel pathways. A water feature, an innovative trellis system, a large stone patio, and gazebo are also included. The herbaceous perennial and ornamental grass garden remains an important outdoor classroom for CSU students, faculty, and master gardeners.

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While there had been concern that some of the plants – all donated over the past three-plus decades – might suffer during relocation, early signs indicate that most are doing well.

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The addition of PERC inspired CSU and city officials to dub the area the CSU/Fort Collins Garden and Arts District. The exterior includes thousands of plants and outdoor sculptures, including CSU’s famous Campbell’s Tomato Soup Can by Andy Warhol.

Inside the UCA, visitors will find the Gregory Allicar Museum of Art and the Avenir Museum of Design and Merchandising, as well as a variety of performance venues.

“I’m very excited that PERC will be part of a really first-class presentation of gardens and the arts in Fort Collins,” Klett said. “It was hard to see something I created move but I’m very pleased with the project and think it will be a good thing for PERC moving forward.”

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CSU JAZZ ENSEMBLES GRIFFIN CONCERT HALL CSUARTSTICKETS.COM Youth (under 18) $3 CSU Students NO CHARGE Adults $14 Seniors (62+) $12

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SEPT. 28 / 7:30 P.M.

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At CSU, the School of Music, Theatre, and Dance is making it possible for more college students to continue playing their instruments after high school. As a land grant university, CSU’s mission has always been to engage students through quality education, and that is exactly the benefit being provided by non-auditioned instrumental and choral music ensembles on campus.

The Concert Band, Concert Orchestra, and University Chorus at CSU are open to all majors on campus and do not require an audition to be a member. Students in these ensembles come from various fields, such as biological sciences, business, engineering, computer sciences, English, political science, zoology, and music. Simply register and show up.

“The music professors want to get the message out to the massive number of students at our university who participated in high school music that they can get involved in our music-making community at CSU,” said Erik Johnson, assistant professor of music education and director of the Concert Band.

“This is a very important mission that we all share.”

A student who decided to continue making music during college is creative writing major Carolina Kronbauer, who began her college musical journey by checking out band classes in the course catalog, and ended up playing trumpet in the Concert Band and the CSU Marching Band.

As someone who learned to read music from an early age, Carolina has made music a life-long endeavor, playing in elementary school band and continuing through high school, simply because she enjoyed the experience. “I thought the class was so fun that sometimes I couldn't believe I was supposed to be there instead of doing something else like math or history.”

Carolina even remembers dreams about band class. “No joke!”

Band was “so magical and amazing to me that not even the dream realm could make it better…I also had a nightmare about not being able to do band once.”

During Carolina’s junior year, a life-changing event made band even more essential. “When my dad passed away…I realized how much I really needed it. Band grounded me, gave me something to look forward to, gave me amazing people to be around, it just gave me so much. I have no idea how I would've gotten through that without it,” she explained. “I needed to do band and music in college. It wasn’t optional.”

For Carolina, the shift to college was very hard, even beyond the grief she was still feeling about her father, and once again, band helped her through a transition. “In a way, band keeps me sane, and it keeps me fulfilled,” she stated.

Carolina went on to, reveal an additional element that complicated her Freshman year. “As a person with synesthesia, my life has always been full of colors,” she said about the sensory condition where the stimulation of one sense, such as hearing or sight, triggers a sensory association. “People's names, personality, feelings, words, music, smells, even the overall atmosphere of an environment has a color,” describes Carolina.

“Most of my life has always been surrounded by a happy yellow, but when my dad passed away, over half of the colors I used to see vanished, probably due to me sensing my own emotions.”

The change was devastating. “Imagine losing one of your favorite senses because you're grieving so much.”

“I will never be able to ever fully express my gratitude or repay the debt I feel, towards Concert Band, Dr. Johnson, and all the friends I made. They all made my colors come back, and I will never forget that.”

In reflecting on a year where she “met wonderful people, made wonderful friends, and performed for the wonderful director,” Carolina gives a “big shout-out to fellow trumpet players Michael Poland, Drew Guyor, Jake Isaacs, Bryan Mckinstry, and Joe Joe McLoughlin; graduate student conductors Sebastian and Andrew, who were awesome; and to Dr. Johnston too!”

SOMETHING FOR EVERYONE The Concert Band is an exciting and dynamic group of more than 100 musicians. The group performs a variety of quality traditional and contemporary wind and percussion literature.

The ensemble meets Wednesdays and Fridays from 4:15 to 5:45 p.m. and is directed by Dr. Erik Johnson.

Contact: e.johnson@colostate.edu

Contact: leslie2.stewart@colostate.edu

While both the band and orchestra are non-auditioned groups, students need prior experience to participate (i.e. high school band or previous private study). Once students are registered, chair placement playing tests help create the best possible educational experience. Students do not need to own an instrument; many of them are available to rent.

Choral groups at CSU are also a great choice for staying involved in music. With more than 100 singers, the University Chorus is the largest choir on campus, performing a variety of music spanning history, culture, and language, including Renaissance madrigals, classical works, jazz tunes, world music, spirituals, and contemporary pieces. Rehearsals are on Tuesdays and Thursdays from 5:30 to 7 p.m.

Contact: james.kim@colostate.edu

For more information about the music ensembles mentioned in this story, as well as CSU’s auditioned ensembles, visit music.colostate.edu.

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As her time in Concert Band unfolded, Carolina had a pivotal moment. “For the first time in two years, I saw yellow again. I cried when I realized that my dear, dear yellow had returned.

And slowly, throughout the semester, all of my colors returned.”

The highly collaborative Concert Orchestra is a passionate ensemble of 30 string players who perform with CSU choral, wind, and percussion students and faculty on exciting and rewarding programs. The ensemble, which is also open to CSU faculty and staff, meets on Mondays and Fridays from 1 to 2:30 p.m. and is directed by Leslie Stewart.

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AVENIR MUSEUM

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HIGH-FASHION CAFTANS ON DISPLAY Moroccan caftans the focus of new Avenir Museum exhibit CHRISTIAN KNOLL, CSU EXTERNAL RELATIONS

“In the last 20 years, the fashion caftan industry has exploded in Morocco,” said Wells, an Avenir Museum volunteer.

HIGH-FASHION CAFTANS

The exhibit describes a caftan as a loose, T-shaped garment. Although caftans have been worn by both men and women throughout history, today, they are primarily worn by women. Since the turn of the 21st century, high-fashion caftans have gained in popularity for women in the Kingdom of Morocco.

Distinguishing haute couture caftans from traditional dress form is fairly straight-forward. Traditional caftans are simple and are less decorated than haute couture caftans, which are often elaborately embellished with ornate embroidery and precious stones. These caftans, made of rich fabrics and highly decorated, typically reflect the wearer’s class and status and are often deemed more valuable.

INTERACTIVE EXHIBITION

The exhibit allows visitors to do more than just view upscale caftans; there are also interactive components. For example, visitors can use small magnifying lenses to

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What happens when traditional attire meets high fashion? The Colorado State University Avenir Museum of Design and Merchandising examines this question in “The Allure of the Moroccan Caftan.” The exhibition, curated by Marcella Wells, showcases how caftans — a traditional form of dress in many Middle Eastern and European countries — are being adopted into the haute couture (high fashion) scene in Morocco. The collection on view is on loan from Fort Collins businesswoman and Moroccan traveler Mary Biggers.

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closely inspect the various threads, embellishments and stitch patterns on some of the caftans, and they can try on a number of caftans made available specifically for that purpose.

White Caftan Visitors can also feel sabra silk, the extremely soft but strong plant-derived silk used to embroider many caftans. Biggers and Wells believe this level of interactivity creates a deeper level of appreciation for and understanding of the design and ornamentation of Moroccan caftans.

However, there is more than meets the eye when it comes to caftan haute couture, particularly in understanding how Morocco strives to honor its past traditions (particularly related to this form of apparel) while at the same time be responsive to global and cultural trends.

In this aspect, “The Allure of the Moroccan Caftan” underscores the Avenir Museum’s mission to exhibit textiles and apparel from global cultures, examining how they are made and what they mean to us all. In fact, of the 20,000 objects of historic clothing and textiles in the Avenir Museum collection, about half are non-Western, meaning they come from countries other than the United States or Europe.

NOV. 16 LECTURE

“The Allure of the Moroccan Caftan” is a free, fun and educational experience for all to visit. The exhibition is currently open and will run until Dec. 15. An informative talk presented by Wells on Nov. 16 at 7 p.m. will feature more about the contrast of tradition and high fashion trends in Morocco’s evolving haute couture industry.

The exhibition was made possible, in part, through a grant from the Lilla B. Morgan Memorial Endowment, which works to enhance the cultural development and atmosphere for the arts at Colorado State University, as well as by the State Farm Companies Foundation Good Neighbor Grant Program. For more information about the exhibit, and to plan your visit, see the Avenir Museum website.

The Avenir Museum is part of the Department of Design and Merchandising in CSU’s College of Health and Human Sciences.

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Greetings from Fort Collins!

We’re excited to announce the 2017 Alumni Marching Band as part of CSU’s Homecoming and Family Weekend on October 13-14! We hope that you’ll join us for the first Alumni Marching Band in the new on-campus stadium, as we bring together members from throughout our 117-year history. Reconnect with friends, meet others who have shared in the CSU Marching Band experience, and dust off your chops as we play, spin, or just cheer together for our Ram team. It’s going to be a historic season, and we’re excited for you to be part of it!

Go Rams!

Dr. Rebecca Phillips Dr. Richard Frey Director of Bands Associate Director of Bands

2017 Alumni Marching Band Schedule (Tentative) Friday, Oct. 13 ƿƿ ƿƿ ƿƿ

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Festival on the Oval - 3:30 p.m.

CSU Homecoming & Family Weekend Parade - 4:30 p.m.

Friday Night Lights: Pep Rally, Bonfire, Fireworks & Lighting of the A, Campus West Lawn - 6 p.m.

Alumni Band Hot Spot: The Mayor of Old Town, 632 S. Mason - 8 p.m.

Stay updated on the latest Alumni Band Reunion news at Bands.colostate.edu and by joining the Facebook event

Saturday, Oct. 14 (times TBD) ƿƿ

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Registration and Alumni Band meal and rehearsal at the University Center for the Arts, located at 1400 Remington St. Meet in the Instrumental Rehearsal Hall where you'll receive your t-shirt, instrument if needed, and flip folder. If you ordered your ticket through the Alumni Band registration promo, then your ticket will be distributed to you at this time.

Playing rehearsal begins w/Dr. Frey and Dr. Phillips.

Rehearsal with CSU Marching Band RamWalk, tailgate, etc.

Pregame show Homecoming Football Game Halftime Postgame

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FACUTLY VOICE: JOHN PIPPEN

BY JOHN PIPPEN, Assistant Professor of Musicology

Photo by Andrew Robles

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Such conversations have remained a subject of curiosity for me. In my research, I routinely conduct taped interviews, but these can’t capture or exemplify all the interesting conversations I have had while doing my fieldwork. Many times, detailed conversations about aesthetics and labor came about naturally while walking around town or during a chance meeting. I couldn’t always prepare for such an encounter, and when I have attempted to solicit negative reviews during more formal interviews, the results are

frequently stale or intensely private. How do we critique each other’s work? What is at stake in such a conversation?

How do our relationships mediate our critical perspectives?

What happens when someone you respect does work you don’t like? I want to consider these questions with regard to both printed and spoken reviews of concerts. By looking at how we speak about these issues, we can begin to see how musicians move back and forth between ostensibly social and aesthetic concerns, and demonstrate how these two areas are deeply interwoven domains.

As I’ve attempted to formulate what it is that interests me about these conversations, I’ve turned to anthropological research on gossip. It’s not that every response to “What do you think?” constitutes gossip, but sometimes it does, and it can be hard to tell the difference. (I know, I know, the adage about only saying it if you would say it in front of someone, but the fact is some people are more open to criticism than others. I didn’t always have a strong relationship with the criticized or the criticizer, and presumption is riskier than abstention.) Since the 1950s, researchers such as Erving Goffman have argued that intimate conversations often have as much of a theatrical “staged” quality as public discussions.

We shape our conversation to its context. Even noted by

This article was originally published by NewMusicBox, an online magazine offering indepth artist interviews, industry analysis, and multimedia coverage of new music. It is reprinted here with permission.

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couple of years ago I attended a concert that included a piece by the composer Fred LaMar (a pseudonym).

After several months of fieldwork in the Chicago New Music scene, I had recently become fixated on asking a simple question: what do you think? I would ask this of fellow concert-goers and whenever an acquaintance knew the piece I was interested in, so I was eager to hear people’s reactions to LaMar’s work. After this show, a respected performer responded to my question by asking, “You’re not a friend of Fred LaMar, are you?” I was not, and we engaged in a detailed discussion of what she saw as the piece’s failings, as well as other aspects of the performance she didn’t like.

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Indeed, this type of construction— a critique

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delivered after

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an expression of support—has, for me, become almost cliché.

ethnomusicologist Henry Kingsbury. In his book based on ethnographic research in an elite music conservatory, Kingsbury described the question “What did you think of the Beethoven?” as a way to judge not only the talent of Beethoven and his performers, but of the speakers. More recently, Niko Besnier has argued that gossip is crucial to understanding the make-up of a given community, arguing that “exclusion from gossip is one of the primary means through which groups define outsider status.” Gossip, he argues in his book Gossip and the Everyday Production of Politics, is central to “how people construct and maintain a sense of localness.” Viewed with a sense of community in mind, “What do you think?” can serve to announce our relationships with the musicians in question. It can locate us in relationship to the broader community, as having more or less insight or talent (a la Kingsbury), or as being a trusted confidant (as in Besnier). Responding to “What did you think of the Reich?” with “I just don’t like music with so little melody” could risk placing you outside the community, in opposition to widely accepted views. In contrast, a more nuanced response, “I think Reich’s music stopped being good about seventeen years ago” might have the opposite effect. Your response also varies according to your place. Maybe you really don’t like music with the kinds of melodies Reich employs, but you don’t want to say so in front of the wrong people. Giving your opinion of melody is thus an intimation, a sign that you trust your interlocutor to keep your confidence.

In my fieldwork and interviews, “What do you think?” provided many people with an opportunity for expressing support. When I asked people what they thought, opinions were often given with various caveats or protective phrases such as, “First of all, I generally think Rebecca is a fantastic soloist and a great musician. But …” Many of the people I spoke with in the Chicago scene and elsewhere were eager to demonstrate their respect for the work required to produce a given performance. At each point in the conversation, interlocutors attempted to ascertain the rationale for the work in question. Why did this performance happen here in this way by these performers? Often, more intensely negative opinions appeared with more caveats, especially when disparaging respected figures. Indeed, this type of construction—a critique delivered after an expression of support—has, for me, become almost cliché. I encounter it frequently in press reviews of the groups I study. Eighth Blackbird is routinely praised for excellent performances while the same writer will deride the piece performed (check out Anne Midgette’s 2016 review of Eighth Blackbird’s “Ghostlight” program for a good example).

Sometimes, such constructions emerged after especially damning criticisms. In a recent concert review for Cacophony magazine, for example, Jen Hill took the vocal ensemble Quince and composer Luis Fernando Amaya to task, writing: The concert began with a conservative program […] that relied on simplistic subtlety in terms of purpose and approach, in that any possibility of risk or consequence was masked by a metaphorical (and at one point, very real) veil of restraint. [This performance] objectifies the female bodies on stage and makes a theatrical mess of an otherwise pleasant listening experience.

yeah!

CSU Students can attend any music, theatre, or dance performance*

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HEY, DON’T FORGET!

No need to return to Jennifer Higdon’s On a Wire, a listenable but inconsequential concerto written for eighth blackbird. They gathered around the Steinway at the beginning of the piece and the end, bowing and striking the piano strings to pleasant effect.

In the comments posted to the Cacophony review, Hill responded to critics, “i have great respect for all performers and composers and staff involved in this festival and have no intention of passing judgement on their skill, commitment, or character.”

And yet judgment was passed on the work, a move that at least raises some questions about character, especially when criticism includes accusations of misogyny.

Why support those we criticize? Or the reverse, why criticize those we support? Why do many of us feel the need to suss out works and our opinions? I posed this question to a friend, who responded, “Because it’ll make the work better. All this stuff involves innovating, trying to do something different.”

In new music, it can be hard to know when somebody’s on to

something or when we’re just excited for someone. Sometimes the distinction doesn’t matter, but often it does. There’s a point, I think, where your honest opinion matters more than your friend’s feelings. The opposite is also true, as was demonstrated to me repeatedly in fieldwork. “What do you think?” was rarely a simple question in the new music scenes I’ve studied. Especially when forming new relationships, as I did over and over again in the course of my fieldwork, sharing critical perspectives helped me engender a sense of trust and openness. Finding people who shared my critical views enhanced our relationship, and I needed those relationships for my work. When I could be honest with someone, I was able to have richer conversations, to open up, and—most importantly—to relax and stop analyzing everything I was doing while I was doing it. It helped make the long hours feel less like an intrusion and more like a shared experience.

Critiques and gossip both illustrate that, at least for the people I have worked with, new music is a rather contingent endeavor.

An artist’s status, veracity, and execution were often points of debate. Even a group as successful as Eighth Blackbird ultimately risks a lot when they undertake a project. Groups with a larger budget and full-time employees cannot afford to fail in the same way that the part-time Ensemble Dal Niente can. This is

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That word “pleasant” recalls other back-handed compliments I’ve read over the years. Take, for example, this scorcher from a 2011 Eighth Blackbird concert review:

*RAMCard is your ticket to the UCA! Full-fee paying students (enrolled in six or more credits) can receive one (1) no-charge ticket to all music, theatre, and dance department events at the UCA. Tickets are available in-person at the UCA Ticket Office, both in advance or at-the-door. A valid RAMCard must be presented for ticket redemption. Tickets are limited to one (1) per student for each performance/series of performances (i.e. multiple theatre or dance performances of the same show). Space is limited and available on a first come, first served basis. Excludes Classical Convergence and community produced events.

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New music is a culture that tends to romanticize risk, and I think we ought to push back on that romanticizing. important to remember amidst all the hyperbole around entrepreneurship. New music is a culture that tends to romanticize risk, and I think we ought to push back on that romanticizing. For all its aesthetic innovation, new music remains a job for many people. For every successful endeavor, there are more failures. As I became aware of this contingency, “What do you think?” became an increasingly high-stakes question. A consensus of failure had the potential to be a truly devastating realization, especially when a project cost a lot of money and involved multiple donors.

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Attending to this type of talk complicates how we support each other. It demonstrates that negative feedback relies on a sense of trust and implicit support, as has been noted by Ellen McSweeney in an essay titled “Can a Concert Review be an Act of Love?”:

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I’ve realized that for me, writing about other people’s artistic work is actually an act of service.

More than that: it is an act of love... when I look back at my best concert reviews, I can see their devotional qualities. I never wrote about music that I didn’t like, or didn’t care about. Thus, my music writing is an expression of the fact that I really see this artist, that I believe in this artist, and that I want to shine a light on what this artist offers the world. And when I called out Chicago new music sexism, or Beethoven Festival dysfunction, or an unexamined trope in Amy Beth Kirsten’s work, it was much like the process of telling a close friend that they’re wrong.

I don’t think I love everybody I talk about, but I do care about most of them. When I don’t care about something, I tend to talk about it very little (though when I really hate something, I might talk about it more).

One last thing about “What do you think?”: The levels of mediation I have outlined here demonstrate how much the people I’ve worked with rely on each other. The scene is small, or at least it is felt to be small. “What did you think?” is thus usefully combined with that other ubiquitous question in new music, “Do you know so-and-so?” To return to my opening example, I wonder what would have happened if I had been a friend of Fred LaMar. How would my conversation have been different? I think three counter questions would shape my reaction to another’s criticism of my imaginary friend’s piece. First, what did I think? This question often takes me a long time to figure out, and can change after I have a good talk with another listener. Second, who am I speaking with? The answer to this question determines how honest I can afford to be. Finally, did my interlocutor acknowledge in some way the work required to produce the work?

Determining the qualities of a piece of music of almost any kind remains deeply social for me and for many others. Most of us, I think, arrive at our opinions in dialogue with our friends, acquaintances, colleagues, and critics. Sharing our experience of music goes a long way to shaping our experience of that music. Even when we think something is bad, talking about it can still feel really good.

Photo by Clem Onojeghuo

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CHAMPION AN ARTIST

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By Shannon Dale Assistant Director of Development for the College of Liberal Arts

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“In high school, I didn’t want to get my hopes up. I knew my family couldn’t afford to help me pay for my college education and I wasn’t sure I was going to be able to go,” shares Zuri Kargbo, now a rising junior double majoring in music performance and music education at Colorado State University.

Kargbo, a talented bassist, who performed in the prestigious All-State Orchestra and Western State Orchestra in high school, was passionate about music from an early age. Choosing bass in middle school, Kargbo loves the ability to truly express herself through her music. During a difficult transition from homeschooling to a public high school, she found comfort in the music and guidance from a special Boulder High School orchestra teacher, Dr. Mason.

Dr. Mason introduced Kargbo to scholarship programs to support her private lessons and introduced her to opportunities at Colorado State University for aspiring musicians.

As high school senior, Kargbo participated in CSU’s Trying on Teaching program, where she acted as a high school assistant and was inspired to teach. Meeting associate professor of music education, Dr. Erik Johnson, and exploring the CSU campus solidified her dream to one day attend CSU. However, even after years of intensive musical training, Kargbo was uncertain about her future.

“I couldn’t pay for my education and was worried about the burden of student debt,” explains Kargbo.

Then she received the Champion an Artist Scholarship, a four-year award that supports young musicians, artists, and scholars throughout their entire college career. The scholarship made it possible for Kargbo to attend CSU. The scholarship was established through the generosity of longtime CSU supporter, Marla Trumper. Through lunch visits and post-performance chats, Kargbo has built a special relationship with her donor. “I received an additional gift in getting to know someone has kind as Marla. She cares how I’m doing and that I’m succeeding during my time at CSU,” shares Kargbo.

Zuri Kargbo and Marla Trumper

“I appreciate the opportunity to be involved in Zuri’s experience at CSU. Seeing her arrive as a timid freshman and grow each year in confidence and excelling in her artistry warms my heart. She really is my champion artist,” shares Trumper.

Kargbo has taken advantage of her college experience, participating in the University Symphony Orchestra, the CSU Sinfonia, and in the pit for the opera. Inspired by the generosity of her scholarship donor and the significant impact that music had on her formative years, Kargbo now pays it forward teaching the next generation of musicians as a bass sectional leader for the CSU Trying on Teaching program.

“I am happy to be part of Zuri’s ability to pursue her passion, knowing her intention to pay it forward by teaching a new generations of musicians. She will continue to pass on the gift of music to others,” says Trumper.

The aspiring music teacher and performer embodies the spirit of giving back, mentoring younger CSU students and acting as the president of the American String Teachers Association student chapter.

“Being here at CSU, thanks to the Champion an Artist Scholarship, has made me develop as a more comfortable, confident person. I’m so thankful for this opportunity,” says Kargbo.

Interested in learning how you can make an impact on aspiring performers and artists through the Champion an Artist Scholarship? Visit smtd.colostate.edu/giving/champion-an-artist

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“I am happy to be part of Zuri’s ability to pursue her passion, knowing her intention to pay it forward by teaching a new generations of musicians. She will continue to pass on the gift of music to others” — MARLA TRUMPER

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EVERY GOOD BOY DESERVES FAVOR:

An Important Collaboration Between the Past and Present

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BY JENNIFER CLARY JACOBS And I’ll tell it and think it and speak it and breathe it And reflect it from the mountain so all souls can see it Then I’ll stand on the ocean until I start sinkin’ But I’ll know my song well before I start singin’ And it’s a hard, it’s a hard, it’s a hard, it’s a hard It’s a hard rain’s a-gonna fall ~Bob Dylan

The collaboration between CSU Theatre and the University Symphony Orchestra University, with performances on Sept. 21-22, is the brilliant effort between composer Andre Previn and the fecund playwright Tom Stoppard. Not often produced due to the challenge of staging a play requiring a full orchestra, the production is conducted

by Maestro Wes Kenney and directed by Dr. Eric Prince.

The story, set in the still repressive post-Cold-War period of the 1970s and 80s, concerns dissident Alexander Ivanov; imprisoned in a Soviet mental hospital, he will not be released until admitting that his statements against the government were caused by a (non-existent) mental disorder. The play satirizes the Soviet practice of treating political dissidence as mental illness.

In the hospital/asylum, he shares a cell with a genuinely disturbed schizophrenic, also called Ivanov, who believes to have an orchestra under his command. and its title will be recognized as the classic mnemonic used by music students to remember the notes on the lines of the treble clef.

CSU Theatre Professor Eric Prince is not one to live in the past, but as he talks about the upcoming production, he inserts notable recollections that make the reprise of the unique play more poignant.

The original presentation at the university was not only a celebration of the opening of the Griffin Concert Hall and the arrival of Maestro Kenney at CSU, but was selected to coincide with Mikhail Gorbachev’s Montfort Lecture at Colorado State University

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Although it was nearly twelve years ago that the School of Music, Theatre, and Dance performed Every Good Boy Deserves Favor by Tom Stoppard, it is just as relevant today, and perhaps even more.

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Wes Kenney and Eric Prince, “back in the day”

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in April of 2005. The former Soviet leader, who won the Nobel Peace Prize in 1990 for his role in ending the Cold War, spoke passionately about putting “the priorities of all mankind” above those of individual nations (Montfort Excellence Fund website).

“It’s a very simple point that he’s making,” says Prince about Stoppard’s short, modest narrative about freedom. “Many courageous dissenters were held in terrible conditions and some died. Stoppard’s point, and I agree, is that It is a human right to dissent and have a different opinion than your government. It doesn’t mean that you aren’t patriotic. Having Mr. Gorbachev on-campus at the time was momentous.”

When asked about the upcoming production, Maestro Kenney also reflected on the reprisal in the context of Gorbachev’s visit “The world has changed dramatically since our last production 12 years ago and perhaps not always for the better. Mikhail Gorbachev was speaking on our campus at that time, a figure whose profound impact on the world order I suspect has been forgotten by many. Still the opportunity to once again collaborate with my colleague Eric Prince is one that I welcome.”

Even with the serious message and political overtones, Every Good Boy Deserves Favor (EGBDF) is wonderfully entertaining

and funny. Prince describes the satire as short and tight, incredibly gripping, and very witty. “It’s so brilliant,” says Prince brightly. “The fun and games start with the two prisoners having the same name and one imagining that he is world-famous conductor.” Of course, there is no orchestra outside of his head, but the audience sees what the prisoner is imagining.

The play cleverly combines theatre and music much differently than musical theatre, or a play with accompaniment. “This is a unique coming together of orchestra and actors, and there isn’t any other production like it. Plus, Wes Kenney is an amazing conductor,” exclaims Prince. “It’s very special!”

Although there are essentially two directors, each has their own responsibilities describes Prince about the rehearsal process.

“You know, Wes just concentrates on the music…we both worry about our own art forms and it all joins together.”

With the orchestra and actors rehearsing separately, the moment the two groups finally come together is memorable for everyone.

“When we came together last time, the actors just couldn’t believe it,” recalls Prince. “It sent shivers up their spines to be surrounded by 80 musicians, so close and all around – wow, was it powerful and exciting!”

Perhaps the most unusual aspect of staging EGBDF is that the orchestra and its conductor are not only musicians, but are considered part of the cast. “You never forget that the orchestra is there,” explains Prince. “But the actors have to ignore the orchestra – no spoilers, that is all part of the fun of watching this!”

“We mustn’t forget that the orchestra didn’t have its own stage until 2005, and theatre’s space in Johnson Hall was originally a ballroom and the acoustics were difficult.” Prince is proud of how far the School of Music, Theatre, and Dance has come since those days. “The production value and the standards of what we do are immeasurably better and stronger,” he states. “The new students won’t know the difference – artistically, we’re so much stronger – they’ll just think it’s great!

“There has been a lot of generosity from the community and donors. This was an abandoned building, and it came together as a really important space to the community,” he adds.

WHEN YOU CHAMPION A STUDENT IN THE VISUAL AND PERFORMING ARTS, YOU CHAMPION THAT STUDENT’S DREAMS AND ASPIRATIONS OF A CAREER IN THE VAST AND GROWING FIELD KNOWN AS THE CREATIVE INDUSTRIES. The Champion an Artist Scholarship program provides meaningful tuition support throughout a student's arts education. This powerful gift recruits the best and brightest talent to Colorado State University.

Your support allows gifted students to pursue artistic and academic excellence.

Champion an artist today by visiting smtd.colostate.edu/giving or call (970) 491-3558

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In looking back at photos from the 2005 production, Prince feels nostalgic.

“The rest of building wasn’t even open – it was in bricks and plaster and being built.” With the impending ten-year anniversary of the University Center for the Arts opening in its entirety, Prince and Kenney are excited about the reprise as there is much to celebrate and much to remember about a facility that is a delight and a privilege to have.

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“If we don’t respect human rights, we are on a dark slope where our freedoms can be taken forever. Not every generation in America knows this type of fear, but what’s going on in the news, in its own gentle way, warns us of the dangers of going down the wrong path and taking away rights. That’s why this play still remains relevant and critical.”

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And although Prince and Kenney are observing the school’s accomplishments, the irony of the play’s relevancy looms larger for the professors than ever before. “As this thoughtful piece that was born out of an oppressed society shows us, history tends to repeat,” says Kenney. “Thus it should be no surprise that the circumstances by which this play takes it cues is as timely now as it was when it was created.”

To put additional context around that statement, Prince tells two stories and reflects on a favorite song.

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Prince met playwright Tom Stoppard at the University of Leeds in 2007 on the occasion of Harold Pinter receiving an honorary doctorate from the institution. Close friends, Pinter and Stoppard are regarded as the most satirical and political writers of the 20th century from British theatre.

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As a component of the conference, Stoppard directed the Belarus Free Theatre in one of Pinter’s works. At the time, two of their actors were under house arrest in Belarus, and, like in EGBDF, they were dissidents, using theatre to argue against attempts by Russia to reclaim post-Soviet free states. As a continual activist and promoter of eastern European freedom, Stoppard was promoting a special campaign on the two actors’ behalf.

Prince, who was at the conference to present a paper, happened to meet Stoppard on the way to Belarus Free Theatre’s presentation. “We were walking down a lane together to the performance and I mentioned having done Every Good Boy to him. He was chain smoking all the way down the road and it felt nice just to tell him about it.”

When the two got to the theatre, they found that Pinter had been delayed, and Stoppard asked Prince to “hold down the fort” by introducing the actors and conducting a talk back.

“Luckily a translator was present because the actors didn’t speak English. I was improvising and asking questions from the company and the audience about this volatile situation and it became a highly-charged discussion.” Prince felt honored to be asked to do this by the author who has spent his life dedicated to human rights.

The second story recalls a reaction to the 2005 production of EGBDF at the UCA. Dr. Prince received a letter from a group of Russian women conveying how the events in the play were all too real to them. “One of the women…her kids were on their way to school and they were stopped by the secret police and taken off the street and interrogated,” Prince recalls.

“Another lost her husband and one her bother.” Prince was so “knocked out” by the letter that he met with them and will never forget when they shared that they had left Russia because America was “a place of freedom, a place to escape, and a place to dream.”

In recalling these incidents, Prince becomes adamant. “If we don’t respect human rights, we are on a dark slope where our freedoms can be taken forever. Not every generation in America knows this type of fear.”

Prince interjects a line from Bob Dylan’s “A Hard Rain’s A-Gonna Fall,” a song that remains impactful to him. “And I’ll tell it, and think it, and speak it, and breathe it…” As a young man, Dylan was inspired at the time of the Cuban Missile crisis to write this famous songs of warning, about missiles falling down like rain. “Even now with North Korea’s actions in the news, it remains a song of chilling prescience. So much of the news, in its own gentle way, warns us of the dangers of going down the wrong path and taking away rights. That’s why this play still remains relevant and critical.”

Prince shakes his head and wonders if he should have gone there, but finds joy in thinking about the play itself. “The protagonist is steadfast, and Stoppard plays an amusing and witty joke that I won’t give away, but the audience will find it wonderful. It will be a special evening, especially for anyone who loves orchestral music or drama, with an incredible surprise!”

It seems Every Good Boy Deserves Favor is one of those rare creatures: a purely entertaining and artistic evening where the politics are so gently and ironically integrated that no one is arguing about it!

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Xerxes an opera seria by George Frideric Handel

OPENING

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OCT. 26

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SEPTEMBER MUSIC PERFORMANCES AND WORKSHOPS Music in the Museum Series / John Seesholtz, Baritone / FREE Guest Artist Concert / John Fadial, Violin / FREE Virtuoso Series Concert / Shilo Stroman, Percussion Virtuoso Series Concert / Margaret Miller, Viola Guest Artist Concert / Payton MacDonald, Percussion / FREE University Symphony Orchestra Concert with CSU Theatre Voice Area Recital / FREE Jazz Ensembles Concert Guest Artist Concert / Joel Becktell, Cello / FREE Classical Convergence Concert / Black Violin

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

September 12, noon and 6 p.m.

September 13, 7:30 p.m.

September 18, 7:30 p.m.

September 18, 7:30 p.m.

September 21, 6:00 p.m.

September 21, 22, 7:30 p.m.

September 26, 7:30 p.m.

September 28, 7:30 p.m.

September 29, 7:30 p.m.

September 30, 7:30 p.m.

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

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

Learn more at 1stnationalbank.com/CSU

Member FDIC

residing in New York City. College cultivated her artistic desire for choreography, leading to numerous pieces selected for CSU department concerts, a commissioned piece for the Aspen Dance Connection in 2007, and the chance to present a piece at the American College Dance Association Conference that same year. Inspired by the opportunities NYC had to offer, Andrea moved to the city upon graduation. While simultaneously working in fashion PR, Andrea danced in Eyes of a Blue Dog Dance Theater, performing at Association of Performing Arts Professionals, Dance Theater Workshop, and Jacob’s Pillow ‘Inside Out’ Series. Recently she’s performed with entertainer Robert Taylor Jr. from season eight of So You Think You Can Dance, was a featured dancer in the off-off Broadway show Chris March’s Butt-Cracker Suite: A Trailer Park Ballet, and toured extensively both internationally and domestically with Mystic India: The World Tour. Currently she performs, co-directs, and choreographs for the nightlife cabaret spectacle: Guilty Pleasures Cabaret, at the renowned Duplex Cabaret Theater.

Charles Drage, 1965, B.S. Social Science

I played trumpet in the CSU concert band, the pep band, and in the Statesmen Jazz Band for all four years of college under the direction of Dr. Otto Werner. Upon graduation, I went to Air Force flight school, then served five years as an Air Force pilot. I am now retired from American Airlines and live with my wife of 50 years, Carol Jaffee Drage, in Evergreen, Colo.

MacKenzie Sutphin, 2014, B.M. Music Linda Gooch, 1969, B.S. Food Science and Nutrition I used my Food Science de-

gree as director of food service for the Moffat County School District from 1972-1978. I also was the food service director for the Moffat County jail from 1990-1991. Since 1978, I have had numerous jobs, primarily in customer service areas and clerical positions. My love of community theatre was inspired by a CSU Extension project in 1975; we began the celebration of the bi-centennial year with a community production of The Unsinkable Molly Brown. This was the beginning of what became Boomtown Players, a registered 501(c)3 non-profit theatre production company. I have been involved in community theatres in Colo., Idaho, and Texas since that time. Community theatre quickly became my passion and has been a work of love, not only as a performer, but I have also gained so much satisfaction as a director, watching the performers grow and gain confidence in themselves through each performance. I have been blessed to make many new friendships, literally nationwide, through the networking opportunities of state and national festivals. Community theatre IS America’s theatre! It is many times the first and sometimes only exposure to live performance that people, young and old, are able to experience.

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

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Andrea Palesh, 2008, B.S. Apparel and Merchandising is a Colo. native currently

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MUSIC IN THE MUSEUM

The Gregory Allicar Museum of Art and the School of Music, Theatre, and Dance are entering a second season of the collaborative visual and auditory experience, Music in the Museum Concert Series.

The corresponding Crossing Communities exhibition features a variety of ceramic pots from 27 cultures and 17 countries to showcase their beautifully distinct styles, while highlighting the visceral experience of brewing, storing, and serving beer across the African continent and its parallels with our own beer culture in northern Colorado.

The series explores the cross-fertilization between music and the visual arts, with performances by CSU Music faculty and brief historic background given by faculty from the Department of Art and Art History and the School of Music, Theatre and Dance.

Music in the Museum concerts are held in the Gregory Allicar Museum of Art located within the University Center for the Arts, at 1400 Remington Street. The concerts are FREE, but reservations are required due to limited seating. artmuseum.colostate.edu

Why do we so often separate and differentiate visual and performing arts? In this series music is performed against the backdrop of works of art ranging from Renaissance and Baroque paintings and sculpture to expressions by contemporary artists from around the globe. Patrons are invited to holistically absorb the power of music and the visual arts and the relationships between them through these unique presentations.

UPCOMING MUSIC IN THE MUSEUM CONCERTS

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MUSIC IN THE MUSEUM CONCERT SERIES

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FALL CONCERT #1 This fall, the series launches on Tuesday, Sept. 12 at 12 p.m. and 6 p.m. as CSU voice professor Dr. John Seesholtz, baritone is joined in the Griffin Foundation Gallery by other faculty artists and Dr. Dave Riep, the current exhibition curator of the exhibition, Crossing Communities: Beer Culture Across Africa.

The program features Dr. Seesholtz and six CSU music students, including Alex Young, Anna Bonjour, Natalie Simpson, Arika Drake, Emily Gehman, and Jonathan Wilson performing African music selections.

The Program Singabahambayo, South African Freedom Song (Zulu) Abiyoyo, South African Folk Song (Lullaby) Siyahama, South African Freedom Song (Zulu) Arr. CM Freedom Is Coming, edited by Anders Nyberg

FALL CONCERT #2 Tuesday, October 10, 12 p.m. and 6 p.m., Dialogues with Power Gallery Featuring CSU oboe professor Andrew Jacobson, joined by student members of the It Could Be Anything ensemble, and Annie Krieg, instructor of Art History.

FALL CONCERT #3 Tuesday, November 14, 12 p.m. and 6 p.m., Approaching Nature Gallery Featuring Stewart and Sheron Golden Chair of Organ and Liturgical Studies Dr. Joel Bacon performing on harpsichord, joined by other CSU faculty artists, and Dr. Emily Moore, assistant professor of Art History.

MUSEUM HOURS AND INFORMATION 10 a.m. - 6 p.m., Tuesday-Saturday University Center for the Arts, 1400 Remington St., Fort Collins, CO 80523 Phone (970) 491-1989 | Fax (970) 492-4027 Closed all University holidays and fall, winter, and spring breaks.

Originally at Colorado State University’s art museum in Fall 2015, Scrimmage: Football in American Art from the Civil War to the Present, is a seventy-eight-piece exhibition examining the quintessentially American sport of football. The exhibition was organized and curated

by Linny Frickman, the recently retired director of the Gregory Allicar Museum of Art at CSU, and Danielle Knapp McCosh, associate curator at the Jordan Schnitzer Museum of Art at the University of Oregon.

The exhibition will be on display in Canton Ohio, the birthplace of the NFL in 1920, through Oct. 29.

The idea for Scrimmage germinated in 2012 as debate over CSU’s on-campus stadium heated up, prompting Frickman to delve into the relationship between art and

sport. She quickly discovered that prominent American artists had pictured aspects of football and the public culture surrounding the sport, yet historical research of the topical genre did not exist.

THEME WORK The exhibition is not a history of football per se, as it presents perspectives central to the past 150 years of American life and culture. The popular exhibition, with works by fifty-three artists, including Winslow Homer, Frederic Remington, Ernie Barnes, Norman Rockwell, Robert Rauschenberg, Andy Warhol, Shaun Leonardo, and Colorado artist Monique Crine, is thematically categorized to examine issues such as class, race, gender, physical athleticism and violence, fandom, and celebrity.

Frickman is fascinated about the potential for deep dialogue in a location where pure adulation of the sport is central. “Canton is a city museum, but connected to this larger history, and the way it will resonate there is different than anywhere else,” she said. “Taking on the history of football, not just in a celebratory way, but taking it on in a very serious way is commendable.”

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unning back Terrell Davis wasn’t the only visitor from the state of Colorado in Canton Ohio in early Aug. As the Denver Broncos’ all-time leading rusher was enshrined in the Pro Football Hall of Fame, the Gregory Allicar Museum of Art’s original exhibition, “Scrimmage,” opened at the Canton Museum of Art on Aug. 1.

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As the exhibition has moved locations, the original curatorial didactics detailing each work have been retained, however, the architecture of each venue dictated some variation in the display. “I made many suggestions about how the works fit within the themes,” explained Frickman about packaging the exhibition for display at other museums. “Ultimately, the collection is flexible, and it’s been interesting to see some different choices about how to represent the themes.”

THE ROLE OF MUSEUMS IN ACADEMIA

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Lynn Boland, the new director and chief curator of the Gregory Allicar Museum of Art believes Scrimmage’s themes represent a curatorial approach that academic museums are equipped to do best.

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“It is a remarkable example of how university museums can foster social dialogue that resonates with a broad public, exploring our shared cultural history in a way that is both intellectually rigorous and accessible,” he said.

It is not a coincidence that Frickman’s reflections echo Boland’s statement as the Scrimmage curator is perhaps most satisfied about the academic process employed in the holistic development of the exhibition. “Not only is this what art museums should do, but what academics should do,” stated Frickman. “Academic museums are perfectly poised to work in an interdisciplinary way, and looking back, Scrimmage was a great model for pulling in experts and contributions from across the university.”

Scrimmage, and the presentation of its myriad themes, would not have realized continued success without the cross-disciplinary contributions from the College of Liberal Arts.

Frickman’s team included Dr. Albert Bimper, assistant professor and senior associate athletics director for Diversity, Inclusion, and Engagement, Dr. Robert Gudmestad, associate professor of history, Dr. Nancy Jianakoplos, professor of economics, Dr. Emily Moore, professor of art history, Gary Huibregtse, professor of photo image making. “I’m so thankful,” Frickman added.

COMMITTED TO THE MODEL As with Scrimmage, the Gregory Allicar Museum of Art is committed to curating exhibitions tied to relevant social issues, cultural dimensions, and the facilitation of ensuing discussions. “We won’t always do social issue art, but we need to return to it and open up the dialogue,” said Boland.

The museum’s upcoming Critic and Artist Residency Series, featuring environmental artist David Brook’s case study on fracking in Weld County, Colo., mirrors the Scrimmage model. The exhibition grew out of an Art and the Environment class fieldtrip (lead by Brooks) to hydro fracturing pad sites in proximity to homes, schools, churches, and playgrounds. And, much like Scrimmage, related exhibition events draw on CSU faculty research and resources, including lectures, class visits, and a panel discussion with scientists, health professionals, and industry experts.

“Once again, we are allowing art to open up a dialogue on issues that matter,” said Boland. “In some ways, art can do it better than language because it’s a productive type of ambiguity. Language is wonderful, but can pin you down, where art can spark a multitude of perspectives around a single piece.”

THE LEGACY OF SCRIMMAGE Scrimmage’s appeal to art enthusiasts and sports fans alike continues to expand as widespread national media attention erupted during the exhibition’s opening; more than 230 outlets, including the New York Times, ESPN, CNN, and USA Today picked up Dake Kang’s Associated Press story about the acclaimed exhibition’s final stop.

According to a press release from the Canton Art Museum, Scrimmage “will allow audiences to discover and explore football and art in a community steeped in both.”

And as long as that exploration prompts further discussion, Scrimmage’s legacy will be complete.

COLORADO CLARINET DAY

⊲⊲ WORKSHOPS & CLINICS ⊲⊲ COLORADO ARTISTS RECITAL ⊲⊲ VENDORS & PRODUCT DISPLAYS ⊲⊲ CLARINET CHOIR FOR ALL PARTICIPANTS

ALL ACCESS PASS: $25 - payment received by Sept. 25 $35 - payment received Sept. 26 - Oct. 7 For Registration and Schedule visit:

music.colostate.edu/colorado-clarinet-day

GUEST ARTIST

MARK NUCCIO SATURDAY OCTOBER 7, 2017

hosted by Dr. Wesley Ferreira and COLORADO STATE UNIVERSITY

Colorado Clarinet Day 2017 presented by BUFFET CRAMPON and COLORADO STATE UNIVERSITY SCHOOL OF MUSIC, THEATRE, AND DANCE

Festival Partner Level

Festival Contributor Level

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⊲⊲ EVENING RECITAL FEATURING WORLD RENOWNED CLARINETIST MARK NUCCIO & PIANIST WENDY CHEN

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DESIGN: NATHAN YOUNG, 2017 / NATHANYOUNG.DESIGN

THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS

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Nov.9 Apr.28

OPENING

dance

concert

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