3rd Edition College of Arts & Media Magazine, Fall 2021
Dr. Ronald E. Shields, Dean College of Arts & Media
THE CREATIVE TEAM Editor Weslie Gray Contributing Writers Katy Belanger Dr. Kevin Clifton Dr. Barbra A. Kaminska Julia May Jackie Swan Layout & Design Ashley Defrancis Jonathan de Guzman Amanda Saucedo Photography Madison Barbosa Kazai Drew Contributors noted in captions
CAM SOCIAL Like or follow us on social media to stay upto-date with what’s happening at CAM! For questions or concerns, contact us at marketing@shsu.edu @shsucam @shsu_cam
WE’RE BACK
@shsucam SHSU College of Arts & Media
We’re delighted to welcome our students, faculty, staff, and patrons back into our facilities, galleries, and performance halls. The College of Arts and Media is comprised of five academic units: the Departments of Art, Dance, Mass Communication, Theatre and Musical Theatre, and the School of Music. These areas represent our college vision and what we strive to be: Creative, Active, and Meaningful. As our CAM community prepares for an academic year filled with live performances and face-to-face collaboration, we encourage you to connect with us on social media where we will keep you updated on our event schedule as well as other important CAM news and highlights. Thank you for your continued support!
Board of Regents The Texas State University System Brian McCall, Chancellor Charlie Amato, Chairman, San Antonio Duke Austin, First Vice Chairman, Houston Garry Crain, Second Vice Chairman, The Hills Sheila Faske, Regent, Rose City Dionicio (Don) Flores, Regent, El Paso Nicki Harle, Regent, Baird Stephen Lee, Regent, Beaumont William F. Scott, Regent, Nederland Alan L. Tinsley, Regent, Madisonville Camile Settegast, Student Regent, Horseshoe Bay
Throughout this digital magazine, you will find interactive content. We invite you to explore and engage to learn more about our stories.
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Charting the Afriscape of Leon County, Texas
Dance Alumna Puts Best Foot Forward In Career Development
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FEARLESS. Boxing, Filmmaking, and the American Dream
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Mario Aschauer, 83 Diabelli Variations
Once on This Island A Musical
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Letter from the Dean
School of Music
Department of Art
Department of Theatre & Musical Theatre
Department of Dance
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Department of Mass Communication
CAM Donors 2 | CAM Magazine, Fall 2021
A LETTER FROM THE DEAN This issue of CAM Magazine, our third, illustrates why the College of Arts & Media can best be described as creative, active, and meaningful. In these pages you will see contributions of applied academic excellence, including outstanding CAM faculty sharing recent scholarship that captures the excitement and originality of our academic programs and reflects the excellence of faculty research and creative activity across the college. Their research and creative work has been circulated in national and international forums, publications, and recital halls. Additionally, you will see notable CAM alumni take the spotlight in professional theatres, influential academic
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settings, contemporary gallery and private collections, and as one of the leading new voices in national network journalism. We also celebrate highlights of student creative scholarship and performances throughout this past year. There is never a dull moment, and I admire how the members of our CAM community have prospered, even in times of adversity. The contents in this third edition of our CAM Magazine beautifully tell only a few of these creative/active/ meaningful stories. This publication illustrates and PERFORMS what “CAM” can mean (beyond the designation of our College name).
Thank you for your continued support of our students, faculty and staff, and the College of Arts & Media. Best,
Dr. Ronald E. Shields, Dean College of Arts & Media
COLLEGE OF ARTS & MEDIA CREATIVI TY Imagination in action.
VISION Learning together to advance arts & media for the benefit of our communities.
DR. MIA LONG ANDERSON The College of Arts & Media is delighted to welcome Dr. Mia Long Anderson as a new Associate Dean beginning Fall 2021. Dr. Anderson holds a Ph.D. in Mass Communication with an emphasis in Advertising & Public Relations from the University of Alabama, an M.S. in Communication with an emphasis in Broadcasting from the University of Tennessee, and an ABJ in Advertising and Minor in French from the University of Georgia. She has previously held the position of Graduate Program Director of the M.A. in Strategic Communication program at Azusa Pacific University and has demonstrated leadership in equity, diversity, and inclusion efforts at various institutions.
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A LETTER FROM DR. MIA LONG ANDERSON I am looking forward to working within the College of Arts & Media because of the college’s standard of academic excellence, its commitment to community service and service learning, and its robust program offerings. There is no question that the College of Arts & Media attracts and serves a talented and diverse group of students at the undergraduate and graduate levels because of these unique characteristics. It is my desire to complement and advance these attributes with my experience in curriculum development, graduate program leadership, student and alumni engagement, community partnerships, and diversity, equity, and inclusion initiatives. Recently, I served as a guest lecturer in a course where I was tasked with discussing communication and identity. In alignment with the chapter students had been assigned to read, I began the conversation by discussing the identities I found most salient in my life. I am an African American woman. I am a southerner. I am a scholar. It is through this lens that I process information—be it the news, a TEDx Talk, a PBS documentary, or the latest Super Bowl ad. It is also with these identities at the forefront that I have carried out my additional roles each day— as a faculty member, a graduate program director, a committee member, and a colleague. It is encouraging to see that the College of Arts & Media views diversity as a strength. I will take an active role in upholding and advancing the college’s diversity efforts to ensure a safe space for faculty, staff, students, and administrators. I see value in establishing and advancing partnerships within the college and across the university that work to promote inclusion among all members of the Bearkat community. It will also be important to me to engage with the greater Huntsville area through community service. I believe faculty, students and administrators should contribute to the community to which they belong. I am particularly interested in health and housing initiatives that serve racial minorities, women, and veterans in the community. In the end, I echo the sentiments of human resource professional Pat Wadors who said, “When we listen and celebrate what is both common and different, we become a wiser, more inclusive, and better organization.” That is my hope and the premise upon which I will contribute to the equity, diversity, and inclusivity initiatives of the College of Arts and Media & the Sam Houston State University community. Best regards, Mia Long Anderson, Associate Dean College of Arts & Media
COLLEGE OF ARTS & MEDIA
N E WS FE E D
@shsucam
Faculty member Trish Ramsay along with the Department of Biological Sciences received a grant from the Powell Foundation to support their STEAM project, expanding on her community service in local schools! #SHSUArt #STEAMproject
BFA student Paige Moore-Mitchell danced alongside 12 other seniors in Sculpted, a #SeniorStudio featuring the choreographic capstone works of the senior class! #SHSUDance
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SHSU College of Arts & Media -Award-winning author Dr. Nicole R. Fleetwood presented her book, Marking Time: Art in the Age of Mass Incarceration and accompanying exhibition, which examines the impact of the carceral state on contemporary art and culture. #SHSUArt #ArtHistory 7 | CAM Magazine, Fall 2021
Behind the scenes of our graduate student organization rehearsing for their stunning performance, Masters of Dance in the GPAC Dance Theater. ✨#SHSUDance
Multiplatform journalism major Jesus Martin has served as the CAM caucus chair for the Student Government Association. #SHSUMassComm #SHSUSGA
We were honored to welcome special guest artist Sylvia Thereza to host a masterclass for students as part of the Piano Spring Festival! #SHSUMusic
Directed by student Emmy Carys, Constellations by Nick Payne questioned the difference between choice and destiny as a play about free will, friendship, and quantum multiverse theory. 💫#SHSUTheatre #DirectorDebut
Music therapy major Hannah Mascorro served as an undergrad researcher for a national study on NICU nurses and how their use of voice affects the auditory needs of infants. #SHSUMusic #NICU
Directed by student Laurel Burrer, Town Hall by Caridad Svich followed four people living in the near future and tackled urgent questions about our relationship to the environment, to other humans, and to democracy. #SHSUTheatre #DirectorDebut
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--Public relations and advertising major Sarah Cate Jones was proud to serve as director of public relations for the SHSU chapter of the Public Relations Student Society of America, and intern for a media management company and global innovations company. #SHSUMassComm #PRSSA
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DEPARTMENT OF ART Located in a modern four-level, technology-enhanced complex, the Department of Art is home to several nationally recognized degrees. Students have access to contemporary digital labs and creative studios that refine critical skills for a competitive job market. The Department of Art is proud to facilitate exhibitions and activities that promote original thinking and support the local community.
DARYL HOWARD
Photos in this article are courtesy of Daryl Howard and GoDaddy
ART ALUMNA written by Julia May
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It may appear that Daryl Howard has been blessed with good karma, based on all the things that have happened to her in her career along the way. But it doesn’t take long to realize after spending some time with her that it has been her work ethic, her enthusiasm for her work, and her personality that have opened those proverbial doors for her. As she says, she just had to walk through them. Daryl focused on art throughout high school in San Antonio and chose to stay close to home at a state university. She researched art professors from all the state schools in Texas, and Sam Houston State came up very high on her list. “I had so many wonderful professors at Sam Houston who definitely influenced my career,” she said. One was Gaddis Geeslin. “I was offered a job teaching at Lamar Junior High in Bryan before I graduated. I did my student teaching there, and I happened upon 30 floor looms in storage that had never been used,” she said. “I told Mr. Geeslin about them, and he told me he would pull all the different looms that the college had, put me in the hallway outside of his office, and teach me how to use them so that I could teach my students at Lamar Junior High. I also got class credit. Now that would not have happened at any place other than Sam Houston State.” She also recalled having Ken Zonker as a great basic design instructor; Harry Ahysen, who was the State Artist of Texas in 1980 and 1981; Joseph Polley Paine as an amazing watercolor teacher; Charles Pebworth in sculpture; and Stanley Lea in printmaking. “These professors created a great foundation for upcoming artists to do anything we wanted to do, IF we paid attention and did what we needed to do,” she said. “They taught a solid foundation in art including basic design, color theory, technical use of materials, and developing one’s own path.” Daryl graduated in three years, married her high school sweetheart, and taught a year and a half in Bryan. On New Year’s Day in the middle of her second year of teaching, her husband, who had been in the Air Force ROTC while a student at Texas A&M, was assigned to Yakota Air Force Base in Japan for four years. It was an accompanied assignment, which meant that Daryl could go with him. They departed Texas three weeks later. “Talk about culture shock,” she said. “Until that time, the only country I had ever travelled to outside of the United States was Mexico.” Two weeks after they arrived in Japan, she and her officer husband, were at a reception where she met a collector of antique Japanese woodblock prints, Claude Holeman. When he found out that Daryl had a degree in art, he immediately extended an invitation to dinner the next week.
“While we were at his house, he unlocked a safe that contained over 900 17th, 18th, 19th, and 20th century Ukiyo-e woodcuts,” she said. By the end of the evening, she had gone through every one of them, had the combination to his safe, and a key to the front door. “My life changed,” she said. “I fell in love with those old pieces and felt an immediate connection to them.” Holeman was instrumental in Daryl’s knowledge of the antique Japanese woodblock print. On weekends they would go to Tokyo bookstores and antique shops, discovering stacks of these old prints and treasures at bargain basement prices. He taught her what a quality piece was and how to date them. She learned about foxing, staining, inking, and the kinds of color used, whether mineral, vegetal, or chemical. Holeman’s best friend was Dr. Richard Lane, a world authority on woodblock prints. He had lived in Kyoto for most of his life and had even helped James Michener in his writing of “The Floating World,” a book about Japanese prints of the Edo Period and the artists who produced them. “The Japanese did not consider woodblock prints fine art,” Daryl said. “They were for the everyday people and in the beginning, they were black and white, any size, and mainly used for religious purposes. Initially they were prints of Shinto gods and Buddhist deities and would hang in temples.” During this same time, Daryl was offered a high school art teaching job for the Department of Defense Schools. The following years she also taught both elementary and middle school art. After two years in Japan, she received an invitation to meet a master printmaker, Hodaka Yoshida. “Hodaka was the middle child of Hiroshi Yoshida, the founder of the shin-hanga printmaking movement,” she said. “I had no idea who the Yoshida family was, nor that they were the preeminent family of the Japanese woodblock print.” First, Daryl was asked to come into his home for tea. Then on the next visit, she was asked to bring her portfolio for preview. Hodaka actually wanted her to translate letters from international galleries into English. In exchange, she was invited to train privately one night a week. Daryl would teach art during the day, then go to his studio home to train in woodblock printmaking and help translate letters. While working with him, she met his mother Fujio, his brother Toshi, as well as other members of this generational printmaking family. “In 1975, my husband was reassigned to Bergstrom Air Force Base in Austin. Of course, moving back to the United States, I brought my collection of prints. I immediately tried to get a teaching job in Austin to no avail, so instead, I decided to enroll at the University of Texas and get my Master of Fine Arts degree,” she said.
She was allowed to specialize in Japanese printmaking, because one of her professors was Lee Chesney, whose primary field of interest was intaglio printmaking, and whose father taught intaglio at the University of Hawaii. He also taught traditional Japanese woodblock printmaking. After graduating with her MFA in 1977, she was hired to teach art in the Eanes ISD, one of the highest academically ranked school districts in the nation. During her second year of teaching, she received an invitation from the National Endowment of the Arts in Washington D.C. artist-in-residency grant program to teach woodblock printmaking in the Philippines for nine weeks. Daryl had not applied for this grant, but James McGrath, her former boss in Japan who oversaw the arts and humanities for the Department of Defense schools on the Pacific Rim, had applied for the grant—on her behalf. She would receive two more grants to the Philippines as well as Okinawa, thanks to James. When she came back from her third trip, she realized that she was making more money as an artist than a teacher, so she quit her job with Eanes ISD. Around this time, her marriage was in trouble as well. While Daryl was living in Japan, McGrath had brought in an artist-in-residence from the Hopi Indian Reservation named Charles Loloma, an internationally known Native American jeweler. “He had told me when he was in my classroom in Japan, that if I ever needed to get away, I could come to the Hopi Indian Reservation. The day I quit teaching art, I called Charles and told him I’m on my way.” Daryl loaded up her yellow Volkswagen van including everything from her studio and drove non-stop to the reservation in Arizona, where she lived for three months. “I had no electricity and no running water. I took a bath once a week in Charles’s bathtub, whether I needed it or not,” she said. “It was 105 to 112 degrees every day. I used a Coleman lantern after dark and a Coleman stove to boil my water after getting it from the community tank.” It was a life-changing experience for Daryl. She returned to Austin after those three months where she now lives “the perfect life,” she says. She re-married and she and her husband, Owen Kinney, live on a 50-acre
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ranch with Longhorns and Beefmaster cattle. She built a 7,000 square-foot pavilion for her private exhibits that floats like a giant Japanese lantern on the creek that runs through their property. Her studio was built in front of her home on the ranch. Daryl was in the process of pairing her collection of antique woodblock prints with the woodblock prints she has created, to show the influence of the antique prints on her own work, which amazed her. She was creating a traveling museum exhibit with these pairings and was beginning to approach museums for shows, which came to a screeching halt when Covid hit. During Covid, she also lost all her art shows. The Ronin Gallery in New York that represents her temporarily closed. She was exhibiting in eight or nine shows a year, which immediately dropped to none. Pre-Covid, she had previously presented workshops and lectures at the Dallas Museum of Art, but museums have been hit hard and
have not yet recovered. However, she is not slowing down one bit. She just finished the final edit on her third book, “Master Reflections: Stories Between the Stones,” which will be coming out later this year. She has hosted private exhibits on her ranch and constantly challenges herself to create new woodblock prints. She gives her parents credit for her amazing work ethic, and she has some advice for upcoming artists about it. “A lot of artists have to supplement their income in the beginning. I taught art in public school for 10 years and it was fabulous. Don’t shy away from doing a little of that. But also, you must produce, produce, and produce some more. Don’t stop making art. It should be foremost in your life. Do this and good things can’t help but come.”
“IF YOU ARE PASSIONATE ABOUT WHAT YOU ARE DOING, IF YOU FEEL THE FIRE IN YOUR GUT, FIGURE OUT A WAY TO FOLLOW YOUR DREAM.”
CLICK HERE TO LEARN MORE ABOUT DARYL
Photographs by Jamie Robertson This photobook was constructed by faculty member Jamie Robertson as an autobiographical examination of her family history. The Afriscape, a term coined by visual culture scholar Duane Deterville, is the cultural manifestation of Black life throughout the world. "As an artist, I am socialized in the visual culture and art history of the United States as well as the rest of the Western world. However, my own identity as an African American sits at an intersection of Africa and America. A marginalized space and sacred crossroads simultaneously,"
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said Robertson. "These stories and the images they conjure are the foundations of my work and the beginning of my understanding of the African retentions present within my family. Their collective memory of our Africanisms is a trace that serves as the beginning of reconciliation to ancestral concepts of place, time, and the sacred."
“MY OWN IDENTITY AS AN AFRICAN AMERICAN SITS AT AN INTERSECTION OF AFRICA AND AMERICA. A MARGINALIZED SPACE AND SACRED CROSSROADS SIMULTANEOUSLY.”
CLICK HERE TO VIEW THE FULL PHOTOBOOK
Stock after J. de Gheyn II, An Anatomical Dissection by Pieter Pauw in the Leiden Anatomical Theatre, 1615, London, Wellcome Institute, artwork in the public domain.
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How
Visual Arts Help Us Understand The
History of Medicine by Dr. Barbara A. Kaminska Assistant Professor of Art History
When in early spring 2020 people around the world found themselves in lockdown facing the grim reality of a pandemic, the internet exploded with comparisons between COVID-19 and historical outbreaks of contagious diseases. As scholars of the Middle Ages and the Renaissance rarely experience this kind of publicity, we certainly welcomed the sudden interest in our research. And although some images and accounts of past pandemics have been misinterpreted, visual arts can teach us a lot about historical approaches to disease, disability, and even physicians. Moreover, looking at these records, we soon realize that, in the words of the French author Jean-Baptiste Alphonse Karr, “the more things change, the more they stay the same.” Contrary to popular belief, a medieval and early modern hospital was not where one went to die. Although we find complaints sent to city councils about patients contracting a new illness during their hospital stay, many of those admitted recovered. Contracting another disease can be primarily attributed to practices that now make our skin crawl, such as placing two, three, or four patients together in one hospital bed, regardless of the nature of their afflictions. Hospitals such as Hôtel-Dieu in Beaune, just south of Dijon in present-day France, would not have
been as comfortable as a casual visitor nowadays may think. Not surprisingly, only the poor would ever opt for hospital treatment; the wealthy stayed at home and summoned a university-trained physician to treat an internal ailment or, if they were wounded or in need of a chirurgical intervention, a barber-surgeon. These professionals were not necessarily held in high esteem: a series of images first published in the 1580s in the Netherlands shows us how a gravely ill patient and his family initially consider the physician to be like God in his ability to save the sick man, but as the patient recovers, he begins to see his physician as a greedy and ignorant Devil and refuses to pay for his services. These images became so popular that the verses accompanying them were even written by the entrance to the anatomical theater in Leiden, teaching students to request their remuneration while the patient was still sick. This piece of advice is certainly reminiscent of the nowubiquitous signs “Co-Pay is due at the time of your visit.” Stereotypes about medical professionals were not the only bias harbored by medieval and early modern societies. Outbreaks have long inspired conspiracy theories, such as blaming a specific ethnic or religious group for intentionally spreading the disease. These rumors all too often led to tragic consequences, as in repeated pogroms
of Jews across Europe during the Black Death (13481350) and execution of foreigners during the epidemic of the bubonic plague in Milan in 1630. Victims of chronic diseases and people with visible disabilities were likewise often treated less than kindly. For example, a midsixteenth-century print published in Antwerp portraying several figures with mobility and visual impairments features the following inscription: “All who would gladly live by the blue beggar’s sack / Go mostly as cripples.” The verse summarizes a then-common sentiment that many people asking for alms feigned their disability because they wanted to avoid work. And yet, it was precisely this sentiment that inspired the creation of many charity institutions, such as orphanages and houses for the elderly and the blind. By supporting those institutions, benefactors could rest assured that their donations were adequately used to improve the lives of others in their community and paved the way to contemporary patterns of charitable assistance.
Photo by Lynn Lane
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DEPARTMENT OF DANCE The Department of Dance has consistently been recognized for outstanding choreography and performance at the John F. Kennedy Center for the Performing Arts. Located in the Gaertner Performing Arts Center, this department offers an intensive curriculum featuring a diverse guest artist series and access to a state-of-the-art dance theater, four studios, a dance technology lab, and a fully equipped Pilates studio.
SARAH M. BARRY
Photos in this article by Matthew Wood, Courtesy of Sarah M. Barry
DANCE ALUMNA written by Julia May
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Sarah M. Barry was a few states east of Texas when she chose Sam Houston State University for her undergraduate education. The Kentucky resident was attracted to the scope of training the university’s prestigious dance program offered.
on choreography, and really helping to prepare me for being a professor,” she said. “I had known for a good while that that’s eventually what I wanted to do. Even as an undergraduate at Sam I knew that eventually I wanted to teach in higher education.”
“Some colleges and universities focus heavily on either ballet or modern dance, but Sam Houston’s program felt equally weighted for ballet, modern and jazz,” she said. “Even though I was most interested in modern, I still wanted to train in a breadth of movement styles.”
“When you’re younger, you can take movement classes in a studio,” she said. “However, once you are exposed to history and choreography and the anatomy of the body and how it works–how all those things combine to make you a better performing artist, it puts you on a totally different level. Learning these things at Sam Houston really solidified my desire to continue to share that knowledge, to show how all these aspects of dance are related.”
She was also in the university’s honors program, and she appreciated the smaller class sizes that were available to both dance majors and honors students. “Between honors and dance, I fairly quickly had a close network of friends and colleagues who supported me through my degree,” she said. “My first two years in college, I lived in Spivey Hall, which was the honors residence hall at the time, and that also helped me get to know my classmates on a different level and build a community.” Sarah loved school, particularly the more “academic” dance classes because they exposed her to historical, cultural, and scientific information. One of her favorite classes was Labanotation, taught by Dan Phillips. “The class was fascinating, and Dr. Phillips inspired me to further pursue training and earn my teaching certification for the beginner levels of notation,” she said. “Labanotation is a form of movement notation with symbols to represent body shape, body parts, quality, timing, and spatial pathways of movement.” She also recalls doing an honors project on classical Indian dance in Dana Nicolay’s dance history course, which opened her eyes to movement forms beyond Western dance styles. “I really enjoyed choreography and appreciated that multiple professors taught the different levels so we could learn many different methods and techniques for making dances.” The demanding class, rehearsal and performance schedule didn’t leave much time for extracurricular activities, but Sarah was a member and later an officer with Chi Tau Epsilon, the dance honor society. Students in the organization helped with the “Dances at 8” performances, which helped them learn more of the behind-the-scenes elements for dance productions. After she graduated, she was in Houston for a year as a performer with the New Dance Group company while also teaching at a studio. She then moved to New York City for two and a half years. While there, she did some pickup work with different choreographers, some performing, and was able to present some of her work in showcase performances. She then decided to go to graduate school at the University of Utah in Salt Lake City for her MFA. At the time, the dance program was split into modern and ballet departments. “I was always a little more interested in modern/ contemporary dance, and I knew I would get lots of variety of contemporary movement training, really focusing in
Following graduation, Sarah taught ballet and modern dance at a community college in Salt Lake City while applying for full time tenure-track teaching jobs. When she got the call from the University of Alabama, she noticed that the school’s program had a lot of similarities to the dance program at Sam Houston. “They place an equal emphasis on different movement styles,” she said. “The job also offered the possibility to reach students who had different interests, because a lot of the students at the University of Alabama are double majors. They may be interested in dance and engineering, or dance and medicine, or dance and writing, or dance and film. It’s great to be here in this environment where students are encouraged to think broadly about dance and how all the other subjects can be intertwined with it.” Sarah has now been at the University of Alabama for 15 years and has served as chair of the Department of Theatre and Dance since the fall of 2019. “I had this new position, and then COVID hit,” she said. Her department got busy and researched the way the ventilation system operated and how many people could be in a certain space in the building at the same time. They developed a hybrid system so that half the students in the class could be taught in person on one day while the other half were Zooming in, then switch the next class day. They taped all their studios in ten-foot squares so that students could be dancing on a sprung dance floor instead of trying to dance in their dorm rooms or apartments on carpet with the possibility of hitting their furniture every time they moved. “Because we couldn’t have audiences or travel, we did a virtual season,” Sarah said. “Fortunately for us, we had hired a faculty member a while back to intentionally help us build our screen dance program.” For the last several years, the program has offered classes in making dance for film and partnered with students and professors from the School of Music to foster a collaborative process with other artists. “That partnership had an added bonus this year, because we were running into a lot of challenges with copyright issues regarding our online performances,” she said. “ The right’s process is different when you use music online versus when you pay to use music for X-number of performances with a live audience. We were very thankful to have those collaborations with our School of Music composers to help make that happen.”
The connection to the community is an integral part of the dance program at the University of Alabama, so the department found creative ways to interact. “We did master classes with high schools and studios, we shared recordings of some of our works, and then did a Zoom talk-back so we could still share ideas about how the piece was made or answer questions,” she said. “We didn’t just want to send a video to people; we wanted to make sure that there was some sort of live interaction that was part of it. So, we either conducted a Q&A at the end, or a Zoom workshop, a class, or a talk.” One of the projects that Sarah is most proud of is her creation of a 10-to-15-member student group named the Yonder Contemporary Dance Company. “It’s a year-long commitment for the students and everyone contributes either as makers or performers in a show with a concept that the group collaboratively selects. Some members choose only to perform, some choose to choreograph, and I am the artistic director,” she said. They work with students from the School of Music for original music for the 50-minute show. The students work on the show in the fall, and in the spring they tour it in the region. They learn about marketing, community engagement, becoming teaching artists, fundraising, and grant writing. “We connect with different theatres in different communities, and our students get to teach open community classes while we tour. We always do questions and answers after the show so that we can get feedback and make changes throughout the presentations,” she said. “It’s a project that embraces my passion to teach dancers ‘we are not just one dimensional’.” Sarah co-directs the show with her husband, Mark, who is also an SHSU graduate. Mark’s degree is in art with a minor in marketing, and he teaches the group about
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branding, creating and maintaining a website, and promotion through social media. The highlight of the year comes in August when the dance company travels to Scotland for the Edinburgh Fringe Festival, the largest performing arts festival in the world. “The festival showcases all types of performing events, and the city transforms into this innovative, magical place for the arts,” she said. “It’s a vibrant and inspiring atmosphere, and a wonderful place not only for our students to perform, but to also be exposed to so many artists from around the world and get new ideas for dance and theatre.” Sadly, Covid brought an end to the festival in 2020, and although there are plans to re-open in some kind of format in 2021, Sarah’s group is taking a break this year with plans to re-examine the touring and traveling guidelines in the fall of 2022. Sarah says that even now, she continues to be very appreciative of the training she received as an undergraduate. “The physical, creative and intellectual challenges and crossovers of dance were instilled in me at SHSU. I was encouraged and supported, given many leadership opportunities, and constantly challenged by my professors and peers,” she said. “I felt prepared for graduate school, its own unique challenging situation, and felt that my professors helped to guide me toward my passion and current job as a dance professor. “I have also been able to reach back and reconnect even after leaving SHSU, and now some of my peers are teaching in the program there, which is very exciting to me.”
WE ARE NOT JUST ONE DIMENSIONAL.
“there, again” by Sarah M. Barry
Photos in this article are courtesy of Shaté Hayes
DANCE ALUMNA
PUTS BEST FOOT FORWARD IN CAREER DEVELOPMENT written by Katy Belanger
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Sam Houston State University alumna Shaté Hayes (’14) is a content producer and educator, passionate about storytelling to strengthen career advancement, personal growth, and community empowerment. Since receiving her MFA in Dance, Hayes now serves as an educator, author, self-confidence booster, and founder of The Working Dancer, an online career resource for aspiring artists. Early in her dance career, she considered graduate school. After moving to Texas from LA, she gravitated toward the graduate program at SHSU, but put her application on hold when she received a dance job in Shanghai. It wasn’t until she returned to Texas that she set her sights back on grad school. The decision led to her joining the program, and eventually teaching many movement and lecture courses as a graduate teaching assistant. “While in my final semester, I was asked to be a TA for a Career Resources class. The focus of the class was to teach career-building skills to undergrad dance majors, which is where I fell in love with career development,” said Hayes. “Because I was able to share how I’d built my career prior to grad school, a number of the students I had relationships with started coming to me with career questions. After that
semester, I decided to start a blog to address some of those questions. That’s how TheWorkingDancer.com was born.” Hayes also said that her favorite accomplishments from her time at SHSU were her thesis research and concert. “I chose a subject matter that is important to me, and the research I conducted broadened my perspective on movement and art in general. Not only that, but I absolutely loved producing my own show, which is work I plan to return to at some point in my life. I was able to develop a story and see that story come to life on stage with a beautiful all-female cast; definitely an experience I’ll never forget.”
opportunities with Dance Magazine.” After three years of teaching, she wanted to work full-time in career development. She now works at 2U, an EdTech company, as their Manager of Career Experiences. “Now, I get to design and develop career solutions and content every day, and I still write for dance media publications, sit on career panels for dancers, and hold career workshops and discussions for dancers and college students, which I love. Saying ‘yes’ to that TA assignment absolutely changed the trajectory of my career.”
After graduation, Hayes spent time choreographing and teaching at colleges in the Dallas–Fort Worth area. She has found that her time at SHSU has made an impact in the work she does now. “I incorporated career development into my curriculum whenever possible, and I continued building ‘The Working Dancer’ on the side. My blog posts on the site led to writing opportunities with local dance publications like Dance! North Texas, which eventually turned into writing
CLICK HERE TO LEARN MORE ABOUT SHATÉ
DANCE SPECTRUM I N CO N C E RT
TWIDDLE
Choregographed by Rasika Borse and Colette Kerwick
Full of twisting and twirling, this work by Adjunct Professors Rasika Borse and Colette Kerwick followed six dancers and was comprised of four vignettes exploring contemporary ballet movement through narratives of decompression, partnering without touch and sweeping floor patterns.
SUSAN Choreographed by Adele Nickel
Performed by senior BFA major Kennedy Adams, this solo used abstract movement and gesture to tell a story of transformation and comingof-age. It was set to the sounds of Southern icon, unlikely feminist, and LGBTQ ally Dolly Parton.
A GAME OF PARELY
OKAY TO WEAR PINK
Two friends on opposing sides attempted to resolve their differences in the most civil way they knew: a game of rock, paper, scissors. Each individual’s inner dialogue drove their intriguing discourse forward.
In collaboration with Costume Designer Barry Doss, there was no shortage of personality in this work, both dedicated to and inspired by any child ever taught to value societal expectation over individual selfexpression.
Choreographed by Evelyn Toh
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Dance majors took to the stage for the Spring 2021 Dance Spectrum in Concert. Complete with multiple camera angles and all the fixings of a theatrical stage performance, these virtual performances were choreographed by faculty and livestreamed from the Gaertner Performing Arts Center in addition to two dance for camera films.
Choreographed by Joshua Manculich
Performance photos by Lynn Lane
FLUIDITY
DAWN
Choreographed by Jennifer Pontius
Choreographed by Dionne Noble
Despite the need for social distancing, the dancers created a welcoming community with this concise pointe ballet, sending warmth, hope and peace to the audience watching from afar as well as to their fellow dancer who joined the cast from her home in Canada.
Dancers searched for a breath of fresh air in this group work, inspired by the colors of the sky at dusk and the investigation of lightness in movement during times of uncertainty and strain.
DUST OF ENCELADUS
Choreographed by Donald C. Shorter
A student learned about the power of astral projection when she encountered a future version of herself and teleported to outer space where she could dance a dance of freedom. This film was shot entirely remote, with an iPhone X, and using green screen technology. Dance for Camera Film
THE CONVERSATION
CRAVE
Professor Andy Noble’s high-energy dance sent dancers rip-roaring across the stage to Philip Glass’ Violin Concerto No. 1. The dancers performed exaggerated gestural movements to impersonate characters involved in intense exchanges of dialogue.
Many people have their own ritual or daily obsession with coffee. Whether you press, drip, pod, or pour it over ice, this dance film unified everyone who loves it with a diverse, jazzy romp and the ways we relate to our beloved morning brew.
Choreographed by Andy Noble
Choreographed by Kyle Craig-Bogard
Dance for Camera Film
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DEPARTMENT OF MASS COMMUNICATION With access to advanced technology and hands-on curriculum, the Mass Communication department offers an exciting pathway into the fast paced, ever-changing world of mass media. Students run the show just as they would in the field for an award-winning campus newspaper, radio station, community television station, and public relations firm–all of which are housed in the Dan Rather Communications Building.
MORGAN CHESKY
Photos in this article are courtesy of NBC News
MASS COMM ALUMNUS written by Julia May
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Covering news and telling stories have been a part of Morgan Chesky’s heart and soul for almost as long as he can remember. He has memories of watching nightly network news each evening as a child with his grandparents and seeing history unfold right before his eyes. A fifth-generation Texan, he chose to attend SHSU because of its reputation for letting students get handson experience right off the bat as freshmen. It didn’t hurt that the building where Morgan would be taking classes was named for the university’s most famous alumnus— journalist Dan Rather, whom Morgan had grown up watching on network news. “Some of my fondest memories of my time with the (mass communication) department are of hanging out in the DJ booth on Wednesday afternoons, having free rein to play the greatest music ever—classic rock. I had a radio show called the Raven Rock Show on KSHU 90.5, The Kat. A woman called the station one afternoon, just to thank us for making her day better with some incredible jams. It was the coolest feeling ever.” Morgan got his first professional job following graduation in 2008 when he was hired as a reporter at KLTV in Tyler. From there he went to KVUE in Austin, KOCO in Oklahoma City, and KOMO in Seattle where he became the station’s full time evening anchor. Although he enjoyed his time in local news and looked at each experience as a way to learn more, he always felt that something was missing. “I have always enjoyed the fast-paced nature of breaking news and being at the big story,” he said. “And when I looked at the opportunity that network news presented, it felt like it checked all the boxes for everything I sought in journalism.” Throughout his career, he’d had mentors in network news from whom he had learned about what was required to be successful. Even as a college student, he had met some of the top individuals in the business after being accepted to CBS News’s prestigious summer internship program and working in Manhattan in 2008. However, it wasn’t until he got the job as a correspondent for NBC News and woke up to a phone call telling him to get on a plane and be somewhere for a story that he realized just how fast-paced the job was. “I’ll never forget waking up in Chicago, catching a plane to Denver where a horrible accident had taken place on the interstate, conducting an interview, doing a live shot, and then flying to Minneapolis, where I connected to Green Bay to cover a presidential rally the next morning,” Morgan said. He was also literally on the move from residence to residence his first year with the network. Morgan went through training in NBC News’s West Coast Bureau. He was in Los Angeles from December 2018 to April 2019; in Chicago in April and May 2019; and in Miami from May 2019 to February 2020. He moved to Dallas in March 2020, where he has been assigned
to the network’s designated Southern Region. The area covers Texas to Florida, up to North Carolina, and back to Oklahoma. “News that happens in any of that area is fair game,” he said. “However, on any day as a correspondent, you are called upon to go anywhere the big story may be.” At the beginning of 2020, when the network’s foreign correspondents were having to quarantine in the early stages of COVID-19, Morgan was sent from Miami to Tel Aviv to cover the Israeli elections. Travel wasn’t the only thing that COVID affected. Morgan contracted the illness in late June 2020 after covering a presidential rally in Tulsa. “NBC had been very vigilant about COVID protocols for everyone still working in the field,” he said. “My travel had decreased somewhat, but I was still covering stories all over the country. I knew I was in trouble when I lost my sense of taste and smell. COVID also changed the way news was covered. Morgan had been in Minneapolis a month earlier for the events surrounding the George Floyd incident and realized just how different doing the job had become. “COVID changed everything we knew about how news operated, and it forced journalists to come up with entirely different ways of gathering information and presenting our stories,” he said. “It’s been a blessing and a curse. A blessing because we now know that we can operate and gather from a distance unlike ever before. However, there really is no substitute for pounding the pavement to chase a good story.” Although Morgan has covered a lot of hard-hitting stories during his tenure as a network correspondent, he’s covered some uplifting stories as well. “I was on the plane scrolling through my Twitter feed, and I came upon the report that the Texas School for the Deaf ’s football team had advanced to the state championship. I thought, ‘Wow. That would make a great story.’ Fortunately, I ended up near Austin the week of the big game and the TODAY Show gave me the green light to go down there to meet the players and the coaches of this very special team and report on the secret of their success,” he said. As it turned out, Morgan was able to go to the championship game after his first story aired. The Texas School for the Deaf made history that night by winning the TAPPS Division 1 Six-Man Football Championship for its first state title ever. “I would definitely say it was a special moment to see these young men and the coaches and the school come together for their big moment in the spotlight,” he said. “To witness the hard work and the time that these players and coaches put into this football season that was complicated by COVID was powerful. When the final seconds ticked off the clock and the team ran off the field as state champs, I teared up. It was ‘Friday Night Lights’ at its finest to see how much these young men had accomplished in such a tough year for so many people.”
Shortly after he had been stationed in Dallas, a devastating tornado hit the small town of Onalaska, approximately 30 miles from Huntsville, and he covered the story. He needed a quiet place to finish writing, and he remembered the Lowman Student Center on the Sam Houston State University campus. “So, I drove up, hopped out of my car, and sat at a table inside the newly-remodeled LSC,” he said. “It was kind of a surreal experience to be typing my story in the LSC for NBC Nightly News that night. “I asked myself, ‘In what world would I have ever imagined as a student here that I would be back 12 years later, covering a story that the whole country would get to watch
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that night.’ It was a pretty cool feeling.” Morgan is grateful for every experience he’s had along his career path, both good and bad. “You really do have to embrace the journey,” he said. “Had I gotten a job in a big market right off the bat, I would have never appreciated those small victories that I had along the way from Tyler to Austin to Oklahoma City to Seattle. Being at each one of those stations served a purpose in my progression as a journalist, and each one prepared me for the job I’m now blessed to have. “I think if you would have removed any one of those pieces of the puzzle, it would have put me at a disadvantage. It
took 10 years after graduating to reach the position that I had dreamt of for far longer,” he said. “Of course, there will be times when you will question why you are doing this job, but there are also times when you pinch yourself because you realize how incredibly lucky you are. If you have more of the latter, you will be coming out ahead. “Fortunately for me, every mistake, every frustration suffered along the way, all ended up being worth it because I stuck with it,” he said. “Somehow, over the course of 10 years, the kid who could barely stand the sight of himself on TV in college, ended up figuring it out enough to get one of the best jobs ever.”
written by Katy Belanger
Associate Professor and Chair of the Department of Mass Communication Wojciech Lorenc has had continued success with his documentary, Fearless. This film is an intimate portrait of a boxing gym in Conroe, Texas and serves as a symbol of the challenges faced by people of color and immigrants in the U.S. He first learned about this gym from former SHSU colleague Charlotte Ann Meador and her fundraising contributions to keep the gym afloat. “I soon learned that the gym is a very special place where the owner, manager, and coaches prioritize service to their community,” Lorenc said. “It’s a wonderful place where Conroe’s youth can train, but also learn valuable life lessons and keep out of trouble.”
The film is observational, which means the production process was focused on capturing real moments and conversations.
Through the process of making this documentary, Lorenc has developed a new respect for boxing and the individuals who dedicate themselves to the sport.
“In order to make such a documentary, you have to spend a lot of time with the people that you’re filming. You want to develop trust and you want to make them used to the camera and microphones. I spent many months hanging around the gym and filming. After a while, I became a familiar face in the gym, people got used to my presence, and stopped paying attention to what I was doing. That’s when I got the best footage.”
“The place is full of incredibly inspiring characters, and stories. A particular scrutiny is placed on the popular sentiment expressed in a phrase “pull yourself up by your bootstraps” which exemplifies American optimism, but also unrealistic expectations and, sometimes, victim blaming. The film attempts to illustrate what really happens when young people try to ‘pull themselves up by their bootstraps’ in the U.S.”
Fearless is planned for digital release in 2022 and has screened at 15 film festivals across the U.S., U.K., Italy, Germany, and Canada.
BEST TEXAS FILM
SILVER REMI WINNER
23RD ANNUAL CINE LAS AMERICAS INTERNATIONAL FILM FESTIVAL
54TH ANNUAL WORLDFEST-HOUSTON INTERNATIONAL FILM FESTIVAL
FINALIST
FINALIST
SEMI-FINALIST
10TH ANNUAL SUNSET FILM FESTIVAL LOS ANGELES
7TH ANNUAL TORONTO INDEPENDENT FILM FESTIVAL OF CIFT
5TH ANNUAL COURAGE FILM FESTIVAL
Wojciech Lorenc continues to receive awards for his documentary film, Fearless 35 | CAM Magazine, Fall 2021
Fighting in the ring is a metaphor for Fighting for a better life. THE STORIES TOLD IN THIS FILM EXPLORE THAT CONNECTION. - Wojciech Lorenc Photos in this article are courtesy of Wojciech Lorenc
DATELINE:
DEMOCRACY
As an online independent study course, this series served as an incredible opportunity for students to gain insight from media professionals into how media shapes American thought and prepares citizens to practice democracy.
HOSTED BY
PETER ROUSSEL Philip G. Warner Endowed Chair Department of Mass Communication
MIKE YAWN Professor Department of Political Science Director, Center for Law, Engagement, and Politics (LEAP)
RYAN BROUSSARD Assistant Professor Department of Mass Communication
CAM EXCLUSIVE WATCH THE FULL PLAYLIST
A STELLAR INTERVIEW LINE-UP
DAVID HUME KENNERLY
LESLEY STAHL
SAM DONALDSON
Former Official White House Photographer
60 Minutes Correspondant & Former CBS News White House Correspondant
Former ABC News Anchor & White House Correspondant
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FEATURING INFLUENTIAL NATIONAL MEDIA PROFESSIONALS
SUSAN PAGE
BILL BROWN
ANN COMPTON
USA Today Washington Bureau Chief & Moderator of the 2020 Vice Presidential Debate
Former Houston Astros Play-by-Play Announcer Baseball, America’s Past Time
Former ABC News Reporter & White House Correspondant
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SCHOOL OF MUSIC Composed of internationally recognized performers, scholars, and educators, the School of Music is a devoted community, home to the prestigious Bill Watrous Jazz Festival and the Bearkat Marching Band. The School of Music offers preparation for music therapy board certification and holds exceptionally high standards for students of vocal, instrumental, ensemble and chamber performance.
JOSEPH CLARK
Photos in this article are courtesy of Joseph Clark
SCHOOL OF MUSIC ALUMNUS written by Julia May
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When Joseph Clark was contemplating his future while he was a student at Conroe High School, he was torn between two very different career choices—civil engineering or music. He had been accepted at both Texas A&M University and Sam Houston State, so it was just a matter of deciding which direction to go. “I finally decided to follow my heart and my passion for music,” said Joe, who is now the director of Performing and Visual Arts with the Spring Independent School District. “The university had a great reputation in music education,” he said. “I’m a saxophonist and growing up I had several SHSU music alumni as my private lesson teachers. In high school, I took private lessons from Rory Davis, who at the time was going to SHSU and is now associate director of bands at Cinco Ranch. He took me to a jazz ensemble concert, and I fell in love with the campus.” “I knew that I loved service and I loved kids, and with the music education program’s exceptional reputation, everything just clicked,” he said. “It was a natural fit for me.” Joe thrived in the campus’s environment. He became a member of the Bearkat Marching Band, worked as a resident assistant for three years, and assisted Residence Life during the summer months when campers stayed in the residence halls. He also supplemented his income by waiting tables at a seafood restaurant in The Woodlands and teaching private saxophone lessons to students from Willis and Trinity. However, it was the quality of education he received that motivated him to excel. “My favorite classes were my instrumental classes, marching band, wind ensemble, and my private lessons on saxophone,” he said. “Dr. Scott Plugge and Dr. Matthew McInturf showed me how to be a leader. They gave their students the highest level of instruction possible, but it was the level of excellence that they expected from us and the expectation that we would pass it along and keep the students that we are teaching at the center of what we do.” In fact, it’s because the university is so well known for
producing outstanding music educators that Spring ISD hires as many SHSU graduates as it can. “I know that those graduates who have taken classes under Dr. Plugge and Dr. McInturf will demand excellence from their students with empathy in mind. As educators, they will seek to understand before seeking to be understood,” he said. Since earning his undergraduate degree in 1999, he has gone on to get his master’s and doctoral degrees. He has spent 14 years in the classroom and eight years as an education administrator. This summer, Joe is serving as a middle school principal with 800 students on his campus. But during the academic year as the district’s fine arts director, he oversees programs on 40 campuses in grades K-12, with approximately 28,000 students enrolled in fine arts classes including music (band and choir), dance, visual art, and theatre. Wherever he goes he advocates for the arts in education. Recently he addressed the Texas House of Representatives Education Committee, along with Robert Floyd, executive director of the Texas Music Educators Association. He and Floyd co-founded and co-lead the Texas Arts Education Campaign (TAEC) coalition, created to protect and promote fine arts in K-12. Joe has worked hard to make sure the fine arts program in his district is an interactive part of other educational components and not a separate entity. “I’m always wearing my fine arts hat,” he said. “But when I’m in meetings with those responsible for our district’s programs on behavior, or special education, or attendance achievement, or student academic success, I’m thinking of ways my fine arts program can help their department achieve their goals. They know that I’m here to help them and their support is 100 percent reciprocal.” He knows that he enjoys a better situation in his district than a lot of his colleagues in other districts who have not been as fortunate. One of the objectives of the TAEC coalition, particularly during the past year with COVID, has been to connect networks. With extra funding they’ve
been awarded, his department has created budget templates and strategic plans to share with fine arts directors across the state and nation. “We’ve spoken at conferences, asked superintendents what they would do if they were a fine arts director, made models, and created needs assessments,” he said. “We’ve presented clinics and sessions on how to advocate for fine arts in their home districts. We’ve provided information on how to use Title 4, Part A funds.”
a pandemic and how to recover afterwards. “We maintained a 50-50 ratio of in-person and at-home learners throughout the entire school year,” he said. “Our ability to do much with groups during the day was limited, but we were able to create opportunities for 100 percent of our students after school.”
Eventually, TAEC plans to reach out and coordinate networking for the school districts without a fine arts director or someone designated to work with federal funds.
Using safe distancing and other COVID protocols, students attended band sectionals, presented after-school performances, and participated in rehearsals by utilizing open-air settings, tents, stadiums, and amphitheaters. Because participation numbers were down, some schools chose to collaborate with each other.
Joe also hopes to share information with other school fine arts programs about different ways to offer activities during
“Three of our high schools combined their Color Guards and they performed at the Winter Guard International
DEMAND EXCELLENCE WITH EMPATHY IN MIND; SUCCESSFUL TEACHERS ALWAYS PUT THE STUDENT AT THE CENTER OF EVERYTHING THEY DO.
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competition earning perfect scores. We hosted a virtual art exhibition where parents could see all the artwork at their children’s individual school campuses. I think we had something like 3,000 slides on display,” he said. “The teachers really went above and beyond any expectations.” Joe will either pursue becoming a superintendent of schools or leading a large fine arts organization. No matter what he chooses, he is confident that not only his professional experience, but his education at Sam Houston State University, which has been instilling “heart” in their students as a part of its culture for many, many years, will help him successfully navigate any opportunities or challenges he may face.
Janet Leigh Screaming in Psycho Shower Scene, Bettmann/Getty Images
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by Dr. Kevin Clifton Associate Professor of Theory and Composition
THE PANDEMIC: OUR LIVES CHANGED IN THE BLINK OF AN EYE This past year has certainly been a challenging one. The COVID-19 pandemic taught us the importance of social distancing, wearing masks while being out in public, and staying at home when possible in order to keep ourselves and others safe and healthy. Activities that we took for granted, like going out to eat, grabbing a cup of coffee with a friend, or even going out to the movies, were simply no longer possible. In a blink of an eye, our world changed overnight. This past year I really missed going out to see movies with friends. I live in Huntsville and I love our little movie theater. It’s a space where we can laugh together, cry together, and simply enjoy the ride of a filmic narrative collectively. This communal act of filmic spectatorship is a pleasure in life that I value. Watching movies by myself on Netflix just doesn’t feel the same.
As a music theorist and movie buff, it’s not surprising that one of my research specialties landed directly in the field of film music studies. I’ve spent my professional career teaching students the significance of interpreting all types of musical details, a job that I love. I’ve often said that when I teach a music theory class, I learn just as much from my students—that is, how they hear and interpret sound—as they hopefully learn from me. In this short essay, I’d like to share with the Bearkat community how paying attention to musical details while watching a movie can enhance the viewing experience by being aware of how a filmic character’s subjectivity and dramatization can be expressed on the soundtrack. My essay draws from my published work on Alfred Hitchcock’s Psycho (1960) and the interested reader can find the full-length article in the journal Music Analysis (vol. 37, no. 1, 2018), pages 47-67—this particular edition of Music Analysis was devoted for the first time in its history entirely to film music studies essays. It was an honor to be a part of this ground-breaking academic venture.
HEARING A MUSICAL SIGH: INTERPRETING SOUND WITHIN A FILMIC CONTEXT Instead of focusing on the enigmatic Norman Bates (played so brilliantly by Anthony Perkins), my critical reading highlights the ill-fated Marion Crane in the story, played by the illustrious Hollywood scream-queen, Janet Leigh. As a viewer and an analyst, it’s her story that draws me in and captures my imagination during the cinematic experience. Bernard Herrmann’s musical Prelude during the opening main title credits helps set the stage for the cinematic world. A close study of excerpts from the opening Prelude, shown in Example 1 and Example 2, illustrates how the soundtrack itself sets the stage for Marion’s ill-fated story to play out. In general, my interpretive act details how film scoring contributes to evolving strategies for character subjectivity and, ultimately, for the manipulation of audience empathy. For instance, Example 1 shows the first six bars of Herrmann’s Prelude: the music is frenetic, full of tension and release from the get-go that effectively sets the
stage for the bizarre Psycho universe. The opening sonority, a superimposed B-flat minor chord and a D-flat augmented chord, has been dubbed in the scholarly literature as the Hitchcock sound: essentially, it’s a very cool sounding minor-major seventh sonority. My reading drills down a couple of measures later in measures 3-6 by considering the repetitive two-note melodic patterns in the violas and the violins, what I interpret as aestheticized musical breath sounds or musical sigh figures. Example 2 shows that the two-note sigh figure returns a bit later in the Prelude: now, the music has a more lyrical pace to diffuse the opening frenzy. Transformed and slowed down by rhythmic augmentation, the two-note gesture is crystallized into the emblematic musical sigh, which permeates the soundtrack during Marion’s key scenes in the film. At the end of the lyrical theme in bars 47-48, the musical sigh directs the melody to a surprising ending, culminating on a pitch that doesn’t fit the tonal context of the passage, which is in E minor. The melodic goal pitch, an F-natural, is instead harmonized by none other than the opening haunting Hitchcock chord (B-flat/D-flat/F/A-natural), a sonority that haunts the soundtrack.
Example 1 Psycho Prelude, bars 1-6
MAKING CONNECTIONS By being aware of the use of a musicalized breath figure on the soundtrack, one that stems from a very troubled Marion Crane in the filmic plot, the viewer connects with her in a very visceral manner. Our breath—an extension of our bodies—are connected through sound, musically conveyed by a very simple two-note melodic descending pattern. As the film progresses, and Marion’s flight takes her to the ominous Bates Motel where she ultimately meets Norman (and Mother), the musical sighs become more and more pervasive on the soundtrack, a dramatic and musical crescendo that fatefully leads to the iconic shower scene where Marion meets Mother. Herrmann’s musical underscore of the shower scene is powerful: the screeching sounds of the high violins are emblematic of Mother stabbing Marion in the shower. The sounds are also emblematic for Marion’s high-pitched
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screams, a heightened form of her breath figure that is pervasive on the soundtrack up until this point. Hitchcock, however, never shows the blade of the knife pierce Marion’s flesh: during the murder, music overtakes the visuals as the dominant mode of aestheticized violence. It’s a painful scene to watch and many viewers, myself included, have confessed to looking away or simply closing our eyes. Even so, the violins’ screams still penetrate in a purely sonic assault on the filmic viewer. And just like Marion, we can’t escape Mother’s assault. Herrmann’s screeching strings have certainly stood the test of time as a musical metonym for Psycho itself. It is safe to assume that if someone hears this iconic musical cue, even without having seen the original Psycho, they might undoubtedly move their hand in a slashing pattern, wielding an imaginary knife like Mother, while mimicking the shrieking violins: eee-eee-eee. Ah, the power of film music!
On the set of Psycho, Sunset Boulevard/Corbis/Getty Images
Example 2 Psycho Prelude, bars 37-48
Photo courtesy of Mario Aschauer
MARIO ASCHAUER
83 DIABELLI VARIATIONS Associate Professor of the School of Music Mario Aschauer released the first modern scholarly edition to present Beethoven’s 33 Variations on a Waltz, op. 120 (“Diabelli”), in its original context as part I of Anton Diabelli’s Vaterländischer Künstlerverein (Fatherlandish Union of Artists), along with the 50 Variations on a Waltz composed by Vienna’s Most Excellent Composers and Virtuosos as part II. Employing an innovative, state-of-the-art editorial methodology and copiously presenting new research, the publication constitutes a milestone in music philology. On December 10, 1818, the Viennese music publisher Pietro Cappi announced the establishment of a new firm with his business partner Anton Diabelli. Cappi und Diabelli rose very quickly to one of the most influential music publishers in Biedermeier Vienna. Already in their first days of existence, Diabelli had a genius business idea: he sent a 32-measure waltz of his own composition to the most reputable composers and virtuosos of the Austrian Empire with the invitation to submit a variation for a collaborative set of variations that would subsequently be published under the title Vaterländischer Künstlerverein (Fatherlandish Union of Artists). Diabelli was able to garner variations by 50 composers and piano virtuosos. Only one composer’s explicit decline to collaborate is ascertained: Ludwig van Beethoven. Beethoven decided to compose an entire set of variations all by himself shortly after he had received Diabelli’s invitation as his sketchbooks attest, at times even considering alternative avenues of publication. Ultimately, however, the composer and publisher reached an agreement, and Diabelli advertised the publication of Beethoven’s 33 Variations on June 16, 1823.
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In the spring of 1824 Pietro Cappi left the partnership with Diabelli who continued his enterprise with a new partner. Planned or unplanned, the establishment of the new firm coincided perfectly with the completion of the collaborative 50 Variations. As yet another stroke of business genius, on June 9, 1824, Diabelli presented his new firm with the advertisement of his Fatherlandish Union, “Variations by the most distinguished composers and virtuosos of Vienna and the imperial and royal Austrian states” in the Wiener Zeitung. Beethoven’s 33 Variations, first published one year earlier, retrospectively became part I of the collection, the collaborative 50 Variations part II. As one of its major projects celebrating Beethoven’s 250th birthday, Bärenreiter in Kassel (Germany), one of the world’s leading music publishers, published the first modern edition of both parts of Diabelli’s mammoth project—Beethoven’s op. 120, but also the 50 Variations by Vienna’s Composers and Virtuosos—perhaps the most impressive “family picture” of Viennese piano culture in the 1820s. As such, they allow for a unique glimpse into the Viennese piano scene of the early 1820s and its breathtaking diversity of styles and musical personalities. Beyond the “anthological,” however, the collection offers the material for endless possibilities of performance that should prove as entertaining to the pianist as to the audience. The foundation for which is now laid with Aschauer’s edition.
Photo courtesy of Diego Caetano
“IT IS A REASSURANCE THAT WE ARE ON THE RIGHT TRACK, AND THAT OUR LOVE FOR THE REPERTOIRE AND CHAMBER MUSIC CAN SPEAK FOR ITSELF.”
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DUO LISPECTOR
WINS BONN PRIZE written by Jackie Swan
Assistant Professor of Piano Diego Caetano and his performance partner violinist Evgeny Zvonnikov are the two members of Duo Lispector, a chamber group that was awarded first prize, also known as the “Bonn Prize,” for their submission to the International Music Competition. This honor included an invitation to perform at the 250th birthday celebration of Beethoven at his home in Bonn, Germany. “We decided to apply because it was an online competition with no travel. We knew it would be hard because people would send their best work in their videos with no mistakes or things that normally happen with live performances that would put the candidates at a disadvantage,” said Caetano. “So, the level is usually much higher in online competitions. For our first competition together, it was great to be recognized as a first prize winner. It is a reassurance that we are on the right track and that our love for the repertoire and chamber music can speak for itself.” Duo Lispector also won 2nd Prize at the Chamber Music category of 10° edizione del Concorso Internazionale per Giovani Musicisti “Città di Massa” in Italy. As a guest soloist, Caetano has performed with the Orquestra Sinfônica de Goiânia in Brazil and performed Shostakovich’s Piano Concerto 1 with the Amarillo Symphony conducted by Joshua Gersen. Additionally, he was invited to perform at Chamber Music Amarillo – Amarillo Symphony and at two Brazilian events: two All-Beethoven recitals at the University of Rio de Janeiro UNIRIO Concert Series and a virtual recital for Casa de Musica Concert Series.
Caetano joined forces with Zvonnikov in early 2017 after the two met at a rehearsal for Chamber Music Amarillo in Amarillo, Texas. During a practice break, they continued to play together and discovered they had quite the musical chemistry. Their chamber group, “Duo Lispector” was born. The name is a tribute to legendary novelist Clarice Lispector, who shared ties to both of their home countries having been born in the USSR (now, Russia) and raised in Brazil. Since their formation, Duo Lispector has taken the stage in the USA, Brazil, Mexico, Russia, and several parts of Europe. “One of the most picturesque places we have played was in the Amazon Forest, Manaus in Brazil. It was unbelievable,” said Caetano. “Even for us Brazilians, it is very hard and very expensive to go there, so I had never been. Another place we performed was the house of the great Russian composer Rimsky-Korsakov in Saint-Petersburg, Russia, which now is a museum and concert hall. We have been very lucky to have the opportunity to travel and share our love for chamber music.” Despite the global pandemic preventing them from touring, Duo Lispector maintains big plans with a debut album release set for late 2021 featuring music for violin and piano by Ibero-American composers.
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DEPARTMENT OF THEATRE & MUSICAL THEATRE With proximity to Houston, the Department of Theatre and Musical Theatre offers many opportunities for students to interact with well-known theatre companies and professionals in a major 21st century market. Graduates of this department have found success in educational and commercial careers, including Broadway productions, films, television programs, theatrical design, and choreography.
SOFIA JEAN GOMEZ
Sofia Jean Gomez and Steven Epp in Shakespeare Theatre Company’s 2015 production of Molière’s Tartuffe, adapted by David Ball, directed by Dominique Serrand. Photo by Scott Suchman. | Courtesy of Shakespeare Theatre Company.
THEATRE & MUSICAL THEATRE ALUMNA written by Julia May
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When Sofia Jean Gomez was growing up in the Rio Grande Valley, her family didn’t have the means to support a strong curiosity and a bold imagination. However, Sofia did not let that hold her back. At age seven, she wrote and directed her own plays, choreographed her own musical productions, and immersed herself in artistic television programs such as those featuring opera on the local PBS station. “I read a lot because it engaged my imagination, and I used whatever was on hand to create my sets,” she said. “Texas haystacks in the fields became mountains I could climb up so that I could interact with the gods.” In elementary school, she was the one who was called upon to read poetry out loud to the class because she had a lively, engaging way of reading. “I did all the character voices, which my classmates got a kick out of,” she said. “All children have playful instincts and skills to imagine and create – I just never put mine away.” Sofia kept growing these instincts and skills into high school where she began performing one-act plays, participating in UIL events, and competing in the Texas Forensics Association. Her high school coach was a strong believer in helping her acting students focus on their goals along with teaching them the discipline that came along with that focus. As a result, several students from Sofia’s high school had been admitted to New York University’s prestigious theatre program. “Attending New York University was my goal,” Sofia said. “I worked for two years saving my money so that I could fly up there and audition.” Feeling confident because of her accomplishments in theatre and her awards at both the state and national level, Sofia traveled to New York her senior year in high school to audition for NYU Tisch School of Arts. However, after she finished with her audition, she was told that she was better suited for television and film rather than theatre. She was devastated. She returned to Texas from the NYU audition and performed in a UIL One Act Play competition. The Professional Judge for the competition was Penelope Hasekoester from Sam Houston State University’s thenDepartment of Theatre and Dance. “Afterwards, Penny came up to me and told me I should come to the scholarship auditions weekend for the SHSU theatre department,” Sofia said. “That conversation totally changed my life and set me on this trajectory that I am still in. Here was someone telling me they believed in me as a theatre artist and was inviting me to come be a part of their program.” “The weekend of the SHSU theatre program’s scholarship auditions, my parents and I got up at 4 a.m. and drove eight hours in our beat-up family van to spend about 15 minutes in the audition, and we drove back home that evening,” she said. Her audition resulted in an offer of a scholarship and financial assistance. “Here I was, a global majority theatre kid from Harlingen
with a lot of guts and passion, and I could feel in my audition that SHSU truly believed in my future. I knew I would be challenged and could grow there.” Immediately after arriving at SHSU, Sofia made an impact with her first SHSU Season audition. “All students with an acting emphasis had to audition for each production,” she said. “I had never actually auditioned for a full play, and I had never performed in a full play, so all of that was very new to me.” When Sofia received her audition sides, she tried to find a copy of the entire play so that she could prepare for her audition. Being new to the SHSU campus, she couldn’t find a copy, so at the audition, she just “went for it with ambition, passion, and determination,” played the scene, and ended up getting cast for a major role as a first-year with Guest Director Mark Ramont. “That was Sofia,” said Hasekoester, who is now Associate Dean, College of Arts & Media, and Professor of Acting and Directing at SHSU. “Imaginative, courageous, knowledgeable, curious. Just as she does now, she pursued theatre with a boundless passion and a fierce intelligence. She embraces her art form and explores it with a ferocious tenacity.” In addition to classes, rehearsals, and performances, Sofia paid for her education by working both on and off campus. Among her jobs were a waitress, assistant manager of a restaurant, student departmental office assistant, theatre usher, house manager, box office assistant manager, and babysitter. She strongly believed that her success in the theatre would require training beyond her undergraduate degree, and for the next four years she sought out classes to complement her theatre work so that she would be prepared for graduate school. “I knew I would need additional vocal and speech training specifically for theatre actors,” she said. “I felt this would help with longevity in my career, so I took other artistic classes such as ballet, modern dance, folk dance, and conditioning to learn how to move my body differently as an actor.” She also took a women’s literature course and an art history course. “These were my favorite out-of-theatre-department classes. These two classes challenged and inspired how I approached each script I read and performed. They gave me an even greater love of language and helped me learn the ART of language,” she said. “They taught me endurance, detail-oriented skill sets, energy, work ethic, and discipline.” Her worked paid off, and the day after she graduated from SHSU, her friends drove her to New Haven, Conn., where she had been admitted to the Yale School of Drama MFA Acting Program. She received her Master of Fine Arts in Acting degree from Yale in 2006. As it turns out, those homemade costumes, child-like scripts, UIL events, extra classes, odd jobs, training at SHSU and Yale helped pave a path where she would be able to live out her passion, both professionally and personally. Sofia is a nationally employed TheatreMaker based at the
Sofia Jean Gomez and Steven Epp in Shakespeare Theatre Company’s 2015 production of Molière’s Tartuffe, adapted by David Ball, directed by Dominique Serrand. Photo by Scott Suchman. | Courtesy of Shakespeare Theatre Company.
THE INNOVATION OF MY GENERATION AND THE FUTURE GENERATIONS OF GLOBAL MAJORITY THEATRE MAKERS HAVE THE POSSIBILITIES TO MAKE SIGNIFICANT CHANGE TO UPLIFT AND REVOLUTIONIZE COMMUNITIES.
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Photo by Cynthia Smalley
moment in San Diego, who in this time of more questions than answers has found a way to use her gifts and talents beyond the stage. Growing up in a bi-racial family with a Mexican father and Anglo mother, she herself grew up with the boundaries of not being white enough to be included in the white community, nor Mexican enough to be included in the Mexican community. She identifies as a light skin Mexican American, Spanish being her first language. “As a child, I didn’t understand why we couldn’t just be united. I didn’t realize what ‘colorism’ was until I was much older,” she said. “I’ve always been that person who jumps into action if someone is being hurt, no matter what their background. I’ve gotten into a lot of trouble for jumping into the fray of injustice. I believe that everyone has the ability to speak up, they just may not have the moment in them right then and there. That’s why we all have to support and speak up for each other—when needed.” She says she is whole-heartedly on board with the way the American theatre is beginning to change, thanks to the document created by a large community of theatre artists in 2020 called “We See You White American Theatre.” “This document continues to make waves of change small and big against racism, sexism, ableism, and inequities that traumatize and hold back the next generation of artists,” she said. The devastating national events, losing two close family members to COVID, along with the abrupt halt of all theatrical activities due to the pandemic, motivated Sofia to take several online classes for personal and professional growth. She took mental health/psychological first aid courses, Anti-Racist Theatre Practices courses, Bystander
Sofia Jean Gomez, Suzanne Warmanen, and Maria Leigh in Shakespeare Theatre Company’s 2015 production of Molière’s Tartuffe, adapted by David Ball, directed by Dominique Serrand. Photo by Scott Suchman. | Courtesy of Shakespeare Theatre Company.
Intervention Training, and Intimacy Direction courses. Sofia wanted to learn and support theatre students thru the pandemic, particularly the MFA students at the University of San Diego where her partner, Jesse Perez, serves as Program Director of The Old Globe and USD Shiley Graduate Theatre Program. “When the country shut down, it appeared that we were all losing something,” she said. “However, I felt as if this moment was given to us to grow and take care of ourselves. It didn’t have to be just a season of loss, but growth and change for all of us. Growth and change are both very amazing gifts for artists and, also sometimes, the most uncomfortable—because it’s the unknown, uncertainty, and fear of failure that can stop you. Yet, there is also the awe-inspiring revelations of self-identity that explode and expand once you release into the joy of growth and uncomfortability. And learning the power of your ‘no’ and ‘yes’ boundaries.” Learning new things and growing into a professional artist is certainly nothing new to Sofia. While in-between theatre jobs and auditioning in New York for more than a decade, she worked in various corporate, non-profit and start-up office jobs as an executive assistant, HR assistant, work culture assistant, and a personal assistant. “There are these old archaic systemic definitions of what an actor is and what ‘success’ should be for an actor that just aren’t true to my generation or the future generations,” she said. “These old definitions are also extremely harmful - emotionally and financially to actors. “Actors are very intelligent, multidimensional, and driven individuals. We don’t just act; we can do lots of things. We can direct, teach, choreograph, produce, develop TV series, design, and cast. Or we can be in your marketing
department or payroll. I have all kinds of experience! No one knows this but I know how to on-board new employees and have helped cast shows. It has made my brain operate in different directions that fueled my work as an actor and helped me get by until I got my next theatre job.” She feels that each one of her non-acting jobs also helped her prepare for going into her next phase, which includes theatre leadership, casting, and directing as well as continuing her acting career. “Many parts go into running a theatre, including how we take care of each other,” she said. “I knew that for me to be an intricate part of running a theatre, I would have to learn the business side of what happens in the office of a theatre. I would have to be extremely knowledgeable in leadership meetings about every department. Taking courses in theatre management, mentoring with theatre leadership, working as a casting assistant and applying for the next round of the Princess Grace Awards and Fox Actor Grant Foundation are all on my mind for the future. How can I be of better service to my theatre community?” Sofia hopes that more actors can be considered for full time positions at theatres across the country. “I believe the next generation of actors have a lot to give. The innovation of my generation and the future generations of Global Majority Theatre Makers have the possibilities to make significant change to uplift and revolutionize communities. Actors are a great community of driven, detail-oriented, and hardworking employees. We need to transform and grow our definitions of each other. We need this more than ever. We need you more than ever, future professional artists.”
Wander Through Wonder, Jessica Hightower | Photos by Katie O’Loughlin
written by Jackie Swan
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Following her graduation with a BFA in Theatre and concentration in Technical Theatre, SHSU alumna Jessica Hightower went on to pursue an MFA in Scene Design at The Ohio State University. Her installation “Wander Through Wonder” was one of several projects funded by their Department of Theatre, Film, and Media Arts during the pandemic. In lieu of performances, MFA students were asked to create installments that followed all CDC, state, and school guidelines while still providing people with a way to experience live art. Hightower’s piece served as the entrance into another student’s installation where spectators could walk through and become the Northern Lights.
Her idea was loosely based on Alice in Wonderland, drawing inspiration from the floral aspects and incorporating a transition from suspended white roses to red roses to a pathway of cards, all queens of hearts. She saw Alice’s escape into wonderland as an opportunity to allow people to escape the weight of tough times. Seeing how people were profoundly affected by a lack of social interaction and knowing that, for many people, these installations on display in the Drake Performance and Event Center were their first experience leaving the house in several months, this project proved to her that art is essential to human life.
“I FELT IT WOULD BE EMPOWERING FOR PEOPLE TO SEE A PART OF THEIR CHILDHOOD DEVELOPED INTO SOMETHING THAT COULD SURROUND THEM AND BRING PEACE, EVEN IF JUST FOR A MOMENT.”
In Spring 2020, the Department of Theatre and Musical Theatre presented the musical, Once on This Island, a Disneyesque fable set on the Caribbean Island of Haiti. Directed by Assistant Professor Aaron Brown, Once on This Island is the gorgeous, tragic love story of Désirée DieuDonné (Ti Moune), a beautiful peasant girl who devotes herself to the handsome, aristocratic young man whose life she has saved after he was in an accident. A fable of love and death, complete with temperamental gods, it is a timeless tale of a girl and boy from “two different worlds” and the impossibility of their match. This show explored colorism and class prejudice alongside the devastation of a 61 | CAM Magazine, Fall 2021
natural disaster and economic inequality. The people of Haiti are resilient. They have retained a deep connection to their cultural roots despite their tumultuous history. Haitians have the distinction of being the first people to execute a successful slave revolt, making theirs the first free Black nation in the world. For many Haitian people, dancing is deeply rooted in almost all of the important events of life. Exuberant dancing added bursts of excitement throughout the show. Full-bodied dance numbers created by guest choreographer Lindsay Gary imbued the story with the spirituality and joy of the Haitian people.
Like many other fables, Once on This Island has a mythical sort of transformation following the tragic end of its heroine, leaving the audience filled with the hope that out of darkness can come restoration and renewal. “The audience was given the opportunity to join Ti Moune’s journey of love against all odds, suffer in her pain, and cling to the hope she provides as they left the theatre,” said Brown. “It’s a beautiful and inspiring story for all of us right now.”
Photos in this article by Aaron Brown
TO OUR DONORS Because of the incredible generosity of our donors, the College of Arts & Media is able to provide exceptional opportunities that prepare and educate students for professional success and keep academic units within the College at the forefront of innovation through scholarships, an inspirational and talented faculty, and beautiful state-of-the-art facilities. The faculty, staff and students are deeply grateful for the support we receive from our benefactors and the partnership we have with each individual.“Thank You” to the following for your contributions.
January through Decemeber 2020 donoros listed below.
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