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A Message from the Dean 2
College news 4
Student news 5
Faculty news 6
An art class creates better 10
people, better citizens
A collaboration: The art of 12
CAPP's creative campus 14
Digital World's development 15
Fine Arts students organize 16
to share arts and healing abroad -- -
An invitation to think again 18
A music major learns the 20
keys to success
Home is where the art is 22
Alumni News 24
Centers/I nstitutes/Affiliates 28
MINT design students take an 30
atypical spring break in Mexico
With its first application, the Dance Program at College
of Fine Arts School of Theatre and Dance has been
approved for accreditation by the National Association
of Schools of Dance.
NASD, part of the National Office for Arts Accreditation,
is considered to be the primary agency for establish-
ing national standards for undergraduate and graduate
degrees and other credentials.
The UF dance program joins the ranks of the approxi-
mately 60 NASD accredited institutional members
nationwide. The young program, founded as a special
track of the bachelor of fine arts degree in theatre per-
formance in the mid-1980s, inaugurated its own BFA
degree only 10 years prior to its application, in 1997.
Edward Schaefer, former chair of
the music department at Gonzaga
University, began his new position
as the associate dean for aca-
demic and student affairs at the
College of Fine Arts July 1, 2007.
Schaefer has been the chair
of music departments at Gon-
zaga and Marymount College of
Kansas, and has administered or
directed numerous institutes, fes-
rv .l:, new degree programs, strategic plans and councils in the
.,i ;e of his academic career. Schaefer specializes in choral and
.,2.rn studies and performance with a focus on religious music.
Ceramic artist and art administra-
tor Anna Calluori Holcombe is the
new director of the School of Art
and Art History at the College of
Fine Arts. She started the position
July 1, 2007.
., A practicing ceramic artist whose
work has shown in national and
international exhibitions, professor
Calluori Holcombe has focused
her academic career on teaching,
hgl2her education administration and gallery management. For
:, ,ears, Calluori Holcombe served as head of Kansas State
U.Iniversity's art department.
Thi- college would also like to welcome new faculty. SA+AH
b.r.il2s on board Doug Barrett, Wes Kline, Shepherd Steiner, Dixie
i-il: on and Paroma Chatterjee. Music welcomes Steve Thomas,
'l.illv. dos Santos, Margaret Butler and S. Alexander Reed. New to
Thi-.itre and Dance are Tim Altmeyer, Stacy Galloway, Pat Pagano
.rid David Zak Herring.
Dave Waybright, director of Bands, with John Duff,
director of the School of Music and UF President
A symbol of UF, the Bands program will soon get
a new home with the completion of construction
in spring 2008 of the George Steinbrenner Band
Building. On Aug. 21, UF President Bernard Machen
joined College of Fine Arts administrators in a raise
the roof ceremony.
The new band building, located adjacent to the
School of Music, was constructed with generous
donations from New York Yankees owner George
Steinbrenner, Stephen Stills of Crosby, Stills and
Nash, the University Athletic Association and numer-
ous friends of music.
View progress of the band building construction on the
Gator Vision Webcam at www.arts.ufl.edu/news.asp.
As we looked into the college's identity as part
of our branding campaign, we found the College
of Fine Arts is experiencing a name recognition
issue. Across the UF campus, the community and
the state, people often confuse the College of Fine
Arts with the College of Liberal Arts and Sciences.
Others think that all performances are produced
and created by our affiliate, the University of Florida
Performing Arts, which manages the Phillips Center
for Performing Arts and the facilities at the Univer-
sity Auditorium and the Baughman Center.
The college is considering a name that would better
reflect the work of its three schools, Art and Art
History, Music and Theatre and Dance, and their
contributions to the fields of visual and perform-
ing arts. Suggestions include The College of Fine
and Performing Arts and The College of Visual
and Performing Arts, among others. As alums of
the college, your opinion on the name change is
important to us. Please let us know your thoughts
on this change by mailing firstname.lastname@example.org with
the subject Name Change, or including a note in the
response envelope included in this Muse. Thank you.
We will keep you apprised of the developments.
UF theatre student wins national design award competition
With his set design for Waiting for Godot, a Univer-
sity of Florida graduate student in the College of
Fine Arts clinched first place in the Kennedy Center
American College Theatre Festival's scenic design
competition in Washington, D.C., April 17-22, 2007.
Glen Anderson, a Master of Fine Arts in Scenic
Design candidate in the School of Theatre and
Dance, took home the Barbizon Award for
Scenic Design from the national theatre program
The Kennedy Center ACT Festival offers students
from colleges and universities across the country
the opportunity to showcase their talents in perfor-
mance, design, playwriting and directing, and aims
to encourage students in
the pursuit of artistic skill
qualified for the finals
by winning the regional
competition in February
In addition to national
son receives a $500
honorarium and an all-
expense paid weeklong
trip to New York City
to visit the studios of
and the headquarters of
This is the second year
in a row that a UF Scenic
Design graduate student
has been awarded first
place in the finals of
the Kennedy Center
competition and national showcase. Andrew Farrugia
won in 2006 for his design of Hamlet.
In 2007, School of Theatre and Dance students also
won the KCACTF Certificate of Merit for Collabora-
tion in Design award for the production of Waiting
for Godot. Additionally, D.K. Shaffer won the David
Weiss Costume Design Award for Mother Courage,
Darrin J. Pufall received second place for the Bar-
bizon Costume Design Award for Waiting for Godot
and Charles Perry received second place for the Bar-
bizon Lighting Award for The Exonerated. Christina
Watanabe also received third place for the Barbizon
Lighting Design for Waiting for Godot.
- Denise Trunk Krigbaum
The set design for the play Waiting for Godot created by UF College of Fine Arts graduate student
Glen Anderson won 2007's Kennedy Center American College Theatre Festival national scenic
Arts education goes
Beyond merely teaching the tech-
niques of fine and performing arts
to students, art in the classroom
can help non-arts students learn
about almost any concept, said
Russell Robinson, professor of Mu-
sic, Head of Music Education and
Educational Liaison for the College
of Fine Arts.
In fall 2007, Robinson presented on
the use of arts in education for the
Association of International Schools
in Africa (AISA) in Accra, Ghana,
and Nairobi, Kenya. Through work-
shops he held, he was able to work
with teachers to encourage the use
of arts in many facets of education.
"We looked at the ways in which
music reinforces whatever
concepts students are learning,"
While in Africa for more than
two weeks, Robinson presented
workshops on Songwriting in the
Classroom and on Sing and Share
the Music of Africa. During the
conferences he was in contact with
more than 1,000 teachers and
administrators from across the Af-
rican continent who were members
of the European Council of Interna-
tional Schools, which links English-
speaking schools worldwide.
Robinson taught the teachers about
using music in the classroom then
sent them off in small groups to
carry out a songwriting task. The
teachers wrote songs in the class
that featured curriculum as subject
matter, such as parts of speech,
five senses and different cultures
"Teachers then left with the ability
to teach their kids in a whole new
way," Robinson said.
To help build the University of
Florida's connections with the two
universities, Robinson met with
the music education faculty at the
University of Cape Coast in Ghana,
and with the vice-chancellor, deans
and directors at Kenyatta University
in Kenya to discuss international
collaborations and exchanges with
UF's School of Music, the College
of Fine Arts and with other Univer-
sity of Florida programs.
Kenyatta University has a stu-
dent population of about 21,000
students and 750 faculty. It offers
bachelor's, master's and PhD de-
grees in a wide range of programs.
Robinson said some exciting pos-
sibilities came from the exchange.
Kenyatta University is interested
in sending their faculty to UF to
earn their doctoral degrees, with
an agreement that once the PhD
is completed the faculty member
Faculty News briefs
Alex Alberro, an associate profes-
sor of art history, was awarded a
Howard Foundation Fellowship for
2007-2008. The fellowship provides
a stipend of $25,000 to complete
his new book, Periodizing Contempo-
Linda Arbuckle, a professor of art,
was summer faculty at Greenwich
House Arts Center in NYC, where she
conducted numerous workshops. She
received awards including a Recogni-
tion of Service to the Field from Bal-
timore Clayworks, and a Certificate
of Appreciation and Gratitude from
the National K-12 Ceramic Exhibition
Foundation Inc. She has been invited
to be the closing speaker at the
National Council on Education for
the Ceramic Arts Conference in
Barbara Barletta, a professor of art
history, has been appointed 2007-
2008 Elizabeth A. Whitehead Visiting
Professor at the American School of
Classical Studies at Athens, Greece.
Max Becher, an assistant profes-
sor of digital media, and Andrea
Robbins, an assistant professor of
photography, exhibit in Brazil through
January 2008. They received a 2007
award from the Sociedad Estatal de
Conmemoraciones Culturales, S.A.
Madrid, and were nominated for the
2007 Louis Comfort Tiffany Award.
Kenneth Broadway, an associate
professor of music, presented a steel
drum clinic at the Florida Museum
Educators Association convention in
Katerie Gladdys, an assistant
professor of digital media, traveled
to Germany to attend the Locative
Media summer conference to learn
more about using cartography and
geographic systems in the class-
Gila Goldstein, a visiting assistant
professor of piano, performed in
September 2007 a piano concerto
by Israel's national composer Paul
Ben-Haim (1897-1984) with the Jeru-
salem Symphony Orchestra in Israel,
under the baton of Mendy Rodan.
Richard Heipp, a professor of art,
has been awarded an Art in State
Buildings commission for a project
at Florida State University's new
Health and Human Performance Lab.
FSU recognized Heipp's work with a
Jonathan Helton, an associate
professor of music, presented master
classes at the Conservatoire National
de Region de Boulogne-Billancourt,
and at the Maison de Liban of the
Cite Internationale in Paris, France in
May 2007. Helton was one of three
international artists to be featured
at the First International Saxophone
Masters Concert and Summer Camp
in Beijing, China.
Connie Hwang, an assistant profes-
sor of graphic design, had her 10
plus 10: revisiting pattern & decora-
tion exhibition catalog appear in the
2007 University & College Designers
Stan Kaye, an associate professor
of theatre and dance, is the creative
lighting consultant/designer for
180,000-square-feet of urban park
space at Williams Park in downtown
St. Petersburg, Fla.
David Z. Kushner, a professor
emeritus of musicology, presented
a paper, "From Geneva to Lexington
will return to KU for a three-year
commitment to teach at KU as a
They discussed cross-cultural
faculty exchanges, where UF
faculty may go to Kenyatta Uni-
versity and all housing and food
expenses would be provided by
KU once in residence. The same
would be expected for Kenyatta
University faculty visiting UF. KU
is interested in their students
coming to UF, as well, Robinson
Robinson said similar opportuni-
ties may exist with University of
Cape Coast in Ghana.
"Words cannot express the
opportunities that exist for our
faculty and students in Kenya
and throughout the continent,"
Robinson said. "In my field of
music education, I am sure I
have learned much from my
experiences with the teachers at
the AISA conferences."
Art History researcher
Once a high school teacher and
now the director of the graduate
program of museum studies at the
University of Florida, Glenn Willum-
son has garnered multiple research
awards in 2007 with residencies in
two of America's most prestigious
When Willumson left his high school
teaching job to seek a graduate
degree in art history, he wanted
to follow his research interests in
museums, photography and Ameri-
can visual culture. Through his
professorship at UF, he continues
to follow his interests. In 2007,
he received a Beinecke Fellow-
ship from Yale University and was
awarded a senior faculty fellowship
from the Smithsonian American Art
Museum. As part of the fellowships,
he held a residency at Yale from
Sept. Oct. 2007, and holds one
at the Smithsonian from November
through August 2008, at which
time he completes a sabbatical
The fellowships enabled Willumson
to further his research on the visual
representation of the first transcon-
His study will culminate in a book,
tentatively titled Iron Muse: Pictur-
ing the First Transcontinental Rail-
road, to be published in 2008 by
the University of California Press.
The book will analyze the prints,
photographs, paintings and wood
engravings of the railroad and the
surrounding landscape from
In addition to his research, Willum-
son has led the UF museum studies
program since its start in 2001. In
a few short years, Willumson has
shaped a program that has moved
away from a strict focus on appren-
ticeship and "how to do the job," to
one which also examines the roles
museums play in society.
The young program has succeeded
by emphasizing collaboration
and teamwork, and is graduating
students who are securing jobs in
a variety of positions and museums
across the country, including the
National Park Service, the New
York Public Library and the Archives
of American Art, in Washington,
"Students who want to work in
museums need to learn what the
issues are rather than learn what
the answers are in order to create
institutions that will anticipate
where a disciplinary field and
society is going," he said. "They
must think ahead 15 to 20 years to
put together a practice that would
engage future audiences."
Avenue: Ernest Bloch's Musical Jour-
ney from the Old World to the New
World" in January 2007 at the Hawaii
International Conference on the Arts
Goulong Lai, an assistant profes-
sor of art history, participated in the
November 2007 International Forum
on Excavated Manuscripts in Canada.
About 40 scholars were invited from
Asia, Europe, and America, and fewer
than 10 from the United States.
Janna Lower, an associate profes-
sor of violin, traveled twice to Chile
during the 2006-2007 academic
year. She presented recitals, held
two concerto performances with
orchestra and gave daily master
classes and coaching to violinists
from around the country.
Sean Miller, a lecturer and co-
coordinator of WARP, traveled with
his John Erickson Museum of Art
to exhibit as part of Sean Taylor's
performance event 100 Paces at the
National Museum of Ireland in Dublin
with members of the Irish Defense
Forces and also exhibited JEMA in
Sean Miller (center)
Kevin Orr, an associate professor of
piano, premiered and recorded solo
and ensemble works by composers
Jennifer Margaret Barker, Houston
Dunleavy, Paul Richards, Robert Rollin
and John Weinsweig. His recently
released recording of Johannes
Brahms' Op. 5 and 10 has caught
international attention and praise
from major national and international
Ralf Remshardt, an associate
professor of theatre, presented a
paper on "The Anxiety of Influence:
The Stage as a Site in Early Film" at
the Comparative Drama Conference
in Los Angeles in March 2007. His
production of Waiting for Godot was
awarded a Certificate of Merit for
directing by the Kennedy Center/
American College Theatre Festival
regional festival. He also received a
Center for World Arts award together
with Tony Mata for a documentary on
Barbara Jo Revelle, a professor of
photography, went to Buenos Aires to
photograph Tierra Santa a strange
theme park where a 40-foot me-
chanical Jesus is resurrected for an
audience's viewing pleasure every 30
minutes. Her work, sometimes called
cultural criticism, is about tourist at-
tractions and "authentic" adventures
set up to help tourists "consume"
Celeste Roberge, a professor
of sculpture, received an artist
residency at SIM House in Reykjavik,
Iceland in June 2007. While there,
she completed 20 drawings and
plans for several sculptures. She also
made weekly trips to geological sites
of interest to her research, including
basalt formations, glaciers, volcanic
fields and craters.
Craig Roland, an associate profes-
sor of art education, is the recipient
of the 2007 universitywide Scholar-
ship of Engagement award sponsored
by the UF College of Education.
Ric Rose, an associate professor
of dance, was awarded an "Artist
Enhancement Grant" from the Depart-
ment of State Division of Cultural
Affairs to take a series of workshops
Victoria Rovine, an assistant
professor of art history, recently
traveled to South Africa. Over the
course of three trips she pursued
research in non-Western fashion. She
was selected for the UF International
Educator of the Year 2007 award in
the Jr. Faculty category.
James Paul Sain, a professor of
music composition, had his newest
work Beondegi, for digital media,
performed at the 2007 Nong festival
of contemporary music at the Korean
National University of Arts in Seoul.
SLAMMED, Sain's work for saxo-
phone, computer and game control-
lers, was performed by Mike Giles at
the 2007 Society for Electroacoustic
Music Conference at Iowa State
University. Sain was commissioned
to write a work for the University of
(continued on page 8)
Edward Schaefer, associate dean
and a professor of music, presented
a paper in July, at the convention
of National Association of Pastoral
Musicians, "Musicam Sacram Revis-
ited: The Heritage of Sacred Music,"
and in September he presented a
paper "Active Participation and the
Church's Polyphonic Treasury," in
Boaz Sharon, a professor of music,
presented piano master classes at
the Hong Kong Academy for the
Performing Arts and at the Shanghai
directed by School of Theatre and
Dance professor Joan Frosch, has
set about to tell new stories the
stories of individual lives and cre-
ativity on the African continent.
The film opened international
film festivals and has toured the
United States in 2007 and has its
Gainesville premier on January 14,
2008 at the Phillips Center for the
Performing Arts when two featured
companies in the film Company
Jant Bi (Senegal) and Urban Bush
Women (USA) are in residence at
the University of Florida.
Movement (R)evolution Africa
focuses on nine fiercely creative
choreographic trendsetters. Hailing
from Senegal to South Africa, these
dancers provide fresh images of
Africa and their perspectives on the
creative process to bring to life the
continent's contemporary identity.
Combining innovative narrative
techniques and striking footage
of dancers at work in the studio
and on stage, the film explores an
astonishing exposition of choreo-
Cote de Ivorian Beatrice Kombe's
all-female dance troupe TcheTch6 is
featured in a dance documentary.
New documentary film
by UF professor explodes
myths of Africa
Dominant media images of Africa
commonly project a vast, undif-
ferentiated land steeped in tradition
and ensnared in a web of poverty,
disease and political turmoil.
Indeed, when personal and human-
izing attention is given to Africa it
often hinges on the goodwill trips
of international celebrities. Now,
Movement (R)evolution Africa, a new
documentary film produced and
Faculty News briefs (continued)
Florida Clarinet Ensemble. The com-
position A Brief View of Eternity was
released on the CD Wind in the Reeds
by the commissioning ensemble on
the Mark Masters label.
"The featured choreographers
reveal emotionally complex expres-
sions of self, and by doing so, re-
veal the reality that is Africa today,"
said Frosch, who is co-director of
the Center for World Arts.
The sum of these artists' stories
creates a deeply human encounter
with creativity that positions African
choreographic innovation as a
veritable aesthetic revolution. Their
stunning choreography and riveting
stories challenge stale stereotypes
of "traditional Africa" to unveil soul-
shaking responses to the beauty
and tragedy of 21st century Africa.
The film has been the festival pick
of the year screening at more than
40 venues throughout the United
States, Europe, Asia, South Ameri-
ca, and Africa and was featured at
Kaay Fecc in Dakar, Senegal. Move-
ment (R)evolution Africa has received
rave reviews, including The Village
Voice's proclamation: "This film is a
For more information on the film,
Karl Kraber this year at the National
Flute Association Convention, the
largest annual flute event in the world.
She continues her roles as principal
flutist of the Central Florida Sympho-
ny Orchestra and as a board member
of the Florida Flute Association.
Jennifer Thomas, an associate
professor of musicology, presented
her paper on influential Renaissance
motets, "From Paris to Copenhagen:
French Connections and Exports," at
the 18th Congress of the International
Musicological Society in Switzerland
Jay Watkins and Chip Birkner, Ga-
tor Band directors, were honored that
the University of Florida Gator Band
was selected by the Bands of Amer-
ica organization to serve as the host
and present an exhibition perfor-
mance for the 2007 Florida Regional
Championships, held in October at
Tropicana Field in St. Petersburg.
Conservatory in May. In July, Sharon
was artistic director at the 11th
Prague International Piano Master
classes. In October 2007, Sharon
taught and performed at the Guang-
zhou Conservatory in China.
Brian Slawson, an associate profes-
sor of graphic design, continues his
research into printing and typography
by the Cherokee from the 1820s into
Nan Smith, a professor of ceram-
ics, is currently exhibiting her new
sculptures from her "white series."
They have been featured in the 2007
NCECA Clay National Biennial Exhibi-
tion. Her sculpture titled Serendip-
ity was pictured in the exhibition
Shepherd Steiner, a visiting
assistant professor of art history,
has published and lectured on his
work "On Form, Formlessness, and
Curatorial Formalism at Documenta
XII," published in the Journal of Visual
Culture, vol. 6, no. 3.
Kristen Stoner, an associate
professor of music, was a featured
performer in a recital honoring flutist
CDs + DVDs
Jill Sonke-Henderson and Rusti
Brandman, co-directors for the Cen-
ter for Arts in Healthcare Research
and Education, edited a new book,
with Dr. John Graham-Pole and Ilene
Serlin from Shands Arts in Medicine
called The Arts and Health. It is
the third volume of a three-volume
set called "Whole Person Health-
care" published by Praeger in July
The 2008 edition of A History of Art
in Africa appeared on bookshelves
in summer 2007. The award-
winning book by School of Art and
Art History professor Robin Poynor
Paul Richards was featured on two
CDs in 2007. The first, Fables,
Forms, and Fears (Meyer Media,
MM07008, 2007), contains cham-
ber music by Richards, featuring
performances by several UF faculty
The second, Perspectives (Master
Musicians Collective, MMC 2162,
was selected by
the Florida Art Museums Directors'
Association to curate the exhibi-
tion of the State of Florida Visual
Arts Fellowship recipients for the
AHW~~f Bc" |
2007. Brandman also created a
DVD about CAHRE's 2006 Vital
Visionaries program. The making
of the video was supported by the
Fine Arts Scholarship Enhancement
Fund and by the National Institute
on Aging through the Society for
the Arts in Healthcare.
and colleagues Monica Visona and
Herbert Cole was hailed, when first
published in 2000, as a "ground-
breaking work, [that] covers the
arts of the entire continent of
Africa, including Egypt." As in the
original edition, the authors present
a synthesis of up-to-date research
carried out over the past century
studying thousands of years of
year 2006. The exhibit is traveling
throughout Florida for two years,
and will be shown at the University
Gallery in Gainesville in early 2009.
The exhibition includes 25 artists,
three of whom are School of Art
and Art History alums or faculty:
Celeste Roberge, John Westmark
and Katy Rush. John Westmark
and Amy Vigilante produced the
2007), includes two of Richards'
orchestral works. (mmcrecordings.
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An art class creates
Sn a spring night in 2007, 18 students crowded around a long con-
ference table in Fine Arts C for the final meeting of Community Arts
Projects, the first course of its kind offered in the college.
The ceramics, graphic design, visual arts, art education, digital media and
drawing majors took turns presenting their semester-long projects. Each
one described how they used their arts skills to help community groups
fight hunger and heart disease, and to aid in hospital patients' healing.
Using illustrated PowerPoint presentations, some students talked about
bringing an art cart to the pediatrics ward as part of the Shands Arts in
Medicine program and seeing the smiles on some kids faces and the
signs of struggles etched on others. Some students had focused their
efforts on building an alternative art space in downtown Gainesville. All
participated in a local branch of national fundraisers, one for hunger -
Empty Bowls and one for the American Heart Association's Heart Ball.
With the class, instructor Lauren Garber Lake, an assistant professor of
art, wanted not only to encourage art students to get involved in the com-
munity, she also wanted to educate students
about the power of art and the power of action.
The class gave students a chance to use their
creativity to give back to the community and
connect to real world issues that they wouldn't
encounter during their hours spent isolated in
studios, Garber Lake said.
The course was inspired by a series of arts
students who wanted to volunteer with the
Shands Arts in Medicine program and receive
internship credit. After about five or six students
were placed with the program, Associate Dean
Marcia Isaacson, then the School of Art and Art
History director, suggested Garber Lake create
a course to facilitate student involvement.
Teaching by example
Garber Lake first volunteered for Arts in Medi-
cine in the bone marrow transplant unit when
she was a UF student in the mid-1990s. Her
skills were deepened when, as a UF professor,
she organized two large art auction fundraisers
for the American Red Cross to aid victims of the
SOuthtjst Asi, tbi1iririii arid Huirniane Katrira.
She alsi, d.velop.d c:iolliwiti:insl with a local)
htid b rn Gaineir ville Harve-.t. Tils clss has
given hir the oppoittiinit, to pit h-i e pH*rieli:
to ind uoo i..
"This course allowed me to do a different kind of
teaching. I'm getting to give back also, through
the students and with the students. It makes me
feel doubly fulfilled," she said.
Learning by doing
Dominick Almodovar, a graduating senior with
a digital media degree, was one student who
decided to work with patients in a hospital
environment. He visited children in the pediatrics
ward and saw kids get excited to see the art
cart coming around.
"Art was a support to them to be expressive.
Their gowns and their rooms are all the same,
but painting a picture allows them to express
and separate themselves from the bland environ-
ment, it reminds them of the world outside pro-
vides a pleasant distraction. They are having fun
painting a t-shirt. It was great to see art having
an impact," he said.
Almodovar said he also benefitted while he gave
his time and energy to patients and fundraising
for worthwhile causes.
"This i:IaJ hIelped mne vith leIfirng i:llabo) a-
iorin in general. Wil the events, we had to plan
tigethet etablishi iles jnd e eci te then. With
Erpt,, Bowls, tearniv, k wjs j big partt the
events si':i:ess. I lejred to idl, (in a tejran,
Alniodov, r said.
Ja,:ln Baitaj, j diiu l rialoir in :et anit s ji nd
jnithriopologo, sjid she had never -'.eli a tusion
betoti between irt and the coninriinit, until she
sjaw this 1.:o1 se oiheitd. She quick I, signed up.
I :iondiJ,:td ot l histoit s strandardiztd
disci usionis vith Shands pjtitnts jbouit their
livts. The conivei sitions helped the pajtlits
pajj the timi jand take their minds Ioutside the
hospital," Bjiat sjid.
Baoiot said htr ,,'oik in the (i:IJ op nrit d h it
e,e t th te irnpjat ot jit jnd helped her land j
Iion-pilott :iiriinriin llt, job tac:hirig English js j
S'.:iond Laniguiage in the Broin., H[ew iorO.
GorbHt Lake said tlit at lest toi r -.stiujd ts
i tornl i-:J.. hove gil0 I onl t)o iobs ivo') g .in
: i nt11111111111, oiginliz ti( 'iiI,.
Gjiber LaHt said the tuitun ot the oi:ur'.
depends iii how well it fits ntio Finr Arts
:cirrii:cllriin rnd wh,' thie it should be ittetHd to
all UF students.
"The .:ioJ se dev lops .:oirlrnllj : jtio i adiid load-
r l.hip skills, dev-lops thiii idenititles js I limon
beings people, wvli livH in the ,'voild liot ot
the world, she said. "Tho'is things, rnih.ed vitlh
the ':reH tivit tht, have, o hive lejrnrid jt tlis.
lJiiersit, :reate better people, beTttr i:tbenls.
Dal ,e Trunk Knrbjnni
The art of African dance
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r.erformed pieces sans dancers.
The dances are energetic. The
music is phenomenal. It kept audi-
ence members at the edge of their
:eats," said Shakeela Prosper,
sophomoree elementary education
major. "It's not just dancing; it is
IJF dancers practiced together for
.t least 16 hours weekly during the
IIll semester up until the November
.,nd December performance dates.
E:efore each joint performance, UF
.,nd NWSA performers warmed-up
.,nd ran through tech rehearsals
together for about five hours.
They were really good dancers.
I learned a lot from them just by
watching how they moved and
: stretched said Prosper.
there rlmudumr ddarll 0
pieces directed by contemporary
choreographers Peter London, Uri
Sands, and Garth Fagan.
"This is my first time working
with the other choreographers,"
DaCosta said. "Peter London is a
professor at the New World School
of the Arts, Uri Sands owns a
company in Minneapolis, and Garth
Fagan is a Tony award-winning
It is rare to find a performance like
Agbedidi which features the choreo-
graphic works of such an extraordi-
nary group of talented artists. The
partnership of UF and NWSA has
allowed numerous aspiring students
to work with exceptional choreog-
raphers and master musicians from
thL r3uidu ul giuvth arlid
development of dance using African
motifs. It is an example of how Af-
rican dance has grown around the
world," said Daniel Lewis, NWSA
dean of dance.
This unique opportunity to work
with esteemed choreographers
and musicians has played a large
role in the success of the UF-NWSA
Garth Fagan's innovative chore-
ography in Walt Disney Theatrical
Productions' Broadway musical The
Lion King earned him a prestigious
Tony Award for Best Choreography
in 1998. In addition, he received
the 1998 Drama Desk Award,
1998 Outer Critics Circle Award,
1998 Astaire Award, 2000 Sir
Fagan's 1978 work, From Before,
looks at movement before Western
Civilization and introduces contem-
porary ideas. While paying homage
to African dance, Fagan creates his
own non-traditional way of moving,
which leads to brilliant contem-
porary choreographic works.
Fagan eliminates the distractions
of elaborate costumes, sets and
props to emphasize only the bold
and powerful movements of the
Just like anything else, Agbedidi
Dance required a lot of planning,
patience, cooperation and practice.
"You learn a lot in a collaborated
performance, you have to just go
somewhere and throw yourself into
Though UF and NWSA students
learn their routines in separate
cities, both groups manage to work
as a team and deliver remarkable
performances year after year. "Our
performances went extremely well.
UF and NWSA did an outstanding
job and really pulled together,"
Anne Brito, sophomore theatre
major and dance minor, said the
lively, energetic and spiritual perfor-
mances were well received in both
Gainesville and Miami. "Everyone
can relate to the spiritual meaning
and movements of the music and
dances. This performance is for
everyone," Brito said.
A C ;ii iii iii i
A Creative Campus
1n ., ri .jrliv- .' .m ir.ii r ..itv.
l rt, irir.,v jrit..r, IIjboration
rarid :i p.i art r nsid ered. .vitald t
nl-e. Iln j,:h l:(success as, e:mri and
in ovthe new ar kr.ilace .,lof .rideas.
:.rd, University o Flodr jhs thi:
.1nd r .jr .ln i- iplirn.r, r. ,,ri .imn:
flourish, .jri.nd :nrid,-rirt:' intr.bri nred
,rido ../ ,, are considered vital to
rheii tijrme success as employees
in the new marketplace of ideas.
The University of Florida has the
potential to be such a place.
Creativity, it is important to note,
is not a synonym for the visual and
performing arts. In fact, creativity
exists in nearly every profession.
Creativity is the spark that inspires
people to innovate, and urges them
to make the leap from craft to cre-
ation. This spark can ignite in most
fields, if conditions are right.
But why should we care about how
we measure up in creativity?
Two recent books by Daniel Pink (A
Whole New Mind) and Sir Ken Rob-
inson (Out of Our Minds), illustrate
that our economic system is mov-
ing from manufacturing to the so-
called knowledge-based industries.
Today, as many American jobs are
shipped overseas, including those
in high-tech industries, the neces-
sary skills Americans can offer the
global market increasingly become
creativity, ingenuity and vision.
In short, according to Robinson,
creativity has become a require-
ment of a successful America,
and, by extension, of successful
universities. As a result, the push
for a creative campus is already
underway at top institutions, such
as Columbia, Princeton, Stanford,
North Carolina Chapel Hill and
Syracuse. At Harvard, several
engineering and science faculty
members have recently created
a center to help engineers and
scientists become more creative
The University of Florida is uniquely
positioned to be recognized as a
key national player in the creative
campus initiative. Our campus is
overflowing with creative assets;
unfortunately, many artistic pro-
grams, people and events are sim-
ply underutilized or hidden assets.
This situation needs to change.
To help engage leaders from
throughout our university com-
munity in a conversation about the
importance of the creative campus
initiative, The Center for the Arts
and Public Policy (CAPP) will bring
Sir Ken Robinson to UF to present
an address, "Thinking Out of Our
Minds: Learning to be Creative,"
at a special luncheon Jan. 15 for
University and community leaders,
hosted by UF President Bernie Ma-
chen and CFA Dean Lucinda Lavelli.
CAPP is also developing guidelines
for UF to use in preparing an index
of its current creative resources
in order to utilize them fully and
effectively. When assessing UF's
level of creativity, we will consider
the conditions essential to creative
work. These include: collaboration,
cross-cultural exchange, interdis-
ciplinary exchange, time and
resources, and tolerating failure
(from Steven Tepper's article,
"Who's No. 1?" in the Chronicle of
Today's campus is a place where
creativity in all its forms can be
cultivated and applied. The visual
and performing arts have a unique
role to play in developing the
creative campus because they
have long been recognized as the
catalyst of creative work across the
disciplines. The fine arts can help
stimulate a campus to be a more
creative place for learning and
working. Also the arts can be used
to create, stimulate and nurture
more opportunities for students to
find a personal expression, to light
the spark of creativity.
The University of Florida recognizes
that, like other leading universities,
it must do more to prepare its
students for the challenges facing
our country and the world. UF can
accomplish this by embracing,
supporting and celebrating a broad
view of creativity, with the College
of Fine Arts squarely at the center...
leading the way!
Donald E. McGlothlin
Director of the Center
for the Arts and Public Policy
wounded in 2001 as a partner-
ship between the College of
Fine Arts and the College of Engi-
neering, the Digital Worlds Institute
facilitates research that could not
occur within the confines of any
one college or department.
"With our activities we seek to
combine aspects of the emerging
digital culture of the 21st century
with interactive media to create a
synthesis of design and functional-
ity," said James Oliverio, director of
the Digital Worlds Institute.
Within six years of its establish-
ment, the interdisciplinary team at
Digital Worlds Institute has filed for
two patents and submitted multi-
million dollar grant proposals in
consideration for funding.
The two inventions with patents
pending were created by Oliverio
and DW associate director, Andy
Quay. The first of these, the
Integrated Situational Awareness
System, is an interactive digital
command center designed to aid
decision-making in the case of a
large-scale natural disaster and/or
The second invention, named the
NetroNome Online Media Environ-
ment system, links artists and
performers through the Internet
for real-time performances across
the Web. The two-part system
overcomes network delays and
processing between musicians
and artists who are performing in
different geographical regions, and
precisely synchronizes and displays
real-time graphics and video of col-
laborations in tandem with the live
performances. The result is a new
format for artistic expression.
Digital Worlds premiered four
integrated media performances
using the NOME system in the past
academic year. Each of these musi-
cal performances allowed musi-
cians to collaboratively perform
across hundreds, if not thousands,
of miles. One such performance,
Children of a Common Mother,
created for the 56th Annual Latin
American Studies Conference at
UF, joined regional and indigenous
musicians, dancers and storytellers
across the Americas, ranging from
Alaska to Brazil.
"Using these interactive media
systems, distant artists, engineers
and performers can collaborate,
which allows us to better know and
appreciate each other's cultures
and traditions, and actually begin to
establish new models for cross-cul-
tural understanding," Oliverio said.
"This is a new synthesis of art and
technology, of culture and interac-
tion design, that was not possible
before the emergence of the global
With a new international
group, Fine Arts students organize-
to share arts and healing abroad
Medical students have long
participated in the Arts in
Medicine program by sharing
art with hospitalized adults and
children at Shands Medical Center
at the University of Florida. Jill
Sonke-Henderson, co-director of
the College of Fine Arts Center for
Arts in Healthcare Research and
Education, recognized there were
fewer Fine Arts students involved in
the work. When she met one unique
student in her Introduction to the
Arts and Healthcare class in spring
2007, she saw an opportunity to
remedy the disparity.
Sonke-Henderson tapped Zarabeth
Golden, a motivated UF junior and
a double major in Visual Arts and
Psychology, to form a new student
organization for interested Fine
Arts students. Golden launched the
International Fine Arts and Healing
student organization in the summer
of 2007, and by fall achieved a
membership of about 60 Fine Arts
majors, minors and some health
"Zarabeth is exceptional, she
was a leader in the class, and an
A-student. Sonke-Henderson said.
"She was always the one who
seemed to be able to pull time out
of the cracks in such a calm, pleas-
ant way that she really seemed
like the right person to approach.
Within weeks of my request, she
developed the group's name, con-
stitution and mission, and has done
a wonderful job of inspiring and
organizing the group since."
Golden says International Fine
Arts and Healing "aims to bring
our artistic skills to people around
the world, to use those skills to
enhance individual and community
health, and to create opportunities
for international cultural exchange."
Now, under the guidance of
CAHRE's director, members of IFAH
are preparing to take a 12-day jour-
ney to Gambia, Africa, March 5-17,
2008, to introduce the benefits
of the arts to rural clinics and the
Royal Victorian Teaching Hospital
For Golden, the group's mission
is personal. Just a few years ago,
Golden experienced first-hand
how the arts can benefit a
At the age of 17, Golden had long
been an overachiever. For years
she juggled multiple extra-curricular
activities in her high school, such
as captaining the swim team
and gymnastic team simultane-
ously, while also excelling in her
coursework. She won international
science fair research awards two
years running, for example.
Then, on the brink of her freshman
year of college at UF, Golden had
to withdraw from her entire year of
classes for medical reasons. She
said her body just shut down from
Eventually her doctors diagnosed
the cause of her near complete
physical and mental breakdown,
attributing it to the chronic condi-
tion, fibromyalgia an as yet
poorly understood disorder that is
characterized by severe joint pain
Golden began to paint during the
year she, her parents and her doc-
tors were struggling to understand
"In that time, what I turned to
ended up being painting," she said.
"I spent that "unproductive" year
painting. I found painting. It was
such a relief to have that kind of an
outlet. It was amazing. Awesome.
Before fibro, my outlet was sports
and obviously, I couldn't turn to
Painting and creating has remained
a central focus of Golden's life.
Now 21, and with her fibromyalgia
under control with medical supervi-
sion, Golden is a junior in UF's
College of Fine Arts and back to
her old over-achieving ways.
In March 2007, she received a
grant from the University Scholars
Program to conduct research at
Shands Medical Center on Arts in
Medicine's effects on quality of life
Chalk art announces a fundraiser for International Arts and Healing.
Zarabeth Golden in her experimental painting class
Jill Sonke-Henderson (front) leads a dance workshop at the GoDown Community Arts Center in Narobi, Kenya.
and health among hospitalized cell transplant
recipients. In 2007, she was selected to show
her artwork at the annual UF Student Juried Arts
exhibition. She was also awarded the James J.
Rizzi Scholarship from the School of Art and Art
Despite all the activities the double major was
involved in, when she stumbled across an an-
nouncement sent out by the School of Art and
Art History about a spring 2007 Arts in Medicine
class, she signed up for it immediately.
"I have spent a lot of time in hospitals myself,"
Golden said. "I'm familiar with the woes of the
hospital patients, caregivers and nursing staff. It
is a place where I know I can do good, and it is
a place where I know it will matter."
The class was taught by Sonke-Henderson and
fellow co-director Rusti Brandman, a dance
professor in the School of Theatre and Dance.
CAHRE, which grew out of the Arts in Medicine
program at Shands at UF, is a leader in the field
of arts and medicine with a broad and com-
prehensive program. AIM's in-patient hospital
program has peers at other centers, but in edu-
cation and international programming, CAHRE is
As part of the center's international work, Sonke-
Henderson will lead three nurses and about
10 students from the IFAH group on the March
Gambian trip. The students will be based at the
Royal Victorian Hospital and half the group will
remain there while the second half goes on one
of two excursions to outlying bush hospitals.
"The three nurses will maintain a significant clini-
cal practice while we are there and students will
be doing some "hard labor" in addition to art,"
Patients walk for miles or days to reach one
clinic in Eastern Gambia the group will visit. The
small structure's walls are not completely con-
structed. "We are planning to help them finish
the walls and then paint murals," she added.
Golden is clear-eyed about IFAH's purpose for
"We are going there to introduce them to the
arts and medicine program and to introduce us
to another culture," Golden said. "It is just as
much for us to learn from them as for them to
learn from us. I'm a big traveler and a proponent
of getting involved and getting exposure to other
cultures. I wholeheartedly feel that art students
in general could not benefit more from being
involved in other cultures."
CAHRE will also offer a four-week four-credit
international course in summer 2008 to study
the historical roots of the arts and healing in
Spain and Morocco.
Golden is on board for that journey, too.
"Broadening your horizons and just being
introduced to as much as you possibly can is
so important. You'll never have a limited sense
of inspiration the more you expose yourself to,"
Golden said. "This kind of involvement is
essential to make you a better person and
a better artist."
By Denise Trunk Krigbaum
An invitation to think again
photographers Jerry Uelsmann
and Maggie Taylor's vision and
methods play off each other, and
similar themes echo through their
images, but their work is a study of
opposites. Each artist expresses a
different point-of-view on a common
element be it a tree, a bird or a
rock. With charm and clarity, Taylor
and Uelsmann beckon the viewer
to think differently, think twice and
rethink preconceived notions.
Their joint exhibit of 54 recent
works at the University Gallery
in fall 2007, Just Suppose:
photographs by Jerry Uelsmann
and Maggie Taylor, provided an
example of how most things in life
can be viewed in more than one way.
The exhibit brought together gen-
erations of art aficionados, alumni
and friends to view work Taylor
and Uelsmann have created since
2000, some of which highlighted
The art of work
Uelsmann and Taylor have made
their home in Gainesville. Their
studios contain an intriguing col-
lection of artifacts from around the
world. These surroundings, along
with trips they take to places such
as China, Korea, Yosemite and New
York to exhibit or to conduct re-
search, help to define who they are
and influence the overall content of
Uelsmann, a UF professor emeritus
and a retired graduate research
professor, changed the place of
photography in art history through
his entirely new way of manipulating
photo negatives and processing
prints in the darkroom. In fact, Uels-
mann entered the art world during
a time when photography purists
believed in the "decisive moment,"
or the capture of a single point in
time, as the ultimate photographic
achievement. In contrast, his work,
all in black-and-white, is studied,
manipulated and composed with
a collage sensibility. Audience
participation is inherent in his
mode of inquiry. Through his work,
Uelsmann invites the viewer to join
in the creative process by sharing
his invented worlds.
Taylor holds her MFA in photog-
raphy from the UF School of Art
and Art History. Like Uelsmann,
she has challenged prevailing ap-
proaches to her craft. Her process
of layering imagery takes place on
a computer screen instead of in a
darkroom. Her work is composed
digitally, primarily utilizing a pho-
tographic scanner and computer
software to create incredibly rich
compositions that in many cases
appear to be paintings rather than
Colorful and complex, laden
with emotion that comes as an
unexpected surprise in the com-
only flat, graphic world of digital
imagery, Taylor's work explores
cognitive channels of interdisciplin-
ary thought, with temporal qualities
that invoke many periods in history.
Her creativity is evident through
her works' form and content, which
causes the viewer to look and then
look again before finally reflecting
on her processes and experiencing
"I like to create my work and put it
out there for the people to interact
with and consider," Taylor said.
"I leave the interpretation to the
She said she spends much of her
work time in front of a computer,
describing it as being like "any
other desk job." While in her chair,
she starts with old photos and
follows them where they lead,
creating layer upon layer using
Photoshop software as she makes
her artistic journey and creates her
A larger format for a
Included in the exhibition were
three photographic images from
each artist that were generated
outside of the realm of their
normal techniques. Uelsmann,
who creates his prints in the
darkroom by combining separate
black-and-white negatives using
a traditional enlarger, has printed
his work for the first time digital-
ly on a new Epson large-format
printer. Taylor, who always works
with digital media, has printed in
a scale that is also significantly
bigger than her norm.
Uelsmann was encouraged to
explore larger formats by a
curator in Seoul, who suggested
the addition of some larger im-
ages, viewable from a greater
distance, would add variety to
"I'm still working the same way
in the darkroom layering nega-
tives and making a print, but
carefully scanning the image and
using the Epson large format
printer allows me to create
these bigger prints that can
be viewed from 30 feet away,"
In addition to the large format
prints exhibited in Just Suppose,
Uelsmann and Taylor were in-
vited to experiment with an even
larger Epson printer, and with it
they each produced two works.
The University Gallery invited
the Samuel P. Harn Museum of
Art to partner in the exhibition by
showcasing two of these four prints
at the museum.
Uelsmann said he was more than
ready to embrace digital technol-
ogy, once it caught up in quality
with traditional methods.
"I have never seen it as a com-
petitive sport between digital and
traditional photography," Uelsmann
said. "Technology is so rapidly
changing. Until recently it had not
reached the level of quality neces-
sary to reproduce the results of
traditional black-and-white photo-
graphic developing. Now I have the
ability to have the full tonal range of
Director, University Galleries
y his sophomore year at UF,
Noel Davies realized that play-
ing piano was not just a hobby; it
was his desired career path. He
increased his practice time, playing
in the Music Building for six to eight
hours a day.
"There is a lot of art and creativity
involved in interpreting music and
playing piano. Inserting subtle, per-
sonal artistic ideas while respecting
legendary compositions requires
a creative mind," said Davies, a
fourth-year piano student in the
School of Music.
Davies, at the age of seven, fell in
love with the piano after his first
lesson. As a high school student,
he travelled on the weekends
from Ft. Meyers to Boca Raton for
private lessons with Roberta Rust,
piano professor at Lynn Univer-
sity. Davies then attended his first
festival for young, aspiring pianists
at Texas Christian University's Van
Cliburn Institute in Ft. Worth, Texas.
His passion for playing piano
continued to grow at the weeklong
Young Pianists Festival at UF, where
he received personalized instruction
from Kevin Orr, the festival's founder
and director. Over the course of
seven days, Davies engaged in
public concerts and master classes,
private lessons with faculty, daily
music classes and guest artist recit-
als and master classes.
He was impressed by the extremely
supportive faculty in the School
of Music and he felt an immediate
connection with one professor in
particular, piano professor Kevin Orr.
"We connected musically and our
personalities just clicked. Dr. Orr
took me under his wing and now
he is my mentor and role model,"
To date, Davies has performed in
China, Canada and throughout the
United States. His most memorable
performance was in 2006 at the
Kennedy Center for Performing
Arts in Washington, D.C.
"It was a unique opportunity and
a lot of pressure to play in the
famous concert hall, but I was
happy with my performance of
Beethoven's Sonata Opus 90. Per-
forming is a really big rush, almost
like an out-of-body experience,"
Davies and four other UF piano
students shared an out-of-country
experience in May 2007, when they
traveled with Orr to Chengdu, Chi-
na, to study at the Chinese-Amer-
ican International Piano Institute.
Davies practiced and performed
daily, attended master classes and
received one-on-one training at
the Sichuan Conservatory, one of
China's top music institutions.
"The program encouraged cultural
exchange as well as musical devel-
opment. I watched Chinese pianists
and learned about the music culture
in China. It was a great opportunity
to develop musically because of
the diverse, outstanding and well-
Davis with Kevin Orr, far right, in China.
respected faculty in attendance,"
Eager to continue learning and
playing, Davies was invited to and
attended the prestigious Aspen Music
Festival in Colorado for a five-week
program in the summer of 2007.
He said the musical environment,
with more than 700 students of all
instruments, was filled with extremely
"It was overwhelming in terms of
inspiration," Davies said.
Davies attended private lessons
with John O'Conor, director
and professor at the Royal Irish
Academy of Music in Dublin, Ireland.
He still keeps in contact with the
reputable Irish pianist and hopes
to be under his instruction when
pursuing his graduate degree.
Davies was able to fund his trip
to Aspen in part by the Presser
Scholarship, which is awarded by
UF music faculty to a rising senior
music major who displays excel-
lent musicianship, scholarship and
contribution to the department.
In the same year, Davies also
received the Rich Holley Memorial
"Noel has blossomed into someone
who is probably on par with some
of the more outstanding piano
students of his age in the U.S. This
is confirmed by the many invitations
he receives from prestigious musi-
cal festivals every year," Orr said.
"He has been a real ambassador
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Lyrics from West Side Story
resonate from the shower
stalls. Drawings and paintings
decorate the hallways. Chords from
a guitar echo within the common
lounge. These are the usual sights
and sounds of Reid Hall otherwise
known as the Fine Arts Living
"Reid Hall is definitely different
from all other residence halls at UF.
It is really special, especially for
students who appreciate the arts,"
said Daniel Seeman, president of
Reid Yulee Mallory Area Council.
In collaboration with the College of
Fine Arts and UF Performing Arts,
the Department of Housing and
Residence Education opens Reid
Hall's Fine Arts Living Learning
Community to any student with an
interest in the arts. Even the Resi-
dent Assistants and Graduate Hall
Director at Reid Hall are selected
based on their interest in the arts.
"I've really enjoyed my experiences
here as an RA at Reid because I am
exposed to many things outside
of my major," said Justin Chang, mi-
crobiology and cell science major,
"It's been fun to experience the arts
in this unique way."
Though Chang is not a fine arts ma-
jor, he plays piano, flute and guitar.
"Reid Hall is social, spontaneous
and very diverse. All backgrounds,
styles and personalities are
represented, and we all seem to
work well together," said Max Tfirn,
music education major and Reid
resident of three years.
Reid Hall encourages its residents
to develop their creativity and
artistic expression beyond the
classroom by taking advantage of
its facilities, location and programs.
"This is really the only residence
hall you can practice in, and it's
really close to Fine Arts classes. It's
a great location," Tfirn said.
Within the Fine Arts Living Learning
Community, students have 24/7 ac-
cess to a gallery and studio space.
Future renovation plans include
sound-proof practice rooms in the
basement of Reid Hall. The gallery
is the site for art exhibits and
shows featuring works of residents
and visiting artists selected by the
Reid Arts Council. The gallery also
functions as a quiet study room.
The studio is a great space for art-
ists to work and a temporary place
for dancers to rehearse.
Whenever he finds down time,
Derek Butts, a musical theatre
major, participates in informal jam
sessions with four other Reid resi-
dents. Butts, a freshman, said he
would live in Reid again next year.
"I try to be in Reid as much as I
can; it's relaxing," Butts added.
There is an obvious sense of com-
munity and camaraderie amongst
residents of Reid Hall.
"Everyone is always willing to help around Reid,"
said Blake Suarez, graphic design major who de-
signs sketches and stencils for t-shirts which he
sells across the globe-all from his room in Reid.
The residents' enthusiasm and passion for the
arts inspired Beau Bergeron, former Reid RA, to
launch the most popular program and tradition at
Reid Hall- Reid Rocks. Organized by Reid RAs,
Reid Rocks invites residents and friends to enjoy,
participate in and contribute to artistic workshops
and performances. In the past, Reid Rocks has
sponsored free shows by local bands like Select
Start, visiting spoken word artists and perfor-
mance groups like Theatre Strike Force.
"Theatre Strike Force is an improve comedy troop
that has frequently visited Reid. About 150 UF
students of all majors make up TSF, including
Reid residents. Their routine is similar to that of
Whose Line Is It Anyway? and highly encourages
audience participation," said Seeman, president
of Reid Yulee Mallory Area Council.
Reid Rocks also organizes open-mic nights and
"For one Reid Rocks, we were asked to bring
instruments that aren't really instruments, such
as garbage cans, chairs, spoons, and using
them, we made music. Another theme for a Reid
Rocks workshop was making art out of trash,"
That's not all Reid has to offer. In addition to
its many facilities and resources available to
UF students, Reid also has a room available
for visiting artists. Christina Briggs and Edward
Winslow, professional dancers and owners of
Incidents Physical Theater studio in NYC, stayed
at Reid as guest faculty-in-residence in October
2007. While Briggs and Winslow were at UF they
interacted with non-dance and
dance majors enrolled in School
of Theatre and Dance courses
and involved in the Florida MOD
Project. Briggs and Winslow
decided to stay at Reid for
"We did not have to rent a car
or worry about finding parking. We could walk
everywhere we needed to go. It was also really
easy for us to focus there," Winslow said.
Briggs said that the room was the equivalent of
a studio apartment in NYC.
"It had everything we needed," Briggs said,
"We'll stay at Reid Hall if invited to the UF cam-
to sleep, it a place for them to live and celebrate
the arts with friends.
"There are a lot of returning residents every
year. This marks my third year living here now.
We are a social group and a very active commu-
nity," said Jeremy Melendez, photography major,
"It is the place to be. It rocks!"
The longhaired bespeckled girl is
as bumbling as she is well-meaning.
She works in a glamorous indus-
try, but she is completely without
fashion sense. She is dubbed Ugly
Betty, but everything about her,
including her lack of style and the
glitzy offices and Manhattan streets
she inhabits, is beyond her control.
In fact, costume designers produce
her wardrobe, down to her black
tights and red-framed glasses, and
her world is created by a team of
artists and craftsper-
:..r:. who are all
i1.: alum Jim
hi.r the Col-
Ilg, ul Fine Arts'
School of Theatre and
Dance at UF with a BFA in tech and
design in 1982, landed the position
of art director for the hit ABC televi-
sion show is an example of the
'right place right time' phenome-
Marianne Lettieri, BFA in
printmaking, drawing and
Stance, exhibited her work,
This Place Called Home, at
The Main Gallery in Redwood
K.F. Williams, BFA in theatre
design and technology, joined
the Shakespeare Theatre
Company as Director of
Booking and Events for the
new Harman Center for the
Arts in Washington, D.C.
Illumination: Marianne Lettieri
Margaret Schnebly Hodge, BA in
graphic design, exhibited her paint-
ings, FLUX as verb, as subject, at
non, which actually means 'through
years of dedicated effort.'
After working on Motion Capture
films including The Polar Express
and Beowulf for four years, Wallis
took a temporary position as set
designer for Ugly Betty. As that
stint was ending, the production
designer, Mark Worthington, asked
him to step into art direction.
Although he had never worked in
that capacity for television before,
Wallis said, "Sure. Why not?"
That adventurous decision led
him a first time art director on a
television series to the podium
to accept an Art Director's Guild
Award for art direction in Feb.
2007. In Sept 2007, he received a
Prime Time Emmy Award nomina-
tion for art direction, one of 11
nominations Ugly Betty received
"It was a truly moving experience
to be chosen for these awards by
my peers, these are the people
who understand what it takes to
accomplish this work" said Wallis,
who now lives in Burbank, Calif,
with his wife and two children. "To
be selected from all of the amazing
designs being done on television in
a given year and to have them say
'you are one of the top five' is quite
Despite his success in television,
Wallis said he always planned to
work in theatre. Television was
the Karpeles Manuscript Museum in
Jacqueline Frost, BA in photog-
raphy, is an associate professor in
the department of Radio-TV-Film at
California State University, Fullerton.
Frost is also a freelance cinematog-
rapher and independent filmmaker.
Her most recent film was screened at
the MOMA as a part of documentary
Karen Stephens, BFA in theatre, ap-
peared in a play by Thomas Gibbons,
A House with No Walls at Florida
Stage Theatre in Manalapan, Fla.
never on his radar, he said, but he
credits his experiences at UF for
giving him the skill set to succeed
in any venue.
"Unlike film school, where the
budgets limit the student designers
to mostly dressing up locations,
theatre programs like UF allow the
students to be involved in staging
full-scale productions," Wallis said.
The learn-by-doing method has
suited him over the years. While
Wallis' career path may seem as
convoluted as Ugly Betty's love life,
it has followed his single-minded
passion for theatre and stage
production since he first discovered
it in a high school drama class.
Between completing high school
and starting college, Wallis
volunteered as a stagehand at the
Gainesville Little Theatre and the
Hippodrome Theatre. It was at that
point that he realized, "Wow, I could
make a career out of this."
He proved to be skilled at stum-
bling into opportunities oth-
erwise known as making his
own breaks. While volunteering
in Gainesville he met UF theatre
professor Al "Doc" Wehlberg. From
Wehlberg, he learned that a univer-
sity education in theatre was about
more than polishing acting skills, it
included learning tech jobs such as
set design, costuming, art direc-
tion, lighting, directing and more.
Wallis applied to the program.
Pamela J. Herring, BFA and BDES
(1990) in fine art clay and interior
design, is in the seventh year of sell-
ing SlabMat, a product she created
for use by clay artists.
Hiram C. Powell, MFA in music
theory, was appointed associate vice
president for academic affairs at
Bethune-Cookman College in Daytona
Bruce Rise, BFA in theatre perfor-
mance, is the director of major gifts
for Los Angeles' Center Theatre
Group: Ahmanson Theatre, Mark Ta-
per Forum and Kirk Douglas Theatre.
Jim wallis, 'sz, on the set or Ugly Letty.
He finished his UF degree and
worked in theatre for four years
before he applied to both the New
York City Opera, and an internship
on Cheers. He landed the television
job and decided to take on the new
In his position on Ugly Betty, Wallis
is part of the art department team
and works with the set decorator,
the set designer, the construction
coordinator and the prop master
Paul Siboroski, BA in graphic arts
(1984) MA in art history, serves as
exhibits director at the Reuben H.
Fleet Science Center in San Diego.
Malena Bergmann, MFA in painting,
was appointed coordinator of under-
graduate education at University of
North Carolina-Charlotte, where she
has been teaching since 1997 in the
Adam Weiner, MFA in theatre perfor-
mance, was nominated for the Volvo
For Life Awards, the largest search
for local heroes in the country, for his
work with at-risk kids in rural South
in preparing the show's numerous
soundstages, green screen and
on-location shots. The production
designer conceptualizes the look of
the Ugly Betty set, the set designer
draws it, and as art director, Wallis
is responsible for bringing their
ideas to life and nailing down every
aspect of the look. Wallis oversees
his crew of designers, graphic
artists, carpenters, painters and
propmakers as they transform the
Gustavo Morales, BMUS in voice,
in 2007 performed Schaunard
in Puccini's La Boheme, Silvio in
Leoncavallo's I Pagliacci and Enrico in
Donizetti's Lucia di Lamermoor.
John Pinckard, BA in theatre
performance, was recently named by
Hal Prince as one of two inaugural re-
cipients of the T. Edward Hambleton
Fellowship for commercial producers.
Yojin Leem, BFA in graphic design,
recently left Eastman Kodak Com-
pany to take a position with the IBM/
Silicon Valley Lab.
production designer's vision into
a physical reality hard enough for
Betty to slam into during one of her
more klutzy moments.
Wallis said the School of Theatre
and Dance at UF, particularly the
Summer Repertory Program, pre-
pared him for the most important
aspect of his work: collaboration.
"Everything I did at UF was about
learning teamwork and being part
of a much larger process," Wallis
said. "If your desire is that your
creations are sacred and unchange-
able and that you have this one
vision, then film, television and
theatre aren't for you, because
everything you do is going to be
part of a team process."
Denise Trunk Krigbaum
Philip Montana '05 (right)
Making it to
For most opera singers, it doesn't
get much better than singing on
the stage of New York's Metropoli-
tan Opera. UF alumnus Nicholas
Pallesen had the opportunity
four times as a competitor in the
Met's prestigious National Council
Auditions-three times while a stu-
dent at UF and once as a graduate
student at FSU.
"There is no bigger competition
than the Metropolitan Opera
National Council Auditions,"
Described as the American Idol of
the opera world, the competition
consists of four levels district,
regional, national semi-finals and
Andrew Downey, MFA in printmaking,
is a tenured professor of art at Valencia
Community College in Orlando, Fla.
Christy Sheppard, BFA in graphic de-
sign, is a designer at WIRED Magazine
in San Francisco.
Wynne Wilbur, MFA in ceramics, has
been promoted to associate professor
of art at Truman State University.
Amanda Bruss, BFA in ceramics with a
focus on figure sculpture, is working as
a civil rights attorney in San Francisco.
Scott Cally, MFA in lighting design, has
worked his first Off-Broadway produc-
tion, Bad Blood Malasangre, at the
Puerto Rican Traveling Theatre (www.
national grand finals. The grand
finalists are brought to New York
for a week of rehearsals and music
and dramatic coaching with the fin-
est vocalists in the world. Pallesen
was one of 11 at 2007's grand
Pallesen graduated from UF in
2005 with a bachelor's degree in
voice performance and graduated
from FSU in 2007 with a master's
in voice performance. At UF, Pall-
esen found a mentor in School of
Music professor Elizabeth Graham.
"She taught me how to not only
perform vocally but how to
be an artist. My training at UF
prepared me vocally, mentally and
emotionally for the real world,"
Graham was one of the first to hear
about his success at the Met.
"What Nicholas has accomplished
is a dream come true for singers,"
Kevin Chancey, BFA in art, and his
wife, Izumi, are currently living in Japan,
raising young Emma while Kevin works
with some Japanese potters, studies
Japanese pottery, brews beer with
English potters, and teaches English.
Nazli Eda Noyan, MFA in graphic
design, has a project featured in
the Substance: Diverse Practices From
the Periphery exhibition in Denver.
Katy Rush, MFA in ceramics, had
her sculptures featured in the Form &
Imagination: Women Ceramic Sculptors
exhibition held in Pomona, Calif., at the
American Museum for Ceramic Art.
Kelley Guarneri, MFA in theatre
performance, was nominated for the
Arizoni Awards for her performance
as Kate from Taming of the Shrew for
Pallesen's performance in New York
helped him gain exposure. "It was
the greatest experience I've ever
had," he said. "Being a finalist gets
you instant recognition because
everyone knows what it takes to
Since his performance at the Met,
Pallesen placed second in the Irma
Cooper Opera Columbus Inter-
national Opera Competition and
was named an Outstanding Young
Alumnus by the University of Florida
In 2007, Pallesen performed in the
three different operas at the Opera
Theatre of Saint Louis, Mo. He was
a finalist in the Ryan Opera Center
auditions at the Lyric Opera of
Chicago. He also performed roles
in Romeo et Juliette and Iphig6nie
en Tauride at the Met.
South Mountain Community College.
Guarneri also received an Arizoni Award
for Principal Actress in a non-contracted
play for Beatrice from Much Ado About
Nothing with The Shakespeare Theatre.
Marin Sullivan, BA in art, graduated
with an MA in art history in May from
Southern Methodist University and has
been accepted to the PhD Program at
the University of Michigan, also in art
Kristin Territo, BADAR in digital arts
and sciences, is LED Producer for the
2006 NBA Champions Miami Heat. She
won an award for "Best Overall Matrix/
Fascia Display" at the 2006 IDEA Con-
ference Golden Matrix Awards.
Hyeja Jung, MFA in graphic design, is
a graphic design professor at Murray
ing and identifying new solutions,
which utilizes techniques Bray first
learned as an art student at UF.
After 12 years with the company,
Bray has mastered the tactics
and is a partner at IDEO where
he heads one of the firm's seven
practices, the Global Software
"Innovation is a very networked
f activity, now," Bray said. "To do it
takes a different way of thinking."
A designer for
When Duane Bray arrived at his
new job at IDEO in 1995, his
first project with the design firm
involved redesigning the user
interface for a blood/gas monitor -
a piece of medical equipment that
monitors the heart and keeps it
pumping during open-heart surgery.
"It was my first time working on
something where the design was
literally a matter of life and death,"
said Bray, who earned an MFA in
Digital Media from the School of
Art and Art History in 1994. "A well
designed interface could actually
help people during surgery, where a
poorly designed one could probably
The experience opened Bray's
eyes to the importance of IDEO's
dynamic approach to problem solv-
State University. She presented her
research, her artwork and her students'
work at Daegu University's second In-
ternational Art Exhibition and Academic
Seminar in Korea.
Matt Sung, BFA in graphic design,
launched his own company, Design
Related, LLC. One of his co-founders
includes fellow UF graphic design
alumna, Karen Horton (class of 2003).
This company focuses around the Web
Buki Bodunrin, BFA in art, was a cast
member for the new season of reality
series ARTSTAR (on DISH Network).
James Ehlers, MFA in printmaking,
taught and coordinated the first BFA in
engraving arts at Emporia State Univer-
sity in Kansas.
Innovation also requires assembling
a new type of team comprised
of people with breath and depth.
The design firm hires people from
a variety of disciplines including
anthropology, physics, biology,
engineering, psychology as well
as trained designers such as Bray
in order to reinvent the processes
and products humans use on a
Then, Bray said, IDEO employees
use concepts based on an artist or
designer's toolkit to create every-
thing from Apple's first Macintosh
computer mouse to a new shop-
ping cart to a toothbrush with a
The toolkit Bray and his team digs
into when they work with client
companies such as AT&T Wireless,
Xerox, BMW, United Airlines and
Texas Instruments contains skills
including empathy, or the ability
to identify and relate to others,
narrative and storytelling, used to
Fred Gallart, BFA in digital media,
helped pitch Project ER, an effort to
improve the quality of life at Children's
Hospital of Pittsburgh.
Philip Montana, BFA in dance, is
employed by Shen Wei Dance Arts, but
is taking a break from touring while
finishing his MFA in Dance Performance
at New York University's Tisch School
of the Arts. He is also working with
the dance company Adele Myers and
Leslie Anderson, MA in art history,
was awarded the Chancellor's Fellow-
ship to attend the PhD program in Art
History at The Graduate Center of the
City University of New York. She was
also awarded the Dean K. Harrison
communicate ideas, and the idea of
iteration and prototyping, a method
of trying ideas out and experiment-
ing before locking in on a particular
An IDEO team uses the toolkit when
it problem solves for clients by go-
ing out in the field, interviewing and
observing the users of the product
or service, and then returning to
the office to brainstorm a hundred
or more ideas on how to solve the
problem before funnelling the ideas
down to the best solution, which it
Using these tools, IDEO can
represent the voice of the end user
to help drive innovation, Bray said.
These skills from the artist's toolkit,
which Bray said are also described
in detail by author Daniel Pink in A
Whole New Mind: Why right-brainers
will rule the future, differ widely
from traditional marketing assess-
"The reality is, people don't fit into
the demographic bucket you try to
fit them into. They may fit certain in-
come and age groups, but their be-
haviors are actually more fluid than
that," Bray said. "So our research
is actually to bring people to life,
not as statistics but as real human
beings. Understanding how they
think and feel helps you unlock new
ideas a lot better than just trying
to aggregate a bunch of statistics
about what people do."
Reading Fort White: Dog Barrett
Reading Fort White: Doug Barrett
Bray said a big reason why busi-
nesses come to IDEO is to tap into
those processes and those skills.
IDEO's long-term goal is not just to
solve problems and hand back fin-
ished products, but also essentially
to embed its process into their
clients' business culture.
With a workshop called "IDEO U,"
IDEO has begun to train execu-
tives, businessmen, educators and
students about their method of
innovation, to enable more people
to think in new ways, "so they can
solve problems further down the
road in a changing business climate
and can unlock problems in their
field whatever those problems
might be," Bray said.
Bray believes that the innova-
tive toolkit artists acquire while
attending university is relevant to
all majors and would like to see it
taught to everyone.
"The thought of scaling that [educa-
tion] across potentially the entire
curriculum across the entire univer-
sity especially one of UF's scale
- would be very interesting. To say
how can we actually embed these
processes in every major in the
university and give these people a
competitive leg up in the field? The
implications are huge."
Denise Trunk Krigbaum
Jonathon D. Lovitz, BFA in musical
theatre, moved to NYC in Aug. and
signed-on to the national tour of Jesus
Christ Superstar. He has also filmed
several episodes of CSI: NYand an epi-
sode of Guiding Light while in the city.
Jaclyn Baiata, BFA in ceramics, has
accepted an English as a Second
Language teaching position in the South
Bronx, NY. She will teach third-grade
Doug Barrett, MFA in Graphic Design
was selected as one of the recipients of
a Graduate Student Teaching Award for
2006-2007 at UF.
Travis Horton, MFA in sculpture,
received an honorable mention in the
2007 International Sculpture Center
Outstanding Student Achievement in
Contemporary Sculpture Award.
Continuity and Change: Three Generations of Ethiopian Artists.
The College of Fine Arts affiliates had a busy year in 2007. The Harn co-hosted a national arts con-
ference and University of Florida Performing Arts saw improvements to a historic building under its
care. The New World School of the Arts students collaborated in an African dance performance with
the college's Agbedidi Africa group. For more on that story, please go to page 12.
The Harn Museum
More than 300 people attended the 14th
Triennial Symposium on African Art of the Arts
Council of the African Studies Association from
March 28 to April 1, 2007, co-sponsored by
the Harn Museum of Art, College of Fine Arts,
School of Art and Art History and Center for
African Studies. While some Triennial sessions
were open only to conference registrants,
others were free of charge and open to the
public, including the keynote address by Okwui
Enwezor, an internationally recognized scholar
and curator of contemporary art, on March 29
at the University Auditorium. The theme for the
Fourteenth Triennial, "Global Africa," addressed
the ways in which African and Diaspora arts
have played and continue to play an increasing
role in international and trans-cultural exchanges.
The conference co-chairs were professor of Art
History Robin Poynor and Harn Museum of Art
director Rebecca Martin Nagy.
In coordination with the conference, the Harn
presented special exhibitions, such as Art of
the Ethiopian Highlands from the Harn Museum
Collection, and Continuity and Change: Three
Generations of Ethiopian Artists.
A third, African Arts of Healing and Divination,
ran from Feb. 20-June 24, 2007. The exhibition
included objects from sub-Saharan Africa drawn
from the Harn and private collections. It explored
the multi-sensory qualities of objects and perfor-
mances in the contexts of healing and divination.
It also looked at the viability of ancient systems
of healing in Africa today and the integration of
traditional practices with biomedicine. The Cen-
ter for Arts in Healthcare Research and Educa-
tion provided funding for research conducted in
Africa for this exhibition.
University of Florida
The UFPA, comprised primarily of the Phillips
Center for Performing Arts, the University Au-
ditorium and the Baughman Center, is a recent
affiliate of the College of Fine Arts. Led by Direc-
tor Michael Blachly, the UFPA has the mission to
present the arts at UF.
Built in the 1920s, the University Auditorium
is an architectural icon on the UF campus. A
National Historic Landmark, the auditorium is a
daily reminder of UF's past and the rich cultural
history of the Gainesville community. Over the
years, the auditorium has hosted a diverse
array of musical concerts, guest lectures and
performances. The auditorium also houses the
Anderson Memorial Organ. Donated to UF in
1925, the organ is one of the major instruments
of its kind in the Southeast.
But even a historical landmark needs a little TLC
every now and again. This summer, the Univer-
sity Auditorium underwent several upgrades in
an effort to make the building safer and more
comfortable for audience members.
One of the biggest changes was an upgrade to
the sprinkler system. All of the auditorium seats
were removed and scaffolding was erected so
that workers could extend the system into the
1920s-era wood ceiling over the audience area,
protecting the main auditorium from fire. Due to
the University Auditorium's historic status, this
task took careful planning and attention to detail.
"The engineers' and contractors' sensitivity to
this National Historic Landmark is evident in
the high standard of workmanship and carefully
concealed installation," says UFPA Operations
Director Matt Cox.
The auditorium also underwent some more
"cosmetic" changes. The 30-year-old carpeting
was replaced throughout the facility, while non-
carpeted areas under the seats were patched
and re-painted. The original orange seats were
replaced with new, more comfortable seats that
coordinate with the new carpeting. The floor and
walls of the auditorium were unaltered in defer-
ence to the acoustics of the performance hall.
While the vast majority of the work was un-
dertaken in the summer months, work on the
mechanical and electrical elements of the sprin-
kler system will be complete by January. The
electrical systems in the hall were upgraded and
a much-improved sound system was installed in
December, continuing an overhaul of the stage
technical and safety equipment which began four
years ago with the installation of fall-protection
systems and new stage lighting.
The University Auditorium isn't new, but it is
greatly improved and ready to serve another
generation of UF students.
The University Auditorium under renovation in summer 2007.
take an atypical spring break in Mexico
During spring break 2007, five students in
MINT, the student-run graphic design stu-
dio in the School of Art and Art History, flew to
Cancln with their instructor, Doug Barrett, for a
seven-day trip. This wasn't a usual spring break
in Mexico. Instead, the group's purpose was to
join UF graphic design associate professor Ma-
ria Rogal in southern Mexico and visit two Maya
cooperatives to design their corporate identity.
As a Fulbright-Garcia Robles Scholar in Mexico,
Rogal was motivated to advance bi-national
understanding, and to involve students in the
process. Working with colleagues, she began
relationships with two Maya cooperatives-one
that produces orange juice and the other, honey.
In December 2006, Rogal met members of the
Lol-Balche honey cooperative in Santa Elena,
Yucatan. The cooperative was trying to provide
a local income source for its 47 members and
A second group, Cooperativa Cuauhtemoc in
southeastern Mexico, grew oranges. Members
were planning on cutting down their orange
trees because they didn't bring in profit. With the
assistance of Rogal's Fulbright colleagues Alexis
Racelis and Alison Brovold, they struck on the
idea of processing the juice, which would yield
more than 10 times the profit of oranges alone.
Both cooperatives needed brand design to bring
their products to an international market. The
cooperatives decided to pursue this route and
the project was born.
Both the juice and honey projects would provide
an excellent cross-cultural learning opportunity
for students and a necessary product for the
clients, Rogal said. Barrett was particularly
enthusiastic about providing this challenging
opportunity for MINT students because design-
ers don't always get out of the studio to do field
Barrett and Rogal worked with the School of
Art and Art History administration to make the
spring trip happen. Using MINT's earnings from
other projects, it was able to fund approximately
two-thirds of the travel budget. The students,
Luis Chacon, Ciara Cordasco, Anals La Tortue,
Rachel Newell and Jessica Vernick, each pur-
chased his or her own airfare and meals during
The site visits were planned so that students and
faculty could meet with clients, learn more about
their business and their respective fields of juice
and honey production, gain insight into Maya
and Mexican culture and the economy, and pres-
ent their initial project ideas. Knowing this, they
could design better and understand the needs of
the client as well as the market.
The seven-day trip included visits to the cities of
Playa del Carmen, Felipe Carrillo Puerto, Seior,
and the client site of Cuauhtemoc in the state
of Quintana Roo as well as the archeological
heritage site of Tulum. They then moved to the
state of Yucatan where they visited their client
in Santa Elena, traveled to Mani where Diego
de Landa burned Maya manuscripts, and the ar-
cheological heritage sites of Uxmal and Labnah.
During the visit, students met with their clients
and visited orange groves and honey apiaries.
The meetings were a learning process for all
design that will be unique and make the owner's
of the products proud."
The students presented their initial designs,
which included a competitive landscape analysis
and concept statements for each of the five
design directions they presented. They left the
clients with a bilingual document of the afore-
mentioned materials as well as physical proto-
types, which they developed once they returned
to Florida with the rest of the MINT team, Vishal
Agarwalla, David Claytor, Amy Gagnon, Sameera
Kapila and Shirelle Minton.
"Our clients responded constructively and
positively to the work and, most importantly,
provided us with insight to improve our work.
They were so pleased with this collaboration that
they expressed their desire to make this a long-
term relationship with UF," Rogal said.
MINT's work on these projects has contributed
positively towards the social and economic
development of both cooperatives. In early sum-
mer 2007, Lol-Balch6 joined with three other
Maya honey cooperatives in the region to form
an association of honey producers. Lol-Balch6
president, Manuel Magana Ayil, presented our
project work to the association and this moti-
vated the other cooperatives to want to sell their
honey direct to market. Eventually they agreed
to combine their honey production under one
brand. So the MINT project, which began with
one cooperative and 47 members, will now af-
fect at least four cooperatives with a combined
membership of more than 250 beekeepers. The
honey will be launched in the Yucatan region in
2008, with a plan to export in 2009.
Cooperativa Cuauht6moc has incorporated
MINT's research document and design propos-
als in their business plan, as they seek external
funding. The plan to process and bottle the juice
in 2007 was delayed due to the devastation
wrought by Hurricane Dean, which destroyed the
season's orange crop. The cooperative plans to
market their product in time for the next orange
harvest in 2008.
To follow the progress of the two cooperatives,
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from the director
Just a few months ago, I joined the College of Fine Arts. Since my arrival, the vitality and talent of the students
and the high caliber and creativity of the faculty has amazed me. Accolades, awards and fellowships received
by both our faculty and students all attest to the excellence of the college. Our recent alums have received Emmy
nominations, been cast in Broadway productions, exhibited in major museums and performed in leading opera
companies and orchestras, as well as taught at prestigious institutions. Our 1,100-plus graduate and undergradu-
ate students and nearly 100 faculty members are some of the best in the region, nation and world. I am proud of
their contributions to the arts, and to the overall quality of the educational experience at the University of Florida.
Gifts for scholarships, fellowships and endowments for students and faculty, as well as for modern facilities are
vital to sustain the college's commitment to excellence in the arts and for students to receive the best opportuni-
ties that the University of Florida can provide. All of our programs, whether music, dance, theatre, art history,
two-dimensional or three-dimensional art, serve to educate, inspire and foster creativity in the students of the
University of Florida and the greater community. Your contribution helps student-artists fulfill their dreams, while
making significant contributions to society. That aspiration, with your help, is within reach.
Please consider joining those energized and inspired contributors who are investing in the College of Fine Arts
and in Florida's future. Your financial support will help our exceptional programs remain first-rate for years to
come and will make a real difference in the resources we have available to support the finest students and fac-
ulty. Thank you for your generosity!
Director of Development
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the College of Fine Arts
The Promise of Tomorrow
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College of Fine Arts Campaign Goals
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To the individuals and firms listed
below, we say simply and sin-
cerely, thank you. Whichever area
of Fine Arts you choose to support,
please know that your gifts have a
far-reaching impact on the future of
our talented students.
Nov. 1, 2006- Dec. 14, 2007
Shands at the University of Florida
John W. Spanier
Billie R. Brown
Epson America, Inc.
Marcia J. Isaacson
Madelyn M. Lockhart
Adobe Systems, Inc.
Amusement & Music Operators
Hanbury Evans Wright Vlattas + Co.
Lastfogel Fdtn. of Wlliam Morris Agency
Sara M. Robbins
Norma C. & William D. Roth
University Athletic Association
Jack G. Clarke
Stuart & Jo Ann Farb
Cherie H. & Jack J. Fine
Christopher M. James
Deborah H. Kaplan
Lucinda Lavelli & Kenneth Webster
Robert G. Murrell
Pixillatin' Rhythm, Inc.
Christopher R. Wilmot
David F. Arrighl
Joseph R. Champagne
Robert L. Falzone
Cheryl L. Gordon
Frank & Anne Howes
Nalma E. Kradjian
The Littleton Collection
Shelley Melvin & Martin Fackler
Pamphalon Foundation, Inc.
Richard L. & Karen L. Rice
Richard & Cissy Ross
Southern Graphics Council
John & Margaret Sung
Stella C. Y. Sung
Robert & Carolyn Thoburn
Chune-Sin & Liang-Bi Yeh
Bob & Bunny Blood
Susan Egerton Blair
Tallulah & Robert Brown, Jr.
Joseph C. & Virginia A. Cauthen
Shern & Larry Dowling
Peter H. & Lita R. Fake
Rose S. Haftka
Heather E. Harrell
Jon & Janet Heddeshelmer
Monica P. K. P. & Howard L. Johnson
Deborah L. Kreiger
Sue B. Lowry
R. Layton & Mary Stuart Mank
Kevin A. Marshall
Charlotte C. Olson & Timothy P. Tolar
Matthew W. Orrell
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University of Nevada, Las Vegas
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Richard C. Helpp
Robert J. Hoffman
Michael C. Huskey
Brian R. Jones
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Jill E. Kuchinos
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Less Than $100
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UF |UNIVERSITY of
Office of the Dean
College of Fine Arts
101 Fine Arts Building A
PO Box 115800
Gainesville, FL 32611-5800