College ofFine ArtsBall State UniversityVol. 10, Spring 2002 F R O N T

R O W

The circle of construction, completion, and ceremonialdedication continues. . . Shafer Tower rings in a newyear, the art department moves into its new home, the Museum of Art makes plans for a grand reopening, and ground-breaking begins on the long-anticipatedMusic Instruction Building. . .

Dean’sComments

The College of Fine Arts is approaching its twentieth“birthday,” and is experiencing some welcome “growing pains.”

This academic year was greeted with the smell of freshpaint and the aroma of Starbuck’s coffee emanating fromthe stunning new Art and Journalism building.Magnificent teaching spaces have been created forpainting, graphic design, art education, art history,photography, foundation classes, and all three-dimensional specialties. Additionally, a stellar artgallery adjoins the atrium, designed to showcasestudent, faculty, alumni, and guest artist creations.Professor Marilynn Derwenskus is serving as curator,and has compiled an impressive array of exhibits forthe inaugural year.

The refurbishment and expansion of the Museum ofArt is nearing the final stages, and will be completed by theend of spring term, allowing for a grand reopening in fall2002, coinciding with the celebration of Ball State’sUniverCity. Superb new gallery spaces will allow for thepresentation of a stunning Rodin sculpture exhibit of somethirty masterpieces, highlighting the grand reopening andoverlapping UniverCity 2002.

The bells of Shafer Tower gave a preview of things tocome, as familiar tunes and carols rang out during theholidays. These melodies were computer/keyboard generated,rather than being played from the cabin in the tower, but didprovide a foretaste of things to come. The formal dedication,featuring carillonneur Margo Halsted, associate professor ofcampanology at the University of Michigan, will take place thisspring.

The final construction project will be the culmination ofyears of dreaming and planning, as ground-breaking occurs inApril for the new Music Instruction Building. Housing aglorious 600-seat concert hall, in addition to spacious facultystudios, sound-proofed practice rooms, generous rehearsalspaces, and a greatly expanded Music Engineering Technology(MET) component, this state-of-the-art facility promises tocatapult an already strong music program into nationalprominence. Completion is scheduled for January, 2004.

Clearly, our college’s future will most certainly hinge onattracting bright and capable students and faculty. New andrefurbished facilities provide the enhanced learningenvironment, but superb academic programs are built withpeople. Challenging professors and eager students, the formerskilled at transferring and inspiring, the latter gifted atreceiving and growing, are the ingredients for success. For thesecond year in a row, the College of Fine Arts nipped at theheels of Architecture and Planning, ranking second among the seven colleges in overall SAT composites. Two WhitingerScholars and a host of Presidential Award winners anddistinction recipients grace the freshman class.

The future is bright when enhanced facilities, talentedstudents, and gifted faculty converge. The best is yet to come.Please stay in touch; the welcome mat is always out for youhere at Ball State.

Robert A. Kvam, Interim Dean

College of Fine Arts CD-ROM

A Multimedia Tour of ProgramsA new multimedia CD-Rom offers prospective students a chance to explore Ball State University’sCollege of Fine Arts with the click of a button.

The CD-Rom showcases the use of technology in the college andwas spearheaded by Christine Satory, associate professor of art, incollaboration with the Department of Art, the Departmentof Theatre and Dance, the School of Music, and theMuseum of Art.

The project began in Satory’s AdvancedMultimedia Practicum class in spring 2000.Students designed the project, set upinterviews and gathered the raw materialsfor the CD.

After the class ended, Satory workedwith two graphic design students to refinethe materials gathered.

The CD-Rom was released this fallafter nearly eighteen months in production.The project grew out of Satory’s desire toexplore how technology and art intersect, and toeducate both students and the public on thoseintersections.

“We started this project because there is a misunderstanding that equates ‘technology’ withscientific research,” Satory said. “For our students, it’s important to understand that technology is apart of the arts.”

Robert Kvam, interim dean of the College of Fine Arts, said the CD-Rom is an opportunity to showcase the use of technology in each area.

“The CD features those faculty members who offergood examples of how this college is using technology to

enhance education,” Kvam said.Rodger Smith, assistant professor of theatre,

is featured on the CD. Smith sees theintegration of technology into theater as a

natural progression.“Theater has always embraced

new technologies,” he said. Examples ofthose “new” technologies include theintroduction of the proscenium arch, theincorporation of pulley systems to create

dramatic effects, and the addition ofartificial lighting. Using new technologies to teach theater is,

in Smith’s opinion, the best way to preparestudents for their careers after college. Theater

students learn how to operate cameras and computers, allowingthem to create electronic portfolios of their work.

“They become the creators of their own product,” said Smith, “And in doing so they’ve gainedcontrol of their own artistic process.”

Satory, too, notes that technology can enhance the artistic process. “Technology has infused all of the arts,” Satory said. “You can’t get away from it, and there is

a place for it.”Satory adds that it is important to temper enthusiasm for new technologies with an

understanding of traditional techniques, something emphasized on the CD.“Through this project we can show that not only is technology being used,” she said, “but that

it is being used by creative, seasoned artists who know when it is appropriate to use it.”The CD-Rom is being used as a recruitment tool for potential students and as a way to

educate the campus and the community on the use of technology in College of Fine Arts programs.

Expecting Excellence inHerself and Her StudentsBy Elizabeth Richter

Although all of the facets of my musical career are important, I believe that the most important of all is one in which I amengaged on a daily basis—teaching. There is no greater joy than inhelping a student to achieve his or her goals, no matter whether heor she is just beginning or is already very advanced.

I recognize that my own dream of becoming a harpist cametrue because I had the incredibly good fortune to study with awonderful teacher and mentor. Because I am so conscious of theprofound effect which a teacher has upon a student, I strive constantly to be the very best teacherand mentor that I can be.

I try to communicate to my students not only my own love for the harp, but my confidencein their ability to progress and to become fine musicians. I believe it is of paramount importancethat they develop basic musicianship skills, problem solving ability, curiosity, initiative, discipline,and knowledge of the musical world beyond the harp. Technique without these attributes isworthless.

I expect all of my students, no matter at what level, to strive for excellence, and it gives megreat pleasure to observe their musical and personal growth while they are studying with me. Overthe years I have had many successful students, and I feel a profound sense of satisfaction inknowing that I helped them to realize their dreams, as mine were realized.

Elizabeth Richter is a professor of music performance at Ball State University and the recipient of the 2001 Collegeof Fine Arts Dean's Teaching Award.

Visit us atwww.bsu.edu/cfa

Renovation work is being completed in theFine Arts Building and plans are well under-way for the Ball State Museum of Art’s grandreopening in September 2002.

The museum will close over the summerto prepare for the reopening.

“With the completion of the renovation,we’ll be able to provide a more suitable galleryspace for showcasing our collection and betterserving our audience,” said Nancy Huth,assistant director and curator of education.

Two new galleries will include exhibitsfeaturing furniture and decorative arts andworks on paper.

Huth said the museum collection includesexamples of furniture and decorative arts fromthe modern period and earlier. And while somemay not see furniture as an example of fine art,many museums include such pieces.

“If you are collecting objects that showwhat constitutes the height of aestheticexpression, you want to include furniture anddecorative arts,” said Huth.

“A chair isn’t a painting, but as an example

of a design at a particular time, it’s important,”she said.

The second special gallery will showcasethe museum’s collection of works on paperwith rotating exhibitions. With the newgallery, the museum will be able to display apart of its collection with which many patronsare unfamiliar.

“This new gallery will allow us tohighlight our excellent collection of works onpaper. We didn’t have a good space for itbefore,” said Huth.

The collection includes botanical,Japanese, early modern, and contemporaryprints, as well as photographs. Prints includethose by Rembrandt, Picasso, and Degas.

The $7.5 million renovation of the FineArts Building will increase the museum’s spacefrom 17,185 square feet to 25,735 square feet,including 5,230 square feet of additionalexhibition space. The expansion will allow themuseum to display more of its 11,000 worksof art valued at more than $40 million.

Museum Grand Reopening to FeatureRodin CollectionWhen Ball State University’s Museum of Art celebrates its grand reopening in September, the first majorexhibition installed will be a collection of Rodin’s most familiar works.

“Rodin’s Obsession: The Gates of Hell, Selections from the Iris and B. Gerald CantorCollection” will grace the museum Sept. 14 - Dec. 11. Museum director Alain Joyaux considers Rodin’swork an ideal exhibition with which to reopen the museum.

“With Rodin, you are dealing with an artist who is generally recognized by the public,who is popular and who is genuinely good,” said Joyaux.

As for the collection to be displayed, Joyaux notesthat “The Gates of Hell” was a lifelong obsession for Rodin.

“When you look at Rodin’s work and what he did over alifetime, you see that as an artist he was never very far from this

one project. He worked on it for nearly two-thirds of his life. It was the palette of hislifetime,” said Joyaux.

“The Gates of Hell” was Rodin’s most ambitious commission. Originally conceived as anentrance for a museum of decorative arts to be built in Paris, and inspired by Dante’s “TheDivine Comedy,” “The Gates of Hell” features hundreds of figures modeled in high relief.While the museum was never built, many of Rodin’s most famous independent sculptures werederived from the smaller reliefs contained within the larger composition.

The Cantor collection consists of approximately thirty works relating to “The Gates of Hell,”including “The Thinker,” “The Kiss” and “The Three Shades.”

Rodin’s sculptures are among the most familiar and popular works of art in the world today. This isdue in large part to the medium in which he worked.

When Rodin made a sculpture he usually started by modeling in clay, which may havebeen fired to produce a terra-cotta sculpture. He also reproduced the models in ceramic,wax or plaster. The plasters were primarily used to make bronze casts.

Bronze works are never “originals” in the sense that only one exists. The castsare, in effect, “multiple originals.”

Each cast is authorized bythe artist or his representative. InRodin’s case, some earlier works mayexist in a multitude of sizes and forms. Later in his career, Rodin gave the Frenchgovernment the authority to limit the number ofcasts of his work. Since 1956, French law has limitedproduction to 12 casts of each model, each authenticatedwith its own identification number.

The Cantor collection on display will include severalnumbered bronze casts, including “Despair,” “FallingMan,” “The Kiss,” “Mask of the Man with the BrokenNose,” “Sorrow,” “The Thinker” and “The Three Shades.”

Other works in the exhibition include the second andthird maquettes of “The Gates of Hell,” along with a bronze cast of the

right pilaster of that piece.The works on display range from a few inches, in the case of the maquettes, to nearly life-size, as with some of the bronze casts. “Very little of Rodin’s sculpture was large when he made it. Most of what he did was in a workable scale,” said Joyaux.Smaller models were enlarged through the use of a Collas machine, which uses points of orientation on the model to create

larger and smaller duplications of the original. The Cantor collection will be on view Sept. 14 - Dec. 11 during regular museum hours: Monday through Friday, 9:30 a.m. to

4:30 p.m. and Saturday and Sunday, 1:30 to 4:30 p.m.For more information, contact the museum office at (765) 285-5242.

Visit us atwww.bsu.edu/artmuseum

The Kiss

DespairThe Thinker

museum

museum

New Galleries Highlight Works on Paper, Furniture andDecorative Arts

Kathe Schmidt Kollwitz, Mother and Sleeping Child, circa 1913, Ball State University, Muncie, Indiana, gift of Mrs. George A. Ball,000.232

Visited campus...

Professionals who shared their expertise with students andfaculty members in Ball State’s Department of Art throughworkshops and lectures last year include:

Rev. Matthias Neuman, art historianBobbie K. Owens, painterMichael Shaughnessy, sculptorMartin Fromm, photographerDale Enochs, sculptorElizabeth Yarosz, painterKen Little, sculptorChris Ramsay, sculptor/metalsmithTakeshi Takahara, printmaker

Gallery to Host

Alumni Art ShowThe new Department of Art Gallery will host an Alumni ArtExhibition Sept. 13 through Oct. 19. The event, scheduled tocoincide with UniverCity 2002, will feature juried works byformer Ball State students.

Alumni are needed to spearhead the event, guided by thegallery committee. More details will be forthcoming in adepartmental mailing. Interested alumni are encouraged tocontact the department office at (765) 285-5838 or formerinstructors for more information.

Visit us atwww.bsu.edu/cfa/art

Art Gallery Offers Public a Chance to

Bump Into ArtWhen the Department of Art moved from its old location in theFine Arts Building to its new space in the Art and JournalismBuilding, it gained not only new office and studio space, but aprominent and very public gallery space. As Marilynn Derwenskus sees it, the newgallery location has been particularlybeneficial to both artists and the public.It offers, she said, an opportunity forpeople to “bump into art.”

“It’s in-your-face art,” Derwenskussaid of the gallery located in the midst of

thebustlingAtriumdining facility. “People whowouldn’t go out of their way tovisit a gallery are coming in totake a look around.”

Attendance averages nearlyone hundred visitors a day. Dayswhen the Art and JournalismBuilding plays host to special

events, attendance has reached over one thousand visitors. Visiting artists have also been a draw for the gallery.

A recent exhibition featuring sculptors Ken Little and ChrisRamsay and printmaker Takeshi Takahara was a chance for thegallery to promote not only the works of the artists but the artdepartment itself.

“It created a lot of excitement,”Derwenskus said of the event. “We hadlectures and demonstrations and a gallerywalk. The students were excited by all theenergy in the department.”

The gallery committee is working tosecure funding for future visiting artistsand events. Derwenskus notes that thesuccess of the shows held thus far haveencouraged the committee members.

“We’re dedicated to the continuation of a strong exhibitionschedule to include outside artists, but the concern for funding is ever present,” she said. “We’re new. We’ve not had this spacebefore and there isn’t a fund for us to dip into.”

Since January 2001, Scott Anderson has exhibited hispaintings in a variety of all media exhibitions.Anderson had a solo show and gallery talk at theEastern Kentucky University Gallery, Richmond, Ky.He participated in three national juried shows; fourregional juried shows; a small group show, Will, atOld Dominion University Galleries, Norfolk Va.; ajuried group exhibition Biennial Show at the SouthBend Regional Museum of Art; and participated inthe Ball State Faculty Show. Anderson received twocash merit awards, a second place cash award, and apurchase prize at the South Bend Regional Museum of Art. He offered summer classes in watercolor andencaustic at the Indianapolis Art Center and anEncaustic Workshop at the Louisville Art Center inLouisville, Ky. He presented an informal talk at theBall State University Museum of Art on paintingmediums entitled, “Oil and Water Do Mix.” In 2001he served on the student show committee and hostedjuror Kim Hoffman.Marilynn Derwenskus co-directed the Art in Italyfield study with Sarojini Johnson in May 2001. Withfunding from a Ball State University Summer CreativeArts Grant, Derwenskus remained in Italy for an addi-tional three weeks to explore egg tempera painting.

She continued to paintwith tempera when she vis-ited Tokyo in December.Derwenskus exhibited herwork in solo or two-personshows at the Mitchell PlaceGallery, Muncie; ArtsPlace, Portland, Ind.; andBall State UniversityTheatre Gallery. In compe-titions she won sevenawards last year for herwatercolor or encausticpaintings. Derwenskusserved as the director of

the new Department of Art Gallery. She recentlybecame president of the International Society ofExperimental Artists. Organizing and planning theannual exhibition, which will be held at theMinnetrista Cultural Center, is her primary responsibility. John P. Gee had a one-person exhibition of his draw-ings in the Engstrom Galleria at Taylor University inUpland, Ind. Nov. 12–Dec. 12, 2001. He also gave anartist’s talk at Taylor regarding his drawings and work.Gee exhibited drawings in six other juried and/or invi-tational exhibitions during the past year. As a recipi-ent of the 2000 CFA Dean’s Teaching Award, Gee hadthe pleasure of addressing students, parents, and facul-ty during the College of Fine Arts graduation cere-monies in Emens Auditorium on May 6, 2001.Barbara Giorgio has continued investigating combin-ing technology with traditional materials in the class-room. One of her innovative classroom problems,“Self-Portrait: Invented Texture,” has been adapted for

use in the book titled 100Creative Drawing Ideas,edited by Anna Held anddistributed by RandomHouse. Giorgio continuesto exhibit her drawings;“Interlacing” received anHonorary Award at theHarvest Biennial RegionalJuried Exhibition held atArts Place in Portland, Ind.Giorgio has been an activemember of Foundations inArt: Theory and Education

(FATE) and presented at the 8th Biennial NationalConference, March 21–24, 2001, hosted by theMassachusetts College of Art in Boston. Giorgio’spresentation “Challenges of Integrating Technologyinto the Classroom” was part of a panel titled “WhatShould Students Know, and How Do We Know TheyKnow It?” Last winter Giorgio presented with PatNelson at the 89th Annual College Art Association(CAA) Conference, Chicago, Ill., in the FATE spon-sored session titled “Nuts and Bolts: CurriculumDesign in Foundations Art Programs.” The presenta-tion, “A Multimedia Approach to Problem Solving:Combining the 2D and 3D Experience,” focused onGiorgio and Nelson’s ongoing collaboration integratingtechnology into the first-year foundation program.Kenton Hall spent much of the year adjusting andtweaking the new sculpture facilities and thoroughlyenjoys the space to grow. He was commissioned todesign and build a table for the new conference room.The table seats eleven people comfortably and is madefrom quarter-sawn White Oak. He also provided tech-nical assistance during a ceramic workshop held atDale Hollow Lake, Tenn. Hall continues to includecasting and fabrication techniques in the objects heexhibits and participated in the 2001 Faculty Exhibition.David Johnson received a purchase award and juror’saward in the “Bradley National Print and DrawingExhibition” at Bradley University. He also received anaward in the “21st National Printmaking Exhibition”at Artlink in Fort Wayne. He received the “CentralMichigan Libraries Purchase Award” in the nationalprintmaking exhibition at Prairie Creek Center for theArts in Rochester, Mich. David was a recipient of an“Indiana Arts Council Individual Artist’s Grant” andwas a visiting artist at the State University of NewYork at Fredonia.Sarojini Johnson received a purchase award for herintaglio print Clematis and Hostas in the Safeco ArtsCompetition in Indianapolis. She was a visiting artistat the State University of New York at Fredonia and atthe University of Georgia, where she also exhibitedwork and participated in a round table discussion at asymposium: “Globalization and Change in SouthAsia.”Aimee Joyaux remains active in her work as both anartist and an educator. In the past year she has

reviewed photographic textbooks withCalman & King and Delmar Publishers. Aspart of the GREEN 2 committee she workedwith the Department of Natural Resources andEnvironmental Management to compile a studioguide for the health and safety of artists and theenvironment. Joyaux was invited to participate inthe Cortona Print Symposium in Cortona, Italy witha letterpress portfolio project that originated inArizona. The Catherine Edelman Gallery, in Chicago,Ill. showed her work as part of its New Gallery Artistsexhibition in the fall. She had solo shows at theUniversity of the Arts, Philadelphia, Pa.; the UrbanInstitute for Contemporary Arts, Grand Rapids, Mich.;the Minnetrista Cultural Center; and Arts Place,Portland, Ind. Work from her Picturing Plants portfoliowas featured in the Ball State University magazineGroundwork.Nina B. Marshall had solo exhibitions of her paint-ings this year at Slocumb Gallery at East TennesseeState University and at Sinclair College in Dayton,Ohio. She also held a two-day workshop while at EastTennessee. In addition she has had work exhibited atthe R&F Gallery in Kingston, N.Y. and has participat-ed in juried shows in Tennessee, Indiana, Illinois andTexas. One of her paintings appears in JoanneMattera’s book The Art of Encaustic Painting. InSeptember 2001, Nina completed a series of paintingsfunded by an Indiana Arts Commission Grant.Sally A. Myers made a two-week summer trip toTurkey with Ball State faculty and staff to study theart and architecture of the country. She presented herresearch at the Art Education Association of IndianaAnnual Conference and the Early ChildhoodConference. In the spring she presented a paper onthree contemporary artists at the National ArtEducation Association Conference in New York. Inaddition to teaching summer school, she collaboratedwith three colleagues during the summer to teach aworkshop titled “Creative Connections at the Lake.”John Fillwalk's exhibitions of his digital prints andvideo work have included the Indianapolis Museum ofArt; CG-Arts: Media Arts Festival, Japan; SIG-GRAPH 2001 N-space Art Gallery in Los Angeles,Calif.; and SIGGRAPH 2-Year InternationalTraveling Art Show. He received an IndividualArtist Grant through the Indiana ArtsCommission to support the creation and exhibi-tion of digital prints and media works. John hasalso developed a net-based digital video andprintmaking resource for the SIGGRAPH2001 Creative Applications Laboratory.Pat Nelson began 2001 with an exhibitionof her work at the University of WestGeorgia. She is continuing to produce aseries of vessels incorporating fossilizedanimals, showing these pieces in a num-ber of exhibitions including “OpenLinks: A Jewelry and MetalsInvitational” at Bowling Green StateUniversity and “ContemporaryMetalsmiths Invitational” atOklahoma State University. She wasa finalist in “Transformation:Contemporary Works in SmallMetals and Jewelry, the Elizabeth R.Raphael Founder’s Prize” at theSociety for Contemporary Craft inPittsburgh. Pat also presented at theCollege Art Association in Chicago,and organized a panel at the FATEconference in Boston. She remainsactive in SNAG (Society of NorthAmerican Goldsmiths). She had twotechnical articles published in SNAGNews, and was featured in the sum-mer edition of Metalsmith magazine’sExhibition in Print.Michael Prater saw his article“Constructivism and Technology in ArtEducation” published in the November2001 issue of Art Education magazine. Hepresented “Survival Strategies in ArtCriticism,” “Teaching Computer Graphics,”and “Spicing Up Aesthetics” at the 2001 ArtEducation Association of Indiana conferencein Columbus, Ind. He also presented“Fantastic Faces: Multicultural Art Educationwith Masks” at the 2001 Early ChildhoodConference in Muncie, Ind. At the 2001 FallFaculty Meeting he received the Ball StateUniversity Excellence in Teaching Award, and willteach a summer dream course on Active Learning andTeaching Strategies.Judy Wojcik provided clay experiences at the AnnualVery Special Arts Festival in Muncie. She also taught a summer Raku workshop for Indiana art educators in Dale Hollow, Tenn. Wojcik presented at numerousconferences including the “21st Annual LillyConference on College Teaching” in Oxford, Ohio;the “2001 Art Education Association of IndianaConference” in Columbus, Ind.; and the “26thAnnual Early Childhood Conference” in Muncie. Sheparticipated in the faculty exhibition displaying aceramic installation from her new body of work TheWater Garden Series and won an honorable mentionfor an encaustic painting at the Indiana UniversityKokomo Regional Exhibition. Bill Zack’s sculptural work was exhibited through themonth of December at the Indianapolis Museum ofArt as part of the museum’s “In Indiana” artist series.The show was titled “States of Being, Metaphors forthe Heart.” Zack’s work had previously been on dis-play throughout the summer at the Governor’s resi-dence on N. Meridian St., Indianapolis. He began theyear with a solo exhibition at Taylor University inUpland, Ind. and a joint exhibition with MarilynnDerwenskus titled, “Human/Being.”

art

The dust has settled inside the new Art and Journalism Building, and itstenants have had more than a semester to get used to their new surroundings.While moving an entire department from one building to another isn’twithout its headaches, the new space is proving to have been well worth thetrouble.

John Gee, associate professor of art, moved from the old facilities in the Fine Arts Building to the new building in the summer of 2001.

“The old building had an aesthetic that I liked, but this building is betterfor workable, dedicated space,” said Gee.

In addition, Gee notes the fourth floor, which houses many of thedepartment studios, is more accommodating than the space in the Fine ArtsBuilding.

“This facility was designed more as studio space—it looks like it and itbehaves like it,” said Gee.

The 200,000-square-foot structure increased the art department’s spacefrom 34,000 square feet to 58,000 square feet. Not only do the studios boasttwenty foot ceilings, allowing students to create larger works of art, safety andenvironmental features were integrated into the building design.

Safety features include a comprehensive ventilation system as well as firesuppression systems.

On the aesthetic side, the department has an art gallery on the first floor,just off the Atrium dining area. The gallery offers space to display bothstudent and faculty exhibits as well as works of visiting artists.

Less public, but much appreciated by faculty and students, are the newtechnologies integrated into the building design.

Associate Professor Christine Satory, who teaches graphic design andmulti-media design, sees the availability of technology as one of the highlightsof the new facility.

“Graphic design is tied to technology,” she said. “We have a cross-platform computer lab in the graphic design area and it’s a tremendousadvantage in teaching graphic design. Students are able to understand and usethe technology to its best advantage.”

It’s not only in a hands-on situationthat technology comes in handy,however. The integration of computertechnology into classroom settingsallows for more up-to-date and visuallyinteresting lectures and classroomdiscussions, as well.

“Graphic design styles and trendschange very quickly,” said Satory.“Through the technology in the arthistory classroom, I can go to theInternet and show students what iscurrently happening in the field.”

Mike Prater, associate professor ofart education, commented that the newfacilities were designed to supportteaching with technology. He has seen a change in his students’ attitudes inresponse to the availability of computertechnology.

“Students are starting to assume thatwhatever obstacles come up can beovercome” through the use of resourcesavailable in the art education area, he

said. “Everything is so interconnected, that if they are a little savvy about theInternet, they can find what they need.”

Prater adds that it’s not only the technology that is making everything alittle more connected. The design of the building and the facilities it housescreate a sense of connection and community, too.

“Before we couldn’t do everything in one place,” he said. “Now, we haveit all—a library and media lab, a kiln room, storage, production areas,teaching areas, even display areas. We have everything to prep a lesson andteach it in one spot. It has become a very creative environment for thestudents.”

Students can also take advantage of the building’s other amenities,including the Atrium dining facility and the Barnes and Noble campusbookstore, copy center, and coffee shop.

Having so much under one roof has created a renewed sense ofexcitement.

“I’m a little more up, a little more enthusiastic, because it’s just a fresh,new space,” said Gee.

Since he first accepted the roleof chairperson of theDepartment of Art, Thomas

Spoerner’s focus has been on making positivechanges. Whether it was securing accreditationfrom the National Association of Schools of Artand Design or securing new, environmentally safefacilities, Spoerner has never shied away from achallenge. Now, Spoerner is preparing to face oneof the biggest challenges he has faced in over fortyyears: retirement.

“People are worried I’m going to beunhappy,” Spoerner remarked, “but I’m going tofind plenty to keep me busy and happy.”

Spoerner has been a part of the Ball Statecommunity since he began doctoral work here in1975. Following graduation in 1978, he stayed onas a faculty member. In 1990 he took on the roleof interim chairperson of the department until hisofficial appointment in 1992. He will retire in June.

Since becoming chairperson, Spoerner hasfocused his energies on the administrative aspectsof running the department. In addition to theday-to-day administrative challenges associatedwith a department that is home to twenty-eightfaculty members and four hundred undergraduatemajors, Spoerner spent nearly a decade workingwith the university administration, his faculty, and

an architectural firm to make the new Art andJournalism Building a reality.

“In 1992, the university decided to build thisfacility,” Spoerner said. “Since it was approved bythe legislature, this has been a major project, notjust for me but for the entire department.”

While the new facility has been the highlightof his tenure, Spoerner is equally proud of theprogress of the academic programs within thedepartment. The NASAD accreditation was amajor undertaking, requiring curriculum revision,a change in admission policy, and a reduction inthe number of student majors.

“Ball State encourages all departments to beaccredited within their disciplines,” Spoerner says.“The important thing about this accreditation isthat we can point to it and say that a nationalreview committee looked at our program and wemet their standards. It’s a useful recruiting tool.”

Recruitment of faculty and students hasn’tbeen an issue of late, however. Spoerner points outthat every faculty member was selected through anational search and that students are onlyadmitted through a portfolio review.

“With very good faculty and very goodstudents, we have a very good program,” he says.“NASAD marvels at the quality of the studentwork. Few people (in the art world) have heard of

Ball State and are surprised that our students areas good as students from very well knownschools.”

As proud as he is of the faculty, students, andfacilities, Spoerner is ready to retire. And for thoseconcerned he won’t find ways to fill his time,Spoerner has plans already on the table.

“My wife and I plan to travel. We have twonew grandchildren to visit, one in North Carolinaand one in New Mexico. And we also want totravel just for travel’s sake. I hate to admit it, butI’ve never been out of the country,” Spoerner said.

In addition to travel, Spoerner is lookingforward to getting back into his own studio andpainting.

“I haven’t done any serious artwork in 20years,” he said. “I want to set up a studio and getback to it.”

That studio will be nearby. The Spoernersplan to stay in Muncie.

“We see Muncie as our headquarters, ourbase from which to move out and do other things.Even when we retire, we’ll stay here,” Spoerner said.

“I love Ball State, I love the art department,and I love my job,” Spoerner said “I’ve had awonderful time the past 41 years. I’m just ready todo other things.”

New Art Department Facilities Offer Light, Space, Technology

After Four Decades of Dedication

The Next Challenge Facing Educator is Retirement

art

Shafer Tower Home to a Grand, Expressive Musical InstrumentAs the focal point for what is being conceived as a new north quadrangle on campus, Ball StateUniversity’s Shafer Tower has been the center of attention as it rose to a grand 145-feet aboveMcKinley Avenue.

And while the structure itself is magnificent, it’s what the tower houses that is its mostimpressive feature.

The tower houses forty-eight French-made, custom-cast and individually tuned carillon bells.The bells, with a range of four octaves, make it possible to provide a variety of concert-qualitymusical presentations. There is a playing cabin located just behind the medallions of Beneficencejust below the bells.

For those familiar only with the pre-recorded carillon tones, such as those that chime the hour,the full impact of the carillon in concert may come as quite a surprise.

“The traditional instrument is very expressive,” said Kirby Koriath, professor of music. “Atrecitals, the audience will hear louds and softs. They will be able to sense the mastery and artisticexpression of the carillonneur, something that is not available via the remote electronic keyboard.”

The carillon, like any instrument, takes training and talent to master. Several students havealready expressed keen interest in taking lessons on the carillon. The college hopes to engage aprofessional carillonneur on a part-time basis to provide instruction.

There is a training instrument, the practice clavier, available in the School of Music. Thispractice instrument is nearly identical to that found in the playing cabin, right down to the keys(sometimes called batons) and pedal board. Where these are attached by carbon fiber rods to thebells in the tower, on the practice instrument they are attached to a series of chimes that look alittle like a xylophone standing on end.

Koriath says the practice keyboard allows the student to practice with the full expressivepotential of the carillon. What it won’t approximate is the weight of the clapper.

“The practice keyboard feels even top to bottom. The actual keyboard will get progressivelyheavier from top to bottom due to the weight of the bells,” said Koriath.

While the bells have been chiming the hour over the winter months, the first opportunity tohear the carillon in concert will take place at a dedication ceremony in April. Margo Halsted,associate professor of campanology at the University of Michigan, will be the guest artist. Theconcert will feature a specially commissioned work for the new carillon.

The features of the carillon that allow the chiming of the hours and the playing of pre-recorded melodies are indeed significant and useful. However, Koriath feels that hearing thecarillon in concert will offer the community an exciting, new musical experience.

“To fully realize the potential of it will only come with hearing it in recital,” Koriath said.“This is a grand, colossal, expressive musical instrument.”

Visited campus...

Music professionals who shared their expertise with studentsand faculty members in Ball State's School of Music throughperformances, master classes, and lectures last year include:

Alissa Walters, sopranoBecky Archibald, composer/pianistLorenzo Micheli, guitarPeter Dominguez, double bassDenis DiBlasio, saxophone and fluteRay Pool, harpHye-Ran Yu and Eun-Sook You, piano duoKassandra Kocoshis, percussionFrank Mantooth, composer/arranger/pianoCharles Fugo, pianoEddie Daniels, clarinetMichael Hovnanian, double bassPalenai Piano Duo (Joy Innis and Adrienne Shannon)Airmen of NoteDmitry Sitkovetsky, violin and Boris Petrushansky, piano

In Memoriam:Ball State Faculty Cellist Roger Malitz Ball State University music professor and cellistRoger Malitz died Sept. 3, 2001, in BallMemorial Hospital following a short illness.He was 53.

Principal cellist of the Muncie SymphonyOrchestra, Malitz also had been principalcellist with the University of Chicago’sContemporary Chamber Players, FloridaOrchestra, Caracas Philharmonic, and NationalSymphony of South Africa. Since hisappointment to the Ball State School of Musicfaculty in 1985, he had presented concerts andmaster classes in Argentina, Canada, the CzechRepublic, Israel, Japan, Korea, Mexico, Taiwan,and Thailand.

At Ball State, Malitz was the School ofMusic’s chairman of strings and cellist of theAmerican Piano Trio, the first ensemble to bedesignated Sterling Patrons of the internationalprofessional music fraternity Mu Phi Epsilon.

Malitz studied with Karl Fruh and RayaGarbousova and had served on the faculties ofthe Chicago Conservatory, University ofTampa, Caracas Conservatory, and BowlingGreen State University. He was featurednumerous times on public television and

NationalPublic Radio,and hisrecordings areavailable onthe MusicalHeritageSociety, Owl,Desto, andCRI labels.

During a recent residency at the BanffCentre, Malitz recorded repertoire for a newCD, The Ethnic Cello, which has been released byCrystal Records. He performed on a cello madeby the Italian master Antonio Casini in 1678.

He is survived by his mother, Ruth Lazar,Skokie, Ill.; and his sons, Nathan Malitz andZachary Malitz, and his former wife, DeborahMalitz, all of Muncie.

Memorials can be made to the RogerMalitz Cello Scholarship in the Ball StateSchool of Music.

Checks should be made payable to theBall State University Foundation c/o the RogerMalitz Cello Scholarship Fund and mailed toBall State University Foundation, P.O. Box 672,Muncie, IN 47308.

Visit us atwww.bsu.edu/cfa/music

In Memoriam:Katherine HargreavesKatherine Hargreaves, former executive secretary of the Muncie Symphony Orchestra and wife ofthe late Dr. Robert Hargreaves, died Sept. 20 at the age of 87.

Hargreaves was a Ball State alumna, receiving a master’s degree in artfrom Ball State in 1959 and was the assistant in the Division of Music atBall State. She was a member and officer of Sigma Alpha Iota, Psi Iota Xi(Alpha chapter), and Zeta Tau Alpha sororities.

Hargreaves was active in Mortar Board and was chairman of children’sart classes for Muncie Arts Association.

Memorials may be sent to the Robert Hargreaves Scholarship Fund,Ball State University Foundation, Account A05762.

music

Student and faculty musicians, as well as music lovers from the Ball State andMuncie community, are anticipating an early April ground-breaking for theconstruction of the new $21 million Music Instruction Building at thesouthwest corner of McKinley and Riverside avenues. Because contractors’ bidsfor the new facility were above the architect’s estimates, construction had beendelayed.

The 73,000 square-foot, two-story facility will house performance,rehearsal, office, library, storage and teaching areas for studio, orchestra, bandand choral activities. The second floor will house the Music EngineeringTechnology (MET) Studios.

Minor adjustments were made in materials and construction, but nothingwas lost in the fine-tuning.

“We didn’t lose any square feet. All of the components, all of the amenitiesthat were envisioned, remain the same,” said Robert Kvam, interim dean of theCollege of Fine Arts.

The performance hall, designed with acoustics in mind, remains a focalpoint of the building. The performance hall will include the construction oforgan chambers built into the stage walls in anticipation of the installation of apipe organ in the future.

Kirby Koriath, professor of music, notes that the purchase of a pipe organisn’t included in the funding for the new facility.

“We know it can’t be a budget expense, so we’re looking for a gift or seriesof gifts to purchase the pipe organ,” said Koriath.

Koriath and Erwin Mueller, interim director of the School of Music, seethe installation of a pipe organ as both a recruitment and instructional tool.

“Most major universities do have an organ,” said Mueller. “When yourecruit organists, you want to be able to show them the instrument.”

Koriath added that the music program as a whole would benefit from theaddition of the organ.

“It’s an enhancement to the concert environment. It allows more of themasterpieces to be experienced by the students,” said Koriath. “It will allow usto play more of the literature. A good deal of the choral literature calls for anorgan, as well as music for orchestra, brass and string ensembles.”

Another necessary improvement is a better facility for Ball State’s musicengineering technology program, which has outgrown the residential structureit occupies on Bethel Avenue near the football stadium. The existing buildingdoes not meet the technical specifications for the ongoing work by musicstudents and faculty members.

A new facility is needed to house the state-of-the-art technology and allowthe integration of music disciplines in the process. The highly selective andrigorous MET program requires a student to excel as a musician and ascientist, incorporating a minor in applied physics and several higher-levelmath courses.

Ball State is one of only a handful of universities in the nation that offer a music engineering technology program.

The Music Instruction Building will complement the existing HargreavesMusic Building, which will continue to be used for music education, musichistory, and music theory and composition. Construction of the new facility isexpected to be completed in January, 2004.

Faculty NotesJeffrey Carter traveled to Brazil on a month-long culturalexchange program, teaching a class at the Universideade deCampinas in San Paulo State and coaching a choir in San Pedro.In addition, Carter was the principal conductor at MidwesternMusic Camp at the University of Kansas. Carter had a busy fallsemester, with a University Singers performance at the WhiteHouse in December, a solo baritone performance with theMuncie Symphony, a faculty voice recital, and an ongoing seriesof school clinics and festival choir performances. His guide toresources for the choral conductor was published in the statechoral publication Notations in November.

Don P. Ester stepped out of the classroom and on to the stage inFebruary to sing the role of Ko-Ko in The Mikado, presented bythe Muncie Symphony Orchestra. Ester is a co-author ofEvaluation of Student Teachers Guidebook (Phi Delta KappaInternational), which received international attention upon itspublication this past year. Ester continued to conduct a variety ofstate festivals, and his White River Youth Choir performed forAdmiral Joseph D. Stewart and the Merchant Marine Academy,Kingspoint, N. Y. His professional presentation schedule includeda session at the Great Lakes College Music Society Convention. Caroline Hartig had a Recording Residency at the BanffInternational Centre for the Arts, Music and Sound Program,Banff, Canada. Her most recent work includes the world premiereof Libby Larson’s sextet for two clarinets and string quartet, “BallyDeux,” at the International Clarinet Association in New Orleans,the Orpheum Theatre with clarinetist Eddie Daniels, and theColorado String Quartet. She also performed with the QuatrroString Quartet in Indianapolis, the Indianapolis Symphony, andthe Indianapolis Chamber Orchestra as well as with Ball StateUniversity. Hartig is the vice-president/president elect of theNational Association of College Wind and Percussion Instructors.James Helton had solo and Chamber Music Recitals in Illinois,Indiana, Kentucky, Oklahoma, and Tennessee. He is currentlyserving on the board of the Indiana State Music TeachersAssociation in two capacities: as chair of the state round of theMusic Teachers National Association Performance Competitions,hosted this year by Ball State and as chair of the Committee on

Collaborative Arts, which initiates study and provides support forindependent music teachers who incorporate the study of cham-ber music and accompanying in their teaching.Ray Kilburn performed three duo recitals in the Carolinas withDuke University violinist Hsiao-mei Ku. He has given solo recitalsand master classes at Gonzaga University, Eastern WashingtonState University and Washington State University (Pullman). Inaddition, Kilburn has given two more solo recitals in theCarolinas, and a solo recital and master class at McGill Universityin Montreal, followed by another solo program here at Ball State.He also served as adjudicator for the MSO Youth ConcertoCompetition.Sursa Distinguished Professor of Fine Arts Sherry Kloss hasrecently returned from a performance in Seoul, South Korea,sponsored by the Kumho Foundation. In addition to the concert,which was broadcast on satellite systems, she presented radiointerviews and three violin master classes at Hanyang University.As a result of this visit, Kloss has accepted a graduate student toBall State for next fall semester. Upon her return, she traveled toFt. Myers, Fla. for a recital program entitled, “The Soul of aPeople,” music of Jewish composers.Kirby Koriath presented two organ recitals in Seoul, South Korea,in June 2001, sponsored by Yonsei University. The recitals weregiven at Somang Presbyterian Church and Andong PresbyterianChurch.Keith Kothman had his solo piano composition Surface Inventionsreleased on CD in September.The work was released by Capstone(CPS-8690) under the auspices of the Society of Composers, Inc.In November, Kothman’s digital audio work Sometimes when I’mawake . . . was performed at the Society of Composers, Inc., festi-val at the University of Florida. Upcoming performances of thiswork will take place this Spring at the Ninth InternationalElectroacoustic Music Spring in Havana Festival, and at theElectronic Music Midwest festival in Kansas City, Kans.Harold Levin has had a number of his works performed recently.His “Five Pieces” for clarinet, viola, and trumpet, premiered at theSchool of Music’s annual Summer Chamber Music Festival inJune and then performed again at Interlochen, Mich. in July. Thework was recorded on a just-released CD. Additionally, his“Meditation on the Twin Towers” was presented and performedby George Wolfe and Ball State University’s award-winning stu-dent saxophone quartet at the Midwest Clinic in Chicago inDecember. In February, Levin will conduct his own “Music forBand” with the Ball State University Symphony Band, and his“Duo” for violin and viola will be performed at Ball StateUniversity’s February New Music Festival.Julia Larson Mattern performed as principal flute with theMuncie Symphony, as substitute principal flute with theRichmond Symphony, as piccolo with the Russian FestivalOrchestra in Indianapolis, and as a substitute with theIndianapolis Symphony Orchestra. She served the National FluteAssociation as a member of the Pedagogy Committee and as ajudge for the Newly Published Music Competition. Mattern alsodirected the National Flute Association High School Flute Choirat the national convention in Dallas. She regularly reviews newmusic for Flute Talk magazine, which is publishing her annotatedbibliography of flute books. Mattern is a Nationally CertifiedTeacher of Music by Music Teachers National Association and islisted in 2000 Outstanding Musicians of the Twentieth Century. Robert Palmer was accompanist for Joe Robinson, principal oboe,New York Philharmonic, and for the faculty performances ofKeith Sweger, George Wolfe, Jeff Ballard, Jeffrey Carter, MaryHagopian, Karrie York, and Sherry Kloss. He has also given anAmerican Piano Trio recital and has been an accompanist for thesummer chamber music series. Palmer has given a lecture/seminarpresentation on piano pedagogy for the Columbus Piano TeachersAssociation, and he has been an adjudicator for the IndianapolisPiano Teachers annual competition and the Columbus Piano

Teachers Festival and Competition. Student successes include win-ners at the Indianapolis Matinee Musicale Piano competition,graduate and undergraduate divisions; and a winner at theKokomo Symphony Orchestra Concerto Competition, under-graduate division.Paul Reilly has completed and had published by Mel BayPublications, Inc., Guitar Technique Through Repertoire, a guide todeveloping classical guitar technique through a selection of origi-nal compositions. In addition, through sponsorship of the Collegeof Fine Arts, he will run a summer clinic detailing technical devel-opment, fingerboard harmony, and ensemble playing for the clas-sical guitar. Lori Rhoden performed solo piano recitals in the fall of 2001 atTaylor University, Indiana Wesleyan University, the CamdenCounty (Ga.) Arts in Our Schools program series, and Ball StateUniversity. She was the afternoon recital accompanist for theWildacres International Flute and Saxophone Retreat this pastsummer. Other collaborative performances included recitals withguest soprano Alissa Walters and faculty violist Harold Levin aswell as performances on the Society of Composers Region VConference, the 55th annual Chamber Music Festival, and the“Musical Miscellany” voice faculty recital. Rhoden presented lec-ture recitals at Bowling Green (Ohio) State University, IndianaWesleyan University, the Music TeachersAssociation of South CentralIndiana, and the CamdenCounty Arts in Our Schoolsseries. In late January of 2001, KeithSweger was the guest ofMahidol University inBangkok, Thailand, wherehe presented master classes atboth Mahidol University andthe International Academy ofMusic, and performed a wood-wind chamber recital in theThailand Cultural Center withmusicians from Austria,Japan, and Thailand.Sweger also performed asolo recital at the con-ference of theInternational DoubleReed Society, held inAugust on the cam-pus of West VirginiaUniversity. He wasassisted by facultymembers HaroldLevin, viola, and HansSturm, double bass, andpianist Patricia Sweger. In July,Sweger hosted forty high school and junior highstudents from around the country duringthe 3rd Annual Ball State BassoonCamps.George Wolfe was appointed VisitingScholar of Arts and Religion at theLakeshore Interfaith Institute inSaugatauk, Mich., for his interfaith concertsand recordings, which include more than thirty performances ofJody Nagle’s “Lifting the Veil” in various countries from Austria toCosta Rica to India. In November he performed for the Societyfor Arts and Religion in Contemporary Culture at the House ofthe Redeemer in New York City. Wolfe also presented a clinic on“Motivistic Improvisation” at the International Midwest Band andOrchestra Clinic in Chicago in December.

Fine Tuning Leads to

Ground-breaking for MusicInstruction Building

music

Visit us atwww.bsu.edu/cfa/theatre/default.asp

With so many projects changing the landscapeof Ball State–notably the completion of ShaferTower and the new Art and JournalismBuilding–it’s easy to miss some of the lessobvious changes occurring beneath the surfaceof what appear to be unchanging andcomfortably familiar programs. But to thosewho have been around awhile, the changes are

as obvious as a new buildingon the horizon.

“It’s not just that theprogram has gotten biggerover the years,” saiddepartment chair DonLaCasse. “It’s also a betterprogram. It’s more diverse and also more specialized.”

The program’s diversity isapparent in the cross-disciplinary nature reflected in both its courses and theinterests of its students.Specialization and depthcome with classes that focuson one area of expertise suchas combat training

or acting for the camera.Accredited by the

National Association ofSchools of Theatreand Dance, and inthe process of beingaccredited by theNational Associationof Schools of Dance,LaCasse sees the BallState program creatinga special niche for itselfwith a focus on a solidacademic foundation and plentyof opportunities for students to gainprofessional experience.

“We’re not a traditional liberal artsprogram, and we’re not a BFA program. Weoffer a mid-ground,” LaCasse said. “Studentswant training. They want to go out and work.Students today are much more focused ontheir careers.”

Faculty, too, are more focused on theirprofessional careers. Today’s faculty membersaren’t academics removed from the world ofperformance.

“The faculty today are more ambitious,”said Kip Shawger, associate chair and head ofdesign, and a member of the faculty since 1975.

“We’re encouraged to do more outsidework. Professionally its good for us, but it alsobrings new ideas and fresh experiences into thedepartment,” he said.

Besides working on productions outsidethe university, faculty members are alsoencouraged to continue their own education.The benefits to the students can be seen in theaddition of specialized classes to thecurriculum.

Greg Lund, instructor of dance and afaculty member since 1978, offers a course instage combat. The course came about as aresult of Lund’s own experiences at a trainingprogram conducted by the Society of AmericanFight Directors.

Lund sees the stage combat course as agood example of the cross-disciplinary workgoing on in the department. For actors, whoare used to telling stories with words, theswitch to telling a story through movement canbe a challenge.

Likewise, dancers used to expressingthemselves through their body movements can

find the challenge of vocal performancesequally daunting.

A recent dance production included a folkdance choreographed by Lund in which thedancers were required to sing an EasternEuropean folk song. Lund felt it was a goodexperience for the students.

“They had to learn a different style ofsinging, they had to learn to control theirbreathing,” he said. “It’s something they willencounter in the professional world.”

Sarah Mangelsdorf, director of dance,notes that opening up opportunities within thedepartment often requires students to movebeyond what is comfortable and familiar.

“Many more of our students sing and actin addition to dance,” Mangelsdorf said.“Their focus might be more on one area, butthey want to keep working on all three.”

Bill Jenkins, musical theatre coordinator,notes that training to be a “triple threat” iscommon in the department.

“We train students in all three areas,”Jenkins said. “We have them build on theirstrengths and improve their areas of weakness.

The faculty is helping make those post-graduation success stories a reality

by helping students make themost of their individual

talents.” In addition to the

educational preparationof students, Jenkinsnotes that thedepartment has

developed ways to helpnew graduates network

with those in their field. “Our focus has shifted in

the last three or four years,” he said.“We’re not just giving our students a qualityeducation, but we’re helping them make thekinds of connections they need to get aheadprofessionally when they leave here.”

The establishment of New York and LosAngeles showcases following graduation is oneof the most dramatic ways the department getsnew alums connected with the professionalworld. Stage work is emphasized in the NewYork showcase. The L.A. showcase featuresstudents who are interested in films andtelevision.

Rodger Smith, hired in 1997 to develop aprogram of acting for the camera, notes thatthe digital revolution has made it possible toprepare students for work on film.

“Years ago colleges couldn’t afford film,the cost was just prohibitive,” Smith said.“Now we can teach these courses at Ball Stateand do everything a film school can do.”

All this is not to say the department haschanged so much that those returning to visit a class wouldn’t find it familiar. Even Smith, a strong advocate for the integration of moretechnology into the curriculum, admits thatthe difference between stage work and filmwork is merely the medium.

“It’s just two kinds of theatre,” Smith said.“live theater and recorded theater.”

LaCasse, too, emphasizes the importanceof seeing the connections rather than thedifferences between the different forms.

“Theater is a good foundation. Film is onecomponent of that. And today, if you want tomake a living, you’ve got to be able to do itall,” he said.

Today’s Department of Theatre and Dancedoes it all. And they do it very well.

Today’s Department of Theatre and Dance

does it all. And they do it

very well.

Visited Campus...

Stage, film and television professionals who shared theirexpertise with students and faculty members in Ball State’sDepartment of Theatre and Dance through classes andworkshops last year include:

Richard ParksDeb Shively

Dance professionals who shared their expertise withstudents and faculty members in Ball State’s Departmentof Theatre and Dance through classes, choreography, andthe summer dance intensive last year include:

Michele Kriner (alumna) Milli Fraiser (alumna)Kory Berda Browder (alumna)Alan Sener Kennet Oberly Jeremy Plummer Andre MegerdichianRobert Denvers

Changes to Theatre and Dance Are Subtle Yet Substantial

During the spring semester of 2001, theatre and dance majors from BallState University collaborated with composer Raphael Crystal and directorDeloss Brown to prepare a musical comedy based on Shakespeare’s Love’sLabour’s Lost. Beginning with the traditional text, they quicklyreconceived the play to a modern-day, fictional setting which they calledEden, Indiana. On the strength of Crystal’s musical score and their owncomedic instincts, they took Love Me, Love Me Not to the JohnHouseman Theatre Center off Broadway in New York, packing the houseevery time the show ran, from April 17–21 and garnering the attention ofthe Manhattan Fox News affiliate in a local arts story. Love Me, Love MeNot was produced as a seminar of the Virginia B. Ball Center for CreativeInquiry.Pictured above are (left to right) Carey Kayser, Natalie Ellis, Brian Geary,Liz Davito, Nick Brenner (as Don Armado), Brad Coolidge, and AdamTilford. The foot is played by Chris Bryant.

Luigi Lori Belilove Jennifer SprowlTod Baker (alumnus)Larissa Sentsova Carol Worcel Bill EvansSuzie Lundgren Mary Corsaro

Since its inception as part of the Department of Theatre and Dance in 1987,the dance program at Ball State has grown from just three dance majors to athriving program with over sixty majors. Sarah Mangelsdorf, director ofdance, notes that the increase in student numbers has been the catalyst formany of the changes within the program.

“We have a multi-layered program now because we havemore students looking at different avenues,” said Mangelsdorf.“We encourage our students to look at all their opportunities.”

With students leading the way, dance has developed astrong student studio performance program. Seniors arerequired to do a choreography project which showcases theirtalents in developing and teaching choreography. Now, withstudent interest pushing for more performance opportunities,juniors are offered a showcase opportunity as well.

“They may go in one direction with the junior project andbuild on it for the next year,” said Mangelsdorf. On the otherhand, she said, students have also found the junior yearexperience a chance to try out new ideas and, when they don’twork out, have the senior showcase in which to move into anentirely new direction.

One event in which the program has participated for thepast decade is the American College Dance Festival. The BallState program has been recognized at the national event threetimes in the past ten years.

Other national honors have come to the program as well.The Ball State Dance program was one of only fifty-onerecipients of a $10,000 grant from a Dance/USA and NationalEndowment for the Arts partnership with the National CollegeChoreography Initiative. The money is being used to train students in thedance technique and repertory of Isadora Duncan via Lori Belilove andCompany of New York.

Katie Teuchtler, instructor of dance, was instrumental in developing theproposal that brought Belilove and her associates to Muncie. She notes thatwhile the project started because of her own interest in learning Duncandance techniques, the effect has been far reaching.

“The whole project has become so much more,” said Teuchtler. “It’sreally just had a snowball effect. It started at Ball State and just spread intothe community and across the state.”

Outreach activities have included master classes in West Lafayette and

Indianapolis as well as an ongoing Duncan dance class for children at theMuncie Ballet Studio.

In an effort to offer students as many outlets as possible, the danceprogram works to develop workshop opportunities for students and the

community. Two such activities hosted by the dance program during thesummer included the Bill Evans Summer Institute of Dance in June and theSummer Dance Intensive Workshops sponsored in part with AndersonYoung Ballet Academy.

The future will undoubtedly offer new and different opportunitiesfor students in the dance program, but Mangelsdorf sees theprograms emphasis on a solid foundation as one of its core strengths.

“Things keep changing,” said Mangelsdorf. “So you want togive them basic skills so that when the momentary hot trendfades they are prepared for whatever comes next.”

Dance Program Offers Educational, Community Opportunities

theatr

e/dance

theatre/da

nce

Raphael Crystalspent spring 2001semester as a Fellowat the newly-created VirginiaB. BallCenter forCreativeInquiry. He led aseminar of sixteentheatre majors in the creation of anew musical, Love Me, Love Me Not,based on Shakespeare’s Love’s LaboursLost. The show featured a “book”written collaboratively by the entirecast, music by Crystal, and lyrics byguest director Deloss Brown. Thegroup traveled to New York City andshowcased the work at the JohnHouseman Studio Theatre. Theaudience included entertainmentindustry representatives; the eventwas covered by Fox News. Returningto Muncie, the group presented themusical at the Muncie Center for theArts. During the summer, Crystalcomposed music for the“Shakespeare Under the Stars atMinnetrista” production of TwelfthNight. He created pre-show musicalentertainment that featured Schoolof Music tenor Jeff Ballard, with aguest appearance by soprano LindaSmith from the Department ofTheatre and Dance. Bill Jenkins has had a busy yeardirecting both at Ball State andoutside of the university. At BallState, he co-directed Offenbach’soperetta Orpheus in the Underworldwith Craig Priebe. The productionincluded both theatre and musicstudents and was a great collaborationbetween the two departments.During the summer and fall, Jenkins

directed GarsonKanin’s comedyBorn Yesterdayat IllinoisRepertory

Theatre, Greaseat Indianapolis Civic

Theatre, and the musicalWorking as a guest artist at AndersonUniversity. This winter, he will beguest directing Shakespeare’s Measurefor Measure at the NebraskaRepertory Theatre/University ofNebraska and directing Sondheim’s ALittle Night Music here at Ball State.As an actor, Jenkins performed inboth Never the Sinner and Violet atBall State. Jenkins continues hisactive affiliation with the Mid-American Theatre Conference wherehe serves as the co-chair of theDirecting Symposium and vice-president elect responsible for the2003-2004 Conference.Sarah Mangelsdorf attended theNational Dance Association’s annualconvention in Cincinnati, Ohio, andserves on the Heritage Committee.She also attended the Great LakesAmerican College Dance Festival atthe University of Illinois and the BillEvans Summer Institute of Dance inMuncie.Michael M. O’Hara wrote thescreenplay for The Séance anddirected Children of a Lesser God. Hewas a featured speaker at the ShorterCollege Conference on Teaching andTechnology. O’Hara also presentedpapers at the National CommunicationAssociation Convention andsubmitted the lead chapter in a newbook on pedagogy entitledTechnology in the Theatre Classroom.He won the Lawhead Teaching

Award for OutstandingContributions to General Educationand was a finalist for theOutstanding Junior Faculty Award.Finally, he was awarded two grants,one from the College of Fine Arts onthe use of technology in teaching andone for a Pedagogy Web site from theAmerican Association for Theatre inHigher Education.David C. (“Kip”) Shawger, Jr., wasthe scenic designer for numeroustheme park musical productionsincluding Worlds of Fun (KansasCity), Six Flags Great Adventure(New York), Santa’s Village(Chicago), Kennywood and IdlewildParks (Pittsburgh), andAdventureland (Des Moines, Iowa.)Additionally, other creative designsinclude backdrops for CapitalTheatre in Albany, N.Y. and theColumbus Zoo, Columbus, Ohio. AtBall State, Shawger was the scenicdesigner for Orpheus in theUnderworld, Children of a Lesser God,You Can’t Take it With You, andTwelfth Night (the Ball State University/Minnetrista Cultural Center summertheatre program). He is still activewith the American College TheatreFestival, Region III, and spends agreat deal of time traveling to othercolleges and universities as aproduction adjudicator. Last January,the Kennedy Center awarded himthe prestigious Gold Medallion. Thisyear he has been asked to serve as theassociate chair of the Department ofTheatre and Dance.In December, 2001, Rodger Smithcompleted his Virginia Ball Centerfor Creative Inquiry Fellowship withthe launch of his students’ semesterproject. Sixteen students from a

variety of disciplines (theatre, english,art, general studies,telecommunications, architecture,and business) created the first BallState Entertainment Web site for thepurpose of streaming dramaticmedia. The students built the Website and the entire product found onthe Web site (short films, a verticaldrama, cartoons, and graphic eyecandy). The students’ work can beseen at www.someoneswatching.com.Michael Worcel attended theAmerican College Dance Festival atthe University of Illinois inChampaign/Urbana and performedthe solo section of his choreography,Two For The Blues in the facultydance concert. This piece wasrepeated in the Festival of DanceConcert with Ball State DanceTheatre. His Lindy Hop projectCan’t Stop The Hop was performedfor the National Folk Dance Festivalhosted by Ball State, showcased atthe freshman scholarship auditions,and presented at ACDF in theinformal dance concert and forFestival of Dance 2001. Worcel’sarticle about this project appeared inAlumnus, the Ball State alumnimagazine. This past summer Worcelwas assistant choreographer for andperformed in the World Police FireGames Opening Ceremony at theRCA Dome. In September he co-choreographed Sweet Charity at theIndianapolis Civic Theatre, whichwas listed as one of the best musicalsof the year by critics of theIndianapolis Star News in their Best of2001 edition. Most recently hechoreographed the concert dancepiece The Prey for Ball State’s Dance!Dance! Dance! concert.

Judy Yordon directed Never theSinner by John Logan in StrotherTheatre in the spring, and she wasinvited to present a scene from theshow at the American CollegeTheatre Festival in January. The fifthedition of her text, Roles inInterpretation, was released, and she is currently working on a prospectusfor a Shakespeare text in conjunctionwith a University of Cambridge(England) professor. During the fall,Yordon was the director of theLondon Centre, accompanied by forty-three Ball States students. Aspart of her “Shakespeare inPerformance” class, the studentsrehearsed on the Globe stage andpresented a compiled script entitledShakespeare’s Family at the TheatreMuseum in Covent Garden. Yordondirected the production and playedLady Macbeth.Lou Ann Young continues to teach,choreograph and direct Ball StateDance Theatre at the University. She was appointed to the ExecutiveBoard of National Dance Americaand serves on the long-rangeplanning committee. She attendednational meetings in Louisville andNew York City this past year. Lastsummer, Young directed and taughtat Ball State’s Intensive DanceWorkshop and brought in eight guestteachers. Last spring she attended theAmerican College Dance festivalwhere BSDT performed herSymphonic Dances. Young’s Mid-States Regional Company attendedtheir festival in Lansing, Mich. andwere honored to perform at the Gala.Young serves as president of the Mid-States Regional Dance America.

Faculty Notes

1940sEllis C. Swadley (Music Ed &English, M.A. ’47) resides inIssaquah, Wash. He retired in 1990and was granted Professor Emeritusfrom the University of Maine.

1960sBruce Burns (Music & Math, B.S.’61, M.A. ’63) resides in Tustin,Calif. where he is teacher and depart-ment chair at Villa Park HighSchool. He will be retiring after fortyyears of teaching, twenty-five years ashigh school band director, six years asmusic coordinator, and thirteen yearsas Math Department chairperson.Burns wrote the Monroe CentralHigh School song in Parker City,Ind.

1970sShirley Eileen Hinman (Music Ed,B.S. ’72) resides in Demotte, Ind.where she teaches general vocalmusic at St. Mary Catholic School.While at Ball State, Hinman was amember of the marching band andchorale, women’s chorus, and musicalband. She is a pianist at her church.She also plays trumpet and teachesprivate lessons. Rich Komenich(Theatre, B.S.) can be seen in twocurrent films: Just Visiting andForgive Me Father. Linda Gail (Vogt)Weghorst (Art, B.S. ’75) resides inGermantown, Tenn. where she has astudio in her home designing andweaving tapestries for interiors. Inaddition, she teaches workshops andclasses in her studio. Her tapestriesare exhibited in shows and galleriesthroughout the United States. JohnDavid Thomas (Music, B.S. ’76)resides in Indianapolis, Ind. where heis CEO/owner/composer of JohnDavid Thomas Productions. He hasthree CDs of his original music com-positions for sale on his Web site.

1980sMichael Bowerman (Art, B.S. ’80)resides in Leo, Ind. where he is apartner in Shapes Advertising DesignStudio. The studio has received fourawards at the 2001 Addy AwardCeremony. The agency receivedAddys in the categories of TradePublication, Direct Marketing andIndustry Self Promotion, and aCitation of Excellence for CollateralMaterial: Special Event. It is a full-service agency that produces busi-ness-to-business and business-to-con-sumer print and electronic media forclients that operate in regional,national and international markets.Christine E. [Maxwell] Rash(Physical Ed & Health, B.S. ’80)resides in Kendallville, Ind. whereshe is owner and director of Tri-County Dance Academy. Her schoolhas grown to 475 students and hasbeen recognized for national compe-tition and choreography of dance.Scott Sandoe (Theatre &Telecommunications, B.A. ’82)resides in West Hollywood, Calif.where he is a screenwriter of therecently produced independent filmLifers’ Picnic (previously titled AnAmerican Girl). Joyce LynnO’Connor (Theatre, B.A. ’83)resides in New York City. O’Connorreceived her M.F.A. from SMU. Shehas been an actress in productions onBroadway, off-Broadway, radio, andtelevision for fifteen years. She is amother of two and is an activist onbehalf of autistic people. She is mar-ried to the founder of the SignatureTheater Company in New York City.Donald C. Rhynard (Music, B.M.’84) resides in New York City. He isleader and founder of Sax In TheCity, a saxophone quartet, whichrecently won the Music Under NewYork audition. The quartet performsregularly at several bars and restau-rants in New York City, includingHannah’s Lava Lounge and ChezSuzette. Kyle D. Mack (Music,M.M. ’85, D.A. ’93) resides inFargo, N. Dak. where he is directorof jazz studies at North Dakota State

University. Kyle has been selected tobe an endorsing artist for UnitedMusical Instruments, Inc., headquar-tered in Elkhart, Ind. His clinicappearances and performances willbe partially funded by UMI to assistschools in bringing professional edu-cators and artists to their students.Lori A. Mechem (Music, B.S. ’86)resides in Ashland City, Tenn. She isfounder and director of NashvilleJazz Workshop, Nashville’s first jazzschool. The school offers classes forensembles, improve, vocal, history,and more. Mechem also has severalcompact discs out. She and her hus-band, Roger, play, produce, and mixrecordings at their home. James F.O’Donnell (Music, D.A. ’87) residesin Terre Haute, Ind. He is dean ofthe School of Arts and Humanities atWayne State College. Prior to beingnamed dean, he was chairperson ofthe Department of Music at IndianaState University. David MarcosBotas (Music Ed., B.S. ’88) resides inFort Wayne, Ind. He has completedfour years as a firefighter with theFort Wayne Fire Department.Kristin Casaletto (Art, B.F.A. andB.S. in physics, ’88) resides inAugusta, Ga. She is an assistant pro-fessor of art and head of printmakingat Augusta State University. JeffCasazza (Theatre, B.S. ’88) recentlydirected The Glass Mendacity atPurdue University in West Lafayette,Ind. He works at the IndianapolisRepertory Theatre where he helpsother directors with their produc-tions. Holly Quakenbush (Dance,B.S. ’89) recently played in SweetCharity at Indianapolis CivicTheatre. Laurel Taylor (Theatre,Costume Design, ’89) resides in LosAngeles, Calif. Where she is engagedin special effects costuming. Herwork can be seen on commercials forESPN, Nissan, and Jeep.

1990sKristine Ann Botas (Music Ed., B.S.’91) resides in Fort Wayne, Ind. Sheis child care director for the FirstMissionary Church. Giles Davies(Theatre, B.S. ’92) did a one-manperformance of Dickens’ “TheUncommercial Traveler” and “TheDeath of Nancy” from Oliver Twistat the College Hill Town Hall inCincinnati, Ohio. in September. Hewill perform at the CincinnatiShakespeare Festival. John Lister(Theatre, B.S. ’92) performed inRomeo and Juliet at the ChicagoShakespeare Theatre last spring.Laura Jansen (Theatre, B.S. ’93)works at Urban Gateways Center forArts Education inChicago. JessicaGuthrie (MusicalTheatre, B.S.) hasbeen touring withSesame Street Live.Simone Lawsondirected Matthew

Socey’s (Journalism, B.S. ’93) Loveand Turtle Wax at the Intimate SpacePerformance Salon in Indianapolis.Charles F. Atkins (Music Ed, B.S.’94) resides in Muncie, Ind. whileattending graduate classes at BallState. Patrick Kelsey (Theatre, B.S.’94) recently worked as the GeneralManager of the Ford Center for thePerforming Arts. Amy Rafa (MusicalTheatre, B.S. ’94) appeared inStatuette, a Hollywood musical.David Reuille (Dance, B.S. ’94)appeared during segments on DonaldMcKayle on the PBS documentaryFree to Dance: Black Dancers andDance. Amy Bouril (MusicalTheatre, B.S. ’95) appeared on twoepisodes of The Education of MaxBickford and an episode of Law andOrder: Special Victims Unit. She willalso be seen in the upcoming movieSpider Man. Andy Catron (TechnicalTheatre, B.S. ’95) recently designedComedy of Errors in Nashville atVanderbilt University. He also recent-ly designed Equus for the MumPuppet Theatre in Philadelphia. JulieA. Jachimczak (Music, B.S. ’95)resides in Fort Pierce, Fla. Sheinstructs private lessons for localmusic students and is active as a free-lance musician for local orchestrasand bands in south Florida. She hasrecently been promoted in her job asfront office and revenue manager atthe Radisson Beach Resort. SteveKessler (Music Ed., B.S. ’95) residesin Bloomington, Ind. where he is theband director at Eagle Point HighSchool and Eagle Point Junior High.He completed his Master of Musicdegree in wind conducting at IndianaUniversity. Debbie Thomas, nowknown as Anne Thomas, (Theatre,B.S. ’95) recently co-starred in anepisode of The District on CBS.Other recent television appearancesinclude The West Wing, The Youngand the Restless, The Client, and FirstWatch. Warren Jackson (Theatre,B.A. ’96) recently appeared in NativeSon at The Performance Loft. TimKane (Performance Theatre, B.S.’96) recently appeared in Hellcab andHushaby Mountain at Famous DoorTheatre in Chicago. He will soon beseen as Laertes in Hamlet at theCourt Theatre. Kate (Otterman)Steele (Dance, B.S. ’97) appeared inThe Amphibian Song at AbingdonTheatre. She and her husbandrecently moved to Los Angeles.Danny Heeter (Musical Theatre,B.S. ’98) appeared in Big River at theMarriott Theatre in Chicago. Herecently appeared in High Society andMe and My Girl at Theatre at theCenter in Munster, Ind. JackieTrippear (Musical Theatre, B.S. ’98)

is touring in a Sesame Street produc-tion. Chris Albright (Acting, B.S.’99) is attending graduate school atthe University of California, SanDiego. Elijah Dotson (Acting, B.S.’99) appeared in Not Another TeenMovie. Ashley Hamman(Performance Theatre, B.S. ’99) iscurrently working as the publicitydirector for the American CabaretTheatre in Indianapolis. She recentlyappeared in Love and Turtle Wax atthe Intimate Space PerformanceSalon in Indianapolis. Jennifer Jurik(Musical Theatre, B.S. ’99) appearedin Two By Two at La ComediaDinner Theatre in New York.Benjamin J. Shuman (MusicalTheatre, B.S. ’99) resides in Sarasota,Fla. He completed an M.A. fromOhio University after being the pro-duction stage manager at theMonomoy Theatre in Cape Cod forone year. Shuman is finishing a year-long internship as an assistant stagemanager for the Asolo Mainstage,and will be the production stagemanager for the Asolo Conservatoryfor the 2001-02 season. HeatherStuart (Musical Theatre, B.S. ’99) istraveling with Networks, Inc. in anational tour of Ragtime. BrentWatkins (Musical Theatre, B.S. ’99)recently performed with The MarcoPolo Singers and Dancers aboardOrient Cruise Lines.

2000sKaty Hackney (Musical Theatre,B.A. ’00) performed in Dark Paradiseat The Cincinnati Playhouse in thePark. Dan Marrero (Musical Theatre,B.S. ’00) recently appeared in Tony n’Tina’s Wedding in Chicago. JasonRoseberry (Musical Theatre, B.S.’00) married Hannegan Beardsley(Musical Theatre, B.S. ’00) aftergraduating and are both now pursu-ing careers in theatre in New YorkCity. Jason appeared in The Cabinetof Dr. Caligari at The MidtownInternational Theater Festival in NewYork City. Currently, both areappearing off-off Broadway inRichard II. Recently both performedoff-off Broadway in a show writtenand directed by Jason. The show wona new play award at the New YorkCity festival. Amanda Randall(Acting, B.S. ’01) recently appearedin Macbeth at the University ofCalifornia Irvine, where she attendsgraduate school.

DECEASEDMarian C. Hank (Theatre, B.S. ’85)passed away October 1, 2001.

Visit us atwww.bsu.edu/cfa/

Alumni Notes

Hundreds of guests visited the new Art and Journalism Buildingduring the official dedication November 4, 2001. The newcampus addition houses offices, classrooms, and studios for thedepartments of art and journalism; the campus bookstore andcoffee shop; an art gallery, including an outdoor sculpture court;and the four-story Atrium dining facility.

Art and Journalism Building Dedicated

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Ball State Grad Anthony Montgomery

Finds a New “Enterprise”Defining success in Hollywood is often a losing game, but formore than thirty years the “Star Trek” franchise has remained apretty solid bet.

Ball State University graduate Anthony Montgomeryrecognizes his good fortune in being cast as helmsman TravisMayweather on the new UPN series Enterprise.

“I’ve been blessed,” said Montgomery, 30, an Indianapolisnative who graduated in 1994 from Ball State with a bachelor’sdegree in theater with an emphasis on performance. “A lot ofpeople will come out to L.A. and in their whole lives never getthe opportunities I’ve had.”

Those opportunities came easily at first, says Montgomery,who landed a part in a Tommy Hilfiger ad campaign within sixweeks of hitting Los Angeles.

“I thought, ‘That wasn’t so hard. Maybe I won’t have tostruggle like everyone else,’” Montgomery said. “Butthen the job ended and only a little work camemy way, and it wasn’t so easy.”

Not that Montgomery wasn’t used tohard work in the pursuit of his chosenfield. Besides being in a number ofcollege productions at Ball State,Montgomery pursued a variety ofentertainment-related jobs aftergraduation.

From singing in an R&B band inChicago to trying his hand at stand-upcomedy in Indianapolis, Montgomery lookedfor his niche in the entertainment industry.

It was his experience as a production assistant andbackground performer on a movie called Hard Rain thatprompted him to make the big move to Los Angeles.

Montgomery says working as a production assistant was keyin developing an understanding of how movies are really made.

“I learned a lot about what happens on the set,”Montgomery said. “I see a lot of actors who think that if theyaren’t doing something on the set, that means nothing is goingon. But look around. There’s always something going on.”

Montgomery credits his awareness of the complexity ofmovie and television production, combined with a Midwesternsensibility that emphasizes believing in oneself, as the key tomaintaining his excitement and enthusiasm in a business wheremany appear jaded.

“I don’t get it when I hear people being interviewed whoget these great acting jobs and they say they’re happy, but theysure don’t sound happy,” Montgomery says.

Before he landed the Star Trek role,Montgomery starred as host of a children’sadventure series, Awesome Adventures. He also

had a recurring role on the WB series Popular.Regular work in his field fulfilled one goal.

Being a regular on a television series was the next career.Montgomery’s excitement about being on Enterprise is

clear. After learning he got the part, “I screamed like abanshee!” Montgomery said. “I mean, you don’t get these kinds

of opportunities and not get excited.” “The best part is that I’m not a kid,” he says, “so I can be

genuinely excited about this and still see it for what it is.” For the moment, Montgomery’s focus is on keeping himself

grounded as a person and growing as an actor. Keeping a foot inreality while riding the wave of Hollywood hype is a delicatebalance.

“I feel I got this job because I stuck to it, I stayed positive,and I believed in myself,” he says. “It’s weird being a celebrity. Itgets surreal. But this is why I came to L.A.—to work.”As for the rest of it–the interviews, the premieres, thepaparazzi–Montgomery assumes an attitude that these are alljust part of the job.

“A few months ago I was borrowing money to pay myrent,” he says. “I focus on the fact that I get to do a job in thefield I trained for. Everything else is just extra.”

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Natural light and large work spaces highlight new studios.

Ball State University President Blaine A. Brownell at the Art andJournalism Building dedication ceremony

College of Fine Arts Alumni: What’s New With You?We would like to share your accomplishments with fellow alumni in a future issue of Front Row. Please take a moment to complete the information below and send it to us by mail or e-mail.

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Visit the College of Fine Arts on the World Wide Webwww.bsu.edu/cfa

Rodin’s Obsession:The Gates of Hell,Selections from the Iris and B. Gerald Cantor Collection

Sept. 14–Dec. 11 BALL STATE UNIVERSITYMUSEUM OF ART

PreludeFestival of Dance

Saturday, April 20

Come enjoy a special eveningof dinner and performance.

Reception-5:30 P.M. ● Dinner-6 P.M.Alumni Center

Curtain Call-8 P.M.University Theatre

Reservations are due by April 12Call 765-285-1080 or contact us at

www.bsu.edu/alumni

Guests can park for free at the AlumniCenter and take a shuttle to and fromUniversity Theatre.

$30 per person–including reception, dinner, and Festival of Dance.(Season ticket holders $19 per person)

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