DOCSLIB.ORG

ANNUAL REPORT Table of Contents VICE PROVOST OVERVIEW

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANNUAL REPORT Table of Contents VICE PROVOST OVERVIEW ANNUAL REPORT Table of Contents VICE PROVOST OVERVIEW . 1 ARTS NC STATE . 3 PARTICIPATION & ACADEMIC DATA . 4-5 CALENDAR OF EVENTS . 6-7 ARTS OUTREACH . 8-9 CENTER STAGE . 10-11 CRAFTS CENTER . 12-13 DANCE PROGRAM . 14-15 GREGG MUSEUM . 16-17 MUSIC DEPARTMENT . 18-19 UNIVERSITY THEATRE . 20-21 ARTS DEVELOPMENT . 22-23 DONORS . 24-28 FACULTY & PERSONNEL . 29-30 FRONT COVER: LUCKY PLUSH PRODUCTIONS PHOTO BY BENJAMIN WARDELL. Interim Vice Provost Overview When Vice Provost Alex Miller’s retired on July 1, 2014, I was appointed to serve as Interim Vice Provost while continuing my fulltime gigs as Director and Curator of the Gregg Museum of Art & Design. Despite the temporary transition period while ARTS NC STATE sought a new permanent Executive Director (title change), there was no pause or break in the action for me or the collective. For ARTS NC STATE, 2014/2015 hardly fit the usual stopgap defi- nition of “interim” because we continued to celebrate students, community, and the arts in new and wonderful ways while we also moved forward as an organization. One amazing feat that’s close to my own heart was the April 14 groundbreaking ceremony for the new Gregg Museum building at 1903 Hillsborough Street, Raleigh. This was finally possible after Arts Development achieved the $9.1 million capital campaign goal in March. That had been the target needed to start the renova- tion of the historic Chancellor’s Residence and begin building the Gregg’s new 15,000 square foot galleries and collections wing. Interim Vice Provost Roger Manley The actual breaking of ground began in late June when H.M. Kern Corporation’s bulldozers and backhoes got down to work. The College of Visual and Performing Arts at Northern Illinois Uni- versity, where he was also a Professor of Percussion for 32 years. Meanwhile, ARTS NC STATE spread its wings in another area this year as well. For the first time, the annual Student Art Purchase On behalf of ARTS NC STATE, I sincerely thank you for all your was made open to the public. Over $3,000 of student art was sold, support during 2014-2015. The Arts are indeed for everyone! with the money going directly to the artists! Sincerely, Another milestone was University Theatre’s celebration of five de- cades of dramatic artistry with its production of Burial at Thebes, poet Seamus Heaney’s re-envisioning of Sophocles’ Antigone. Fifty years ago, Antigone was the very first production at Universi- ty Theatre, so this was a fitting tribute. With the non-stop “gap year” over, ARTS NC STATE now wel- comes Rich Holly as its new Executive Director, as of July 1, 2015. Roger Manley Prior to his appointment at NC State, Rich served as the Dean of University Theatre’s TheatreFest production, Born Yesterday. ARTS NC STATE 2014/15 Annual Report • Page 1 NANO STERN November 1 5 pm & 8pm NC STATE LIVE Photo Courtesy of Artist. ARTS NC STATE AT NC STATE, THE ARTS ARE FOR EVERYONE. All NC State students – regardless of college or major – are welcome to participate in ARTS NC STATE programs and productions, and to take arts courses for credit/non-credit. Students decorating skateboards at the Crafts Center. OUR STORY OUR MISSION ARTS NC STATE (ANCS) was created in 1999/00 The mission of ARTS NC STATE is to enhance the to serve as the umbrella organization for all six of environment of the University and our community NC State University’s performing and visual arts with rich and diverse events, installations, and programs and five supporting units: opportunities and to make the arts a significant part of every student’s educational experience. • NCSU Center Stage Performing Arts Series • Crafts Center • Dance Program • Gregg Museum of Art & Design • Music Department • University Theatre 2014/15 • Ticket Central FUNDING • Arts Development SOURCES • Arts Marketing State • Arts Outreach Appropriations:State Student Fees: Student Fees • Business and Planning Appropriations20.8% 67.0% 63% 18% Private Support Gifts and Endowment and Grants: 0.6% Income: 2.4% Parents’ Fund, Education Ticket and Other & Technology Fee (ETF), Revenue: 9.2% University Advancement, Athletics Support, Alumni Association, African American Cultural Support Arts Village students at Paperhand Puppets. ARTS NC STATE 2014/15 Annual Report • Page 3 ARTS NC STATE Participation Data ARTS PROGRAMS OFFERED Center Stage 23 Lectures, Workshops, Crafts Center 372 Exhibitions, Non-credit Dance Program 45 625 Classes, One-time programs Special Activities, Gregg Museum 86 Performances, and Music Department 44 offered Master Classes offered University Theatre 55 TOTAL 625 STUDENT PARTICIPANTS Center Stage -- DASA#1 Crafts Center 648 SHAPE YOUR LIFE Dance Program 56 3,286 Students who Gregg Museum 981 participated in Music Department 1,166 student Productions, University Theatre 435 Non-credit classes, TOTAL 3,286* participants Performances, and Exhibitions *This is a unique student head count. Students who participated multiple times and/or in multiple activites are only counted once. Data also does not include students who perform at informal on and off campus events. STUDENT ATTENDANCE At Productions At All Other Events DASA#2 Center Stage 940 387 OPEN YOUR MIND Crafts Center -- 7,672 Combined NC State Dance Program 597 465 16,809 student attendance Gregg Museum -- 1,023 at Productions, Music Department 3,265 224 student Exhibitions, Lectures, University Theatre 1,266 970 attendees Residency Activities, and Workshops Sub-Total 6,068 10,741 TOTAL 16,809* *Does not include all the students who informally attended events related to the arts such as marching band performances at athletic events. PUBLIC ATTENDANCE Center Stage 3,218 Crafts Center 8,414 Public attendance Dance Program 2,244 at Productions, Gregg Museum 16,169* 43,076 Exhibitions, Non- Music Department 2,942 public Credit Courses, Workshops and University Theatre 10,039 attendees Special Events TOTAL 43,076 *Public attendance is an estimated projection. Count negatively impacted by closure of Gregg Museum in Talley Student Center. Figures do not include Gregg Museum exhibitions at participating venues. Page 4 • ARTS NC STATE 2014/15 Annual Report ARTS NC STATE Academic Data ACADEMIC COURSES OFFERED Fall 2014 Spring 2015 DASA#2 OPEN YOUR MIND Arts Village AVS 100 4 1 110 Dance Program 3 3 academic arts Music Department 36 46 University Theatre 7 10 courses offered Sub-Total 50 60 TOTAL 110 ENROLLMENT Fall 2014 Spring 2015 DASA#2 OPEN YOUR MIND Arts Village AVS 100 104 128 2,566 Dance Program 21 24 Combined enrollment Music Department 1,036 1,042 students for all academic courses offered by University Theatre 100 111 enrolled each ANCS unit. Sub-Total 1,261 1,305 TOTAL 2,566 Choral Concert at Holy Trinity Lutheran Church. Painted Shovels at Gregg Museum of Art & Design Groundbreaking. Photo By Kathryn S. Walls. ARTS NC STATE 2014/15 Annual Report • Page 5 2014/15 CALENDAR OF EVENTS * Events listed as published in the 2014/15 Seasonal Brochure. NC State LIVE Dance Program Jazz Ensemble I Tue, Nov 4, 7pm, Titmus Theatre, Thompson The Hot Sardines NCSU Dance Program Fall Concert Hall Fri, Sept 5 , 8pm, State Ballroom, Talley Student Thu & Fri, Nov 20 & 21, 8pm, Titmus Theatre, Union Thompson Hall PMC Lecture Series: Cosmas Magaya Fri, Nov 7, 7pm, Titmus Theatre, Thompson Hall SFJAZZ Collective Panoramic Dance Project Concert Sat, Oct 18, 5pm & 8pm, Titmus Theatre, Thu & Fri, Mar 26 & 27, 8pm, Titmus Theatre, Music Department Faculty Recital Thompson Hall Thompson Hall Sun, Nov 9, 4pm, Titmus Theatre, Thompson Hall Lucky Plush Productions: The Queue NCSU Dance Company Concert Fri & Sat, Oct 24 & 25, 8pm, Titmus Theatre, Thu & Fri, Apr 16 & 17, 8pm, Titmus Theatre, Ladies In Red Thompson Hall Thompson Hall Wed & Thu, Nov 12 & 13, 7pm, Titmus Theatre, Nano Stern Thompson Hall Sat, Nov 1, 5pm & 8pm, Titmus Theatre, Jazz Ensemble II Thompson Hall Gregg Museum Fri, Nov 14, 7pm, Titmus Theatre, Thompson DakhaBrakha Chris Hondros: Photographs of Conflict Hall Thu, Nov 13, 8pm, State Ballroom, Talley Sept 11 - Nov 15, David McCune International Raleigh Civic Symphony Student Union Art Gallery, Methodist University (5400 Ramsey Sun, Nov 16, 4pm, Location TBD St., Fayetteville NC). Confirm opening hours at The Swingle Singers www.davidmccunegallery.org. Music Department Student Recital Tue, Feb 17, 8pm, State Ballroom, Talley Mon, Nov 17, 6pm, Price Music Center, Room Student Union Smokes and Mirrors: Reflections of the Self in 110 Photographs by John Menapace Aquila Theatre:The Tempest & Wuthering Historic Chancellor’s Residence Choral Concert Heights 1903 Hillsborough Street, Raleigh, 27607 Sun, Nov 23, 4pm, Unitarian Universalist Fri & Sat, Feb 27 & 28, 8pm /Sun, Mar 1, 3pm, Call 919.513.7244 or email zoe_starling@ncsu. Fellowship Titmus Theatre, Thompson Hall edu to schedule a visit. Wind Ensemble Teatro Hugo & Ines Life’s Little Dramas: The World of Puppets and Tue, Dec 2, 7pm, State Ballroom, Talley Student Fri, Apr 10, 5pm/Sat, Apr 11, 5pm & 8pm/Sun, Union Apr 13, 4pm, Titmus Theatre, Thompson Hall\ Illusions Late Spring 2015, NCSU Libraries’ D.H. Hill Jazz Ensemble I Exhibit Gallery. Check ncsu.edu/gregg for dates Wed, Dec 3, 7pm, Titmus Theatre, Thompson Crafts Center and times. Hall Registration For Fall 2014 Crafts Classes Begins Grains of Time Fall Concert Mon, Aug 4 / NC State Students can register Music Department Fri, Dec 5, 7pm, Jones Auditorium, Meredith beginning Mon, July 14 College PMC Lecture Series Open House: The Crafts Center Brickyard Brass Quintet Fri, Sept 26, 7pm, State Ballroom, Talley Tue, Aug 19, 4pm-6pm, Thompson Hall Sun, Dec 7, 4pm, Price Music Center, Room 120 Student Union Peacefully Wild Exhibition PMC Lecture Series Choral Collage Aug 18 - Nov 1, R.A.
Load more

Recommended publications
  • Nano-Stern-The-Story-Biography
    The Story Nano Stern’s path as an artist follows richly crafted song lines laid by his family and his Chilean musical ancestry, and unites those with a sound utterly fresh and relevant. The confluence of recent student and environmental political events in his home country Chile and Nano’s rise as an articulate writer and performer have, much to his chagrin, positioned him as the voice of a newly politicized Chilean generation. The grandson of Jewish refugees fleeing persecution, Nano’s childhood was painted vivid by not only his own family’s musicianship but by the powerful legacy of the Nueva Canción movement lead by Chilean musical activists during Pinochet’s dictatorship a generation before. Legends like Inti‐Illimani and Victor Jara‐ who suffered exile and even death during these troubling times‐ continue to inspire Nano’s breadth of sound and emotion. “I am extremely respectful of the tradition,” explains Stern, “It is an enormous gift we received from the people of the past.” When only fifteen, Nano joined popular Chilean underground band, Mattoral, and thus was initiated into the fresh, new sounds and socio‐political pulse of the South American rock/punk scene. The thick rock‐energy of Mattoral, his classical and jazz training, and the powerful influence of traditional, Chilean revolutionary music make for something purely Nano. What has emerged is a powerhouse artist, brilliantly layering indigenous, African, and European elements into a sound all his own, and humbly bringing audiences to tears, to their feet, and to reverie with a singular kind of emotion and soulfulness unlike any other South American artist performing today.
    [Show full text]
  • 2011 Annual Report Working for Civilians in Conflict Civcampaign for Innocent Victimsi Inc Conflict Working for Civilian Victims
    2011 Annual Report Working for Civilians in Conflict CIVCampaign for Innocent VictimsI inC Conflict Working for Civilian Victims CIVIC works to make warring parties more responsible to civilians before, dur- Our Mission ing, and after armed conflict. We are advocates and advisers finding practical solutions to civilian suffering in war. We believe that warring parties should do everything in their power to avoid harming civilians and that it is never accept- able to walk away from the harm they do cause. Our Team Sarah Holewinski, executive director Marla B. Keenan, managing director Golzar Kheiltash, Making Amends Campaign director Kristèle Younès, director of field operations Liz Lucas, chief communications officer Peggy Hu, associate Shelly Clay-Robison, associate Rebecca Agule, consultant Nikolaus Grubeck, consultant 2011 Interns Daniela Arguello Jen Keene Alissa Cherry Kiri Milburn Kristin Corbett Kerri Murphy Dijana Elliott Stephanie Peguero Adam Gillenwater Daniel Ryan Masha Grigoryeva Ariadna Vallejo CIVIC offers special gratitutde this year for Chris Hondros, a brave photojournalist who lost his life in Misrata, Libya doing the work he loved. We remember his years of dedica- tion to civilians in conflicts worldwide. He will be missed. Front Cover In 2011, CIVIC began programs in Africa, responding to civilian harm in Libya and Somalia. Here, women and children wait for medical care in war-torn Mogadishu, Somalia. Kate Holt. Back Cover CIVIC’s work in Libya included documenting instances of civilians harmed by air- strikes. Families of those killed in Majer, Libya created a memorial inside a destroyed house display- ing photographs and mementos of the dead. Liz Lucas.
    [Show full text]
  • UNESCO Condemns Killing of Journalists Assassinated Journalists in Libya
    UNESCO Condemns Killing of Journalists Assassinated Journalists in Libya Musa Abdul Kareem (Libyan) Journalist at Sabbha-based newspaper Fasanea Killed on 31 July 2018 UNESCO Statement Jeroen Oerlemans (Dutch) Veteran war photographer Killed in Libya on 2 October 2016 [UNESCO Statement] Abdelqadir Fassouk (Libyan) Photojournalist and correspondent for satellite news channel Arraed TV Killed in Libya on 21 July 2016 [UNESCO Statement] Khaled al-Zintani (Libyan) Freelance journalist Killed in Libya on 23 June 2016 [UNESCO Statement] Mohamed Jalal (Egyptian) Photographer Killed in Libya on 27 April 2015 [UNESCO Statement] Yousef Kader Boh (Libyan) Journalist for Barqa TV Killed in Libya on 27 April 2015 1 UNESCO Condemns Killing of Journalists Assassinated Journalists in Libya [UNESCO Statement] Abdallah Al Karkaai (Libyan) Journalist for Barqa TV Killed in Libya on 27 April 2015 [UNESCO Statement] Younes Al Mabruk Al Nawfali (Libyan) Journalist for Barqa TV Killed in Libya on 27 April 2015 [UNESCO Statement] khaled Al Sobhi (Libyan) Journalist for Barqa TV Killed in Libya on 27 April 2015 [UNESCO Statement] Muftah al-Qatrani (Libyan) Journalist for Libya Al-Wataniya TV Killed in Libya on 22 April 2015 [UNESCO Statement] Moatasem Billah Werfali (Libyan) Freelance journalist and presenter for Libya Alwatan radio Killed in Libya on 8 October 2014 [UNESCO Statement] Tayeb Issa Hamouda 2 UNESCO Condemns Killing of Journalists Assassinated Journalists in Libya (Libyan) One of the founders of the Touareg cultural television channel Tomast Killed
    [Show full text]
  • 24 C M Y K C M Y K C M Y K
    C M Y K 5 95 C M Y K 95 JOURNALISM TRAGEDY WE DEPEND ON them for truth, for glimpses into he fi rst attracted notice almost a decade earlier in Sierra Le- human vileness, even as we cut their jobs and cut one, where he won a World Press Award for a moving photo their space and treat their work as if it’s the most essay about blind children. “A lot of the children had their eyes disposable part of the ever-shrinking media. When photo- gouged out or were blinded by the rebels,” recalls Corinne journalists Tim Hetherington and Chris Hondros were killed Dufka, a former photojournalist. “[Tim] had a relationship last week in Libya, it made you furious. First, furious at the with these kids . He kept going back there for years.” madmen who took their lives. Th en furious at a world so James Brabazon, a documentary fi lmmaker who met bloody fatigued by war that Tim and Chris were two of the Hetherington in Liberia in 2003, recalls the photographer’s last on the scene to see it to its horrible conclusion. War cor- steady nerves. “I’ve seen people witnessing combat for the respondents—in particular, combat photographers—have al- fi rst time soil their pants . run away, scream, melt down, ways worked with their lives on the line. But in the last few have terrible and understandably normal visceral reactions decades the body count has risen dramatically. Since 1992, to the prospect that they’re about to get killed,” Brabazon 861 journalists have been killed in the fi eld, according to says.
    [Show full text]
  • A Crude Awakening
    Dedicated to the inspiration of Jeffrey Reynolds ISBN 0 9527593 9 X Published by Global Witness Ltd P O Box 6042, London N19 5WP,UK Telephone:+ 44 (0)20 7272 6731 Fax: + 44 (0)20 7272 9425 e-mail: [email protected] a crude awakening The Role of the Oil and Banking Industries in Angola’s Civil War and the Plunder of State Assets http://www.oneworld.org/globalwitness/ 1 a crude awakening The Role of the Oil and Banking Industries in Angola’s Civil War and the Plunder of State Assets “Most observers, in and out of Angola, would agree that “There should be full transparency.The oil companies who corruption, and the perception of corruption, has been a work in Angola, like BP—Amoco, Elf,Total and Exxon and the critical impediment to economic development in Angola.The diamond traders like de Beers, should be open with the full extent of corruption is unknown, but the combination of international community and the international financial high military expenditures, economic mismanagement, and institutions so that it is clear these revenues are not syphoned corruption have ensured that spending on social services and A CRUDE AWAKENING A CRUDE development is far less than is required to pull the people of off but are invested in the country. I want the oil companies Angola out of widespread poverty... and the governments of Britain, the USA and France to co- operate together, not seek a competitive advantage: full Our best hope to ensure the efficient and transparent use of oil revenues is for the government to embrace a comprehensive transparency is in our joint interests because it will help to program of economic reform.We have and will continue to create a more peaceful, stable Angola and a more peaceful, encourage the Angolan Government to move in this stable Africa too.” direction....” SPEECH BY FCO MINISTER OF STATE, PETER HAIN,TO THE ACTION FOR SECRETARY OF STATE, MADELEINE ALBRIGHT, SUBCOMMITTEE ON FOREIGN SOUTHERN AFRICA (ACTSA) ANNUAL CONFERENCE, SCHOOL OF ORIENTAL OPERATIONS, SENATE COMMITTEE ON APPROPRIATIONS, JUNE 16 1998.
    [Show full text]
  • April 21 Bulletin
    April 21 Bulletin Bulletin April 21, 2021 Greetings! This issue of the Bulletin features previews of two upcoming events, member news and new resources that we hope you will enjoy. Our top stories this week include: A recap of our April 16 book night with John Maxwell Hamilton about his book, Manipulating the Masses: Woodrow Wilson and the Birth of American Propaganda. OPC Past President Bill Holstein has summarized a recent donation of about 40 books with ties to club and member history. To kick off a series of mini-reviews from the archive, he wrote about a book called Deadline Delayed. We published a remembrance page on April 20 to recognize the 10- year anniversary of the deaths of Tim Hetherington and Chris Hondros, who were both OPC Award winners. Happy reading! John Maxwell Hamilton Examines the Birth and Legacy of American Propaganda https://myemail.constantcontact.com/April-21-Bulletin.html?soid=1102853718750&aid=wovt-DSkyW0[5/18/2021 1:21:59 PM] April 21 Bulletin by Chad Bouchard In April 1917, just two weeks after the United States joined World War I, President Woodrow Wilson launched a mass propaganda agency with unchecked power and sweeping influence to support the war and mislead the public. A new book by OPC member John Maxwell Hamilton examines the history of the Committee on Public Information, known as the CPI, how its legacy “managed to shoot propaganda through every capillary of the American blood system,” and set the stage for U.S. government media manipulation over the last century. On April 16, Hamilton discussed the book, Manipulating the Masses: Woodrow Wilson and the Birth of American Propaganda, with OPC Past President Allan Dodds Frank.
    [Show full text]
  • CAT Fall14.Pdf
    tabLe oF coNTeNTs: tabLe oF coNTeNTs: WHAT MY IN THE VALE OF ON TOUR WITH DAUGHTER CASHMERE LEONARD COHEN WORE By Thomas Roma, By Sharon Robinson By Jennifer Williams Introduced by G. powerhouse books Foreward by Olivia Bee Winston James Fall 2014 catalog ON TOUR WITH LEONARD COHEN photographs by Sharon Robinson pg. 26-27 pg. 28-29 pg. 30-31 THE ART OF U.S. MARSHALS MODEST MOUSE MODEST MOUSE OH BABY! COUNTING ON MODEST MOUSE EATING WELL By Brian Finke By Pat Graham By Chad Geran LETTERS By Jasmine and Foreward by Edith By Mark Gonyea Melissa Hemsley Zimmerman Design by Roberto Festino pat graham pat photographs by “Modest Mouse are many things; open spaces, bleakness and beauty, brotherhood, fun, loneliness, insanity, chemistry, defiance and true punk rock. You see all of it in these pictures, just as you hear all of it in the music. Being in that band was one of the greatest times of my life.” —Johnny Marr photographs by 52995 pat graham 9781576 876510 pg. 38-39 pg. 2-3 pg. 4-5 pg. 6-7 pg. 36-37 HIGH TIMES: MALFORMED: PAPER BOTS ATTACH! BOSS! TODAY I’m GOING STEAMPUNK A 40-YEAR HISTORY OF FORGOTTEN BRAINS By PaperMade CHEAT CODE! TO WEAr… CITY: THE WORLD’s Most OF THE TEXAS STATE A GAMER’s AlPHABET By Dan Stiles AN ALPHABETICAL INfamOUS MAGAZINE MENTAL HOSPITAL Written by Chris Barton JOURNEY By The Editors of High By Adam Voorhes and Illustrated by Joey Spiotto By Manuel Sumberac Times Magazine Alex Hannaford Introduced by Tommy Chong pg.
    [Show full text]
  • Michael Kamber
    Why Photography WHY PHOTOGRAPHY Michael Kamber I grew up in a time, in the 1960s and 70s, when photographs made a difference. My family got The Portland Press Herald every morning. There was always a black-and-white news image on the front page. This photo was a representation of an important event in the world from the previous day. Weekly news magazines, such as Time and Newsweek, were packed with photos too; I pored over them eagerly, occasionally cutting photos from their pages. They were my only links to far-off happenings in a distant world. The iconic photos of the civil rights movement in particular were burned into my consciousness. I studied the defiant marchers, snarling dogs, and pot-bellied Southern sheriffs with insouciant grins. Pictures from the Vietnam War changed my consciousness as well. We watched grainy clips on TV every evening. Yet it was the photos, rather than the news footage, that seared the deepest. I remember the photos and the photographers: Larry Burrow's color work from the field of battle, exhausted men and blood-stained ban- dages against the brown earth; Henri Huet, a French-Vietnamese As- sociated Press photographer, took pictures with the eye of a poet; the classic images that I would see again and again in my youth: Eddie Adams' Saigon execution photo; Nick Ut's picture of the napalmed girl running down Highway One. These photos were credited with 69 CREATIVE LIVES turning the American public against the war. These photos provided evidence of people's lives, their suffering, American foreign-policy failures; realities that needed to change.
    [Show full text]
  • The Future of Foreign Reporting
    Montana Journalism Review Volume 1 Issue 40 Issue 40, 2011 Article 1 2011 Beyond Our Borders: The future of foreign reporting University of Montana--Missoula. School of Journalism Follow this and additional works at: https://scholarworks.umt.edu/mjr Part of the Journalism Studies Commons Let us know how access to this document benefits ou.y Recommended Citation School of Journalism, University of Montana--Missoula. (2011) "Beyond Our Borders: The future of foreign reporting," Montana Journalism Review: Vol. 1 : Iss. 40 , Article 1. Available at: https://scholarworks.umt.edu/mjr/vol1/iss40/1 This Full Issue is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Journalism Review by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. School of Journalism: Beyond Our Borders: The future of foreign reporting MONTANA M JOURNALISM RJ REVIEW BEYOND OUR BORDERS The future of foreign reporting THE UNIVERSITY OF MONTANA SCHOOL OF JOURNALISM VOL. 40, SUMMER 2011 Published by ScholarWorks at University of Montana, 2015 1 Montana Journalism Review, Vol. 1 [2015], Iss. 40, Art. 1 https://scholarworks.umt.edu/mjr/vol1/iss40/1 2 School of Journalism: Beyond Our Borders: The future of foreign reporting EDITOR’S NOTE In tribute to American photo- freelancing for Getty Images, and to two an unforgettable series detailing the journalist Chris Hondros, 41, who other extraordinary photojournalists, shooting of an Iraqi family by U.S. died in Misrata, Libya, on April 20 both British citizens, who ventured to troops.
    [Show full text]
  • MAS VALE TROCAR Songs of the Spanish Renaissance
    MAS VALE TROCAR Songs of the Spanish Renaissance Nano Stern - Voice, Nyckelharpa Gina Allende - Viola da Gamba Florencia Bardavid - Voice, Viola da Gamba Cristian Carvacho - Percussion Click and watch performances of “Mas Vale Trocar” and “Danza Alta”. MAS VALE TROCAR PROGRAM NOTES Spain’s need to find its own voice in the world after the end of its South American empire, led to the discovery of forgotten sources and voices that had for centuries lay forgotten in the libraries of Europe. In 1870 at the Royal Library in Madrid, a historian found and described what would later become the most notorious Spanish musical manuscript from the XVI century: the “Cancionero Musical de Palacio” (Palace musical songbook). This is no minor manuscript; it consists of some 450 pieces (mostly in Spanish but also in other peninsular languages such as Catalan, Basque, and Portuguese) some of which are anonymous and some of which are written by the most revered musicians of those triunfal days of Spanish culture such as Juan del Encina and Pedro de Escobar. The first impression, when facing a songbook from the XV and XVI centuries is that they are a window into the music and soundscapes of the past. But nothing could be further from the truth. In all reality, what we often find are poems with scarcely annotated melodies, and all the esthetic and interpretative tradition that surrounds them has been lost in time. How would this music, which constantly draws from popular and courtly languages, have been performed in 1520? Attempts at answering these question have been made from many different angles: either by applying the interpretative styles of the Italian renaissance, or by incorporating certain colors and tendencies still present in Spanish and Mediterranean folk music.
    [Show full text]
  • EMAN MOHAMMED - Exhibitions
    © EAST WING, www.east-wing.org EMAN MOHAMMED - exhibitions. Exhibitions 2015 - 2016 Menschenskinder. Kinderleben zwischen Wunsch und Wirklichkeit« Menschenskinder. Children’s lives between Wish and Reality / Arp Museum Bahnhof Rolandseck 2013 INDIVIDUAL JOURNEY / Tel Aviv, Israel INDIVIDUAL JOURNEY / Iran 2012 Alltag fern des Alltäglichen / Basel / Zurich / Geneva This is Also Gaza / Ras El-Ein Gallery, Amman, Jordan Women on the Verge / Empty Quarter Gallery, Dubai UAE INDIVIDUAL JOURNEY / Vienna, AUS 2011 Generation 911 / The Vrije Academie Den Haag, NL 2010 Elsewhere Exhibition / Kibbutz Be'eri, Israel Architectural Icons: Vienna / Macondo, Gaza and Vienna 2009 Beware the Cost of War / British Museum, London Defending Hope in Gaza / Filmbase, Dublin Where are the Human Rights? / McGill University, Montreal Canada 2008 Frames of Reality - workshop / New York, USA World Press Photo / Local Testimony / Joint exhibition, Tel Aviv, Israel Professional Experience 2006 – present Multimedia Photojournalist & Editor Eman has photograph three wars for daily news and feature stories, coordinating with editors, processing and filing images meeting deadlines under intense pressure. Her images have been published in important publications such as, The Guardian, Washington Post, Vice, CNN, Mother Jones, Le Monde, Geo International, and Haaretz. She has been contracted to shoot for The World Bank, international NGOs and human rights organizations including The Elders, Palestinian Center for Human Rights, UNICEF, UNESCO, and others. 2015-present Photo Editor, AARP 2010-2015, Photo & Video Editor, Gisha (Telaviv-Gaza Strip) 2015 Media communication and Social media specialist, Humanity Without Borders Inc. 2012 – 2013 Media & Communication Officer, Qatar Red Crescent Society-ICRC 2011 Project Visual Consultant and Coordinator, World Vision International (Gaza City) Production consultant for Our Lives Through a Frame photographic project.
    [Show full text]
  • Draft Transcript 25 October AS DELIVERED the Deputy Secretary
    Draft Transcript 25 October AS DELIVERED The Deputy Secretary-General Remarks at the Opening of the “War and Peace in Liberia” Photo Exhibit Bronx Documentary Center, New York, 26 October 2018 It’s truly an honour and I’m very humbled. It’s not long ago that I joined my colleagues in Monrovia as the flag came down at the UN. It signalled a new era, a new generation that could embark upon the road to sustaining peace. It’s one thing to achieve it and it’s another to sustain it and just as our colleague from the mayor’s office said, this is a long journey and we still need to accompany them. I truly appreciate having the opportunity today to come and say a few words to pay tribute to the legacy of Tim and Chris. Where is Christina? Somebody said she was behind here. It would be really nice of you to come forward. We need to see another woman up here. *applause* I’m going to talk about my own personal experiences with Liberia. I think that, you know, many of us have stories to tell and this is really one political will to come to action. The media plays a huge role we often underestimate, and it does it through many, many means but it’s about bringing a story to life. It’s about putting a face behind a figure or percentage. It’s seeing so many of the things we just take for granted through a different lens. Today, looking at the pictures you have here, I think it’s a reminder of the legacy so many of these journalists leave behind.
    [Show full text]