I -i. ^--
. UNIVERSITY OF
a magazine published by
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A Message from the Dean
W hat is the role of the arts in a research institution?
How do we define research in the arts? What is the
relevance of research in the arts, in the midst of pressing is-
sues of our day issues of terrorism, concerns about energy
resources and the environment, growing economic differences
among nations, increasing demands on our healthcare system?
A college magazine cannot answer these large and demanding questions, but the College of
Fine Arts at the University of Florida works to address them in multiple ways everyday. Some
faculty and students engage in traditional forms of arts research that result in publications often
associated with the work of humanities and arts faculty. Others produce creative results in the
forms of musical scores, recordings, performances, exhibitions. In many ways, the creative
work of the artist focuses on the process of research and creativity, which can be as impor-
tant as the art produced. Learning more about the creative process, in any field of research,
provides richer insights into the human condition. Creativity requires quieting ourselves enough
to listen to the still small voice inside. In the arts, we work to let our life speak by translating
the voice of our creativity into a variety of expressions through painting, sculpting, designing,
acting, singing, dancing, playing instruments and research.
Art, in the broadest sense, opens a variety of windows for understanding more about ourselves,
others and the world we share with one another. Art provides social commentary, often probing
the hot-button issues of the day. It stimulates contemplation as a means of respite from myriad
distractions in our modern culture. Art helps us realize our differences and our similarities. It
can heal the spirit and the body in ways we are learning more about each day.
At the College's Spring Commencement, Kira Bokalders, recipient of the outstanding undergrad-
uate student in the School of Music, spoke to her classmates and guests. We were all moved
by her words and take pride in knowing that the teaching, scholarship and creative research of
the faculty of fine arts fosters such insights among our students. "We are a society that needs
its arts now more than ever. In a world so disconnected by general cultural laziness, what do
we have to offer future generations? What will stand as a permanent reminder of where we
came from and where we are going? The arts."
This issue of the Muse magazine focuses on research in the arts as a reminder of where we
have come from and where we are going.
Barbara 0. Korner
Interim Dean '
College of Fine Arts
University of Florida
. UNIVERSITY OF
is produced by the
Office of the Dean
College of Fine Arts
University of Florida
University of Florida
School of Art and Art History
Sharon LaFragola Eyman
Ray Carson and Kristen Bartlett,
UF News Bureau
StorterChilds Printing Company
College of Fine Arts
101 Fine Arts Building A
PO Box 115800
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about the cover
The cover utilizes process sketches
made by MINT Studio designers
(see page 5) during the layout of the
feature articles. The cover illustration
was created by layering the sketches
and creative processes from many dif-
ferent designers. The image empha-
sizes the importance of sketching as
a basic building block in the concep-
tual design process. It also reflects
the depth and layering inherent to the
.11 1 II ISl
F; exL S
The Wixarika Calendar Project
Caring for Caregivers
Seeing Film Through Theatre
Old Tales Told in a New Way
This special issue of Muse is dedicated to
research, a major pursuit of all faculty in
the College of Fine Arts. As a relatively new
faculty member in the college, I was particu-
larly pleased to take on the task of editor for
this issue because it has provided me with
a window into the fascinating research prol-
ects of my colleagues across several disci-
plines. Selecting just one research project
from each school was a great challenge;
the quality of the projects presented here is
extraordinary, yet typical of the caliber
of work that goes on in the college.
Research in the college takes many forms;
the common misconception of research as
work that only takes place in laboratories
or libraries doesn't begin to describe the
research of faculty members in the Schools
of Theatre and Dance, Art and Art History
and Music. Scholarship in these areas draws
on multiple disciplines and methodologies
to provide rich insights into ways of seeing,
hearing, even feeling across time periods and
cultures, creating dimensions of understand-
ing that differ from those one might find in
other disciplines. Research in the College of
Fine Arts engages multiple senses, result-
ing in books and articles as well as musical
performances, works of visual art and the
adaptation of art to medical contexts.
The five feature articles presented here
exemplify the many dimensions of research
in the College of Fine Arts. As these faculty
members discuss their work, you will see that
they draw on diverse ways of understanding
A music professor works from visual and liter-
ary cues to compose an animated film opera.
A graphic design professor and her students
use ethnographic research to comprehend
notions of time across cultures in order to
create a calendar that transcends Western
chronologies. Harnessing the emotion-
al and physical power of dance, two profes-
sors establish a research project that brings
together dance and the practice of medicine.
In art history, a faculty member's research
demonstrates that even the most seeming-
ly innocent popular American illustration of
the early 20th century cannot be understood
fully without acknowledging the highly racial-
ized discourses of the day. And in theatre,
one professor's research revises conceptions
of film history by examining early cinema
through the eyes of audiences accustomed
to viewing narrative on the stage. Without
a deep understanding of the elusive power
of creative expression, none of these prol-
ects would be possible.
The magazine you are holding in your
hands is another example of research in
the College of Fine Arts. The feature arti-
cles in this issue of Muse, along with its
dramatic cover, were designed by MINT,
a collaborative student graphic design
group. The students have conducted their
own research, investigating the themes
of the faculty projects. We hope you will
agree that they have distilled these ideas
into an effective visual concept.
School of Art and Art History
Center for African Studies
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Student sketches (this page) created
to work through ideas and concepts
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Sample spread (below) is marked with revisions.
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SAngela Goddard (left) working in class.
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n FILM THEIu
e) tour Fice
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Students (below) discuss layouts.
Presiprjptifn facilities. ?
Spring 2006 MINTl iaio Qesigners:
Cas''ie McDaniet, Angea Goddard, Karen P&rswri, Elaine Lopez,
Stephen Becihtoldl, Morce Go, Shadi Halabi. eIelley Revtai and Casie Crocker.
MINT Studio i- an upper-division
course within the S:hool of Art and
Art History that provides advanced
design student. with the oppor tunit, to
work onr real projects for rhe Univer-irt
ot Florida I:omn-nunity and non-profit
organizations. Each semester, up t,'
nine students Inajror and nonrmalor_ I
are selected by pC'r tilio review to
participate in the studio e, per len, e
We then worl collaboratively to provide
inn:ivative design ,solutions otr clients.
MIlrT was asked b, the Muse editorial
ta31I to create five different ways to
visualize the features in this edition
o:I Muse magazine. Five teams o two
students each were each assigned a
ditterent feature. The tearrr researched
their features and worked together to come
up with a list rof hve to tern eywords that
they, felt best represented the concepts
communicated by the articles Each student
then used these 1hevword'i to brainstorm a
design, color palette and text treatment.
Using a series of cl ssroomrr critiQues, all
the members of MIIT Studio commented
on the etfectiveness ot each concept and
visual design. Once each tean member
had finalized their layout, the Muse editorial
team was invited to comment on the wor, in
progress and, after 3 series of iterations.
sele,:.Ied the final versions presented in
the magazine You are reading today.
The-e five spreads are a tangible example
(o students shifting their problem-solving
activities frorn the classroom to "real-
world" projects to engage the audierice
and enhance the communinic nation of ideas.
Graduate Student. Graphic Desir.n.
MINT Instructor. Spring 2006
School :,t Art and Art Hi story
Calendars, Cultures and Communities:
Graphic Design project brings together collaborators of different disciplines and cultures
x ...... .--. .*. .:--. ... By Maria Rogal
Few aspects of culture are as difficult to define
yet as crucial as conceptions of time. Time
shapes the way people exist in the world, the
way they conceive of history and the way they
understand the 'Jf'-. of -heiI actions. To under-
stand jnriiith r -iltijr-' conception of time, then,
provides powerful insights into that culture.
The Wixarika calendar project demonstrates the
potential of graphic design to serve as a tool
to Illi..iiivir, worldviews across cIultuiji:
The Wixarika, more commonly known as the
Huichol, are an 'ili,'e-I ,iiu -. -trtin: r:'Jk living
in thei Sierra Madre Occidental in western
central Mexico. Residing in :iri:ll communities,
their centuries-old practices and beliefs cont-
inue to center around the life cycle of maiz,
ii-Ie primary subsistence crop. As many Wixari-
tari (plural of Wixarika) understand Western
practices and values, and 'ri,:ea iril, migrate
to urban centers to study and work, t-ly often
find -i eir : I..Ituir i traditions and practices deval-
ued and misunderstood. Unlike the fixed Western
calendar, Wixaritari's beliefs and practices are
.ilili-l with nature's continuous cycle and
careful observation of natural signs. As each
conception of time is based on different values,
cultural tensions develop.
In July 2004, my (, .I-.lil Sarah Corona,
professor of communications at the Universidad
de Guadalajara, proposed -iit we work with
Wixarika community leaders in San Miguel
Huaixtita to design a calendar -i-ir would com-
municate their understanding of time one that
has until now been an oral tradition with tie-
objective of fostering Ilr-ie_ 1.ltur understanding
and respect. As a design researcher, this project
presented an irresistible cil:Iille,g because it
could demonstrate the didactic value of design
and allow us to explore what it means to be
socially responsible working across cultures.
To accomplish our goals, we brought together
design and ethnographic research methods.
The project is unique because we are a tri-
cultural design team of d,t'.: r,. belief systems,
values and economic positions; we relied prim-
arily on -it ; internet as a communication tool
to overcome the barriers of distance; and we
challenged Iuiih.r ii stereotypes and expect-
ations during the design process and in our
-'e I.n solution.
When we ni, ..t, Corona and UF students
Cassie McDaniel and Avery Smith) began iI
project, a primary concern was our social and
uii: i e:-:':r I ib;lit, to the Wixarika community.
Corona gathered the information at th- core
of the calendar from community leaders. We
considered how the primary target audience
1.Il-: :1i-, and Wixarika youth) would use the
calendar. We also researched Wixarika ( iii;r.
ti1-,.~i i journals, books and web sites. However,
only til ,, ii a trip to Guadalajara and San
Miguel Huaixtita could we realize our commit-
ment to social responsibility in our design. Dur-
ing our visit, in the summer of 2005, we gained
insights into it,- complexity of Wixarika culture,
practices and artifacts. Through -.. visit, we
began to understand the lived reality of the
Wixarika, and this informed our design in dram-
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atic and unexpected ways. Before the calendar
went to press in October _.-':., each project
participant agreed -h ir it responsibly represented
ril W ixaritari's .iii'l-r I. i, : .iI -, of tim e.
The 2006 Wixarika Calendar consists of two
parts: a circle ti :1 illustrates the Wixarika nar-
rative .I l ,- l Western dates, and a rectangle
that encases :hi. circle, :1.I. 1.i the user to
rotate -i'- circle and cycle through the year.
This format not only signifies how the Wixaritari
conceive of time in a continuously repeating
cycle but -h- two windows present both the
i','i. :i and Western perspectives simultan-
eously. A small arrow in -hr Western calendar
window :ilh. ... one to set 'ie precise date
while the Wixarika calendar window represents
a broader span of time signifying a rn,-e of
possibilities. The back of the calendar tells the
Wixarika story of -i1, six seasons, written in
-i- first person since it is their story. To reach
-i- broadest possible audience, and as evidence
of -le tri-( u r i .:.: l ll: ,iir i l:,, the narrative
is written in three languages: Wixarika, Spanish
and English. The calendar is documentation
of the Wixarika belief system, so Wixarika
appears as the first language. This ordering
also respects -1,:. Wixarika as an :ii --ei,:'i
North American :iltlu.ir.. group, subverting ith
expected linguistic and ideological hierarchy.
This project demonstrates the didactic value
of design and what it means to be socially
responsible when working across cultures. With
a tangible calendar as its outcome, it is both
a realized proof of concept and a paradigm for
similar projects within international graphic de-
sign and intercultural communication practices.
Preliminary sketches were taken to the next level by our
visit to San Miguel Huaixtita. Through dialogue, we learned
what WixBritari believe to be the most relevant activities
and artifacts that express their concept of time. These
were documented and sketched on-site and then visually
abstracted for the final calendar illustration.
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bu Eric Seaal
ALL --AMERICAN I(OCKWELL?
ILLUSTRATIONS IN CONTEXT PROVIDE CULTURAL INSIGHTS
My current research project began in a most unexpected
place a box of Wheaties. As I sat down to breakfast
one morning, the back of my cereal box presented me with an offer
of four Norman Rockwell posters from "The Saturday Evening Post."
At first, the confluence of a healthful breakfast and wholesome
imagery struck me only as vaguely humorous. However, I soon
began to wonder how the significance of such magazine illustration
could remain mostly overlooked despite its central role in American
By following the emerging paths in the process of research, I have
often been led in unexpected and fruitful directions. When popu-
lar illustration is placed in the contexts in which it was originally
consumed, we are able to develop insight into how people thought
of themselves and "others" and how they understood the idea of
being American when they looked at America's favorite illustrators
and magazines. In the case of my own research, a popular art
form reveals insights into racial attitudes, an aspect of culture that
is often deeply embedded rather than explicitly declared. Artistic
expressions, like the visual arts, provide information about popular
conceptions that might otherwise be lost as cultures change.
To discover what "The Saturday Evening Post" illustrations can re-
veal requires close study of both the images and the cultural context
from which they emerged familiar themes in American history,
such as anxieties about evolving social roles for women or fear
of increased immigration from Asia and Eastern Europe. Of such
material, one might ask, for instance, how popular illustration spoke
to beliefs about religion, about economic prosperity, about domestic
political transformations, or about America's expanding international
engagements. However, I was surprised to find myself research-
ing the popular reception and understanding of eugenics, the
pseudo-science of improving the "racial stock" through selective
Eugenics a "flawed hereditarian doctrine" in the words of
Stephen Jay Gould has been discredited as a racist enterprise
dressed up in the lab coat of scientific study. Although its ideas
continue to find contemporary expression, the most concrete of
its egregious achievements like state laws enacting compul-
sory sterilization of so-called genetically defective individuals
- largely have been rectified. Yet, during the early decades of
the 20th century, the "science" of eugenics enjoyed wide public
support. "The Saturday Evening Post" actually adopted eugenic
positions, often citing and publishing the work of such supporters
as Lothrop Stoddard, author of "The Rising Tide of Color Against
White World-Supremacy" (1920). It was just such material that
drew my attention as I researched "The Saturday Evening Post"
and its illustration.
While there is little to suggest that illustrators like Rockwell were
advocates of eugenics, it is clear that they were well aware
of these ideas and sometimes exploited them. In fact, I was
surprised to discover that eugenics indirectly worked its way into
Rockwell's own vocabulary. For example, when asked where he
found the models for his wholesome images of (white) boyhood,
his response echoed the eugenic fear that the white race was
eroding its genetic stock by intermixing, "There's no race suicide
on our street so I have plenty of material." Without embracing the
ideas of "race suicide" or eugenics, Rockwell could formulate an
ironic response that depended upon its concepts.
Such shorthand was the stock in the trade of the illustrator, who
found the visual language to create familiar images about famil-
iar ideas (family, youth, romance and so forth) and to provide an
added twist of often humorous insight. In a culture where eugenic
ideas were issued from the pulpit, the press and the president
- Theodore Roosevelt himself often reviled "race suicide" -
illustrators found visual language for articulating white identity and
racial difference. Eugenicists of the period investigated a range of
topics central to illustrative practice; they developed catalogs of
human appearance, intelligence and behavior in order to rank the
value or suitability of different races. My work explores how many
illustrators found it effective to employ caricatural ideas of race that
owed much to the then-legitimate science of race characterization.
Eugenicists sought concrete imagery to substantiate ideas of race
difference, producing charts, models and crude graphics (figure
1). Nonetheless, they fretted over the lack of a reliable means of
visual discrimination. How, they worried, could eugenics promote
race purity if impure genetic characteristics could "pass" through
the back door of race mixing? They longed for a racially percep-
tive vision. Remarkably, they found this in the work of artists and
popular illustrators. They could claim that illustrations by Charles
Dana Gibson and Harrison Fisher embodied the appearance of ge-
netically pure whiteness. Conversely, when illustrators troubled the
recognizable codes of whiteness, eugenicists might react angrily
This was the case when one eugenicist fumed that Howard Chan.
dler Christy's World War I poster "Americans All" implied that "the
very beautiful lady" was the product of the "melting pot" indicated
by a varied list of surnames (figure 2).
Such shorthand is the stock in the trade of
the illustrator, whose task is to find the visual
language to create familiar images about
familiar ideas. 99
Research may start with the goal of explaining complex sets of
relations; it may be ignited by the formulation of an incisive hypoth-
esis; or it may commence with a box of cereal. Critical analysis
and careful study of historical objects and images can reveal
much about cultures and social relations. And asking simple ques-
tions such as, why were Norman Rockwell's illustrations for "The
Saturday Evening Post" so popular and what did they mean, can
lead to surprising discoveries. In my work, it turns out that popular
illustration was often about race, even or especially when it
appeared to be "all-American."
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By Jill Sonke-Henderson
Caregivers are one of every community's most precious and essential
resources; we rely on them and trust that when the need arises, they
will be ready to care for us. But what happens when the people taking
care of us do not take care of themselves?
As an artist in residence with the Arts in Medicine program at
Shands HealthCare, I quickly came to appreciate the autonomy of
my role in comparison to that of clinical caregivers. Like caregivers,
artists in residence work closely with people who are suffering and in
crisis, people facing tremendous loss and often, death. However, as
a hospital artist, I have no defined patient load and can spend as much
or as little time with each patient as deemed appropriate; if an experi-
ence is emotionally demanding, I can take the time to care for myself.
Nurses who are extraordinarily giving people spend long days
caring for patients. They go into room after room to provide gen-
erous care, regardless of their own fatigue and emotional overload.
From this awareness, combined with recognition that the arts can
effectively enhance well-being and facilitate self-expression and relax-
ation, I resolved to design programs to care for medical caregivers
through the arts.
In 1996, I partnered with Rusti Brandman, professor of dance in
the School of Theatre and Dance, and John Graham-Pole, professor
of pediatrics and affiliate professor of clinical and health psychology
at the University of Florida, to create the Center for the Arts in Health-
care Research and Education (CAHRE). In early discussions, it became
clear that the contemporary American healthcare system has created
an environment wherein caregivers cannot optimally care for their
patients because there are too many patients and too few caregivers.
Believing that the arts have the potential to impact ;his crisis in health-
care on both local and national levels, we immediately established
caregiver support as one of our top priorities.
In the first two years at CAHRE, we learned that caregivers are a
particularly difficult population to serve. They work such long and
demanding hours that they are generally too tired or burned out to
take advantage of helpful programs. Even though CAHRE offered con-
venient, interesting and free arts programs, we were attracting only a
very small number of caregivers.
In 1998, the Days of Renewal program unlocked the key to success-
fully engaging caregivers-Continuing Education Units. Nurses are
required to attend educational programs each year to earn these cred-
its. Before we knew it, CAHRE was offering eighteen full-day programs
each year. Through the arts and other supportive modalities such as
massage and meditation, we were able to help caregivers reconnect
with their deep intention to care for people. They left the program
feeling honored, rested and inspired. As we saw the program work-
ing on the local level, we knew that research would be essential if our
approach were to have a broader impact. We sought to quantify and
articulate the effect of the program, not only on individual caregivers,
but also on the healthcare business model.
In early 2003, Graham-Pole and I contacted professors from UF's
Warrington College of Business to discuss the potential value of the
program on a business level. There was immediate interest. In the fol-
lowing months, in partnership with the Warrington College of Business,
we created and implemented a research design that uses a control
group and repeated measures to identify the effects of the
program on seven key factors including caregiver stress, job-satisfac-
tion, performance and retention. To date, 250 subjects have partici-
pated in the study. In July 2006, we will complete data collection and
begin analysis. In the meantime, the program has been recognized as
a model for caregiver support and has been replicated throughout the
United States as well as in Japan.
As a dancer, I never imagined that I would be involved in interdisciplin-
ary research of this nature; but as the roles of the arts broaden in
our society, we as artists are called to articulate the value of the arts
in the context of areas such as business and healthcare. By moving
from the stage and studio into hospitals where caregivers and patients
face immense challenges, artists have the opportunity to bring the
arts experience to new audiences and new realms while affecting
the health and wellbeing of others.
Movies are arguably the most popular visual art form in the world
today. They vividly reflect and powerfully impact nearly every aspect
of culture; ideas about distant times and places, expectations about
romance and identity, and conceptions of the dramatic and the comic
are all encapsulated by popular movies. To understand this powerful
medium, I have sought to analyze its moment of conception; when did
film find its distinctive voice? And what influences did early filmmakers
draw from in finding that voice? I approach this subject through the
theatre, which was the hugely popular medium of the early 20th
century; by crossing disciplinary boundaries, I have brought new
insights to our understanding of film's visual and dramatic language.
To be truly interdisciplinary, I believe, you have to develop the courage to be
an amateur again. By training, I'm a literary critic and theatre historian with
an emphasis in modern German theatre, but I've happily published articles
on medieval drama, 19th-century plays and contemporary American drama,
among other subjects, as well as a book on the theory of the grotesque in
performance. My scholarly interests are nothing if not eclectic; I'm primarily
interested in how modes of performance have evolved over time and what
part they have played in the formation of cultures.
I came to my current research interest theatre and early film by sheer
serendipity. A few years ago I was asked by a friend and colleague at Stanford
University to give a lecture about the role of
stage melodrama in the earliest development
of the movies at a conference celebrating
100 years of cinema. This was entirely (indeed,
alarmingly) outside of my field of expertise,
and I had to make myself rapidly conversant
with early film history. The more I read, the
more I became intrigued with the historical
moment around the turn of the 20th century
when the emerging cinema groped for a new
visual language and a new way of telling and
disseminating stories. But the relevant books
were written primarily by film historians who
accorded the theatre a merely subsidiary place
in this history. Some suggested that film had
only superficially to do with the stage, that its
true antecedents were in fact photographs,
novels and cheaply produced popular literature.
I realized that theatre and film history both
lacked a study that did justice to what I perceived
to be the complex and multilayered intersec-
tions between theatre and film, and I set out
to write just such a book. I had no intention of
simply arguing that there was some "Darwinian"
evolution from stage to screen in a direct line
of descent. That argument had been made,
and I found it wanting. Rather, my book was
to be a richer consideration of these intersec-
tions, giving what anthropologist Clifford Geertz
might call a "thick description."
In the course of my research, I examined the
fairground theatres of Paris and the "illegitimate"
playhouses of London where the melodrama
was born. I studied the phantasmagoriass" and
"panoramas" of the mid-19th century which
began to approximate the methods of filmic
viewing. I traced the remarkable career of Dion
Boucicault, whose theatrical sensation scenes
(for instance in "Arra-na-Pogue," 1864) seemed
like an anticipation of the fluidity of the cinema.
At the Princeton University Library, I studied
the stereopticon slides of an unsung pioneer
named Alexander Black whose experiments with
the "picture play" appeared as film-before-film.
But I had the most fun (and, yes, fun is allowed
in scholarship) rooting through international
archives in search of films that spoke first-hand
to the intimate relation of stage and screen.
Thus at the Library of Congress, I found silent
adaptations of Shakespeare and Ibsen imag-
ine "The Tempest" in eight minutes! At the
Museum of Modern Art, I saw a 1903 version
of "Uncle Tom's Cabin." The British Film Institute
in London held the earliest footage of a stage
actor on film, Joseph Jefferson playing Rip van
Winkle in 1896. In Berlin, there were the films
of the great theatre director Max Reinhardt. And
in Amsterdam, I was thrilled to see a luminous
print of a silent "Peer Gynt" that had not been
out of the can since 1918.
Beginning this summer, I will synthesize and
shape these many strands of inquiry into a
proposal and several chapters that will be sent
to academic publishers. Bit by bit, the mosaic
of my book has started to fall into place.
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ALNIMAT iNG O RA
BY P.AUL RICHARDS
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y current research combines a bawdy
medieval tale, opera and high tech
computer animation an unexpected
intersection of genres that brings together old
and new, "high" and "low," musical and visual
expression. Standing at the intersection of
these disparate forms, I have gained rich in-
sights into the ways in which artistic expression
can serve as a conduit for the past to illuminate
The tale at the center of this project is Geoffrey
Chaucer's "Wife of Bath's Tale," perhaps the
most famous episode from the 14th century
"Canterbury Tales." In the spring of 2005, I
began discussions with a creative team of
artists looking for a composer for an innovative
project based upon the "Wife of Bath's Tale."
After screening the works and proposals of a
number of potential collaborators, I was chosen
and commissioned to provide the music for a
full-length opera, which is to be produced as an
animated film. While some pre-existing operatic
works have been animated in various forms, to
the best of my knowledge, a newly composed
work specifically for the medium has not been
commercially produced, and the opportunity to
be part of this project is an exciting one.
The libretto (text) for our opera, titled "The
Loathly Lady," was written by Wendy Steiner,
Fisher professor of English and director of the
Penn Humanities Forum at the University of
Pennsylvania. Her update of Chaucer's tale
is a comic story in which an Arthurian knight
commits a crime against a young woman
and is sentenced to death unless he can find
the answer to the simple question: "What do
women want most?" Assisted by the magician
Merlin, he leaves his medieval world and meets
a number of people, including Freud, Virginia
Woolf, Emma Woodhouse and Scheherazade.
All of these historical figures present him with
their own answers to this puzzling question.
Along with telling a charming story, the text
also engages interesting questions of gender,
relationships and perceptions, showing us that
some of the issues of Chaucer's time are still
The music director for the project, John
DeLucia, is a New York City-based early music
specialist who presented me with a fascinating
concept for the musical treatment of the work.
His idea, which I have embraced, was to use
medieval instruments during the scenes that
take place in the medieval world and other time-
appropriate instruments in the other scenes.
With his assistance and the help of other
consultants who specialize in various families
of ancient instruments, I have been research-
ing these instruments and learning about their
sound, their limitations and capabilities as well
as their history. We will record the work in New
York using some of the world's leading early
music performers and established singers from
a variety of backgrounds to portray this wide ar-
ray of characters singing in a variety of styles.
In addition to using period instruments, the musi-
cal style of the work is informed by the musical
styles of the times represented. By adopting
techniques used during Chaucer's time, for
example, and modifying them to fit the dramatic
needs of the story, I am aiming for a musical
language that keeps one foot in the present with
the other in the past an aesthetic amalgam
also found in the libretto and the artwork.
Animation for this project is being done by well-
known Irish artist John Kindness and University
of Pennsylvania professor of animation Joshua
Mosley using a combination of hand-drawn im-
ages and computer animation techniques.
In collaboration with the librettist, they have pro-
vided me with storyboards for various scenes,
sketches of the characters and ideas about the
action that is taking place on film. Having worked
in the past with theater directors and choreogra-
phers, I enjoy this sort of collaboration and find
the character sketches and story ideas to be
inspiring guides as I compose the music.
As this long-distance collaboration unfolds, we
are communicating via the web, sending images
and sound files around the globe. It is an inter-
esting combination of the very old and the very
new much like what occurs in the script itself.
It has engaged me in multiple facets of research
as we tell this very old, and very new, tale.
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S A+AH presents faculty
The 41st Annual School of Art
and Art History Faculty Exhibition
took place January 10-February
10, 2006. Participating faculty
were Linda Arbuckle, Max Becher,
Jerry Cutler, Lauren Garber, Kat-
erie Gladdys, Richard Heipp, Con-
nie Hwang, Ron Janowich, Tammy
Marinuzzi, Arnold Mesches,
Sean Miller, Julia Morrisroe, Bob
Mueller, Marcel Perez, Barbara Jo
Revelle, Andrea Robbins, Celeste
Roberge, Maria Rogal, Matt Shaf-
fer, Arturo Sinclair, Nan Smith,
Bradley Rex Smith, Dan Stepp,
Bethany Taylor, Sergio Vega anc
Lance Warren. Students and
the community were able learn
about the artworks at a series of
"Brown Bag Gallery Talks" given
by the faculty.
Lighting designers visit UF in
preparation for Civic Lights
In May, representatives from the
European Lighting Design Asso-
ciation visited Gainesville and the
University of Florida for a plan-
ning workshop for the sustainable
lighting design project known as
Civic Lights. The workshop was
held to prepare the designers
and organizers for the main Civic
Lights exhibition scheduled for
February 2007. The designers
toured the city and campus malk-
ing sketches for what will be the
future lighting design installation-s.
identifying special challenges
and requirements for the sights
as well as permission to use the
Civic Lights will raise the profile
of Gainesville and the Univer-
sity of Florida in the national
and international design fields.
Professor Stan Kaye and interim
dean Barbara Korner initiated the
project, which has become a uni-
versity, city and county program.
"We see it as an opportunity to
encourage artists, scientists and
other aspects of the university
and community working together
to solve pressing problems and
enhance our regional, national
and international outreach." said
interim dean Barbara Korner.
Reid Poole left a distinct irnpre_
sion on the University of Flic:ada
and the countless students.
dr- i -A
he School of Art and Art
History's art education
program sponsored Imagination
Station, a family-oriented arts ac-
tivities area, at the Fall Downtown
Festival & Art Show. This popular
annual event brings hundreds of
kids and their parents to down-
town Gainesville to engage in
various art activities and enjoy
performances by various musi-
cians and stage acts. "This was
an opportunity to extend art
outside of the classroom and into
the community," said Drew Coo-
per, senior art education major,
"and there, I was able to see the
undeniable need for children and
parents to create."
Michael Bihler-Rose, a M.F.A.
graduate student in photogra-
phy, was awarded a Fulbright
Scholarship to participate in the
exhibition "Indian Enigma" as part
of the United States Fulbright
Scholars at the Indira Gandhi
National Centre for the Arts in
New Delhi, India. His project fo-
cuses on Hindu traditionalism and
modernity and his medium will
primarily be photography. "The
community is a mixture of both
Westerners and Indians and have
different ways as to how they
marry traditional religious views
with their own Western upbring-
ing," said Buhler-Rose. "Within
the community I have lately been
photographing one school uses
traditional methods of education
in Sanskrit but also heavily relies
on computers and cell phones for
Brantley Johnson, a Ph.D.
candidate in art history, has been
honored as the Outstanding Art
History Graduate Student of the
Savannah College of Art and
Design for 2005. At UF, John-
son was given the designation
of Grinter Fellow through 2008.
She has edited nearly forty art-
ists' statements, interviews and
manifestos that will be included
in the "Documents" section of
the forthcoming book "Art and
Electronic Media" by Edward
Shanken, professor of art history
at Savannah College of Art and
Design. Her interview with con-
ceptual artist Michael Scoggins,
titled "Writings on the Wall," was
published in Drain Magazine.
Austin Willis, a senior art stu-
dent, received a Wingate Fellow-
ship from The Center for Craft,
Creativity and Design. Willis
will use the $15,000 award for
travel to a film festival in Berlin,
Germany. From text and travel-
based research, his project will
manifest into a paper concerned
with the role of video installation
and the mediation of space in
contemporary art as well as new
original works of art. Willis was
one of 10 students chosen for
this national honor.
The Neuvo Mundo String Quartet
has been invited to participate
in the prestigious Aspen Music
Festival on June 26, 2006. The
group was one of only two string
quartets to be invited. They will
perform in the award-winning
Benedict Music Tent, which is
known for its stellar acoustics
Many School of Music students performed in period costume during Mozart at the Machens' on March 5,
2006. From left to right Luis Fernandez, Laura Kroh, Michael Dame, Circe Diaz-Gamero and Julie Franklin.
and gorgeous mountain atmosphere. Mem-
bers of the quartet include Luis Fernandez,
Orlando Gomez, Circe Diaz-Gamero and
Julie Franklin from the School of Music.
Gary Galvan, graduate teaching assistant in
the School of Music, received the Outstand-
ing Student Paper Award at the College
Music Society southern chapter conference
at the Conservatorio de Musica de Puerto
Rico. He presented the papers "Cowell in
Cartoon: A Pugilistic Pianist's Impact on Pop
Culture" and "The Sights and (Appropriate)
Sounds of Jacques-Louis David: Establish-
ing a Soundtrack" at the Hawaii International
Conference on Arts and Humanities. Both
papers were published in Proceedings of the
Hawaii International Conference on Arts and
The University of Florida Flute Ensemble has
been invited to perform in a flute choir gala
concert at the National Flute Association (NFA)
Convention in August of 2006. NFA Conven-
Many CFA graduates are
Arizona State University
Ohio State University
University of Alabama
University of Cincinnati
University of Texas
Museum Studies students have
prestigious internships and job
Caroline Bradford Preservation Institute in
Nantucket, Rhode Island
Kelly Harvey American Federation of the
Arts in New York City
tions are attended by approximately 4000
flutists each year and they are the largest
and most prestigious flute conferences in
the world. The UF Flute Ensemble consists of
twenty students, including music majors and
minors as well as students from other majors
across campus. The Ensemble will perform
music student Jennifer Kampmeier's
the Russian Easter
Overture by Nicolai
Cassation by Jindrich
Feld. The group
will be conducted
by flute professor
Kristen Stoner and by
(M.M. 2006 orches-
Marcela DeFaria, a junior flute performance
major, was awarded a $12,000 grant from
Kelly O'Neill Corcoran Museum of Art in
Amanda Streeter Smithsonian Museum of
American History in Washington, D.C.
Jeremy Underwood Fernbank Museum in
Liz White Valentine Museum in Richmond,
Clarissa Fostel Ringling Museum in Sara-
Jessica Aiken Appleton Museum in Ocala,
Jenny Barton National Park Service, Ever-
glades National Park
the Hispanic Scholarship Fund, a McNamara
Family Creative Arts Project Grant. DeFaria
will make a professional recording, with funds
from this grant, of several flute works by Latin
"Never Enough," featuring UF dance stu-
dents Sarah Bowlus, Nic Bryan, Berverly
Hergert, Colette Krogol, Kara Moseley,
Robin Nevue, Matt Reeves, Hannah Ren-
egar, Meryl Thurston and Kelly Watson
was performed at the Kennedy Center in
Washington, D.C. This piece was selected
to be part of the National College Dance
No stranger to the American College Theatre
Festival, Andrew Farrugia has won the top
prize first place for his scene design of
"Hamlet." He will receive an all-expenses paid
trip to Washington, D.C. for two weeks, where
he will study with Tony Award-winning scenic
designer Ming Cho Lee. Prior to this honor,
Farrugia won first place at the regional com-
petition for set designs for both "Hendeka"
Scene design for "Hamlet"
Provost Janie Fouke (left) and Kenneth Gerhardt
(right), interim dean of the Graduate School, with
College of Fine Arts Graduate Student Teaching
Award winners, Lisa Iglesias, School of Art and Art
History; Josh Price, School of Theatre and Dance;
and Amy Zigler, School of Music.
Brody Condon (1997 B.F.A.)
was included in an exhibition at
Pace Wildenstein in New York
City. According to "The New York
Times," the exhibition "provides
a heady view of art moving into
new territory on several fronts at
In a July 13, 2005, article the
"The New York Times" recognized
David McQueen's (2000 B.F.A.)
contribution to "The Porch Show,
an exhibition in Brooklyn, NY'.
McQueen's solo debut exhibition
"Smaller Rumblings for Darker
Times" which featured miniature
landscapes was on display from
in spnng 2006, at Plane Space in
New York City.
Dave Herman (1998 B.F.A.)
was featured in a full page article
in the "The New 'ork Times" on
August 17, 2005. Herman is
the founder of the City Reliquary,
a "...tiny storefront museum in
Brooklyn, where you can find New
York artifacts, both marvelous
and mundane, including a large
assortment of Kings County beer
coasters and an old, rusting hunk
of the Williamsburg Bridge."
Jennifer Louis (2001 B.F.A.
graphic design), is creative
director for the interactive and
marketing firm Bayshore Solu-
tions in Tampa. Louis' work has
been recognized by Tampa Bay
ADDY Awards, as Best of Industry
by the Web Marketing Awards,
and by the Webby Awards. She
has also been nominated for the
"Tampa Bay Business Journal's
Top 30 Under 30." Jennifer
serves on the board of the Tampa
Bay Advertising Federation's Ad
2 and is on the advisory board
for the International Academy ol
Design and Technology.
is the design
"NFL Sunday Countdown" and
has won an Emmy
Award for work on
ESPN at the College
of Fine Art's inaugural
Kelly Lafferty (1985
B.F.A.) is a visual
director for Baccarat in New rork
City. Lafferty recently created a
table design including Baccarat
crystal for New York Botanical
Garden's annual Orchid Dinner.
In January, Carl Ashley (1991
B.MUSE.) conducted Vivaldi's
"Gloria" and Bach's "Magnificat"
with chorus and orchestra in
Odessa, Ukraine. After complete.
ing a D.M.A. in choral conducting
in 2002, Ashley became the
director of choral activities at
Saint Andrew's School at Lynn
Larry Newcomb (1998 Ph.D.
and 1995 M.M.) per orms in
a weekly trio at New iork's
renowned Metro Hotel. He also
coaches aspiring guitarists in the
Ilew York City area and online,
providing concise and effective
options for developing their art.
is an active freelance horn
player and teacher in Richmond,
Va. She is second horn in the
Lynchburg Symphony and Com-
monwealth Winds. In addition to
maintaining a large private horn
studio, Ma land works for the Vir-
ginia Commonwealth Universit/'s
Department of Forensic Science.
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Interim Dean Barbara Korner with actor
Michael Douglas at the National Dance
Board Foundation Gala Benefit dinner. Korner
traveled to Bermuda with theatre alumna Ann
Moore and Geoffrey Moore, 2006 President
of University of Florida Performing Arts
Advisory Board, to create new opportunities
for cultural and educational programs with
Bermuda arts organizations.
T he Gift that keeps on Giving" is how I like to think of endowments. Once
established, an endowment sets in motion the College of Fine Arts' ability
to excel, providing scholarships and program support in perpetuity.
Recently, the School of Art and Art History benefited from an endowment established by
Dennis and Colette Campay, which will provide supplies for art students. Dennis, a suc-
cessful artist living in Jacksonville, understands the advantages our talented art students
will have when provided with the necessary tools and equipment to experiment and learn.
Through the generosity of Ruth and John Amott. of Gainesville, an endowment has been
established to support the School of Music's outstanding clarinet program. The Amott's
have long been supporters of Friends of Music and John, a former clarinet player, ap-
preciated the good work being done in this program. The Amott gift now ensures the
continuing excellence of our clarinet program.
The College is also grateful for a gift from Herb and Carol McRae, of Tallahassee, to
purchase equipment for our new Digital Media Program. A 1965 alum of Fine Arts, Herb
and wife Carol enjoy coming back to campus for UF's annual "Back to College" week-
Please remember that charitable contributions to the College of Fine Arts are tax
deductible. In some cases, depending on the size of the gift, they may be eligible for
a state matching program. Also, many companies have a corporate gift matching
program. Some companies even match gifts made by retirees and spouses of
Whatever way you choose to support the College of Fine Arts, know that your gift will
provide invaluable opportunities for our fine arts students!
Director of Development
(352) 846-1211 or email@example.com
Life Income Programs from The University of Florida Foundation, Inc.
Many alumni and friends know that the
University of Florida Foundation, Inc.
offers life income programs. They know
that this method of giving enables them to
transfer highly liquid assets to the Foundation
and retain an income for their lifetime or for
a term of certain years, for themselves or
for other designated beneficiaries. They also
know they will receive a charitable income
tax deduction or an estate tax deduction for
the part of the value transferred to fund the
Life Income Program (depending upon when
assets are gifted). Finally, most know they will
be able to specify that the residual of their
gift will be used to benefit the University of
Florida, its colleges and units, its faculty and
The following are ways these types of
programs may benefit you.
+ Enable you to build a retirement that is not
limited by federal regulations
+ Utilize to diversify your portfolio if you cur-
rently do not hold both stocks and bonds,
or if you hold too much of one issue
+ Allows you to convert low-yielding assets
into higher income streams
+ May enable you to reduce or eliminate
taxes on capital gains
+ Can help to reduce or eliminate federal
+ Can provide tax-advantaged income
For more information, contact Peg
Richardson, Director of Development
(352) 846-1211 or The University of Florida
Foundation, Inc. Office of Planned Giving
Friends of Music host Mozart at the Machens'
University of Florida Friends of Music hosted Mozart at the
Machens', a fundraising event for music scholarships, on
March 5, 2006. The event celebrated 250 years of Mozart music.
Students from the College of Fine Arts' School of Music, many of
whom are Friends of Music scholar ship recipients, performed during
the birthday celebration.
One highlight of the afternoon was the dedication of a new Steinway
piano, a gift to the president's home from Dr. Martin Fackler and
Shelley Melvin. The School of Music is on its way to becoming an
All-Steinway School, and by doing so, will become the first university
in the state of Florida to achieve this mark of excellence. Other
All-Steinway Schools include Oberlin College Conservatory, The Yale
School of Music and The Juiliard School.
Since 1974, the Friends of Music endowment has grown to over
$1,000,000, and more than 2,000 students have been named as
Friends of Music Scholars.
SMaria Rogal, assistant professor of art,
has been awarded a Fulbright-Garcia Robles
Scholar grant to lecture at the Universidad
Aut6noma de Yucatan and conduct research
in Yucatan, M6xico during the 2006-2007 aca-
demic year. Rogal will study the intersections
and contrasts between the visual imagery of
Mexicanidad and those of Maya and Yucatec
CVictoria Rovine, assistant professor in art
history with a joint appointment in the Center
for African Studies, is the recipient of the Professor Nan Smith's sculptures have been
2006-2007 Carter Faculty Fellowship. She is pictured in Ceramics Monthly advertising her
organizing the Carter Lecture Series, tenta- upcoming solo exhibition and worklshop at
tively titled "African Material and Expressive the St. Petersburg Clay Company. Smith's
Cultures: Cross-Disciplinary Perspectives." sculptures were also exhibited by the Thomas
The conference will consist of faculty from R. Riley Gallery at the Sculpture Oblects &
diverse disciplines, bringing a wide array of Functional Art (SOFA) exhibition in Chicago.
methodologies and theoretical frameworks to
the study of African expressive cultures. Each
of the panels will include one or two visiting
distinguished keynote speakers who will be
designated "Carter Visiting Fellows." These
eminent scholars will complement and expand
upon the panel themes. The Carter Lectures
will be linked to the Triennial Symposium on
African Art, an international conference that
will be held at the University of Florida on
March 28-April 1, 2007.
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Professor and head of music education
Russell Robinson is serving as the
College's interim associate dean for
Academic affairs. Recently, Robinson's
S. L work with Department of Defense Schools
(DODS) teachers has taken him to Atlanta,
Georgia; Wiesbaden, Germany; and Tokyo,
Japan. In addition to his workshops on
Achieving Quality in Choral Classrooms,
he collaborated with composer Libby
Larsen to present "The Choral Music of
Libby Larsen: Where the Composer Meets
the Conductor" to the DODS teachers.
Robinson also was an invited presenter for
the Association of International Schools
in Africa (AISA) in Yaounde, Cameroon;
Dar es Salaam, Tanzania; and Harare,
Paul Richards was awarded Special
Distinction in the Rudolph Nissim Prize
for orchestral music, run by the American
Society of Composers, Authors, and Pub- '
lishers (ASCAP). Recent performances. ...
include the R-20 String Orchestra in .
Wroclaw, Poland, a concert featuring his
chamber music in New Haven, Conn. and 4
a premiere at of his "Fanatic Fanfare" com-
missioned by Kappa Kappa Psi in honor
of their 75th anniversary. His works have
been recorded recently by famed clari- i
netist Richard Stoltzman and the Slovak -
Radio Orchestra for an upcoming MMC '
Records release, and a compact disc of
his chamber music has been recorded and '
is in production with Meyer Media.
San Diego State University (SDSU) named as-
sociate professor of music James Paul Sain
Music Alumnus of the Year on April 12, 2006,
for creating the internationally acclaimed
electro-acoustic music composition program
at UF. After receiving this prestigious award,
Sain presented a concert of original com-
positions including piano sonata "Volant,"
performed by Diane Snodgrass, and "Zygote,"
performed by SDSU music faculty member
Kristen Stoner, assistant professor of flute,
recently recorded her first solo CD. "Images
for Solo Flute" will be released later this year.
The disc includes twelve works for unaccom-
panied flute with many premiere recordings.
The CD will feature several
works by women composers,
and incorporates composi-
tions from Peru, the Czech
Republic, France, Italy, the
United States and Israel.
Stoner was invited to per-
form a solo recital of Native
American-inspired flute music
at the 2005 National Flute
Association Convention. In
August 2006, she will lead the
UF Flute Ensemble in a gala
performance at the National
Flute Association. Laura Selle, Kell
Ralf Remshardt, associate professor of
theatre, has been awarded a UF Research
Foundation Professorship. The three-year
award carries with it a $5,000 annual salary
supplement and a $3,000 grant. Remshardt
is currently writing a book that will examine
the influence of theatre on early film. His
research is featured in this issue of Muse.
Ric Rose, associate professor of dance,
performed the title role of Afar in the Hippo-
drome State Theatre's production of "A Very
Old Man With Enormous Wings" by Nilo Cruz.
The show featured several theatre and dance
student actors and a UF faculty set designer.
"It was a very challenging role for me to play,
as my role is performed in silence and in
response to how the people around me react
to this angel-like being," said Rose. Rose also
is involved with Shadow Dance Theatre, a
group of dancers, actors and designers who
dedicate themselves to finding new ways of
telling the story of the human spirit through
physical poetry. This summer, Shadow Dance
Theatre will present their work June 17-21 in
the McGuire Pavilion Black Box Theatre.
Kelly Drummond-Cawthon, associate pro-
fessor of dance, premiered "Anytown" at the
Joyce Theatre in NYC. "Anytown" pairs the
choreography of Danial Shapiro and Joanie
Smith with the legendary music of Bruce
Springsteen, Patti Scialfa and Soozie Tyrell
(the E Street Band). This summer, Cawthon
will lead The Peoples Touring Project, a
UF summer residency program for dance
students. It is aimed at training dancers for
touring and collaborating with artists from
across the country and world.
y Drummond-Cawthon, Maggie Bergeron
Join the College of Fine Arts for our Summer 2006 Events
Please visit our website for a complete, regularly updated listing of CFA events: www.arts.ufl.edu/events.asp
August 2, 2006 at 7:30 p.m.
42ND ANNUAL SA+AH STUDIO
August 22 September 15, 2006
Reception: Friday, August 25,
7 to 9 p.m.
"The Cornbread Man"
September 8 17, 2006
UF Wind Symphony Concert
September 28, 2006 at 7:30 p.m.
Sign Times and Motorcycle Maps
Installation by Jim Roche
September 26 November 9, 2006
Reception: Friday, October 13,
7 to 9 p.m.
Graduate Recital: Francine Di, Piano
October 3, 2006 at 7:30
UF Symphonic Band Concert
October 5, 2006 at 7:30 p.m.
UF Orchestra Concert
October 6, 2006 at 7:30 p.m.
"Waiting for Godot"
October 13 22, 2006
Constans Theatre Black Box
BFA/MFA Acting Showcase
October 27 29, 2006
Constans Theatre Black Box
BFA Dance Showcase
November 3 5, 2006
Constans Theatre G-06
UF Clarinet Ensemble Concert
November 4, 2006 at 7:30 p.m.
UF Percussion Ensemble Concert
November 8, 2006 at 7:30 p.m.
"A Funny Thing Happened on the
Way to the Forum"
November 10- 19, 2006
UF New Music Ensemble
November 14, 2006 at 7:30 p.m.
UF Tubonium Concert
November 15, 2006 at 7:30 p.m.
UF Wind Symphony Concert
November 16, 2006 at 7:30 p.m.
Ten Plus Ten: Rivisiting Pattern and
November 21 March 9, 2007
Reception: Friday, December 1, 2006
UF Flute Ensemble Concert
November 20, 2006 at 7:30 p.m.
UF Symphonic Band Concert
November 21, 2006 at 7:30 p.m.
UF Steel Band Concert
November 29, 2006 at 7:30 p.m.
UF Jazz Band Concert
December 1, 2006 at 7:30 p.m.
December 1 3, 2006
UF Chamber Singers Holiday Concert
December 2, 2006 at 7:30 p.m.
Sounds of the Season
December 4, 2006 at 3 p.m. and 6 p.m.
Mozart Wind Concert
January 25, 2007 at 7:30 p.m.
UF Symphony Concert
January 26, 2007 at 7:30 p.m.
February 2 11, 2007
Symphonic Band Concert
February 8, 2007 at 7:30 p.m.
Wind Symphony Concert
February 9, 2007 at 7:30 p.m.
Student Juried Exhibition
February 13 March 9, 2007
Reception: Friday, February 23, 2007
February 23 March 4, 2007
Constans Theatre Black Box
Jazz Band Concert
February 23, 2007 at 7:30 p.m.
March 1, 2007 at 7:30 p.m.
March 2, 2007 at 7:30 p.m.
Jazz Band Reunion Concert
March 11, 2007 at 7:30 p.m.
MFA Thesis Candidates I
March 27 April 6, 2007
Reception: Friday, March 30, 2007
New Ensemble Concert
March 27, 2007 at 7:30 p.m.
Symphonic Band and Percussion
March 29, 2007 at 7:30 p.m.
Jazz Band Concert
March 30, 2007 at 7:30 p.m.
"The Man of Mode"
March 30 April 8, 2007
BFA Dance Showcase
April 13 15, 2007
Constans Theatre G-06
MFA Thesis Candidates II
April 17- April 27, 2007
Reception: Friday, April 20, 2007
MFA One Acts
April 18 19 and April 23 24, 2007
Constans Theatre Black Box
All dates and times are subject to change. Please check our website for schedule updates:
www.arts.ufl.edu Constans Theatre tickets are available at the University Box Office or at (352)
392-1653. Phillips Center and University Auditorium tickets are available at the University Box
Office, at the Phillips Center Box Office, by.: iiirn 352-392-ARTS (2787) or at www.ticketmas-
5 1* 3I
*;. UNIVERSITY OF
College of Fine Arts
101 Fine Arts Building A
PO Box 115800
Gainesville, FL 32611-5800