Oregon Center for the Arts Marketing Manager recently interviewed SOU Theatre major Alex Szabo, class of 2020 regarding their reorganization of the annual SOU OSPIRG fundraiser. OSPIRG is a campus political action group that enables students to lobby local, regional, and global political issues at the state level.
The SOU Percussion ensemble had a busy spring term planned with a trip to New York and much more. However, the travel plans had to be adjusted in accordance with the changes with SOU’s guidelines during COVID-19.
Taran McGuire, a senior this year, sees the new situation in a positive light. He states that SOU’s distance learning model is allowing for new creative solutions where all new ideas are welcome.
Oregon Center for the Arts students are finding new innovative ways to interact with their professors, fellow students, and community. OCA Music student Tatjana Luce recently completed 30 days of 30 seconds of music. When it came time to post the video Tatjana was innovative in editing the pieces together on her phone, adapting to utilize the technology she had on hand.
Associate Professor and Music Department Chair, Dr. Cynthia Hutton will retire this Spring 2020 after 26 years of teaching at SOU. Dr. Hutton’s teaching contributions to the Music program at SOU included teaching courses in music education, music theory, aural skills, conducting, and for 24 years she was the Director of Bands at SOU.
Dance Courses By Zoom? Theater, Arts Students At SOU Transition To Remote Learning
This article was originally published to Jefferson Public Radio
How can you teach someone the intricacies of a dance remotely? Or see the details of a sculpture through cell phone photos?
Many university professors had to ask themselves these questions after Oregon Gov. Kate Brown announced that schools would have to completely transition to remote learning to prevent the spread of the coronavirus.
That hasn’t stopped some theater and arts courses from moving forward, mostly by using the popular video-conferencing software, Zoom.
“This would not be the premier way of teaching dance,” says Southern Oregon University musical theater dance instructor Suzanne Seiber. “But you get that sense of community that you get in dance. It’s a substitute, but it’s working.”
Still, there have been challenges. It takes a little more time to plan out courses and view students’ works. Seiber says she learns something new every time she teaches the course and encounters a glitch either on her computer or a student’s computer. She has also had to become accustomed to an internet delay — since everyone has a different internet connection with different speeds, they all hear the music at different times, so Seiber sees each student performing the dance at different times.
“The very first class I taught, I felt like a beginning teacher,” Seiber says. “After you’ve done this for 20-some years, you feel like, ‘How can I feel like a beginning teacher?'”
When Seiber logs into her course through Zoom, she sees 17 little boxes on her computer screen, each showing a student ready to practice dancing wherever they are. Some are in their bedrooms, their living rooms, their kitchens — any room that has a smooth-surfaced floor that’s similar to a dance floor.
One of Seiber’s students, Ryan Zamudio, had to practice dancing in his dorm room bathroom.
“I had to jump between two or three different locations — of putting my laptop on the bathtub, putting it on the sink, putting it on the end of the bathroom,” Zamudio recalls. “It was not a fun experience, not gonna lie.”
His roommate moved out of the dorms a few days into the spring term, so Zamudio now has an extra room with a smooth floor that he can use for dancing. He says a lot of students have decided to leave the dorms because of the coronavirus pandemic. He chose to stay at the dorms to prevent inadvertently spreading the disease to his parents back home in Portland.
“All of my friends left,” Zamudio says. “It has forced me out of my comfort zone and to reach out to anyone who is still on campus. So, it has brought people together, the few people who have stayed.”
Many students dropped the musical theater dance class once they heard that it would be taught online. But Zamudio stuck with it.
“I’m not going to let this stop me from doing what I’m passionate about,” he says. “I’m not going to let this situation completely change what I’m doing with my life.”
Zamudio is also taking art classes, where he says students have had to make do with what they have on hand for their assignments, like tearing up paper bags and using them as canvas. But sometimes that need to be resourceful is a valuable lesson in itself, says assistant professor Michael Parker, who teaches sculpture at SOU.
“You have to have creative solutions to this,” Parker says. “I think it’s also helping students learn about flexibility. There’s an opportunity to have critical thinking be front and center.”
For instance, he gave his students a two-day assignment that asked them to gather all of the available toilet paper rolls within their homes — without destroying the toilet paper and with permission from everyone they live with. Then, using only the toilet paper rolls and found household objects like curtain rods, they were to assemble a sculpture.
One student, Elise Mitchell, took him to task and gathered a couple of dozen rolls and piled them so that they resemble Auguste Rodin’s “thinking man” sculpture sitting on a toilet.
Parker says projects like this can be helpful for students who might feel isolated or stressed out during the pandemic, and attending a regular class, even remotely, could give them a sense of structure. In fact, one of the unexpected side-effects of remote learning is that most classes have had near-perfect attendance.
“It’s a place to go,” Parker says. “It’s not just binge-watching Netflix. In some ways, it’s kind of the best thing to be is in college discussion-based courses right now.”
Parker uses his classes as an opportunity to ensure students are doing OK. He says some of them are essential workers, so they’re risking their health while engaging with the public. A few have even lost family members to the coronavirus.
“There’s always a check-in at the beginning of class, to make sure everybody’s personally safe, family members are safe, and just really being human,” he says.
That can be important for students right now — most of whom are determined to continue their education and their life goals, even if they don’t really know what life will look like after graduation.
SOU Music Ensembles get Creative in their New, Virtual Reality
This article was originally published on news.sou.edu
With some schools canceling ensembles altogether, Paul T. French – Southern Oregon University’s Director of Choral Studies and Vocal Studies – had doubts about the spring ahead for his corner of the Music Program in the Oregon Center for the Arts at SOU. The idea of taking the choir virtual was especially daunting, with the experience rooted in collaborative rehearsals and harmonious performance.
“I didn’t even have a Google calendar,” French joked, “so we’re all kind of crawling forward and learning this together.”
SOU’s Chamber and Concert Choirs are joined for now and still rehearse twice weekly online. With upwards of 50 people on the screen, French and concert choir director Kendra Taylor watch as the singers mute themselves in their homes and perform individual parts to a piano accompaniment written by French’s wife, SOU instructor, and staff pianist Jodi French.
Once they’ve learned and perfected the parts, they’ll record and send them to Taylor, who will plug them into and arrange them on an online music platform called Soundtrap.
“It calls for a lot of accountability from individual students because they can’t lean on other people, so the bar is higher and their own contributions are that much more meaningful,” Paul French said. “I’m proud of the students because they’re compassionate when we screw up and want to do whatever it takes to move forward, and after our second rehearsal the chat bar was full of all these tremendously positive and excited comments.”
The recording will be released later this spring. They hope to add a video component and perform the piece live in the fall if all goes well.
Terry Longshore, SOU’s director of percussion studies, is taking a similar, virtual tack. Originally, he and SOU Raider Band director Bryan Jeffs had been invited to take 17 students to New York City in May for the inaugural “Long Play” music festival by the renowned contemporary music organization Bang on a Can.
In lieu of that trip, and considering the limitations some students have without access to their instruments, they’re working on an 18-minute piece in which 16 performers will pour dry rice over various materials – metal, wood, and leaves, to name a few. It will explore textural changes created by the rate at which the rice is falling. They will eventually turn their individual recordings into a video collage, and will later have the chance to interview the piece’s composer, Michael Pisaro of the CalArts School of Music.
Their other ideas include breaking into small groups that will create original soundtracks to short, silent films.
“They’re excited about the projects because they get to take advantage of what we have and try to make lemonade out of it while still learning something, having a unique creative experience, and putting something out in the world that we’re proud of,” Longshore said.
French concurred with the sentiment.
“Given how isolated we feel, we’re not together, but we can see each other and create something together,” he said. “We still need art and this is what we can do.”
Story by Josh McDermott, SOU staff writer
This article was originally published by the Ashland Tidings
Deborah Rosenberg, professor in costume design at Southern Oregon University, is enjoying her 20th year as a faculty member of the SOU Theatre Program. Rosenberg acted in college and found herself in costume design when she admitted to a director that she knew how to sew. I visited with Rosenberg in her office in the university’s newly expanded Theatre Building.
D.R.: I discovered that costume design gave me some distance from the stage pictures, whereas, with acting, you’re in the middle of it. I found that my temperament was better served by being able to see the whole picture rather than the immersion experience from within. I could easily see that costume is too light, and that costume’s too dark, and I need more red on the rest of the stage.
We often get students who are interested in performance and discover lighting design for the very first time. It’s a glorious thing to watch a young person say, “I didn’t even know about this. And now I must know everything.” Or we have someone who comes in as a quiet, very shy person, and we watch them just grow in confidence, strength, skill, and interest, and they’re standing center stage. It’s fun to watch the transformation of young people, of where they come from, mentally, emotionally, physically, to where they get to in just a few short years.
E.H.: What draws students to your program?
D.R.: I think the initial thing is our proximity to the Oregon Shakespeare Festival. To be down the street from a world-class theater is pretty significant. Students come because of the proximity and then discover that we’re quite good at this. We’re large enough to give many options to many people. We’re small enough to know them by name and understand their personal strengths and challenges.
We train people well so that they are ready when they graduate to work almost anywhere in the country, particularly in design and tech. If they are performance majors, they have the skills to audition anywhere in the country. Our students who choose grad school often get scholarships. Our students who choose to work in the field get work in the field. We’ve had some wildly successful graduates. Students come here knowing that they’re not wasting their time and money. They’ll be fully educated, confident, and experienced enough to take the next step. We are confident that they have the skills to have the lives they want in almost any part of this country that they choose to live.
E.H.: What sets theater apart from other arts?
D.R.: The fact that it’s such a collaborative art form. I bring my part, costume design. My colleague Sean O’Skea brings scenic design. The lighting designer and the sound designer bring their pieces. We don’t work individually for very long. I might design the costumes in solitude, but as soon as those sketches exist, the work is shared by many, many, many people.
We’ve all been listening to the director, who has a vision. We are then filling the room with additional voices and more sets of hands so that we make something together that is more powerful than any one of us.
We’re learning from each other, we’re sharing with each other. We are sparking ideas. An idea leads to an idea, which leads to another idea. It’s partly the alchemy of everybody thinking about the same challenge. Theater makes us more than ourselves, makes us bigger than ourselves. The experience is richer than one would have individually. We’re each bringing our best selves. And in a complex world, that’s a gift, and a treat, and a refuge.
To celebrate its 30th anniversary, the Schneider Museum of Art is presenting solo exhibitions of four artists who have achieved high recognition in the art world: Tofer Chin, Amir H. Fallah, Ryan Schneider, and Liz Shepherd. The public is invited to a special opening reception on Tuesday, June 13, from 5:00 to 7:00 PM, and the exhibition will be on view through September 9, 2017.
The Museum is excited to be celebrating its 30th Anniversary with a sold-out crowd of supporters at the Gala Celebration: The Schneider Museum of Art at 30 Years to be held Saturday, June 10. Founded in 1986 by visionaries Florence and William Schneider and a wealth of community supporters, the Museum has since grown to have a significant impact on the contemporary arts scene in the region, as well as providing arts education to school groups throughout Oregon and Northern California. To support the gala fundraising effort, contact the Museum to purchase drawing tickets for a chance to win a beautiful pearl necklace in a unique setting, designed by CMD Designs specifically for the Museum’s pearl anniversary.
Museum Director Scott Malbaurn selected work by artists who have achieved acclaim in the art world to be on view this summer to be the highlight of the celebrations. “We turned our sights south and once again into our backyard for selecting the four artists for our four solo exhibitions this summer. Two are quickly emerging artists from Los Angeles and one from the desert of California adjacent to Joshua Tree National Park. The fourth artist lives and works in Ashland, OR. Each artist works predominantly two-dimensionally with an emphasis on drawing and painting and each have their own distinct style,” stated Malbaurn. The four solo exhibitions on view are:
Tofer Chin – 8
Tofer Chin is a Los Angeles, CA based artist who has exhibited his work in solo and group exhibitions internationally, including in Australia, Germany, Spain, Brazil, China and the United States. Chin states that he takes his inspiration from “the built environment, natural or manmade” to create “geometric paintings, sculptures, and photographs that interpret observations of urban and geological landscapes.” Having produced public commissions internationally in Brazil, Nicaragua, Japan and the United States, Chin’s solo exhibition will include large-scale murals in the Museum.
Amir H. Fallah – Unknown Voyage
Amir H. Fallah is a Los Angeles, CA artist who has exhibited widely in exhibitions across the United States and internationally. Fallah’s artistic oeuvre encompasses painting, photography, sculpture, and installation combined with a visual vocabulary that includes collage and complex patterning. His practice presents an alternative perspective to entrenched art historical portraiture traditions and the dynamics of modern-day art collection and art making, and in creating Unknown Voyage, Fallah’s inspiration came from Henri Rousseau.
Ryan Schneider – Mohave Masks
Ryan Schneider, a painter that relocated to Joshua Tree, CA from New York, NY, has participated in numerous solo and group exhibitions worldwide. Recent solo exhibitions have been presented at Taymour Grahne, New York, NY, Richard Heller Gallery, Los Angeles, CA, and Two Rams, New York. Taking inspiration from his new environment of the Southern California’s Mojave Desert, Schneider “honors this parched desert’s pneuma in the exhibition’s mystical revelry of regionally specific imagery” (writer Trinie Dalton).
Liz Shepherd: East-West: Two Streams Merging
Liz Shepherd is an Ashland, OR based artist whose work has been exhibited at venues in the United Kingdom and the United States. Shepherd has studied extensively, earning a Bachelor of Arts degree from Camberwell School of Art, studying Japanese calligraphy for three years with Keiko Watanabe, and studying sumi-e, calligraphy, ikebana, and tea ceremonies for twenty years with Shozo Sato. Her works make use of ambient space to convey stillness and silence, while also displaying a mastery of technique and material.
Please join us on Tuesday, June 13, from 5:00 to 7:00 PM for a special opening reception. The Summer exhibitions are on view from Wednesday, June 14 through Saturday, September 9, 2017. Regular Museum hours are Monday through Saturday, 10:00 AM to 4:00 PM. The exhibitions will be complemented with published essays of the work by writers Tofer Chin, Trinie Dalton, Lindsay Preston Zappas, and Dante Fumagalli.
Please see the Museum website, sma.sou.edu for additional programs such as First Fridays, FREE Family Days and Tuesday Tours, drop in docent-led tours of the exhibition held every Tuesday at 12:30 PM. The Schneider Museum of Art’s summer exhibitions are generously supported by a donation from Judy Shih and Joel Axelrod.
The Oregon Center for the Arts at Southern Oregon University Music Program proudly presents the Southern Oregon University Wind Ensemble Spring Concert spring concert. The concert, titled Music from Latin America will be held on Thursday, June 8 at 7:30 PM in the SOU Music Recital Hall.
The Southern Oregon University Wind Ensemble under the direction of Dr. Cynthia Hutton will perform a festive final concert of the academic year, Music from Latin America. Pieces include “La Fiesta Mexicana” by Owen Reed, “Bachianas Brasileiras No.2” by Brazilian composer, Heitor Villa Lobos, “El Retiro” by Colombian composer, Alfredo Mejia Vallejo, “La Bamba De Vera Cruz” by Argentine composer, Terig Tucci, and “San Antonio Dances” by Frank Ticheli.
The program will feature Zachary Yu Yang, Saxophonist and Junior Music Major at Southern Oregon University. Mr. Yang, the 2017 SOU Wind Ensemble Concerto Competition recipient will perform the “Fantasia for Alto Saxophone” for concert band and solo saxophone by Claude T Smith. States Cynthia Hutton, Wind Ensemble Director and Associate Professor of Music, “the concert promises an evening of beautiful and spirited music, please tell your friends and join us. Ole!”
The Southern Oregon University Wind Ensemble is the sole wind band on the campus of Southern Oregon University. It is an ensemble of approximately 45 members and is opened to talented musicians from all disciplines; both music majors and non-music majors are accepted. The Wind Ensemble seeks to obtain the highest quality level of musicianship and performance. It is dedicated to the study of a diverse repertoire for winds and percussion from the masterworks to recent commissions of new compositions. The Wind Ensemble has performed for the Oregon State Music Educators Association Conference, the Lawrence R. Sutherland Intercollegiate Wind Band Festival, the College Band Director Regional Conference and the Western International Band Conference.
Tickets for this performance are $10 for regular admission, $5 for seniors, and free for students. All tickets are general admission. The OCA box office is located in the SOU Music Building, off South Mountain Avenue. The box office hours are noon to 6 p.m. Monday through Friday, and two hours prior to performances. Tickets can be purchased with a credit card over the phone by calling (541) 552-6348 or online at oca.sou.edu/box-office. Please contact the box office for discounts offered to SOU alumni, Osher Lifelong Learning Institute participants, and SNAP/Oregon Trail cardholders.
The Oregon Center for the Arts at Southern Oregon University (SOU) Music Program proudly presents two events with guest musicians, NoiseFold. Cory Metcalf and David Stout, who comprise NoiseFold will give an Artist Talk on Thursday, May 25 at 12:30 PM in the Meese Auditorium in the SOU Art Building. Then NoiseFold will join SOU’s own Left Edge Collective in concert on Friday, May 26 at 7:30 PM in the SOU Music Recital Hall.
Melding real-time animation and generative electronic sound within the legacy of cybernetics and mathematic visualization, NoiseFold (Cory Metcalf and David Stout) celebrates the evolution of visual music as a form of instrumental play with semi-autonomous systems. The artists re-imagine a painterly abstraction to suggest elemental narratives that evoke highly charged emotional states. From subtle life-like emanations to roiling upheavals of sound and light the resulting audio-visual events are at once familiar, mysterious and strange.
Left Edge Collective is a new music organization founded and directed by David Bithell and Terry Longshore at the Oregon Center for the Arts at Southern Oregon University. Left Edge composes, performs, improvises, creates interdisciplinary projects, and hosts an annual festival of contemporary performance which focuses on presenting and premiering new works by members of Left Edge, works by nationally recognized guest artists, and collaborations between artistic disciplines.
For the performance on Friday, May 26 at 7:30 PM, Left Edge Collective welcomes guest artists NoiseFold – transdisciplinary artists working at the fuzzy boundary blurring nexus of visual art, music and interactive cinema. Left Edge Collective will premiere two new works by David Bithell: “Shepard”, for four vibraphones, explores a temporal equivalent to shepard tones – overlapping frequencies that seem to rise infinitely. In this work, the ensemble appears to speed up continually.
In “CavitationStudy.01”, to be performed, Bithell states, “Plants make sound – if we know how to listen. There is the rustling of leaves, the creaking of branches or trunks, the lone tree falling in a forest, all created by forces external to the plant. Internally, rhythms are created by the formation and bursting of microscopic gas bubbles in vessels. This process of cavitation occurs at frequencies and time scales well beyond the range of human hearing. In this performance, these events are made audible through a variety of methods of data sonification. The timing of recorded cavitation events serves as the structural backbone as well as the generator of local rhythms. The sound of cavitation events themselves are transposed into the audible frequency and used as part of the sonic environment. All of these elements are activated by sensors that read the resistance of conductive inks drawn on plant matter collected locally in the Rogue Valley.
Tickets for this performance are $10 for regular admission, $5 for seniors, and free for students. All tickets are general admission. The OCA box office is located in the SOU Music Building, off South Mountain Avenue. The box office hours are noon to 600 PM. Monday through Friday, and two hours prior to performances. Tickets can be purchased with a credit card over the phone by calling (541) 552-6348 or online at oca.sou.edu/box-office. Please contact the box office for discounts offered to SOU alumni, Osher Lifelong Learning Institute participants, and SNAP/Oregon Trail cardholders.
During the Academic Year
M – F 12 to 5 pm, and one hour before performances