A3 ARCADIA

A7 SACRED MUSIC IN EAST AFRICA: OLD AND NEW

A8 AT THE CRAFTS CENTER

A9 PERFORMING ARTS AWARD RECIPIENTS

A10 MEASURE OF EARTH: TEXTILES AND TERRITORY IN WEST AFRICA

FALL 2013 ISSUE 1 SEPTEMBER 25-OCTOBER 6, 2013

Contents

UNIVERSITY THEATRE PRESENTS

ARCADIABY TOM STOPPARDWEDNESDAY-SATURDAY, SEPTEMBER 25-28, 2013 7:30PMSUNDAY, SEPTEMBER 29, 2013 2PMWEDNESDAY-SATURDAY, OCTOBER 2-5, 2013 7:30PMSUNDAY, OCTOBER 6, 2013 2PMTitmus Theatre

ARCADIA is produced by special arrangement with Samuel French, Inc.

Please, DURING THE PERFORMANCE

Silence your cell phone No photography No texting

THANK YOU!

DIRECTOR Allison Bergman

Scenic Design Jayme Mellema

Costume & Hair Design John C. McIlwee*

Lighting & Sound Design Joshua Reaves

Technical Direction David Jensen

PROFESSIONAL STAFFActing Coach Rachel Klem

Costume Shop Manager Em Rossi

Costume Technician Adrienne McKenzie

Assistant Technical Director Aaron Bridgman

Master Electrician David Jones*

Sound Engineer Kevin Wright

Marketing Nancy D. Breeding

Marketing, Graphics & Photography Ronald A. Foreman

ACKNOWLEDGEMENTSPlayMakers Repertory Company

Setting: A room on the garden front of a very large country house in Derbyshire, England in 1809 and in the present.

Act IScene 1: April 10, 1809Scene 2: Present DayScene 3: April 11, 1809Scene 4: Present Day

There will be one fifteen-minute intermission

Act IIScene 5: Present DayScene 6: April 12, 1809 at dawnScene 7: Present Day, and May 1812

CAST (In Order Of Appearance)THOMASINA COVERLY .......................................... Natalie Michelle SherwoodSEPTIMUS HODGE .......................................................................Alexander SmithJELLABY ............................................................................................... Matthew PriceEZRA CHATER .................................................................................. .Andrew Enloe*RICHARD NOAKES ............................................................................ Dylan GurreraLADY CROOM ................................................................................Paulina RagunasCAPTAIN BRICE, Royal Navy ............................................................Devin CarperHANNAH JARVIS .................................................................................. .Emma YatesCHLOE COVERLY .................................................................................Diana Quetti*BERNARD NIGHTINGALE ........................................................Jason Tyler CorderVALENTINE COVERLY ...................................................................... Michael TaylorGUS/AUGUSTUS COVERLY ...................................................Nathaniel D. Conti*

Production CrewStage Manager ............................................................................. Kimberlin TorainAssistant Stage Managers ......................Paige Broadaway, Zachary FrancisDramaturg ............................................................................Joyska Nuñez MedinaProduction Assistants ........................................Mary Liang*, Chris Bradsher*

Sound Board Operator .................................................................. Zachary HarrisProp and Paint Assistant .............................................................Lauren Caddick

*Member of Alpha Psi Omega Honorary Theatre Fraternity

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Production Crew (continued)

Master Carpenter ...................................Chris Bradsher*, Nathaniel D. Conti*Scenic Carpenter ......................................................................Autumn Stephens

Set Crew ....................................................... Michael Sanders, Kenny Hertling*, ............... Tony Scialabba*, Alec Haklar, Paul Tyrlik, Kelsey Beal, Zac Harris, ............Yvonne Chazal, Maggie Miller, Omara Brock, Chu Lu, Joe Englese, ................................Mary Knierim, Rachel Hopler, Molly Garber, Kate Wiens, .................................................. Kristen Bagley, Dayne Smith, Laura McCusker, ......................................................Olivia Bunce, Lindsey Fulton, Matthew Price

Prop and Paint Crew Assistant ..................................................Lauren CaddickLight Board Operator .................................................................. Katherine Loflin

Wardrobe Head .................................................................................Lauren PearceCostume Crew .........Maggie Briggs, Gillian Paige, Joyska Nuñez Medina, .................................Dayne Smith, Greg Echavaria, Kel Henkel, Dan Smidler, .................... Kylie Howe, Lindsey House, Courtney Shoaf, Heather Murray, ................................. Morgan Christianson, Yamila Monge*, Destiny McNeillDressers .........................................................Allison Stilwell, Phillip LindemannMakeup/Wigs ............................................. Kelsey Beal, Joyska Nuñez Medina

House Manager ................................................University Theatre House CrewUsher(s) .................. University Theatre House Crew and THE 103 students

*Member of Alpha Psi Omega Honorary Theatre Fraternity

P R O G R A M N OT E S ARCADIA ...continued

Arcadia Cast BiosDevin Carper, Captain Brice - Royal Navy, is a senior in arts studies with a concentration in visual arts. Devin is making his stage debut at University Theatre after working back stage on previous UT produc-tions. He has always had an interest in theatre. Having lived in California, Hawaii, Virginia, England, and now North Carolina, he is really excited about getting to try out his accent in Arcadia. Upon graduation Devin wants to manage a museum while working on his preferred art –pencil and ink illustrations.

Nathaniel D. Conti, Gus/Augustus Coverly, is a senior in biomedical engi-neering with a minor in theatre. “I have been in eight shows at University Theatre with the most recent being Alice in Wonderland and Dirty Rotten Scoundrels. Since I have been here, the theatre has become my home away from home and I am very pleased to be working with such a great group of actors, a wonderful director, and the multitude of fantastic staff and coaches that put forth great effort into making each production a success.”

Jason Tyler Corder, Bernard Nightingale, is a junior in chemistry. Jason is very excited to be a part of such a great production. Previous cred-its include Scoop in The Heidi Chronicles. Jason discovered acting as a sophomore in high school and quickly found it to be both a wonderful creative outlet and an invaluable asset to his personal development. His interests include guitars, cinema, and the indigenous peoples of Papua, New Guinea. Jason plans to pursue a PhD following graduation.

Andrew Enloe, Ezra Chater, is a junior in communications media-video production. Andrew’s previous credits include Freddy in Dirty Rotten Scoundrels, Mark in Rent, Officer Barrel in Urinetown, George in The Philadelphia Story, Antonio in Twelfth Night for University Theatre, and many small and short film roles. “Acting is a passion of mine that I hope to pursue for the rest of my life. I would like to extend a special loving thanks to Paige Broadaway for putting up with my incessant practicing of my proper English dialect and for putting up with me in general!”

Dylan Gurrera, Richard Noakes, is a freshman in the First Year College. Dylan is making his stage debut at University Theatre. Previous credits include the Captain in The Sound of Music and Renfield in Dracula at Wakefield Theatre Company. “I would like to thank the cast, crew, and director for all the hard work they put into this amazing show, and my family and friends for all of their support.”

Matthew Price, Jellaby, is a freshman in mechanical engineering. Mat-thew is making his stage debut at University Theatre. He has studied theater throughout his high school career and performed in almost all of his school’s plays. “I wanted to do Arcadia just because I enjoy theatre.”

Diana Quetti, Chloe Coverly, is a senior in communication media with a minor in theater arts. “I am so excited to be a part of the cast of Arcadia!” Diana’s previous credits include Beauty in The Spyglass Seven, Heidi in The Heidi Chronicles, Edna in An Inspector Calls, Mrs. White/White Queen in Alice in Wonderland, Renee in Dirty Rotten Scoundrels, member of the Ensemble in both The Arabian Nights and Urinetown, and performed in the 2011, 2012 and 2013 performances of Red, White & Banned. “Thank you Mom, Dad, Rachel, Jackie, and the rest of my family and friends for your continuous support!”

Paulina Ragunas, Lady Croom, is a junior in international studies with a concentration in East and Southeast Asia and minors in French, Japanese, and voice performance. Making her stage debut at University Theatre, Paulina is ecstatic to be playing the role of Lady Croom. Her previous credits include singing and dancing roles in The Music Man and Footloose. She also appeared in the Union County Performance Education’s Hair-spray. Paulina is grateful “for the encouraging hospitality of the cast and crew, and especially to the director for this opportunity.”

Natalie Michelle Sherwood, Thomasina, is a freshman in chemical engi-neering. Natalie is making her stage debut at University Theatre. Prior to coming to NC State, Natalie appeared in the musical Nunsense, captained her improve team Shark Tank, and competed in duo interpretation at speech and debate competitions. She would like to thank the friends and family who have supported her.

Alexander Smith, Septimus, is a junior in criminology. Having first appeared on stage at University Theatre in Alice in Wonderland as the Cheshire Cat, Alex is very excited to be a part of the Arcadia cast. “I would like to thank my family for your constant support, and all the wonderful friends I’ve made through University Theatre who encouraged me to stay involved in the program.”

Michael Taylor, Valentine Coverly, is a junior in animal science with a minor in theatre. Michael has performed for audiences since the age of five and finds the challenge of a live show thrilling. He made his NC State debut in Rent and has since been cast in Alice in Wonderland and The Heidi Chronicles. “My love for acting and the welcoming atmosphere that University Theatre creates prompted me to declare a minor in theatre last spring. I am excited to be a part of Arcadia and would like to thank my family and friends for their continued support.”

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Emma Yates, Hannah Jarvis, is a freshman in animal science. Emma is making her stage debut here at University Theatre. Emma has been doing theater for about five years, plays tennis and has and extreme love for pasta and for penguins. “Theater has always served as a wonderful way for me to make friends and express myself and this show is no different. Enjoy!”

Arcadia Production BiosAllison Bergman, Director, is the assistant director of University Theatre and a veteran stage director of more than thirty theatre productions in Los Angeles, Boston, Pittsburgh, and New York City. She holds a BFA in theatre studies from Boston University and an MFA in directing from Carnegie Mellon University where she was a Steven Bochco Scholar. She studied acting, dance and voice at L.A. City College Theatre Academy, American National Academy of Performing Arts, and Southern Cali-fornia Conservatory of Music, and has won a Drama-Logue Award for Directing. In tandem with her directing career, Allison is a dramaturgical consultant with several projects in development in New York and Los Angeles. She is the former artistic director of Broadway On Sunset and co-founder of The West Coast Musical Theatre Conference. She has also co-authored ACTING THE SONG - Performance Skills for the Musical Theatre, and penned the libretto for a new musical, Ancient City. Before moving to the East Coast, she had been named Outstanding Woman in Theatre in Los Angeles. Other University Theatre productions Allison has directed include The Heidi Chronicles, Dirty Rotten Scoundrels, Little Women, Dancing at Lughnasa, Urinetown, It’s A Wonderful Life: A Live Radio Play, and The Arabian Nights. For TheatreFest, Spider’s Web, WMKS:Where Music Kills Sorrow, The Sunshine Boys, and Daddy's Dyin', Who's Got The Will?

Kimberlin Torain, Stage Manager, is a junior in anthropology with a con-centration in bioarchaeology and biochemistry. This is the twelfth show she has worked on with University Theatre and her previous positions include stage manager for The Arabian Nights, assistant stage manager for Alice in Wonderland and What We Wore, wardrobe crew for An Inspector Calls, and the 2013 Theatrefest season. “I hope to make my acting debut this spring in UT's production of Chicago (fingers crossed).” She recently volunteered with the North Carolina Theatre Conservatory's production of In the Heights. After college, “I have no idea what I want to be, but I hope theatre will always be a big part of my life.”

Paige Broadaway, Assistant Stage Manager, is a senior in criminology with a minor in forensic science. This is Paige’s sixth show with University Theatre and her fifth stint as an assistant stage manager. Previous show credits included Daddy’s Dyin’, Who’s Got the Will?, The Heidi Chronicles, An Inspector Calls, Alice in Wonderland, and Dirty Rotten Scoundrels.

Zachary Francis, Assistant Stage Manager, is a junior in communication media, journalism and theatre. Zachary’s previous work with Univer-sity Theatre includes wardrobe head for Dirty Rotten Scoundrels and An Inspector Calls, and a member of the cast of The Arabian Nights. This is Zachary’s first stint as an assistant stage manager – an exciting new role for him. “I am very excited to be working with such a talented cast.”

The Science of ArcadiaFERMAT’S LAST THEOREMPierre de Fermat (1601–65) was a French mathematician whose last theorem holds that for any integer n greater than two, there are no positive integers a, b, and c that can satisfy the equation: an + bn = cn. In the margin of a book discovered after his death, Fermat wrote that he had found “a remarkable proof which the margin is too small to contain.” Mathematicians sought the elusive proof for centuries; many thought it was impossible. Finally, in 1993, Princeton University mathematician Andrew Wiles solved it after seven years of concentrated effort.

NEWTONIAN THOUGHTIn 1687, Sir Isaac Newton published his seminal Philosophae Naturalis Principia Mathematica describing universal gravitation and the three laws of motion. Newton's renown is not entirely due to his discovery of gravity, but rather because of his discovery that gravitation is universal. All objects in the universe attract each other with gravitational forces. The strength of the forces depends on the product of the masses of the objects, and on the distance between them. Newton's empirical law of cooling states that all objects will eventually warm or cool to the temperature of their surroundings.

THE SECOND LAW OF THERMODYNAMICSThe second law of thermodynamics states that in all energy exchanges, if no energy enters or leaves the system, the potential energy of the state will always be less than that of the initial state. In other words, as energy is transferred from one form to another, some is lost as heat. This can then be made even more general by saying that orderly systems always tend toward chaos (entropy) unless maintained by putting energy into them. Cells remain organized and functional only because of energy produced by the body from digestion of food. Machinery stays working only because of constant maintenance by its operators. And in day-to-day life it manifests in the state of chaos in a household or office when effort is not made to keep things in order.

CHAOS THEORYIn a nutshell, chaos theory comes from the idea that even tiny differences in initial conditions can lead quickly to big differences in outcome. It is possible that a very small occurrence can produce unpredictable and sometimes drastic results by triggering a series of increasingly significant events. A common example of this is known as the Butterfly Effect. In theory, the flutter of a butterfly's wings in China could, in fact, affect weather patterns in New York City, thousands of miles away.

– Library.thinkquest.org, www.physicsclassroom.com, Answers.yahoo.com, businessdictionary.com

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About the PlaywrightDuring our summer TheatreFest, we solicited comments from our patrons, who requested that playwright information be included in the playbill. We take our patrons’ comments to heart!

Sir Tom Stoppard was born Tomáš Straussler, in Zlín, Czechoslovakia (now the Czech Republic), the son of Martha Bečkova and Eugen Straussler, a doctor with the Bata Shoe Company. On March 15, 1939, the day that the Nazis invaded Czechoslovakia, the Straussler family fled to Singapore, one of the places Bata had a company. As the Japanese approached, the two boys and their mother were sent on to Australia. Stoppard's father remained in Singapore as a British army volunteer and died in the war when Stoppard was four years old. In 1945, his mother Martha married British army major Kenneth Stoppard, who gave the boys his English surname and, in 1946, after the war, moved the family to England. He told his small stepson: "Don't you realize that I made you British?" setting up Stoppard's desire as a child to become an honorary Englishman.

"I fairly often find I'm with people who forget I don't quite belong in the world we're in," Stoppard says. "I find I put a foot wrong – it could be pronunciation, an arcane bit of English history – and suddenly I'm there naked, as someone with a pass, a press ticket." This is reflected in his char-acters, he notes, who are "constantly being addressed by the wrong name, with jokes and false trails to do with the confusion of having two names."

Stoppard left school at seventeen and began work as a journalist for the Western Daily Press in Bristol, never receiving a university education. He remained at the paper until 1958, when the Bristol Evening World offered Stoppard the position of feature writer, humor columnist, and secondary drama critic, which took him into the world of theatre. At the Bristol Old Vic, Stoppard formed friendships with director John Boorman and actor Peter O'Toole early in their careers.

Stoppard wrote short radio plays and by 1960 he had completed his first stage play, A Walk on the Water, which was later re-titled Enter a Free Man (1968). His first play was optioned, staged in Hamburg, and

broadcast on British Independent Television in 1963. In 1964, a Ford Foundation grant enabled Stoppard to spend five months writing in a Berlin mansion, emerging with a one-act play titled Rosencrantz and Guildenstern Meet King Lear, which later evolved into his Tony-winning play Rosencrantz and Guildenstern Are Dead. In April 1967, the opening of Rosencrantz and Guildenstern Are Dead in a National Theatre produc-tion at the Old Vic made Stoppard an overnight success. He wrote the screenplay for Shakespeare in Love, starring Gwyneth Paltrow and Joseph Fiennes, and won an Oscar for it in 1998. He has won three Tony awards, in 1968, 1976, and 1984. He was knighted in 1997, and in 2008, Stoppard was voted the number 76 on the Time 100, Time magazine's list of the most influential people in the world.

The play Arcadia is often referred to as Stoppard’s finest play. Arcadia explores the nature of evidence and truth in the context of modern ideas about history, mathematics and physics. It shows how the clues left by the past are interpreted by scholars. The themes presented within Arcadia are based in a series of dichotomies: chaos versus order, Classicism versus Romanticism, intuition versus logic, thought versus feeling. The play covers a wide array of subjects, including mathematics, physics, thermo-dynamics, computer algorithms, fractals, population dynamics, classics, landscape design, English literature (particularly poetry), Byron, 18th century periodicals, modern academia, and even South Pacific botany. Stoppard has commented that he loves the medium of theatre for how “adjustable” it is at every point, how unfrozen it is, continuously growing and developing through each rehearsal, free from the text.

Stoppard's mother died in 1996. The family had not talked about their history and neither brother knew what had happened to the family left behind in Czechoslovakia. In the early 1990s, with the fall of commu-nism, Stoppard found out that all four of his grandparents had been Jewish and had died in Terezin, Auschwitz and other camps, along with three of his mother's sisters. In 1998, following the deaths of his parents he went back, for the first time, to Zlín after 60 years. He has expressed grief both for a lost father and a missing past, but he has no sense of being a survivor. "I feel incredibly lucky not to have had to survive or die. It's a conspicuous part of what might be termed a charmed life.”

– from Wikipedia.com

P R O G R A M N OT E S ARCADIA ...continued

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Ethiopia and Uganda are both Christian majority countries in East Africa. Christianity was introduced to Ethiopia in the first century CE when Philip the Evangelist baptized an Ethiopian court official, as described in Acts 8:26-38. More than 1,500 years later, in the 1870s, French and English missionaries brought the religion to Uganda. Thus very different forms of Christian doctrine, ritual, worship, and practice developed in these two coun-tries. In both Christian communities, music plays important and complex roles, and has taken highly divergent forms.

In the 4th Century, Orthodox Christianity became the official religion of the Ethiopian Axemite Kingdom, establishing ties over centuries with the Coptic Church of Egypt and other Oriental Orthodox churches. Today, in the Ethiopian Orthodox Tewahedo Church, robed and mitered priests chant 6th century melodies in the archaic language of Ge’ez, continuing centuries-old ritual practices. At the annual Feast of St. Michael, thousands of white-robed pilgrims gather at the 13th Century monolithic churches of Lalibela for prayers and processionals. A replica of the Ark of the Covenant is carried through the crowds flanked by icons and banners in a scene out of the Middle Ages.

In Uganda, Roman Catholicism competes with recently arrived and fast-growing evangelical denominations for adherents. Liturgical and musical reforms of the Second Vatican Council in the early 1960s allowed greater local control of the forms of worship and led to their “Africanization.” Thus, previously suppressed drumming and dancing that had been central to pre-Christian ritual practices were re-contextualized for Christian worship, and native church musicians composed hymns in Buganda and other indigenous languages. In new, high-tech Pentecostal “megachurches” in the capital Kampala, electric guitars and shouting, robed choirs perform highly amplified gospel music before a light show projected on giant video screens as worship-pers dance in the aisles.

NC State professor Jonathan C. Kramer will show videos and discuss his field research carried out this past summer in Ethiopia and Uganda. The lecture is the first in a series to be presented during the 2013-14 academic year, called “Focus on Africa.”

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MUSIC @ NC STATE AND THE PRICE MUSIC LECTURE SERIES PRESENT

SACRED MUSIC IN EAST AFRICA: OLD AND NEWFRIDAY, SEPTEMBER 27, 2013 AT 7PM Kennedy-McIlwee Studio Theatre

Please, DURING THE LECTURE

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Fall 2013 Issue 1 A7

I DID IT MY WAYTHROUGH NOVEMBER 3 R. A. Bryan Foundation, Inc. Gallery

The Crafts Center presents an exhibition of quilts and quilted items by the Triangle Art Quilters Guild. Art quilts combine traditional quilting techniques with imagery and ideas to create art objects that are usually intended to be hung or worn. Each month, members of the Triangle Art Quilters decide on a theme and present their interpretation of that theme, examples of which are included in the exhibition.

5TH ANNUAL PINHOLE CAMERA CHALLENGE EXHIBITIONSEPTEMBER 25-NOVEMBER 1

View the best of the photos from the September 2013 student pinhole camera competition and vote for your favorite! The People’s Choice winner will be announced on October 25, and the winner will receive a free class at the Crafts Center as a prize.

CRAFTS CLASSESHave you registered for a fall 2013 class at the Crafts Center? Each semester, the Crafts Center offers classes in clay, fibers, art on paper, glass, jewelry and metals, lapidary, photography and wood. You can also learn how to repair your bike or make a skateboard. Complete descriptions of classes and registration information are available at ncsu.edu/crafts. Registration continues until a class is full or the class begins, whichever occurs first.

AT THE CRAFTS CENTER

MARK YOUR CALENDARS! The 29th Annual Holiday Crafts Fair & Sale takes place on Saturday, November 23, 10am-5pm. It’s a great place to shop for unique, local and affordable holiday gifts. All work is by students, instructors, and studio members of the Crafts Center. Meet the artists, and enjoy refreshments and demonstrations while you shop. Admission is only $1 per person, $2 per family, and is free to NC State students (with current student ID).

DON’T MISS IT!

Pottery demo at Packapalooza Triangle Art Quilters Guild Pinhole Camera Challenge

Crafts Fair

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Agee Taylor

ARTS NC STATE celebrates the exceptional talent and creativity of its students. “The students who participate in ARTS NC STATE classes and performances are amazing, and the five recipients of the 2012-2013 Performing Arts Awards have demonstrated their passion and achievement in the arts at the absolute highest level,” said N. Alexander Miller III. “These awards celebrate the extraordinary things that happen when students are encour-aged to pursue excellence in their academic, cocurricular and personal careers. These are high-achieving, well-rounded students – all non-arts majors – who are poised for successful futures.”

One such student with an incredibly promising future and an equally impressive student career is Agee Taylor, a senior in fashion and textile management from Raleigh. Taylor received the Performing Artist Award in Dance. Tara Z. Mullins, assistant director of the Dance Program, praised Taylor’s work: “Throughout the 2012-13 school year, Agee has been trusted to perform in a great variety of roles. Each role differed in scope and mood, which presented a challenge to her as a performer.” In one role, Taylor depicted a woman’s emotional voyage from Sicily to Ellis Island. Another piece she performed was choreographed on roller skates. “Agee glided through this dance with such flawless technique that the audience was able to focus on the complexity and sheer beauty of the work, rather than the skates themselves,” said Mullins.

The recipient of the Performing Artist Award in Music, Nathan Schnoor, from Apex, NC, is a junior in computer science in the College of Engineering. Dr. J. Mark Scearce, former director of the Music Department, spoke highly of Schnoor’s work. “Nathan, who is minoring in music, has loved music all his life, and has participated in vari-ous choral, bell choir, and instrumental ensembles at church. He sings with the NC State Singing Statesmen, and enjoys performing the piano works of Beethoven, Chopin and Rachmaninoff.” Schnoor wowed the audience with his solo performance of Edward Grieg's Concerto in A Minor with the NC State Wind Ensemble during spring semester 2013.

Brett Williams, a Raleigh native who graduated with a major in zoology in May, is a two-time recipient of the Performing Artist Award in Theatre. John McIlwee, director of University Theatre, said, “Brett delivered two stellar performances, first in her deceptively charming role as Christine in University Theatre's Dirty Rotten Scoundrels. Her ability to keep the audience in the dark regarding Christine's true intentions drew audible gasps from audi-ence members each night. Less than two months later in Alice in Wonderland, Brett once again commanded the stage without ever setting foot on it as the voice for the puppet Door Mouse!”

McIlwee also heaped accolades on the second recipient of the Performing Artist Award in Theatre, Andrew Enloe, a senior in communication media and video production from Albemarle, NC. “Andrew’s expressive, interesting, and dynamic face has been a powerful asset to his success. From his very first characterization, his was a ‘look’ that drew audiences into the worlds he was helping the productions create. Add his strong voice and energetic physicality, and he completes the picture of a talented young performer. His lead role this season in Dirty Rotten Scoundrels was a musical comedy gem and he had audiences roaring with laughter with every entrance! Then he turned around and immediately slipped flawlessly into the topsy-turvy adventures of Alice in Wonderland with great comic invention.”

Robert (Zach) Howell was the sole recipient of the Creative Artist Award this year for his standout music compo-sition titled 3 Sparks. Howell, a Raleigh native and a senior majoring in sociology with a minor in music composi-tion and philosophy, has been composing steadily since being introduced to contemporary classical music four years ago in Dr. Randolph Foy's 20th century music course, and has studied composition in recent years under Dr. Rodney Waschka II and Dr. J. Mark Scearce. Scearce said that Howell’s winning composition “features an imaginative approach that reflects an impressive level of artistic maturity, sureness of craft, and individual voice. His work displays a fine sense of text setting, excellent vocal writing, and a professional level of notation that makes his music stand out.”

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Andrew Enloe

Nathan Schnoor

Brett Williams

Zach HowellFall 2013 Issue 1 A9

This past summer, the ongoing renovation of the Talley Student Center included the demolition of the annex facility that housed the galleries, offices and collections of the Gregg Museum of Art & Design for the past 21 years. Days before the wrecking crews arrived, the last of nearly 40 truckloads transferred the last carefully-wrapped objects of the more than 30,000 works of art and artifacts that form the Gregg's permanent collection. These were all moved to an offsite space near J.C. Raulston Arboretum to await their final move and reinstallation in the museum’s future home at the historic chancellor’s residence, located at the north end of Pullen Park across from the Memorial Bell Tower.

Between now and then, the Gregg will continue to teach classes, publish books and catalogues, and mount exhibitions. The shows will be installed in new venues “borrowed” from other campus departments and local institutions. The first of these is MEASURE OF EARTH: Textiles and Territory in West Africa, which opens in mid-September and presents West African cloth, clothing, and artifacts from the permanent collection displayed in the gallery of the university’s African American Cultural Center. MEASURE OF EARTH suggests the vast richness of indigenous textiles in a part of the world where customs, beliefs, and ties to particular places in the landscape remain intricately intertwined.

Nowadays, it can be hard to understand how keenly these interrelation-ships still may be felt elsewhere, for in more industrialized parts of the world many local crafts and traditions have been largely forgotten, swept away in the great transformations of the Industrial Revolution, which began with the invention of the steam engine in the late 18th century.

Because we’re still in the middle of that revolution (which makes itself felt every time it becomes necessary to upgrade your software or smartphone),

its impact is difficult to absorb. Scholars like to point out that the intro-duction of steam-powered spinning jennies and factory looms – along with the discovery of flint knapping, the domestication of fire and large animals, and the development of agriculture and writing – was one of those moments in human history when everything suddenly changed.

Before then, spinning and weaving were slow, laborious tasks. The sheer amount of time and effort that went into creating cloth meant that textiles were one of the most valuable of all possessions. The billowing togas worn by gods and heroes in ancient marble statues, like the voluminous drapes surrounding kings and queens in medieval paintings, were proclamations of wealth and status. Chests containing bridal dowries were mostly filled with sheets and bolts of cloth that were worth enough to enhance the appeal of female offspring as potential spouses.

MEASURE OF EARTH reveals artifacts that still have this kind of importance, not only in how they serve to proclaim wealth, but also how the announce the wearer’s family and origins, too. With examples ranging from Mbuti Pygmy barkcloth to Ashanti handwoven kente cloth from Ghana, the exhibition shows how regional craft techniques and indigenous patterns express local customs and traditions that were as much a part of how people identified themselves and their native lands as their languages, dialects and accents.

This is only the first joint project between the Gregg Museum and the African American Cultural Center (a program of the university’s Office for Institutional Equity & Diversity). In the spring semester, the Gregg and the AACC will collaborate to present THEATER OF BELIEF: Afro-Atlantic Costuming and Masking in a series large-format color photographs by fashion anthropologist Phyllis Galembo.

MEASURE OF EARTH: TEXTILES AND TERRITORY IN WEST AFRICASEPTEMBER 19-DECEMBER 18, 2013 Installed at the African American Cultural Center Gallery2nd Floor, Witherspoon Student Center 2810 Cates Avenue (corner of Dan Allen Drive)

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