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The Worldly Voices of Joseph and Violette Meyers by John Morris For many faculty members, summer means it's time to put up the hammock, make a pitcher of lemonade, relax and catch up on all the reading that couldn't be done during the school year. Not for Joseph and Violette Meyers. For this dynamic duo, summer means it's time to pack the suitcases, get the passports in order and head for the airport. All around the world, students are waiting for the Master Classes and workshops they teach. 'We were in Tiananmen Square two days before the massacre," Violette Meyers recalls in her channing French accent, "and we didn't know anything about it until the following day, when, in Hong Kong, we read about it in the papers and saw it on CNN-that 1400 students had been killed, and another 100,000 injured. But in China, there was no news." Yet the couple returned the following summer, for they never felt unsafe-in fact, when in China, they are treated like visiting dignitaries, where the "creme de Ia creme" of professional opera singers are hungry for instruction in German, French and Italian repertoires. "Especially Italian," Joseph Meyers notes, ''They love Verdi and Puccini. We saw an excellent production of Turandotsung in Chinese!" Operas are also performed in the original languages. "The refreshing thing is how these professional opera singers, the best from a population of 800 million, are so eager for our criticism and feedback," Meyers chuckles. "Can you imagine the reaction of the stars at the Met or LaScala if we offered suggestions on how their performances could be improved?" The vocal traditions of Chinese Folk Opera, which also includes acrobatics, dance and high drama, are very different from western opera. "The Chinese style of singing is very strident, very piercing," observes Violette Meyers, "it seems they shoot the air just in one little part of your skull." Her husband concurs: "The Chinese curl the tongue upward, and the throat is constricted. We try to teach them to do the opposite, to push the tongue far forward, and to have the throat open and relaxed." Long-established western techniques that promote this relaxation are new concepts to the Chinese, such as using a mirror, or the Alexander technique- -bending at the waist to relax muscles. ''There's also a dearth of tools western students take for granted-tape recorders and phonographs." After China, the couple's favorite country in which to teach is Thailand. ''The students are not so advanced, but the people are so friendly," remarks Joseph Meyers. ''Everywhere you go, they smile and say Welcome to Thailand."' In Bangkok, the couple stays at the home of a leading architect who is prominent in music circles. ''The food is wonderful," notes Violette Meyers, who also has the reputation of an excellent cook, "and we have our own guesthouse, and the use of our own chauffeur. It's easy to get spoiled. Egypt is also fascinating, very exotic, chaotic. The people are poor, yet they seem happy with very little. Along the Nile, it's lush and green, then three miles from the river, it abruptly changes to desert. We had hoped to return to Egypt this summer, but now the political situation could be dangerous. We'd like to try Russia." Singapore, the Meyerses say, is like a clean, modern American city. ''Everybody is very efficient and hardworking, but they seldom smile." Japan was the culture that required the most adjustment. Observes Joseph Joseph and Violette Meyers on the Great Wall of China Meyers: ''It's very modern and luxurious, but the people are distant and reserved. After a schedule is set, they tend to be inflexible, and caste distinctions are important. And they have this crazy thing about their honor. The wife of a Japanese colleague volunteered to find us a city map, and after an unsuccessful, day-long search, we said 'Don't worry about it, we'll find one tomorrow.' Well, she flew into a rage. 'Why do you interfere?' she demanded. Apparently we had offended her sense of honor. She had set this goal and was determined to meet it, even if it took weeks. They seem unable to roll with the punches." While their summer travels expose them to students who are very serious about operatic careers, Joseph and Violette Meyers meet a different set of challenges among their students at IPFW. "Although some of our students have beautiful voices," points out Joseph Meyers, "vocal performance isn't the emphasis at the Fort Wayne campus-most students planning an opera career are at Bloomington. Many of our students major in music therapy or music education. So when we instruct or critique a music education student, we then explain our rationale-for having them repeat a certain exercise, for instance-so that (continued on page nine) School of Fine and Performing Arts Indiana University-Purdue University at Fort Wayne 2101 Coliseum Boulevard East Fort Wayne, IN 46805-1499 Volume 2, Number 2 IPFW School of Fine and Performing Arts November 1990 What's Inside? SF&PA Calendar 2 Comments From the Community 3 Audition Information 4 OnStage 6 OnScreen 8 Exhibits 10 Alumni News 11 Faculty Activities 11 School of Fine and Performing Arts 481-6977 Abe J. Bassett, Dean John M. Morris Assistant to the Dean ArtScene Editor Suzanne Echtenkamp Administrative Secretary 481-6714 James D. Ator, Chair Department of Music 481-6705 Leslie P. Motz, Acting Chair Department of Fine Arts 481-6551 Steven T. Sarratore, Chair Department of Theatre 481-6880 FAX 481-6555 PIT Box Office NONPROFIT ORG. U.S. POSTAGE PAID PERMIT NO. 92 FORT WAYNE, IN 46805 Received more than one copy? We use several community and university mailing lists and your name may be on more than one list. Please pass on your extra copies. Fine and Performing Arts Calendar November 11-30 Warp & Weft Weavers Guild exhibit. Fine Arts Aud., 1 026 W. Berry st. 30 Dickens Dinner. Walb Memorial Union Ballroom. ?p.m. December 1-4 Warp & Weft Weavers Guild exhibit, Fine Arts Aud., 1 026 W. Berry st. 1 Dickens Dinner. Walb Memorial Union Ballroom. ?p.m. 1 Speed-the-Plow by David Mamet. PfT. 8 p.m. 8.9 Student. Faculty & Alumni Art Sale, Fine Arts Auditorium. 1 026 W. Berry st. 15 Uffle Women. PfT/Youtheatre Production. PfT. 11 a .m., 2 p.m. 16 Uffle Women. 2 p .m .. 4 p .m . January 1991 7-31 Fine Arts Faculty Show, Fort Wayne Museum of Art. 311 E. Main st. 20 Faculty Artist Series. James and Irene Ator. saxophone & piano. Neff Recital Hall. 2:30p.m. 30 Tennessee in the SUmmer by Joe Besecker. PIT. 8 p.m. 31 Tennessee in the SUmmer. 8p.m. Student Directed Plays, Midwest Premiere Highlight PIT Season Purdue-Indiana Theatre successfully launched its 1990-91 season with David Rabe' s In the Boom Boom Room, directed by Larry Life, which played to good houses and garnered favorable reviews. Next on the playbill are two student-directed plays, Speed-the-Plow and Baby With the Bath water. Scott Diaz will direct David Mamet's Speed-thePlow, Nov. 17, 23, and December 1. lhis biting view of the show business world and its ambitious denizens afforded rocker Madonna her Broadway debut. Kendra Clauser will direct Christopher Durang's Baby With the Bathwater, with performances Nov. 16, 24 and 30. The irreverent Durang also penned Sister Mary Ignatius Explains it All For You. A breath of fresh southern air blows through the Indiana winter when Joe Besecker's Tennessee in the Summer has its Mid west premiere, directed by Life. Protagonist Tennessee Williams' character is split into two personasone female, representing the physical; the other male, representing the intellectual. See it Jan. 30, 31, Feb. 1 or 2. A Rose is a Rose is a Page Turner by Julie Herman All her life, Carolyn Hey read stories set in exotic or metropolitan locales such as New York, Paris, and San Francisco. She wanted to write a story that showed that exciting things-and even murder- happen right here in northeastern Indiana. A Rose By Any Other Name is that story. Hey approached several major publishers before her manuscript was accepted by Carl ton Press. "They were willing to take a chance on an unpublished author," she said. Hey, who teaches English composition at IPFW and has been a writer in various capacities, set out to do what writers are often told: ''Write what you know." The story is based on a dream she had and takes place in LaGrange county. Locales echo the surroundings of the Witmer Lake cottage she shares with her husband, Byard, and two of seven children. Sometimes, when driving along Route 3, "I half expect to see my characters because they became so real to me," she said. The novel's prologue is a dream sequence based on her nocturnal musings, which sets the stage for the mystery that unfolds. Jennifer Sorenson returns to LaGrange county to attend her aunt's funeral and discovers that the body to be buried belongs to someone else. A search for her Aunt Rosemary leads her to a private mental hospital, where Aunt Rose is living under another name and "receiving almost lethal doses" of the wrong medication. After Jen takes her home to nurse her back to health, a life-threatening encounter leaves the heroine defending herself in a murder trial. Hey began the two-year project five years ago, and spent six months to revise it to a first-person account that takes place in the present. She said she wrote the kind of story she likes to read-a mystery with psychological twists. Readers can only see other characters through the heroine's eyes. Hence, readers "don't know who are friends and who are enemies" until the very end. In keeping with writing "what she knows," her heroine is a nurse (Hey studied nursing), and is tried for murder (Heys father was a trial attorney). Hey found researching the complexities of murder trials most difficult. '1t isn't as easy as it looks on TV," she said. She interviewed psychologists, medical professionals, and attorneys as well as conducting library research. She even had herself locked 2 "Master Harold' and the Boys, South African Athol Fugard's play about a young white man's progression from innocence to bigotry, will be directed by Lorraine E. Sauter, visiting assistant professor in theatre and staged Feb. 22, 23,28 and March 1, 2, and 7-9. Ruth Laurion Bowman, visiting instructor in theatre is the director of The Tragical History of Doctor Faustus, Christopher Marlowe's cautionary story of a scholar who sells his soul to the devil for knowledge of the in the LaGrange County Jail-for 15 minutes-just so she could know what it would feel like. She wanted her heroine's emotions to be authentic. '1 needed to breathe the same air, see the same sights, and feel the same seclusion of a padded cell," she said. Emotions are very important to her writing. Hey uses emotion to draw the reader in for vicarious thrill. Despite the fascinating twists and turns in events, her story is character- and emotion- focused, not plot driven. She is a remarkably self-disciplined writer. She always carries a notebook in her purse, prepared to write down observations or thoughts that she can use later. She also speaks ideas and dialogue into a tape recorder, because dialogue composed on the typewriter can "sound too dry and dull." She has an IBM Selectric typewriter and last summer she bought an IBM computer, but admits: "The equipment doesn't make it any easier," and as if sensing the next question, ''Writing isn't any easier for an English composition teacher, either." In August, Carlton Press published 3,500 copies. B. Dalton Booksellers and Reader's World, Glenbrook Square; Waldenbooks, Southtown Mall; and Follett's Bookstore at IPFW all carry the book. Cover price is $12.75. Hey also distributed some copies to gift shops in Kendallville and Shipshewana. Book sales are quite healthy in LaGrange county, probably due to the story's setting in Amish country. '1t isn't an Amish story, but that is part of the background," Hey said. ''There is one Amish character." unknown, on stage April12, 13, 18-20 and 25-27. Single general admission tickets are $8; senior citizen and student tickets are $7; IPFW students with activity cards may purchase tickets for $5. The box office, (219) 481-6555, is open during weeks of performances, Monday-Saturday, 1:30-5:30 p.m., and one hour before curtain. Reserved tickets must be picked up 15 minutes before curtain. She has another book, too, a collection of somewhat autobiographical writings about merging two families into one. It is called "Stepfamily." She plans to go back now and rework those pieces, possibly developing them into a collection of short stories. A native of Van Wert, Ohio, Hey is president of Tri Kappa sorority in Fort Wayne and a member of the American Association of University Women. She teaches three English composition classes at IPFW. Her husband calls her "The Two-Week Jessica," after Angela Lansbury' s TV character, Jessica Fletcher, and in reference to her brush with fame during two weeks of book signing parties. "He's always been the celebrity," Hey said of her husband, a retired Fort Wayne Community Schools teacher who coached high school basketball for 38 years, primarily at North Side. ''Now it's my turn," she said. Preservation Triumphs Recognized An October 10 dinner at Washington Boulevard and Midtowne Place was the Wayne, Harrison and occasion for presentation of Calhoun Streets. The winner the ARCHIE awards for in a new award category, successful restoration efforts. Allen County outside the Hosted by ARCH, Fort Fort Wayne city limits, went Wayne's organization that to the Christian Salomon promotes the preservation of farmstead in Washington architecturally significant Township for a sympathetic properties, the event featured restoration and addition. after-dinner remarks by Mr. The residential category Randy Shepard, Chief Justice winner was a dwelling at of the Indiana Supreme 1124 West Jefferson Court. He stressed the Boulevard owned and importance of revitalizing restored by Scott and Tammy American cities, particularly Stauffer (pictured). Erected in in light of reduced Federal 1855, the brick, one- and one-funding, stating that "the half-story workingman's most important issues facing cottage was showcased in the the country-the economy, recent West Central education, drugs-are neighborhood house tour. directly related to the health While the classic Greek of cities." Revival and Italianate Four ARCHIE awards elements of the exterior have were distributed, including a been retained and enhanced, special ARCHIE award to the interior features modern Kennedy Development and conveniences such as an the City of Fort Wayne for additional half-bath and Midtowne Crossing, the central air conditioning. retail and residential In the commercial condominium project on the ca_tegory, ARCH cited the downtown block bounded by structure at 734 West Washington Boulevard owned and restored by Terry Slane. Originally a dwelling, the 1895 building now houses Slane Design Associates and will be open to the public during the ARCH Holiday Open House Dec. 7-9. For more information on this event, call 426-5117. 3 The stauffer House. Archie Award winner in the residential category Photo by Don Orban Auditions CIVIC Theatre A Midsummer Night's Dream Late December: Call 422-8641 for more information. First Presbyterian Theatre Death of a Salesman Dec. 4-5, 7 p.m. Pygmalion Jan. 20, 2 p .m .. and Jan. 22,7 p.m. Fort Wayne Youtheatre Klmchl Kid Nov. 26-27,4 p.m. Purdue-Indiana Theatre Tennessee In the SUmmer November 18, 1 p.m .. PIT 'Master Harold' and the Boys December 4, 7:30 p .m. Kettler Hall, Room G38 The Towns of Harmony Chorus A four-part harmony singing group for women holds open auditions every Monday. 6:30 to 9:30p.m .• at the Tillman Road Church of God. 3710 Tillman Rd. (436-3479) Fort Wayne Community Band Auditions can be arranged by contacting Dr. G. Cavanagh. conductor, at 481-6727 or 481-6714. Real Purdy Stained Glass by John Morris ''Indiana has been very good to me," states stained glass artist Steve Purdy, ~~especially Fort Wayne. It's very easy to live here, there's very little B.S." A response to a question posed as to why this nationally recognized craftsman, one of only about 20 in the United States who paint stained glass, has chosen Fort Wayne when he could live anywhere he likes. 11I love living in the West Central neighborhood-l've always wanted to own a big Victorian house. You can't find houses like these just anywhere, and nowhere at these prices." At a time when many young Hoosiers were heading for the West Coast, this Californian bucked the trend and emigrated to the Summit City. "City Glass flew me out in '79, and I worked for them until1988. They were very good to me, very nice people to work for." Upon entering Purdy's West Central studio, in a restored carriage house at the back of his lot, one is reminded of the workshops of medieval Europe, when craftsmen like Purdy designed and built windows for the great cathedrals. Here, and the whole mood of this glass mosaic changes, giving it almost a supernatural life of its own. The distance from which a window will be viewed, and its location, are also very important. Blues are best for north-facing windows, and south- facing While in their employ, he Stained glass painter Steve Purdy in his studio designed stained glass Photo by Elmer Denman installations for the St. Joseph Medical Center chapel, Trinity Episcopal Church, and the mausoleum at Concordia Gardens Cemetery. During this time, Purdy also took drawing classes at IPFW' s Berry Street campus. 11Then, in my midthirties, I reached a point when I wanted to be selfemployed- to have a flexible schedule and to choose my own projects." Some of those projects included windows for local restaurants: Henry's, Ernie's, and Harlequins. Informally apprenticed at the age of 14 with the Hogan Stained Glass Company is Los Gatos, Calif., Purdy considers himself lucky because "I knew at a very young age what I wanted to do for the rest of my life-and I've done just that, . except for two weeks in a record store and one week in an antique shop." Before coming to Fort Wayne, he worked on projects at St. John's Lutheran Church in Rochester, Mich. and at the Colorado State Capitol, and also attended the Swansea College of Art in southern Wales. In addition to being an artist/ designer member in the Stained Glass Association of America, he is certified by the City Guilds of London Institute and the British Society of Master Glass Painters. the floor is strewn with ''cartoons" -schematics--of current projects, such as ten 4' x 15' windows for the First Christian Church in Madison, Ind., and a display panel for Fox Studios at Indianapolis' Meridian Design Center. Although "the selection of colored glass from which to choose is greater than at any other time in history," the techniques Purdy uses are much the same as they were in the Middle Ages. He no longer performs the 'benchwork,' or journeyman duties- -glass cutting, leading, soldering-as he did earlier in his career, but now focuses on design and glass painting. While color is supplied by the glass panes, the paint is always the same brown vitreous enamel, providing contour and shading, with different effects achieved by brushstrokes or stippling. The painted panes are then baked in a kiln for permanence. 110ptics is the name of the game," states Purdy. ~~For me, the magic is in handling the modulation of hundreds of colored lights. That's how a stained glass window can achieve depth and dimension, almost like a hologram: by shading these colored lights. Of course, other factors come into play, as when the sun outside the window goes behind a cloud, 4 windows can handle the strong, vivid colors." Like his techniques, Purdy's philosophy about his craft are in harmony with those of his medieval predecessors. "The stained glass craft reached its zenith in the 12th century. What made medieval windows great was the craftsmen's affinity for the medium. Their design method accentuated the patterning of little pieces of glass, creating a two-dimensional wall of colored lights-a practical approach in line with the 'age of reason.' The 16th century -the renaissance -was the 'age of fancy,' and also the time when the 'artist' was invented. The concept of 'fine art' was the downfall of stained glass. Suddenly, it was 'How can we take this painting and tum it into a stained glass window?' They used larger pieces of glass and attempted to hide the lead lines." The legacy of this approach, posits Purdy, remains today. ''Viewers of a modem piece of stained glass art will say 'Wonderful! You'd never know it was stained glass.' Then I say, 'Why bother?' Why deny the medium? Stained glass is an architectural artform, not a gallery piece. I believe that by utilizing the limitations of the medium, you will find your ultimate freedom." 11Many so-called stained glass artists today are really mixed-media artists. I call it 'suicidal art.' They mix plexiglass in. It may look great. But they'd better get famous fast! Because who knows how soon it will all crash apart?" And although he uses time- tested techniques that conform to the laws of gravity, Purdy admits that "I don't know how long it will last. I see my windows as 'notes in a bottle'-! can only hope they'll be around after I'm gone." To try to ensure this, Purdy ritually blesses his finished work with a 'magic wand.' Although Purdy admits he was a Tiffany devotee in the early 1970s, he has since come to appreciate the various styles of stained glass painting. He currently favors the English style over the German style, which is an outgrowth of the Bauhaus movement. "The German style is very linear, tending to be abstract. The English style relies more on modulating tones in a single pane through brushstrokes, with an emphasis on optics. I hope I'm carrying on a tradition that re-emerged in the 1920s and 1930s, when English craftsmen rediscovered the optic advances of the Middle Ages. To me it's more soulful than movements in Germany that reflect a perception of art as a well-oiled machine." "Of course, because my pieces are commissioned, the style in which they are executed depends quite a bit on the tastes of the church board, or whoever-and then, after the glass-cutting stage is reached, there really can't be any design changes. That's because the volume of material is so great, and the work is so time- intensive." Purdy adds that because of the time and material involved, he generally accepts no commissions less than $1,000. "But I will make an exception to that rule if the client is someone with a house in West Central. It's very gratifying to me to see these old houses restored, and because I live here, I have a vested interest in this neighborhood." An "easy" A? No way I by Niki Wilkin Students involved in the music department at Northrop High School strive for excellence in all their performances; it means plenty of work without much reward. Some trophies and the feeling of accomplishment can't compete with the hours of rehearsals and home practice needed. With an enrollment of 2,100, participation in the vocal or instructional divisions number more than 600, so Northrop can be proud of its music department. Adding the 150 or more students involved in drama, it becomes evident that fine and performing arts are alive and well in this school. "Our department is strong because there are no beginning teachers here," said Barry A. Ashton, music department chair and head band director. "If you totaled the number of years of experience among us it would number close to 135 years." (The "us" refers to Ashton, William R. Heins, head choir director; Scott R. Brown, assistant band and choir director; and Richard Seeger, head orchestra director.) From the first day of class, all music groups work independently. Marching band music, for instance, is reserved for marching band practice and concert band music remains in concert class. The bands, orchestra, and choirs enter state (ISSMA-Indiana State School Music Association) competitions and rarely bring back scores of less than a "superior" rating. Students are encouraged to participate in the solo I ensemble competitions in January and February. The music department sponsors seven vocal/ instrumental concerts throughout the year. If instrumental music is your choice, you have a wide variety from which to choose. There are three large classroom bands: freshman, varsity, and concert. Freshman band has an enrollment of approximately 100 students. The varsity band consists of sophomores and a sprinkling of juniors and seniors. The concert band comprises juniors and seniors, with some underclassmen. Students are encouraged to stretch themselves musically by sight- reading a variety of music and new music is introduced frequently. Jazz from three jazz bands often fills the halls after school. "The jazz program at Northrop is one of the best in the state of Indiana," Ashton proudly admits. Placement in Jazz I and II are by audition only; with membership in the marching band an additional requirement for Jazz I. Participation in Jazz III is open to anyone who auditions for either of the other bands and shows and interest in the subject. All three bands perform at various functions, although Jazz I travels more extensively through the winter months. In 1988, Jazz I was invited to perform for the National Band Association meeting in Chicago. As a recognition of his work with this group, the association named Ashton Outstanding Jazz Educator of the Year. Bill Heins has five performing choirs: treble, tenor-bass, advanced treble, concert, and swing choir. The choirs perform for school events, local business dinners, fraternal organizations, nursing homes, and other community functions. The tenor-bass and treble choirs meet daily and are preparatory for the concert choir. The advanced treble choir is composed of sophomore through senior girls with backgrounds in choral singing. The swing choir (Charisma) competes in midwestern and national competitions. A lot of time is spent completing a performance that includes vocal, instrumental, and dance elements. The music is pop style. The ensemble consists of singers/ dancers, a small band, and a technical crew. The Northrop orchestra is a growing one. It comprises about 75 members, with 45 strings. It is an encouraging 5 Competition means concentration for Big Orange Pride members. Photos by Joel Grove, Northrop High School yearbook staff. and promising sign that students are looking for exposure to all kinds of music. Every spring the orchestra works with Delmar Proctor and the drama department to produce a musical. The productions use Broadway scores and scripts, resulting is high-scale productions with a growing audience each year. In the Big Orange Pride (BOP), pride is the key word-pride in themselves as a unit and pride in what they can accomplish. The marching band was 225 strong this year, the mostencompassing group of students in Northrop High School. Throughout the summer, daily practices after school, and endless Saturday practices and contests, these kids drilled, rehearsed, and performed. Three are no auditions for the marching band, just the will to work. Ashton thinks that one of the best things about it is that the kids learn how to win and not win; how to deal with either alternative. They learn discipline-how to take it and how to live with it. They work with all kinds of people and learn how to deal with problems arising from different personalities. Ashton's philosophy includes proper conduct and respect for others at all times by running his BOP with a strict but firm hand. He instills a sense of worth and class; the BOP not only performs with it, but acts with it. The BOP has competed in the state finals each of the 18 years Barry Ashton has been director, bringing home a state championship in 1983. Charisma members wish "Happy Holidays· at the 1989 Yuletide Concert. On Stage November 23 Speed-the-Pfow. PIT. 481-6555. 24.30 Baby With the Bathwater. PIT. 481-6555. 30 1940s Radio Hour. through Dec. 15. Arena Dinner Theatre. box office 493-1384. December 1 Speed-the-Plow. PIT. 481-6555 14-30 It's a Wonderful Ute. Fort Wayne Civic Theatre. box office: 424-5220. 15.16 Uttle Women. Fort Wayne Youtheatre. box office: 422-6900 or 481-6555. January 18 Death of a Salesman. through Feb. 2. First Presbyterian Theatre. box office: 422-6329. 30 Tennessee in the Summer. PIT. through Feb. 2. 481-6555. Life wins Ulmer Award Larry L. Life, associate professor of theatre, received the first Jack Ulmer Memorial Fund for Service to Minorities and/ or the Disabled Award at the annual IPFW Honors Convocation, Oct. 7. Debra Ulmer-Kolkman made the presentation. Ulmer-Kolkman praised Life's commitment to social issues, minority theatre artists, and his role in the development of PurdueIndiana Theatre's nontraditional casting policy. He spends most of his time helping his students-and his audiences-sec much more. Since coming to IPFW in 1971, Life has directed a host of "issue" plays, the type that often are considered controversial. That's an adjective that Life has been stamped with for years and which he enjoys. theatre as a medium of education and affirmative action, but in this instance it is true." Life believes casting capable actors regardless of race or sex at the very least produces a good play; and at the most, can raise interesting new questions. '1 should see a black Hamlet on stage or a black Lear," he said in an April1988 NewsSentinel interview. "I'd like to do more gender-bending," Life says when asked what new areas he will explore in future productions. Part of the reason is the lack of good roles for women. "We simply do not have enough good women writers writing for the theatre," he said. play in its time for making the public aware of homosexuality as a lifestyle. Bent (Nov. 1981) presented the "forgotten Holocaust": the Nazi torture of homosexuals. For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (July 1985) packed summer houses with its powerful choreopoem about the female AfricanAmerican experience. Tobacco Road (Nov. 1985) cast a black woman in the role of Pearl, the most funds from the Purdue University Affirmative Action Award. The Elephant Man (Nov. 1988) told the story of disfigured John Merrick, and the shining spirit within him. Actor Blake Steury used no special makeup; instead, he interpreted the role by contorting his body. Sister Mary Ignatius Explains It All For You (Nov. 1989) cast an AfricanAmerican woman in the title role of didactic, overbearing nun. The actress, Wanda Getsug, competed at the regional level for the prestigious Irene Ryan National Acting Scholarships. In addition, Life has sought plays that express problems of women and the way society deals with them. "I like to raise questions with the plays I do," he said. "I think that good playwrights - and good directors--don't give answers. They ask questions. It's up to the audience to determine an answer." "I don't think anyone ever walks out of the theatre after one of my shows, saying 'hohum,"' Life said. "I think that's important. I can't stand complacency; I can't abide the 'middle of the road,' particularly when it comes to human rights." Issues Life has explored-and for which he won the Ulmer awardinclude homosexuality, For Colored Girls: Six African-American actresses formed the strong ensemble cast in Ntozake Shange's choreopoem. In 1987, Purdue University awarded the prestigious Affirmative Action Award to PIT for its religion, treatment of women, racism, child abuse, and handicaps. In the 20 years that Life has directed plays at PurdueIndiana Theatre, he can name only "about six" that haven't dealt strongly with some beautiful daughter in a poor, racist Southern white family. The Normal Heart (Sept. 1986) challenged audiences to view victims of AIDS with compassion as the disease was hitting epidemic proportions. A public forum at IPFW, "The Hoosier Heart: AIDS in Indiana," helped audiences deal with the issues raised in the play. Blake Steury contorts his body to suggest the deformities of The Elephant Man. The Diary of Anne Frank (Oct. 1986) blasted religious discrimination in its story of the persecution of Jews, as told through the observations of a sensitive 13-yearold girl, hiding from the Nazis as the Holocaust exploded around her. commitment to training African-American theatre artists and technicians. Said Purdue President Steven C. Beering at the time, 'We don't often think of the kind of social issue. The brief list below illustrates the volume and scope of Life's projects. The Boys in the Band (Oct. 1972) was a ground-breaking 6 The Great White Hope (April1988) assembled the largest interracial cast ever in Fort Wayne. It was produced with an AfricanAmerican guest artist in the starring role, supported with Feb. 1990 Oct. 1990 Room Jan. 1991 Tennessee in the Summer Art and Censorship Issues Explored by John Morris "Art is not about like and dislike. Art is about looking through the eyes of someone else at a world we may not know, a world we can learn something about." Robert Bush, President of Arts United of Greater Fort Wayne, expressed these sentiments at the first of a four-part lecture series on art and censorship at the Fort Wayne Museum of Art, sponsored by the Museum Alliance. Christopher Guerin, General Manager of the Fort Wayne Philharmonic, and Emily Kass, the museum's Director, were the second and third speakers, respectively. At press time, the fourth lecture was scheduled to be given by a representative of the Indiana Arts Commission. For the most part, the controversies that spurred the autumn lecture series have since been resolved. A Cincinnati jury acquitted museum curator Dennis Barrie, who exhibited the Robert Mapplethorpe photography show, of obscenity charges. In Congress, both the House and Senate voted to continue federal funding for the National Endowment for the Arts, and also declined to assume responsibility for determining which artists and what types of art would be funded. The task of determining what is obscene will continue to fall to the courts, but any artist whose work is judged obscene, or any gallery convicted of exhibiting obscene material, will be required to return the funded amount to the NEA, and also be prohibited from applying for further NEA funds for three years. Bush pointed out that censorship and NEA funding are really two separate issues, and provided historical background on both. The urge to censor, he noted, has a long history in the United States, "from the 1818 Family Shakespeare to modern books such as Joyce's Ulysses. And groups who promote censorship have always been diverse--recently, Huckleberry Finn has been removed from reading lists because racial stereotypes were offensive to minorities." Like the other speakers, Bush pointed out that works of art or literature should be evaluated within the context of a given time and culture; merely because they depict elements of a culture does not necessarily mean they intend to promote a certain lifestyle or way of thinking. "The Civil War photos of Matthew Brady, considered shocking at the time, dispassionately depicted war. It didn't glorify war; it was tangible evidence of the horrors of war for people who had never been exposed to it." The NEA was established during Eisenhower's administration in 1955. Ironically, many artists were then opposed to the NEA. because they feared it would have the role of a 'cultural watchdog'; memories of McCarthyism were fresh. But such fears were unfounded, for the NEA's charter stated from the start that ''No department, agency, office or employee of the U.S. government shall interfere with NEA decision-making." In the last thirty-five years, thousands of arts organizations have received millions of dollars, spurring unprecedented growth in local symphonies, operas, dance troupes, and art musPums. As Guerin pointed out, "The Fort Wayne Philharmonic has received $45,000 in NEA grants, which in part made possible the hiring of 18 professional musicians. And only 6% of NEA grant money has ever gone to private artists." The NEA, it has generally been agreed, was unique among government agencies. It accomplished what it set out to do, doing so with efficiency and with few wrinkles. Then came Robert Mapplethorpe. And Jesse Helms. Jesse Helms is a Republican Senator from North Carolina. Robert Mapplethorpe was a photographer whose career began in the fashion industry, then progressed to portraiture and stilllifes. His photos, exhibited in international art galleries, brought high prices. He was a homosexual. He died from AIDS in 1988. During his life, he never accepted a dime of NEA funding. Some of the photographs Mapplethorpe took reflected the world and times he lived in; the subcultures he moved through; even his sexual proclivities. Shortly before his death, a retrospective of his career was planned, and he helped to select the hundreds of photographs it was to contain. Mter his death, persons coordinating the exhibit decided to include certain photographs that Mapplethorpe had not intended for the retrospective, but these coordinators deemed them important representations of a certain phase of the photographer's artistic development. These were the photographs Jesse Helms found obscene. The seven images showed partially undressed children, male genitalia and nonmainstream sexual acts. Senator Helms objected to the use of tax dollars to fund an exhibition containing images that most voters would find patently offensive. He then introduced legislation to block NEA funding. The Corcoran Gallery in Washington cancelled its exhibition of the retrospective. The show went on in Cincinnati, but the seven photographs in question were sequestered in a separate room from the more than 100 other photos, visible only to those who made a special effort to view them (and each of those photos had been intended to be part of a sequence-a subcontext-within the larger exhibit). Curator Dennis Barrie was charged with obscenity. Those are some facts. Now, some opinions from speakers and members of the audience at the lectures: "What's the big deal? Nobody forces you to go into a museum and look at something." "An artist does not have an untenable right to public funding." "It's not what you've created, but who you are." "Certain ideas are at war with taste and good judgment." "By separating those photographs, they mutilated a single work of art." Guerin: "Art is the Research and Development of the soul, of the collective spirit." Obviously, art (or what may be considered as art) can 7 be a very emotional issue. As far as the recent NEA debate is concerned, it's important to remember that censorship was never the issue, at least not the overt issue. The issue was how government funds could be used. As a proponent for restrictions on NEA funding recently said on the MacNeil-Lehrer Newshour, "It's unfortunate that artists want to denigrate and attack religion, but we recognize that there is no legal penalty for sacrilege. We are not trying to take away anyone's First Amendment rights-an artist can paint whatever he chooses. But we do feel that when tax dollars are involved, higher standards should be met." On the same broadcast, this opposing view was expressed: "The new NEA penalties will have a chilling effect on art and freedom of expressionsetting precedents that give oppression the green light." Emily Kass, Director of the Fort Wayne Museum of Art and the series' third lecturer, recently returned from Poland and was able to offer insights on the relationship between government and the arts in repressive societies. Much of her presentation focused on Hitler's Germany, where artists were persecuted, blacklisted as "traitors," even sent to Nazi concentration camps. Van Gogh, Max Beckmann, even Mies van der Rohe were labeled "degenerates." Flat- roofed Bauhaus structures were improved by adding pitched roofs. The Nazis cultivated a slate of official artists whose posterish styles stressed 'family' values. And, as Kass pointed out, "This didn't happen overnight-it was a gradual, insidious process." When she related the events of the Mapplethorpe controversy to a Polish curator, she found that he couldn't grasp what she was talking about, indeed, had trouble understanding the concept of censorship. ''In those countries, they have no tradition of freedom of expression. What goes in an art museum is decided by a state central committeeperiod." Kass has professional experience with community pressure to dictate what a museum may exhibit. When the Smorgan Family Collection was exhibited at the Fort Wayne Museum of Art in 1986, a piece that incorporated a 9' x 13' American flag became a cause celebre. While special interest groups demanded it be removed, the museum held its ground, and kept the piece on display. "Actually, the whole ordeal turned out to be a positive experience. The board supported our decision, and for the most part, so did the community. Even people who disliked the painting for aesthetic reasons said "Don't give in. Don't take it down."- Yet Kass admits that a certain amount of censorship is necessary. "To a certain extent, institutions practice self-censorship, a priori censorship. We become the institutions our funders want us to be, the communities we serve want us to be. We have to use our judgment about what is appropriate, interesting, and also what is simply not good art." On Screen IPFW Student Activities Board 481-6590. Classroom-Med ical Building. Room 159. 7:30 p.m. November 28· Heart Condition December 5 The Hunt for Red October 12 We're No Angels Fort Wayne Cinema Center 745-3456 Museum of Art Auditorium. 311 E. Main street. November 23.24 Walt Disney's Bambi 2and4p.m. 30 Wild at Heart. 7:30 and 9:30p.m. December Wild at Heart. 7:30 and 9:30p.m .. continues Dec. 2. 4:30 and 7:30p.m. 8 The Handmaid's Tale. 8 p.m.; and Dec. 9. 4:30p.m. 15.16 Mickey's Christmas Carol. Miracle on 34th street 2 and 4 p .m. both days Embassy Theatre 424-5665 December 22 Those Magnificent Men in Their Rying Machines. 8 p.m.; and Dec. 23. 2 p .m. January 4 42nd street. 8 p.m.; and Jan. 6. 2 p.m. PRINTMAKING! PRESS BEGINNING DESIGN Art. Sport. or Both? Can sport be art? The 18th annual meeting of the Philosophic Society for the Study of Sport, sponsored by the IPFW Department of Philosophy, provided an unexpected forum for addressing this question on Oct. 12 when Dr. Peter Arnold, head of the Department of Physical Education at Dunfermline College in Scotland, presented his paper "Further Reflections on Art and · Aesthetics." Sheila Bruerung of IPFW' s philosophy department was moderator for the session, in which Dr. Spencer Wertz of the Department of Philosophy at Texas Christian University was given an opportunity to respond to Arnold's thesis. Arnold, at one point, came close to defining art: "A work of art is a unique presentation of embodied meaning," yet allowed that what exactly constitutes art remains open to debate. While an artifact may be evaluated by aesthetic criteria, and the disinterested and sympathetic contemplation of an object or situation may evoke an aesthetic perception, that in itself does not qualify the object or situation as "art." Even the intention to create a work of art is no guarantee that a work of art will result; if the attempt unsuccessful, the product is not art. Arnold then surveyed which sports might be considered art. Football, basketball, rugby, tennis, hockey and soccer were disqualified, for the sole object of these activities is to win a match; any aesthetic properties are a bonus. Artforms such as dance and mime are closest to sport, because proficiency depends on athletic prowess. The sports that might also be art were identified: gymnastics, ski jumping, synchronized swimming, figure skating, and ice dancing. Here the aesthetic is intrinsic, defining the nature and character of the activity. Four philosophic approaches to establish sport as art were then refuted by Arnold. The aesthetic 8 approach conflates "Art" and "aesthetics," arguing that objects or activities that can be perceived in aesthetic terms qualify as art. No, says Arnold. A sunset can be perceived in aesthetic terms, but that does not make it art. The analogous approach relies on the value of similarities and resemblances: sport is art because both are creative and observable. Wrong again. "It is necessary to be clear about what art is in its evaluative sense before making a case-pointing out similarities isn't enough." Proponents of the intentionalist approach say "an artistic intention is enough to qualify an effort as art." The intention, Arnold reminds, is not the work. What is produced is what counts. The fourth approach, the institutional approach, represents the belief that an expert or authority, by calling something an art object, or "conferring" it with the status of art, can make it art. Subjectivitity and ulterior motives nullify this argument. So many elements are astir-tradition, selfinterest, taste, profit, convention, promotion-that the issue is only muddled, and we remain bereft of a viable definition of art. It may indeed be impossible to say whether sport is art until a universal definition of art has been established. When we reach that point, we might use certain concepts Arnold supplied for the argument that certain forms of sport are art. In figure skating, as in ballet, the goal is to create an aesthetic situation, a "vignette" affording the opportunity for a creative, freestyle performance. The performer must have musical ability and training, must meld emotion and technique, and the whole is further enhanced when the performer is attractive and well-proportioned. The costume is an additional aesthetic factor. The music, and the performer's interpretation thereof, may be concerned with symbolism or exploration of '1ife issues," both frequent considerations in art. Quite possibly, what distinguishes ballet and figure skating as art or sport are accidental, defacto cultural traditions: the forum where these activities are performed (concert hall or arena) and the parties who are authorized to evaluate them. Plan Now for Holiday Arts Events For those interested in the arts, the winter holiday season in Fort Wayne provides festive events to meet nearly every taste, and a bit of planning can help to avoid conflicts in one's engagement calendar. Music lovers may choose from favorite traditions such as the Fort Wayne Ballet and Fort Wayne Philhannonic' s annual presentation of The Nutcracker (Nov. 30- Dec. 9, 484-9646) or the IPFW music department's Dickens Dinner (Nov. 30- Dec. 1, 481- 6714) that will be reprised at the Auburn Cord-Duesenberg Museum on Dec. 2 (925-1444). The Fort Wayne Philharmonic Pops Series features Holiday Pops at the Embassy Theatre (Dec. 8, 2:30 and 8 p.m., 424- 5665), and the Philharmonic's Spectrum Series stages Christmas at Sl Paul's Lutheran Church Dec. 15-16 (424-5665). The Fort Wayne Community Band presents its Chrisbnas Concert at the Scottish Rite Auditorium at 7:30p.m. on Dec. 18 (481- 6714). From Dec. 14 to Dec. 30, The Civic Theatre stages It's a Wonderful Life, based on the heartwarming Frank Capra film classic. Call424-5220 for specific performance times and ticket information. The Fort Wayne Cinema Center screens two children's favorites, Mickey's Christmas Carol and Miracle on 34th Street, Dec. 15-16 (745-3456). Also for children, the Dec. 8 Party for Saint Nicholas, from 10 to 11:30 a.m. at the City Hall Historical Museum, will feature storytelling and refreshments (426-2882). November 25 is Family Holiday Open House day at the Fort Wayne Museum of Art. Sponsored by the Museum Alliance and WMEE radio, the Mad Hatter's Tea Party is designed to complement the Museum's exhibit, "Alice (and Look Who Else) Through the Looking Glass," and features the New World Theatre Group, a cakewalk, storytelling, candlemaking and other crafts. The event, from 1 to 4 p.m., is free to those bringing a canned good for the needy (422-6467). Fascinating for the whole family, the City Hall Historical Museum's Festival of Gingerbread, on most days from Nov. 21 - Dec. 16, showcases a competition of more than 100 houses made from gingerbread and other edible materials, in four categories: children, teenagers, adults, and professionals. At the same museum, from Dec. 22-30, see antique Christmas Toys & Gingerbread (426- 2882). All day Dec. 1-2, the clock is turned back to an 1816 Christmas at Historic Fort Wayne (424-3476). Adults will enjoy the ARCH Holiday Open House, Dec. 7-9, at the Slane Design Studio at 734 W. Washington Blvd., where antiques, artworksbylocalartists, Christmas decorations and floral arrangements will be sold. December 14 provides an opportunity to hobnob with the creative when the Fort Wayne Artists Guild holds its annual Christmas Party at Lambro' s Steak House (745-9602 or 424-4306). Voices (continued from page one) they will know what to do when they are teaching. So you're really teaching two different things at the same time. You can't give someone an excellent voice, but you can make them into an excellent teacher." "When students give really lovely senior recitals, that's very rewarding," adds Violette Meyers, "especially when you've helped them reach their full potential. They don't have to be fantastically talented, but a certain amount of raw material must be there-something to work with. And you can correct flaws, like too much vibrato, or too little." ''But I don't do voice therapy-that's for doctors. With a diseased voice-nodes or ulcers on vocal chords-! can't do anything. I had a voice student who was also a cheerleader. I told her 'You have to choose; you can't do both.' After she cheered at a weekend game, it took me all week to smooth out her voice, to get the hoarseness out. Then she would go out the next weekend and do the damage all over again." ''What we do is nitty gritty vocal instruction," her husband adds, ''because unlike Madame Losthervoice -she was a big star at the Met, then she lost her voice, and now teaches only the most promising students-we have to be prepared to teach students of all levels of talent and accomplishment. If you're not fabulously talented, Madame Losthervoice will tell you, 'I'm sorry dear, but my schedule is too full.' Really she's a coach, not a teacher. Her students are already accomplished. She'll say: 'More emotion! when I sang that at LaScala I was very emotional.' But unlike Madame Losthervoice, we have to start from scratch with many students. Actually, we're luckier than she, for we've had to learn all facets of vocal instruction, from the elementary to the advanced." The route that brought Joseph and Violette Meyers to Fort Wayne was circuitous. Both studied under Elisabeth Rado at the Vienna Academy and went on to careers singing on the concert stages in Vienna, Rome, Milan, Geneva, Bonn, Salzburg, Innsbruck, Graz, Florence- the major venues of Europe. A native of Kansas City, Joseph Meyers recalls a certain amount of resentment from German and Austrian colleagues when, as a lyric tenor, he was offered plum roles, "roles that normally would have gone to The ArtScene is made possible by these sponsors. Thanks! Fort Wayne Medical Laboratory Corporation GRUENINGER 600 Coliseum Boulevard East Fort Wayne, Indiana 46805 219-482-8251 Indiana Toll Free 1-800-552-4978 TRAVEL SERVICE Of roRT WAYNE. INC Ann E. Spink, D.C. Chiropractic Center, P.C. Accident, Injury, Pain Clinic 5939 Stoney Creek Drive Stoney Creek Professional Park Fort Wayne, IN 46825 (219) 482-8592 9 STAR -::::;;;;;;;;:~ FINANCIAL - BANK .\l•mb•' FDIC singers of those nationalities, if their training hadn't been interrupted by the war." ''Yes, and they could be very nasty with their jealousy," Violette recalls, "like the time they put sneezing powder in your hat before you went onstage." Both laugh at the memory, then Violette adds: ''Let's face it, show business is a hard life-pressure, competition, physical exhaustion. After a while, it wears you do.~wn." With two young daughters, the couple welcomed an opportunity for change when Joseph Meyers was offered a teaching position at Avila College in Missouri, which in tum led to a university position in illinois. How does this sophisticated native of France feel about living in Fort Wayne? "Our 17 years here have been very happy. I'm naturally curious, so I'm happy in whatever culture I find myself. But I must say that America is a very generous country-there is so much room for diversity, flexibility." Clearly, the curiosity and sense of wonder that both Joseph and Violette Meyers share will serve them well as they continue to teach, and learn from, the people of the world. Exhibits November Nov.-Jan. 6, 1991 Ceramics and Weavings. First Presbyterian Church Gallery, 300 West Wayne st .• weekdays 9 ci.m.-4:30 p.m.; weekends 9 a.m.-11 :30 p.m. 10 Reaching. to Jan. 27. Fort Wayne Museum of Art. 311 East Main st. 11 Warp & Weft Weavers Guild, to Dec. 4, IPFW Fine Arts Auditorium. 1 026 West Berry st. 17 Allee (And Look Who Else) Through the Looking-Glass. to Jan. 20. Fort Wayne Museum of Art. 311 East Main st. December 1 Bizarre Art Bazaar at Arttink, ceramics; paintings; quilts; glass; sculpture; paper. wood, and mixed media by Arttink artists; 1030 BroadWay, 9 a .m.-5 p .m. 7 Painting Now II, to Jan. 18. Arttink. 1030 BroadWay. January 8-Feb. 3 IPFW Fine Arts faculty show, Fort Wayne Museum of Art. 311E. Mainst. The Fort Wayne Artists Guild members have exhibits at various locations throughout the city; call 745-9602 for details P,.helps Mag!!fl!!IJl!mpany Thank You, Donors! The staff, faculty, and students of the School of Fine and Performing Arts extend a public thank you and sincere appreciation for the donations we have received this year. You are helping us make our dreams a reality. Chancellor's Society ($1,000 and above) Fort Wayne Fine Arts Foundation Golden, Eleanor Olive B. Cole Foundation Plogsterth Foundation (Margaret Plogsterth) Dean's Society ($500-$999) Fort Wayne Alumnae Chapter Sigma Alpha Iota Kenworthy, Gay W. Rolland, Mimi and Ian Century Group ($1Q0-$499) Barrett & McNagny Central Soya Citizens National Bank of Whitley County Dickerson, Grace Leslie Coopers & Lybrand Fort Wayne National Bank Fort Wayne Philharmonic Fort Wayne Women's Club Haverhill Elementary School Hofer, Alan K. Iaquinta, Leonard Indiana & Michigan Power Co. Jones Engineering Kuhne, Jean Laker, Marcia J. LeBlanc, Annmarie Lincoln National Bank Lincoln National Corporation Lydy, Max W. Jr. Macke, Mr. & Mrs. E. H. McCullough, George National Serv-all North American Philips Corp. North American Van Lines Penney, J.C. Company Phelps Dodge Physician's Health Plan Pi Chapter Psi Iota Xi Robinson, Thomas Rogers Markets Sarra tore, Steve & Jan Stein, Mr. & Mrs. James St. Joseph Central Elementary School PTA Towne House Retirement Community Wilder, Michael J. Wolohan Lumber Benefactors ($1-$99) Adams Center Chemical Waste Mgt. Allied Van Lines Cafe Johnell Cardiology Consultants Central Supply-Fort Wayne Corbett, Charles Chris Stauffer Homes Cottrell, David & Linda Cox, David J. Cummings-Bridge, Ann D.O. McComb & Sons Data Processing Management Association, Northeastern Indiana Chapter Don Ayres Auto Mall Don Hall's Guesthouse Drees, Perugini & Company Ensley, David Fagan Whitmore Myers Koehlinger Folson, Charles Fort Wayne Civic Theatre Fort Wayne Hilton Fort Wayne Museum of Art Fort Wayne Occupational Health Center Fort Wayne Printing Francis M. Price School Garvey, Eileen M. GeorgeS. Olive & Company Goeglein's Graham-Lantz Grueninger Travel Gutman, Mr. & Mrs. Phillip Hahn, Carol Hellinger, Kimberly Holdeman, John Holiday Inn Downtown Home Loan Savings Bank Honak, Mary HWI Indiana Construction Corp. INB Banking Centers Internal Medicine Associates, Inc. Jacquay, Gerald Jiffy Lube Johnson, Kenneth & Martha K-Mart Corporation Karns, Donna C. Karst, Deena Kelly Box & Packaging Corp. Kirby, J. Randolph Koenig, Mr. & Mrs. Edward Krouse, Kam & Company Landau & Heyman Leadbetter, Susan J. Lingenfelter, Linda Litchen, Tina Lutheran Hospital Manpower Temporary Services McCrory, Dick & Cynthia Midland Incorporated Milnar, Virginia Motsinger, Greg M ullinex Packages, Incorporated National Association for Music Therapy Northeast Orthopaedics, Inc. Nowak Supply Co., Inc. Orthodontic Specialty Services Park Center, Inc. Professional Federal Credit Union Salinger, Charlotte D. Schneider, Gregory Scott's Foods Shambaugh, Kast, Beck and Williams Smith, Robert C. Sowers, Betty Stewart, Marjorie Summit Coaches Tom Kelley Buick Toepfer, Dr. & Mrs. Orion Tuggle, Nelson Uniroyal Goodrich Vollmer, Robert Waterfield, Anne Wayne Home Equipment WBNIRadio Weigand Construction Weisser Park School Winchell, Beth Lynn WKJG Channel 33 WPTA 21 Alive YMCA of Greater Fort Wayne Special thanks to the Percussion Center and Roethele Lumber for time and materials donated. Dickens Dinner, Recitals Make Music Season Noteworthy Sponsored by the Department of Music, the annual Dickens Dinner spreads holiday cheer on Nov. 30 and Dec. 1, and at press time a limited number of tickets were still available. In the tradition of Charles Dickens, a luscious English banquet begins with the wassail bowl. During and after the meal, guests will be entertained with vocal and instrumental music as well as verse. Proceeds from the event go to music department scholarships. For more information on this event, and those that follow, call Music at (219) 481- 6714. The Faculty Artist Series continues with the Jan. 20 recital of James D. Ator, chair of Music, on saxophone, and Irene Ator, director of music at the First Wayne Street United Methodist Church, on keyboard. All series performances are at 2:30p.m. in Neff Recital Hall on the IPFW campus. Artist-in-residence Masson Robertson, who specializes in piano music of the Roman tic era, performs on Feb. 17. On March 17, featured artists are clarinetist Cynthia S. Greider and bassoonist Michael J. Trentacosti. Cellist Margery Viswat performs on April 7, accompanied by Masson Robertson; duo pianists J oyanne J. Outland and Mary R. Rich round out the series on April21. Spring music department concerts include the IPFW Wind Ensemble together with the IPFW Community Band, Feb. 26 at 7:30p.m.; the University Singers, April 7 at 8 p.m.; the University Orchestra, April 10 at 8 p.m.; the Symphonic Winds, April 14 at 2:30p.m.; the music therapy clinic concert, April 19 at 7 p.m.; and the Jazz Ensemble, April 25 at 8 p .m. The ArtScene is made possible by these sponsors. Thanks! Jl CardioloQV:='-- - ~ CENTRALSOYA (HWI) ,p--./~ ConsultantS • Roben E. Swint, M.D., Mark A. Jones, M.D .. Lincoln National Bank David A. Kaminskas. M.D .. Gary A. Hambrel, M.D .• Mary H. Heintz, M.D .. RaviN. Ba!hina. M.D .• the friendly ones® Gregory C. Tomlinson. M.D., BrianT. Lew, M.D., t\ Mcmbcrri Lincdn Fmancial(~~· ?eter C. Hanley. M.D., Christopher Zee-Cheng, M.D .• Steven W. Ortew, M.D. 10 Faculty Activities Norman W. Bradley, Fine Arts, had two entries accepted in the Indiana Arts Competition, a juried show conducted in July in Indianapolis. His two entries were among 64 accepted from a field of 351. Hector Garcia, Fine Arts, designed the medal used by the League of American Wheelman for its annual Dudley White Award. White, an avid cyclist and President Eisenhower's personal physician, promoted cycling as a means to physical wellbeing. Cycling champ Greg LeMond is the 1989 recipient of the Dudley White Award, and Garcia, a cycling enthusiast, is especially proud BUSINESS DINING SERVICES ~ services 1221 COLISEUM BLVD. NORlH FORT WAYNE. INDIANA 46805 219 ·426·4465 that LeMond will be wearing one of his works of art. Larry L. Life, Theatre, has been named the first recipient of the Jack Ulmer Memorial fund for Service to the Minorities and/or the Disabled Award (see related story). Nancy E. McCroskey, Fine Arts, received the Arts United Master of Ceramics Award in June 1990. Her work will be featured in an upcoming book, Architectural Ceramics, by James Watlans. Audrey A. Ushenko, Fine Arts, received a second place award in the Indiana Arts Competition in July in Indianapolis. She also had one- woman shows of her paintings in July at the Yvonne Rapp Gallery in Louisville, and in October at the Nicholas Roerich Gallery in New York City. Linda M. Wright, Music, presented "Organizing and Structuring Music Therapy and Creative Arts Affeetive Education Activities for AtRisk Adolescents" on Oct. 25 at a joint state conference of the Indiana Therapeutic Recreation Society, Indiana Occupational Therapy Association, The Indiana Department of Mental Health, and the Indiana Music Therapists. Wright also participated in workshops at the National Coalition of Arts Therapy Association Joint Conference Nov. 1 in Washington, D.C., where she presented her paper "Future Trends in Music Therapy Oinical Supervision: Competencies, Mentoring, and Models." Alumni News Bedwell, Margo W., B. Music Ed. '76, teaches elementary school music and directs the 6th grade choir in the Eastern Howard School Corporation in Greentown. Her school recently received the National Recognition Award. Borgstrom, Neil E., B.S. Music '80, is the associate editor for music on the GIA Quarterly in Chicago, and also serves as accompanist at Holy Rosary Parish in Chicago. Caston, Francis B., B.F.A. '88, is an intake and referral counselor for the Northeast Area III Council on Aging. Dickes, Susan D., B.Mus.Ed. '85, is the music and band director for Arcola and Huntertown elementary schools in Northwest Allen County. Erndt, Carole, B.A. Theatre '82, is an administrative assistant at the Medical University of South Carolina in Charleston. Garvey, Eileen B., B.F.A. 180, is president of the Creative Arts Council of Wells County in Bluffton, where her duties include coordinating art exhibits and art receptions. Glazebrook, I.S., B.A. Theatre '73, is a member of A.F. T.R.A. and the Screen Actors Guild, a teacher for the Los Angeles Unified School District, and is acting in Los Angeles-area productions. Grush, Amaryllis A., B.Mus.Ed. '87, is a freelance instrumental music teacher in the Chicago area. Harrington, Sherry L. (Haenftling), B.Mus.Ed. '87, is a general music teacher at La Ville Elementary School in Lakeville, Ind. She is the mother of Kerry, 7, and Melody, 1. Holmes, Colby J., A.S. Commercial Art '88, is a product designer for Colwell Merchandising in Fort Wayne, where design products include books, containers, display kits, industrial fabrics and window treatment materials. Kistler, Kerry L., A.S. Commercial Art '83, is an art director for Campbell Publishing & Advertising in Watertown, N.Y., and remarks that "Professor Dennis Krist did the most of any teacher to prepare me for real-world commercial art situations." Miller, Valerie E., B.F.A. '90, is a self-employed artist and a member of the Fort The ArtScene is made possible by these sponsors. Thanks! Tom~ 33~'- ~Buic ·nLINCOLN GMCrRUCK NATIONAL 1819 S. Calhoun CORPORATION Glenbrook Square Fort Wayne, Indiana 46801 WKJG·TV 456-1211 1 1 Wayne Artists Guild and Artlink. She exhibited her work recently at Artlink, the Allen County Public Library and Chiron' s restaurant in Waynedale. She's currently traveling through England, France, Germany, Switzerland and Italy, and may be contacted c/o Eric Stasak, An der Marr 28A, Dansweiler-Pulheim, Germany. Piekarski, Peter T., A.S.'87; B.F.A.'89, is Senior Art Director at Nitecki, Smith & Walker, Inc .. He has been responsible for· the art direction on three projects that won the Addy-Award in 1988, and on seven projects that won the Addy Award in 1989. Reiff, Kim M., B.F.A. '89, is a freelance designer and illustrator with her own business, the Kim M. Reiff Studio in South Whitley. Rhoades, Lisa M., B.S. Music Therapy '89, is an expressive therapist in music for Green River Comprehensive Care in Henderson, Ken. 'Iracey, James B., B.S. Music '90, is a third-year law student at the Indiana University Law School. Wannemaker, Dodie M., B.F.A. '81, is an independent insurance agent and owner of the Dodie Wannemaker Insurance Agency in Delphos, Ohio. Winchell, Beth L., A.S. Commercial Art '80, is the advertising art director for the Naples Daily News in Naples, Fla. Where are you? We've lost track of the following alumni. If any of these graduates would like to receive the ArtScene, please contact us at (219) 481-6025; or write to IPFW School of Fine and Performing Arts, Fort Wayne, IN 46805-1499. Jean Allen, Music '77 Francis Brown, Fine Arts, '82 Bonnie Cameron, Music, '86 Carol Dailey, Theatre, '71 Charles Easter, Fine Arts, '81 Timothy Johnson, Fine Arts, '85 Deborah Keiser, Music, '78 Sandra Krand, Fine Arts, '82 Mary Maloney, Fme Arts, '81 Daniel Olson, Music, '89 Scott Pawlowski, Fine Arts, '85 James Sweetland, Theatre, '83 Pamela Voight, Fine Arts, '88 c·o· -. .... a,. northAmerican. VAN LINES IPFW Campus Map N Walb Memorial Union Classroom Medical Life Sciencer......~B~uTi--:ld~in~g-__, Resource Center u.s. 30 Coliseum Blvd. East String Scholarship Program, Rock Music History Class Announced by Music In cooperation with the Fort Wayne Philharmonic, IPFW's music department is initiating a unique cooperative program for talented string players. Beginning in the fall semester of 1991, a select number of outstanding string players will have the opportunity to perform with the Philharmonic while working toward their music degrees at IPFW. Chosen students will be awarded an annual, renewable $1,000 music scholarship and also have the opportunity to earn $3,200 while performing with the Philharmonic. Applications will be accepted until Jan. 31, 1991; please contact music department chair James D. Ator for further information at (219) 481-6714. Mark Leach, coordinator of musicology, has announced he will be teaching a new class for non-music majors, The History of Rock 'n' Roll, in Spring Semester 1991. The class, covering the development of rock from its beginnings in the 1950s to the present with a special focus on the period from 1965 to 1974, fulfills the same academic requirements as Music for the Listener, the traditional music appreciation course. School of Fine and Performing Arts Enrollment Increases Enrollment in all three departments of the School of Fine and Performing Arts is on the rise, reports Dr. Abe J. Bassett, dean. The music department is at its highest enrollment level since the 1984-85 academic year; up 13.7% from one year ago and 15.6% from two years ago. In Theatre, Fall 1990 enrollments are up 30.8% over the 1987-88 academic year. The Department of Fine Arts Fall Semester enrollments are up 8.3% over one year ago, and 20.9% over the 1987-88 academic year. Enrollments are at the highest level since 1982-83. Dean Bassett attributes the rise to several factors. "First, and perhaps the most important, was the formation of a School of Fine and Performing Arts, which has given a greater visibility to the three departments. Second, each department has strengthened its curriculum and made its programs more attractive to students. Third, the departments are doing a better job of student recruitment. And fourth, the two new buildings, for Fine Arts and Theatre, have stimulated greater awareness and interest in the arts at IPFW." Bassett also is pleased that the increase in quantity of students has occurred with an increase in quality as well; SAT scores of incoming students are also on the rise. "The quality of education that is taking place in the arts at · IPFW is exciting, superb and choice," notes Bassett, "and we are pleased that more students are making this discovery." The ArtScene is made possible by these sponsors. Thanks! The ArtScene is funded in part by Arts United of Greater Fort Wayne FORTWAYNE NATIONAL BANK .. E .. BfRFDOC ~ THE liffHERAN HosPITAL OF INDIANA, INC. 12 ]1orrst llnrh l€ji§J J§ook ~bop USE!> A Nil OUT - l>F - I' ll! NT 14 12 llE LAWAKE AVL FORT WAYN E, IND. ~6MIIS
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Title | ArtScene (The) |
Alternative Title | The ArtScene |
Date Issued | November 1990 |
Date | 1990-11 |
Volume | 2 |
Issue | 2 |
Publisher | IPFW School of Fine and Performing Arts |
Editor | Morris, John M. |
Description | The ArtScene, a publication of the IPFW School of Fine and Performing Arts, was issued several times per year from Spring 1989 through Summer 2000 to highlight and promote performances and activities of the music, art and theatre departments at IPFW. |
Subject | College publications |
Content Type | Text |
Original Format | Three sheets, half fold, printed on both sides, black and aqua on white, 23 x 17 inches |
Digital Format | application/pdf |
Digital Publisher | Walter E. Helmke Library, Indiana University-Purdue University Fort Wayne |
Digital Repository | http://mdon.library.ipfw.edu |
Rights | Copyright Indiana University-Purdue University Fort Wayne, 2017- . All rights reserved. May not be reproduced without permission. For information regarding reproduction and use see: http://cdm16776.contentdm.oclc.org/cdm/about/collection/p16776coll1 |
Collection | Heard on Campus --- University News & Publications |
Transcript | The Worldly Voices of Joseph and Violette Meyers by John Morris For many faculty members, summer means it's time to put up the hammock, make a pitcher of lemonade, relax and catch up on all the reading that couldn't be done during the school year. Not for Joseph and Violette Meyers. For this dynamic duo, summer means it's time to pack the suitcases, get the passports in order and head for the airport. All around the world, students are waiting for the Master Classes and workshops they teach. 'We were in Tiananmen Square two days before the massacre," Violette Meyers recalls in her channing French accent, "and we didn't know anything about it until the following day, when, in Hong Kong, we read about it in the papers and saw it on CNN-that 1400 students had been killed, and another 100,000 injured. But in China, there was no news." Yet the couple returned the following summer, for they never felt unsafe-in fact, when in China, they are treated like visiting dignitaries, where the "creme de Ia creme" of professional opera singers are hungry for instruction in German, French and Italian repertoires. "Especially Italian," Joseph Meyers notes, ''They love Verdi and Puccini. We saw an excellent production of Turandotsung in Chinese!" Operas are also performed in the original languages. "The refreshing thing is how these professional opera singers, the best from a population of 800 million, are so eager for our criticism and feedback," Meyers chuckles. "Can you imagine the reaction of the stars at the Met or LaScala if we offered suggestions on how their performances could be improved?" The vocal traditions of Chinese Folk Opera, which also includes acrobatics, dance and high drama, are very different from western opera. "The Chinese style of singing is very strident, very piercing," observes Violette Meyers, "it seems they shoot the air just in one little part of your skull." Her husband concurs: "The Chinese curl the tongue upward, and the throat is constricted. We try to teach them to do the opposite, to push the tongue far forward, and to have the throat open and relaxed." Long-established western techniques that promote this relaxation are new concepts to the Chinese, such as using a mirror, or the Alexander technique- -bending at the waist to relax muscles. ''There's also a dearth of tools western students take for granted-tape recorders and phonographs." After China, the couple's favorite country in which to teach is Thailand. ''The students are not so advanced, but the people are so friendly," remarks Joseph Meyers. ''Everywhere you go, they smile and say Welcome to Thailand."' In Bangkok, the couple stays at the home of a leading architect who is prominent in music circles. ''The food is wonderful," notes Violette Meyers, who also has the reputation of an excellent cook, "and we have our own guesthouse, and the use of our own chauffeur. It's easy to get spoiled. Egypt is also fascinating, very exotic, chaotic. The people are poor, yet they seem happy with very little. Along the Nile, it's lush and green, then three miles from the river, it abruptly changes to desert. We had hoped to return to Egypt this summer, but now the political situation could be dangerous. We'd like to try Russia." Singapore, the Meyerses say, is like a clean, modern American city. ''Everybody is very efficient and hardworking, but they seldom smile." Japan was the culture that required the most adjustment. Observes Joseph Joseph and Violette Meyers on the Great Wall of China Meyers: ''It's very modern and luxurious, but the people are distant and reserved. After a schedule is set, they tend to be inflexible, and caste distinctions are important. And they have this crazy thing about their honor. The wife of a Japanese colleague volunteered to find us a city map, and after an unsuccessful, day-long search, we said 'Don't worry about it, we'll find one tomorrow.' Well, she flew into a rage. 'Why do you interfere?' she demanded. Apparently we had offended her sense of honor. She had set this goal and was determined to meet it, even if it took weeks. They seem unable to roll with the punches." While their summer travels expose them to students who are very serious about operatic careers, Joseph and Violette Meyers meet a different set of challenges among their students at IPFW. "Although some of our students have beautiful voices," points out Joseph Meyers, "vocal performance isn't the emphasis at the Fort Wayne campus-most students planning an opera career are at Bloomington. Many of our students major in music therapy or music education. So when we instruct or critique a music education student, we then explain our rationale-for having them repeat a certain exercise, for instance-so that (continued on page nine) School of Fine and Performing Arts Indiana University-Purdue University at Fort Wayne 2101 Coliseum Boulevard East Fort Wayne, IN 46805-1499 Volume 2, Number 2 IPFW School of Fine and Performing Arts November 1990 What's Inside? SF&PA Calendar 2 Comments From the Community 3 Audition Information 4 OnStage 6 OnScreen 8 Exhibits 10 Alumni News 11 Faculty Activities 11 School of Fine and Performing Arts 481-6977 Abe J. Bassett, Dean John M. Morris Assistant to the Dean ArtScene Editor Suzanne Echtenkamp Administrative Secretary 481-6714 James D. Ator, Chair Department of Music 481-6705 Leslie P. Motz, Acting Chair Department of Fine Arts 481-6551 Steven T. Sarratore, Chair Department of Theatre 481-6880 FAX 481-6555 PIT Box Office NONPROFIT ORG. U.S. POSTAGE PAID PERMIT NO. 92 FORT WAYNE, IN 46805 Received more than one copy? We use several community and university mailing lists and your name may be on more than one list. Please pass on your extra copies. Fine and Performing Arts Calendar November 11-30 Warp & Weft Weavers Guild exhibit. Fine Arts Aud., 1 026 W. Berry st. 30 Dickens Dinner. Walb Memorial Union Ballroom. ?p.m. December 1-4 Warp & Weft Weavers Guild exhibit, Fine Arts Aud., 1 026 W. Berry st. 1 Dickens Dinner. Walb Memorial Union Ballroom. ?p.m. 1 Speed-the-Plow by David Mamet. PfT. 8 p.m. 8.9 Student. Faculty & Alumni Art Sale, Fine Arts Auditorium. 1 026 W. Berry st. 15 Uffle Women. PfT/Youtheatre Production. PfT. 11 a .m., 2 p.m. 16 Uffle Women. 2 p .m .. 4 p .m . January 1991 7-31 Fine Arts Faculty Show, Fort Wayne Museum of Art. 311 E. Main st. 20 Faculty Artist Series. James and Irene Ator. saxophone & piano. Neff Recital Hall. 2:30p.m. 30 Tennessee in the SUmmer by Joe Besecker. PIT. 8 p.m. 31 Tennessee in the SUmmer. 8p.m. Student Directed Plays, Midwest Premiere Highlight PIT Season Purdue-Indiana Theatre successfully launched its 1990-91 season with David Rabe' s In the Boom Boom Room, directed by Larry Life, which played to good houses and garnered favorable reviews. Next on the playbill are two student-directed plays, Speed-the-Plow and Baby With the Bath water. Scott Diaz will direct David Mamet's Speed-thePlow, Nov. 17, 23, and December 1. lhis biting view of the show business world and its ambitious denizens afforded rocker Madonna her Broadway debut. Kendra Clauser will direct Christopher Durang's Baby With the Bathwater, with performances Nov. 16, 24 and 30. The irreverent Durang also penned Sister Mary Ignatius Explains it All For You. A breath of fresh southern air blows through the Indiana winter when Joe Besecker's Tennessee in the Summer has its Mid west premiere, directed by Life. Protagonist Tennessee Williams' character is split into two personasone female, representing the physical; the other male, representing the intellectual. See it Jan. 30, 31, Feb. 1 or 2. A Rose is a Rose is a Page Turner by Julie Herman All her life, Carolyn Hey read stories set in exotic or metropolitan locales such as New York, Paris, and San Francisco. She wanted to write a story that showed that exciting things-and even murder- happen right here in northeastern Indiana. A Rose By Any Other Name is that story. Hey approached several major publishers before her manuscript was accepted by Carl ton Press. "They were willing to take a chance on an unpublished author," she said. Hey, who teaches English composition at IPFW and has been a writer in various capacities, set out to do what writers are often told: ''Write what you know." The story is based on a dream she had and takes place in LaGrange county. Locales echo the surroundings of the Witmer Lake cottage she shares with her husband, Byard, and two of seven children. Sometimes, when driving along Route 3, "I half expect to see my characters because they became so real to me," she said. The novel's prologue is a dream sequence based on her nocturnal musings, which sets the stage for the mystery that unfolds. Jennifer Sorenson returns to LaGrange county to attend her aunt's funeral and discovers that the body to be buried belongs to someone else. A search for her Aunt Rosemary leads her to a private mental hospital, where Aunt Rose is living under another name and "receiving almost lethal doses" of the wrong medication. After Jen takes her home to nurse her back to health, a life-threatening encounter leaves the heroine defending herself in a murder trial. Hey began the two-year project five years ago, and spent six months to revise it to a first-person account that takes place in the present. She said she wrote the kind of story she likes to read-a mystery with psychological twists. Readers can only see other characters through the heroine's eyes. Hence, readers "don't know who are friends and who are enemies" until the very end. In keeping with writing "what she knows," her heroine is a nurse (Hey studied nursing), and is tried for murder (Heys father was a trial attorney). Hey found researching the complexities of murder trials most difficult. '1t isn't as easy as it looks on TV," she said. She interviewed psychologists, medical professionals, and attorneys as well as conducting library research. She even had herself locked 2 "Master Harold' and the Boys, South African Athol Fugard's play about a young white man's progression from innocence to bigotry, will be directed by Lorraine E. Sauter, visiting assistant professor in theatre and staged Feb. 22, 23,28 and March 1, 2, and 7-9. Ruth Laurion Bowman, visiting instructor in theatre is the director of The Tragical History of Doctor Faustus, Christopher Marlowe's cautionary story of a scholar who sells his soul to the devil for knowledge of the in the LaGrange County Jail-for 15 minutes-just so she could know what it would feel like. She wanted her heroine's emotions to be authentic. '1 needed to breathe the same air, see the same sights, and feel the same seclusion of a padded cell," she said. Emotions are very important to her writing. Hey uses emotion to draw the reader in for vicarious thrill. Despite the fascinating twists and turns in events, her story is character- and emotion- focused, not plot driven. She is a remarkably self-disciplined writer. She always carries a notebook in her purse, prepared to write down observations or thoughts that she can use later. She also speaks ideas and dialogue into a tape recorder, because dialogue composed on the typewriter can "sound too dry and dull." She has an IBM Selectric typewriter and last summer she bought an IBM computer, but admits: "The equipment doesn't make it any easier," and as if sensing the next question, ''Writing isn't any easier for an English composition teacher, either." In August, Carlton Press published 3,500 copies. B. Dalton Booksellers and Reader's World, Glenbrook Square; Waldenbooks, Southtown Mall; and Follett's Bookstore at IPFW all carry the book. Cover price is $12.75. Hey also distributed some copies to gift shops in Kendallville and Shipshewana. Book sales are quite healthy in LaGrange county, probably due to the story's setting in Amish country. '1t isn't an Amish story, but that is part of the background," Hey said. ''There is one Amish character." unknown, on stage April12, 13, 18-20 and 25-27. Single general admission tickets are $8; senior citizen and student tickets are $7; IPFW students with activity cards may purchase tickets for $5. The box office, (219) 481-6555, is open during weeks of performances, Monday-Saturday, 1:30-5:30 p.m., and one hour before curtain. Reserved tickets must be picked up 15 minutes before curtain. She has another book, too, a collection of somewhat autobiographical writings about merging two families into one. It is called "Stepfamily." She plans to go back now and rework those pieces, possibly developing them into a collection of short stories. A native of Van Wert, Ohio, Hey is president of Tri Kappa sorority in Fort Wayne and a member of the American Association of University Women. She teaches three English composition classes at IPFW. Her husband calls her "The Two-Week Jessica," after Angela Lansbury' s TV character, Jessica Fletcher, and in reference to her brush with fame during two weeks of book signing parties. "He's always been the celebrity," Hey said of her husband, a retired Fort Wayne Community Schools teacher who coached high school basketball for 38 years, primarily at North Side. ''Now it's my turn," she said. Preservation Triumphs Recognized An October 10 dinner at Washington Boulevard and Midtowne Place was the Wayne, Harrison and occasion for presentation of Calhoun Streets. The winner the ARCHIE awards for in a new award category, successful restoration efforts. Allen County outside the Hosted by ARCH, Fort Fort Wayne city limits, went Wayne's organization that to the Christian Salomon promotes the preservation of farmstead in Washington architecturally significant Township for a sympathetic properties, the event featured restoration and addition. after-dinner remarks by Mr. The residential category Randy Shepard, Chief Justice winner was a dwelling at of the Indiana Supreme 1124 West Jefferson Court. He stressed the Boulevard owned and importance of revitalizing restored by Scott and Tammy American cities, particularly Stauffer (pictured). Erected in in light of reduced Federal 1855, the brick, one- and one-funding, stating that "the half-story workingman's most important issues facing cottage was showcased in the the country-the economy, recent West Central education, drugs-are neighborhood house tour. directly related to the health While the classic Greek of cities." Revival and Italianate Four ARCHIE awards elements of the exterior have were distributed, including a been retained and enhanced, special ARCHIE award to the interior features modern Kennedy Development and conveniences such as an the City of Fort Wayne for additional half-bath and Midtowne Crossing, the central air conditioning. retail and residential In the commercial condominium project on the ca_tegory, ARCH cited the downtown block bounded by structure at 734 West Washington Boulevard owned and restored by Terry Slane. Originally a dwelling, the 1895 building now houses Slane Design Associates and will be open to the public during the ARCH Holiday Open House Dec. 7-9. For more information on this event, call 426-5117. 3 The stauffer House. Archie Award winner in the residential category Photo by Don Orban Auditions CIVIC Theatre A Midsummer Night's Dream Late December: Call 422-8641 for more information. First Presbyterian Theatre Death of a Salesman Dec. 4-5, 7 p.m. Pygmalion Jan. 20, 2 p .m .. and Jan. 22,7 p.m. Fort Wayne Youtheatre Klmchl Kid Nov. 26-27,4 p.m. Purdue-Indiana Theatre Tennessee In the SUmmer November 18, 1 p.m .. PIT 'Master Harold' and the Boys December 4, 7:30 p .m. Kettler Hall, Room G38 The Towns of Harmony Chorus A four-part harmony singing group for women holds open auditions every Monday. 6:30 to 9:30p.m .• at the Tillman Road Church of God. 3710 Tillman Rd. (436-3479) Fort Wayne Community Band Auditions can be arranged by contacting Dr. G. Cavanagh. conductor, at 481-6727 or 481-6714. Real Purdy Stained Glass by John Morris ''Indiana has been very good to me," states stained glass artist Steve Purdy, ~~especially Fort Wayne. It's very easy to live here, there's very little B.S." A response to a question posed as to why this nationally recognized craftsman, one of only about 20 in the United States who paint stained glass, has chosen Fort Wayne when he could live anywhere he likes. 11I love living in the West Central neighborhood-l've always wanted to own a big Victorian house. You can't find houses like these just anywhere, and nowhere at these prices." At a time when many young Hoosiers were heading for the West Coast, this Californian bucked the trend and emigrated to the Summit City. "City Glass flew me out in '79, and I worked for them until1988. They were very good to me, very nice people to work for." Upon entering Purdy's West Central studio, in a restored carriage house at the back of his lot, one is reminded of the workshops of medieval Europe, when craftsmen like Purdy designed and built windows for the great cathedrals. Here, and the whole mood of this glass mosaic changes, giving it almost a supernatural life of its own. The distance from which a window will be viewed, and its location, are also very important. Blues are best for north-facing windows, and south- facing While in their employ, he Stained glass painter Steve Purdy in his studio designed stained glass Photo by Elmer Denman installations for the St. Joseph Medical Center chapel, Trinity Episcopal Church, and the mausoleum at Concordia Gardens Cemetery. During this time, Purdy also took drawing classes at IPFW' s Berry Street campus. 11Then, in my midthirties, I reached a point when I wanted to be selfemployed- to have a flexible schedule and to choose my own projects." Some of those projects included windows for local restaurants: Henry's, Ernie's, and Harlequins. Informally apprenticed at the age of 14 with the Hogan Stained Glass Company is Los Gatos, Calif., Purdy considers himself lucky because "I knew at a very young age what I wanted to do for the rest of my life-and I've done just that, . except for two weeks in a record store and one week in an antique shop." Before coming to Fort Wayne, he worked on projects at St. John's Lutheran Church in Rochester, Mich. and at the Colorado State Capitol, and also attended the Swansea College of Art in southern Wales. In addition to being an artist/ designer member in the Stained Glass Association of America, he is certified by the City Guilds of London Institute and the British Society of Master Glass Painters. the floor is strewn with ''cartoons" -schematics--of current projects, such as ten 4' x 15' windows for the First Christian Church in Madison, Ind., and a display panel for Fox Studios at Indianapolis' Meridian Design Center. Although "the selection of colored glass from which to choose is greater than at any other time in history," the techniques Purdy uses are much the same as they were in the Middle Ages. He no longer performs the 'benchwork,' or journeyman duties- -glass cutting, leading, soldering-as he did earlier in his career, but now focuses on design and glass painting. While color is supplied by the glass panes, the paint is always the same brown vitreous enamel, providing contour and shading, with different effects achieved by brushstrokes or stippling. The painted panes are then baked in a kiln for permanence. 110ptics is the name of the game," states Purdy. ~~For me, the magic is in handling the modulation of hundreds of colored lights. That's how a stained glass window can achieve depth and dimension, almost like a hologram: by shading these colored lights. Of course, other factors come into play, as when the sun outside the window goes behind a cloud, 4 windows can handle the strong, vivid colors." Like his techniques, Purdy's philosophy about his craft are in harmony with those of his medieval predecessors. "The stained glass craft reached its zenith in the 12th century. What made medieval windows great was the craftsmen's affinity for the medium. Their design method accentuated the patterning of little pieces of glass, creating a two-dimensional wall of colored lights-a practical approach in line with the 'age of reason.' The 16th century -the renaissance -was the 'age of fancy,' and also the time when the 'artist' was invented. The concept of 'fine art' was the downfall of stained glass. Suddenly, it was 'How can we take this painting and tum it into a stained glass window?' They used larger pieces of glass and attempted to hide the lead lines." The legacy of this approach, posits Purdy, remains today. ''Viewers of a modem piece of stained glass art will say 'Wonderful! You'd never know it was stained glass.' Then I say, 'Why bother?' Why deny the medium? Stained glass is an architectural artform, not a gallery piece. I believe that by utilizing the limitations of the medium, you will find your ultimate freedom." 11Many so-called stained glass artists today are really mixed-media artists. I call it 'suicidal art.' They mix plexiglass in. It may look great. But they'd better get famous fast! Because who knows how soon it will all crash apart?" And although he uses time- tested techniques that conform to the laws of gravity, Purdy admits that "I don't know how long it will last. I see my windows as 'notes in a bottle'-! can only hope they'll be around after I'm gone." To try to ensure this, Purdy ritually blesses his finished work with a 'magic wand.' Although Purdy admits he was a Tiffany devotee in the early 1970s, he has since come to appreciate the various styles of stained glass painting. He currently favors the English style over the German style, which is an outgrowth of the Bauhaus movement. "The German style is very linear, tending to be abstract. The English style relies more on modulating tones in a single pane through brushstrokes, with an emphasis on optics. I hope I'm carrying on a tradition that re-emerged in the 1920s and 1930s, when English craftsmen rediscovered the optic advances of the Middle Ages. To me it's more soulful than movements in Germany that reflect a perception of art as a well-oiled machine." "Of course, because my pieces are commissioned, the style in which they are executed depends quite a bit on the tastes of the church board, or whoever-and then, after the glass-cutting stage is reached, there really can't be any design changes. That's because the volume of material is so great, and the work is so time- intensive." Purdy adds that because of the time and material involved, he generally accepts no commissions less than $1,000. "But I will make an exception to that rule if the client is someone with a house in West Central. It's very gratifying to me to see these old houses restored, and because I live here, I have a vested interest in this neighborhood." An "easy" A? No way I by Niki Wilkin Students involved in the music department at Northrop High School strive for excellence in all their performances; it means plenty of work without much reward. Some trophies and the feeling of accomplishment can't compete with the hours of rehearsals and home practice needed. With an enrollment of 2,100, participation in the vocal or instructional divisions number more than 600, so Northrop can be proud of its music department. Adding the 150 or more students involved in drama, it becomes evident that fine and performing arts are alive and well in this school. "Our department is strong because there are no beginning teachers here," said Barry A. Ashton, music department chair and head band director. "If you totaled the number of years of experience among us it would number close to 135 years." (The "us" refers to Ashton, William R. Heins, head choir director; Scott R. Brown, assistant band and choir director; and Richard Seeger, head orchestra director.) From the first day of class, all music groups work independently. Marching band music, for instance, is reserved for marching band practice and concert band music remains in concert class. The bands, orchestra, and choirs enter state (ISSMA-Indiana State School Music Association) competitions and rarely bring back scores of less than a "superior" rating. Students are encouraged to participate in the solo I ensemble competitions in January and February. The music department sponsors seven vocal/ instrumental concerts throughout the year. If instrumental music is your choice, you have a wide variety from which to choose. There are three large classroom bands: freshman, varsity, and concert. Freshman band has an enrollment of approximately 100 students. The varsity band consists of sophomores and a sprinkling of juniors and seniors. The concert band comprises juniors and seniors, with some underclassmen. Students are encouraged to stretch themselves musically by sight- reading a variety of music and new music is introduced frequently. Jazz from three jazz bands often fills the halls after school. "The jazz program at Northrop is one of the best in the state of Indiana," Ashton proudly admits. Placement in Jazz I and II are by audition only; with membership in the marching band an additional requirement for Jazz I. Participation in Jazz III is open to anyone who auditions for either of the other bands and shows and interest in the subject. All three bands perform at various functions, although Jazz I travels more extensively through the winter months. In 1988, Jazz I was invited to perform for the National Band Association meeting in Chicago. As a recognition of his work with this group, the association named Ashton Outstanding Jazz Educator of the Year. Bill Heins has five performing choirs: treble, tenor-bass, advanced treble, concert, and swing choir. The choirs perform for school events, local business dinners, fraternal organizations, nursing homes, and other community functions. The tenor-bass and treble choirs meet daily and are preparatory for the concert choir. The advanced treble choir is composed of sophomore through senior girls with backgrounds in choral singing. The swing choir (Charisma) competes in midwestern and national competitions. A lot of time is spent completing a performance that includes vocal, instrumental, and dance elements. The music is pop style. The ensemble consists of singers/ dancers, a small band, and a technical crew. The Northrop orchestra is a growing one. It comprises about 75 members, with 45 strings. It is an encouraging 5 Competition means concentration for Big Orange Pride members. Photos by Joel Grove, Northrop High School yearbook staff. and promising sign that students are looking for exposure to all kinds of music. Every spring the orchestra works with Delmar Proctor and the drama department to produce a musical. The productions use Broadway scores and scripts, resulting is high-scale productions with a growing audience each year. In the Big Orange Pride (BOP), pride is the key word-pride in themselves as a unit and pride in what they can accomplish. The marching band was 225 strong this year, the mostencompassing group of students in Northrop High School. Throughout the summer, daily practices after school, and endless Saturday practices and contests, these kids drilled, rehearsed, and performed. Three are no auditions for the marching band, just the will to work. Ashton thinks that one of the best things about it is that the kids learn how to win and not win; how to deal with either alternative. They learn discipline-how to take it and how to live with it. They work with all kinds of people and learn how to deal with problems arising from different personalities. Ashton's philosophy includes proper conduct and respect for others at all times by running his BOP with a strict but firm hand. He instills a sense of worth and class; the BOP not only performs with it, but acts with it. The BOP has competed in the state finals each of the 18 years Barry Ashton has been director, bringing home a state championship in 1983. Charisma members wish "Happy Holidays· at the 1989 Yuletide Concert. On Stage November 23 Speed-the-Pfow. PIT. 481-6555. 24.30 Baby With the Bathwater. PIT. 481-6555. 30 1940s Radio Hour. through Dec. 15. Arena Dinner Theatre. box office 493-1384. December 1 Speed-the-Plow. PIT. 481-6555 14-30 It's a Wonderful Ute. Fort Wayne Civic Theatre. box office: 424-5220. 15.16 Uttle Women. Fort Wayne Youtheatre. box office: 422-6900 or 481-6555. January 18 Death of a Salesman. through Feb. 2. First Presbyterian Theatre. box office: 422-6329. 30 Tennessee in the Summer. PIT. through Feb. 2. 481-6555. Life wins Ulmer Award Larry L. Life, associate professor of theatre, received the first Jack Ulmer Memorial Fund for Service to Minorities and/ or the Disabled Award at the annual IPFW Honors Convocation, Oct. 7. Debra Ulmer-Kolkman made the presentation. Ulmer-Kolkman praised Life's commitment to social issues, minority theatre artists, and his role in the development of PurdueIndiana Theatre's nontraditional casting policy. He spends most of his time helping his students-and his audiences-sec much more. Since coming to IPFW in 1971, Life has directed a host of "issue" plays, the type that often are considered controversial. That's an adjective that Life has been stamped with for years and which he enjoys. theatre as a medium of education and affirmative action, but in this instance it is true." Life believes casting capable actors regardless of race or sex at the very least produces a good play; and at the most, can raise interesting new questions. '1 should see a black Hamlet on stage or a black Lear," he said in an April1988 NewsSentinel interview. "I'd like to do more gender-bending," Life says when asked what new areas he will explore in future productions. Part of the reason is the lack of good roles for women. "We simply do not have enough good women writers writing for the theatre," he said. play in its time for making the public aware of homosexuality as a lifestyle. Bent (Nov. 1981) presented the "forgotten Holocaust": the Nazi torture of homosexuals. For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf (July 1985) packed summer houses with its powerful choreopoem about the female AfricanAmerican experience. Tobacco Road (Nov. 1985) cast a black woman in the role of Pearl, the most funds from the Purdue University Affirmative Action Award. The Elephant Man (Nov. 1988) told the story of disfigured John Merrick, and the shining spirit within him. Actor Blake Steury used no special makeup; instead, he interpreted the role by contorting his body. Sister Mary Ignatius Explains It All For You (Nov. 1989) cast an AfricanAmerican woman in the title role of didactic, overbearing nun. The actress, Wanda Getsug, competed at the regional level for the prestigious Irene Ryan National Acting Scholarships. In addition, Life has sought plays that express problems of women and the way society deals with them. "I like to raise questions with the plays I do," he said. "I think that good playwrights - and good directors--don't give answers. They ask questions. It's up to the audience to determine an answer." "I don't think anyone ever walks out of the theatre after one of my shows, saying 'hohum,"' Life said. "I think that's important. I can't stand complacency; I can't abide the 'middle of the road,' particularly when it comes to human rights." Issues Life has explored-and for which he won the Ulmer awardinclude homosexuality, For Colored Girls: Six African-American actresses formed the strong ensemble cast in Ntozake Shange's choreopoem. In 1987, Purdue University awarded the prestigious Affirmative Action Award to PIT for its religion, treatment of women, racism, child abuse, and handicaps. In the 20 years that Life has directed plays at PurdueIndiana Theatre, he can name only "about six" that haven't dealt strongly with some beautiful daughter in a poor, racist Southern white family. The Normal Heart (Sept. 1986) challenged audiences to view victims of AIDS with compassion as the disease was hitting epidemic proportions. A public forum at IPFW, "The Hoosier Heart: AIDS in Indiana," helped audiences deal with the issues raised in the play. Blake Steury contorts his body to suggest the deformities of The Elephant Man. The Diary of Anne Frank (Oct. 1986) blasted religious discrimination in its story of the persecution of Jews, as told through the observations of a sensitive 13-yearold girl, hiding from the Nazis as the Holocaust exploded around her. commitment to training African-American theatre artists and technicians. Said Purdue President Steven C. Beering at the time, 'We don't often think of the kind of social issue. The brief list below illustrates the volume and scope of Life's projects. The Boys in the Band (Oct. 1972) was a ground-breaking 6 The Great White Hope (April1988) assembled the largest interracial cast ever in Fort Wayne. It was produced with an AfricanAmerican guest artist in the starring role, supported with Feb. 1990 Oct. 1990 Room Jan. 1991 Tennessee in the Summer Art and Censorship Issues Explored by John Morris "Art is not about like and dislike. Art is about looking through the eyes of someone else at a world we may not know, a world we can learn something about." Robert Bush, President of Arts United of Greater Fort Wayne, expressed these sentiments at the first of a four-part lecture series on art and censorship at the Fort Wayne Museum of Art, sponsored by the Museum Alliance. Christopher Guerin, General Manager of the Fort Wayne Philharmonic, and Emily Kass, the museum's Director, were the second and third speakers, respectively. At press time, the fourth lecture was scheduled to be given by a representative of the Indiana Arts Commission. For the most part, the controversies that spurred the autumn lecture series have since been resolved. A Cincinnati jury acquitted museum curator Dennis Barrie, who exhibited the Robert Mapplethorpe photography show, of obscenity charges. In Congress, both the House and Senate voted to continue federal funding for the National Endowment for the Arts, and also declined to assume responsibility for determining which artists and what types of art would be funded. The task of determining what is obscene will continue to fall to the courts, but any artist whose work is judged obscene, or any gallery convicted of exhibiting obscene material, will be required to return the funded amount to the NEA, and also be prohibited from applying for further NEA funds for three years. Bush pointed out that censorship and NEA funding are really two separate issues, and provided historical background on both. The urge to censor, he noted, has a long history in the United States, "from the 1818 Family Shakespeare to modern books such as Joyce's Ulysses. And groups who promote censorship have always been diverse--recently, Huckleberry Finn has been removed from reading lists because racial stereotypes were offensive to minorities." Like the other speakers, Bush pointed out that works of art or literature should be evaluated within the context of a given time and culture; merely because they depict elements of a culture does not necessarily mean they intend to promote a certain lifestyle or way of thinking. "The Civil War photos of Matthew Brady, considered shocking at the time, dispassionately depicted war. It didn't glorify war; it was tangible evidence of the horrors of war for people who had never been exposed to it." The NEA was established during Eisenhower's administration in 1955. Ironically, many artists were then opposed to the NEA. because they feared it would have the role of a 'cultural watchdog'; memories of McCarthyism were fresh. But such fears were unfounded, for the NEA's charter stated from the start that ''No department, agency, office or employee of the U.S. government shall interfere with NEA decision-making." In the last thirty-five years, thousands of arts organizations have received millions of dollars, spurring unprecedented growth in local symphonies, operas, dance troupes, and art musPums. As Guerin pointed out, "The Fort Wayne Philharmonic has received $45,000 in NEA grants, which in part made possible the hiring of 18 professional musicians. And only 6% of NEA grant money has ever gone to private artists." The NEA, it has generally been agreed, was unique among government agencies. It accomplished what it set out to do, doing so with efficiency and with few wrinkles. Then came Robert Mapplethorpe. And Jesse Helms. Jesse Helms is a Republican Senator from North Carolina. Robert Mapplethorpe was a photographer whose career began in the fashion industry, then progressed to portraiture and stilllifes. His photos, exhibited in international art galleries, brought high prices. He was a homosexual. He died from AIDS in 1988. During his life, he never accepted a dime of NEA funding. Some of the photographs Mapplethorpe took reflected the world and times he lived in; the subcultures he moved through; even his sexual proclivities. Shortly before his death, a retrospective of his career was planned, and he helped to select the hundreds of photographs it was to contain. Mter his death, persons coordinating the exhibit decided to include certain photographs that Mapplethorpe had not intended for the retrospective, but these coordinators deemed them important representations of a certain phase of the photographer's artistic development. These were the photographs Jesse Helms found obscene. The seven images showed partially undressed children, male genitalia and nonmainstream sexual acts. Senator Helms objected to the use of tax dollars to fund an exhibition containing images that most voters would find patently offensive. He then introduced legislation to block NEA funding. The Corcoran Gallery in Washington cancelled its exhibition of the retrospective. The show went on in Cincinnati, but the seven photographs in question were sequestered in a separate room from the more than 100 other photos, visible only to those who made a special effort to view them (and each of those photos had been intended to be part of a sequence-a subcontext-within the larger exhibit). Curator Dennis Barrie was charged with obscenity. Those are some facts. Now, some opinions from speakers and members of the audience at the lectures: "What's the big deal? Nobody forces you to go into a museum and look at something." "An artist does not have an untenable right to public funding." "It's not what you've created, but who you are." "Certain ideas are at war with taste and good judgment." "By separating those photographs, they mutilated a single work of art." Guerin: "Art is the Research and Development of the soul, of the collective spirit." Obviously, art (or what may be considered as art) can 7 be a very emotional issue. As far as the recent NEA debate is concerned, it's important to remember that censorship was never the issue, at least not the overt issue. The issue was how government funds could be used. As a proponent for restrictions on NEA funding recently said on the MacNeil-Lehrer Newshour, "It's unfortunate that artists want to denigrate and attack religion, but we recognize that there is no legal penalty for sacrilege. We are not trying to take away anyone's First Amendment rights-an artist can paint whatever he chooses. But we do feel that when tax dollars are involved, higher standards should be met." On the same broadcast, this opposing view was expressed: "The new NEA penalties will have a chilling effect on art and freedom of expressionsetting precedents that give oppression the green light." Emily Kass, Director of the Fort Wayne Museum of Art and the series' third lecturer, recently returned from Poland and was able to offer insights on the relationship between government and the arts in repressive societies. Much of her presentation focused on Hitler's Germany, where artists were persecuted, blacklisted as "traitors," even sent to Nazi concentration camps. Van Gogh, Max Beckmann, even Mies van der Rohe were labeled "degenerates." Flat- roofed Bauhaus structures were improved by adding pitched roofs. The Nazis cultivated a slate of official artists whose posterish styles stressed 'family' values. And, as Kass pointed out, "This didn't happen overnight-it was a gradual, insidious process." When she related the events of the Mapplethorpe controversy to a Polish curator, she found that he couldn't grasp what she was talking about, indeed, had trouble understanding the concept of censorship. ''In those countries, they have no tradition of freedom of expression. What goes in an art museum is decided by a state central committeeperiod." Kass has professional experience with community pressure to dictate what a museum may exhibit. When the Smorgan Family Collection was exhibited at the Fort Wayne Museum of Art in 1986, a piece that incorporated a 9' x 13' American flag became a cause celebre. While special interest groups demanded it be removed, the museum held its ground, and kept the piece on display. "Actually, the whole ordeal turned out to be a positive experience. The board supported our decision, and for the most part, so did the community. Even people who disliked the painting for aesthetic reasons said "Don't give in. Don't take it down."- Yet Kass admits that a certain amount of censorship is necessary. "To a certain extent, institutions practice self-censorship, a priori censorship. We become the institutions our funders want us to be, the communities we serve want us to be. We have to use our judgment about what is appropriate, interesting, and also what is simply not good art." On Screen IPFW Student Activities Board 481-6590. Classroom-Med ical Building. Room 159. 7:30 p.m. November 28· Heart Condition December 5 The Hunt for Red October 12 We're No Angels Fort Wayne Cinema Center 745-3456 Museum of Art Auditorium. 311 E. Main street. November 23.24 Walt Disney's Bambi 2and4p.m. 30 Wild at Heart. 7:30 and 9:30p.m. December Wild at Heart. 7:30 and 9:30p.m .. continues Dec. 2. 4:30 and 7:30p.m. 8 The Handmaid's Tale. 8 p.m.; and Dec. 9. 4:30p.m. 15.16 Mickey's Christmas Carol. Miracle on 34th street 2 and 4 p .m. both days Embassy Theatre 424-5665 December 22 Those Magnificent Men in Their Rying Machines. 8 p.m.; and Dec. 23. 2 p .m. January 4 42nd street. 8 p.m.; and Jan. 6. 2 p.m. PRINTMAKING! PRESS BEGINNING DESIGN Art. Sport. or Both? Can sport be art? The 18th annual meeting of the Philosophic Society for the Study of Sport, sponsored by the IPFW Department of Philosophy, provided an unexpected forum for addressing this question on Oct. 12 when Dr. Peter Arnold, head of the Department of Physical Education at Dunfermline College in Scotland, presented his paper "Further Reflections on Art and · Aesthetics." Sheila Bruerung of IPFW' s philosophy department was moderator for the session, in which Dr. Spencer Wertz of the Department of Philosophy at Texas Christian University was given an opportunity to respond to Arnold's thesis. Arnold, at one point, came close to defining art: "A work of art is a unique presentation of embodied meaning," yet allowed that what exactly constitutes art remains open to debate. While an artifact may be evaluated by aesthetic criteria, and the disinterested and sympathetic contemplation of an object or situation may evoke an aesthetic perception, that in itself does not qualify the object or situation as "art." Even the intention to create a work of art is no guarantee that a work of art will result; if the attempt unsuccessful, the product is not art. Arnold then surveyed which sports might be considered art. Football, basketball, rugby, tennis, hockey and soccer were disqualified, for the sole object of these activities is to win a match; any aesthetic properties are a bonus. Artforms such as dance and mime are closest to sport, because proficiency depends on athletic prowess. The sports that might also be art were identified: gymnastics, ski jumping, synchronized swimming, figure skating, and ice dancing. Here the aesthetic is intrinsic, defining the nature and character of the activity. Four philosophic approaches to establish sport as art were then refuted by Arnold. The aesthetic 8 approach conflates "Art" and "aesthetics," arguing that objects or activities that can be perceived in aesthetic terms qualify as art. No, says Arnold. A sunset can be perceived in aesthetic terms, but that does not make it art. The analogous approach relies on the value of similarities and resemblances: sport is art because both are creative and observable. Wrong again. "It is necessary to be clear about what art is in its evaluative sense before making a case-pointing out similarities isn't enough." Proponents of the intentionalist approach say "an artistic intention is enough to qualify an effort as art." The intention, Arnold reminds, is not the work. What is produced is what counts. The fourth approach, the institutional approach, represents the belief that an expert or authority, by calling something an art object, or "conferring" it with the status of art, can make it art. Subjectivitity and ulterior motives nullify this argument. So many elements are astir-tradition, selfinterest, taste, profit, convention, promotion-that the issue is only muddled, and we remain bereft of a viable definition of art. It may indeed be impossible to say whether sport is art until a universal definition of art has been established. When we reach that point, we might use certain concepts Arnold supplied for the argument that certain forms of sport are art. In figure skating, as in ballet, the goal is to create an aesthetic situation, a "vignette" affording the opportunity for a creative, freestyle performance. The performer must have musical ability and training, must meld emotion and technique, and the whole is further enhanced when the performer is attractive and well-proportioned. The costume is an additional aesthetic factor. The music, and the performer's interpretation thereof, may be concerned with symbolism or exploration of '1ife issues," both frequent considerations in art. Quite possibly, what distinguishes ballet and figure skating as art or sport are accidental, defacto cultural traditions: the forum where these activities are performed (concert hall or arena) and the parties who are authorized to evaluate them. Plan Now for Holiday Arts Events For those interested in the arts, the winter holiday season in Fort Wayne provides festive events to meet nearly every taste, and a bit of planning can help to avoid conflicts in one's engagement calendar. Music lovers may choose from favorite traditions such as the Fort Wayne Ballet and Fort Wayne Philhannonic' s annual presentation of The Nutcracker (Nov. 30- Dec. 9, 484-9646) or the IPFW music department's Dickens Dinner (Nov. 30- Dec. 1, 481- 6714) that will be reprised at the Auburn Cord-Duesenberg Museum on Dec. 2 (925-1444). The Fort Wayne Philharmonic Pops Series features Holiday Pops at the Embassy Theatre (Dec. 8, 2:30 and 8 p.m., 424- 5665), and the Philharmonic's Spectrum Series stages Christmas at Sl Paul's Lutheran Church Dec. 15-16 (424-5665). The Fort Wayne Community Band presents its Chrisbnas Concert at the Scottish Rite Auditorium at 7:30p.m. on Dec. 18 (481- 6714). From Dec. 14 to Dec. 30, The Civic Theatre stages It's a Wonderful Life, based on the heartwarming Frank Capra film classic. Call424-5220 for specific performance times and ticket information. The Fort Wayne Cinema Center screens two children's favorites, Mickey's Christmas Carol and Miracle on 34th Street, Dec. 15-16 (745-3456). Also for children, the Dec. 8 Party for Saint Nicholas, from 10 to 11:30 a.m. at the City Hall Historical Museum, will feature storytelling and refreshments (426-2882). November 25 is Family Holiday Open House day at the Fort Wayne Museum of Art. Sponsored by the Museum Alliance and WMEE radio, the Mad Hatter's Tea Party is designed to complement the Museum's exhibit, "Alice (and Look Who Else) Through the Looking Glass," and features the New World Theatre Group, a cakewalk, storytelling, candlemaking and other crafts. The event, from 1 to 4 p.m., is free to those bringing a canned good for the needy (422-6467). Fascinating for the whole family, the City Hall Historical Museum's Festival of Gingerbread, on most days from Nov. 21 - Dec. 16, showcases a competition of more than 100 houses made from gingerbread and other edible materials, in four categories: children, teenagers, adults, and professionals. At the same museum, from Dec. 22-30, see antique Christmas Toys & Gingerbread (426- 2882). All day Dec. 1-2, the clock is turned back to an 1816 Christmas at Historic Fort Wayne (424-3476). Adults will enjoy the ARCH Holiday Open House, Dec. 7-9, at the Slane Design Studio at 734 W. Washington Blvd., where antiques, artworksbylocalartists, Christmas decorations and floral arrangements will be sold. December 14 provides an opportunity to hobnob with the creative when the Fort Wayne Artists Guild holds its annual Christmas Party at Lambro' s Steak House (745-9602 or 424-4306). Voices (continued from page one) they will know what to do when they are teaching. So you're really teaching two different things at the same time. You can't give someone an excellent voice, but you can make them into an excellent teacher." "When students give really lovely senior recitals, that's very rewarding," adds Violette Meyers, "especially when you've helped them reach their full potential. They don't have to be fantastically talented, but a certain amount of raw material must be there-something to work with. And you can correct flaws, like too much vibrato, or too little." ''But I don't do voice therapy-that's for doctors. With a diseased voice-nodes or ulcers on vocal chords-! can't do anything. I had a voice student who was also a cheerleader. I told her 'You have to choose; you can't do both.' After she cheered at a weekend game, it took me all week to smooth out her voice, to get the hoarseness out. Then she would go out the next weekend and do the damage all over again." ''What we do is nitty gritty vocal instruction," her husband adds, ''because unlike Madame Losthervoice -she was a big star at the Met, then she lost her voice, and now teaches only the most promising students-we have to be prepared to teach students of all levels of talent and accomplishment. If you're not fabulously talented, Madame Losthervoice will tell you, 'I'm sorry dear, but my schedule is too full.' Really she's a coach, not a teacher. Her students are already accomplished. She'll say: 'More emotion! when I sang that at LaScala I was very emotional.' But unlike Madame Losthervoice, we have to start from scratch with many students. Actually, we're luckier than she, for we've had to learn all facets of vocal instruction, from the elementary to the advanced." The route that brought Joseph and Violette Meyers to Fort Wayne was circuitous. Both studied under Elisabeth Rado at the Vienna Academy and went on to careers singing on the concert stages in Vienna, Rome, Milan, Geneva, Bonn, Salzburg, Innsbruck, Graz, Florence- the major venues of Europe. A native of Kansas City, Joseph Meyers recalls a certain amount of resentment from German and Austrian colleagues when, as a lyric tenor, he was offered plum roles, "roles that normally would have gone to The ArtScene is made possible by these sponsors. Thanks! Fort Wayne Medical Laboratory Corporation GRUENINGER 600 Coliseum Boulevard East Fort Wayne, Indiana 46805 219-482-8251 Indiana Toll Free 1-800-552-4978 TRAVEL SERVICE Of roRT WAYNE. INC Ann E. Spink, D.C. Chiropractic Center, P.C. Accident, Injury, Pain Clinic 5939 Stoney Creek Drive Stoney Creek Professional Park Fort Wayne, IN 46825 (219) 482-8592 9 STAR -::::;;;;;;;;:~ FINANCIAL - BANK .\l•mb•' FDIC singers of those nationalities, if their training hadn't been interrupted by the war." ''Yes, and they could be very nasty with their jealousy," Violette recalls, "like the time they put sneezing powder in your hat before you went onstage." Both laugh at the memory, then Violette adds: ''Let's face it, show business is a hard life-pressure, competition, physical exhaustion. After a while, it wears you do.~wn." With two young daughters, the couple welcomed an opportunity for change when Joseph Meyers was offered a teaching position at Avila College in Missouri, which in tum led to a university position in illinois. How does this sophisticated native of France feel about living in Fort Wayne? "Our 17 years here have been very happy. I'm naturally curious, so I'm happy in whatever culture I find myself. But I must say that America is a very generous country-there is so much room for diversity, flexibility." Clearly, the curiosity and sense of wonder that both Joseph and Violette Meyers share will serve them well as they continue to teach, and learn from, the people of the world. Exhibits November Nov.-Jan. 6, 1991 Ceramics and Weavings. First Presbyterian Church Gallery, 300 West Wayne st .• weekdays 9 ci.m.-4:30 p.m.; weekends 9 a.m.-11 :30 p.m. 10 Reaching. to Jan. 27. Fort Wayne Museum of Art. 311 East Main st. 11 Warp & Weft Weavers Guild, to Dec. 4, IPFW Fine Arts Auditorium. 1 026 West Berry st. 17 Allee (And Look Who Else) Through the Looking-Glass. to Jan. 20. Fort Wayne Museum of Art. 311 East Main st. December 1 Bizarre Art Bazaar at Arttink, ceramics; paintings; quilts; glass; sculpture; paper. wood, and mixed media by Arttink artists; 1030 BroadWay, 9 a .m.-5 p .m. 7 Painting Now II, to Jan. 18. Arttink. 1030 BroadWay. January 8-Feb. 3 IPFW Fine Arts faculty show, Fort Wayne Museum of Art. 311E. Mainst. The Fort Wayne Artists Guild members have exhibits at various locations throughout the city; call 745-9602 for details P,.helps Mag!!fl!!IJl!mpany Thank You, Donors! The staff, faculty, and students of the School of Fine and Performing Arts extend a public thank you and sincere appreciation for the donations we have received this year. You are helping us make our dreams a reality. Chancellor's Society ($1,000 and above) Fort Wayne Fine Arts Foundation Golden, Eleanor Olive B. Cole Foundation Plogsterth Foundation (Margaret Plogsterth) Dean's Society ($500-$999) Fort Wayne Alumnae Chapter Sigma Alpha Iota Kenworthy, Gay W. Rolland, Mimi and Ian Century Group ($1Q0-$499) Barrett & McNagny Central Soya Citizens National Bank of Whitley County Dickerson, Grace Leslie Coopers & Lybrand Fort Wayne National Bank Fort Wayne Philharmonic Fort Wayne Women's Club Haverhill Elementary School Hofer, Alan K. Iaquinta, Leonard Indiana & Michigan Power Co. Jones Engineering Kuhne, Jean Laker, Marcia J. LeBlanc, Annmarie Lincoln National Bank Lincoln National Corporation Lydy, Max W. Jr. Macke, Mr. & Mrs. E. H. McCullough, George National Serv-all North American Philips Corp. North American Van Lines Penney, J.C. Company Phelps Dodge Physician's Health Plan Pi Chapter Psi Iota Xi Robinson, Thomas Rogers Markets Sarra tore, Steve & Jan Stein, Mr. & Mrs. James St. Joseph Central Elementary School PTA Towne House Retirement Community Wilder, Michael J. Wolohan Lumber Benefactors ($1-$99) Adams Center Chemical Waste Mgt. Allied Van Lines Cafe Johnell Cardiology Consultants Central Supply-Fort Wayne Corbett, Charles Chris Stauffer Homes Cottrell, David & Linda Cox, David J. Cummings-Bridge, Ann D.O. McComb & Sons Data Processing Management Association, Northeastern Indiana Chapter Don Ayres Auto Mall Don Hall's Guesthouse Drees, Perugini & Company Ensley, David Fagan Whitmore Myers Koehlinger Folson, Charles Fort Wayne Civic Theatre Fort Wayne Hilton Fort Wayne Museum of Art Fort Wayne Occupational Health Center Fort Wayne Printing Francis M. Price School Garvey, Eileen M. GeorgeS. Olive & Company Goeglein's Graham-Lantz Grueninger Travel Gutman, Mr. & Mrs. Phillip Hahn, Carol Hellinger, Kimberly Holdeman, John Holiday Inn Downtown Home Loan Savings Bank Honak, Mary HWI Indiana Construction Corp. INB Banking Centers Internal Medicine Associates, Inc. Jacquay, Gerald Jiffy Lube Johnson, Kenneth & Martha K-Mart Corporation Karns, Donna C. Karst, Deena Kelly Box & Packaging Corp. Kirby, J. Randolph Koenig, Mr. & Mrs. Edward Krouse, Kam & Company Landau & Heyman Leadbetter, Susan J. Lingenfelter, Linda Litchen, Tina Lutheran Hospital Manpower Temporary Services McCrory, Dick & Cynthia Midland Incorporated Milnar, Virginia Motsinger, Greg M ullinex Packages, Incorporated National Association for Music Therapy Northeast Orthopaedics, Inc. Nowak Supply Co., Inc. Orthodontic Specialty Services Park Center, Inc. Professional Federal Credit Union Salinger, Charlotte D. Schneider, Gregory Scott's Foods Shambaugh, Kast, Beck and Williams Smith, Robert C. Sowers, Betty Stewart, Marjorie Summit Coaches Tom Kelley Buick Toepfer, Dr. & Mrs. Orion Tuggle, Nelson Uniroyal Goodrich Vollmer, Robert Waterfield, Anne Wayne Home Equipment WBNIRadio Weigand Construction Weisser Park School Winchell, Beth Lynn WKJG Channel 33 WPTA 21 Alive YMCA of Greater Fort Wayne Special thanks to the Percussion Center and Roethele Lumber for time and materials donated. Dickens Dinner, Recitals Make Music Season Noteworthy Sponsored by the Department of Music, the annual Dickens Dinner spreads holiday cheer on Nov. 30 and Dec. 1, and at press time a limited number of tickets were still available. In the tradition of Charles Dickens, a luscious English banquet begins with the wassail bowl. During and after the meal, guests will be entertained with vocal and instrumental music as well as verse. Proceeds from the event go to music department scholarships. For more information on this event, and those that follow, call Music at (219) 481- 6714. The Faculty Artist Series continues with the Jan. 20 recital of James D. Ator, chair of Music, on saxophone, and Irene Ator, director of music at the First Wayne Street United Methodist Church, on keyboard. All series performances are at 2:30p.m. in Neff Recital Hall on the IPFW campus. Artist-in-residence Masson Robertson, who specializes in piano music of the Roman tic era, performs on Feb. 17. On March 17, featured artists are clarinetist Cynthia S. Greider and bassoonist Michael J. Trentacosti. Cellist Margery Viswat performs on April 7, accompanied by Masson Robertson; duo pianists J oyanne J. Outland and Mary R. Rich round out the series on April21. Spring music department concerts include the IPFW Wind Ensemble together with the IPFW Community Band, Feb. 26 at 7:30p.m.; the University Singers, April 7 at 8 p.m.; the University Orchestra, April 10 at 8 p.m.; the Symphonic Winds, April 14 at 2:30p.m.; the music therapy clinic concert, April 19 at 7 p.m.; and the Jazz Ensemble, April 25 at 8 p .m. The ArtScene is made possible by these sponsors. Thanks! Jl CardioloQV:='-- - ~ CENTRALSOYA (HWI) ,p--./~ ConsultantS • Roben E. Swint, M.D., Mark A. Jones, M.D .. Lincoln National Bank David A. Kaminskas. M.D .. Gary A. Hambrel, M.D .• Mary H. Heintz, M.D .. RaviN. Ba!hina. M.D .• the friendly ones® Gregory C. Tomlinson. M.D., BrianT. Lew, M.D., t\ Mcmbcrri Lincdn Fmancial(~~· ?eter C. Hanley. M.D., Christopher Zee-Cheng, M.D .• Steven W. Ortew, M.D. 10 Faculty Activities Norman W. Bradley, Fine Arts, had two entries accepted in the Indiana Arts Competition, a juried show conducted in July in Indianapolis. His two entries were among 64 accepted from a field of 351. Hector Garcia, Fine Arts, designed the medal used by the League of American Wheelman for its annual Dudley White Award. White, an avid cyclist and President Eisenhower's personal physician, promoted cycling as a means to physical wellbeing. Cycling champ Greg LeMond is the 1989 recipient of the Dudley White Award, and Garcia, a cycling enthusiast, is especially proud BUSINESS DINING SERVICES ~ services 1221 COLISEUM BLVD. NORlH FORT WAYNE. INDIANA 46805 219 ·426·4465 that LeMond will be wearing one of his works of art. Larry L. Life, Theatre, has been named the first recipient of the Jack Ulmer Memorial fund for Service to the Minorities and/or the Disabled Award (see related story). Nancy E. McCroskey, Fine Arts, received the Arts United Master of Ceramics Award in June 1990. Her work will be featured in an upcoming book, Architectural Ceramics, by James Watlans. Audrey A. Ushenko, Fine Arts, received a second place award in the Indiana Arts Competition in July in Indianapolis. She also had one- woman shows of her paintings in July at the Yvonne Rapp Gallery in Louisville, and in October at the Nicholas Roerich Gallery in New York City. Linda M. Wright, Music, presented "Organizing and Structuring Music Therapy and Creative Arts Affeetive Education Activities for AtRisk Adolescents" on Oct. 25 at a joint state conference of the Indiana Therapeutic Recreation Society, Indiana Occupational Therapy Association, The Indiana Department of Mental Health, and the Indiana Music Therapists. Wright also participated in workshops at the National Coalition of Arts Therapy Association Joint Conference Nov. 1 in Washington, D.C., where she presented her paper "Future Trends in Music Therapy Oinical Supervision: Competencies, Mentoring, and Models." Alumni News Bedwell, Margo W., B. Music Ed. '76, teaches elementary school music and directs the 6th grade choir in the Eastern Howard School Corporation in Greentown. Her school recently received the National Recognition Award. Borgstrom, Neil E., B.S. Music '80, is the associate editor for music on the GIA Quarterly in Chicago, and also serves as accompanist at Holy Rosary Parish in Chicago. Caston, Francis B., B.F.A. '88, is an intake and referral counselor for the Northeast Area III Council on Aging. Dickes, Susan D., B.Mus.Ed. '85, is the music and band director for Arcola and Huntertown elementary schools in Northwest Allen County. Erndt, Carole, B.A. Theatre '82, is an administrative assistant at the Medical University of South Carolina in Charleston. Garvey, Eileen B., B.F.A. 180, is president of the Creative Arts Council of Wells County in Bluffton, where her duties include coordinating art exhibits and art receptions. Glazebrook, I.S., B.A. Theatre '73, is a member of A.F. T.R.A. and the Screen Actors Guild, a teacher for the Los Angeles Unified School District, and is acting in Los Angeles-area productions. Grush, Amaryllis A., B.Mus.Ed. '87, is a freelance instrumental music teacher in the Chicago area. Harrington, Sherry L. (Haenftling), B.Mus.Ed. '87, is a general music teacher at La Ville Elementary School in Lakeville, Ind. She is the mother of Kerry, 7, and Melody, 1. Holmes, Colby J., A.S. Commercial Art '88, is a product designer for Colwell Merchandising in Fort Wayne, where design products include books, containers, display kits, industrial fabrics and window treatment materials. Kistler, Kerry L., A.S. Commercial Art '83, is an art director for Campbell Publishing & Advertising in Watertown, N.Y., and remarks that "Professor Dennis Krist did the most of any teacher to prepare me for real-world commercial art situations." Miller, Valerie E., B.F.A. '90, is a self-employed artist and a member of the Fort The ArtScene is made possible by these sponsors. Thanks! Tom~ 33~'- ~Buic ·nLINCOLN GMCrRUCK NATIONAL 1819 S. Calhoun CORPORATION Glenbrook Square Fort Wayne, Indiana 46801 WKJG·TV 456-1211 1 1 Wayne Artists Guild and Artlink. She exhibited her work recently at Artlink, the Allen County Public Library and Chiron' s restaurant in Waynedale. She's currently traveling through England, France, Germany, Switzerland and Italy, and may be contacted c/o Eric Stasak, An der Marr 28A, Dansweiler-Pulheim, Germany. Piekarski, Peter T., A.S.'87; B.F.A.'89, is Senior Art Director at Nitecki, Smith & Walker, Inc .. He has been responsible for· the art direction on three projects that won the Addy-Award in 1988, and on seven projects that won the Addy Award in 1989. Reiff, Kim M., B.F.A. '89, is a freelance designer and illustrator with her own business, the Kim M. Reiff Studio in South Whitley. Rhoades, Lisa M., B.S. Music Therapy '89, is an expressive therapist in music for Green River Comprehensive Care in Henderson, Ken. 'Iracey, James B., B.S. Music '90, is a third-year law student at the Indiana University Law School. Wannemaker, Dodie M., B.F.A. '81, is an independent insurance agent and owner of the Dodie Wannemaker Insurance Agency in Delphos, Ohio. Winchell, Beth L., A.S. Commercial Art '80, is the advertising art director for the Naples Daily News in Naples, Fla. Where are you? We've lost track of the following alumni. If any of these graduates would like to receive the ArtScene, please contact us at (219) 481-6025; or write to IPFW School of Fine and Performing Arts, Fort Wayne, IN 46805-1499. Jean Allen, Music '77 Francis Brown, Fine Arts, '82 Bonnie Cameron, Music, '86 Carol Dailey, Theatre, '71 Charles Easter, Fine Arts, '81 Timothy Johnson, Fine Arts, '85 Deborah Keiser, Music, '78 Sandra Krand, Fine Arts, '82 Mary Maloney, Fme Arts, '81 Daniel Olson, Music, '89 Scott Pawlowski, Fine Arts, '85 James Sweetland, Theatre, '83 Pamela Voight, Fine Arts, '88 c·o· -. .... a,. northAmerican. VAN LINES IPFW Campus Map N Walb Memorial Union Classroom Medical Life Sciencer......~B~uTi--:ld~in~g-__, Resource Center u.s. 30 Coliseum Blvd. East String Scholarship Program, Rock Music History Class Announced by Music In cooperation with the Fort Wayne Philharmonic, IPFW's music department is initiating a unique cooperative program for talented string players. Beginning in the fall semester of 1991, a select number of outstanding string players will have the opportunity to perform with the Philharmonic while working toward their music degrees at IPFW. Chosen students will be awarded an annual, renewable $1,000 music scholarship and also have the opportunity to earn $3,200 while performing with the Philharmonic. Applications will be accepted until Jan. 31, 1991; please contact music department chair James D. Ator for further information at (219) 481-6714. Mark Leach, coordinator of musicology, has announced he will be teaching a new class for non-music majors, The History of Rock 'n' Roll, in Spring Semester 1991. The class, covering the development of rock from its beginnings in the 1950s to the present with a special focus on the period from 1965 to 1974, fulfills the same academic requirements as Music for the Listener, the traditional music appreciation course. School of Fine and Performing Arts Enrollment Increases Enrollment in all three departments of the School of Fine and Performing Arts is on the rise, reports Dr. Abe J. Bassett, dean. The music department is at its highest enrollment level since the 1984-85 academic year; up 13.7% from one year ago and 15.6% from two years ago. In Theatre, Fall 1990 enrollments are up 30.8% over the 1987-88 academic year. The Department of Fine Arts Fall Semester enrollments are up 8.3% over one year ago, and 20.9% over the 1987-88 academic year. Enrollments are at the highest level since 1982-83. Dean Bassett attributes the rise to several factors. "First, and perhaps the most important, was the formation of a School of Fine and Performing Arts, which has given a greater visibility to the three departments. Second, each department has strengthened its curriculum and made its programs more attractive to students. Third, the departments are doing a better job of student recruitment. And fourth, the two new buildings, for Fine Arts and Theatre, have stimulated greater awareness and interest in the arts at IPFW." Bassett also is pleased that the increase in quantity of students has occurred with an increase in quality as well; SAT scores of incoming students are also on the rise. "The quality of education that is taking place in the arts at · IPFW is exciting, superb and choice," notes Bassett, "and we are pleased that more students are making this discovery." The ArtScene is made possible by these sponsors. Thanks! The ArtScene is funded in part by Arts United of Greater Fort Wayne FORTWAYNE NATIONAL BANK .. E .. BfRFDOC ~ THE liffHERAN HosPITAL OF INDIANA, INC. 12 ]1orrst llnrh l€ji§J J§ook ~bop USE!> A Nil OUT - l>F - I' ll! NT 14 12 llE LAWAKE AVL FORT WAYN E, IND. ~6MIIS |
Date digital | 2017-10-18 |
Date modified | 2017-10-18 |
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