Tag Archives: uncg

BLS Student Featured on UNCG Home Page

by Jay Parr

Nargiza Kiger featured on the UNCG home page. Photo: Brian Kiger

Nargiza Kiger featured on the UNCG home page.

I generally like to keep this blog about things other than the BLS Program, lest we be accused of navel-gazing. This is going to be one of those exceptions.

If you open the UNCG Home Page in the next two weeks, the first thing you’re going to see is our very own BLS student Nargiza Kiger smiling at you from a field in West Africa. Though she’s technically an in-state student (she and her husband live here in the Triad), I know of no other student who brings a more international perspective to the BLS Program. A native of Uzbekistan in central Asia, where relatively few women manage to achieve higher education, Nargiza traveled to neighboring Kyrgyzstan to attend a university. It was there that she met her husband Brian, and after finishing her Associate of Arts at Forsyth Tech, she had to reconcile her desire to continue her own education with Brian’s career in international development. The BLS Program allowed her to do just that, continuing her education at an American university while stationed with him in Nigeria and then in Ghana. She’s on track to graduate in December.

Nargiza greeting an elephant in Ghana.

Nargiza greeting an elephant in Ghana.

Nargiza came to my attention last fall, shortly after she had moved to Ghana (one downside of my mostly-administrative role is that I’m not as in touch with all our students as I was when I was their academic advisor). I think it may have been infrastructure issues—unreliable power and internet connections—that brought her to my attention. Always on the lookout for BLS students who lead interesting lives, I asked her if she would be interested in writing a post for our blog. Given her history, which you can read in her cover story, I expected her to write about her own experiences. Boy, did she ever turn that on its head.

The post she gave me starts out on the frustrations of being an online student in an African city with tentative infrastructure—with the nerve-wracking image of taking an online test with a glitchy internet connection and having the power go out (yet again) in the middle of it. But then, after getting the reader sucked into her frustrating circumstances, she immediately turns around and points out that in Ghana, she is the privileged one. In a country with a per-capita income of roughly $2.00 a day, where education beyond 9th grade costs real money, and where placement into professional programs is rife with corruption, she can afford tuition at an American institution that costs more than most of her neighbors will make in a year. And yet, despite all these challenges—her own and others’—the post she gave me is ultimately the inspirational story of a security guard who is paying for his siblings to go to school, and who aspires to become a nurse so he can help others.

Ibrahim and Nargiza under the mango tree where Ibrahim likes to read.

Nargiza and Ibrahim, the security guard.

I feel like our little online program is all grown up, out there on the front page of the university’s website. And I can’t think of many people to better represent us than Nargiza, wearing her UNCG colors in Tamale, Ghana, and constantly doing the little things she can do to make the world a better place.

The First Day of School

by Matt McKinnon

Well, it ain’t what it used to be.  The first day of school, I mean.

Image

And I don’t just mean the back-to-school shopping, though that has changed a lot, to be sure.

We did most of ours online this year, since navigating Walmart.com is a LOT more appealing than navigating an actual Walmart.

And since many public schools have gone to uniforms, there’s not really much fun in back-to-school clothing shopping with the kids:

“How about the khaki pants and red polo shirt?”

“No, I won’t be caught dead in those.”

“Okay, then there’s always the red polo shirt and khaki pants.”

McKinnon Boys on First Day of School

Gone are the days, at least for those of us in uniform schools, where back-to-school shopping was a creative endeavor to get the coolest outfits possible, actually enjoying the prospect of new clothes.

Toughskins jeans.  Converse Chuck Taylor hightops (later surpassed by real leather offerings from Addidas and Nike).  Cool football jerseys.  A new jean jacket.

Toughskins

Man, those were the days.

And it didn’t cost $250.00 to fully outfit two kids for the entire school year.  (Or at least until they get stains all over their shirts and wear holes in the knees of their pants.  Do kids not wear patches on pants anymore?)

And picking out your clothes for the first day of school was just as exciting, and became even more important the older you got.  After all, I had to make a nice impression on those 10-year old girls I was not going to talk to.  Or even look at.

But now the shopping carts are virtual and the clothing is all the same: red polo shirts and khaki pants.  Maybe shorts.  If you’re feeling crazy…navy blue.

Of course, school supply shopping is still best done at an actual store, especially since the local Walmart and OfficeMax and Staples all have lists sent to them by the school district and even the local schools.  And then there’s the additional list that the teacher sends out.

Back to School SuppliesThe cumulative effect of all this is that there are three lists for each of our two elementary-age kids that my wife and I have to carry around with a real shopping cart (the one with the wheel that won’t swivel right), juggling from one list to the other, trying to mark off what we have while we search for what we still need, all the while trying unsuccessfully to keep items not on the list out of the basket.  (How we ended up with a “Duck Dynasty” pillow in the cart I will never know.)

Not to mention that our high school junior is too cool even to shop with everybody else, so we had to make a special late-night black-ops trip, just he and I, outfitted in dark clothing and sunglasses, so no one he knows will see him…with his dad…shopping at Walmart of all places.

And not to mention that the entire school supply deal set us back about $150.00.  A hundred and fifty dollars?!  For notebooks and paper and pencils?

Yes.  And pens, and erasers, and binders in every size and color imaginable.  And glue and glue sticks.  And highlighters, and rulers, and note cards, and composition books.  And more binders.  And pencil boxes, no wait, they have to be bags with three holes to fit in the binder.  And lunch boxes.  And Clorox Wipes and Kleenex (are those really our responsibility?  Whatever happened to that green stuff the janitor would just spread around on the floor when some kid threw up?)  And we still can’t find any graph paper.  Does Walmart have something against graph paper?  Are American kids just not expected to plot graphs anymore?  No wonder we’re falling behind the rest of the developed world.  I bet they have graph paper in Sweden.

But I digress.

I’m not talking about any of that.

No, what I mean when I say that the first day of school ain’t what it used to be is that, as someone who taught mainly face-to-face classes for years but who now teaches entirely online, the first day of school just isn’t quite the same.

Now, don’t get me wrong: I am NOT complaining.

Just observing.  (I tell my wife this all the time.)

First Day of Class

There used to be a nervous energy about the first day of class—when that meant standing in front of a theatre-size room of 100 students or so.  There was electricity in seeing the fresh faces of students experiencing their very first day of college, or even in the nonchalant smoothness of seniors who had waited until the very last moment to complete their GEC credit.

There was magic in the anticipation of how hard the course might be, or how boring the professor was, or how anything I was saying would have any bearing on anyone’s intended career.

I used to enjoy coming up with new ways to start the first day: by proclaiming to the class, for example, that the only thing I hated more than the first day of class was…the next day of class.  Or by moving everybody outside to enjoy the weather.  Or even sitting at a desk like everybody else: just sitting, waiting, and watching as the time for class to start came and went, and still no teacher.  And then getting up abruptly, as if annoyed, audibly mumbling something to the effect that if nobody else is going to teach the damn course, then I might as well.

Yes, those were the days.

But those days are gone.

And again, don’t get me wrong: I am not complaining.  Only observing.

I love teaching online, and have come to see what we do in the BLS program as not just a service to the University, but more importantly, as a service to students—some of whom may not be able to take classes or finish their degree any other way.

And my students, overall, tend to be older, more mature, more driven, and actually interested in what is being taught.

And there is certainly energy and magic in the first day, though clicking on a link to make the course available doesn’t quite compare to bounding around a lecture hall like Phil Donahue in his prime.

No; it’s just not quite the same.

Even though this year I tried.

Fresh Shave and a Haircut

I got a haircut.  I took a shower.  Heck, I even shaved, and thought about adding some color to my graying beard before deciding against it.

And then I sat down, clicked on “Make Course Available,” and…

Well, nothing happened.  At least nothing spectacular.

For that, I’ll have to wait for the next 48 days—or however many are in this first session.

But of course, it’s not that bad…

After all, other than strippers, “escorts,” and the occasional politician, who else do you know can go to work not wearing pants?

Comforts of Home

Yes, there’s something to be said for the comforts of home.

Making Magic on Broadway

By Marc Williams

The Tony Awards are Broadway theatre’s version of an Oscar, recognizing the highest levels of achievement in commercial theatre. This year’s nominees include a revival of Pippin, a musical that premiered on Broadway in 1972 and hasn’t been seen on Broadway since that original production.

Pippin poster

Pippin was conceived by composer and lyricist Stephen Schwartz, who is best known Godspell and, more recently, the Broadway mega-hit Wicked. Schwartz began working on Pippin as an undergraduate at Carnegie Mellon University and after achieving a seemingly overnight success with Godspell in 1971, the 23-year old Schwartz and his collaborator, Roger O. Hirson, were able to find a producer willing to put Pippin on Broadway.

Like Schwartz’ earlier hit Godspell, Pippin had great popular appeal. The scores to these musicals contain pop/rock songs that became crossover hits on top-40 radio. The original Off-Broadway cast recording of Godspell’sDay By Day” climbed to the #13 position on the Billboard Top Singles chart, while songs from Pippin were recorded by the Jackson 5, Michael Jackson (solo), the Supremes, and Petula Clark and Dusty Springfield. On stage, Pippin was a bona fide Broadway hit, running over 1900 performances–one of the longest runs in Broadway history. An interesting side note to Pippin’s successful run was its very effective marketing campaign; Pippin was the first Broadway musical to use clips from the production on a television advertisement. The famous “Manson Trio” dance number was featured in this minute-long television commercial that is credited for generating much of the musical’s early ticket sales (pardon the water mark):

Ben Vereen as the Leading Player in Bob Fosse’s 1972 production of Pippin.

While Pippin enjoyed popular success, the script and score were not embraced by the influential New York critics. In his New York Times review, Clive Barnes called Pippin a “trite and uninteresting story with aspirations to a seriousness it never for one moment fulfills.” He similarly wrote of Schwartz’s score, “It is a commonplace set to rock music, and I must say I found most of music somewhat characterless.” However, Barnes praised the production as a whole, noting its inventive staging and choreography, the work of the stage designers, and the triumphant performance by Ben Vereen as the Leading Player.

Bob Fosse.

Barnes and other critics took notice of Bob Fosse’s work in particular, which deemphasized the script’s naïve and passive title character and focused on the dark, dangerous agenda of the musical’s ringmaster, Vereen’s Leading Player.

Stephen Schwartz.

Rather than Schwartz’ story of a young man’s search for fulfillment, Fosse viewed Pippin’s plot as the story of a young man being seduced into self-destruction. In an effort to support the theme of seduction, the production visually evoked burlesque and carnival performance, highlighting themes of sexual exploration and discovery. The 24-year old Schwartz, whose musical influences were more James Taylor and less Jimi Hendrix, perhaps had not imagined his musical with such a seedy underbelly and as a result, the rehearsals for Pippin were famously contentious, with Fosse, Schwartz, and Hirson battling for control of the production’s tone. Eventually, Fosse banned Schwartz and Hirson from attending rehearsals!

Some criticism of Schwartz and Hirson’s work is warranted. The story is fragmented and the central action unclear. The musical’s original ending is among the most jarring and dissatisfying endings one is likely to find in a musical. Structurally, Pippin is incomplete and any production of Pippin seems to require additional directorial focus in order to hold the entire script and score together into a cohesive evening of theatre. Fosse seemingly knew this, and his work earned him a Tony Award in 1973 for Best Director of a Musical; Fosse also won a Tony Award for his iconic Pippin choreography.

Diane Paulus

Forty years after Fosse’s original production, a new production opened on Broadway April 25, 2013. Directed by Diane Paulus, the new production has been called a “natural extension” of Fosse’s, a Pippin for a 21st century audience. If Fosse’s production was suggestive, Paulus’ production seems to opt for excess. Fosse’s dancing ensemble, for instance, was conceived as a group of traveling burlesque clowns. Paulus’ vision for these traveling players is less burlesque, more Cirque du Soleil. In fact, Paulus’ production employs a troupe of Canadian acrobats that creates a sense of grand spectacle throughout the show. If Fosse’s production is a story of seduction, Paulus’ production seems a story of astonishment. Here is a glimpse of Paulus’ new production:

Much has changed on Broadway since Fosse’s Pippin opened in 1972. The 1980’s was an era of musical spectacles, lavish musicals like Cats, The Phantom of the Opera, Les Miserables, and Miss Saigon that boasted some of the most eye-popping visual effects ever seen on stage. More recent musicals like Wicked and

Spider-Man: Turn Off the Dark on Broadway.

Spider-Man: Turn Off the Dark have continued that tradition into the 21st century. In my BLS course, Eye Appeal: Spectacle on Stage and in Life, we discuss musical spectacles and how 21st century audiences have come to expect a certain degree of “eye appeal” at a Broadway musical. With many of these musical spectacles, the stage designs are frankly more impressive than the scripts the designs are attempting to support. Some of these productions could be called “style without substance,” in spite of their commercial success. In the case of Paulus’ Pippin, it seems the director is using the fad of musical spectacles not to distract from the script’s flaws but rather to enhance the script’s central action and deliver a story about amazement to an audience that demands to be amazed. Given the positive reviews and ten Tony Award nominations Paulus’ production received, one wonders if Pippin is poised to be a Broadway hit yet again.

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An interesting “Making of…” feature published on the New York Times’ website, demonstrating how Paulus and her collaborators conceptualized Pippin’s famous opening number, “Magic to Do.”

SECAC Art Conference: Coming to Greensboro in 2013

by Ann Millett-Gallant

SECACSECAC, the Southeast College Art Conference, was founded as a regional arts organization in 1942 and now hosts an annual, national conference for artists, art educators and scholars, and art museum professionals.

The organization also publishes The SECAC Review, presents awards for excellence in teaching, museum exhibitions, and artist works, and posts opportunities and jobs for art professionals.  I have attended and presented at numerous SECAC conferences in the past, in Little Rock, AR, Norfolk, VA, Columbia, SC, and Savannah, GA.  The 2012 conference was held in my hometown, Durham, NC and sponsored by Meredith College.  Conference panels are proposed and selected by panel chairs, and this year, I chaired a panel titled “Disability and Performance: Bodies on Display.”  This topic is central to my research and especially my book, The Disabled Body in Contemporary Art.

millett-gallant_book

The Disabled Body in Contemporary Art

My panelists gave presentations on independent films; the canonical painting by Thomas Eakins, “The Gross Clinic,” 1875, and comparable images of disabled war veterans; and the collection of freak show photographs in the Barnum Museum in Bridgeport, CN.  This was my second experience chairing a panel on disability and disability studies at a SECAC conference, topics that are still somewhat new for art historians and professionals.  The panel went well and sparked much interest and lively conversation.

I also attended a panel on Doppelgangers, or images of doubles or identical pairs, which engaged art historical examples from diverse contexts and time periods, as well as a panel on self-taught, or outsider artists.  This latter panel was of special interest to me, because my good friend from graduate school at UNC Chapel Hill, Leisa Rundquist, presented a paper on the work of Henry Darger (the link is to works by Darger in the Folk Art Museum, whose administration and education employees hosted the panel).  Leisa is now a professor of art history of UNC Asheville, so the conference was also a chance to see her.  I especially enjoy SECAC conferences, because I see a lot of old friends and usually meet new and like-minded people.

Thomas Eakins, “The Gross Clinic,” 1875

Thomas Eakins, “The Gross Clinic,” 1875

I didn’t attend as much of the conference as I usually do, ironically, because it was too close to home.  On the day before my presentation, my refrigerator broke, so I returned home right after the panel to wait for a new refrigerator to arrive.  I attended two panels the next day and caught up with friends over glasses of wine at the bar.  I didn’t participate in any of the organized tours of local museums and art venues, as I can see them whenever I want.  It was nice not to have to pack for and travel to the conference, especially in light of how stressful and expensive flying has become, but there is something nice about going to conferences out of town, staying at the conference hotel, and immersing yourself in the atmosphere and activities.

This Fall, the conference will be held in Greensboro, NC, so hopefully I will see many of my colleagues from UNCG and the Weatherspoon Art Museum there, as well as, perhaps, my students.  I will be chairing a panel titled “Photographing the Body.”

Choose Your Own Adventure

By Carrie Levesque

Recently in the Russian Novel of Conscience course we have been discussing Yevgeny Zamyatin’s 1921 dystopian novel We, about a highly mechanized and regimented totalitarian society (the One State) hundreds of years in the future where citizens have achieved the ultimate happiness: unfreedom.  Taking as our starting point Marx’s claim that machines, invented to help man, have become the symbols of his servitude, we debate the extent to which machines and technology have enslaved or liberated men in today’s world.

As a class, we’ve compiled a pretty good list of technology’s benefits (efficiency, convenience, online degree programs!) and costs (myriad media addictions, a privileging of online relationships at the expense of face-to-face ones).  At midterm, several students have written excellent papers on how we have created a sort of One State within the United States through certain government policies and technologies which reduce rather than foster our individuality and humanity.

Many of these discussions have stirred up nostalgia for simpler times, when it seems people had different values and a different relationship to one another.  They’ve made me think about a book I read recently on a more extreme response to this question, the Back to the land movement (which is a great deal more complex than just ‘living simply,’ but I’m limited to 800 words…).

I grew up in a remote area of northern Maine that has always attracted Back-to-the-landers.  What possesses these diehards who apparently find the southern Maine homesteads of the followers of Scott and Helen Nearing not austere or isolated enough, that they would haul their few remaining possessions to the place where the logging roads end and call it home, I can’t say for sure.

But I’ll admit to having a touch of that idealism myself- to unplug, to live off the land, to disconnect from our nonstop media and rampant consumerism of all the latest technology (though you’d have to be insane to choose the wilds of northern Maine, a place with two seasons: Brutal Winter and Rainy Black Fly Infestation).  Though I now prefer a more comfortable climate, I understand the appeal of living in a beautiful, natural setting, devoting most of one’s time to work in the outdoors without a care for whatever new technology or entertainment the rest of the world is enthralled with.

Coleman Family

And yet, through a closer examination of life ‘off the grid,’ I’ve also come to a greater appreciation of many benefits of our modern life. I recently read Melissa Coleman’s memoir This Life Is In Your Hands about growing up the daughter of famous homesteader and Nearing mentee Eliot Coleman. She chronicles the great strain that the demands of homesteading put on her family, resulting in her father’s ill health, her baby sister’s tragic death and her parents’ divorce.  (On a lighter note, she also reveals some of the purist Nearings’ well-kept secrets: Helen’s love of ice cream, mail order fruit and other delicacies.  Even the folks who wrote the (sometimes a tad righteous) book on living local and off the grid indulged a little on occasion).  Though there were certainly aspects of their lives on the homestead that were richly satisfying, some readers may come away wondering if their chosen cure for the ills of modern life wasn’t in some ways as harmful as the disease, physically as well as spiritually.

Another interesting look at the real-life struggles of those who lived in those idealized ‘simpler times’ is the PBS reality series Frontier House.   In 2001, three families (selected from among some 5,000 applicants!) lived off the land for six months on the simulated frontier of 1880s Montana.  The success of their venture was assessed by historians based on whether each family had put by enough food and fuel over the summer and fall to survive a Montana winter.  Though they labored admirably, through all sorts of drama, if memory serves it was decided all would have perished.  The simpler times were never as simple as they seem.   (Frontier House is available in UNCG’s Instructional Film Collection, but sadly, not on Netflix).

There are no easy answers to the question of man’s relationship to technology.  Most people I know lament their dependency on smart phones, social media and a food supply so highly engineered that many of us have no idea what we’re really eating half the time (pink slime, anyone?).   Yet we have so much to be grateful for.  We live in a time of amazing medical advances.  Whatever may plague or disappoint us in our lives, we have the freedom and resources at our fingertips to research alternatives and connect with like-minded people to find a solution.  For all our similarities, thankfully these United States are not the One State.  Our ultimate happiness is not to be found in our unfreedom, but in our freedom to negotiate these complex choices and relationships, to choose our own adventure.

Enrichment Online: The Bachelor of Arts in Liberal Studies at UNCG

By Tyler Steelman (BLS Class of 2012)

Facing the completion of my Associates in Arts in English, I was quite undecided on how I would continue my college career after leaving the community college I entered after high school.  Thanks to her wisdom and insight into my interests and character, my college adviser there introduced me to the BLS program at UNCG.

I have always had a deep interest in the fields described as humanities: literature, art, history, philosophy, and religion.  Thus, the BLS program was a great way to formally study subjects I have always loved.  The online learning environment was also a major factor in my choosing the BLS program.  Having completed my associate’s degree online, I had grown comfortable with the freedom and flexibility of online courses, so I knew I would be successful in the BLS program.  Furthermore, UNCG’s low tuition rates make it quite an affordable way to further your education.

While my focus in the program was on literature, to my delight I have been able to delve into the other branches of the humanities as well.  One of my favorite courses during my time in the program was Magic, Media, and Popular Imagination with Dr. Emily Edwards.  In this course we examined the effect the supernatural has had on popular media.  We watched several films with supernatural themes which we discussed in discussion forums.  For the final project we created a visual narrative blog, where we used photographs and narration to create a documentary or creative piece.  It was interesting to learn how profound an influence the occult has had on popular media, and the visual narrative project was an enjoyable experience.  To view my visual narrative project, click here.

In my time in the BLS program, I have been fortunate to also take three courses with Dr. Carrie Levesque.  In American Motherhood, I studied how the role of motherhood is perceived by our society and the different ethnicities and sub-cultures that it contains.  For that course I created a blog examining how motherhood is represented in popular media.  I also took Religious Resistance to Political Power, where I examined how various religions responded to oppressive measures by governments.  In Women, War, and Terror, we read three memoirs written by women during times of war, violence, and social upheaval.  Dr. Levesque is a very insightful instructor who provides a warm and informal atmosphere to discuss these often challenging and distressing issues.

Finally, I have also been able to explore the world of drama and theater with Professor Marc Williams.  In Big Plays, Big Ideas, I read numerous plays, analyzing how they portrayed various issues pertaining to society and the human condition.  In Eye Appeal, I learned how spectacle (costuming, lighting, set design, music, etc.) adds to or affects dramatic productions.  I wrote a review of a theatrical performance I attended, detailing how spectacle was utilized.  Professor Williams offers wonderful critiques on assignments that not only advise you on how to be a better student in that course, but also on how to be a better writer.

I am not the typical BLS student, as the program is geared to working adults and I am a full-time student who just graduated high school four years ago.  Thus, I do not have as much life experience as most students in the program.  However, the BLS program has in a sense opened up the world for me.  I have learned more about the various cultures, beliefs, conflicts, and arts that characterize humanity in the two years I have been in the BLS program than I believe most people my age or perhaps any age have.  I am confident that the insights about the human condition I have acquired in the BLS program will be invaluable in whatever direction life takes me.  I will be graduating with honors in May, and I am hoping to continue my liberal arts education at UNCG next fall with the Master of Arts in Liberal Studies program.  If you want a quality liberal arts education that not only gives you freedom and flexibility but also enriches the way you see humanity and the world, I highly recommend looking into the BLS program at UNCG.

On Talking Trash (and lovin’ it!)

By Carrie Levesque

So unless you’ve been living under a rock (or used your spring break to take a much-needed vacation from all media, and if so, good on ya!), you’ve probably heard about Rush Limbaugh’s attack on Georgetown University law student Sandra Fluke, calling her a ‘prostitute’ and a ‘slut’ for her testimony at a hearing related to the controversial federal Health and Human Services contraception mandate.  In the uproar that has followed Limbaugh’s comments (numerous online petitions and the withdrawal of dozens of sponsors from his radio program), though few, if any, have defended his abusive rant, conservatives have been quick to remind us of similar attacks liberal commentators have made on women like Sarah Palin and Laura Ingraham.

That ‘liberals do it, too’ does not in any way excuse Limbaugh’s behavior (especially since Limbaugh is somewhat unusual in having done what he has done repeatedly, and has even made sexist remarks against another young woman since the Fluke debacle, which is impressive, even for him).  But this tit-for-tat deflection is actually a relevant point when considering the larger question.  When Limbaugh insists he ‘did not intend a personal attack’ on Sandra Fluke, I can almost believe him, considering the casualness with which we throw around names like ‘slut’ and ‘whore’ (and worse) in our media.  It only takes about 10 seconds of searching this topic on the web to find plenty of examples of male commentators (liberal and conservative) who have been chastised in recent years for choosing to attack female public figures with sexualized epithets.  Which leads me to the questions: why do they do it, and why do we put up with it?

The line between ‘news’ and ‘entertainment’ has become so blurred in our society that one wonders whether there is a line at all anymore, or if it isn’t all, with few exceptions, ‘infotainment.’  Limbaugh, and conservative commentators like him, simply deliver what their most dedicated listeners expect: a snarky, no-holds-barred skewering of all things Left.  As Neal Boortz’s tagline (“Somebody’s Gotta Say It!”) suggests, the success of these shows rests on the commentator’s willingness to say the outrageous, to offer the brashest, crudest version of a ‘truth’ that the ‘mainstream’ media lack the cojones to utter.

It’s not any different on the Left.  Bill Maher famously called Sarah Palin a c*nt (among many other very rude, sex-related remarks).  This crude talk excites listeners; it boosts ratings, and isn’t that what it’s all about?  Sadly, too often the people we look to to comment on current events are entertainers and calling female public figures demeaning and sexualized names is, for many consumers of ‘news’ media, entertaining.

I’ve partly answered the second question in answering the first.  Many of us put up with this because, frankly, it doesn’t offend us; few might admit it, but many of us don’t see the harm.  To me, it’s similar to an article I read in the Greensboro News & Record last Sunday about mudslinging in political campaigns.  Everyone complains about it, yet politicians continue to run attack ads and negative campaigns because it is proven to work.  Studies show that we may say we are not influenced by a candidate’s negative campaigning, but truth is, we are- those doubts Candidate A wants to plant in your mind about Candidate B find their mark.  Candidates are rewarded for bad behavior, as many of these sexist commentators are in the long run, provided they don’t push that envelope too far.

Similarly, people who continue to listen to Maher and Limbaugh probably would not say they condone their most over-the-top remarks, or that their dismissal of these comments as ‘no big deal/just entertainment’ does not in any way contribute to the persistence of misogynistic attitudes toward women in public life.  There will be a bit of finger wagging about ‘making better word choices,’ but mostly the issue will be treated as an individual’s unfortunate gaffe and not an issue with our larger society.

But this is not just about ‘making better word choices.’  While it would be a vast improvement, I don’t think it’s going far enough for people to still think their misogynistic comments but not say them.  We need to work toward a media culture where people, public figures particularly, approach one another and the issues with enough respect that they don’t even let their emotions get to a place where they would think to call people those names (you know, the most basic standards of professionalism the rest of us work with).  Maybe that’s not realistic, but I don’t think it’s a bad standard to work for.

This just in: the UNCG Women and Gender Studies program is showing a documentary this week, Miss Representation,  which “challenges the media’s limiting and often disparaging portrayals of women,” portrayals which “contribute to the under-representation of women in influential positions in America,” (WGS flyer) on Wednesday, March 14 at 7pm. This post may not come out in time to get you there, but you can check out the website to find out other ways to view this documentary.

Transcendence on a June Night

By Claude Tate

The topic area for this blog is designated as “Arts, Entertainment, Sports, Leisure, Family”, So naturally I thought about a little lightnin’ bug, whose scientific name is Phausis reticulate, but is commonly known as the blue ghost.

Image from the Encyclopedia Britannica

 

     “As humans we are born of the Earth, nourished by the Earth, healed by the Earth.  The natural world tells us:  I will feed you, I will clothe you, I will shelter you, I will heal you.  Only do not so devour me or use me that you destroy my capacity to mediate the divine and the human.  For I offer you a communion with the divine, I offer you gifts that you can exchange with each other, I offer you flowers whereby you may express your reverence for the divine and your love for each other.
In the vastness of the sea, in the snow-covered mountains, in the rivers flowing through the valleys, in the serenity of the landscape, and in the foreboding of the great storms that sweep over the land, and in all these experiences I offer you inspiration for your music, for your art, your dance.”

~From  the essay, “Evening Thoughts”, included in Thomas Berry’s 2006 book of the same name.

I was first introduced to Thomas Berry (a native and resident of Greensboro) in classes I took with Dr. Charlie Headington in the MALS program here at UNCG.  Sadly, Dr. Berry passed a few years ago, but fortunately, he left us with a considerable body of writings, some of which I’ve included in my BLS class, “Visions of the Creation”.  Thomas Berry’s legacy cannot be summed up easily.  As one of the world’s leading eco-theologians, he drew on numerous cultural, scientific, philosophical, and religious traditions to weave a narrative of a universe filled with mystery, wonder, and the sacred.  But to me, perhaps the most important message Dr. Berry imparted to us is that this knowledge and these insights are accessible to everyone. The earth stands ready to reveal its sacred knowledge, and show us our place and role, and what it means to be human. All we have to do is to pay attention.

Far too often, we only give the earth a passing glance as we go about our daily lives, but we do not really pay attention to it.  But from time to time, the earth will show us something so special that we must stop and pay attention. One such instance occurred to my wife and me last June.  It wasn’t one of Martin Buber’s “I/Thou” moments, but it was magical nonetheless.  Since I’m somewhat lazy, or maybe a should say extremely busy, I’ve pasted a portion of the letter my wife and I wrote to Our State in August of 2011 concerning our ‘stop and check this out’ moment.

“We read with great interest “Southern Lights “about the “blue ghost” fireflies in Henderson and Transylvania counties. About 10 pm on June 5 of this year, we hurriedly left our place outside of Etowah (10 miles NW of DuPont State Forest) to be with our son and his family as they awaited the birth of their second child in Hendersonville. At the foot of our mountain, near the French Broad River, there’s a large open valley.  That night the entire valley was positively aglow in fireflies, from the ground to the tops of the trees. While we wished we could have stayed longer, we could only stop briefly to appreciate this remarkable display as our granddaughter was on her way.

We had no idea why so many fireflies had gathered in that particular place until the arrival of our August edition of “Our State”.  We are now convinced that blue ghosts were responsible for this magical moment that heralded the arrival of a new life.

We have returned same time, same place but have never seen them in such abundance. But with a healthy granddaughter, a memorable sighting and another keepsake edition of Our State, we are blessed threefold! ”

The article “Southern Lights” was written by Diane Summerville.  There are several things that make them remarkable.  First, they are rare.  According to the article, blue ghosts only exist in a few places, and “Henderson and Transylvania counties are two of those places.” They can also be found in areas of Georgia, South Carolina, Tennessee, and Arkansas. One reason for this is that they are very fragile.  We referenced DuPont State Forest (the legislature recently changed its designation to DuPont State Recreational Forest) because due to the cool, moist climate, there are a number of colonies there. But even there, they only come out during late May and June when the temperature and humidity are just right.  Everything was ‘just right’ on that night in June when we saw them. Another reason they are rare is that there are very few females. So when the population of a colony drops, it may take years for them to re-establish themselves. So sighting them is special.  Also, their lights are special.  First, they are slightly bluish, thus the name, blue ghosts.  And rather than staying lit only a second or two like other fireflies, their lights stay lit for several seconds, and sometimes up to a minute. They don’t twinkle. So a few thousand blue ghosts will be far more visible than ordinary fireflies. That was why our valley looked so magical that night.

But understanding what lit up our valley on that June night has taken nothing away from the wonder we experienced. In fact, it has only enriched the memory. I’m sure Thomas Berry would agree.

If you are ever traveling to the Hendersonville area in late May or June, and have some free time, you may want to contact The Friends of DuPont Forest. They normally take two or three blue ghost tours each spring.  But sightings aren’t guaranteed. Conditions must be just right. Wonder cannot be ordered at a take-out window, and it doesn’t come with fries.

Image from the Blue Ghost Post blog of a blue ghost sighting.

And the Oscar Goes To…

By Marc Williams

This Sunday, the Hollywood glitterati will turn out for its annual jubilee, the Academy Awards. While I’ve never been a fan of award shows (see my post from last summer regarding the Tony Awards), I certainly view an Oscar as the highest recognition in the entertainment industry. While lots of quality work is unrecognized by the Academy each year, I still regard an Oscar nomination as some validation of quality work.

In the decade or so after I finished high school,  I took that validation quite seriously. I made a point of seeing all of the Oscar-nominated films before the awards ceremony. I would definitely see all the Best Picture nominees but I tried to see the documentaries and foreign films too.Indeed I saw many terrific films I wouldn’t have otherwise seen. In 1998, everybody saw Titanic (the Best Picture winner, among many other wins) but I hadn’t seen L.A. Confidential until after it received nine Oscar nominations. In 2004, it was a Best Director Oscar nomination for Fernando Meirelles that prompted me to view City of God–which I now count among my favorite films of all time.

When I first started trying to see all the Oscar-nominated films, my motivation was largely snobbish. I felt I earned a certain cultural cache from seeing all of the “great” films of the year, especially the obscure films my friends hadn’t heard of. Admittedly, there were many times I forced myself to sit through movies in which I wasn’t remotely interested. In earning my status as a highly cultured individual, I figured I had to pay the price of boredom. I suffered through The Red Violin, The Gangs of New York, and many other Oscar nominated films, hating every minute of them.

Naturally, circumstances change. I can’t fit self-imposed boredom into my schedule anymore. Nowadays I find it exceedingly difficult to go to the movies at all. My wife and I try to watch films at home but that can be challenging with a two-year old asleep down the hall. Not surprisingly, we’ve fallen behind on all the movies we want to see–we’ve learned from experience that Netflix only allows users to put 500 movies in the DVD queue. I doubt we’ll ever catch up. The result of our changing circumstances is a need to prioritize our film viewing and spend time only with stories we find truly fascinating–the Netflix queue is getting pared down to the essentials and we make very careful choices when we are able to make a rare trip to the movie theatre.

Of the eight films nominated for Best Picture this year, I’ve seen half. In recent years, I’ve seen far fewer.

In 2009, I had only seen two of the eight nominated films at the time of the ceremony. This year, I’ve seen Hugo, The Artist, The Descendants, and Midnight in Paris. I doubt I will ever see Moneyball or Extremely Loud & Incredibly Close because I’m just not interested. And this, for me, is how the Oscars reflect my changing views on achieving “cultured” status. I’m not willing to endure disinterest in exchange for this status.

I’m convinced, however, that I’m not the only person who has consumed boring art for snobbish reasons. In fact, I believe many of us go to the theatre, museums, or obscure films with boredom as an objective: “If I can withstand this boredom for two hours, I’ve paid my cultural debt to society.” I agree the arts are vital to communities, to self-awareness, and communication but if the work isn’t engaging, interesting, or in some way entertaining, how valuable can it be?

I’ve seen this phenomenon at work in some of my BLS courses. My Eye Appeal students, for instance, are required to attend a live performance in their community. My hope is that the assignment will be fun–and for most of my students, this assignment is the highlight of the course. But sometimes, students attend events in which they clearly aren’t interested. Perhaps they are trying to impress me with their sophistication, attending a ballet or opera that they secretly despise, hoping to manufacture some cultural credibility?

Have you ever suffered boredom for the sake of feeling cultured?

The State of Our Unions: Marriage and the Ballot Box

By Carrie Levesque

It’s a frequent topic of discussion in any election year: just how informed is our electorate?  How much does the average voter know about the issues we’re asked to vote on?  Many of us wrestle, standing alone in front of our electronic ballot, with how (or whether) to vote on races or referenda on which we don’t feel educated enough to make an informed decision.  Do we vote for this person because we’ve seen his/her name on a lot of campaign signs?  Funding this or that public project sounds like a good idea, but have I taken the time to find out whether it’s projected to be worth the community investment, or is it some politician’s pet project that serves the interest of few at the expense of many?  And what about when we’re being asked to vote on one group’s civil rights?

Last week in California, a judge ruled the state’s ban on same-sex marriages unconstitutional.   Meanwhile here in NC, we prepare to vote in May on a constitutional amendment defining marriage as between one man and one woman. Undoubtedly there are many voters at both ends of the political spectrum who already feel pretty unshakeable in their opinions on the matter, but some recent publications have made me think more about how informed the average voter is or needs to be about the institution of marriage and its role in this issue.  Is it enough to rely on our own experiences or taken-for-granted notions without thinking more about what the purpose of marriage is in our culture, what it has been historically, how it has changed and what these changes might mean for its future?

I started thinking about this issue after catching an episode of the afternoon talk show Anderson devoted in part to Stanford law professor Ralph Richard Banks’ controversial new book Is Marriage for White People?: How the African American Marriage Decline Affects Everyone.  Though his work focuses mainly on race and marriage, when I got myself a copy and started reading, his research led me to other interesting works on the topic of marriage, family and American culture.

In his book, Banks examines two developments that he believes account for the African American marriage decline, the first of which interests me here: that the “rules of the [marriage] market have changed, so that people marry for different reasons and with different expectations than in earlier eras.” Banks references the work of marriage and family scholar Stephanie Coontz, whose 2005 book, Marriage, a History: From Obedience to Intimacy, or How Love Conquered Marriage, looks at the evolution of marriage from a practical business partnership to a more romanticized, idealized emotional commitment today.  Both Banks and Coontz urge the reader to consider how today’s idea of marriage is a very recent development, not a timeless tradition, and how damaging some of our current expectations about marriage have been to the institution itself.

Another work of interest, Andrew Cherlin’s 2010 book The Marriage-Go-Round: The State of Marriage and the Family in America Today looks at a related issue: the way religion and law reinforce “Americans’ embrace of two contradictory cultural ideals: marriage, a formal commitment to share one’s life with another; and individualism, which emphasizes personal choice and self-development” (Amazon.com).


Other works treat the issue of same-sex marriage more directly, like E.J. Graff’s What is Marriage For?: The Strange Social History of Our Most Intimate Institution (a pro-gay work which also uses historical perspective to argue that the idea of ‘traditional marriage’ is an oxymoron) and the more conservative scholarly collection What’s the Harm?: Does Legalizing Same Sex Marriage Really Harm Individual Families or Society?, edited by Lynn Wardle.  Whatever your position, why not check out one of these books to find out more about what the other side is all about?   In the bigger picture, it can only help us bridge the painful divide over this issue if we all begin to understand more about the opposing sides’ needs, fears and motivations, even if we don’t agree with them.

Many people think that what we know about marriage from personal experience or the teachings we’ve grown up with is enough, but isn’t part of the purpose of higher education to make us question precisely these sources, or at least the practice of relying on them exclusively?   Don’t we experience again and again in our BLS courses the benefit of having our ingrained ideas challenged, broadened, or deepened by new perspectives, new historical or cultural frameworks?  Even if you think you know what marriage is, and why this right should or should not be extended to gay and lesbian couples, why not check out any of these books and see what others have to say on the topic?  It may not change your mind, but it will make you more informed at the polls this May.