Academics Archives - �鶹ӰԺ University

How the �鶹ӰԺ University Makerspace is building a community of innovators

Communications — Fri, 16 Jan 2026 20:36:16 +0000

From a single homemade 3D printer to a comprehensive creative hub, the �鶹ӰԺ University Makerspace has spent the last 10 years transforming into a vibrant, interdisciplinary laboratory for students, faculty, and staff. Now boasting laser cutters, sophisticated sewing machines, and an array of 3D printers, it is a testament to the university’s collaborative spirit.

“Celebrating 10 years of the Makerspace is a reminder of how transformative access to tools and shared creativity can be,” said Becky Frank, director of the Seeley G. Mudd Library. “It’s not just about technology or equipment; it’s about empowering people to learn by doing, to problem-solve, and to imagine what’s possible.”

Angela Vanden Elzen, associate professor, reference and learning technologies librarian, and leader of the Makerspace, sees its longevity and growth as a testament to the creative and inclusive nature of �鶹ӰԺ University.

“It shows that collaborative spaces are welcome here,” Vanden Elzen said. “Students, faculty, and staff support the kind of space where we learn from one another, where we are sharing materials, equipment, and expertise. I think that is something that makes �鶹ӰԺ really special.”

The Spark: How a homemade printer launched campus innovation

Conversations around a dedicated Makerspace began back in 2013, sparked by a desire among faculty and staff for students to have access to 3D printing technology.

David Berk, director of instructional technology at �鶹ӰԺ, convened interested parties to discuss new technologies and ideas. During one of these meetings, former chemistry professor Dave Hall showed off his own 3D printer he had built to use in class—the inspiration for a creative space on campus.

The library, as the physical heart of campus, became the natural home for the Makerspace.

“Since the beginning, the Makerspace has been a space that is collaborative and responds to student, faculty, and staff needs,” said Vanden Elzen. “Every piece of equipment was requested by a faculty member or student who needed it for a project. It’s very much been responding to the needs to the campus, especially related to the curriculum.”

Vanden Elzen worked with campus partners and the grants team to secure initial funding from the Associated Colleges of the Midwest (ACM). This funding allowed them to purchase their first 3D printers, 3D scanners, and computers.

From the start, the focus was not only a creative outlet but also supporting career enhancement and integrating maker pedagogies into curriculums.

“We wanted to be able to let students work on hands-on skills and develop future-ready thinking,” Vanden Elzen said. “Helping students express their creativity helps them bring their ideas to life and develop these new skills.”

Frank agreed, citing the Makerspace as a natural extension of what libraries have always stood for: curiosity, exploration, and access to knowledge.

“It’s given students a place to experiment, create, and bring ideas to life, connecting what they learn in the classroom to the real world,” Frank said.

Building the Ethos: Librarians as learners, community as creation

The Makerspace opened the summer of 2015. Housed in the library, Vanden Elzen took an increasingly active role in developing policies and overseeing operations. While Dave Hall and staff members from UW-Stevens Point provided early support on 3D printing and makerspace management, Vanden Elzen said she picked up many of the other skills as she went.

“To any librarian or instructional technologist, you know it’s just what we have to do,” Vanden Elzen said. “We need to be responsive to the needs of the people we’re serving.”

This responsiveness involved not only learning how to use and maintain the equipment but also developing a framework for teaching others. Recognizing that the Makerspace was about more than just equipment, Vanden Elzen helped develop a clear set of learning outcomes and an official Makerspace ethos.

“A makerspace means collaboration, a failure-safe environment, being respectful and responsible,” Vanden Elzen said. “It’s not just making with the objects; it’s also making with the community.”

Prototypes and Pedagogy: Transforming the Curriculum

When the Makerspace first opened, its limited capacity meant it was tied mostly to coursework. Faculty approached Vanden Elzen with ideas about for integrating the Makerspace into their curriculum. Her job is to collaborate with faculty to ensure learning outcomes are met with the right tools.

Doug Martin, professor of physics, first engaged deeply with the Makerspace in 2019 when he began working with Vanden Elzen on 3D printing a research-grade microscope. Martin’s goal was to create a high-quality instrument easily built by anyone with access to a 3D printer.

They are currently on prototype version 51, but the real impact can be seen in the student outcomes.

“During this process, a half-dozen students have spent summers working in the Makerspace to improve the microscope parts,” Martin said. “One graduate has gone on to work on telescope development with 3D software. Another uses design software to model high-energy physics. So the prototyping with the Makerspace has had fantastic long-term outcomes for these students.”

The space also provides practical solutions for labs, as demonstrated by Meghan Raebel, assistant lab supervisor. She used 3D printers to address contamination issues in a biology lab.

“Students were setting long glass pipettes directly on the countertop,” Raebel said. “I found free (3D model) files that allowed pipettes to be suspended above the counter and keep them separate without touching. I was able to use the 3D printers to make a class set.”

The Makerspace’s interdisciplinary reach also extended to the humanities. Brigid Vance, associate professor of history, used the space in her course “Early Cross-Cultural Interactions Along the Silk Road.” After students read an essay focused on the astrolabe—an astronomical, navigational, and time-keeping device used by the ancient Greeks and Romans—she used the Makerspace to 3D print the devices. The exercise enhanced student learning by experiencing a reading through touch.

“For them, manipulating an astrolabe in an attempt to orient themselves in geographical space was both challenging and illuminating,” Vance said. “Challenging in that it was a new instrument for everybody in the class. Illuminating in that it helped students experience the astrolabe and better understand the points of a technically difficult essay.”

“I think the Makerspace helps students and faculty to see another way in which education can look so different,” Vanden Elzen said. “The simple act of focusing on an idea while designing, selecting materials, and using tools can supplement classroom learning and help students see things from a different perspective.”

Frank added: “It reminds us that learning isn’t confined to a classroom or a textbook—it happens wherever imagination, tools, and people come together.”

Grace Weber ’24, Joseph Carpenter ’24, and Doug Martin: As part of summer research, they worked on creating a customizable, open-source microscope. Some parts were 3D printed with the help of the Makerspace. July 2023

Empowerment through Creation: Stories of Future-Ready Lawrentians

As the Makerspace’s reputation grew, so did its hours and accessibility, thanks in large part to a dedicated team of student assistants. This expansion allows for personal projects, tinkering, and skill-building outside of class.

Vanden Elzen sees this as central to the Makerspace mission.

“I see it as helping them become future-ready Lawrentians; they’re learning to take control of their lives through a seemingly small way of repairing something instead of buying something new,” Vanden Elzen said.

First-year Eleanor Erwin from Wausau, Wisconsin perfectly captures the wonder the space can inspire:

“When I first heard about the Makerspace, I figured it would be a closet with some watercolors. I soon realized that it was a dedicated space for every kind of creation!” Erwin said. “The fact that this space is here, staffed with passionate creatives, with easy access to training, and is stocked with such a variety of good-quality supplies and machines (with no additional cost) really makes me feel that �鶹ӰԺ cares about artistic expression.”

For senior Lee Gobenciong, a student assistant, the space has been a source of empowerment in several ways, from learning to sew to repair and alter his clothing, to developing critical teaching skills.

“I’ve improved with interacting with different people and teaching instead of me listening to a teacher,” Gobenciong, a business & entrepreneurship major from Park Ridge, Illinois, said. “That’s a skill I know I will use in business and in my career.”

Junior Grace Romano, also a Makerspace student assistant, received a tour of the Makerspace from Charlie Wetzel ‘23 during her first year. The rest was history.

“It feels good because I remember getting trained, and it made me happy after I was trained, because I would come in here and just make whatever I wanted,” Romano said. “Now other people can do that because I help them and give them access.”

To Romano, a studio art and geosciences major from Glen Ellyn, Illinois, the Makerspace was also a place to meet people and build a community.

“This is a good community space to meet like-minded people,” Romano said. “It’s like I have a higher chance of finding someone with shared interests here than I do anywhere else.”

The Next Chapter: Keeping Creation Current

Over the past decade, the Makerspace as been a devoted space for creative expression in and out of the classroom. Vanden Elzen intends to keep “making” current.

“Learning new technologies, integrating new ideas, new digital literacies, like working with AI,” Vanden Elzen said, “those are very important things for our students and for all of us to understand.”

“The Makerspace fits with the mission at �鶹ӰԺ, especially to help create future-ready, lifelong learners. I think the Makerspace really helps establish this idea of empowerment through creation, and it really fits with this idea of curious learners, curious Lawrentians. I have been happy to be able to support the Makerspace in its growth over the years, and I would love to see it grow even more.”

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Listening to your creative voice with Creator-in-Residence Patricia Smith

Communications — Fri, 16 Jan 2026 18:35:41 +0000

Patricia Smith, an American poet, spoken-word performer, playwright, author, writing teacher, and former journalist, will join �鶹ӰԺ as its next Creator-in-Residence.

A four-time individual National Poetry Slam champion and winner of the Ruth Lilly Poetry Prize in 2021, Smith will work with writers and performers on campus. She plans to help students strengthen their voice and take their art form and craft to the next level.

Smith started down the creative path in life as a child, when her father came to Chicago from Arkansas in the Great Migration. He brought with him storytelling prowess that instantly fascinated Smith and sparked a desire in her to tell her own magical stories.

Several major influences on her creative work over the years have helped Smith shape and explore various forms of expression. “I’ll have to say my father, who encouraged my voice; Gwendolyn Brooks, who encouraged my vision, and the poetry slam, which taught me the importance of empathy and audience.”

Creatives often struggle to find their voice; Smith will be a tremendous resource for those students wanting to strengthen their creative voice.

“It’s important because it’s what differentiates you from all other artists,” Smith said. “It’s your signature. It’s your stamp. And you never really know. You can come to trust your voice, but that doesn’t mean you stop searching.”

Smith does not attribute one specific thing to inspiring her creative work.

“When you’re a writer, you’re a witness, and there’s nothing that doesn’t at least give you the beginning of an idea,” Smith said. “It’s a fascinating life—there are stories everywhere.”

Smith describes the creative process as something that “knocks you to your knees.”

“The ‘creation’ is what prompts you to stand up again,” she said.

The �鶹ӰԺ community will doubtless be energized by Smith’s new role as Creator-in-Residence. Her expertise and creative vision will complement an already vibrant student community.

“The key is to learn as much from the students as you’re hoping to teach them,” Smith said. “That no matter what their major, no matter the path they’ve already carved, the arts are the answer to so many questions.”

To improve as a writer, Smith urges people to stop concentrating so much on technique and remember joy, empathy, and patience.

“Don’t forget to live what you love,” Smith said. “I hope I, and the students I work with, give the community another way of thinking of something they thought they knew.”

In helping others find their voice, Smith offers a piece of advice.

“In most cases, they’ve found their voice; they just don’t trust it,” she said. “I talk a lot about the quirky, roundabout path to finding my own—it’s not always an easy process— and help them see the voice inside that’s begging them to listen.”

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Summer at �鶹ӰԺ

Communications — Wed, 12 Nov 2025 19:34:21 +0000

�鶹ӰԺ University is excited to launch new summer pre-college experiences for highly motivated students who are ready to engage in college-level learning.

Aimed at rising high school students, options include two distinct paths for high-achieving, AP-level students: The and The . Both of these elite learning opportunities are designed and taught by �鶹ӰԺ University faculty. Applications/registrations are open now through March 22, 2026.

The Ascent Summer Institute is a one-week residential experience offered on the �鶹ӰԺ University campus. It offers high school students a college-level, interdisciplinary learning and leadership development experience. Opportunities in the Ascent Summer Institute are designed to allow students to explore topics of scholarly interest they would not typically encounter in their regular academic curriculum. This program is open to high school freshmen through seniors.

The Odyssey Immersion Program allows participants to earn college credit as they engage in a three-week interdisciplinary exploration spanning three locations. It is taught collaboratively by three faculty members from different disciplines, providing a rich experience that delves into the topic area from unique points of view. The first week of their academic journey takes place on the �鶹ӰԺ University campus. Week two brings students to Björklunden, �鶹ӰԺ’s “north campus” in Door County. Students complete the final week of their experience at �鶹ӰԺ’s London Centre, where students explore topics of interest through a global lens. Odyssey is open to rising juniors and seniors.

“These summer options will help �鶹ӰԺ University to connect and engage with high-performing high school students who are academically curious and intrigued by a journey of learning and self-discovery,” said Trevor Lord, assistant vice president of Strategic Partnerships. “Students will experience real college rigor in an environment that values intellect, artistry, and purpose.

Primarily guided by �鶹ӰԺ University faculty, students will engage in hands-on study, explore cultural connections, and build enduring friendships with peers who share their curiosity and drive.

“The greatest pleasure has been watching my creative colleagues come together to develop these incredibly cool and impactful course experiences that, through their interdisciplinary approach, reflect the best of �鶹ӰԺ,” said associate professor Elizabeth Becker.

These signature experiences will allow students to deepen their sense of purpose, discover unexpected connections between academic disciplines, and synthesize those discoveries into their lives in ways that point out new, previously unexplored pathways to learning, leadership and self-expression.

“Ascent Summer Institute and Odyssey Immersion Program at �鶹ӰԺ University are the ideal summer choices for students to explore their interests, refine their goals, and strengthen their sense of purpose, all in an academically challenging, intellectually stimulating, college-level environment,” Becker said.

In addition to the new programming, �鶹ӰԺ continues to offer summer options for varying ages and interests.

Learn more about our summer programs for kids and teens offered at �鶹ӰԺ in music, theatre, athletics, and aviation.

Summer at �鶹ӰԺ (All Programs)

Learn more about the Björklunden seminar series for lifelong learners at �鶹ӰԺ’s north campus in beautiful Door County.

Björklunden Seminar Series

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Strange in the Familiar: Exploring humanity through anthropology and science fiction

Communications — Tue, 30 Sep 2025 21:21:08 +0000

For Kailey Rocker, former visiting assistant professor of anthropology, science fiction was one of the most natural ways to explore anthropological concepts.

For two of her three years at �鶹ӰԺ University, she taught the course Anthropology and Sci-Fi—under ANTH 300: Topics in Anthropology—where students explored humanity through an unfamiliar lens: the connection between science fiction and anthropology.

“We have an adage in anthropology: ‘to make the strange familiar and the familiar strange,'” said Rocker. “There are a lot of things that we consider normal or that we take for granted that are familiar to us. Students learn to reexamine what they consider familiar and to open themselves up to the diversity of perspectives that exist. Science fiction does the same thing.”

Kailey Rocker

We have an adage in anthropology: ‘to make the strange familiar and the familiar strange.’ Students learn to reexamine what they consider familiar and to open themselves up to the diversity of perspectives that exist. Science fiction does the same thing.
– Kailey Rocker

Mark Jenike, associate professor of anthropology and chair of the department, said elective courses like Anthropology and Sci-Fi provide an opportunity for students to dive deeper into specific aspects of humanity and understand them in new ways.

“Anthropology is the only discipline at �鶹ӰԺ that seeks to understand humans as a total species, from our origins to the present, in all of our global diversity,” said Jenike. “Dr. Rocker’s Anthropology and Sci-Fi course is the kind of creative application of an anthropological approach to understanding humanity that our topics courses are particularly well-suited for.”

Study anthropology at �鶹ӰԺ

You’ll see humanity’s patterns, practices, and places in new lights through multidisciplinary lenses.

Ethnography & Science Fiction

While they differ in content, writing style, and audience, both anthropological writing and science fiction share a commonality: they are forms of world-building. The course combined creative writing with ethnographic writing through readings, writing, and a world-building project.

Ethnography is a research methodology that cultural anthropologists use. It is a type of immersive fieldwork where anthropologists live with, work with, and interview the people they are studying. It also refers to the written stories anthropologists produce from their fieldwork.

“We collaborate with communities to share their story and their experience of the world around them,” Rocker said. “There is a creative component, though. My field notes are often written down as a story: what I encountered, who I learned from, and some quotes they shared with me. In ethnographic writing, you are trying to the best of your ability to represent the words and the worlds of the people that you work with as truthfully as you can.”

This is where the two genres differ. While ethnographers are responsible for truthfully and honestly representing the people they study, science fiction writers have more creative freedom. This freedom makes science fiction a great avenue for exploring anthropological ideas without having the same constraints.

World-Building and the Power of Sci-Fi

For their world-building project, students worked in small groups to construct a world where specific technology, technological input, or environmental change had occurred. From there, they imagined the logic and cultural systems of that world, exploring beyond the bounds of their own reality.

“They were each responsible for developing some aspect through story and through it an anthropological analysis,” said Rocker. “I asked them to think not only about technology or material but to think more about the human experience. How would this impact what a family structure looks like? How might it influence relationship building or language development?”

As part of this project, students also interviewed each other in a ‘cultural exchange’ to present an analysis of what a long-term cultural encounter between two very different groups would look like.

From this project, the idea of a sci-fi zine was born.

“One student just made a casual remark that they really enjoyed reading the other groups’ material,” Rocker said. “That it was so neat to dive into a different world that wasn’t their own and to see the creativity, imagination, and exploration. I was like, ‘Would anyone be comfortable sharing their stories outside the classroom?’”

The answer was yes. Nine students from the winter 2025 course worked with Rocker through the spring to edit and compile their stories into a science fiction zine. A limited number of copies were also printed by Allegra Appleton.

In the zine, the students used the genre of science fiction to build worlds with their own cultural logics and contemplate anthropological questions.

“We are fortunate to have An Anthropology Anthology of Other Worlds as a lasting reminder of the achievements of Dr. Rocker and her students in the anthropological study of self and other, of the familiar and strange,” Jenike said.

Exploring Humanity Through Fiction

Junior Percy Schneider, an anthropology major from Milwaukee, WI, always had an interest in humans and in fiction. They found their passion for anthropology after taking Rocker’s introductory cultural anthropology course.

“I love humans; I love everything we create,” Schneider said. “I took intro to cultural anthropology with Kailey Rocker, and something just kind of clicked: ‘This is my field. This is where I’m meant to be.’”

Schneider studied under Rocker again in the science fiction course. They enjoyed the readings and the challenge of studying humanity through science fiction.

“I think science fiction is a great genre because it’s looking at humanity looking towards the future,” Schneider said. “There are stories where it gets really dystopian, but other times, there are ones that just fill us with this blinding hope.”

Percy Schneider

For their literary exercise, Schneider collaborated with, among others, junior Iris Shykula, a junior creative writing and Russian studies major from Longmont, CO, to create a shared universe for their stories. The effort was entirely collaborative, as they had to decide how their stories fit together, what the timeline was, and the rules of how their world functioned.

Schneider’s story follows a 16-year-old on her ‘descent,’ a rite of passage for people in their culture who are about to start a new job at the bottom of the ocean. The story also explores the theme of kinship in a world without traditional families.

“I was really trying to focus on finding family in a world where you don’t begin with one, because in the world we created, there are no babies or children,” Schneider said. “I focused on that idea of how someone looking like you could be comforting, even if you don’t know them at all. I wanted it to be like coming to a home that you never knew you had.”

The students were also asked to write an anthropological analysis of their own works of fiction. Schneider made the decision to include their analysis in the zine. When analyzing your own work, they said they felt like a professional anthropologist.

“I yielded more out of analyzing the story than writing the story,” Schneider said. “I started looking back at it, and I was like, ‘Oh yeah, I see how this works. I see how this represents some anthropological concept.’”

In addition to their stories, students were tasked with imagining an everyday cultural object from their worlds. They designed and 3D printed these objects with the help of the �鶹ӰԺ University Makerspace. Pictures of the objects were printed in the zine, and the physical items were used in a cultural encounter workshop. Students were challenged to interpret the objects produced by other groups like archaeologists working within a limited context.

Angela Vanden Elzen, associate professor and reference and learning technologies librarian, said this is one of the many examples of Lawrentians utilizing the Makerspace to get more out of their coursework and their �鶹ӰԺ experience.

“Our makerspace has given faculty, students, and staff the opportunity to bring a wide range of making technologies into coursework, laboratories, performance spaces, field work, as a creative outlet, and so much more,” Vanden Elzen said. “These kinds of projects help students to see that getting started with 3D design and 3D printing is not as intimidating as they may think. The technology has come so far that it is easier than ever to learn how to use these technologies.”

According to Rocker, the idea was to make students consider how everyday objects can take on new meanings when viewed in a different light. One group, inspired by time travel and historical drama, created a teleportation device within a pocket watch. The device caused severe memory loss when used, which led to a deeper analysis of how this would impact kinship practices, communication, and human agency.

A microscopic heart implant

The “Обласк/Oblask” biomechanical device

A pocketwatch and teleportation device

“The Tether,” a communication implant

A Collaborative Effort

While Rocker had initially planned for the zine to be a digital-only project, she was encouraged to get it printed.

“I’m very excited with what we were able to achieve. It surpassed my wildest imaginations,” Rocker said.

Physical copies of the zine were disseminated to different departments at �鶹ӰԺ University and are available to check out at the Seeley G. Mudd Library.

Rocker hopes that readers enjoy the students’ creativity and get to experience what �鶹ӰԺ professors get to see every day.

“I’m blown away by the creativity and passion, and I hope readers will think about the ways it overlaps with or is very distinct from their own everyday lives and experiences,” Rocker said. “So much collaboration was involved in the creation of this little zine. I’m incredibly proud of the students who took the class and also indulged me in taking on this project.”

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Beyond the classroom: 83 �鶹ӰԺ students transform summer into research opportunities

Communications — Tue, 09 Sep 2025 17:56:25 +0000

For many �鶹ӰԺ University students, summers are more than a break from classes; they’re a chance to engage in intensive, hands-on research that bridges classroom learning with real-world application.

This past summer, a diverse group of Lawrentians—83 students from 19 departments across the college and conservatory—immersed themselves in a variety of research projects, pushing their boundaries and gaining invaluable skills. Funded by the generosity of donors, their experiences highlight the incredible opportunities available to undergraduates who choose to spend their summers in pursuit of discovery.

“Working with �鶹ӰԺ faculty on their research over the summer is a truly distinctive opportunity for our students,” said Beth Zinsli, associate provost and adjunct associate professor of art. “In addition to a greater depth of knowledge in a specific discipline, this summer research helps them sharpen key skills needed for successful careers in their fields after graduation.”

This is a glimpse of this year’s summer research opportunities, showcasing the research opportunities at �鶹ӰԺ and the transformative impact it has on student learning and professional growth.

Interested in pursuing a research project next summer? Summer 2026 opportunities will be posted the last Friday of January 2026. Applications will be due by the third Friday of February 2026. Now is the time to start exploring your options. Don’t hesitate to reach out to the Summer Research Coordinator (resesarchcoordinator@lawrence.edu), your advisor, or a professor whose interests align with your own.

Learn about student research

Collaborate with professors here on campus, with alumni who teach in major research universities around the world, or through outside programs you wish to pursue

Art History: Highlighting the Permanent Collection

The permanent collection at the Wriston Art Galleries at �鶹ӰԺ University boasts over 6,000 works of art, a testament to the generosity of the college’s alumni and friends. However, less than two percent of the collection is typically on display in any given year.

To help showcase more of this vast collection, Val Muzzarelli, a junior art history major from Hazel Park, MI, took on a research project to curate a year-long exhibition. Led by Beth Zinsli, associate provost and adjunct associate professor of art, the project began last year with Wren Chlystek ‘25, also an art history major. Muzzarelli picked up the mantle when Chlystek graduated.

“They (Chlystek) left a really good foundation and gave me a really good place to start,” Muzzarelli said. “It’s been more collaborative than just me.”

Junior Val Muzzarelli peruses some of their selected pieces for the exhibit.

Madison Pierson examines the Earl and Aubrey Richmond Collection of Rare Books.

Selected art pieces for the permanent collection exhibit

Val Muzzarelli takes notes on a large piece of art.

Throughout the summer, Muzzarelli has been researching, examining, and drawing connections among the artwork to create a cohesive exhibition of about 90 pieces. The exhibit will be organized around four core themes:

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The Unknown

According to Madison Pierson, the collections and gallery assistant at Wriston, “The Unknown” highlights future research opportunities for pieces whose stories are not yet known.

“Many of the pieces came to us before this building (Wriston) existed,” Pierson said. “The paper trails for some of those early gifts in particular may be less thorough.”

An unofficial fifth theme, “Greatest Hits,” will also be featured, showcasing some of the collection’s most popular pieces, including Louise Bourgeois prints and the dancing bear statues.

The exhibition aims to expose students, faculty, staff, and the community to the full breadth of the �鶹ӰԺ permanent collection. If successful, this type of exhibition will become a regular event. Pierson hopes that continuing the project in future years will allow faculty to incorporate the works into their lesson plans.

“Getting more things in the gallery also helps expose students for research but also our faculty to the wide variety of things we have in our collections,” Pierson said. “There are so many who might not know that these collections exist or the breadth of the collection.”

The exhibition is set to open in the back gallery on Friday, September 26, with a reception planned for October. It will remain on display for the entire academic year. In a related project, Alex Whaley, a junior English literature major, will curate an exhibition in the front gallery featuring works from the Earl and Aubrey Richmond Collection of Rare Books.

Biology: Prairie Restoration

After their freshman year at �鶹ӰԺ, 5th-year senior Laura Friestad got an internship at Lake Forest Open Lands Association in Lake Forest, Illinois, as a restoration ecologist intern. While there, they learned how to identify invasive and native species, collected seeds, and learned all about ecological restoration; in the end, they fell in love with the work.

“I was like, I can’t spend the rest of my life not doing plant stuff,” said Friestad. “So I decided to put that more into what I’m doing at �鶹ӰԺ.”

The experience led Friestad, a clarinet performance and environmental science major, to consider ways they could help improve the ecological landscaping on campus. While brainstorming ideas for their junior year capstone class, they decided they wanted to make a prairie on campus.

Laura Friestad shows Rylee Polanka how to collect jewelweed seeds.

Rylee Polanka searches for jewelweed in the woods behind Trever Hall.

Friestad and Polanka search through the woods behind Trever Hall.

The view from behind Hiett Hall

The hill behind Hiett Hall presented a natural place to start, being covered in invasive species. They went to work removing invasive species from the plot and collecting seeds from native species around the city of Appleton. They visited Bubolz Nature Preserve and also searched older areas of the city; less development means it was easier to find existing populations of native species.

From there, they would make a seed mix, weigh it out, and spread it over the hill. A year later, Friestad is continuing their work through a summer research project with Alyssa Hakes, associate professor of biology, along with Rylee Polanka, a junior environmental science major. The project allows them to study prairie restoration methods, visit restored prairie sites, identify invasive and native plant species, and develop a plan on monitoring and restoring prairies and other Wisconsin ecosystems

“We are trying to overpower the invasive seed bank with our seed bank, and that means a lot of digging up the invasive seed species, cutting the seed heads, removing the seeds, and trying to get as few of those seeds staying and more of our seeds going in,” Friestad said, “and hopefully, eventually, create a self-sustaining ecosystem.”

A seed bank can refer to the seeds already in the soil, some of which can persist for years. Prairie plants flower, produce seeds, and appear to die at the end of the season. However, their roots are still alive under the soil and can return season after season.

“That’s one of my absolute favorite things about the prairie —how they put so much into the roots,” Friestad said.

The Conservatory: Brass Pedagogy

Joey O’Connor, a senior trumpet performance and music education major, had the opportunity to collaborate with assistant professor Nadje Noordhuis in editing interview transcripts for Noordhuis’s PhD dissertation, “The Teaching Philosophy of Laurie Frink.”

O’Connor was able to explore the teaching philosophy of brass legend Laurie Frink and uncover best practices for future educators. The dataset comprised over two dozen interviews with Frink’s former students and colleagues and the students of her renowned teacher, Carmine Caruso.

Joey O’Connor and Nadje Noordhuis work together to edit interview transcripts.

The Conservatory: LGBTuben, The Lodge, & Meditations

Ann Ellsworth, associate professor of music, led several summer research opportunities tied to her involvement with the �鶹ӰԺ Graduate Bayreuth Tuben Quintet (LGBTuben), an ensemble with roots at �鶹ӰԺ. Ellsworth brought together �鶹ӰԺ musicians and talented tuben players from across the country to create music rooted in inclusivity, visibility, and diversity.

LGBTuben was recently was recently gifted a lodge on 20 acres in New York’s Adirondack State Park, which the group plans to transform into an artist retreat. This space will serve as both a meeting place and an income generator to support the ensemble’s scholarship and outreach programs.

Aimee Patch, a senior music education major from Greenville, WI, collaborated with Ellsworth on managing the lodge. Patch traveled to the lodge this summer with LGBTuben to research similar nonprofits and study how a musical nonprofit can operate.

“My research looked at similar nonprofit organizations such as this to see what models we might adopt, and then also checking out a lot of the zoning laws and building laws for the Adirondack Park,” Patch said. “It’s such a beautiful space.”

Ann Ellsworth and Leo Rodda take notes on their meditation arrangements.

Aimee Patch and Ann Ellsworth discuss their work.

The exterior of the Lodge

The Adirondack Park in New York provides a beautiful backdrop for musical work.

Patch appreciated the opportunity to see a lot of the behind-the-scenes work that goes into making music happen.

“Being able to sit in on group meetings and see what happens behind closed doors and official decisions being made wasn’t something you usually see,” Patch said. “To sit there as a student, as an intern, was really incredible. To see how these decisions were made and debated and decided as a group was really powerful.”

Junior Leo Rodda, a music major from Appleton, WI, also visited the lodge this summer to continue his research with Ellsworth. Last year, he arranged music by Arvo Pärt and John Cage for horn and some clarinet to create 10-30 minute ‘meditations’ that can be used for bilateral music.

Bilateral music can be used in different therapies by providing auditory stimulation where sounds alternate between the left and right ears. The music keeps the brain activated with continuous sound.

“We’ve been using a lot of minimalist music, so the point is to listen for the small things that change,” Rodda said. “It’s to get you to mindfully pay attention.”

This summer, he collaborated with Ellsworth to finalize the digital scores and record, edit, and master the new album. Although the original plan was to record in New York, audio issues led them to re-record in-house with Brent Hauer, director of conservatory productions.

Rodda is currently selecting the best takes for the album, which will be released this fall. Additionally, a performance by the horn and clarinet studios is in the works for November 2025.

“The people there (at the lodge) and the environment that was created there were so awesome,” Rodda said. “Everyone was so accepting and passionate about what they did; to me, that was the best part. That is something that I see at �鶹ӰԺ as well; you don’t see many other places.”

Ethnic Studies: Sibling Bonds

Seniors Gabby DeBoer (psychology), Owen Bakker (psychology and double bass performance), and Faith Onukaogu (business & entrepreneurship and global studies) worked with Estéfani Marín, assistant professor of ethnic studies, in studying sibling bonds. The three research fellows dove into interviews, coding and analyzing data to understand how siblings generate and transmit resources in the educational context. A particular focus was placed on Latin American and Asian American families.

Although Onukaogu is not an anthropology student, she said participating in research outside of her area of study gave her a unique experience.

“Being at a liberal arts school gives you the opportunity to try things you usually wouldn’t,” Onukaogu said. “The research helped me learn some soft skills, like time management and professionalism, and also cultivate my leadership skills and communication skills. It also helped me connect with professors who are really good resources.”

Owen Bakker, Faith Onukaogu, and professor Estéfani Marín listen to Gabby DeBoer as she presents her work.

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Q&A: Christopher Jenkins ready to lead Conservatory of Music into new era

Communications — Wed, 09 Jul 2025 16:03:41 +0000

This story originally appeared in the spring/summer 2025 edition of �鶹ӰԺ magazine.

Dr. Christopher Jenkins is the new dean of �鶹ӰԺ University’s Conservatory of Music. He began his duties July 1, overseeing all aspects of �鶹ӰԺ’s music degree programs and contributing significantly to the university’s academic mission. Reporting directly to the provost, �鶹ӰԺ’s chief academic officer, Jenkins will play a pivotal role in shaping the future of the institution.

The accomplished violist brings a wealth of experience from his time at Oberlin College and Conservatory, where he served as associate dean for academic support since 2014. At Oberlin, he was instrumental in fostering the academic and artistic growth of conservatory students while leading efforts to expand the music curriculum. He also actively pursued his own academic and artistic development, earning a Doctor of Musical Arts in viola performance from the Cleveland Institute of Music and a Ph.D. in musicology from Case Western Reserve University.

Magazine: See the digital edition of the spring/summer 2025 �鶹ӰԺ magazine

Jenkins succeeds Brian Pertl, whose leadership for 17 years has shaped the Conservatory and laid a strong foundation for its next era of growth and innovation. Pertl has begun a position as director at the University of Denver’s Lamont School of Music.

Jenkins talked about his excitement in joining �鶹ӰԺ:

Q: What about �鶹ӰԺ and the Conservatory of Music drew your attention?

Jenkins: Most of my work has focused on issues of equity and diversity in music performance and education, and as I did more research, it became clear that �鶹ӰԺ Conservatory is a leader in this space. This is evident in a range of initiatives, from faculty’s openness to curricular change, especially in music theory and musicology, to the B.M.A. degree, which supports a genuine synthesis of diverse musical styles. It’s important for alumni to understand �鶹ӰԺ has been engaging in conversations about diverse modes of excellence for years while other schools are just gingerly dipping their toes in those waters today. �鶹ӰԺ is just light years ahead of other places in its orientation toward diverse and creative music making. I wouldn’t be nearly as interested in working at a conservatory that didn’t share these values.

Beyond that, from the faculty I got a clear sense of authenticity, mutual respect, and genuine engagement with difficult questions, including what it means to be a successful young musician in the 21st century.

Q: What can students expect from your leadership?

Jenkins: I come from a student affairs background. So, I would love for students to understand that I want to know what you are thinking about, what your concerns are, and what you need, and that you should never hesitate to reach out to me. What types of courses are you looking for? How can the student experience be improved? What issues are out there that no one knows about except students? It is astounding how much happens on campus and no one has any idea except for students.

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Most of all, I would emphasize to students that my entry point into academia was in student affairs and the student experience will always be my central concern. And students should know that I’m still active as a performer, so I get where they’re coming from and where they’re going.

Q: As you lead a conservatory, what constitutes success?

Jenkins: The purpose of the academic project, to me, is to enhance the musical, academic, and social development of young people so that the next generation is empowered to do better than this generation.

During the town hall that was part of my on-campus interview, I mentioned that there are so many direct stakeholders in higher education. There are faculty members who make sacrifices to dedicate themselves to a single institution; there are alumni whose relationship with the institution is lifelong just by its very nature; and there are staff members who are indispensable but whose hard work is often unacknowledged.

All those perspectives deserve respect. I would emphasize that the primary constituency of any school must be current and future students. When we prioritize the educational and social environment for students, every other constituency benefits. Faculty must receive career development support so they can do their best possible work and set the highest example for their students. The workplace culture must be rooted in respect and belonging so staff can maintain their institutional commitment and help students thrive. When students thrive, alumni have the gratification of seeing younger graduates elevate their alma mater. All of this flows organically out of placing students at the center of the academic mission.

This doesn’t mean giving students whatever they want, because sometimes they can find it challenging to accurately perceive what’s in their best interest. But I would define success in educational leadership as creating an environment that gives students the best possible chance for their own personal and professional success by keeping them at the center of the mission.

Q: What’s your message to the Conservatory’s faculty, staff, and students as you join them on this journey?

Jenkins: I just want to be sure it’s clear that I understand this work to be a joint venture, and that whatever we accomplish will be accomplished together. A few things are certain: I won’t be perfect, because no one is; our best-laid plans will have to change at times because no plan survives first contact with reality; and there is no limit to what we can accomplish in an environment of mutual trust, respect, creativity, and inspiration.

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Acclaimed choreographer Robert Battle sets tone as �鶹ӰԺ debuts Creator in Residence program

Communications — Wed, 09 Jul 2025 15:14:43 +0000

This story originally appeared in the spring/summer 2025 edition of �鶹ӰԺ magazine.

Trust your voice.

For Robert Battle, those three words speak to an artistic journey that has taken him to unanticipated heights in the dance world. Spoken in 2011 by the iconic Judith Jamison as she handed him the keys to the Alvin Ailey American Dance Theater, the advice would become a calling card for Battle for the next dozen years as he navigated the creative and cultural pressures that come with being the artistic director of one of the country’s most revered arts organizations.

“I think that’s one of the hardest things for artists, perhaps even people beyond artistic experiences—to trust their inner voice, to trust their instinct,” Battle said.

From 2011 through late 2023, he carried the New York-based Ailey to new levels of brilliance—hailed for introducing works by emerging artists and nurturing young talent while staying true to the dance company’s signature repertoire and cultural relevancy. It was an exhilarating ride that lasted until he stepped away to explore new artistic endeavors.

And now Battle has delivered that same message—trust your voice—to students at �鶹ӰԺ University in his role as the university’s 2024-25 Creator in Residence. The newly launched residency will bring world-renowned creators to �鶹ӰԺ to collaborate with and inspire students and faculty.

“I think artmaking is so much about that,” Battle said of bringing the trust-your-voice lesson to students. “Yes, there’s technique involved but there’s mostly instinct, there’s mostly gut feelings about things before that paint brush hits the canvas or before that dance step comes out of you. You feel that what you have to say needs to be heard. I think that’s what I took from it, and to trust that is the hardest thing to do because of so many outside voices.”

Made possible through a gift from Harold ’72 and Mary Donn ’73 Jordan, the Creator in Residence program speaks to the university’s commitment to academic and artistic excellence. Future Creator in Residence programming is expected to span a range of disciplines, from sciences to humanities to arts.

“The program is built on a concept of collaboration—with students, faculty, and the community,” President Laurie A. Carter said. “These accomplished creators will come from across the academic disciplines, all creating in different ways, from performances and exhibitions to lectures and master classes. And many of them will bring with them a global following. We’re excited to see where it goes.”

“A lot to express”

Robert Battle

Battle set the tone for the new program over the past year, meeting with students and faculty across campus and leading dance and music students in the creation of an original dance performance, “Gather Together,” presented on campus in May. Additional performances and workshops were presented to students from Appleton schools.

Battle said early talks with campus leaders about the vision for the Creator in Residence program drew him to �鶹ӰԺ.

“We got to talking about this notion of infusing creativity and artistic dance into more parts of academia and how that might work,” he said.

The connection with students was immediate when Battle spent a week on campus in the fall.

“These students are multifaceted,” Battle said. “They’re really smart, and they value art, they value dance. They have a lot to express, a lot to say.”

Magazine: See the spring/summer 2025 edition of �鶹ӰԺ

When he returned to campus in February, Battle worked with students and faculty on a performance built on artistic expression. It evolved organically, collaboratively. Fourteen dance students, under the tutelage of Margaret Paek and Mauriah Donegan Kraker, both visiting assistant professors of dance, were selected for the performance.

Battle said he usually comes in with steps already set. But he wanted this to be a collaborative process, with creative ideas flowing both ways.

“To me, that’s my excitement, to always be learning, investigating, trying new things,” he said. “I think this is a space where I felt safe to do that, very much supported by the faculty and by the dancers.”

Battle then returned in Spring Term to finalize and present the performance, working in partnership with rehearsal director Donegan Kraker and Conservatory faculty Loren Kiyoshi Dempster and Jean Carlo Ureña Gonzalez. Held in the Esch Hurvis Studio in Warch Campus Center, the performances featured the student dancers, Conservatory faculty, and student musicians, all collaborating with Battle on an original composition and choreography.

Ella Fajardo-Wilde, a sophomore from Brooklyn, New York, who grew up immersed in dance, called the experience “incredibly rewarding and boundary-pushing.” She had a solo in the dance performance where her input was not only sought but encouraged by Battle.

“He met me at my dance level while still challenging my choreography memory, endurance, and focus,” Fajardo-Wilde said. “He ensured that this beautiful cast was seen and appreciated for the uniqueness, skill, and grace each individual brought.”

And it wasn’t all about dance. Fajardo-Wilde said Battle connected with the students and the instructors in ways that built trust. That’s not always a given when someone so accomplished is coming in from the outside.

“As a Brooklyn, New York, native, I grew up with Alvin Ailey all around me—seeing the posters, watching the company perform, and knowing about the prestigious program that thousands train and work for years to join,” Fajardo-Wilde said. “Initially, I felt intimidated and nervous to approach or even talk to him. However, the times we talked about different Brooklyn neighborhoods, our similarities and differences in food preferences, or how our days were going, I always found myself enjoying an amazing conversation.”

Donegan Kraker called Battle’s interactions with students and faculty genuine and his collaborations inspirational—deep conversation around process and interdisciplinary possibilities.

“This cross-pollination of idea, interest, training is what makes �鶹ӰԺ unique, is what sets up our artists for post-�鶹ӰԺ success,” she said.

Eye on collaboration

Robert Battle directs a rehearsal in the dance studio in Warch Campus Center.

It was a thrilling kick-off to a Creator in Residence program that �鶹ӰԺ leadership is excited to see grow. It comes as �鶹ӰԺ is investing in collaboration among the academic disciplines. Fall 2025 will see the opening of West Campus, where the second floor of the new building at E. College Avenue and Drew Street will feature offices and studios for Conservatory faculty, a Humanities Center, a recording studio, and offices and classrooms for math, computer science, and data science faculty—all equipped with innovative tools that will facilitate greater academic collaboration and creativity. On the building’s first floor will be the new home for the Trout Museum of Art, a nonprofit art gallery that will provide avenues to greater community partnership while adding another layer of creative energy to the �鶹ӰԺ campus.

What Battle brought to campus via the Creator in Residence program builds on that momentum.

Alison Scott-Williams, executive vice president and chief operating officer at �鶹ӰԺ, oversaw the inaugural collaborative program. She said she was incredibly moved by the knowledge, insight, and passion Battle added to the student experience.

“He has flourished at the highest levels of the arts world,” she said. “He has been a creative juggernaut in dance, a trend setter, someone who has thrived amid incredible expectations. How exciting to have him here on our campus, sharing all his creative energy and genius with the �鶹ӰԺ community. He has set the template for what the Creator in Residence program can be.”

“Everybody has a story”

Battle sees the Creator in Residence role, no matter the discipline, as an opportunity to reinforce lessons already being taught at �鶹ӰԺ. As he led classes and built a dance performance from scratch, students came prepared because they are already immersed daily in the creative process, he said. You can see it and feel it in the halls of the Conservatory, in the galleries of the Wriston Art Center, in research labs and humanities classrooms.

“Sometimes you have to hear it from somebody from the outside,” Battle said. “You can be saying the same thing day after day and then someone comes in and sort of reinforces what is being offered and is being taught.”

That, he said, extends beyond the arts. Whether it’s Battle sharing his journey in dance or students hearing from a future Creator in Residence accomplished in another discipline, that fresh voice—coming from a place of accomplishment—is important.

“I feel everybody has a story,” Battle said. “And for the students to have access to those stories, to those people, whether it be a scientist or an artist or a philosopher or a poet—everything at its foundation is imbued with creativity. I think that’s the link in terms of the Creator in Residence. Creativity is not just for artists. It really is for the world. We usually don’t see it that way. That term is relegated to artistic endeavors when, actually, creativity is all around us all the time and is an important component to progress.”

A new focus

�鶹ӰԺ’s Creator in Residence was one of Battle’s first opportunities after stepping away from the Ailey company.

“It was hard to walk away,” he said of leaving Ailey. “It’s a dream job. I think of it as more than a job; it’s a calling. But I think any good performer knows when to leave the stage, when you’ve said what you wanted to say and it’s time for someone else to take the stage.”

Battle, now in his early 50s, said he embraced the building of a dance community and family with Ailey. That included being on tour for eight months of the year and all the experiences that come with it.

“Sometimes you have to sort of let something go in order to move to the next phase of your life,” Battle said.” Sometimes, because we’re afraid to let go, we hold on to things much longer than they need to be held and then you miss an opportunity to grow.”

The opportunities since stepping away have been plentiful. In addition to the one-year role at �鶹ӰԺ, Battle has been named resident choreographer of the Paul Taylor Dance Company and has been invited to teach or speak at other colleges.

“It’s wonderful because I can now drop in and then move forward,” Battle said. “I get to sort of be an independent artist again, which is exciting—to be in different spaces with different organizations that have different footprints and different modes of working. That’s what is happening now.”

At �鶹ӰԺ and elsewhere, Battle said, it feels good to give back, to be that inspiration to others that his teachers and mentors were to him.

“I’ve done a lot in my career in dance,” he said. “I’ve climbed ladders and mountains that I didn’t even think possible, the pinnacle being artistic director of the Alvin Ailey American Dance Theater. I feel I’m at this place in my career where I really want to give back in meaningful ways.”

That was evident as the year progressed and the �鶹ӰԺ dance performance came into focus. Paek said the power of creative collaboration could be seen throughout the rehearsal process as the students leaned into the work, supported each other, and embraced Battle’s lessons—insights into choreography at the highest levels. While the rehearsals were exhausting, the interactions and teaching moments that emerged could only happen when all parties are deeply invested.

“This kind of hands-on-experience—creating art together as faculty, professional artists, and students—this is what �鶹ӰԺ does so well and why the Creator in Residence program is so specifically well-suited to �鶹ӰԺ,” Paek said.

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Student-managed investment fund opens new doors for B&E, economics students

Communications — Tue, 17 Jun 2025 15:09:52 +0000

Eight �鶹ӰԺ University students gathered in the Business and Entrepreneurship Center in Fox Commons recently to pitch investment recommendations to a panel of alumni who joined the session remotely. It was the next step in a newly launched student-managed investment fund that will be an ongoing part of the business and entrepreneurship and economics programs at �鶹ӰԺ.

“What makes the student-managed fund truly special—beyond the fact that we’re managing real capital—is that it reflects the liberal arts spirit of �鶹ӰԺ,” said Joseph “Jeb” Dee, a rising senior from Carlisle, Massachusetts, studying economics. “Business and investment do not happen in a vacuum. To understand markets and make smart investment decisions, you also need to understand psychology, politics, data, ethics, science, philosophy, history, and culture. That’s where the liberal arts model gives us an edge.”

Tim Thompson ’78 (far left) and Dean DuMonthier ’88 (second from right) led students through an investment pitch in the B&E Center. The students included (from left) Jayden Jensen, Jacob Stanley, Ethan Beaumont, Carter Cloutier, Patrick Noonan, Cody Brekke, Joseph “Jeb” Dee, and Evan Izenstark.

In 2022, �鶹ӰԺ introduced its new business and entrepreneurship major, created to prepare future innovators with the skills to bring social, global, and environmental context to business leadership. The program, building on �鶹ӰԺ’s well-established Innovation and Entrepreneurship interdisciplinary area, has quickly become one of the university’s most popular majors. �鶹ӰԺ then unveiled its B&E Center in October 2024 on the second floor of Fox Commons in downtown Appleton, providing an interactive space for students and mentors to gather on topics related to finance, economics, investment, and entrepreneurial exploration.

Now comes the introduction of the �鶹ӰԺ University Student-Managed Fund (LUSMF). The Fund launched this month, incorporating the student-led investment ideas presented in the final project of the Investments II course. It launched with $100,000 funded by the university and will be supported by alumni contributions in the future. Students finishing the Investments II course become portfolio managers for the LUSMF. With light supervision from an advisory group that includes faculty and alumni, the portfolio managers will monitor the performance of the fund and their investments. On a monthly basis, they will meet to follow up their investments with performance reports, and they will consider new suggestions for investments in the LUSMF. Approval of new investment positions will be voted on by the portfolio managers. On a quarterly basis, the students will produce a statement of performance and write a summary.

The students involved in LUSMF just finished Investments II, a three-unit course taught by Tim Thompson ’78. They also have been mentored by Dean DuMonthier ’88, who organized the stock pitch event and has been heading the effort to create the student-managed fund. The students, along with five others, previously took the Investments I course, also taught by Thompson.

Thompson is an independent consultant at Thompson Corporate Finance Consulting. He taught applied corporate finance—mergers and acquisitions, capital structure, and corporate restructuring—at top business schools for 27 years. DuMonthier is a trustee for �鶹ӰԺ and currently serves as chair of the Investment Committee with responsibility for �鶹ӰԺ University’s endowment.

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Investments I covers general principles in making investment decisions for any economic entity: corporations, non-profit organizations, private equity investors, or investors in public stocks and bonds. Investments II expands on the students’ learning, with the goal of developing candidate stocks for inclusion in the student-managed fund. Students study portfolio management, efficient diversification, efficient markets, and portfolio performance measurements, then focus on stock selection.

“The new curricular offering in investments and the LUSMF give the students exposure to practical application of financial principles and is of value to any �鶹ӰԺ students in three concrete ways,” Thompson said. “First, almost all graduates will go on to work at organizations that will make long-term investments, which will necessitate sacrificing current resources for future long-term potential benefits, and understanding the trade-offs involved in that is crucial to understanding how businesses survive and thrive. Secondly, �鶹ӰԺ students going on job or internship interviews will have exposure to applying financial tools in real-world situations, bringing perspective, familiarity with relevant terms, and some awareness of current news and events. Thirdly, all graduates hopefully will one day manage their own investments in their 401(k)’s, etc., and should understand alternative investment vehicles, the value of diversification, and how to be good stewards of their own retirement funds.”

Working in teams, the students selected stocks, developed investment theses, and backed them with quantitative analysis and macroeconomic context before making their pitches to the alumni panel.

“We integrated what we’d learned not just in these two classes but across our entire �鶹ӰԺ education, bringing in economic theory, strategic thinking, and communication skills to build comprehensive pitches,” Dee said.

He called the experience in synthesizing complex data, evaluating risk, and articulating a recommendation “extremely gratifying” as it builds skills that will be useful across industries.

“These courses did not merely teach us how to invest capital—they taught us how to think critically and make informed decisions, regardless of the field,” Dee said.

The student-managed fund, Dee said, is helping him ponder career options beyond working for an investment firm.

“One of the most important lessons I’ve taken from this experience—emphasized often by Dean DuMonthier—is that career paths are rarely linear, but you need to have intent in your decisions and a natural curiosity,” he said. “The fund has opened doors by connecting us directly with �鶹ӰԺ alumni, many of whom are now in roles we aspire to.”

Dee said having a shared experience—like managing real capital or working in the B&E Center’s Finance Lab—gives students something concrete to talk about when reaching out to those alumni.

“It removes a lot of the awkwardness and hesitation that students often feel when networking,” he said. “Rather than asking vague questions, we’re engaging in meaningful conversations about shared challenges, strategies, and lessons learned. Ultimately, this experience hasn’t just prepared me for a specific career—it’s made me a more thoughtful, versatile, and engaging professional.”

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�鶹ӰԺ teaching awards presented to Khor, Schlabach, Colón at 2025 Commencement

Communications — Sun, 15 Jun 2025 22:04:36 +0000

Three �鶹ӰԺ University professors were honored at Commencement with the college’s 2025 teaching awards.

Lena Khor, associate professor of English, received the Excellence in Teaching Award; Betsy Schlabach, associate professor of history, received the Excellence in Scholarship or Creative Activity Award; and Sigma Colón, assistant professor of environmental studies and ethnic studies, received the Excellence in Teaching by an Early-Career Faculty Member Award.

See coverage of 2025 Commencement

Lena Khor

Khor has been teaching literature at �鶹ӰԺ since 2009. Her academic specialty is 20th and 21st century postcolonial and global anglophone literature and her research areas have focused on human rights, humanitarianism, and environmentalism.

“A scholar of global and multicultural literature, your teaching focuses on learning about the world with and alongside literary texts; you establish your classroom as a place where trust is developed to learn together about difficult topics,” Provost and Dean of Faculty Peter Blitstein said of Khor as he presented her with a citation.

Khor’s book, Human Rights Discourse in a Global Network, was published by Routledge in 2013. Her work also has been published in Human Rights Quarterly, South Central Review, and Peace Review: A Journal of Social Justice.

She has led interdisciplinary projects such as guiding �鶹ӰԺ students in creating and showing documentaries on the intersections of literature and human rights. A member of the English faculty, she also teaches as part of the interdisciplinary ethnic studies program and global studies program.

A native of Penang, Malaysia, Khor received a Ph.D. from the University of Texas at Austin and a bachelor’s degree from Middlebury College.

Betsy Schlabach

A member of the history faculty since 2021, Schlabach teaches courses in 20th century American history, African American history, and urban history.

She is the author of two books, Along the Streets of Bronzeville: Black Chicago’s Literary Landscapes, published in 2013, and Dream Books and Gamblers: Black Women’s Work in Chicago’s Policy Game, published in 2022.

Her 2022 book arrived about the same time Schlabach received a travel grant that allowed her to take her research efforts on the road, traveling to the John Hope Franklin Research Center at Duke University, an archive housing more than 1,000 oral history recordings about life in the Jim Crow South.

Schlabach has been a champion of humanities research efforts among faculty at �鶹ӰԺ.

“Colleagues laud you as exemplifying the teacher-scholar and praise your engagement with the public outside the walls of academe,” Blitstein said.

She has a Ph.D. in American studies from Saint Louis University, a master’s from Lehigh University, and a bachelor’s degree from Valparaiso University.

Sigma Colón

In 2024, Colón was named one of 20 Career Enhancement Fellows by the Institute for Citizens & Scholars. Funded by the Mellon Foundation and administered by Citizens & Scholars, the fellowship increases the presence of outstanding junior faculty committed to campus diversity and innovative research in the humanities and humanistic social sciences.

Colón came to �鶹ӰԺ in 2017 via postdoctoral National Endowment for the Humanities (NEH) fellowships in geography and history, then worked as a visiting assistant professor of environmental and ethnic studies before earning a tenure-track appointment in 2021. She teaches in both ethnic studies and environmental studies, developing courses that address the geopolitics of inequality and linking racial and environmental justice.

The Career Enhancement Fellowship has allowed her to focus attention on research centered on the intersections of water, settler colonialism, race-based nationalism, and immigration, with an emphasis on how they impact climate justice.

“A geographer by training, you have taught more than twenty distinct courses across multiple programs,” Blitstein said. “Faculty and staff colleagues recognize your dedication and creativity as a teacher, as do students, one of whom writes, “Sigma is one of the professors I’ll remember for the rest of my life!”

Colón holds a bachelor’s degree in English literature and a master’s degree in history from the University of Arizona and a Ph.D. in American Studies from Yale University.

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Jake Frederick, Jodi Sedlock named to endowed faculty positions beginning in 2025-26

Communications — Thu, 12 Jun 2025 19:47:15 +0000

Two �鶹ӰԺ University faculty members have been named to endowed teaching positions beginning in the 2025-26 academic year.

Jake Frederick will hold the Jean Lampert Woy and J. Richard Woy Professorship in History, a newly endowed chair. Jodi Sedlock will hold the Dennis and Charlot Nelson Singleton Professorship in Biological Sciences, an endowed position previously held by the retiring Bart De Stasio.

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The Jean Lampert Woy and J. Richard Woy Professorship in History was established in 2018 by Jean Lampert Woy ’65 and J. Richard Woy ’64. This fund reflects their appreciation for liberal arts education and their interest in historical scholarship.

Frederick joined the �鶹ӰԺ faculty in 2006. His scholarship has included research on and presentations about fire and other environmental crises in Mexico and economic factors that have informed Mexico’s history. Published books include Riot! Tobacco, Reform, and Violence in Eighteenth-Century Papantla, Mexico, and, with Tatiana Seijas, Spanish Dollars and Sister Republics: The Money That Made Mexico and the United States. In 2017, he was awarded �鶹ӰԺ’s Award for Excellence in Scholarship. He is a recent recipient of a Newberry Library fellowship to research firefighting and fire prevention in eighteenth-century Mexico.

Frederick earned a bachelor’s degree from the University of Massachusetts-Amherst and a doctorate from Pennsylvania State University.

The Dennis and Charlot Nelson Singleton Professorship in Biological Sciences was established in 2007. Charlot Nelson Singleton ’67 has a deep appreciation for her �鶹ӰԺ education. The endowed position reflects her conviction that the biological sciences are a critical component of the liberal arts curriculum and an abiding belief in the value of education she and Dennis share.

Study biology at �鶹ӰԺ

Whether in ecology, microbiology, marine biology, or genetics, you can look forward to a depth of knowledge and understanding that can come from close collaboration with faculty and classmates.

Sedlock joined the �鶹ӰԺ faculty in 2002. Her research has taken her and students frequently to the Philippines in Southeast Asia, where she has worked in collaboration with Filipino scientists, conservation professionals, Chicago’s Field Museum of Natural History, and other researchers, often in forests, caves, or biodiverse rice fields, as she seeks to better understand how bats respond to human-caused landscape changes. Her recent focus has been on acoustic ecology, a subfield of sensory ecology, using ultrasonic microphones to “eavesdrop” on bats as she explores animals’ evolved strategies for living in naturally noisy environments.

Sedlock earned a Bachelor of Fine Arts and a Bachelor of Science in biology from Loyola University. She earned her Ph.D. in ecology and evolution from the University of Illinois.

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