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What they’re built for, after all

It was seeking relief from the heat that ignited Angela Danovi’s passion for historic theaters. That respite led to a love of classic movies shown at the Orpheum on mid-afternoon summers in sweltering Memphis. Of all those films, Gone with the Wind was her favorite. It was the now 101 year-old Olivia De Havilland with her portrayal of Scarlett O’Hara’s kindly but fierce sister-in-law Melanie Wilkes that led Danovi to seek out De Havilland’s other films and eventually develop a website dedicated to the film icon.

“I’d seen Gone with the Wind on TV but never in a theater, much less a theater as majestic as the Orpheum,” the now Rogers resident said on a recent call. “At that time ‘pan and scan’ versions of films were shown on television.”

Pan and scan compresses the film for what were square-ish televisions vs. the rectangular projection shown in a movie theater.

“Watching it at the Orpheum, we saw parts of the background and characters who were cropped out for television. Seeing that made me want to see what else I’d missed.”

Part of “seeing what she missed” led to about a dozen road trips throughout the United States to check out historic theaters. She’s been to Marietta, Ga., Franklin, Tenn., Birmingham, Ala., Wichita, Kan., and Knoxville, Tenn., among others. But the highlight of her Historic Theaters road trips was to Austin, Texas’ Paramount Theater for the 75th anniversary showing of Gone with the Wind.

“When I heard that the David O. Selznick Archives (held at the University of Texas, Austin) would be partnering with the Paramount Theater to provide memorabilia from the film, including costumes, I knew I just had to go,” she said.

This was the first time her historic theater tourism required more than a tank of gas. Plane tickets, hotel rooms and a rental car would be involved, not to mention tickets to the 75th anniversary red carpet showing.

“It was an event. A true experience,” she said. “They had the Paramount fully programmed. In every space where there was an activity or experience in every nook and cranny.”

These experiences ranged from costume displays to props with interpretive panels to a photo booth where you could have your picture taken in front of a digital background from the film that was immediately available for online download.

“These are the kinds of experiences we can replicate in our historic theaters in Arkansas,” she said, echoing the advice of League of Historic American Theaters Executive Director Ken Stein gave during his keynote at the Winthrop Rockefeller Institute’s Historic Theaters Conference in August. Stein was the executive director of the Paramount Theater in Austin during Angela’s pilgrimage.

Having traveled across the country to visit and experience historic theaters, she’d always wanted to attend the Theatre Historical Society of America conference, where she could learn more about historic theaters and their role in 21st century communities.

“Those conferences are very expensive and have a national focus,” she said. “That’s why I was so glad to have learned about the conference at the Rockefeller Institute. It was nearby, affordable and would be full of other locals passionate about the same things I’m passionate about.”

The Historic Theaters Conference and its 75 attendees from across the state have formed a network where one didn’t exist before. They will be sharing stories of successes, failures, best practices and obscura ranging from lighting issues to how to best deal with the need for wider seats in the modern era and much more. A Facebook group started by the Institute will help keep the dialogue going in between summits like the one held last month atop Petit Jean.

“Who knew that there was a League of Historic Theaters board member who lived in Northwest Arkansas? I had no idea,” she said.

Making these sort of connections and putting smart people in the same room to solve problems facing the state is exactly the thing Gov. Winthrop Rockefeller did repeatedly. This follows directly in his legacy, his love of the arts and passion for historic places.

In the meantime, Danovi will be working on programming classic films in historic theaters in her neck of the woods.

“That’s what they’re built for, after all.”

She’ll also be taking the advice of Ms. De Havilland, who said, “One must take what comes, with laughter.”

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A touch of the Unexpected in Fort Smith

Unexpected. Far more than just a catchy name, the word “unexpected” truly captures the spirit of the yearly art celebration in Fort Smith, the Unexpected Mural Festival.

Curated by art network JustKids, the Unexpected is an initiative to bring international artists and creative artwork to downtown Fort Smith, Ark., perhaps not the first venue that would come to mind as the focal point for world-class art. Yet that is part of what makes it the perfect backdrop. Walking through a downtown that has been a lynchpin in Arkansas history and industry and seeing walls and alleyways adorned with bright colors and stunning tableaus serves as a bridge to the present. The murals and installed artworks are also enhanced by the history surrounding them. There is a symbiosis between old and new that helps one appreciate them both through the contrast.

Mural by DFace

That is not to say, however, that the murals and other art don’t have a Fort Smith flavor. Much of the art ties into Fort Smith’s frontier past and its proximity to Oklahoma featuring Western and Native American themes. New Zealand artist ASKEW, for instance, met with a modern Cherokee chief in Oklahoma while conceptualizing his mural. Inspired by the meeting, ASKEW created a mural incorporating the faces of four Cherokee women close to the chief: his mother, wife, daughter and sister.

Mural by ASKEW

The nod to the history and culture of Fort Smith in so many murals was itself unexpected. Artists are given free range to create the murals, without the need for approval or input from the organizers or the business owners on whose walls they are working. This leap of faith has been rewarded year after year with thoughtful and stunning works of art. This running success is a testament to careful selection of world-class artists whose chosen medium happens to be mural work.

Mural by UAFS students

Something else one might not expect as part of a mural festival are the variety of installed elements accompanying the art. From standalone sculptures of local fauna made from metal scraps, to incorporated neon lights, several pieces of art go beyond flat walls and bring the viewer inside of the work. At the Unexpected headquarters in the historic New Theater, artist Doze Green has installed his work “The Divine Sparks Project.” The work pulls visitors into a darkened space, through an entryway lit by dime blue lights that make the stark white figures painted on the walls jump out. Past the entrance, the space opens up into the theater proper with custom neon figures lighting up the walls and a pair of blue giants towering on either side of the proscenium. Standing on the darkened stage, flanked by colossal abstract figures and looking out a ring of glowing outlines on the far wall, you lose yourself for a moment.

Divine Sparks Project 1

Divine Sparks Project 2

Divine Sparks Project 3

Another piece that invites interaction is by Amsterdam artists Circus Family. “TRIPH” is an installed work that features glowing geometric shapes and ambient sounds that react to viewer interaction. In the absence of spectators, the lights are dull and the sounds nearly non-existent. When approached, however, the shapes light up and pulse with different colors, and sounds fill the space. The work is a fantastic blend of art and technology that takes the viewer out of passive role.

Mural by UAFS student

Carved mural by Vhils

There are so many great artworks to discus, from work that was chiseled into plaster, a mural on a print shop storage building appropriately featuring Guttenberg, to abstract pieces that speak for themselves, but words do them only so much justice. You really can’t know what it’s like until you’ve seen it for yourself. Even though the festival is over, the art remains an integral part of Fort Smith. I encourage you to make the trip and take a stroll downtown. Soak in the history, shop the shops and expect the Unexpected.

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97-year-old Royal Theatre remains a gem

If only the brick walls of the Royal Theatre in downtown Benton could talk, I imagine the conversation would be full of amusing, awe-inspiring tales of the different types of people who have graced the interior of the two-story historic structure. From early movie days in the 1920s to the ’50s when concessions were sold to passersby on the street, and later in the ’90s when actor Jerry Van Dyke owned the theater and adjacent Soda Shoppe, the Royal Theatre has touched many lives throughout the past century.

In 2004 when I joined the staff at the Benton Courier (now the Saline Courier), I quickly learned from seasoned reporter and editor Lynda Hollenbeck – a Royal Players board member and veteran cast and crew participant – the important role the theater plays in the community. During my newspaper tenure I would go on to know other key players of the Royal, such as theatre manager Shannon Moss and founding members the late Gayla McCoy, Louann Cameron and Selena Ellis.

The Royal Players (formerly the Central Arkansas Community Players) has called the Royal Theatre home since 2000 when Van Dyke deeded the building to the performance group. Established in 1994, for the first few years the theatre group put on plays at Benton High School’s Butler Auditorium. The Royal Players and the Young Players for youth have produced more than 100 plays.

The original section of the Royal Theatre was built in 1920 when it was known as the IMP, an acronym for Independent Motion Pictures, according to the history section of the theater’s website. The theater was remodeled and the name changed to the Royal in 1949. In 1974, Wallace Kauffman relinquished control of the Royal to his son Warren Lee and his wife, Mildred. In 1986, Warren Lee passed ownership to his son Randy Kauffman, who continued to manage it until 1996 when he sold it to Van Dyke.

Because the Royal Theatre is listed on the National Register of Historic Places, the Royal Players is able to apply for preservation grants and low-interest loans to help maintain the structure for all to enjoy for years to come.

Susan Dill, president of the Royal Players Board of Directors, gives Van Dyke credit for cleaning up downtown. The area has been on the upswing ever since.

“The area continues to improve, and we attract people from all of central Arkansas,” Dill says, adding that the theater “improves the quality of life for all who experience it, from the actors to the people who come to watch.”

The Winthrop Rockefeller Institute’s very own Jeff LeMaster, director of communications and marketing, grew up in Benton, calling the Royal “our movie theater.” Until Tinseltown theater was built in 1997, LeMaster says the Royal was the only option for seeing movies locally.

“One of my most vivid memories of the Royal was when we went to see The Rescuers Down Under with my family. About halfway through the movie, they stopped the projector and the manager came in and told the audience that it was snowing pretty hard outside and that he would give us a rain check ticket if we wanted to leave. My parents opted to stay and finish the movie even though most people left, and by the time we got out of the theater, there was about six inches of snow on the ground. It took us a while to get home, but I remember thinking how cool it was to have the theater almost all to ourselves.”

LeMaster echoes Dill’s sentiments about downtown’s improvement during the Van Dyke days.

“Back in the ’90s, Benton’s downtown was struggling. Businesses were having a hard time staying open, and there were lots of vacant buildings. The one little glimmer of life was the Royal. That became especially true when Jerry Van Dyke installed the soda shop next door and the Royal installed a stage and began producing live local theater. The soda shop venture didn’t last, but I remember being amazed at how many more people I saw on Market Street during that time.”

With the increased foot traffic came a renewed interest from investors to revive vacant buildings near the Royal that remain occupied.  

Since the Royal Players took control of the building, the Royal Theatre is not only a stellar downtown asset, but also a safe haven for youth and adults to come together to be themselves, establish bonds and gain valuable life lessons.

Payton Christenberry, a program officer at the Winthrop Rockefeller Institute in charge of arts and humanities programs, also grew up in Benton and recalls fondly his time as part of the Royal Players.

The Royal was a big part of my teenage and early adult years, performing on stage and working behind the scenes,” Christenberry says. “I didn’t appreciate its history at the time, but there was no way to miss the presence the building has. From the classic theater marquee to the towering ceiling inside to the creak of the chairs, everything pulls you into another world.

“What sticks out most, though, is how many people the Royal brings together. I got to meet and work with people from my community on something we all shared a passion for. On top of that, we got to perform for our friends and neighbors. I can’t think of a time I felt more connected to my hometown than standing on stage to take a final bow beside my fellow cast and crew in front of a packed house. I wouldn’t have those memories without the Royal.”

That intrinsic link to the artistic and commercial health of a community will be a key theme at the Rockefeller Institute’s upcoming Historic Theaters Conference, which will be held at the Institute on Petit Jean Mountain Thursday, Aug. 10, through Friday, Aug. 11.

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League of Historic American Theatres CEO to deliver keynote at Historic Theaters Conference

Ken Stein, president and CEO of the League of Historic American Theatres, will deliver the keynote address at the Winthrop Rockefeller Institute’s Historic Theaters Conference, which will be held Thursday, Aug. 10, and Friday, Aug. 11. The conference represents a partnership between the Rockefeller Institute, the Department of Arkansas Heritage, the Arkansas Historic Preservation Program, the Arkansas Arts Council and the city of Morrilton.

Stein, an expert in preservation, fundraising, marketing and management within the arts, will speak about “The Power of the Historic Theatre,” which will explore a case study of a historic theater in Austin, Texas, that went from bankruptcy to being the most profitable arts organization in Texas’s capitol in just three years.

Stein has more than 25 years of experience in the nonprofit sector and has raised more than $100 million in his work for various organizations.

“Ken’s vast experience in marketing arts organizations and his proven record of success make him an ideal keynote speaker for the Historic Theaters Conference,” said Janet Harris, director of programs for the Winthrop Rockefeller Institute. “His insights will be invaluable to our participants in their efforts to preserve and expand their local historic theaters.”

Stein will deliver his presentation at 12:15 p.m. Thursday, Aug. 10. The Historic Theaters Conference aims to equip engaged staff, volunteers and other interested people to preserve, promote and prosper the 22 historic theaters in Arkansas, as well as historic theaters in neighboring states. Registration, which includes the conference, overnight lodging at the Rockefeller Institute and all meals, is $75 for the first person from each community or organization and $50 for subsequent registrants from the same community or organization. More information and a link for registration can be found at www.rockefellerinstitute.org/theaters.

 

About the Winthrop Rockefeller Institute

In 2005, the University of Arkansas System established the Winthrop Rockefeller Institute with a grant from the Winthrop Rockefeller Charitable Trust. By integrating the resources and expertise of the University of Arkansas System with the legacy and ideas of Gov. Winthrop Rockefeller, this educational institute and conference center creates an atmosphere where collaboration and change can thrive.

Program areas include Agriculture, Arts and Humanities, Civic Engagement, Economic Development, and Health. To learn more, call 501-727-5435, visit the website at www.rockefellerinstitute.org, or stay connected through Twitter and Facebook.

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Morrilton’s Rialto Theatre undergoes epic transformation through the years

The Hollywood stars who once graced its screen may be gone with the wind (if you’ll forgive the play on words), but the Rialto Theatre still remains a gem in downtown Morrilton today. Actually, the story of the theater — with its myriad stops and starts, and especially its survival in the face of long odds — would arguably be worthy of the sweeping epics that used to screen there.

Not so long ago it appeared the more-than-100-year-old landmark had outlived its relevance: doomed to the same finale as countless aging buildings before it. In the 1990s, the Rialto was slated for demolition – to make room for a parking lot. Progress, it seemed, had caught up with the Rialto and left it behind. Movie-goers had long ago moved onto bigger multiplexes, larger screens and state-of-the-art surround sound.

Rialto-old

The first film showed at the Rialto in 1911. In the 1950s, the building was gutted and seating increased. It reopened to great acclaim with a showing of Lovely to Look At, starring Kathryn Grayson and Red Skelton. In the 1970s, it was again modified to keep up with the times and was converted to three screens. It didn’t last, however, and the following decade, the once-grand theater was shut down.

For years, the Rialto sat there boarded up and empty — a deteriorating relic whose golden age had played out its run. Enter our hero in this script.

Lindell Roberts wasn’t the only person who helped save the Rialto, but if this were one of those “based-on-a-true-story” movies, this gregarious Morriltonian would undoubtedly play a leading role.

“When I would drive through downtown, I would look at it (the Rialto) and think, ‘We need to turn that into a performance theater.’ This was around 1995,” Roberts recounted one morning from the sidewalk outside the Rialto. Occasionally people would honk and wave as they drove past.

“Then one day, our new mayor at the time, Stewart Nelson, called me up and asked, ‘What would you think about making the old Rialto into a performance theater?,’” Roberts recalled between waves. “I said, ‘When do you want to start?’”

And like those feel-good celluloid stories that never get old, hard-working members of the community came together to bring the regal lady back to life. Most of the early labor was made up entirely of volunteers, Roberts said. Improved lighting was installed, a new stage was built and a proscenium added. A capital improvement grant helped renovate the building next door, which became a connected art gallery. A donor, Afton King, paid for the installation of the necessary dressing rooms for performers. A local artist even came in to restore the murals along the walls of the main seating hall that were added in 1952 when the theater was beginning its second life.

“When The Rep (in Little Rock) did their renovation, they gave us the seats that came out of the theater,” Roberts said, recalling just how broad the backing for this success story has been. “We have great community support for this theater. A lot of towns our size don’t have something like this (a downtown theater).”

Current Morrilton Mayor Allen Lipsmeyer agrees. “I’ve been to cities all over Arkansas that deeply regret tearing down their downtown theater,” he said. “In fact, cities are now building replicas of historic theaters. We did a good thing preserving this piece of history. No one regrets saving history.”

Roberts helped create the Rialto Community Arts Center Board, under the auspices of the Arts Council of Conway County, to manage the renovation and operation of the theater, which is now called the Rialto Community Arts Center. He was the first president and currently serves as chairman. The reopened 400-seat venue hosted its first performance in 2000 and has been used frequently ever since for a variety of plays, concerts, murder-mystery dinners and, of course, films, such as the classic Gone with the Wind, which was screened a few years ago. Next door — formerly a hardware store — houses a meeting center (complete with a full kitchen) and an art gallery, which varies its exhibits every few months.

This type of success story is part of what will be highlighted at the Winthrop Rockefeller Institute’s Historic Theaters Conference on Aug. 10-11. The conference, which only costs $75 to attend (includes lodging and meals), will feature experts in historic preservation, fundraising and art as a method of community and economic development. It will also include time for networking among people who are all passionate about ensuring their community’s historic theater has its own success story.

Most seem to agree that Morrilton isn’t ready for the credits to roll on the Rialto, a true historic Arkansas landmark.

“Art is a part of what makes communities unique, and artists bring with them passion,” Lipsmeyer said. “I like knowing we have a space for our citizens to enjoy art, perform, celebrate, demonstrate and show their talent. I believe art will be a vital part of our downtown revitalization.

“We are a better city because of the Rialto.”

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Arkansas Shakespeare Theatre returns to Winthrop Rockefeller Institute June 24 with The Taming of the Shrew

Arkansas Shakespeare Theatre returns to Winthrop Rockefeller Institute June 24 with The Taming of the Shrew

PETIT JEAN MOUNTAIN, Ark. (May 26, 2017) — The Arkansas Shakespeare Theatre will return to Petit Jean Mountain for the fourth straight year with a performance of the Shakespeare classic The Taming of the Shrew. The free, family-friendly performance will be held Saturday, June 24, on the front lawn of the Winthrop Rockefeller Institute.

The performance of The Taming of the Shrew will cap off an afternoon of fun at the Rockefeller Institute, beginning with a free Shakespearean language workshop for ages 10 and older at 4:30 p.m. that will be led by Chad Bradford, director of The Taming of the Shrew. Following the workshop, visitors will have the chance to dine outdoors on the Institute’s lawn. Visitors may bring their own picnic dinner or purchase food from food trucks that will be on hand. The performance will then follow at 7 p.m.

“We look forward to this performance every year,” said Janet Harris, director of programs for the Rockefeller Institute. “Given his commitment to the arts and community engagement, we know Gov. Winthrop Rockefeller would be proud of this event.”

The Taming of the Shrew follows the tale of Petruchio as he tries to win the heart of “Kate the Curst.” The performance will include plenty of audience participation, sure to delight viewers of all ages.

“This play promises to be a lot of fun,” said Dr. Mary Ruth Marotte, executive director of the Arkansas Shakespeare Theatre. “Our experience at the Institute grows a little each year, and adding the workshop this year will provide yet another way for our audience to engage with Shakespeare.”

While admission is free, advance registration is required. For more information, including a link for registration, visit www.rockefellerinstitute.org/taming. Questions about the performance should be directed to Program Officer Payton Christenberry at pchristenberry@uawri.org.

About the Winthrop Rockefeller Institute

In 2005, the University of Arkansas System established the Winthrop Rockefeller Institute with a grant from the Winthrop Rockefeller Charitable Trust. By integrating the resources and expertise of the University of Arkansas System with the legacy and ideas of Gov. Winthrop Rockefeller, this educational institute and conference center creates an atmosphere where collaboration and change can thrive.

Program areas include Agriculture, Arts and Humanities, Civic Engagement, Economic Development, and Health. To learn more, call 501-727-5435, visit the website at www.rockefellerinstitute.org, or stay connected through Twitter and Facebook.

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Historic Theaters Conference to lift up ‘artistic lifeblood of community’

Historic Theaters Conference to lift up ‘artistic lifeblood of community’

PETIT JEAN MOUNTAIN, Ark. (May 17, 2017) — Historic theaters are far more than old buildings that represent a bygone era. For many small towns, they remain important centers of artistic activity.

That concept is the theme behind the Winthrop Rockefeller Institute’s Historic Theaters Conference, which will be held Thursday, Aug. 10, through Friday, Aug. 11, at the Institute on Petit Jean Mountain. The Rockefeller Institute is partnering with the Department of Arkansas Heritage, the Arkansas Historic Preservation Program, the Arkansas Arts Council and the City of Morrilton to present the conference.

“Historic theaters are often the artistic lifeblood of a community, and there are many ways to leverage their influence and preserve their future,” said Janet Harris, director of programs for the Winthrop Rockefeller Institute. “We look forward to sharing some of those strategies and re-energizing the efforts of those who care about historic theaters in Arkansas and in our neighboring states.”

The conference will bring in outside speakers to discuss a variety of topics, including innovative ways to utilize historic theaters that engage communities in new ways and also contribute to a theater’s sustainability. On this topic, the Rockefeller Institute will lead by example with a special art display that will be announced in the coming weeks.

Other topics include fundraising, marketing, preservation and more. In addition to hearing from key experts, the conference will include ample opportunities for those working on and passionate about historic theaters to network and share success stories.

“Historic theaters are frequently an important piece of a downtown renaissance,” said Stacy Hurst, Department of Arkansas Heritage director. “We feel this is an opportunity to help communities learn the value these historic theaters hold as resources for redevelopment and community revitalization.”

The conference is open to anyone who is interested in historic theaters, community arts programs and/or historic preservation. Admission for the conference, which covers registration, meals and lodging at the Rockefeller Institute’s premiere conference center, is $75 per person. After one person has registered representing a historic theater, community and/or arts organization, each additional person representing that same entity will be discounted to $50.

For more information, a conference agenda and a link for registration, visit www.rockefellerinstitute.org/theaters.

About the Winthrop Rockefeller Institute

In 2005, the University of Arkansas System established the Winthrop Rockefeller Institute with a grant from the Winthrop Rockefeller Charitable Trust. By integrating the resources and expertise of the University of Arkansas System with the legacy and ideas of Gov. Winthrop Rockefeller, this educational institute and conference center creates an atmosphere where collaboration and change can thrive.

Program areas include Agriculture, Arts and Humanities, Civic Engagement, Economic Development, and Health. To learn more, call 501-727-5435, visit the website at www.rockefellerinstitute.org, or stay connected through Twitter and Facebook.

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Our own version of March Madness

March came shooting out of a cannon at the Winthrop Rockefeller Institute. We put on four programs in March, up from our typical 1-2 per month schedule that we typically adhere to.

We kicked off the month with the second annual Under 40 Forum, which brought some of the state’s brightest young leaders, as designated by the Northwest Arkansas Business Journal and Arkansas Business, together for a  two-day facilitated discussion on the fractures that divide our state and ways to heal them. The Forum is held in conjunction with the Clinton School of Public Service. One the participants – Eric Wilson, CEO of Noble Impact – offered this feedback on the Forum: “Every state has a 40 Under 40 list, and most of them are photo opportunities and a happy hour. But here in Arkansas, we’re trying to do something more. Instead of just taking a photo, we’re getting everybody together in a room and asking them to discuss some of the biggest challenges facing our state.”

A report detailing the group’s findings is forthcoming and will be distributed to leadership across the state in government, business and communities.

Then about a week later on a cool spring day, more than 65 participants gathered at the Institute for the Business Workshop for Landowners. Part of a partnership with Mississippi State University’s Natural Resource Enterprise Program and the University of Arkansas Division of Agriculture Cooperative Extension Service, the workshop provided experts with in-the-field knowledge on how to manage the land and look at their land with a different focus.

The morning session included a field tour just a short drive from the Institute on the property of Mr. Henry Jones. The property included 288 acres of short-leaf pine and hardwoods. The property has been in Mr. Jones’ family since 1884 and started out as a cotton field and evolved through the years to some timber property and space for the family to hunt and experience nature. During the field tour, participants enjoyed talks from wildlife biologists, foresters and Mr. Jones discussing the history of the property and different forestry management techniques such as thinning to improve forest stands and disking for wildlife. Mr. Jones was able to show his success after implementing these techniques in one year’s time: a quail covey established on the west end of his property. 

After lunch, attendees heard talks on recreational enterprise opportunities, legal liability issues and estate planning. We sold out the event this time and already have folks asking about the next workshop. We hope to have another one in the fall, with an announcement coming late spring or early summer.

The following day, on March 10, we held our ninth Uncommon Communities training. Uncommon Communities is our community and economic development program done in partnership with Dr. Vaughn Grisham, the Cooperative Extension’s Breakthrough Solutions program and the University of Arkansas-Little Rock’s School of Public Affairs. In this session, our five participating counties – Conway, Perry, Pope, Van Buren and Yell – were coached in quality of place and placemaking.

Representatives from Yell County presented to the group their plans for downtown revitalization in Dardanelle. These plans include installation of a hammock park, a dog park, historical re-enactments, bike and walking trails, a Native American heritage museum and more.

Finally, on March 23-24, we held our Rural Health Summit (pictured above), which convened health care leaders from across the state to identify gaps and opportunities related to health care in rural areas. This is the first wide-scale effort to address this pressing need. The Institute will soon report out to the group with a summary of their recommendations, and a group of volunteers from among the participants will work to begin implementing some of those recommendations and identifying other partners to join for another summit in late 2017 or early 2018. This effort has the potential to provide higher quality and more access to care for our state’s rural populations, all through the power of collaboration and cooperation.

There’s lots more to come in 2017 for the Institute, including our Art in its Natural State competition, which kicked off in February, and our annual performance of the Arkansas Shakespeare Theatre. We’re relieved that the March Madness is behind us and are ready to take on the next challenges.

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Art in its Natural State

To know why Arkansas is the Natural State, all one needs to do is take a short trip to Petit Jean Mountain. From impressive views of the Arkansas River Valley, to lakes and rivers, and wide fields and towering pines, Petit Jean offers a wonderful snapshot of Arkansas’ natural beauty. It’s no wonder that Petit Jean has also called to artists throughout the years, from Native American cave art all the way to modern day painters, sculptors and writers.

To celebrate that rich history and add to the artistic legacy of Petit Jean, we here at the Institute are partnering with Petit Jean State Park to host the first Art in its Natural State competition. We have worked with the Park to identify serval sites on our respective campuses that not only exemplify Petit Jean’s varied landscapes, but would also be a great spot for public art. Our contest challenges artists to design temporary, site-specific outdoor works for those areas. The best fit for the competition will likely be structural, sculptural or landscape art, but all designed public art will be considered. You can see all of the sites up for design here.

The artwork will be displayed in its outdoor site for up to one year, then taken down by the artist. The focus for the competition is a balance between the visual appeal of the created artwork and the natural beauty of the space it is designed for. The works must also have neutral impact to the site in which they are installed, meaning that after the works are removed and the area is allowed time to recover, it will be as if there was never any art installed at all.

The temporary nature of the installations is both respectful to Petit Jean’s environment and allows for artists to use creative materials that they might not otherwise work with. A bronze statue will withstand many decades of display, but our more ephemeral artworks needn’t be quite that durable. Though the works that are designed need to stand up to a year of seasonal weather, we hope that artists will incorporate recycled or recyclable materials for their work.  

We will take applications until September of this year, after which point all of the submitted designs will be considered by our judging and advisory panel. Made up of representatives from the Arkansas Arts Council; Arkansas Arts Center; Arkansas Department of Parks and Tourism; Crystal Bridges Museum of American Art; University of Arkansas, Fayetteville; University of Arkansas at Fort Smith; University of Arkansas at Little Rock; the Park; and the Institute, our panel will select 10 winning designs. Those designs will be funded by a $5,000-per-artist stipend to cover the creation of the artwork and its transportation and installation on Petit Jean in March of 2018.

Although focused on the natural beauty of Petit Jean Mountain, the Art in its Natural State competition is open to all Southern and Arkansas regional artists. That includes artists from Arkansas, Alabama, Delaware, Florida, Georgia, Kentucky, Louisiana, Maryland, Mississippi, Missouri, North Carolina, Oklahoma, South Carolina, Tennessee, Texas, West Virginia and Virginia. If you or someone you know is interested in entering the competition, the official rules and application guidelines for the competition can be found here

As we select winners and install the art, we’ll have plenty of updates here and on the Art in its Natural State page. Look for profiles of the winning artists, sneak peeks of the artwork and plenty of photos of the opening event on Saturday, March 10, 2018. Even better than seeing the art online, of course, will be to visit the art in person. We’ll have eight installed pieces at the Institute through March 2019, and the Park will host two installed works through July of 2018. We hope you’ll join us as we celebrate Arkansas’ beauty and the talents of Southern artists with the first Art in its Natural State competition.

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Winthrop Rockefeller Institute releases 2017 culinary class lineup

PETIT JEAN MOUNTAIN, Ark. (Nov. 7, 2016) — The 2017 schedule of culinary classes at the Winthrop Rockefeller Institute was recently released and can be accessed at www.rockefellerinstittue.org/culinary.

The culinary classes, led by Certified Executive Chef Robert Hall, offer a variety of experiences for aspiring chefs of all skill levels – from “I’ve been cooking all my life” to “How do you boil water again?”

Returning to the culinary lineup is the ever-popular Table for Two, a date-night experience in which couples learn to cook a delicious four-course dinner under the instruction of Chef Hall. Other favorites like Made From Scratch – a demonstration class centered around specific culinary themes – and the Saturday Chef Series – a more hands-on approach to various culinary styles – are also back.

New to the 2017 lineup is Taste Test, a demonstration class in which participants will have the opportunity to taste styles of a particular ingredient from all over the world. Some of the ingredients that will be featured include hot sauce, chocolate, olive oil, tomatoes and bacon.

“The world is a cornucopia of flavor,” Hall said. “With this new class, we get to explore the amazing ways that different cultures treat the same ingredients. It promises to be a lot of fun, very yummy, and we’ll learn some things along the way.”

All of the Institute’s culinary offerings are listed at www.rockefellerinstitute.org/culinary, with links to registration for each category of class. Group reservations are available, and classes are perfect for a girls’ (or guys’) night out, a church or civic group activity, part of a weekend getaway or just because.

Beyond entertainment, the Institute’s culinary classes are intended to be informative and to strip away common fears and misconceptions about cooking.

“One of the central purposes of the Institute’s culinary program is to show how easy it is to cook from scratch,” Hall said. “It is my desire to help individuals and families return to ‘old-fashioned,’ ‘do-it-yourself,’ ‘made from scratch’ meal preparation. This will drastically reduce the use of processed foods, thus immediately making our diets healthier.

“By learning and using a handful of culinary techniques and methods, you can cook almost anything; it is my mission to provide you with several avenues to learn and master those skills.”

For more information, visit the website, email Chef Hall at rhall@uawri.org or call 501-727-5435.

About the Winthrop Rockefeller Institute

In 2005, the University of Arkansas System established the Winthrop Rockefeller Institute with a grant from the Winthrop Rockefeller Charitable Trust. By integrating the resources and expertise of the University of Arkansas System with the legacy and ideas of Gov. Winthrop Rockefeller, this educational institute and conference center creates an atmosphere where collaboration and change can thrive.

Program areas include Agriculture, Arts and Humanities, Civic Engagement, Economic Development, and Health. To learn more, call 501-727-5435, visit the website at www.rockefellerinstitute.org, or stay connected through Twitter and Facebook.

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