Got a Photograph, Picture Of. Passion Project

Some things happen on a whim. With a bit of luck and a pinch of magic, you never know what you can achieve.

I’ve lived in central Arkansas 44 of my 45 years (I spent a year in Seattle, which I lovingly refer to as both my Gap Year and “the taking of the plaid”). I’ve long been familiar with and an admirer of the Arkansas School for the Deaf. Driving along Markham in Little Rock, I’ve seen their scoreboard noting “Arkansas School for the Deaf Leopards.” I’ve been a fan of the English rock band Def Leppard since my brother Craig received Pyromania on vinyl shortly after its release in 1983. I saw the band at Barton Coliseum every time they came through the state and always wondered if the connection between the two was ever made by someone who could put the two together.  

Fast forward a few decades. I hear about Def Leppard’s show at Verizon Arena and I think “somebody’s got to get these two groups together.” All those years and it hadn’t happened! Why? Well, nobody had taken the initiative to get the word out. I thought, “well … why don’t I do that?” Isn’t that what the Internet is for?

First thing was to post a picture of the scoreboard and the band on my Facebook page and make a comment about this needing to happen. Hundreds of “likes” and “shares” later, I thought … “OK. There’s something here.”

So, I decided I’d try a petition encouraging people to sign as well as tweet at the band, post on their Facebook page, etc. 1,500 signatures later, innumerable retweets, shares and posts, and this thing had gone viral. I just thought I’d try and connect a matched pair and hopefully bring some publicity to an organization I really admire as well as a band I love. 

I posted updates to the petition signers with some frequency encouraging them to share, tweet or otherwise get the word out. Working in conjunction with ASD’s director of public relations, Stacey Tatera, we doubled our outreach. She is an unparalleled champion of the school and the students.

The last 10 days before the show I really ramped up the outreach, posting daily. The Friday before the Wednesday show I heard from Verizon Arena’s PR staff. They’d heard me on a radio interview I did promoting the petition with 102.9 KARN. I can’t thank KARN enough for putting Verizon in touch with us. Verizon Arena staff worked with the band’s management and public relations to make this happen. We’d originally wanted the band to take a photo in front of the scoreboard. Schedules didn’t allow for such a trip, but the band really wanted to make the connection with the school. They invited us to bring a replica scoreboard to pose for a photo before the show.

Visiting the school before the event was a remarkable experience. The students were beyond excited. In talking with the faculty before the show, they reminded me how much the school and the students want to be a part of the community. The nature of the campus, physically beautiful but almost remote owing to the nature of the park that welcomes visitors – as well as the added layer of communication challenges with civilians – can make the faculty and students feel disconnected. Having the spotlight shown upon them and their good work really seemed to go a long way in helping bridge the gap.

Arkansas Deaf Leopards

The band was extraordinarily nice and took a good deal of time with the students. They told us they’d heard of the connection and were thrilled to be making it official. But better than that, to me, was the spirit of the community that helped bring this event together. We’ve met some wonderful and nice people along the way. This was in evidence last night as those students were the real rock stars of the evening. They took pictures with as many people as the band did last night. Every time they threw up the “I Love You” sign – which doubles as the standard heavy metal hand gesture.

Matched pairs, I tell you.


Local theater is the way to go, Shakespeare actor says

Standing in front of a crowd and being the focus of hundreds of eyes and ears isn’t something most people are willing to do. Add singing and playing an instrument to the mix and you have the stuff of some people’s nightmares. Others, like Matt Duncan, can’t get enough.


A native Arkansan, Duncan, 25, will take center stage this summer as Feste in Shakespeare’s Twelfth Night, one of the four plays that are part of the 2016 Arkansas Shakespeare Theatre (AST) season.

AST is enjoying its 10th season this year, and Duncan has been with them for half that time, performing in various productions for the past five years.

“It’s a family,” Duncan said, “and it’s where I grew up professionally.”

Duncan explained that part of the joy of working with AST for so long is the chance to see it expand and grow.

“The audiences have grown every year and the community is more involved. AST belongs to central Arkansas now,” he said.  


Though he might have grown up professionally with AST, Duncan’s been on stage all of his life. His first experience with theater was when he was 4 years old, performing children’s theater in Dardanelle, Ark.

Given his lifetime involvement with theater, it’s no wonder that Duncan also co-founded Paradise Explored Theatre Co., a theater company centered in Bentonville, Ark.

“We view it as a semi-pro halfway house for guerilla theatre,” he said. “We work in found spaces to bring texts to new light.”

Paradise Explored has performed at many unique venues in northwest Arkansas, including Fossil Cove Brewing Co., Backspace, and Two25 Gallery & Wine Bar. Duncan even recalls performing a radio play in a crowded condo for an enthusiastic audience in conjunction with Artinfusion at Crystal Bridges Museum of American Art.

As Duncan explained, northwest Arkansas has several venues for community theater, children’s theater (like Trike Theatre), and even experimental theatre with the Artist Laboratory Theatre, but none that felt exactly right for him.

“We wanted to make an opportunity for people to learn and explore,” he said.  


Duncan is not alone in his desire to create new opportunities for theatre.

“It is a very exciting time to be a part of theatre in Arkansas,” Duncan explained. “New opportunities are popping up everywhere, and everyone is committed to building.”

Even Crystal Bridges Museum of American Art is planning to create a space that could be used for live theatre.

With all of the positive energy for theatre building in the northwest corner of the state, stepping out of that scene will be difficult. Duncan will spend three years taking part in Purdue University’s Professional Actor Training Program. But that doesn’t mean that he plans to leave his home state behind.

When speaking about last year’s AST performance of As You Like It here at the Winthrop Rockefeller Institute, Duncan remarked, “The most rewarding work is work featured where there isn’t much like this going on, especially when you’ve grown up there. Performing is the most exciting when you get to provide that service to the community.” 


Duncan hopes for a similar experience on June 25 when AST brings Twelfth Night to the Institute for a one-hour, family-friendly performance on the Institute’s front lawn.

“Performing these plays outdoors is always the best. They are planned to be outside.”

Duncan said the crowd is equally important.

“Last year there was a huge crowd that was extremely engaged. I remember a Shakespeare scholar in the audience mouthing along with the lines to Jacques’s ‘All the world’s a stage’ speech as I was giving it. … It’s a definite plus to have an involved audience.”

This year’s performance of Twelfth Night will feature actors singing original songs and playing instruments during the performance, something that is both entertaining and functional.

“Songs develop the story in Shakespeare plays, the same as in modern musical theater. They work magic on a character,” Duncan explained. 

We can’t wait to see it when we have Duncan and AST back on the mountain for another great performance this year. And if you want to follow in his footsteps and experience theatre firsthand, Duncan has some final words of advice: “Do it. Please. Take a class, audition for plays, get involved. Do it and stay local.”


Small-town inspiration served up with a side of Swamp Gravy

You think you live in a small town? Colquitt, Ga., stands at 1,929 people and yet they maintain a vibrant downtown, an active events calendar and inspire people from across the country.

Facing the challenges that plagued the rural South throughout the 1980s and beyond, one person sought to find a creative solution. Did she ever.

Joy Jinks calls herself a community organizer. She’s also a serial entrepreneur (likely what we’d call a social entrepreneur these days), having founded everything from a nursing school to a daycare. It’s Swamp Gravy, however, that she’s known for all across the world. And she’s coming to the Winthrop Rockefeller Institute Friday, May 6, to speak about it and teach you how to reinvent your community.

As the one-time executive director of the Colquitt Miller Arts Council, Jinks help started five other theater projects or performances so that activities were offered year-round. She also helped start a learning center for children, a mini-mall downtown and recently a black box theater to expand performances.

“The economic factor is important but it’s what we’ve done to enliven the spirit that is most important. It’s the pride in spirit, pride in talent and being an inspiration to others that keeps us going,” Jinks told me.

They also host an annual conference that highlights the town & Swamp Gravy. The Building Creative Communities conference is entering its 10th year and brings in people from across the country.

When Clay County, Ky., was named The Hardest Place in the U.S. to Live, it was important to the citizens that they address what they felt were unfair criticisms. They turned to Swamp Gravy. Now Monkey Dumplings, Clay County and Eastern Kentucky’s version of Swamp Gravy, stands to answer those criticisms and has brought together a region and helped rebuild community pride. If the alleged “Hardest Place in the U.S. to Live” can address the challenges thrown at them by such weighty allegations, our towns in Arkansas can, too.

You don’t have to travel to Colquitt to get a taste of Swamp Gravy. We’re serving our version of it here when Joy speaks to our Uncommon Communities groups May 6 from 12:30-2:30. Free registration for our keynote session is available here.


Tapping into the wisdom of youth

For years, being named a 40 Under 40 honoree meant being profiled in a magazine column and attending a luncheon in your (and 39 others’) honor. Skip Rutherford, dean of the Clinton School of Public Service, wondered aloud if there wasn’t an opportunity to bring together those 80 yearly honorees (40 from Arkansas Business and 40 from the Northwest Arkansas Business Journal) to put their heads together to discuss some of the issues facing our state. Fortunately, he wondered this aloud during a collaborative planning meeting with the Winthrop Rockefeller Institute’s executive director, Dr. Marta Loyd. Sometimes wondering aloud develops partnerships and programs, and that’s what happened here. The Under 40 Forum was born.

The inaugural Under 40 Forum was held at the Winthrop Rockefeller Institute April 1-2. 32 of 78 honorees from across the state attended the event, which was kicked-off by Gov. Asa Hutchinson. The event’s conversations focused on talent recruitment and retention, as did the governor’s talk. He took questions from the group, many of whom were business owners. They asked thought-provoking questions on issues they have faced recruiting and retaining talent in their organizations. These questions and general subject areas became the broad focus of the rest of the event.

Attendees largely focused their strategic conversations on:

  • Lack of widespread broadband access
  • Enhanced pre-K opportunities
  • Branding Arkansas for talent recruitment and retention efforts
  • Need for improved engagement with the public sector
  • Impact of recent proposed legislation on talent recruitment and retention

Examining challenges facing Arkansas was only a part of the reason for the Forum. Developing relationships, crossing geographical barriers and promoting long-term collaboration was the other half of the motivation behind hosting the Forum. If how late the conversations went is any indication of success, we are pleased.

Gov. Rockefeller strongly believed in and practiced the convening approach to problem solving. It’s an approach we are still echoing today. While these problems won’t be completely solved anytime soon, we believe that convening the Under 40 Forum was a good step in that direction, and we won’t be surprised if it’s the people who attended the Forum who are behind the solutions.

In addition to the Forum providing a spark of energy for the participants, another tangible outcome will be a report outlining the topics discussed and suggested actions that can be taken to make Arkansas a place where people want to come and stay. We plan to release that report in the coming weeks. Stay tuned.


Beyond technology, beyond art, Mini Maker Faire brings creators of all kinds together

Don’t let the name fool you. There is nothing “mini” about the Mini Maker Faire. The space in which it takes place may appear relatively small on a map, but the event is where big ideas and innovations come together as equals. Held at the Arkansas Regional Innovation Hub in North Little Rock, this annual event unites all types of people to enjoy the ingenuity that is happening throughout the state. It’s a place of show-and-tell and a shared space to learn from one another.

Participant John Steward, physics lab manager at Hendrix College, succinctly describes the event.

“It’s not a ‘tech’ show, not quite an art show, but something in between and well beyond,” he said.

Warwick Sabin, Innovation Hub executive director, said he looks most forward to the diversity the Maker Faire showcases.

“The exhibits, activities and demonstrations are broad, and I look forward to the interactions among all of the different kinds of people who attend,” he said. “This is a special event because it brings together people of all ages and backgrounds to celebrate the innovation, creativity and ingenuity that is taking place all around Arkansas. It’s not only fun and educational, but it builds pride and confidence in our state.”

The Maker Faire, to be held Saturday, May 7, provides a good opportunity for artists and innovators to display their “different worlds,” said Errin Dean, director of programs and memberships. “The coolest thing about it is it’s the only event in Arkansas that brings local makers of all varieties together. From an artist and jewelry maker to a welder, if you make anything you can be on display at the Faire.” As an attendee, she added, “you might leave surprised, not realizing everything that people can make.”

Another aspect of the Faire that Dean particularly enjoys is “Education Row,” she said. It features students from various schools showcasing their specialties.

John, the physics lab manager, brought his 3D printer to the event last year along with a collection of 3D printed objects and plans to do the same this year. The objects ranged from creatures, signs and topographical maps to bracelets, household items and prosthetic hands. He tried to keep the printer running to show what it looks like when things are made.

“I love watching kids’ reactions when they see something on the 3D printer,” John said. “You can almost see in their faces that it answers a few questions, but generates a hundred more. Then I get to explain to them how to make something. The Faire is also the only place I know where so many folks can bring their own amazing creations and machines, and show them off to anyone interested.”

Megan Kessler of Fork in the Road said as the sole food vendor last year, “We had a blast. The staff was wonderful and patrons were amazing. I can’t wait to see what this year brings.”

Chris Campbell participated in the Faire last year with his R2-D2 – a full-size, movie-quality replica that a friend helped him build. The North Little Rock event was not his first, but Chris said it was much larger than some of the others he has attended. Of the artists in attendance, he said he enjoyed seeing their various works.

Campbell once again will grace the Faire with his R2-D2, but he’s also working with ArkLUG (the Arkansas Lego Users Group) to set up a city/train layout and some various other displays as well as a play brick area for people to build their own creations.

“In addition, I’ll have a table set up with my personal 3D printers running that will be printing parts throughout the day for the BB-8 that I’m currently working on,” he said. 

Catch him also in the Mini 3D Printed Diorama setup.

Jessica Beeman Smith is “absolutely thrilled” to be part of the Maker Faire again this year. Last year she and her team built a large-scale mechanical diorama that featured a giant Kraken (legendary sea monster) and a pirate ship that moved and bounced with the waves at the turn of a crank.

“The response from Faire-goers was amazing,” she said. “Kids, especially, loved to turn the crank and set the scene in motion.”

Moving forward with what her team learned last year, this year’s project is going to be “bigger and better,” Smith said. “The folks at the Innovation Hub have been absolutely invaluable. They all bring to the table, not only their super cool equipment, but knowledge, skill and passion that is just incredible. I love being a part of this fantastic community of makers. I’m so excited to see what everyone brings to this year’s Maker Faire. It’s going to be amazing.”


Arkansas Artist Spotlight: Dawn Holder

This month’s Arkansas Artist Spotlight focuses on Dawn Holder. Holder is an instructor at the University of the Ozarks in Clarksville and is an accomplished ceramics artist. Just last year she was featured alongside a select group of artists from around the globe for the National Museum of Women in the Arts Women to Watch exhibition series.

We caught up with Holder at an exhibition of her work at the Arts and Science Center for Southeast Arkansas and were able to find out a little more about her.

A Flower's Shade Exhibit

A Flower’s Shade exhibit at the Arts and Science Center for Southeast Arkansas

How did you first become involved in the arts? Have you always been drawn to work with ceramics and porcelain?

My interest in art started in childhood. My siblings and I were not allowed to watch very much TV. Instead, we were encouraged to read, play, explore and be creative. At one point, I noticed some red clay in our yard and decided to dig it up and make pottery with it. I painted the pots with tempera paint and left them in the sun to dry. Finding a direct connection with the material was exciting, even if the pieces were pretty wonky. In high school, my interest started to become more serious. I took different art classes every year, and I began to take ceramics classes in the evening at a community art center. In both undergraduate and graduate school, I focused on ceramics and sculpture.

As a material, clay is very tactile and responsive. I have always been drawn to its humble origins, its rich history and its ability to morph into almost any form. Porcelain is more temperamental to work with than other types of clay, but I love its translucency, bright white color and highly responsive nature.

 Once Upon a Time in the Forest of I'm Not Sweet Enough

Once Upon a Time in the Forest of I'm Not Sweet Enough, 2008-2009, 14' x 16' x 6 ‘, porcelain, plaster, poly-fil, sugar, chocolate and butterscotch almond bark, homemade hard candy, homemade cotton candy. Photo courtesy of Dawn Holder.

What are some of the biggest influences and inspirations for your work?

I am always looking, noticing, reading and collecting. My interests and inspiration are all over the place:  formal garden design; minimalist sculpture; highly detailed craftwork, especially traditional women’s work, like embroidery; postapocalyptic narratives; the landscape around wherever I happen to be; aerial photography; the Necropastoral; ruins; fairytales; social and cultural practice that affect the environment; landscaping; multimedia installation art (Sarah Sze, Petah Coyne, Kim Dickey, Gregor Schneider, Claire Twomey); houses and other domestic structures; geology; art history; botanical drawings; ecofeminism; ecology; natural history collections and wunderkammer; etc.


Median, 2014, porcelain, concrete, 127" x 31" x 2.5". Photo courtesy of Dawn Holder.

It seems like a lot of your work (A Flower’s Shade, Monoculture, Once Upon a Time in the Forest of I’m Not Sweet Enough) draws the viewer’s eye to elements that are ground level. Is that significant to the themes of your work?

Yes, working on the ground is a very deliberate choice. Partly, it comes out of an influence and response to minimalist sculptors, like Carl Andre, who placed materials and sculptural objects directly on the gallery floor. I am drawn to the way this type of work displaces all of the empty space above it. In a sense, the entire gallery becomes a pedestal for the work. Since I work primarily with landscape-based imagery, it makes visual sense for the work to be directly on the ground, as this is the way we experience the landscape around us—directly springing from the same ground our feet rest on. I am interested in the viewer feeling as though they share the space with the work, rather than being artificially separated from it by a pedestal.

There is an element of danger of working directly on the floor, however, because my work is very fragile and vulnerable to breakage. I have had multiple experiences with people purposefully stepping on and breaking the porcelain grass (sadly, both children and adults have done this). Occasionally, people just aren’t paying attention and accidentally bump into and break pieces. I have to work closely with galleries and museums to create visual cues, like tape lines or signage, to help protect the work. When I participate in group exhibitions where I show smaller installations or sculptural groupings, I sometimes use low pedestals to give the work a buffer zone.


Monoculture, 2013, porcelain, 8’ x 15’ x 2.5 ». Photo courtesy of Dawn Holder.

When talking about Monoculture and other works featuring ceramic grass, you mention the deliberately tedious creation process. Has that influenced or crossed over to some of your latest pieces?

Labor and tedium seem to be part of my creative process, no matter what the work is. Part of what I find visually attractive and exciting is the massing together and repetition of forms, so that means I have to make many, many little pieces for my installations. For Monoculture, I created over 75,000 blades of porcelain grass. Repetition, labor, time and process all add value and meaning to the finished work. My most recent installation, A Flower’s Shade, has a good deal of variety in the forms, but the process of collecting, sorting and dipping each piece of plant matter in liquid clay was the same. Repetition has a deep history in ceramics, from the potter who makes hundreds of bowls, to the factory that makes thousands of sinks. My installation work harnesses this tradition of multiplicity to create visual impact and metaphor.

 Once Upon a Time in the Forest of I'm Not Sweet Enough

Once Upon a Time in the Forest of I'm Not Sweet Enough, 2008-2009, 14' x 16' x 6 ‘, porcelain, plaster, poly-fil, sugar, chocolate and butterscotch almond bark, homemade hard candy, homemade cotton candy. Photo courtesy of Dawn Holder.

Speaking of A Flower’s Shade, many of the sculptures take on an active, flowing form. Is that a byproduct working with organic material, or were they deliberately shaped before firing?

A little of both. The organic materials that I used in the piece include things like hedge clippings, fallen leaves, weeds, seed pods, berries and dead flowers, so that many of them naturally have active, flowering forms. Depending on the particular item, some were trimmed or bundled together before being dipped in slip. Others were just taken in their natural, organic state. After being dipped in slip, the forms all have to drip-dry on a clothesline, which also affects the ultimate shape, as everything tends to be pulled downward by gravity. Also, many of the forms fall apart or break in the firing and glazing process, so I have to make many extra and cross fingers to get a few that have beautiful, complex shapes. I now have piles and piles of interesting shards and shrapnel that did not make the cut for these pieces, but that I imagine will also be “harvested” and transformed into some smaller works.

 A Flower's Shade

A Flower’s Shade exhibit at the Arts and Science Center for Southeast Arkansas

How did you decide on the color palette and differing levels of slip and glaze for the “porcelain fossils” that make up A Flower’s Shade?

The color palette is inspired by the Necropastoral (a poetic theory described by Joyelle McSweeney that intertwines the idealized natural world and mankind’s degradation of the environment) and my love of postapocalyptic landscape as depicted in books and movies—the rubble and the grey, black, bleak quality of the landscape. I use several shades of gray and black to evoke a dead, charred or aberrant quality. The white is reminiscent of death, bones and lifeless things drained of color. The bright yellow was chosen for contrast and to create a sense of unease. It has a radioactive or poisonous quality, like bodily fluid or an infection. Overall, I wanted the colors to evoke a sense of loss, disruption and mystery.

Porcelain fossil

A Flower’s Shade exhibit at the Arts and Science Center for Southeast Arkansas

Having grown up in the South, what makes this region unique for an artist? Has it had a specific influence on your work?

I would not say that living here has had a strong influence on what I make, although my work has always been, either directly or indirectly, a response to the culture and landscape around me. Living in several different areas of the country has given me perspective on various modes of being and interacting with the environment. There is, however, a little more space and freedom to develop and define your creative practice here. I don’t feel any pressure to adhere to a certain kind of making or thinking, as might happen in other more commercially driven places. Also, I have been surprised by the amount of opportunities and resources for artists here, as well as the supportive environment. Even the good old boys at the hardware store get interested in what I am making and regularly ask me about it.

On the other hand, the challenge of living in rural Arkansas is that life here can be personally and culturally isolating. I have had to search all over the state to find other creative people to connect to. I am part of a fairly recently formed female art collective called Culture Shock. We meet regularly to critique each other’s work, we support each other’s creative practice, and we organize group exhibitions and panel discussions. Having a critical discourse with this diverse and talented group of people has invigorated my creative practice.


 A Flower's Shade

A Flower’s Shade exhibit at the Arts and Science Center for Southeast Arkansas

What brought you to Arkansas?

I moved to Arkansas for a job. I am an assistant professor of art, and I teach ceramics, sculpture and art history at the University of the Ozarks. I had never been to Arkansas before my job interview, but full-time teaching jobs are pretty rare, so thought I would give it a try.


 A Flower's Shade

A Flower’s Shade exhibit at the Arts and Science Center for Southeast Arkansas

What do you hope to see in the future for arts in Arkansas and the South?

I hope to see more funding and support for art, not only for mature artists, but also in the schools. I think teaching children how to think creatively is just as important as learning to how to read and write.

Another thing I hope to see continued emphasis on is more diversity in programming within art institutions, which serves to reflect the diverse experience and background of our population. The Arkansas Arts Center has had some fantastic shows lately of African-American and Latino art. I would love to see this trend continue and expand, not just through specific exhibitions, but also through regular programming, inclusion in permanent collections, etc. I think there is still a lot of entrenched racism and prejudice in the South, and art can serve to challenge the dominant paradigm by communicating empathetic perspectives that are diverse, divergent and other.


We appreciate Dawn sharing her thoughts with us and encourage you to check out her work in person. You can see A Flower’s Shade at the Arts and Science Center for Southeast Arkansas through April 21, 2016. You can see Once Upon a Time in the Forest of I'm Not Sweet Enough as it travels the state as part of the 2016 Arkansas Women to Watch exhibit.


This post is part of a monthly series highlighting artists that call Arkansas home and make the arts community here one of the best in the South. Read on for a closer look at the people creating great art all across the Natural State.


Rethinking college

A new University of Arkansas System endeavor is tapping into its large pool of faculty across many institutions and reaching more Arkansans than ever. eVersity, the state’s first fully online education that launched last fall, ended its first term in February with a collective GPA of 3.47. The second six-week term starts this month to help more students complete their degrees and become workforce ready. With seven start dates throughout the year, back-to-school can happen anytime for people seeking this university path.

Why eVersity?

Arkansas ranks No. 49 nationally in the percentage of the population with college degrees. “And we’re falling fast,” said Michael K. Moore, chief academic and operating officer of eVersity and vice president of academic affairs for the UA System. “Something has to be done, whether it’s with us or another one of our many higher education institutions. It’ll take a great team effort from everyone across the state to improve that statistic. But being the state’s only 100 percent online institution allows us to offer a high-quality, affordable and workforce-relevant experience.” 

Michael K. Moore
Michael K. Moore, chief academic and operating officer of eVersity & vice president of academic affairs for the UA System

The need

The best thing about eVersity is it offers a second chance to those who gave up on their higher education dreams, Moore noted. “We know that there are 356,000-plus Arkansans who once saw the value in higher education and had a dream to earn a degree, but for whatever reason life got in the way and they didn’t complete what they set out to do. The goal of eVersity from the very beginning has been to identify as many of the barriers as possible that are preventing those people from returning to school and work really hard to remove the barriers and do whatever possible to get them across the finish line.”

The response

Faculty and students have been pleased at how engaging the online courses are, Moore said. UA System faculty works with an eVersity team of instructional designers to make classes as interactive, visually appealing and fulfilling as possible. “Our efforts to design very high-quality and interactive online classes are paying off, and our faculty has also commented about our students being among the most attentive and productive as any they’ve taught before.”

Areas of study

Courses last six weeks, and students generally take just one course at a time. Areas of study include information technology, criminal justice, business, health care management and university studies. Thoughtful analysis identified the needs of Arkansas employers and the current job market to choose eVersity’s fields of study, Moore said. “We’re happy with what we have to offer and feel like we are concentrating our efforts on what’s best for Arkansans and the state’s employers. With that being said, we are tapped into employers’ needs and ready and willing to meet those demands as things evolve.”

Quick facts

  • Cost per credit hour is $165.
  • Average applicant age is 35.
  • 73 percent of Arkansas counties are represented in the applicant pool.
  • 60 percent of the applicants are women.
  • Applicants bring an average of 67 transfer credits from prior institutions.

Calling all archeology enthusiasts: Institute research station sets open house for March 19

On top of beautiful Petit Jean Mountain, the Winthrop Rockefeller Institute is home to one of the 10 research stations of the Arkansas Archeological Survey. The mission of the Arkansas Archeological Survey is to research and protect Arkansas’ archeological sites, preserve and manage information and collections from those sites, and share what we have learned with the citizens of Arkansas.

The Arkansas Archeological Survey, along with the Arkansas Archeological Society, participates in an annual outreach event called Arkansas Archeology Month. In celebration of Archeology Month, the WRI research station is holding an open house from 10 a.m. to 3 p.m. Saturday, March 19. Although the research station welcomes visitors any time of the year, we are planning many fun and educational activities for our open house day.

 University of Central Arkansas Students trying out our atlatl.

University of Central Arkansas Students trying out our atlatl. (2015)

The research station at the Institute is located in what is called The Teaching Barn. This barn and the surrounding buildings in the “Heritage Farmstead,” as it is termed, are modeled after a real farmstead owned by the Westphal family on Petit Jean Mountain from about 1900 to 1953. The location of the orchard, vineyard, smokehouse and cellar house are all based on the real Westphal farmstead, which was located on the north edge of the mountain. In addition to the station “barn,” the smokehouse and cellar house will be open for touring.

We will have both prehistoric (before Europeans arrived in Arkansas) and historic artifacts on display. You are welcome to bring artifacts to be identified, but we do not do appraisals or allow buying or selling of artifacts at our events. You will have a chance to try your hand at spear throwing using an atlatl or play toli, a traditional Native American stickball game. There will be crafts including make-your-own petroglyph, a pictograph wall, making cordage and decorating pottery using prehistoric techniques.

University of Central Arkansas Students painting on our pictograph wall.

University of Central Arkansas Students painting on our pictograph wall. (2015)

We are going to have a couple of demonstrations as well. Ben Swadley, superintendent at the Parkin Archeological State Park, will demonstrate how Native Americans made their stone tools and arrow points by doing some flintknapping. For a historic perspective, Paul Glidewell is going to demonstrate some historic woodworking techniques.

The WRI station is developing a Native American garden at the station. Similar to the Plum Bayou garden designed by Dr. Elizabeth Horton at the Toltec Mounds research station, we will plant species that were used by Native Americans before the widespread use of corn around A.D. 1000. These ancient crops include sunflower, goosefoot, maygrass, little barley and a particular line of squash. At our open house you will be able to try out gardening in our garden with replica Native American gardening tools made out of stone, wood and antlers.

Ben Swadley flintknapping.

Ben Swadley flintknapping. (2015)

From noon to 2 p.m. ROOST (Revitalizing Ozark and Ouachita Seed Traditions) will host a seed swap at the open house. You can participate in the seed swap and help preserve Arkansas’ agricultural heritage by bringing your open pollinated seeds, their stories and other associated information to share with others.

I hope you will come join us for a day of history, exploration and hands-on learning for all ages!

For more information on the open house, contact Dr. Emily Beahm at (501) 727-6250 or


The Dirty Farmers Community Market—sharing and caring in Van Buren County

In Van Buren County, sustainability and farm-to-table are more than just buzzwords. They are reality. This is largely because of the efforts of The Dirty Farmers Community Market.

Opened in Clinton in May 2013 by Jackie and Sean Sikes, the market was an idea Jackie conceptualized while running for local office.

“I met several farmers who wanted help,” said Jackie, one of the participants in the Winthrop Rockefeller Institute’s Uncommon Communities program. “They needed the city to allow for a farmers market more than just one or two days a month. It took over a year to convince enough crafters and farmers to join me in starting a year-round market. It was the typical ‘if I build it, will you come?’ speech.”

She did, and they came.

Sean and Jackie Sikes

Sean and Jackie Sikes


The Dirty Farmers Community Market provides local farmers, artists and crafters with a year-round sales venue. Offerings include those typical of a farmers market: fresh, seasonal vegetables and fruits, handmade goods, and other local wares.

It didn’t take long for it to grow into something more than your usual farmers market.

During the first season, volunteers would smell lunch as Jackie cooked for Sean each day. Eventually, she offered them some. They liked it and a lunch-only cafe was born. While not part of the original plan, The Greater Good Cafe has become a hit since it opened in November 2014.

The cafe operates on an “eat what you need; pay what you can” concept. Most patrons do give what they can, and they can directly see the impact of their donation.

“Our county is one of the poorest in the state,” Jackie said. “Coupled with Arkansas obesity statistics, we not only need to provide a reasonably priced meal but one that is nutritious. We see a lot of seniors on fixed income who really enjoy our meals.”

They also enjoy the cafe’s atmosphere.

“For our seniors it's not just about the meal, it's the fellowship and the feeling of belonging to the community that keeps them coming back,” she said.

The Greater Good Cafe

Doorway to The Greater Good Cafe 

This idea of fellowship can also be seen in the free, monthly workshops they offer. Past events have included learning to make bug spray, adult coloring, Easter egg hunting and pumpkin carving. Jackie sees them as a fun way to bring people of all ages to the market, especially those who might not come otherwise.

“The market has come to mean so much more than just a place to sell produce, arts and crafts. Even the cafe means so much more,” she said. “People benefit from the atmosphere surrounding the market and the people and volunteers who are there each day. It’s like one big community family.”

And that family will only continue to grow if the Sikeses have their way.

Future plans include making the cafe 90 percent farm-to-table in two years, expanding the program of feeding seniors and extending to form more community partnerships. Currently, the market works with Clinton High School’s agricultural classes to help grow plants for the program. They would like to extend their partnerships to include additional area schools and possibly Van Buren County Master Gardeners.

The Sikeses also hope to see their concept replicated in other communities.

“I can't even talk about what the market means to me without tearing up,” Jackie said. “There are different ways of sharing and caring in communities, and ours is the market.”

The Dirty Farmers Market is located at 364 Main St. in Clinton. It is open Tuesday through Saturday from 9 a.m. to 4 p.m. Lunch in the cafe is served daily from 11 a.m. to 2 p.m.


You do a little research, you end up in Budapest

The list of things I know about Ludwig van Beethoven is a short one. I know that he was a great composer, that he was German, that he was deaf for much of his life and that he penned "Für Elise" and several other pieces that I would recognize by ear but couldn’t name.

But I’m always interested in a good story. So when I saw an article from the University of Arkansas – Fort Smith (UAFS) about an upcoming lecture on one of Beethoven’s works, "Opus 111," I was intrigued. I wasn’t intrigued by "Opus 111" (at least not at first). I had never heard the piece before. I was intrigued by the fact that Dr. Stephen Husarik, professor of humanities and music history at UAFS, had traveled to Budapest, Hungary, to play a piano that belonged to Beethoven himself.

Dr. Husarik will give a lecture about this experience and his research regarding "Opus 111" at 7:30 p.m. Tuesday, Feb. 23, in the Breedlove Auditorium on the UAFS campus.

To understand the context of this story, you first have to understand a bit about Dr. Husarik. First off, he’s brilliant. He has literally written the book on humanities. Or a book, anyway. He showed me the humanities textbook he authored during my recent visit to his office in the UAFS Breedlove building.

Second, his thirst for learning and knowledge is furious. It’s evident within two minutes of conversation with him. His office, humbly tucked into a corner of Breedlove, is stuffed to the gills with books, papers, playback systems old and new … and a piano. I’m quite certain they must have built Breedlove around the piano, because I saw no other way of installing it.

His office layout and contents speak to his personality. As we talked, he glided back and forth from his desk to his piano to his collection of books and papers. If I asked a question about "Opus 111," his eyes would light up, and before the entirety of the question was out of my mouth, he had whisked past me to get to the piano to show me the answer to my question.

So how does this story wind its way to Budapest?

Husarik is a lifelong student of the works of Ludwig van Beethoven. He’s studied all of Beethoven’s works and has a ferocious enthusiasm for the composer.

As a young music student, Husarik was exposed to "Opus 111," the last of 32 piano sonatas written by Beethoven. Husarik learned to play the piece (which is no small feat) early in his academic career and has maintained an interest in it throughout his life.

It’s a complicated piece, full of nuance and mystery. Particularly curious are the piece’s variations, which take place in the sonata’s latter half. In the nearly 200 years since Beethoven’s death, scholars have debated about the nature of these variations. Husarik, through his years of studying the piece, had his own theory about Beethoven’s intentions for this section of "Opus 111," but he couldn’t prove it without going straight to the source.

“These small notes,” he said as he played a soft melody, “they just didn’t sound quite right to me when played on a modern piano.”

The story of how Beethoven acquired his original John Broadwood and Sons piano is interesting in and of itself, but to keep a long post from being extremely long, suffice it to say that it was special to him and was the first piano on which "Opus 111" was ever played.

Husarik met some resistance when he called the Hungarian National Museum in Budapest, where the piano now resides. He simply wanted to play a few notes on the piano and record them for later analysis.

“I thought that if I could just hear a few notes, I’d be be able to get a better sense of how the piece is supposed to be played,” he said.

Negotiations for Husarik’s visit took eight months, and what finally swayed the museum’s curator was Husarik’s tale of being stranded by a Budapest tour bus during a previous visit to the city; Husarik made sure to communicate his pointed displeasure with this experience when speaking to the curator.

Once the curator finally relented, Husarik arrived at the museum and was surprised when they shut down an entire wing just for his visit. And instead of playing just a handful of notes, they allowed him to play a short section of "Opus 111."

At the end of the visit, which included lunch and coffee, the curator asked Husarik, “So now what do you think of Hungarian hospitality?”

Husarik said he had assumed they had granted him access because of the importance of his research.

“So I had to swallow my pride a little bit on that, but at least I got what I had come for,” he said.

And the discovery he made while examining the piano was critical to his theory. On the side of the piano was a switch that when activated would soften the sound of the piano, much like a una corda pedal. Husarik played me the recording of the notes he was allowed to play on Beethoven’s piano, which were notes from the variation portion of "Opus 111." Though it was subtle, there was certainly a difference in the sound from the recording and the sounds coming from Husarik’s own piano.

While that might not mean much to a musical Philistine like myself, to music historians it’s a significant piece of information. Modern performances of "Opus 111," while still conveying much of the majesty and mystery of the piece, fail to completely capture the notes as Beethoven first imagined them.

The entirety of "Opus 111" is fascinating, even for the untrained ear. The first movement is bombastic in the way that much of Beethoven’s music was. The second movement is much more muted and represents “a resurrection,” as Husarik put it. And somewhere in there is a segment that almost resembles jazz, though Husarik assured me “this is no boogie.” Apparently, Beethoven subdivided the notes in one section of the piece to point that it resembles a freestyle improvisation.

Husarik told me about some of his other research. He was able to examine some of Beethoven’s original sketchbooks in Paris, something he did with great reverence.

“I realized at one point that every time I turned a page, I was turning about $200,000,” he said. “No wonder the security guards were keeping a close eye on me.”

My meeting with Dr. Husarik has changed the way I listen to classical music, and it’s made me want to dig more into the history and genius of Beethoven. My guess is those who are able to attend Husarik’s lecture next week will come away with a similar excitement and curiosity.