WEBVTT 00:00:11.234 --> 00:00:17.706 - Good afternoon. Whoa, that's hot. Not to be all Saturday night live or anything. Anyway, good afternoon. 00:00:17.706 --> 00:00:24.301 - I'll stick to my script. And welcome to the 47th Annual Showcase of the Arts, presented by the Bloomington 00:00:24.301 --> 00:00:30.772 - Chapter of the National Society of Arts and Letters. My name is Eric Anderson, Jr., and it is once again 00:00:30.772 --> 00:00:35.518 - my distinct honor and pleasure to serve as this year's Master of Ceremonies. 00:00:36.706 --> 00:00:41.989 - As a part of their mission to identify, encourage, and assist young talent, local NSAL chapters across 00:00:41.989 --> 00:00:47.324 - the country, 19 in all, hold a series of competitions each spring in the areas of dance, drama, musical 00:00:47.324 --> 00:00:52.094 - theater, literature, music, and visual art. And the winners of the Bloomington competitions, 00:00:52.094 --> 00:00:57.274 - the spectacularly gifted young men and women who have been invited to perform for you today, will be 00:00:57.274 --> 00:01:02.814 - receiving more than $25,000 in awards. You are going to witness a wonderful array of talent this afternoon. 00:01:03.458 --> 00:01:08.855 - And the best part to me is these young men and women are just at the start. And NSAL's passion and commitment 00:01:08.855 --> 00:01:13.762 - is to give them that boost of encouragement, confidence, and cash to keep pursuing their art. And I 00:01:13.762 --> 00:01:18.718 - have to say the Bloomington chapter has a pretty good track record so far. Just thinking off the top 00:01:18.718 --> 00:01:23.772 - of my head, a couple that I happen to know personally, remembering last year's musical theater winner, 00:01:23.772 --> 00:01:28.875 - Sharnette Beatty, who in the days of moving to New York City earlier this year, booked the role of Dina 00:01:28.875 --> 00:01:33.438 - Jones in the musical Dreamgirls at the highly esteemed Gallery Players in Brooklyn. Why not? 00:01:34.082 --> 00:01:39.927 - And previous vocal winner Sean Davies is waiting as we speak to hear the results of her performance 00:01:39.927 --> 00:01:45.890 - in the incredibly prestigious invitation only Richard Tucker competition. So if there's one thing you 00:01:45.890 --> 00:01:51.326 - can say about the Bloomington and I say it is that they have impeccable taste. So moving on. 00:01:51.554 --> 00:01:57.250 - to the performances themselves. Our first performer this afternoon is Maria Jose Romero Ramos, was pursuing 00:01:57.250 --> 00:02:02.736 - a master's in violin performance at the Indiana University Jacobs School of Music with Professor Kevork 00:02:02.736 --> 00:02:08.010 - Marrocian, and is a recipient of the Jacobs Fellowship, and hails from Valencia, Venezuela. She has 00:02:08.010 --> 00:02:13.284 - been a member of professional orchestras, such as the Plano and Irving Symphony Orchestras, as well 00:02:13.284 --> 00:02:18.875 - as the Sphinx Chamber Orchestra, and recently performed with the Indianapolis Baroque Orchestra as winner 00:02:18.875 --> 00:02:20.510 - of their concerto competition. 00:02:20.674 --> 00:02:26.083 - Today she brings us the Sonata for Violin and Piano in G minor by Claude Debussy, accompanied at the 00:02:26.083 --> 00:02:27.582 - piano by Daniel Ennamorato. 00:08:26.434 --> 00:08:31.813 - former hails from Huntington Valley, Pennsylvania. Currently a freshman studying ballet at the Jacobs 00:08:31.813 --> 00:08:37.351 - School, Laura Gruner received her dance training from the Philadelphia Dance Theater under the direction 00:08:37.351 --> 00:08:42.889 - of Joy Caponi. Laura has attended summer programs at American Ballet Theater, Houston Ballet, and Boston 00:08:42.889 --> 00:08:48.163 - Ballet on scholarship. She was a Youth American Grand Prix finalist from 2005 to 2011. And in 2012, 00:08:48.163 --> 00:08:53.173 - Laura was a featured cast member on the Ovation Original television series, A Chance to Dance. 00:08:53.173 --> 00:08:55.230 - This afternoon, she will be performing 00:08:55.458 --> 00:08:59.678 - Estirado choreographed by Joy Caponi. Please welcome Laura Gruner. 00:12:08.962 --> 00:12:14.022 - Thank you, Laura. Next to this stage, we welcome Todd Ulworm, a freshman at Indiana University majoring 00:12:14.022 --> 00:12:18.986 - in musical theater. He's been involved with community theater in his hometown of Crown Point since he 00:12:18.986 --> 00:12:23.900 - was in the second grade. And while at Indiana, he has appeared in the university player's production 00:12:23.900 --> 00:12:28.912 - of Zombie Prom, several group recitals at the Jacobs School of Music, and the IU Department of Theater 00:12:28.912 --> 00:12:33.778 - and Dramas, currently running production of Sunday in the Park with George, performing the roles of 00:12:33.778 --> 00:12:35.870 - Franz and Redmond. He also plays the cello 00:12:36.034 --> 00:12:41.498 - claims he can be heard whistling on a tune anywhere he goes. Today, accompanied by Nat's degree on piano, 00:12:41.498 --> 00:12:46.859 - he will perform musical selections from Barnum and Next to Normal and a monologue from Men Suck. Please 00:12:46.859 --> 00:12:47.838 - welcome them both. 00:14:41.634 --> 00:14:47.317 - You think, how many times have I sat in this stupid apartment choking down the same takeout dinner and 00:14:47.317 --> 00:14:52.945 - watching the same show that I never found funny? Two minutes. Tonight, I'm going to go out. I'm going 00:14:52.945 --> 00:14:58.517 - to put on nice shirts and clean jeans, and I'm going to go out to the bar and buy myself my favorite 00:14:58.517 --> 00:15:04.034 - drink. A Seabreeze, right? There's a lot of Seabreeze. You sit there, and you drink your drink, and 00:15:04.034 --> 00:15:09.662 - you think your thoughts. What happens? Some guy who thinks playing high school football made him God. 00:15:09.890 --> 00:15:19.700 - Comes up to you smelling of cheap air and cigars, and wants to take you home with him. Thinks that you're 00:15:19.700 --> 00:15:29.417 - melting in the presence of the hot blood of an American man. They never notice the plastic spine, forced 00:15:29.417 --> 00:15:39.134 - laughter. There I go again, trying to separate myself from them, but I am one. A man. Accident of birth. 00:15:39.618 --> 00:15:43.774 - Perfect for you, I could 00:17:04.258 --> 00:17:10.334 - such fantastic performance. Now we turn to the written word. Hibba Krish is from Beirut, Lebanon. And 00:17:10.334 --> 00:17:16.410 - while in her past life she may have taught logic and ethics at the American University of Beirut, she 00:17:16.410 --> 00:17:22.546 - is currently a Master of Fine Arts candidate in creative writing at Indiana University. She has served 00:17:22.546 --> 00:17:28.622 - as fiction editor of Rusted Radishes, which is the Beirut Literary and Arts Review, and layout editor 00:17:28.622 --> 00:17:31.422 - of Mid-East Mirror Daily. She loves Nietzsche. 00:17:31.522 --> 00:17:37.098 - awkward humor, Levantine cuisine, modal quantification, and scarves. Her fiction appears in Hayden's 00:17:37.098 --> 00:17:42.783 - Fairy Review, the Evergreen Review, the Banyan Tree, and Rusted Radishes. Today, she reads a selection 00:17:42.783 --> 00:17:46.206 - from her short story, Tin Beirut. Please welcome Hiba Krishn. 00:18:04.738 --> 00:18:11.909 - The story is called Tin Beirut. It begins with an epigraph. The world is a tin bowl. Flick one part 00:18:11.909 --> 00:18:19.654 - and it shudders altogether. Lebanese proverb. Beirut brimmed with pigeons, with virgin bananas and chimeras 00:18:19.654 --> 00:18:26.824 - in the years after the civil war. She was a castaway, a blunderer with traces of lazuli ripe on her 00:18:26.824 --> 00:18:29.406 - eyelids from better days gone past. 00:18:29.858 --> 00:18:36.249 - Some of those born into our streets passed through grimly, waiting for their boats to leave port on 00:18:36.249 --> 00:18:43.278 - a happier morning. Others stayed, spilling their wares, fresh and new, with post-war gleaming onto sidewalks. 00:18:43.278 --> 00:18:49.796 - They sat in undershirts and tasseled scarves through the afternoons, with their teas, their tobaccos, 00:18:49.796 --> 00:18:54.142 - spitting into the streets to relieve pumpkin seeds of their shells. 00:18:54.434 --> 00:19:01.037 - They hung their hearts on the walls and the backs of kitchen flats and chased away the acrid taste of 00:19:01.037 --> 00:19:07.704 - gunpowder with dreams. It was early in the afternoon that Dalila sat in her flat and destroyed wedding 00:19:07.704 --> 00:19:14.243 - dresses. She frayed their hems and tore them into strips, dipping them into vats of dye. They turned 00:19:14.243 --> 00:19:19.486 - dark as the dust-filmed blinds that blocked the sunlight from her veranda doors. 00:19:19.874 --> 00:19:26.408 - She pinned them to the lines spooled taut between her windows and they fluttered like cruel banners 00:19:26.408 --> 00:19:33.073 - and sucked the hope from young girls who eyed them from the street. Boys passing below looked at them 00:19:33.073 --> 00:19:38.366 - too and thought of them and desired things to do with their errant floppy quiet. 00:19:38.690 --> 00:19:44.776 - A boy trailing down the street beneath Talila's window, six years old, Farid, on his way to see his 00:19:44.776 --> 00:19:50.861 - father in the sweet shop with a paper bag of charcoal briquettes sawing canyons into the inner skin 00:19:50.861 --> 00:19:51.774 - of his elbows. 00:19:52.194 --> 00:19:58.275 - The charcoal would feed a roaring back alley fire to boil the syrup. There would be a napkin folded 00:19:58.275 --> 00:20:04.478 - around something crumbling and cloying tossed into his palm. There would be a 500 Lebanese pound coin 00:20:04.478 --> 00:20:10.559 - smooth like a stone in his pocket to buy something concurrently salty with. He walked with his head 00:20:10.559 --> 00:20:16.884 - to the sky knowing the maneuvering of these streets by a lazy heart. He looked up to the ragged banners 00:20:16.884 --> 00:20:21.566 - beneath Delilah's window and thought about shimmying up the street lamp pole 00:20:21.730 --> 00:20:27.821 - the banner slapped against, this pole rough and sticky enough for traction, which he could climb to 00:20:27.821 --> 00:20:34.095 - collect the streaming grain black, to twist it into turbines, to knot it into ropes, to string between 00:20:34.095 --> 00:20:40.187 - windows and the flats of Camp Sabra, lines of communication of deliverance, of invisibility against 00:20:40.187 --> 00:20:46.400 - the night, to reenact the grim and glorious guerrilla of the occupied south, to bring himself home to 00:20:46.400 --> 00:20:47.070 - Palestine. 00:20:47.682 --> 00:20:54.268 - But he would have to lay his charcoal prize too temptingly against that pole no good. He gave his shoulders 00:20:54.268 --> 00:20:58.110 - a shudder and moved on. Dalila watched him beneath her window. 00:20:58.850 --> 00:21:05.100 - watched the grace of his lingering, his bird-peck dance of hesitation before he picked up pace with 00:21:05.100 --> 00:21:11.476 - a hitch to his brown shoulders, a hitch to the cling of his brown arms against heavy paper. He turned 00:21:11.476 --> 00:21:17.851 - the corner in a shimmery haze and was gone, and with him gone also the twinge deep in Derrida's belly 00:21:17.851 --> 00:21:21.726 - for the right to lay her hands against shoulders that narrow. 00:21:22.242 --> 00:21:28.238 - Dalila, with her arms and legs as sturdy as telephone poles, her fingers webbing and gloating through 00:21:28.238 --> 00:21:34.410 - the gowns that lined up at her door, careful and clean in plastic bags. She commissioned the prostitutes 00:21:34.410 --> 00:21:40.582 - of Beirut to bring her dresses so she could destroy them with lusty vengeance. The prostitutes had nails 00:21:40.582 --> 00:21:44.638 - that scarred the bags with runs like their pantyhose. This was good. 00:21:44.834 --> 00:21:51.684 - The first defilement of each gown's purity, the next sped to the tune of Dalila's jaws working, cracking 00:21:51.684 --> 00:21:56.446 - mastic between her teeth, clack clack, clack clack like a freight train. 00:21:56.610 --> 00:22:02.675 - Her hands moved in time with the urgent spurting and quelling somewhere in her innards, feeding the 00:22:02.675 --> 00:22:08.801 - strength of her forearms. She ripped, stripped, dyed, and dried, and snapped each banner taut before 00:22:08.801 --> 00:22:15.230 - hanging it, leaning out of her sill with the mark of jaw that only an older and heftier woman could have. 00:22:15.330 --> 00:22:21.540 - This was the only type of set to a face that could chase away the whispers of the indecency of a bosom 00:22:21.540 --> 00:22:27.871 - hanging out of a window in Beirut daylight, watching every young being in the streets below. And Delilah 00:22:27.871 --> 00:22:33.900 - watched. She watched the one prostitute leave who had just delivered her dress and lingered perhaps 00:22:33.900 --> 00:22:39.929 - too dreamily down the eight flights of steps. This girl, her ankles ambled, this rayya with fingers 00:22:39.929 --> 00:22:43.486 - too lazily closed around the bills that Delilah proffered, 00:22:44.354 --> 00:22:50.751 - But she showed up at Delilah's door with the most exquisite dresses and towel, delicate and floating 00:22:50.751 --> 00:22:56.515 - as froth. Boutique owners and their cleaning wenches were sweet to her, willing to believe 00:22:56.515 --> 00:23:02.912 - such a creamy-faced girl a bride. Wrestling away, the unbidden twinge again nested somewhere against 00:23:02.912 --> 00:23:09.626 - her ribs this time. Delilah turned away from her window and back to face her steaming vats. In the street 00:23:09.626 --> 00:23:12.286 - below, Raya stopped partway to the corner 00:23:12.674 --> 00:23:19.045 - Her hands were glad to be rid of the spurning plastic of the garment bag its son spent rubber burn. 00:23:19.045 --> 00:23:25.861 - She whisked a cigarette from her wristband, a lighter from her bosom. She never wore dresses with pockets. 00:23:25.861 --> 00:23:32.486 - A devil lurked too readily in a pocket and nudged its contents into street gutters or unfriendly hands. 00:23:32.486 --> 00:23:39.048 - She looked back and up at the drab streamers sluicing from Dalila's window and smoked. This Dalila was 00:23:39.048 --> 00:23:41.214 - a woman long-away spurned in love 00:23:41.346 --> 00:23:48.452 - agile in her malice, her old family money and new, warm money rotted in the bases of clay flower pots 00:23:48.452 --> 00:23:56.046 - in the corners of her flat and lay wedged in the brassiers of the whores of Beirut. Raya suddenly remembered 00:23:56.046 --> 00:24:03.221 - the old Lebanese saying and allowed a slow shudder to course up her legs and deplete at her hip bones. 00:24:03.221 --> 00:24:07.262 - She took only a moment to absorb it and resumed her walk. 00:24:07.938 --> 00:24:13.706 - Raya tapped her cigarette against her thigh, mindful of the burn, and tossed it away as she made her 00:24:13.706 --> 00:24:19.417 - way down the street. Because cigarettes were too indecent and not for the persona she wore for this 00:24:19.417 --> 00:24:25.184 - daytime work, wedding boutique owners should forget her face, wan and lustful as any typical brides, 00:24:25.184 --> 00:24:30.952 - before they had the time to replace the dresses she coaxed from their windows. She meandered through 00:24:30.952 --> 00:24:36.606 - the streets of Hamra and stopped between a chocolaterie and a shop selling pinstriped men's suits. 00:24:36.898 --> 00:24:43.096 - The sleazy electric sign belonging to the boutique across the street fizzled off with an exhausting 00:24:43.096 --> 00:24:49.543 - finality. It must be 3 p.m. and time for the afternoon's power outage. Because this was a country where 00:24:49.543 --> 00:24:55.865 - street lights and shop signs glowed extravagantly in the daylight and the hours where there was power 00:24:55.865 --> 00:25:02.063 - and where long power cuts left citizens bursting to repair diesel guzzling generators to keep their 00:25:02.063 --> 00:25:06.526 - businesses running and to keep up the dizzy spin of their ceiling fans. 00:25:07.394 --> 00:25:21.783 - Thank you. Thank you, Eva. Next up, we have Katie Zimmerman, an Indiana University freshman 00:25:21.783 --> 00:25:32.574 - from Pennsylvania, a ballet major with an outside field in business. 00:25:32.802 --> 00:25:37.755 - Katie has been training in dance, primarily ballet, along with modern and jazz for the past 12 years. 00:25:37.755 --> 00:25:40.766 - Today she will be dancing the wedding variation from Paquita. 00:28:30.146 --> 00:28:35.705 - beautiful. Our next honored performer is Brianna McClellan, a senior majoring in theater and drama at 00:28:35.705 --> 00:28:41.590 - Indiana University. She was most recently seen as Pauline and Maggie Cassidy at the Bloomington Playwrights 00:28:41.590 --> 00:28:47.258 - Project, a production I had the immense pleasure of music directing, if I may say so. She has also been 00:28:47.258 --> 00:28:52.762 - found on stage at IU performing roles in A Midsummer Night's Dream, The Three Musketeers, Hey Fever, 00:28:52.762 --> 00:28:54.942 - Little Night Music, and Blood Brothers. 00:28:55.618 --> 00:29:01.155 - In the Indiana Festival Theater's inaugural season, she was seen as Muriel in Odd Wilderness and the 00:29:01.155 --> 00:29:06.692 - courtesan in Comedy of Errors. Brianna was crowned Miss Indiana University last year and competed at 00:29:06.692 --> 00:29:12.667 - Miss Indiana this past summer. Originally from Chesapeake, Virginia, Brianna will perform today as Desdemona 00:29:12.667 --> 00:29:14.750 - from Othello and Sally from Valhalla. 00:29:29.058 --> 00:29:38.450 - Iago, what shall I do to win my lord again? Good friend, go to him, for by this light of heaven I know 00:29:38.450 --> 00:29:47.569 - not how I lost him. Here I kneel, if ever my guilty trespass gains his love, either in discourse of 00:29:47.569 --> 00:29:56.961 - thought or actual deed, or that mine eyes, mine ears, or any sense, delight at them in any other form. 00:29:56.961 --> 00:29:58.238 - I do not yet. 00:30:03.010 --> 00:30:15.086 - though he do shake me off to better be divorcement. I love him dearly, comfort, for swear me, unkindness 00:30:15.086 --> 00:30:26.587 - may do much, and his unkindness may defeat my life, but never taint my love. Some people think that 00:30:26.587 --> 00:30:32.222 - I had feelings for James Avery, but that is just 00:30:33.090 --> 00:30:39.052 - Not true. Before he went away, there was something he used to say that I will never forget. He would 00:30:39.052 --> 00:30:45.073 - say that he had been studying the situation since kindergarten and had made lists and charts and even 00:30:45.073 --> 00:30:51.213 - held a personal pageant. And he finally determined that I was the prettiest girl in all of Dainesville. 00:30:51.213 --> 00:30:57.116 - He said that the prettiest girl can bring people hope and brighten their day. It wasn't that such a 00:30:57.116 --> 00:31:00.894 - nice thing to say. I mean, especially coming from a delinquent. 00:31:01.186 --> 00:31:08.734 - And so now, whenever I look in here, I see Eleanor Roosevelt. Oh, of course, pretty. I mean, don't get 00:31:08.734 --> 00:31:16.208 - me wrong, Mrs. Roosevelt worked so hard to help the poor and end the downtrodden, but can you imagine 00:31:16.208 --> 00:31:24.049 - how much more she could accomplish if she were pretty? And I know there's inner beauty, but inner beauty's 00:31:24.049 --> 00:31:26.174 - really tricky because, well, 00:31:26.658 --> 00:31:34.905 - You can't prove it. You've been thinking a lot about this. About youth and beauty and all the different 00:31:34.905 --> 00:31:43.072 - religions. I mean, Buddha, he was chubby. I mean, face it. And Confucius was all old and scrabbly. You 00:31:43.072 --> 00:31:51.080 - can't even have a picture of Muhammad. Was it the teeth? I don't know. But Jesus, Jesus, he's always 00:31:51.080 --> 00:31:55.838 - really, really pretty. With beautiful hair and shiny teeth. 00:31:56.002 --> 00:32:04.849 - It's like God was saying, look to Jesus for tips. There was that German guy, Adolf Hitler, and he thinks 00:32:04.849 --> 00:32:13.358 - everyone should be beautiful and blue-eyed and perfect. Well, that's wrong too, because who would be 00:32:13.358 --> 00:32:21.868 - the best friends? I'm not trying to be vain or prideful. I just always think back to what James said 00:32:21.868 --> 00:32:23.806 - in one of his letters. 00:32:24.130 --> 00:32:32.729 - He said there are two things that matter in this world, youth and beauty. Thank you very much. 00:32:32.729 --> 00:32:41.962 - Thank you, Rihanna, for the fabulous performance. Not to mention the fabulous shoes. To conclude, the 00:32:41.962 --> 00:32:52.190 - first half of our showcase, after which we'll have a 10-minute intermission, we present sopranos Sandra Periord. 00:32:52.642 --> 00:32:57.850 - a native of Saline, Michigan, Sandra is in her third year of undergraduate studies in vocal performance 00:32:57.850 --> 00:33:03.009 - at the Jacobs School in the studio of Alice Hopper. Most recently, she performed the role of the fairy 00:33:03.009 --> 00:33:08.016 - godmother in Massenet-Saint-Guyon with RU Opera Theater, having performed previously in productions 00:33:08.016 --> 00:33:13.525 - of La Boheme and Candide, as well as the roundabout opera for kids' production of Into the Woods. Accompanied 00:33:13.525 --> 00:33:18.734 - on the piano by Carolyn McClellan, Sandra will be singing The Silver Swan by Ned Rorum and an aria from 00:33:18.734 --> 00:33:20.286 - Donatetti's Linda de Chamonix. 00:43:31.202 --> 00:43:36.507 - We now move on to the second half of our program, beginning with the art of creative fiction. Leslie 00:43:36.507 --> 00:43:41.918 - Marie Aguilar was born and raised in Abilene, Texas. She received her Bachelor of Arts from Texas Tech 00:43:41.918 --> 00:43:47.223 - University where she graduated summa cum laude. She has served as the poetry editor of the Harbinger 00:43:47.223 --> 00:43:52.476 - Journal of Literature and Art and was a finalist for the Steven Ross Huffman Memorial Poetry Award. 00:43:52.476 --> 00:43:57.886 - She is also a recipient of the Lewis McNutt Fellowship and the Indiana University Graduate Fellowship. 00:43:58.530 --> 00:44:05.837 - Her poems have appeared or are forthcoming in Bellingham Review, Emerge Literary Journal, Rattle, and 00:44:05.837 --> 00:44:13.073 - San Pedro River Review, among others. She is currently an MFA candidate at Indiana University, where 00:44:13.073 --> 00:44:20.381 - she is an Associate Instructor of Creative Writing. Please welcome Leslie Aguilar. Thank you for that 00:44:20.381 --> 00:44:24.894 - introduction, and thank you all for being here this afternoon. 00:44:25.026 --> 00:44:33.137 - I'm going to read three poems, the first of which begins with an epigram from John Lennon and Paul McCartney. 00:44:33.137 --> 00:44:40.511 - And it is, you were only waiting for this moment to arise. Blackbird Penance. The blackbirds in the 00:44:40.511 --> 00:44:47.959 - withering pecan tree behind my childhood home never quite made it into the trash can after my father 00:44:47.959 --> 00:44:49.950 - shot them with his BB gun. 00:44:50.370 --> 00:44:57.127 - Instead, they would cling to telephone wires hoping for a resurrection that would rise up in the form 00:44:57.127 --> 00:45:03.818 - of a stalled dive down towards the alley road below. I found a dead squirrel in that trash can once, 00:45:03.818 --> 00:45:10.508 - and wondered how it got there, because birds aren't different than squirrels. Blood from the body is 00:45:10.508 --> 00:45:17.265 - blood from anybody, and birds aren't different than squirrels, father, but I am waiting for the right 00:45:17.265 --> 00:45:18.590 - moment to tell you. 00:45:19.266 --> 00:45:26.296 - Remember, when I was smaller, how you would sing Blackbird as you shined your military boots. I would 00:45:26.296 --> 00:45:33.327 - watch your work worn knuckles move back and forth over the leather and wonder who had sunken eyes and 00:45:33.327 --> 00:45:40.288 - broken wings. In a different version, I imagine the Blackbird as a gun that hides in your closet the 00:45:40.288 --> 00:45:47.870 - night I come home too late. It rattles its wings against the cage of your hands and breaks them over my body. 00:45:48.194 --> 00:45:56.881 - My blood is your blood, Father, and I am waiting for the right moment to tell you. The five black birds 00:45:56.881 --> 00:46:05.235 - tattooed across my ribs use their blue-black beaks as knives to carve out a place for you. They are 00:46:05.235 --> 00:46:13.588 - a reminder that you are mine, and I claim you. So this next poem I'm going to read is from Mr. Otis 00:46:13.588 --> 00:46:16.094 - Clint Frazier and his angels. 00:46:16.290 --> 00:46:24.144 - So this is called 30 for big O. The day a boy becomes a man takes 30 years, I heard someone say, to 00:46:24.144 --> 00:46:31.998 - an old man with wrinkles folded into his green eyes, like the veins of the leaves I wore in my hair 00:46:31.998 --> 00:46:39.931 - the day we met. Now I wake up every morning to the strength of his grandson's arms pulling me closer 00:46:39.931 --> 00:46:44.958 - into himself, like the quilts that swallow me during the night, 00:46:45.282 --> 00:46:52.105 - That September night when I wasn't sleeping, the frigid air as a final breath was enough to contain 00:46:52.105 --> 00:46:58.928 - the silence of his mother's breathless words. I pretended not to hear gone, but he was like a child 00:46:58.928 --> 00:47:04.318 - again in my arms as I cradled his head like the babies he hoped I would carry. 00:47:04.706 --> 00:47:11.834 - In my hands, I held his sticky face, hot with tears, shed over a man who was his father's father, a 00:47:11.834 --> 00:47:19.104 - foundation for the family that called him Papa. In Strawn, where grass grows higher than basset hound 00:47:19.104 --> 00:47:26.303 - legs, the chain link fence was built to keep the children in. Today, that boy is a child learning to 00:47:26.303 --> 00:47:33.502 - become a man. He learns that absence is pressure mounting in his lungs, making it harder to breathe. 00:47:33.986 --> 00:47:42.835 - During the night, as I fold myself into his shaking body, his jaw clenches in response to an anger misplaced 00:47:42.835 --> 00:47:51.116 - onto an absent God. That boy waiting to become a man remembers me saying he needed to be 30. It would 00:47:51.116 --> 00:47:59.234 - be easier if he were 30. And this final poem that I'm going to read is after the poet Rodney Jones, 00:47:59.234 --> 00:48:02.238 - and it's entitled Resurrection Fern. 00:48:05.314 --> 00:48:13.561 - Together, we drive south down US 277, listening to a song by Iron and Wine. We share a slow way of listening 00:48:13.561 --> 00:48:21.430 - to folk music as you drive your Jeep Grand Cherokee towards Dead Man's Curve. I hear the whining guitar 00:48:21.430 --> 00:48:28.542 - with its useless longing, then the bearded man singing, and imagine what could have happened. 00:48:29.122 --> 00:48:37.097 - picnics in cotton fields, bridges built above dry creek beds, and the wild hog that ran off with Beauregard 00:48:37.097 --> 00:48:44.481 - the bloodhound. Apache fog bursts across the cracked windshield, and I gasp for breath back as your 00:48:44.481 --> 00:48:52.235 - cigarette embers glitter down black asphalt and highlight things going by. Coronado's camp, two blinking 00:48:52.235 --> 00:48:59.102 - caution lights, two accidents in December, trips off the nearby bluff, too many close calls. 00:48:59.842 --> 00:49:07.601 - Our ghosts will say we gave the world what we saw fit. Stubborn boy with big green eyes, you see valleys 00:49:07.601 --> 00:49:15.212 - in the small of my back as I arch toward the moon as I undress beside the ashes of all the animals you 00:49:15.212 --> 00:49:22.897 - buried on the hill. Zeke the ferret, Leonardo the turtle, and Lizzie the lizard that lived in the cross 00:49:22.897 --> 00:49:24.670 - ties behind your house. 00:49:25.410 --> 00:49:32.633 - We are more a pair of railroad tracks in sunflower fields than the pecan tree wound around in baling 00:49:32.633 --> 00:49:39.855 - wire. We are supposed to be somewhere, anywhere else, but the fallen house across the way keeps both 00:49:39.855 --> 00:49:47.435 - of us in its blue jean pocket like the gold coins you stole when you were just a boy. My attention glides 00:49:47.435 --> 00:49:54.014 - from one lane to the next, and I am not myself without the low hum of your mustached voice. 00:49:54.146 --> 00:50:02.869 - So as we pass Dead Man's Curve on our way home, I play this song again, two times and then again. We 00:50:02.869 --> 00:50:11.592 - are a lucky pair in the dark Texas country, singing along, taking a trip off the bluff just for fun. 00:50:11.592 --> 00:50:12.542 - Thank you. 00:50:22.978 --> 00:50:28.932 - Thank you, Leslie. Those were wonderful. And as someone on the edge of 30, I found the second one especially 00:50:28.932 --> 00:50:34.395 - touching. Our next performer is Evelyn Gaynor, who is a second year MFA student in acting at the IU 00:50:34.395 --> 00:50:39.857 - Department of Theater and Drama, where she has made a wide range of appearances in productions such 00:50:39.857 --> 00:50:45.593 - as School for Scandal, The God of Carnage, When the Rain Stops Falling, Cabaret, and A Midsummer Night's 00:50:45.593 --> 00:50:50.782 - Dream. Hailing from Acton, Massachusetts and holding a BFA in acting from Syracuse University, 00:50:50.914 --> 00:50:57.438 - Evelyn offers us today performances as Ruth from the Norman Conquest and Queen Margaret from Henry VI, Part III. 00:51:26.146 --> 00:51:40.968 - A little top. Give. Do you know what I mean? Do you understand me? Oh, you really are the most frustrating 00:51:40.968 --> 00:51:50.110 - person to talk to, Tom. I feel like one of those real socialists. 00:51:50.850 --> 00:51:59.163 - you know, on those wheels that they have in cages, you know, the ones that are just spinning round and 00:51:59.163 --> 00:52:07.235 - round like mad, getting nowhere. I think your brain works all right. I think what must happen is it 00:52:07.235 --> 00:52:15.548 - receives a message from the outside, but once that message goes inside your head, it's like an unfiled 00:52:15.548 --> 00:52:17.566 - internal memo in a vast, 00:52:18.114 --> 00:52:29.351 - civil service department. And it gets shut from desk to desk with nobody taking responsibility for it. 00:52:29.351 --> 00:52:40.805 - Let's try a few simple reactions, shall we? I love you, Tom. I love you. I love you, Tom. No? All right, 00:52:40.805 --> 00:52:45.278 - I know. I hate you, Tom. Do you hear me? 00:52:48.706 --> 00:52:56.032 - This is an attempt to communicate. You really have the most disastrous effect on me. Did you know that? 00:52:56.032 --> 00:53:03.358 - I have a desire to put on my glasses and take off my clothes and dance naked on the grass for you, Tom. 00:53:03.358 --> 00:53:10.825 - And I will put on my glasses not, as you say, to improve the shape of my face, but to test your reaction, 00:53:10.825 --> 00:53:14.558 - if any. And as I whirl faster and faster than light, 00:53:14.882 --> 00:53:24.458 - painting off my lenses, flashing messages of passion and desire. I would hurl you to the ground and 00:53:24.458 --> 00:53:34.131 - rip off your clothes, and we would make mad, hot, torrid, steaming love together. How does that grab 00:53:34.131 --> 00:53:42.462 - your tongue? Oh, God. Oh, I'm so sorry. I am exhausted. I tried my best. I'm so sorry. 00:53:47.170 --> 00:54:01.556 - What? Was it you who would be England's king? Was it you that reveled in our Parliament and made a preachment 00:54:01.556 --> 00:54:15.550 - of your high descent? Where are your mess of sons to back you now, the wanton Edward and the lusty George? 00:54:15.714 --> 00:54:24.285 - And where's that valiant, crook-backed prodigy, Dicky, your boy, that with his grumbling voice was wont 00:54:24.285 --> 00:54:32.610 - to cheer his dad in mutinies? Or with the rest, where is your darling Rutland? Look, York, I stained 00:54:32.610 --> 00:54:41.758 - this napkin with the blood that valiant Clifford with his rapier's point made issue from the bosom of the boy. 00:54:42.338 --> 00:54:51.300 - And if thine eyes can water for his death, I give thee this, to dry your cheeks withal. What, hath thy 00:54:51.300 --> 00:55:00.175 - fiery heart so parched thine entrails, that not a tear can fall for Brutman's death? Alas, poor York, 00:55:00.175 --> 00:55:08.876 - but that I hate thee deadly, I shall lament thy miserable state. I prithee grieve to make me merry, 00:55:08.876 --> 00:55:11.486 - York, stamp, rave, and thrash 00:55:19.938 --> 00:55:30.160 - to make me sport york cannot speak unless he wear a crown, a crown for york and lort. Bow low to him. 00:55:30.160 --> 00:55:40.482 - Hold you his hands whilst I do set it on. Ay, merry sir, now looks he like a king. Ay, this is he that 00:55:40.482 --> 00:55:49.502 - took King Henry's chair, and this is he was his adopted heir. And will you pale your head 00:55:49.986 --> 00:56:02.971 - and robbed his temples of the diadem, now with his life against your solemn oath. Oh, tis a fault too, 00:56:02.971 --> 00:56:15.830 - too unpardonable. Off with the crown and with the crown his head. And whilst we breathe, take time to 00:56:15.830 --> 00:56:19.486 - do him. Thank you very much. 00:56:29.826 --> 00:56:35.902 - Thank you, Evelyn. Returning now to dance, we welcome to the stage Layla Hazelwood, a senior contemporary 00:56:35.902 --> 00:56:41.749 - dance major at Indiana University. She's a native of Indianapolis, where she began her dance training 00:56:41.749 --> 00:56:47.711 - at the age of eight at her mother Vanessa Owens' Kenyatta Dance Studio. She has studied ballet, modern, 00:56:47.711 --> 00:56:53.787 - tap, jazz, and African dance, just to name a few. And upon graduation, she plans to pursue a professional 00:56:53.787 --> 00:56:54.590 - dance career. 00:56:55.074 --> 00:57:00.044 - Layla was the 2011 and 2012 first place recipient of the National Society of Arts and Letters Dance 00:57:00.044 --> 00:57:05.213 - Competition. In 2011, she went on to compete at the national level in Birmingham, Alabama, representing 00:57:05.213 --> 00:57:10.431 - the Bloomington Chapter in the choreography competition. Layla will be dancing a piece she choreographed 00:57:10.431 --> 00:57:11.326 - titled, Me Oh My. 00:57:49.858 --> 00:58:08.032 - People turn and stare. I really don't care. I would give my everything to keep you, boy. It breaks my 00:58:08.032 --> 00:58:19.614 - heart when you're not there. I'll stage a ballet on a table top. 00:58:23.522 --> 00:58:25.854 - Almost fingers. 00:59:30.786 --> 00:59:32.094 - A magic carpet. 01:01:12.482 --> 01:01:17.958 - First we welcome to the stage Maddie Shay Baldwin, a sophomore BFA musical theater student at IU. Originally 01:01:17.958 --> 01:01:22.982 - from San Diego, California, she has appeared at IU as Vendla in Spring Awakening and Maureen in Liz 01:01:22.982 --> 01:01:28.106 - Estrada. Other credits include Heidi in the recent University Players Production of Title of Show and 01:01:28.106 --> 01:01:33.481 - Bombshell at the Bloomington Playwrights Project. And on a personal note, I've had the incredible pleasure 01:01:33.481 --> 01:01:38.656 - of working with Maddie in productions of The Truman Show, Maggie Cassidy, and The Boy in the Bathroom, 01:01:38.656 --> 01:01:40.414 - all of which were also at the BPP. 01:01:41.154 --> 01:01:46.466 - She can be seen on television every Friday at 4.30 as the co-host of WTIU's The Friday Zone, and will 01:01:46.466 --> 01:01:51.882 - soon be performing in swing with the Indiana Festival Theater this summer. With musical selections from 01:01:51.882 --> 01:01:57.090 - Nine to Five and Promises, Promises, as well as a monologue from Women of Manhattan, please welcome 01:01:57.090 --> 01:01:59.902 - Madi Shea Baldwin and once again, pianist Nat Segrie. 01:03:22.434 --> 01:03:28.642 - that's like the hardest thing to get to with another person. Well, it took me time and I struggled and 01:03:28.642 --> 01:03:34.789 - I strove and I succeeded at last at revealing my innermost, my most personal soul to him. He just sat 01:03:34.789 --> 01:03:40.273 - there with a coconut sand like he was watching television waiting for the next scene. Here 01:03:40.273 --> 01:03:46.300 - I was congratulating myself on being able to show myself, show my naked self to a man, but what was 01:03:46.300 --> 01:03:49.374 - the achievement? I chose to show myself to a wall. 01:03:50.050 --> 01:03:57.007 - He was a wall and was really alone, showing myself to nobody at all. Even when I called him out and 01:03:57.007 --> 01:04:04.103 - I made this speech at him, and I got all pink in the face and noble and shit, he just said, all right 01:04:04.103 --> 01:04:11.269 - and left. What did I delude myself into thinking was going on between us, and that's how he could take 01:04:11.269 --> 01:04:17.182 - an ending? I mean, to tell you the naked truth, I'm not even sure there was a Jerry. 01:04:19.778 --> 01:04:26.858 - I think I just worked myself into crazy passion and fell in love with the wall right there. Me crazy 01:04:26.858 --> 01:04:34.148 - loving it because I needed to love and not a human man. I could not import everything out into a really 01:04:34.148 --> 01:04:41.438 - truly human man and him just stand there and take it and give nothing back. But when I get too far gone 01:04:41.438 --> 01:04:45.854 - in that direction of thinking and alone here some nights I do, 01:04:48.930 --> 01:04:51.326 - to look there and see those sneakers on the floor. 01:06:38.338 --> 01:06:43.483 - is Jennifer Gruner, a junior at IU from Huntington Valley, Pennsylvania, who is working towards a bachelor 01:06:43.483 --> 01:06:48.435 - of science in ballet performance with an outside field in communications and culture. She received her 01:06:48.435 --> 01:06:53.484 - ballet training at Philadelphia Dance Theater and has attended summer programs at the School of American 01:06:53.484 --> 01:06:58.532 - Ballet, Pacific Northwest Ballet, Miami City Ballet, and Chautauqua. Jennifer was a youth American Grand 01:06:58.532 --> 01:07:03.436 - Prix finalist from 2005 to 2010 and has performed with the Pennsylvania Ballet and the Nutcracker and 01:07:03.436 --> 01:07:04.446 - the Sleeping Beauty. 01:07:04.962 --> 01:07:10.299 - While at IU, Jennifer has been featured in Paul Taylor's Company B, in Cloven Kingdom, Joshua Bergasse's 01:07:10.299 --> 01:07:15.484 - Baker Dances, Balanchine's Concerto Brocco, as Princess Florine in The Sleeping Beauty, and as one of 01:07:15.484 --> 01:07:20.566 - the principal women in Peter Martin's 8 Easy Pieces. Today, Jennifer will be performing a variation 01:07:20.566 --> 01:07:21.278 - from Paquita. 01:08:58.114 --> 01:09:03.727 - Our next featured performer, Lydia Umlauf, currently attends Indiana University's Jacob School of Music, 01:09:03.727 --> 01:09:09.287 - where she studies violin with Alexander Kerr. Lydia has been a finalist and won awards in several music 01:09:09.287 --> 01:09:14.686 - competitions and has been invited to play many recital performances, including in the Young Steinway 01:09:14.686 --> 01:09:20.085 - Concert Series and with the Lafayette and Muncie Symphony Orchestras. Lydia plays a 1916 Carl Becker 01:09:20.085 --> 01:09:23.774 - violin on generous loan from the Rachel Elizabeth Barton Foundation. 01:09:23.874 --> 01:09:29.422 - And on that instrument, she brings us today Sonata No. 7 in C minor by Ludwig von Beethoven, accompanied 01:09:29.422 --> 01:09:31.166 - at the piano by Alexei Artemyev. 01:18:47.746 --> 01:18:53.473 - Our final performer this afternoon is Jeremy Johnson, a baritone at the Jacobs School, who could be 01:18:53.473 --> 01:18:59.315 - found on stage at the MAC in roles such as Mazetto and Don Giovanni, Chouinard and Labanouem, Hormhab 01:18:59.315 --> 01:19:05.157 - and Philip Glass' Akhenaten, and Gladhand in West Side Story. Last summer he appeared as Sarah Mantio 01:19:05.157 --> 01:19:09.854 - and Maestro Spinaloccio in the Princeton Festival's production of Johnny's Geeky. 01:19:10.370 --> 01:19:15.498 - He sang the role of Peter in the touring production of Don Freund's Romeo and Juliet, has been a featured 01:19:15.498 --> 01:19:20.480 - soloist in Haydn's Die Schiffung, Bach's Johannes Passchen, Britten's Rejoice in the Lamb, and Liszt's 01:19:20.480 --> 01:19:25.463 - Die Seligkeiten, and this summer he will be a Gerdin Young artist with the Opera Theatre of St. Louis. 01:19:25.463 --> 01:19:30.300 - I should add that I have the enormous privilege and pleasure of accompanying Jeremy this afternoon, 01:19:30.300 --> 01:19:35.331 - and as I make my way towards the piano, I hope you will welcome him to the stage to sing for us Richard 01:19:35.331 --> 01:19:38.814 - Strauss' Morgen and Largo al Factorum from Rossini's Barber of Seville. 01:28:23.618 --> 01:28:28.048 - me for that wonderful performance and to all of you for being such a wonderful audience. We've come 01:28:28.048 --> 01:28:32.744 - to the portion of the afternoon then where I will gladly hand the podium over to the Bloomington Chapters 01:28:32.744 --> 01:28:34.782 - co-presidents Ruth Albright and Dennis Organ. 01:28:57.186 --> 01:29:05.109 - not necessary to say, but I'm Ruth Albright, co-president, and this is Dennis Organ, co-president. This 01:29:05.109 --> 01:29:12.728 - is the 47th Annual Showcase of the Arts for the Bloomington Chapter of the National Society of Arts 01:29:12.728 --> 01:29:20.346 - and Letters. We were founded in 1966. Our parent organization was founded in 1944. And I think it's 01:29:20.346 --> 01:29:26.974 - incredible that for 47 years, we have presented young artists in a public performance. 01:29:27.202 --> 01:29:35.539 - and given well over $500,000 in awards. This afternoon, we're giving $25,000, too. I did 57 certificates. 01:29:35.539 --> 01:29:43.561 - There are 57 winners in eight different disciplines. Murray Robinson, our treasurer, wrote 54 checks. 01:29:43.561 --> 01:29:51.662 - So it's quite a deal. It's quite a deal to get to the place of being able to put this show on. We have 01:29:51.662 --> 01:29:55.358 - two very special guests in our audience today. 01:29:55.906 --> 01:30:04.544 - I would like to have them stand. Lee, could you turn the house lights up a little bit so that people 01:30:04.544 --> 01:30:13.353 - could see them? Catriona Tudor-Earler, who's the national NSAL president, is here visiting our chapter 01:30:13.353 --> 01:30:22.590 - today. In addition, Judy Park, who's the second vice president of the national organization, is here today. 01:30:27.554 --> 01:30:35.499 - And we're just delighted to have them come and see what we do. Because we do more competitions than 01:30:35.499 --> 01:30:43.524 - any of the other chapters in the country. We do them in all of the disciplines every year. And we're 01:30:43.524 --> 01:30:51.946 - so happy that we can do that and that we have such generous donors. I want to present the musical theater 01:30:51.946 --> 01:30:53.694 - awards. George Penny. 01:30:54.306 --> 01:31:01.372 - Terry LeBoult, Ray Feldman, and Liza Gennaro, the entire department, are all in New York for the senior 01:31:01.372 --> 01:31:08.439 - showcase. Eight seniors went to New York. Oh, I don't know, Friday, Saturday, whatever. I'm on Facebook 01:31:08.439 --> 01:31:15.301 - with a lot of these young people, so I can keep track of what they're doing. And I have been getting 01:31:15.301 --> 01:31:22.163 - terrible, terrible Facebook entries from the four that went by bus. And I can tell you, don't do it. 01:31:22.163 --> 01:31:23.998 - Don't even think about it. 01:31:24.482 --> 01:31:31.030 - Anyway, some of these young people will not be here today because they are in New York and Brooke Wood, 01:31:31.030 --> 01:31:37.641 - who was our top winner, was not able to perform today because she is in New York, but we wish them luck. 01:31:37.641 --> 01:31:44.503 - They will be presenting their showcase tomorrow and Tuesday for casting agents and agents, casting directors 01:31:44.503 --> 01:31:49.918 - and agents and other people who can help them get their careers started. So our first 01:31:50.210 --> 01:31:57.359 - Oh, would all of the musical theater students please come up, the ones who are here, so that we can 01:31:57.359 --> 01:32:04.722 - present your awards. The first one, whom I know is not here, is Kurt Semmler. And we're delighted that 01:32:04.722 --> 01:32:11.943 - he has won his second NSAL Award. Claire Drews, are you here? I have not gotten to know Claire Drews 01:32:11.943 --> 01:32:17.662 - yet, but hey, I'm coming for you. Claire has won the Governor of America Award, 01:32:25.378 --> 01:32:35.223 - This Memorial Award is Emily Schulteis. First favorite of mine, I've had a crush on him for two years 01:32:35.223 --> 01:32:45.164 - and only wished I was 50 years younger, Taylor Crouser. He won the opener Pete Ralston Memorial Award. 01:32:45.164 --> 01:32:54.526 - The winner of the David E. Albright Memorial Award, which of course is near and dear to my heart 01:32:54.882 --> 01:33:08.315 - David, who's my husband and a wonderful man, is Badie Shea Baldwin. The winner of the Robinson Merritt 01:33:08.315 --> 01:33:20.574 - Award is Todd Alburn. The chapter career award, our top awards in each category is Brookwood. 01:33:20.866 --> 01:33:30.343 - who isn't here today, but she is going to perform for our chapter at our Red Rose Luncheon on May 5th. 01:33:30.343 --> 01:33:39.729 - So we will not let her get off scot-free. She's wonderful, so we will enjoy seeing her again. And now 01:33:39.729 --> 01:33:49.758 - I'll turn it over to Jenny. I'll call upon the other competition chairs to present wards to their respective 01:33:50.274 --> 01:34:01.000 - award winners. Before I do, I would like to add a special note of thanks to Eric, our emcee, for bringing 01:34:01.000 --> 01:34:11.625 - his multidimensional talent to bear upon our proceedings and his commitment to the arts. He really gives 01:34:11.625 --> 01:34:18.910 - it a lot of class. And if I may, I would add a brief note of collective 01:34:19.586 --> 01:34:26.858 - An anonymous thanks to all the people who served as judges. All of these eight areas demand the highest 01:34:26.858 --> 01:34:34.409 - caliber of knowledge and skill and background in the arts. We have to go obviously well beyond our chapter, 01:34:34.409 --> 01:34:41.750 - even beyond Indiana University sometimes to get these people. Every area requires almost always at least 01:34:41.750 --> 01:34:49.022 - three, sometimes there's a fourth. They come from Cincinnati, Columbus, Ohio, Indianapolis, Louisville, 01:34:49.122 --> 01:34:56.872 - and other places within and beyond the state. And they do it as a labor of love. There's no payment 01:34:56.872 --> 01:35:04.623 - for this other than something for their mileage. And they do it out of commitment and just respect, 01:35:04.623 --> 01:35:12.528 - I think, in part two for Indiana University and its varied departments in the arts. And I wish we had 01:35:12.528 --> 01:35:19.038 - time to name them all, but we won't do that. You'll see their names in the program. 01:35:20.162 --> 01:35:26.934 - Okay, um, I think it would be appropriate to start with visual art. So, uh, because that is the area 01:35:26.934 --> 01:35:33.975 - of national focus this year. And if you haven't already had a chance to see the exhibitions in the arts, 01:35:33.975 --> 01:35:40.748 - they're still, I think, going on on the slideshow outside. So I'll call upon Katherine Johnson-Roore 01:35:40.748 --> 01:35:42.558 - to do the honors for this. 01:35:50.786 --> 01:35:57.393 - Thank you, Denny. And I want to thank Julie Roberts, the gallery director here at the Waldron. She was 01:35:57.393 --> 01:36:03.936 - a huge help and really did a beautiful job installing the show. I hope you all had a chance to see it 01:36:03.936 --> 01:36:10.415 - in January. But if you didn't, it is playing on the slideshow. Would all the visual arts winners who 01:36:10.415 --> 01:36:16.766 - are here please come down? I know that a few of you couldn't come, but I saw a few familiar faces. 01:36:30.818 --> 01:36:40.556 - Our chapter prize winner is Lisa Wicca, who will be representing our chapter in Pittsburgh this year, 01:36:40.556 --> 01:36:50.103 - so we wish her luck. Lisa won the Granville Wells Memorial Award. Keegan Miles Adams won the Ilkner 01:36:50.103 --> 01:37:00.510 - P. Ralston Memorial Award, and he's not here today. The Alma Eicherman Memorial Award goes to Chad Copeland. 01:37:04.386 --> 01:37:20.035 - Janelle Beasley won the Christ Merit Award. Jenna Jacobs won the Alma Eicherman Memorial Award. The 01:37:20.035 --> 01:37:25.982 - Klein Merit Award goes to Amy Denald. 01:37:34.338 --> 01:37:43.002 - Rachel Baxter won the Grace L. Dyer Memorial Award. Kara Kalani won the Alan Kahn Memorial Award, which 01:37:43.002 --> 01:37:52.165 - is for photography. We also had three very generous awards from Pygmalion's Art Supplies here in Bloomington. 01:37:52.165 --> 01:38:00.495 - So these are gift certificates for art supplies, which should come in handy. Rebecca A. Jones won a 01:38:00.495 --> 01:38:02.078 - Pygmalion's Award. 01:38:03.170 --> 01:38:18.053 - Also Seth Dalton and Rachel Baxter. So thank you very much. And congratulations. I now call on Ann Marie 01:38:18.053 --> 01:38:27.550 - Parker for the distribution of the ballet certificates and awards. 01:38:33.378 --> 01:38:43.705 - I'd like to present five awards, and with the ballet dancers, please come on down. Austin, Christopher, 01:38:43.705 --> 01:38:45.790 - Katie, and Jennifer. 01:39:04.322 --> 01:39:15.070 - Gwen Aber received the Irina Svetlova Memorial Award as well. However, she has an audition today. Christopher 01:39:15.070 --> 01:39:25.427 - Langer, I would like to present another Irina Svetlova Award. Thank you. And Catherine Zimmerman received 01:39:25.427 --> 01:39:29.726 - the Joan Athanus Memorial Award. Thank you. 01:39:34.850 --> 01:39:48.208 - goes to Jennifer Krueger with the Joan Athens Memorial Award. Thank you all. And now for the 01:39:48.208 --> 01:40:01.854 - voice competition when award winners, Alice Marie Cox and Jim Cox, who coordinated that event. 01:40:07.170 --> 01:40:17.664 - Could the voice winners please come forward? We had a wonderful competition this year, and I'm so glad 01:40:17.664 --> 01:40:28.158 - that you got to hear two of them sing. The winner of the Elkner P. Ralston Award goes to Riley Svatos. 01:40:35.842 --> 01:40:43.096 - The winner of the Jacobi Merit Award was won by Lauren Walker, a mezzo-soprano from Ball State. 01:40:43.096 --> 01:40:50.879 - Unfortunately, she's performing there today, so she couldn't be with us. The winner of the Davis Merit 01:40:50.879 --> 01:40:58.737 - Award goes to Tasha Koontz. Tasha's not here either, okay. The winner of the Gene Branch Memorial Award 01:40:58.737 --> 01:41:00.702 - goes to Anastasia Talley. 01:41:08.450 --> 01:41:22.561 - The winner of the Cox and Cook Merit Award goes to Joshua Conyers. The winner of the Donald Felton Memorial 01:41:22.561 --> 01:41:33.406 - Award goes to Sandra Perriot. And the Chapter Career Award goes to Jeremy Johnson. 01:41:41.698 --> 01:41:54.141 - Thank you, everyone. And Celine Carter, will you come and do the honors for the Contemporary Dance winners? 01:41:54.141 --> 01:42:04.510 - Thank you. Hello. Could I please have all the Contemporary Dance awardees join me please? 01:42:17.378 --> 01:42:30.047 - The first award I'm presenting is the Marina Svetlova Memorial Award, and that goes to Julian Ramos. 01:42:30.047 --> 01:42:39.454 - The next award is the Shiner Merit Award, and that award is to Joe Musial. 01:42:49.314 --> 01:42:55.875 - We have another Marina Svetlova Memorial Award to Kate Anderson, and she's in Jerusalem working with 01:42:55.875 --> 01:43:02.501 - Elizabeth Shea, setting a piece on the Jerusalem Academy of Music and Dance Ensemble, so she can't be 01:43:02.501 --> 01:43:09.061 - with us. Also, we have another Svetlova Memorial Award for Lorena Sanchez, who is not present today. 01:43:09.061 --> 01:43:12.894 - Next is the Joanne Athanas Memorial Award to Laura Gruner. 01:43:21.506 --> 01:43:43.870 - And finally, the Chapter Career Award to Leila Hazelwood. Thank you all so much. I just wanted to say 01:43:43.870 --> 01:43:49.790 - that this is Leila's third 01:43:50.370 --> 01:43:59.297 - top award in a row, and we're so proud of her. And also, in case any of you are wondering, Laura Gruner 01:43:59.297 --> 01:44:07.966 - and Jennifer Gruner are sisters. So we were a little confused at first. We had two Gruners, but they 01:44:07.966 --> 01:44:17.150 - are sisters. Now for the literature awards, and so I'll ask Rick and Lois Hall if they will do the honors. 01:44:29.410 --> 01:44:45.301 - We had 38 entries, four wonderful judges, and they picked the real cream of the crop. And I would ask 01:44:45.301 --> 01:44:59.166 - that the literature winners come forward, please. That's not all of them, but the others 01:44:59.394 --> 01:45:10.429 - apparently are not all here. I'll mention the ones that aren't here because they did win nice awards. 01:45:10.429 --> 01:45:22.654 - The Margaret Kessling Award went to Dallas Nicole Woodburn. The Marjorie Borkenstein Award went to Natalie Lund. 01:45:31.426 --> 01:45:45.324 - The Margaret Piercy Memorial Award went to Sarah Greb. The Ledford Carter Memorial Award went to Keith 01:45:45.324 --> 01:45:58.952 - Leonard. And we have our two top winners here. Hibba Christ won the Joanne Athanas Award. Appreciate 01:45:58.952 --> 01:46:01.246 - that. Great job. 01:46:08.674 --> 01:46:34.910 - And the chapter award went to Leslie Marie Aguilar. Great poetry. Thank you. 01:46:37.186 --> 01:46:48.132 - The chair of the instrumental music competition could not be here today, so in her stead I will ask 01:46:48.132 --> 01:46:58.311 - the instrumental music winners to come forth and I will have the pleasure of passing to them 01:46:58.311 --> 01:47:04.222 - their certificates and awards. To Lydia Grace Umloff. 01:47:05.378 --> 01:47:16.815 - Tom Merritt Award and Joanne Athens Memorial Award in Instrumental Music. Congratulations. The Helen 01:47:16.815 --> 01:47:28.251 - and Linton Caldwell Memorial Award in Instrumental Music to Maria Jose Romero Ramos. She had a three 01:47:28.251 --> 01:47:34.366 - o'clock recital or something that she had to play in. 01:47:37.314 --> 01:47:52.575 - The Drews Merit Award in Instrumental Music, Sarah Chen. The Donald Neal Memorial Award in Instrumental 01:47:52.575 --> 01:47:56.830 - Music, to Mahalo Zvordovich. 01:48:06.690 --> 01:48:19.997 - The Mira Merritt Award in Instrumental Music to Alexandra Catelyn Mullins. The Barbera Merritt Award 01:48:19.997 --> 01:48:32.382 - in Instrumental Music to Sing Mison. In case I mispronounced that, I guess it won't be known. 01:48:34.306 --> 01:48:56.983 - And then the McDonald Merit Award Instrumental Music to Anna Eileen McMelty. Thank you. Okay, with the 01:48:56.983 --> 01:49:00.286 - drama winners, 01:49:24.386 --> 01:49:39.425 - The Caldwell Memorial Award in Drama goes to Grant Nezgotsky. Congratulations. How can anyone ruin your 01:49:39.425 --> 01:49:53.886 - name? The Hagerty Merit Award in Drama to Emily Harp. The Harris-Somalis Merit Award, Mara Leffler. 01:50:01.314 --> 01:50:16.118 - The Ilkna P. Ralston Memorial Award to Adam Gregory St. John. The Lineth Brackett, Carol Moody, and 01:50:16.118 --> 01:50:29.886 - Fran Snig Memorial Award, Nathan Robbins. The Laura Shina Memorial Award, Brianna McClellan. 01:50:37.218 --> 01:50:48.020 - And the Chapter Career Award in Drama to Evelyn Gaynor. Thank you all for coming. And please don't forget 01:50:48.020 --> 01:50:59.128 - we have a reception following and we'd love to shake some hands with some winners, I think, and congratulate 01:50:59.128 --> 01:51:05.854 - them in a very personal and direct way. Thank you all for coming.