College of Visual and Performing Arts

Graduate student uses the healing power of art to help other veterans

Katarina Benson — Mon, 28 Apr 2025 15:59:31 +0000

Graduate student uses the healing power of art to help other veterans Katarina Benson Mon, 04/28/2025 - 11:59

Death has been the constant companion in Steven Luu’s life—from war-torn Vietnam to the battlefields of Iraq and Afghanistan. But through art, Luu, now a master of fine arts (MFA) student at George Mason Ģ��AV’s School of Art, within the College of Visual and Performing Arts, has discovered peace, purpose, and a path to healing.

“All of my artwork is about revisiting,” said Luu. “Art is not to forget, but to express.”

Luu wasn’t yet born when his unlikely odyssey began 50 years ago this month, following the fall of Saigon to the North Vietnamese Army in April 1975. Nearly a year later, he came into the world as his family’s life was upended by war and political upheaval. His father, a South Vietnamese government official, along with his grandfather and uncle, were lost in the war, and the family home was confiscated. When Luu was just a year old, he and his family were sent to a re-education camp, where they endured harsh poverty and uncertainty.

When he was 7, Luu and his family managed to escape Vietnam by sea, in search of freedom in a small boat packed with refugees. Their harrowing journey lasted more than two months; by the time of their rescue by the British Royal Navy, nearly half of the passengers perished from starvation. Luu was just shy of his 8th birthday when he was forced to help push lifeless bodies overboard—a memory that has haunted him since.

After years of adversity in trying conditions in refugee camps in Hong Kong, Luu and his family made their way to the United States in 1991. Following his high school graduation in 1995, he enlisted with the U.S. Air Force and became a medic, driven by a desire to save lives after witnessing so much suffering, and determined to do everything he could to prevent others from enduring the same fate. His 20-year career in the U.S. military included deployments to the Balkans, Iraq, and Afghanistan, often alongside special operations units.

Luu with one of his works. Photo by Evan Cantwell/Office of Ģ��AV Branding

“I have seen the worst part of humanity,” said Luu, who will turn 48 later this year. “And it stays with you.”

In 2012, while serving in Afghanistan, Luu was severely wounded. His lengthy convalescence at Walter Reed Medical Center, then located in Washington, D.C., marked a turning point. There, a hospital official introduced him to the healing power of art by providing him a canvas and drawing utensils.

“In that moment, I saw art as a way to let something inside me out, without having to say it,” said Luu, who while working on his degree also serves as documentarian for Mason Exhibitions.

He found making art incredibly therapeutic. Sculpture, especially using raw and rigid materials like concrete and epoxy resin, has become a personal healing ritual.

Although he had no formal art background, Luu knew he had found his voice. After earning a BA in theology from Catholic Distance Ģ��AV in 2010, he applied to George Mason’s School of Art, earning his BFA in sculpture in 2022. He recognized that art was more than a way to help himself, it also allowed him reach other veterans grappling with the same guilt and isolation he felt after leaving the military. He’s on track to complete his MFA in 2026.

All of his sculptures are made with recycled materials. “Like me, these materials have been given a second chance at life,” Luu said.

Artist Peter Winant was the director of George Mason’s School of Art when he first saw Luu’s early drawings in 2017.

“There was something really deep in them,” Winant said. “Some form of truth that few of us could approach.”

That truth now fuels Luu’s mission to help other veterans navigate their own trauma—a mission he pursues with deep purpose and gratitude for the opportunity. He creates art with a focus on mental health and uses his story to encourage others to find their own form of expression.

In 2024, the U.S. Air Force invited Luu to work with Wounded Warriors, teaching recovering airmen about the healing power of art, and how to channel their experiences into creative expression. He’ll do the same this November, during a weeklong George Mason conference for 400 recovering veterans spanning all military branches. The week will conclude with a public art exhibit featuring the veterans’ creations.

His solo exhibition Steven Luu: A Path to Healing & Transformation is on display through May at the National Veterans Art Museum in Chicago. It is a powerful testament to one man’s journey through unimaginable pain and his unwavering pursuit of peace.

“Art is the one universal language—it’s always been the language of humanity,” said Luu. “I cannot physically fix what happened in the past, but at least I have closure. Like life as a whole, you adapt in art to survive.”

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Podcast — EP 67: Building community and conversation through the arts

Bronwyn Longchamp — Mon, 21 Apr 2025 22:48:13 +0000

Podcast — EP 67: Building community and conversation through the arts Bronwyn Longchamp Mon, 04/21/2025 - 18:48

George Mason has a long history of supporting the arts on campus and in the community. With seven academic programs, seven galleries, six community arts programs, two major venues, and the digital venue Mason Arts Amplified, Mason Arts continues to create a thriving artistic community right here in Northern Virginia.

On this episode of Access to Excellence, President Gregory Washington is joined by Rick Davis, dean of the College of Visual and Performing Arts at George Mason and the executive director of the Hylton Performing Arts Center. An accomplished director, author, professor, and George Mason baseball cap collector, Davis and President Washington discuss the history of the arts at George Mason and the critical role the arts play in creating and maintaining community.

In a good arts course, you learn that iterative process. You learn that critical thinking process. You learn about sort of testing hypotheses, but those hypotheses might be language or music or images. And what does this image say to you? And, and how can you make it better? How can you understand it differently? And that circular thought process really is the essence of artistic creation, which is why I think students, once they experience it, they love it. — Rick Davis

Read the Transcript

Intro (00:04):
Trailblazers in research, innovators in technology, and those who simply have a good story; all make up the fabric that is George Mason Ģ��AV. We're taking on the grand challenges that face our students, graduates; and higher education is our mission and our passion. Hosted by Mason President Gregory Washington, this is the Access to Excellence podcast.

President Gregory Washington (00:27):
It was famed sculpture, Henry Moore who said, "to be an artist is to believe in life." My guest today embodies a passion for the arts that echoes this sentiment. Rick Davis is the Dean of the College of Visual and Performing Arts at George Mason and the executive director of the Hilton Performing Arts Center. He has directed numerous theatrical and operatic productions across the United States, authored four books, co-written an opera and an oratorio, and has become really famous around campus for his signature George Mason baseball cap.

Rick Davis (01:07):
.

President Gregory Washington (01:08):
Rick, welcome to the show.

Rick Davis (01:10):
Thank you so much, Mr. President. And, and just for your listeners benefit, um, I'm wearing the cap right now, so you just have to imagine a, a yellow hat here on the podcast.

President Gregory Washington (01:18):
Outstanding. Outstanding. So you're one of the people who have a continuity here. Your continuity at George Mason is amazing, right? Came here in 1991.

Rick Davis (01:31):
Yep.

President Gregory Washington (01:31):
Right, when you started as an artistic director of Theater of the First Amendment.

Rick Davis (01:37):
Yep.

President Gregory Washington (01:37):
And a member of the theater faculty. So it's kind of like a three part question. What brought you to George Mason? What was George Mason like? And what has kept you here for 35 years?

Rick Davis (01:52):
Well, what brought me here, let's take 'em in order. What brought me here was Theater of the First Amendment. It was a brand new experiment, uh, in founded in 1990. Um, when the Institute of the Arts was founded here, the the year that I like to call the Big Bang at Mason for the arts, because we opened the Center for the Arts in October of 1990. The institute was founded, you know, in August, basically to, to create a new way of teaching the arts at George Mason. And part of that was, uh, creating a professional theater: professional, meaning paid actors and, and designers, members of actors', equity, you know, the actors' union, and, and then incorporating students throughout the productions as as appropriate. So a student might be cast in a role, uh, but they would have to compete for that role. But we had some of the best actors and designers in the whole DC metro area, which is a great theater town, uh, coming to campus three, four times a year, and staging professional productions right in the middle of this brand new theater program.

Rick Davis (02:50):
And I thought, I was very happily engaged up in Baltimore at Center Stage. I had not heard of George Mason Ģ��AV at this time. When I saw this opportunity, I said, here's a chance that, where I can practice everything I love. I love directing, I love education. I love the theater world. I love the liberal arts. And, and I, I, this was a chance to try to be a professional theater artist in a liberal arts environment. Wow, you know, what's this about? So I came down, did the interview, got the job, and it was really amazing what was going on here at the time. The place was, I think, maybe 17,000 students. I think I remember that number correctly, approximately that in, in '91 it was a commuter school, you know? Absolutely. The weekends were dead as door nails around here. But the Center for the Arts and the Theater of the First Amendment, TFA for short, we were trying to change that, trying to give people a reason to stay on campus. We did primarily new work, new plays. We commissioned a lot of plays. We did plays on all subjects, even though we were called theater, the First Amendment, which made some people think we were doing like constitutional dramas and everything. Well, we actually

President Gregory Washington (03:54):
That is exactly what I thought I'm thinking. Did you come out in your, you know, three pointed hat? You know, and...

Rick Davis (04:01):
To, to be fair, we, we did a couple of, of dramas on that theme. Uh, not necessarily the tricorns, but we did a play about Oliver Wendell Holmes, uh, which is actually beautiful plank called The Wonderful One-Hoss-Shay uh, by Paul D'Andre, uh, who's a, by the way, an Emeritus Robinson professor in at George Mason. Um, and it was really the founding guy, the guy who thought up the idea of, of the Theater of the First Amendment. And by the way, on the name Dr. D'Andrea, Paul, named it because George Mason was the author of the Virginia Declaration of Rights, which led to the Bill of Rights, of which of course, the First Amendment is the one that is the most celebrated and arguably the most essential. And so it was like an honoring sort of, in a not quite direct way, but a, I think, a meaningful way that the, uh, idea of, of George Mason, the man.

Rick Davis (04:48):
Anyway, the theater had great success for probably, well, we, we lasted 22 years, uh, but it was quite successful. And we won a lot of Helen Hayes Awards. We got a lot of great press. We originated plays that went on to many other productions at other professional theaters around the country. Uh, we had cast albums. We produced a video, uh, that went on to PBS, actually called Nathan the Wise. And then in 2010, '11, '12, we began to realize two things. One, that the theater department, which was by then called the School of Theater, had probably quintupled in size since the days when we all started in the early nineties, from about 30 majors to about 120 or 150. And there wasn't room on our stages anymore for three or four fully staged professional productions if we were gonna serve our students properly. So space, time, and frankly, budget all made us keep, we sort of shrunk the season, you know, from four plays to three plays to two plays to the occasional play .

Rick Davis (05:50):
And then we said, you know what? This, let's just wind this down, you know, because it did its job. It, it created a great school of theater. It produced a lot of work that went on into the world and is still being performed. And we all had to sort of get on with the business of now running a college of visual and performing arts that was growing incredibly fast. So that's kind of the, the short story of that arc. I tell you what, I, I have had multiple, and I'm not exaggerating multiple people who remember, or just multiple people who see, uh, you know, some sort of record of it. Hey, wouldn't this be a good idea to, to bring this back? And I say, yes, yes, it would. And it, and you know what? It wouldn't have to come, let's make policy on the air here. It, it wouldn't have to come back as a fully, you know, whole season of, you know, four plays. It could come back as the occasional instance.

President Gregory Washington (06:35):
The occasional one-off.

Rick Davis (06:37):
Yep. All right. Let's do it.

President Gregory Washington (06:38):
. There it is. There it is. Amazing. Amazing.

Rick Davis (06:42):
I like this meeting. This is a good meeting. Let's, let's keep, let's keep this going,

President Gregory Washington (06:45):
. Let's keep going. . So last year, uh, you gave a presentation to the Board of Visitors, and you began that presentation with your mantra, the arts, create community. Talk to us about the tagline, what inspired it and what does it actually mean?

Rick Davis (07:05):
Oh, thank you. I call it my forward elevator speech because it encapsulates basically everything I believe about the value of the arts. And I'm going back historically, you know, to, to ancient civilizations that that created, you know, theater and dance and music and, and cave paintings and, and sculptures and everything that, that the way the arts have always expressed themselves. Why were they born and why do they exist? Because people need occasions to come together. And for a lot of people, religion forms that function and the religion in the arts have a, a strong connection, sometimes very tense connection, but, but a very strong connection in terms of ritual and in terms of, of symbolism. For some people, sports frankly, create that opportunity for me as well. Uh, I know for you, you know, we love to go to a, a sporting event because it's a ritual, right?

Rick Davis (07:55):
It's a, it's a collective experience. We all see the same thing and react, maybe not in the same way, but if everybody reacts right, you can be booing and cheering, uh, at the same play depending on your team. But you're reacting and you're reacting as part of a community. Same thing happens in a, in a play or an opera. The same thing happens quietly in an art museum, because people are walking by a, a painting or, or standing in, in front of a sculpture, and it catches them and it stops them. It interrupts their day a little bit. And great paintings, one person stops and then another person stops, and then another person stops. And suddenly you get a little audience right in front. And it's amazing what happens there, because everybody's concentrating on the same thing for a little while. You know, in the case of a play, it might be two hours or three hours, or God knows, four hours, uh, .

Rick Davis (08:41):
But the value of bringing people together in, in common contemplation, or having a common experience, I think is really vital to civilization. And I'm not being hyperbolic here. I think civilization requires opportunities for people to come together and witness things collectively, and then form their own conclusions. But when you go to a play that's working, whether it's a comedy or a tragedy, or anything in between, and you feel that unanimity or that variety, but also people breathing together, laughing together, crying together, you are part of a temporary community that actually reminds us all of our common humanity. And if I might, I'll, I'll give a quick example from Theater of the First Amendment's days of how this worked in a, in a time of crisis. Um, and I'm talking about, I'm talking about late September, 2001. At that time, we had on the stage, quite accidentally this production called "Nathan the Wise", adapted by Paul D'Andrea.

Rick Davis (09:37):
He adapted it from a German play written in the 18th century by Gotthold Lessing, who had written this play called "Nathan the Wise" to set in Jerusalem in the time of the Third Crusade, where the, the Muslim ruler Saladin was the leader of Jerusalem, where the Christian forces, the Knight's Templar and, and the Crusaders were knocking at the gates of Jerusalem. And there was a Christian patriarch tending to the religious life of the Christians in Jerusalem. You had Saladin ruling, you had Nathan the Wise, who was a Jewish merchant. Uh, and we brought together Christianity, Islam, and Judaism in one city at a time of enormous crisis, and showed through the action of the play how the three Abrahamic religions can actually converse with each other and can actually reach common understanding. And we were doing that play just 'cause we thought it was a cool theme, right?

Rick Davis (10:32):
And it was an 18th century idea that was still resonating. Well, September 11th happened, and we were gonna open September 28th, I think. And, you know, we actually had a conversation, can, should we do this? Can we do this? And unanimously we said, yes, we must do this. So we put the play on, and it caught fire. Quite literally. It, people came over and over to see it, especially members of our local Islamic community. The Egyptian ambassador came several times. Uh, he said to us later, and I quote directly, "this play is a bridge to the point of rescue for our people." Because it affirmed the value of religious acceptance and religious tolerance. Not religious identity, not religious collapse into one viewpoint, but the idea that all these great religious traditions have a place, and there's no way to tell which is the, the true one or the best one. And to think that that idea came from a German playwright writing in the 1780s, and had been adapted by an American playwright in 2001, and was being produced in Fairfax, Virginia. And then that's where the PBS video came from. This play was taped, and those tapes are in every public library in Egypt. I mean, it's just, it just had an amazing worldwide impact. And that's creating community on a, on a big scale, because it gave...

President Gregory Washington (11:57):
Oh, without question.

Rick Davis (11:58):
You know, it gave people something to, to help them understand the moment.

President Gregory Washington (12:02):
No, without question. And when you're bringing this up, I'm like, wow. A, that's amazing. B, it made me think how timeless the general issue was.

Rick Davis (12:13):
Yeah.

President Gregory Washington (12:13):
But then I started to ask some questions. It seems to me that there would be some modification to deal with that, the issue that was at hand at the time. Right. You know, you, you had 9/11 hit. You had this play that was literally put together before 9/11.

Rick Davis (12:32):
Yep.

President Gregory Washington (12:33):
Right?

Rick Davis (12:33):
Yep.

President Gregory Washington (12:34):
Not with 9/11 in mind.

Rick Davis (12:36):
Correct.

President Gregory Washington (12:37):
9/11 comes, do you modify it to take into account some of the aspects of what was literally playing out in front of our eyes? Did you all do that?

Rick Davis (12:50):
We didn't have to change a word.

President Gregory Washington (12:51):
Amazing. Amazing.

Rick Davis (12:52):
Partly because Paul D'Andrea, the, the playwright translator adapter had already adapted the play with a 20th century 21st, early 21st century lens. It was still very much Lessing play. But Paul had already given it a contemporary still set in, in ancient Jerusalem. I mean, it was a period, you know, setting and costumes and everything. But the, but the story was already, you know, adapted to a certain extent. The one thing we did immediately was start looking for ways of creating how to process this. So, you know, a lot of post-play discussions, we had seminars, we had panels, and then after the run of the play that continued in all kinds of settings in, in Islamic centers, in interfaith centers, uh, in, in community centers around the Northern Virginia region, there were several, if not many encounters that people asked us to help facilitate. So the conversation continued well after the play closed.

President Gregory Washington (13:47):
That's amazing. Well, you can't talk about community without talking about the two pillars of bringing folk together in that community. And so I want to talk about 'em separately here, but what makes the Center for the Arts a critical part of the arts community for both George Mason and for the region?

Rick Davis (14:07):
So the Center for the Arts in Fairfax is of course, our signature facility here on the, on the Fairfax Campus, where we do the vast majority of our, of our instruction. The Center for the Arts was created out of the mind of President George Johnson, quite literally, uh, and his wife, Joanne, to say, let, let's put George Mason on the map as a place where the arts are happening, and how are we gonna do that? 'cause we don't really have big arts programs yet. So we have to bring in, we have to bring the world to Fairfax. We have to bring Yo-Yo Ma to Fairfax. We have to bring Michael Feinstein to Fairfax. We have to bring these incredible artists. We, uh, you know, Roberta Peters, Denyce Graves: great top level artists, right, who came to and are still coming every year to Fairfax. And that was something that changed the campus culture.

Rick Davis (14:53):
If you talk to visitor Horace Blackman, former rector of our board, who was a student here during the opening, he, he started in the late eighties, graduated in the early nineties. So he intersected with the opening of the Center for the Arts. He will tell you, he's told me that the opening of the Center for the Arts changed George Mason completely, because all of a sudden the world was coming to Mason. You had a place to go on the weekends. You had meaningful things to do. You had the opportunity to be part of the world conversation about music and dance theater. And that gave everybody, not only on campus, but in the whole sort of Northern Virginia region, a rallying point. It literally created a community. And from that, we have built the academic programs because the presence of all these wonderful artists that come in over the course of a season has also benefited our students tremendously through master classes, through, frankly, through faculty recruitment, . We've, we've recruited a bunch of faculty sort of off the road, uh, when they're, when they're ready to leave their touring performing career.

President Gregory Washington (15:59):
That's cool. So they come here, perform, then you recruit 'em later to be faculty here.

Rick Davis (16:04):
Yep. Our, our whole School of Dance practically answers that description, uh, and it, and it's just, just amazing.

President Gregory Washington (16:09):
That's really, really cool.

Rick Davis (16:10):
Yeah.

President Gregory Washington (16:11):
That is fabulous.

Rick Davis (16:13):
And it's still happening. So that, that center has, is still doing the work. And, you know, of course, it's, it's showing its age. You know, it, it was open in 1990 and it's, it's been lovingly taken care of, but it hasn't been updated. So we have a, a major campaign ongoing. We're calling it Give Voice. We want, we wanna give voice to the Center for the Arts and make it a modern, technologically rich and more student-friendly facility. Because when it opened, we didn't have the students to fill it, but now we do. So we're hard on that job right now.

President Gregory Washington (16:42):
Look, the reality is it does need a facelift, an update, so to speak. And we're gonna work with you to make that one happen. It is time.

Rick Davis (16:53):
It is time. Yep.

President Gregory Washington (16:55):
It, it was time 10, 15 years ago.

Rick Davis (16:58):
That's right. That's right.

President Gregory Washington (16:59):
So, talk to us a little bit about the other core facility we have for bringing the community together to Hylton Performing Arts Center, and that's on our Science and Technology campus in Manassas.

Rick Davis (17:13):
Oh, I'd love to. Um, you know, the, I had the pleasure. You mentioned it in the intro. I had the still have the pleasure actually of, of having the title of executive director of the Hylton. And, and that was my only job here for a few years, between 2011 and, and 2015 when I, when I became dean. Uh, so I have a deep, deep connection to that facility. Um, we built the Hylton Center, and by the way, for everybody listening on the podcast, that's H-Y-L-T-O-N, right? . It's, it's not the, not the hotel chain, it's the Hylton Foundation and a man named Conrad Hylton, uh, who is a major developer in, in the Prince William County area. Uh, they gave the naming gift for that back in the mid two thousands. The facility opened in 2010, and we built that essentially as an expression of George Mason's commitment to community partnerships, because Prince William County and the City of Manassas essentially asked us if we would partner with them to create a distinctive, representative, inspiring cultural facility that would help their city and county, and that region, take the next step into the community that they wanted to become.

Rick Davis (18:19):
So we, we bill ourselves, I, this is a term I use a lot. We bill ourselves as a symbol of change and as an agent of change, we're doing both of those things in...at SciTech. This is one of the most beautiful theaters anywhere on the East Coast. The architecture is distinctive from the moment you walk into the lobby. Every space is designed with architectural distinction in mind. The acoustics in the main hall are praised by every single artist who comes in, whether they're a classical conductor or a pianist, or a jazz player, or a bluegrass musician. Everybody loves playing in that hall. And perhaps most importantly, it has uplifted the local and regional arts community to a very high degree, the Manassas Ballet, the Manassas Chorale, the Manassas Symphony, Prince William Little Theater, a youth orchestra that's going by the name of the Onyx Project now...CPAC, the Creative and Performing Arts Center from, from Woodbridge, these entities, which all pre-existed the Hylton, but were doing their work in middle school, auditoriums and, you know, church basements and everything. Now they have truly a world class facility to play in. And over these 15 years that we've been operating, their work has gotten bigger and better and more popular, and they've attracted more people in the audience. But just as importantly for them, they've attracted more people on stage, more people to participate in these community-based artistic expressions. So it's been a, it's been a huge success for the community and for George Mason as well, because people see us as the purveyor and the partner that without us, this, this thing wouldn't have happened.

President Gregory Washington (19:53):
And I'll, and I'll be honest with you, this, the acoustics, the layout: first of all, it looks like a classical theater.

Rick Davis (20:01):
Yeah.

President Gregory Washington (20:02):
It has that, uh, classical theater look and feel. But the acoustics there just seem to be outstanding. I mean, there's no echo. It's great sound wherever you are in the facility.

Rick Davis (20:15):
Yeah.

President Gregory Washington (20:16):
People sound so clear.

Rick Davis (20:18):
And if you're on stage in that theater and you, you're a singer, whatever player, you get just the right amount of sound coming back to you so you know that it's, you know that the hall is embracing you and that people just love playing there. And, and that, that means a lot because they play better.

President Gregory Washington (20:34):
Well, every, every single performance that I've seen there has been spectacular. It is, it's a gem, right? It's,wWe're trying to make it less of a hidden gem.

Rick Davis (20:45):
Right. Well, we're, we're building around it. Right.

President Gregory Washington (20:47):
It is definitely a gem.

Rick Davis (20:49):
Yeah. That, and that's the other thing. I mean, I want to give an a shout out to my predecessor, founding Dean of CVPA Bill Reeder, who really had an incredible amount of vision and amount of energy focused on the Hylton Center during his time. He really did a lot of the groundbreaking fundraising and "friend"-raising that allowed that to happen. And it was his vision to have that shape, that sort of Italian opera house shape, because he was an opera singer, . And, and I, he sort of knew that, that that sort of classical horseshoe, you know, balcony shape would be effective. And the great thing about that was we didn't build a 3000 seat theater. We built a 1200 seat theater, so that it is a friendly theater, right? You don't have to go in there and scream your lungs out. You can, you can go in there and, and if you're an actor, you can have a, just a, a good performance with your normal voice. If you're a singer, you don't have to work so hard. If you're a violinist, you don't have to be scraping away. You, you can make your beautiful tone. And a lot of that comes from Bill's musical background and his, his understanding that the community needed a place where they would shine.

President Gregory Washington (21:54):
This is both an amazing history of the two facilities and really, really great feedback in terms of how they use and how they engage the respective community. Do you have a feeling that they serve different communities or do they serve the same community?

Rick Davis (22:13):
Yeah, increasingly that's the case. That was not the case when we opened the Hylton. They really had two separate audiences. Uh, but we have found over the years that there's, now there's a lot more people who are subscribing to both venues. Uh, a lot more of our student work is finding a home at the Hylton, which we love because the students look great there. And the, the community out there really embraces our students when they come out, uh, primarily music and theater, but some dance as well. So there's a greater, greater overlap. And I think that fits the whole idea that the leaders of Manassas and Prince William had back in...the idea, actually started in the 1990s, um, for this thing to happen. It just took 20 years to realize . Uh, but they really saw that Manassas and Prince William County were becoming part of a metro area. And the, the divisions were being slowly but surely erased between, you know, the, the close-in suburbs and the, and the outer suburbs, and the exurbs and the rural area. There's a, that sort of westward flow that is really making those communities more, uh, accessible to one another. And I celebrate that. I think that's really, really cool.

President Gregory Washington (23:20):
So you also speak about how artists abhor deficits and that their work serves to fill the holes they see in the world.

Rick Davis (23:31):
Yeah.

President Gregory Washington (23:31):
Talk to us about what you mean by deficit.

Rick Davis (23:34):
Yeah. Well, , thank you for that question. Uh, it's one of my favorite metaphors, um, and I use it because I'm being a little tricky, actually. Um, when a lot of of people think about artists, they think about deficits being like, you're not making enough money. . Right. Because.

President Gregory Washington (23:51):
That's what I originally thought when I saw it. .

Rick Davis (23:54):
Yeah. Because it, you know, it's a hard business, uh, whether it's institutional or, or personal. But what I mean by that is every work of art at any level is made because of something. It, it's never random. There, there's, there's a, uh, a myth. I think that sometimes creativity just happens because somebody has an idea. Well, yeah, sure, that's true. But where did that idea come from? Why was that idea given space in a person's life, to take the time to create something about it? So the deficit is an artist looks around and sees something missing in the world.

Rick Davis (24:31):
And that's something can be, if you're a visual artist, it could be something as simple as, there's not enough blue in our world. Right. I'm being a little bit, you know, general.

President Gregory Washington (24:43):
I, I hear you.

Rick Davis (24:43):
But, but there are artists who paint like only blue things, right? Or Mark Rothko paints like only red things, right? Lots of shades of red and black, and then red, but mostly red. Or if, if you're a, if you're a theater person, uh, maybe there's a deficit of celebration, or maybe there's a deficit of, well, I like to say deficit of community. Maybe there's a deficit of harmony if you're a musician or dissonance, if that's the voice you wanna project, maybe you think the world needs to be a little more dissonant so it can sort of argue its problems out. Right? Um, and sometimes that's very conscious on the part of the artist.

Rick Davis (25:16):
A lot of times it's unconscious. But I think it always happens. You, you have an intuition that if I paint this painting, or make this sculpture, or write this play or play this song, I'm going to be adding something to the world that the world needs, even if they don't know that they need it. And even if I'm not being utilitarian and saying, yes, I'm, I'm diagnosing a particular condition and I'm creating a particular pill for it through making work, it's really more on the inside. It's really more saying, why am I gonna take the time to create if I'm not trying to fill a hole? That's the, you said that, that phrase fill a hole in the world, a hole. I think artists consciously or unconsciously, and it's often more unconscious than conscious, are looking around and feeling, you know, um, Ipsen, you, you opened with that great quote from the sculptor.

Rick Davis (26:05):
I have a quote from my favorite playwright, Henrik Ibsen, one of my favorite playwrights who said, "to be a poet is, most importantly, to see", "to be a poet is most importantly to see." So it's like, artists are our job. Our, the, the reason the world puts up with us is that we take the time to actually look around and actually see and actually feel, and we have these antennae that are tuned to what's happening in the world. Again, not necessarily in a particularly specific way, but in the, in the zeitgeist, in the, in the flow of feelings, in the, in the atmosphere. And our job is to talk about that. And, you know, sometimes it's right on the nose, you know, like Nathan the Wise turned out to be right on the nose accidentally . Right. Uh, but sometimes it's very abstract. You, you go to a Beethoven's 9th or, or, you know, go to go to any great symphony, and you might just be transported out of your day-to-day flow for a couple hours. And that might be exactly what you need on that night.

President Gregory Washington (27:06):
Hmm. That is interesting. I, I didn't think that we were gonna go there. So that, that is, that is really interesting. Let me, let me switch gears a little bit. In the early 2000s, the acronym STEM entered the general lexicon. And as you know, I'm an engineer, right. STEM is shorthand for science, technology, engineering, and mathematics. And then around 2010, right about a decade after, a new movement began to update the acronym to include the arts and change, the acronym to steam. Science, technology, engineering, arts and Mathematics. And since then, it's gone to Steam M

Rick Davis (27:50):
Yes.

President Gregory Washington (27:51):
Medicine.

Rick Davis (27:51):
Or Steam H. Steam H.

President Gregory Washington (27:54):
Right. And so, so it has, it continues to morph. And we have arts as a requirement in our core curriculum, even in general. So what is the importance of putting arts into science and tech?

Rick Davis (28:08):
Oh. Oh, wow. How much time do we have ? It's a great question. It's a great question. Uh, I'll, I'll tell you a couple quick stories right around the time you were talking about there, we were approached, we were approached by Boeing. That doesn't usually work that way. Right. Right? But Boeing came to us, the arts at Mason, and said, you know, our current crop of engineers needs more creative thinking. Well, boy, were they Right? Right. . Uh, and so the Boeing Northern Virginia headquarters office gave us a, you know, for us, a really sizable grant at the time, $50,000 to create educational programming, but also artistic programming on the STEAM theme. So we did a, a couple things with that money right away. We created something called the Steam Table, you know, 'cause who can resist a pun? Right

President Gregory Washington (28:59):
The Steam Table? Wow.

Rick Davis (29:00):
And we brought, we brought together our artists and scientists and engineers in a series of very interesting conversations. Uh, and out of one of those conversations, or a parallel conversation that somebody else convened, I can't remember right now. I met a guy named Paul Glenshaw, who was an aviation historian and a jazz historian, and also a very, very fine visual artist himself. Interesting. Really interesting guy. And I heard him give a talk about how aviation and jazz have had a parallel evolution in America. It's really amazing. 1903, the Wright Brothers, Buddy Bolden; 1925, Louis Armstrong; Charles Lindbergh, 1927. It's like, oh my God. And you start laying it up, you know--

President Gregory Washington (29:43):
Look, I, I hear you Rick. You know, I've worked with aerospace companies a significant portion of my career. Yeah. That's one area where you try to do things the same way.

Rick Davis (29:54):
Yeah.

President Gregory Washington (29:55):
Algorithms work the same way. And, you know, but I'm also a jazz lover.

Rick Davis (30:00):
Yep.

President Gregory Washington (30:01):
And good jazz. Great jazz has that improviser.

Rick Davis (30:07):
Yeah.

President Gregory Washington (30:08):
Where you, where you see these folk live in concert and they just take off in a direction. And you're like, whoa.

Rick Davis (30:16):
So I can bring that back to aviation.

President Gregory Washington (30:18):
Yeah. Bring it back to aviation. Because I don't see how those two fit.

Rick Davis (30:21):
Yeah. So, so aviation progressed somewhat linearly, but also with conceptual leaps. Right. There, there, there were moments when, like, when the Wright Brothers sort of figured out wing warping, right? That was a big deal. 'cause nobody was doing that before. So they could control the airplane. And they also figured out power to rate ratio. So they, they actually built an engine that could actually lift the thing which nobody had done. Then you move on. I'm gonna leap forward to a really cool thing that, 'cause we actually did a piece about this. This is where I'm going with this. So, bebop comes in, in the 1950s, late 40s, early 50s, right? At the same time as the jet age was coming along. And at a time when if you were designing a fighter plane, you didn't wanna be stable anymore. You wanted to be unstable. You wanted to have the ability for that plane to have a roll rate and a pitch deviation rate that was almost uncontrollable.

Rick Davis (31:10):
And then figure out ways to tamp that down so that it, it wouldn't kill you. And bebop is like that. If you hear, you know, Charlie Parker, you put on Thelonious Monk, I mean, you, you were talking about an unstable fighter plane, but it's a fighter plane that doesn't crash . Right. So we did a piece on this called, "To Swing Through the Sky" that had our Metropolitan Jazz Orchestra, which is our professional jazz band that we put together, uh, and had actors and dancers. And Paul wrote a script for us. And we did this incredible video montage. We started out back in '03 with the Wright Brothers, and we ended up in, in the Space Age, and showed how jazz and flight were taking these conceptual leaps in parallel at like six or eight different junctures. And it was so incredible. We played it at the Hilton, then we played it here at Center for the Arts. We had, we've had requests to do it elsewhere. That was a Steam project because it showed everybody in the audience, which was, you know, a thousand people each time. It showed people that these two subjects actually are deeply connected in, in the case of jazz and flight, they're very American subjects. These, I mean, these are things we can legitimately celebrate as American inventions.

President Gregory Washington (32:17):
So the university has had some, some major gifts.

Rick Davis (32:22):
Yeah.

President Gregory Washington (32:22):
For our arts programs. Those have come from families who have historically supported Mason in a big way. Right. Why are they so compelled to give to the arts? What has arts brought to them?

Rick Davis (32:36):
Oh man, we are so lucky, so blessed, really at George Mason to have the founding energy. Really, I mean, we're still young, right? So we're young enough that the founding families , uh, that were, that were building Fairfax County at the time, and, and Prince William as well, they're still with us. Some, some of the, some of the first generations still with us. And, and their progeny very much still with us doing that work. And I think the founders realized that, first of all, the whole idea of putting a university in a community is to build that community. I mean, it, the, the explicit intention of putting George Mason in Fairfax was to build Northern Virginia and the Peterson family, the, you know, George and Joanne Johnson, the Dewberry family, the Hazel family, they have all recognized from the beginning that the arts were one of those building agents.

Rick Davis (33:29):
Right. And so they have stepped up, uh, over the decades, really, the Petersons and the Dewberrys particularly, but there are many other names we could advance, have committed in, in really significant amounts. And starting back in the nineties. So it's been a long tradition of giving. The great little story is the, the late Sid Dewberry, uh, of, of, you know, Dewberry Companies became a piano student of our own Dr. Linda Monson, who's the director of the Dewberry School of Music now. She started giving him piano lessons when he was 75 years old. I mean, she gave him piano lessons pretty much up until, you know, the month he died. Uh, and he loved playing the piano, and he loved Linda and her students. And to me, that was a, a trigger for the, they were already very generous, but that was the trigger that gave him a personal experience of the value in, in one's own life, of having expert instruction in music.

President Gregory Washington (34:26):
You know, I, I got a, the opportunity to spend time with him before he passed away, and he told me, he said, look, my goal is a hundred songs.

Rick Davis (34:37):
Oh, yes.

President Gregory Washington (34:38):
It, it was inspiring to me. I mean, I was like, 'cause he told me that he learned to play, then he had some health issues where he lost the ability to play and he had to relearn all the songs again. And he, and he did that. And I was, I'm just kind of blown away by that. And yeah, this guy can do it twice.

Rick Davis (35:00):
, how are your lessons going, by the way?

President Gregory Washington (35:03):
Yeah, let's not talk about that Better than me. . He can do it twice. I should be able to do it once.

Rick Davis (35:11):
But you, but you, you know, Carolyn Peterson is an, is another one, uh, Carolyn and Milt Peterson, the late Milt Peterson, another, another great developer in our area. Uh, Carolyn grew up playing music and, and acting and singing, and we have an event at her home every year called The Taste of ARTS by George! That's kind of our, our preview of the, our fall fundraiser. This event happens in the spring at, at her lovely home in Fairfax. And at the end of this event, she loves to and has done the last few years, she loves to sit at her beautiful baby grand piano and play a song or two, uh, and get the whole audience up and singing. And, and she just loves, and I talked to Jon, her son, Jon Peterson, about this waiting in line at commencement last year, I think it was. And he said, yeah, they do that anywhere. If there's a piano and there's a group, you know, like they're up in Maine with their friends and neighbors up there, Carolyn will sit down and, and start playing because they recognize that that brings people together. So it's kind of, the arts create community all over again, but in a living room,

President Gregory Washington (36:10):
It brings people together and a actually creates joy. I've seen one of those sessions and it's just fabulous. Just fabulous. As we wrap up, I want you to talk about our future generation and young people who we have been bestowed the privilege, uh, to educate, to train, and to lead. Talk to me about what legacy, relative to the arts, what legacy would you like to leave with them?

Rick Davis (36:37):
Yeah. Oh, wow. Well, I'm coming at this from a perspective right now. The day that we're recording this podcast, I'm in the middle of rehearsing a student production of Shakespeare's "The Tempest". And so I'm with students, you know, till till 10:00 PM uh, every night, these, these past few weeks. And I say that because it's the greatest joy that I can have in my life is to be in that setting. And I'm, I'm with these students for hours and hours and hours for six weeks. So I, I have a really contemporary perspective on this. Uh, these students are hungry, particularly the, the pandemic generation, which is still working its way through the educational system. They are hungry for interactions, they're hungry for real things. They're hungry for working together on things, uh, in the room, sort of working it out in the room. And to me, that's what a, a good artistic process is about.

Rick Davis (37:31):
An artistic process is not unlike an engineering process in that it is recursive and iterative. You, you have to try something, see if it works. If it doesn't work, you try something else. If it does work, but not as well as you'd like, you, you keep on that path. But you adjust it, it, it's a, it's a cycle of critical thinking, really.

President Gregory Washington (37:50):
I agree.

Rick Davis (37:50):
That where you keep developing, keep developing, and finally you have opening night. So that's your, that's your deliverable. If it's a show, if you're a individual artist, you know, you might not have an opening night so you can keep working on it 'til you to get it right. . Uh, but, but you probably do have, you probably have a gallery opening or something you have to shoot for. But the idea is that the artistic work is never really done. You know, we're gonna, we're gonna run this play, uh, The Tempest for six performances, I think, in Harris Theater. It will be different on performance number six than it was on opening night. And I hope it's different in a better way, but it's gonna be different , right? Because the, the students are gonna keep learning from each other. They're gonna keep trying things. And to me, that's the great value of the arts. And it, it kind of goes back to your earlier question about students from around the university taking arts courses. In a good arts course, you learn that iterative process. You learn that critical thinking process. You learn about sort of testing hypotheses, but those hypotheses might be language or music or images. And what does this image say to you? And, and how can you make it better? How can you understand it differently? And that circular thought process really is the essence of artistic creation, which is why I think students, once they experience it, they love it.

President Gregory Washington (39:03):
Outstanding, outstanding, outstanding. And what a legacy. And what a legacy, indeed. Well, Rick, we're gonna have to leave it there. Thank you for continuing to bring the arts to the George Mason community and beyond. And of course, I would be remiss if I didn't do a plug to support the arts in Northern Virginia, and to encourage our listening audience to come enjoy a show, check out an exhibit, or donate for a lasting legacy through our Mason Now campaign. So, I, I just want to thank you for all that you've done and all that. I know that you will continue to do Rick

Rick Davis (39:41):
right back at you, Mr. President. Thank you.

President Gregory Washington (39:43):
Outstanding. Well, I am George Mason, president Gregory Washington. Thanks for listening. And tune in next time for more conversations that show why we are all together different.

Outro (40:00):
If you like what you heard on this podcast, go to podcast.gmu.edu for more of Gregory Washington's conversations with the thought leaders, experts, and educators who take on the grand challenges facing our students and graduates in higher education. That's podcast gmu.edu.

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Podcast — EP 67: Building community and conversation through the arts
April 21, 2025
Podcast — EP 66: Peace building amid the rise of global conflict
March 17, 2025
Podcast — EP 65: James Baldwin’s insights on American life and identity
February 17, 2025
Podcast — EP 64: Navigating AI’s risks and rewards
January 21, 2025
Podcast — EP 63: The economic perceptions driving U.S. politics
December 11, 2024

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Storytelling Through Sound with Juan Megna

Tionge Johnson — Thu, 27 Feb 2025 02:58:28 +0000

Storytelling Through Sound with Juan Megna Tionge Johnson Wed, 02/26/2025 - 21:58

Get Tickets to the Juan Megna Trio

Matinee Idylls concerts give audience members a small ensemble concert experience in an intimate setting, followed by a dessert reception and opportunity to speak with the artists. The final installment in our 2024–25 Matinee Idylls series spotlights the Juan Megna Trio (3/5). The trio is led by Argentinian-born Megna, a George Mason Ģ��AV alumnus and Dewberry School of Music professor who is a percussionist and drummer with expansive musical influences.

Juan Megna

“My music is deeply inspired by the melodies and rhythms of Afro-Brazilian traditions,” Megna said. “My sound is shaped by both my formal education and my experiences on the road, which allows me to blend technical expertise with the organic influences of lived musical encounters. Through my original compositions, I strive to create a bridge between my personal journey and the rich cultural heritage that inspires me.”

Megna came to the George Mason community in 2017 as a Doctor of Musical Arts student and thankfully, stayed on as a professor and leader of the School of Music Latin American Ensemble.

“Being a music educator keeps me artistically fresh and constantly evolving,” Megna said. “My students bring new ideas, perspectives, and repertoire to our discussions, challenging me to stay engaged with emerging musical trends. I consider myself fortunate to be surrounded by such passionate learners, it pushes me to grow, adapt, and refine my own artistic voice. This continuous exchange of knowledge and creativity inevitably influences my music, making it more dynamic and contemporary.”

Recently, Megna released an album of mostly original compositions: the Mariwô Project. The music, inspired by traditional melodies and rhythms of the Afro-Brazilian religion Candomblé, also fuses Argentinian sounds.

Megna shares: “Mariwô has been a long and rewarding journey. Having lived in Brazil for over 13 years, my compositions are deeply rooted in my engagement with Afro-Brazilian communities. During my doctoral studies, I had the opportunity to experiment with and refine this repertoire alongside my ensemble, shaping the music into what it is today. The album came to life through an intensive two-day studio recording, featuring a phenomenal quintet and guest artists. We also captured the essence of the project in a recorded live performance, which is available on my YouTube channel. Now, I’m thrilled to bring this music to the Hylton Performing Arts Center in a trio format, accompanied by two amazing musicians from Brazil: José Luiz Martins on piano and Artur Carneiro on bass. It will be a special afternoon of rhythm, energy, and storytelling through sound.”

Tickets for the Juan Megna Trio on March 5 are available now!

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Turning skeletal remains into hope as forensic art professor and students help to solve a 50-year-old cold case

Colleen Rich — Wed, 18 Dec 2024 18:54:15 +0000

Turning skeletal remains into hope as forensic art professor and students help to solve a 50-year-old cold case Colleen Rich Wed, 12/18/2024 - 13:54

George Mason Ģ��AV’s Joe Mullins thinks he has the coolest job in the world, and calls what he does ‘art with a purpose.’

The field of forensic art is no longer limited to sketches—it has evolved into a powerful tool that helps bring closure to unsolved cases and missing persons investigations. Combining cutting-edge technology with artistic skill, forensic artists can reconstruct faces and features from skeletal remains, often providing vital clues law enforcement needs to solve cold cases.

Mullins (center) with Loudoun County Sheriff's Office. Photo by Evan Cantwell/Office of Ģ��AV Branding

Mullins, a forensic artist and adjunct professor, exemplifies this new era of forensic art. Most recently, detectives from nearby Loudoun County, Virginia, turned to him to help on one of their oldest cold cases. He collaborated with students in his AVT 496 Forensic Figure Sculpture class, in the School of Art within George Mason’s College of Visual and Performing Arts, to create a lifelike, three-dimensional clay reconstruction of a woman known only as “Jane Doe,” whose remains were discovered on May 28, 1973. Advancements in forensic science and technology reopened the case after decades without a lead.

Using a 3D scan of the victim’s skull and DNA data, revealing traits such as eye color, hair type, and body composition, Mullins and his students sculpted a bust that depicts the features of an African American woman believed to have been in her 20s or 30s. She had been shot, carried no identification, and local law enforcement had no reports of anyone missing who fit that description at the time. Loudoun County detectives hope that this lifelike construction will lead to someone finally recognizing her.

“Forensic artists are often the last hope for these cases,” he said. “So, with that comes a lot of responsibility to get it right. The only way these reconstructions work is if the right person sees it. With nearly 8 billion people on the planet, we just need one, and one person to say, ‘I think I know who that is.’”

That happened in 2015, when a clay bust he created helped identify a John Doe in New York City when a family member recognized the face. He hopes for a similar outcome with Jane Doe.

Mullins, who also serves as a senior forensic imaging specialist at the National Center for Missing and Exploited Children (NCMEC), incorporates real cases into his teaching.

“Watching a face come to life gives students a deeper connection to their work,” he said. “They became just as emotionally invested in this case as I did.”  

George Mason’s Forensic Science Program within the College of Science played a critical role in reopening the investigation. Assistant professor Steven Burmeister used on ground-penetrating radar to guide Loudoun County investigators to locate Jane Doe’s remains in 2023, which were exhumed from an unmarked grave in Lincoln, Virginia. The remains were analyzed by the Office of the Chief Medical Examiner, where a DNA profile was created.

For students like senior communication major Marie Elizabeth Seagraves, the class was transformative.

“I originally took this class because it seemed fun and super-interesting, as I’ve never done sculpture work before,” Seagraves said. “But learning how this work can help so many people find closure made it so much more meaningful.”

The work has already garnered significant media attention, and the Loudoun County Sheriff’s Office hopes the renewed interest will lead to a breakthrough of this case and at long last bring some measure of peace to Jane Doe’s family.

According to Mullins, there are more than 2,000 unidentified sets of remains in offices of local medical examiners across the country. Having grown up in Loudoun County, he was moved by the opportunity to contribute to a case so close to home.

“I’ve never been able to fully articulate the feeling when one of these reconstructions is successful,” he said. “Helping these families get the answers they have been searching for is all the satisfaction I need.”

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Honors College alum spearheads professional development program

Sarah Holland — Mon, 09 Dec 2024 16:11:36 +0000

Honors College alum spearheads professional development program Sarah Holland Mon, 12/09/2024 - 11:11

When preparing for college, prospective students and parents often ask about career readiness. How is the university preparing its students for the workforce? What’s the rate of job placement? Do the students succeed in their respective careers?

George Mason Ģ��AV has a strong track record of preparing students for careers. And the Honors College is working to make sure Honors students are ready to shine in a competitive job market.

Jeff Shen provides opening remarks at the roundtable. Photo by Cristian Torres/Office of Ģ��AV Branding

“These are incredibly motivated students. I am beyond impressed with their enthusiasm and intellect. And they’re ready. They have all the tools to succeed in the workforce, they just need the knowledge of how to find the right opportunity,” said Jeff Shen.

Shen, who graduated from what was then known as the Presidential Scholars Program in 1996 with a degree in decision sciences, is president of Red Team Consulting and a member of the Honors College Advisory Board. Last year, he came to Dean Zofia Burr with an idea for how to prepare Honors College students for their careers: a roundtable for students to meet with professionals in government contracting, supported by the Greg and Camille Baroni Center for Government Contracting.

“I spoke with some students during graduation,” Shen said, “and in asking them about their post-graduation plans and job opportunities, I realized that these really bright and promising students were missing some of the foundations for approaching the job market: how to network, where to look for opportunities, and so on. So I thought, there must be some way we can address that gap.”

The idea for the roundtable coincided with plans to develop the Honors College Professional Development Fellows program. As part of the program, the roundtable was one of a series of workshops that help students in the program craft their resumes, build their LinkedIn profiles, practice interviewing, and otherwise prepare for internship and career opportunities.

The first roundtable event in Spring 2024 featured 12 George Mason alumni, all of whom are major executives at government contracting companies. The first was such a success that Shen and the Honors College decided to host a second event in Fall 2024.

“In government contracting, you can be a writer, a clinical researcher, a health care professional, you can be in sales: It does not matter the background, there’s going to be a position in government contracting for that person,” Shen said. “I wanted students to see the world of possibilities in terms of what they could do with their degrees.”

Students had the opportunity to speak with each executive in small groups, gaining valuable insights and advice on how to prepare for their career.

Jessica Taylor, studying music technology with a minor in computer science, was one of the fellows in the spring. “As a music major who wants to go into software engineering, I have an untraditional background that needs to be particularly explained and presented when I’m introducing myself to potential employers,” she said. “The fellows program taught me that my variety of creative experience is actually one of the things that makes me stand out.”

Photo by Cristian Torres/Office of Ģ��AV Branding

“We received [the mentors’] personal emails, offering the opportunity to follow up on potential career opportunities and further discussions,” said Monica Amaya, a management information systems major with a minor in computational and data sciences. Amaya attended the roundtable in Fall 2024. “The entirety of the Professional Development Fellows program has given us valuable networking opportunities to build meaningful relationships with successful government contracting leaders in the area.”

“I learned a lot about what it takes to build a business,” said cyber security engineering student Cameron Portis. “Hearing some of the stories about how these leaders overcame difficulties and changed their plans really inspired me to keep pushing toward my goals no matter what.”

The program continues to grow. In Spring 2025, the roundtable opportunities will expand to two new fields: Health administration and leadership, organized by Inova Health System’s Loren Rufino, BS Health Services ’12, and arts/performing arts nonprofit leadership, organized by Deb Gandy. Both are members of the Honors College Advisory Board.

And for Shen, opening doors for students is only part of the mission. “This is a great way for alumni and community members to get involved with George Mason,” he said. “I’m hoping this opens the door for them as well."

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Meet the Mason Nation: Marit Majeske

Lauren Reuscher — Thu, 10 Oct 2024 13:52:36 +0000

Meet the Mason Nation: Marit Majeske Lauren Reuscher Thu, 10/10/2024 - 09:52

Marit Majeske

Job: Education Coordinator, Hylton Performing Arts Center

Marit Majeske helps bring the arts to people of all ages as education coordinator at the Hylton Performing Arts Center. Photo by Evan Cantwell/Office of Ģ��AV Branding

The Hylton Performing Arts Center opened its doors at George Mason Ģ��AV in 2010, and Marit Majeske, education coordinator, has been along for the ride ever since.

Located on George Mason’s Science and Technology Campus in Manassas, Virginia, the Hylton Center is managed by the College of Visual and Performing Arts. The center was created in partnership with Prince William County, the City of Manassas, and the Commonwealth of Virginia, with help from private donors and local business members. Today, it boasts 102,000 square feet of space to serve the community through performances and arts programming.

Hometown arts: After graduating from college, Majeske worked on political campaigns. But in 2010, she was ready for a change, and something was calling her to the arts, which had long been her passion. When Majeske heard that George Mason was opening a performing arts center in Prince William County—where she grew up—she decided to apply for a job.

Getting the house in order: Majeske started out as the front of house manager, where she built the volunteer usher and accessibility programs and created procedures to ensure a smooth visitor experience. In 2016, she took the additional role of interim education coordinator, which later became a full-time position. While working at the Hylton Center, Majeske earned her master’s in arts management from George Mason.

A broad palette: Today, Majeske leads the Hylton Center’s Education Initiative, which offers learners of all ages free opportunities to experience and engage in the arts. “Through in-person and virtual programming such as field trips, backstage tours, lecture-demonstrations, and masterclasses led by professional artists, every community member can experience the arts in meaningful ways,” Majeske said.

Arts class: Working with local school districts is one of Majeske’s favorite parts of the job. The Hylton Center hosts students from public schools in Prince William County, the City of Manassas, and the City of Manassas Park, as well as others, for arts programming.

“These schools have impressive arts programs, and I enjoy getting the opportunity to provide additional experiences to students and teachers that support their work in the classroom,” Majeske said.

Peak performance: In the 2023–24 season, nearly 20,000 learners of all ages participated in Hylton Center Education Initiative programming. Majeske says that meeting the growing needs of the community is one of the most fulfilling, but also the most challenging, parts of her jobs.

Marit Majeske has worked at the Hylton Center since it opened in 2010, and she is also a George Mason alum. Photo by Evan Cantwell/Office of Ģ��AV Branding

“We have seen significant growth in our Education Initiative engagement since 2020, and we hope to continue to expand in a way that provides a wide range of arts experiences reaching learners of all ages—from preschool through lifelong learners,” Majeske said.

Introducing the cast: Majeske’s work intersects with the Mason Artist-in-Residence program, in which artists participate in creative activities with the community prior to their public Hylton Center performances.

“One of my favorite things is getting to know the artists’ interests beyond their art form, which lends itself to creating unique opportunities for engagement with our community members,” Majeske said.

Behind the curtain: Building opportunities for connection between artists and their audiences drives Majeske’s work. And sometimes, it goes off-script. A lifelong fan of Broadway, one of her fondest George Mason memories was when Broadway star Brian Stokes Mitchell performed at the Hylton Center.

“That evening, while I was addressing our ushers backstage prior to the performance, Mr. Stokes Mitchell stumbled upon our meeting and had been quietly listening in the background,” Majeske said. “Unprompted, he stepped forward, introduced himself, and thanked everyone for welcoming him. What a lovely surprise for our ushers!”

All the world’s a stage—and a classroom: Through her work at Hylton and her own educational experiences, Majeske knows that valuable learning happens outside the confines of a classroom. When she’s not working or taking in performances, she loves to explore, frequently taking in historic sites, museums, and independent bookstores. “I am a firm believer in lifelong learning,” she said.

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Mason Artist-in-Residence Ballet Hispánico Returns to Center for the Arts, Leads Hispanic Heritage Month Events

Laura Mertens — Fri, 27 Sep 2024 19:35:55 +0000

Mason Artist-in-Residence Ballet Hispánico Returns to Center for the Arts, Leads Hispanic Heritage Month Events Laura Mertens Fri, 09/27/2024 - 15:35

George Mason Ģ��AV’s Center for the Arts presents a full residency, culminating in a Great Performances at Mason program, featuring Mason Artist-in-Residence Ballet Hispánico this October. During Hispanic Heritage Month, the company will visit Northern Virginia for four days to offer a range of educational and interactive dance programs, leading up to its mainstage performance at the Center for the Arts on October 5.

“We’re excited to have Ballet Hispánico back in our community to help us celebrate Latino culture through dance and cultural enrichment activities. We will certainly feel the presence of this dynamic and fun group across campus, and I’m delighted to have them engage with so many different community stakeholders,” said Victor Adebusola, programming and engagement manager at the Center for the Arts at George Mason.

Recognized as one of America’s cultural treasures, Ballet Hispánico celebrates the ever-growing and multifaceted Hispanic diasporas through vibrant contemporary dance. The company was founded in New York City by dance luminary Tina Ramirez in 1970, on the principle that everyone deserves dance, quality dance training, and innovative performances. Since becoming its artistic director and CEO in 2009, Eduardo Vilaro has further built Ballet Hispánico to uplift the intersection of Hispanic cultures, pioneeringly breaking down boundaries and stereotypes.

The October 5 program at the Center for the Arts features: Sombrerísimo by Annabelle Lopez Ochoa, inspired by the surrealist world of Belgian painter René Magritte; Buscando a Juan by Eduardo Vilaro, inspired by the life of Juan de Pareja, the Afro-Hispanic painter who was enslaved in Spanish painter Diego Velázquez’s studio for over two decades before becoming an artist in his own right; and Club Havana by Pedro Ruiz, which transports audiences through classic Cuban culture with the intoxicating rhythms of conga, rumba, mambo, and cha-cha-chá.

As a Mason Artist-in-Residence, Ballet Hispánico will engage George Mason students and the local community through a variety of classes, talks, and interactive workshops in the days ahead of the company’s performance. Details about these events are listed in the schedule below.

Launched during the 2019–20 season through George Mason’s College of Visual and Performing Arts, the Mason Artist-in-Residence Program connects artists appearing at the Center for the Arts and its sister-venue the Hylton Performing Arts Center with on- and off-campus communities.

Open-to-the-Public Residency Events:

Field Trip: Ballet Hispánico

Friday, October 4, at 11 a.m.
Center for the Arts at George Mason Ģ��AV (4373 Mason Pond Drive, Fairfax, VA 22030)
FREE, registration required

In conjunction with the Great Performances at Mason series, the Center makes it easy for your class or group to attend field trips, which are all offered in person. From their seats, students will be introduced to dance, theater, and music from around the world.

Artists in Conversation: Latin Social Dance Workshop with Ballet Hispánico

Friday, October 4, at 7 p.m.
Stacy C. Sherwood Community Center (3740 Blenheim Boulevard, Fairfax, VA 22030)
FREE, registration required

This Hispanic Heritage Month event celebrates the ever growing and multifaceted Hispanic diasporas, featuring an interactive social dance workshop led by the “smashingly theatrical” dance company (Chicago Sun-Times) Ballet Hispánico. Move to the rhythms of salsa, merengue, cha chá, and more!

Co-presented by the City of Fairfax and the Center for the Arts at George Mason Ģ��AV

Residency Activities for George Mason and Local Communities:

The events listed below are not open to the general public.

Tuesday, October 1, at 9 a.m.

Ballet Hispánico and Artistic Director Eduardo Vilaro will virtually visit the class “Survey of Latin American History,” taught by Associate Professor Joan Bristol from George Mason’s College of Humanities and Social Sciences. Vilaro will present to the students on topics that include the history of Ballet Hispánico and how the need for visibility for a community spurned rich innovation based on the intersection of Latin diasporas; colonization, the cross-Atlantic slave trade, and the legacy of movement throughout our history; and the history of Latin dance in modern dance and culture in the United States. There will also be a Q&A for the students.

Wednesday, October 2 at 10:30 a.m.

Ballet Hispánico will offer a masterclass on modern repertoire to students in George Mason’s School of Dance.

Wednesday, October 2 at 1 p.m.

Ballet Hispánico will offer a masterclass on modern repertoire to local high school students in the Fairfax Academy.

Thursday, October 3 at 1:30 p.m.

Ballet Hispánico Artistic Director and CEO Eduardo Vilaro will join the virtual class “Introduction to Arts Management,” taught by Professor Sam Sinagra from George Mason’s Arts Management Program. Vilaro will present the history of Ballet Hispánico and how the company centers its mission when creating programs and initiatives. There will also be a Q&A for the students.

Thursday, October 3 at 6:30 p.m.

Ballet Hispánico will lead a Latin Social Dance Workshop and Community Party, hosted by the Latin Student Association and Mason Dining at Southside Dining Hall. This event is open to George Mason students, faculty, and staff.

Friday, October 4 at 1 p.m.

Ballet Hispánico will offer a dance workshop to a limited number of participants from the school time matinee.

Center for the Arts Public Performance Information:

Mason Artist-in-Residence
Ballet Hispánico
Saturday, October 5 at 8 p.m.
$55, $47, $33; half-price for youth through Grade 12

Tickets for Center for the Arts performances are on sale to the general public and available for purchase in person at the Center for the Arts Ticket Office (open Tuesday–Saturday from 10 a.m. to 6 p.m. and two hours prior to ticketed events in the Center for the Arts Concert Hall), by calling 703-993-2787, or through the Center for the Arts website (cfa.gmu.edu).

A pre-performance discussion with Ballet Hispánico’s Artistic Director and CEO Eduardo Vilaro, moderated by George Mason School of Dance Professor Lawrence Jackson, will take place in Monson Grand Tier, which is located on the third level of the Center for the Arts Lobby, 45 minutes prior to curtain.

The Mason Artist-in-Residence program is supported in part by the Wendy Frieman and David Johnson Fund.

About Ballet Hispánico
Ballet Hispánico was born from a bold vision to transform the world through the power of dance and reimagine how Latinx culture is celebrated on the global stage. Since its founding in 1970 by the trailblazing Tina Ramirez, Ballet Hispánico has been breaking barriers and reshaping expectations, using dance as a dynamic force for cultural expression, empowerment, and meaningful change.

Today, Ballet Hispánico proudly stands as the largest Latino cultural organization in the United States and an acclaimed "America’s Cultural Treasure." Through our three core pillars—the professional Company, School of Dance, and Community Arts Partnerships—we lead with purpose, uplifting the vibrant, diverse voices of the Hispanic diaspora. Our Company brings the work of visionary Latinx choreographers to life, delivering groundbreaking performances that ignite cultural dialogue and challenge artistic boundaries.

Under the visionary leadership of Artistic Director and CEO Eduardo Vilaro, who began his journey with Ballet Hispánico as a dancer in 1985, the company continues to chart new paths forward. Building on Tina Ramirez’s legacy, Vilaro has expanded the company’s impact, amplifying the intersectional stories of Latinx identities. Programs like Instituto Coreográfico, the Latinx Leaders Summit, and Diálogos foster innovation and leadership, nurturing the next generation of Hispanic artists and cultural leaders.

A true trailblazer in the world of dance, Ballet Hispánico has performed for more than 2.5 million people across three continents. As we look to the future, our unwavering commitment is to empower communities, inspire through the beauty of dance, and continue elevating Latinx voices on the world stage.www.ballethispanico.org.

About Eduardo Vilaro
Eduardo Vilaro, Artistic Director & CEO of Ballet Hispánico since 2009, has revitalized the company with his vision of dance as a reflection of America’s diverse cultural tapestry. Born in Cuba and raised in New York, Vilaro’s choreography explores the Latin American experience and its intersections with other cultures. He previously founded Luna Negra Dance Theater in Chicago, promoting Latinx artistry. Vilaro’s work has earned him numerous awards, including an honorary Doctorate from Adelphi Ģ��AV, recognizing his leadership in advancing diversity, equity, and inclusion in the arts.

About the Center for the Arts
A Mason Arts venue, the Center for the Arts is the centerpiece of performing arts on George Mason Ģ��AV’s Fairfax campus. Each year, the Center welcomes hundreds of thousands of community members into its nearly 2,000-seat Concert Hall. The Center presents an annual season of national and international professional artists through its Great Performances at Mason and Family Series—offering the best of classical music, opera, jazz, global music, dance, theater, and more. Managed by George Mason’s College of Visual and Performing Arts, the Center hosts many student and faculty performances presented by the Schools of Music, Theater, and Dance and supports the events of the School of Art, Film and Video Studies, Computer Game Design, and Arts Management programs. The Center brings distinguished visiting artists as Mason Artists-in-Residence for extended engagements designed to engage and inspire diverse audiences both on and off campus. The Center for the Arts serves as a performance home for many community arts organizations in the greater Washington, D.C. area. cfa.gmu.edu.

About George Mason Ģ��AV
George Mason Ģ��AV, Virginia’s largest public research university, is located near Washington, D.C., and enrolls more than 40,000 students from 130 countries and all 50 states. George Mason has grown rapidly over the last half-century and is recognized for its innovation and entrepreneurship, remarkable diversity, and commitment to accessibility. In 2023, the university launched Mason Now: Power the Possible, a one-billion-dollar comprehensive campaign to support student success, research, innovation, community, and stewardship. www.gmu.edu.

For more information, please visit:
George Mason Ģ��AV’s Center for the Arts

In This Story

Victor Adebusola

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Mason Korea celebrates 10 years with kickoff reception

Lauren Reuscher — Thu, 13 Jun 2024 14:20:34 +0000

Mason Korea celebrates 10 years with kickoff reception Lauren Reuscher Thu, 06/13/2024 - 10:20

George Mason Ģ��AV Korea kicked off its 10th anniversary celebrations with a lively reception that brought together Mason Korea students, faculty, and staff, current and past leaders, visitors from George Mason's Fairfax Campus, and members of the Mason Korea advisory board.

George Mason Ģ��AV leaders gathered for Mason Korea's 10th anniversary kickoff celebration. Photo by Mason Korea

The event included a recognition ceremony for Mason Korea employees with five to ten years of service. Janette Muir, vice provost for academic affairs and chair of the Mason Korea LLC Board, presented awards to five-year employees. Robert Matz, dean of Mason Korea, honored those with six to nine years of service, and George Mason Ģ��AV President Gregory Washington recognized faculty and staff with 10 years of service—those who have been at Mason Korea since it opened.

President Gregory Washington (right) and faculty/staff with 10 years of service at Mason Korea. Photo by Mason Korea

President Gregory Washington and faculty/staff with 6–9 years of service at Mason Korea. Photo by Mason Korea

President Gregory Washington and faculty/staff with 5 years of service at Mason Korea. Photo by Mason Korea

Matz thanked the faculty and staff in attendance for their contributions to the campus. “You do not need to be told of Mason Korea’s successes because you are the reason for them—you are their engine,” said Matz.

The event featured a first-of-its-kind collaboration between the Green Machine pep band and Mason Korea's student bands, Crescent and Sketch. The electric energy of the bands filled the banquet hall with a mix of English and Korean pop hits.

Photo by Mason Korea

Sherlin Amaya Medrano, Mason Korea Student Government president, also offered her congratulations to the campus community. The 10th anniversary celebration continues throughout the week with a series of public events.

Photo by Mason Korea

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A second chance at a college degree for this Mason Korea computer game design graduate

Colleen Rich — Wed, 17 Apr 2024 14:12:29 +0000

A second chance at a college degree for this Mason Korea computer game design graduate Colleen Rich Wed, 04/17/2024 - 10:12

Juyoung Cha was the first in her family to consider studying abroad for college. Starting in high school, she wanted to experience a different culture, specifically the United States.

Computer game design major Juyoung Cha by Mason Pond on the Fairfax Campus. Photo provided

After she faced closed doors to her fine arts college applications in Korea, her local pastor who had lived in the United States recommended that she take the community college route in the state of New York. Cha decided to study accounting, a pathway she considered to be more stable than fine arts in terms of career outcomes.

Cha spent three semesters at a community college and three semesters at the City Ģ��AV of New York. However, due to family financial difficulties, Cha and her sister returned home to continue their college education.

Coming back to Korea as a transfer student was a huge challenge for Cha, as Korean universities only accept transfer students who enrolled for more than two years at a single institution. With her six semesters at two institutions, she was limited in options for continuing her undergraduate education.

At the point where she was about to give up on her college education, her pastor’s wife introduced her to Kelley Chung, Mason Korea’s associate dean for admissions and government affairs, who helped Cha see that she could continue her fine arts pursuits through the field of computer game design at a U.S. institution in Korea.

“While it was not as abstract as plain fine arts and had a clear career route, the thought of building something in the digital world that cannot be constructed in the real world sounded exciting,” Cha said.

Learning computer programming, design, and game modeling was challenging for Cha. “As the days of being a college student prolonged, the goal of graduating felt farther away the more I got close to it,” she said.

Cha found that computer game design faculty members wanted to see her succeed, showing flexibility on deadlines and even offering the chance to retake classes for a better grade. Her internship supervisor at Mason Korea’s Office of Development and Strategic Partnerships, Christina Cha, was her biggest supporter when she was on the brink of dropping out of college.

“Juyoung’s diligence and willingness to learn new skills was impressive to me and to all of us in the office,” her internship supervisor said. “She was also an active member of G-nonymous, Mason Korea’s student RSO for [computer graphic design] majors, quietly yet persistently honing her skills. I’m so happy that she rose above her own doubts and decided to complete her education journey at Mason and become our alumnus!”

Now Cha is just weeks away from reaching the finish line in Fairfax—earning her BFA in computer game design. In May she plans to walk proudly across the graduation stage in EagleBank Arena along with her younger sister, Subin Cha, who is a Mason Korea student in accounting.

“Being the first five students among Mason Korea’s first computer game design cohort and one of the few female students in my major’s graduating class from Mason Korea, to me being a Patriot symbolizes endurance and patience,” said Cha. “Studying abroad in the United States and coming back to an American college through Mason were both non-traditional routes that exposed me to different challenges that allowed me to see the value of a college degree.”

Mason Korea opened its doors to in 2014. As part of Mason Korea’s 10th anniversary, Mason will host events in Korea and on the Fairfax Campus. This is the first in a series of stories highlighting Mason Korea students.
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Mason’s research is best in Virginia in multiple EduRank rankings

Sarah Holland — Wed, 03 Apr 2024 16:41:23 +0000

Mason’s research is best in Virginia in multiple EduRank rankings Sarah Holland Wed, 04/03/2024 - 12:41

Eighteen George Mason Ģ��AV programs are ranked the best in Virginia in a new report by EduRank that focuses on performance in research.

Students enjoy the cherry blossoms on the Fairfax Campus. Photo by Eduardo de Souza/Office of Ģ��AV Branding.

Ģ��AVping the list is Mason’s entrepreneurship ecosystem, which for the second consecutive year was ranked No. 1 among all public institutions and No. 2 among all institutions nationally.

Best-in-Virginia programs were spread across the university and included those from the Costello College of Business, the Schar School of Policy and Government, the College of Engineering and Computing, the College of Humanities and Social Sciences (CHSS), the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution, the College of Visual and Performing Arts, the Antonin Scalia Law School, the College of Education and Human Development, and the ROTC.

That research is supported by entities such as the Office of Research, Innovation, and Economic Impact, which has overall responsibility for Mason’s research enterprise and support of entrepreneurship and innovation. And Costello College’s Center for Innovation and Entrepreneurship lets students dig into entrepreneurship, from the theoretical to the experimental.

Mason’s entrepreneurial ecosystem is anchored by the university and reaches out into the broader community. Mason Enterprise, a division of the Office of Research, Innovation, and Economic Impact, is a strategic collection of 24 programs that support entrepreneurs and small business owners across Virginia, and conducts more than 1,500 training programs and more than 30,000 hours of one-on-one counseling with entrepreneurs in the community and from universities each year.

It is that environment of research, discovery, and innovation, which is a main contributor to Mason’s R1 designation from the Carnegie Classification of Higher Education as one of the nation’s top research universities.

And though the EduRank rankings focus mainly on research performance, they are an indicator of the quality of the programs from which that research is produced.

“Mason is committed to accelerating the translation of research into practice by leveraging university talent, infrastructure, and partnerships to create solutions for societies’ toughest challenges at speed and scale,” said Andre Marshall, Mason’s vice president for research, innovation, and economic impact. “It is a credit to our faculty and students that Mason is a place where we can put theory into practice.”

Added Paula Sorrell, Mason’s associate vice president of innovation and economic development, “Mason was originally created by the business community to serve its needs, and for 50 years it has been doing just that. In the past four years, we’ve significantly amped up our tech entrepreneurship to support and mirror the rapidly growing tech economy, adding 16 new programs and counting.”

Research is the bedrock of entrepreneurship, Costello College dean Ajay Vinzé said.

The university’s top rankings “are in many ways reflective of our approach to business education and the business of higher education,” he said. “Our approach—built on the foundation of a rich university-wide entrepreneurial ecosystem, powered by a growing body of faculty research across multiple fields of study—is changing the arc of higher education expectation and delivery as we prepare the next generation of leaders.”

Costello College is a contributor to the top entrepreneurship ranking, along with the Schar School and the Mercatus Center, all of which produce volumes of research, articles, and papers for an abundance of publications.

Schar School dean Mark J. Rozell called entrepreneurship research “a very distinguishing feature for a public policy and government school.”

Its research at the Center for Micro-Economic Policy Research (CMEPR), for example, is focused on diversity and disadvantaged groups among entrepreneurs, especially those who are Black, immigrants, and female. It also looks at job creation by minority entrepreneurs in minority and low-income communities.

“The center brings an unusual contribution to research on entrepreneurship by focusing on these issues,” said John Earle, the center’s director and a Distinguished Ģ��AV Professor, who has published more than 60 articles and scholarly papers. “While the typical focus for entrepreneurship studies is for performance, especially for firms receiving venture-capital support, CMEPR research analyzes a much broader range of businesses, and how public policies affect the entry, growth, and survival of those owned by minority entrepreneurs.”

At the College of Engineering and Computing, Dean Ken Ball noted that CEC faculty garnered more than $119 million in research awards in 2023.

Dean Alpaslan Ozerdem's Jimmy and Rosalynn Carter School for Peace and Conflict Resolution class. Photo by: Ron Aira/Office of Ģ��AV Branding.

“I’m proud that our research has informed and strengthened our academic programs and led to innovation and economic growth that benefits society,” Ball said. “Mason has consistently been a national leader in cybersecurity, data analytics, software engineering, aviation, and web development. These rankings reflect the impact CEC researchers have in areas of engineering and computing that are relevant to everyone, as well as our leadership position among Virginia’s public universities.”

CHSS dean Ann Ardis said her college’s contributions to research in best-of-Virginia areas such as criminology, broadcasting, law enforcement, journalism, and political economy “are a testament to the scholarly excellence of our faculty. We take immense pride in our researchers’ contributions to Mason’s growing reputation nationally as a comprehensive R1 institution with strengths across a range of research areas.”

For Alpaslan Özerdem, dean of the Carter School, the ranking in conflict resolution “fuels our dedication to shaping a more peaceful and understanding world.”

Özerdem noted that the school has been at the forefront of teaching, researching, and implementing conflict resolution for four decades.

“So being recognized as the premier institution for conflict resolution in Virginia deepens our pride and reaffirms our vital role within the broader conflict resolution ecosystem of the commonwealth,” he said.