The University of Central Arkansas is now home to the Windgate Center for Fine and Performing Arts and is poised to strengthen its position as a leader in the arts community and make Conway an artistic anchor for the region. The 114,000-square-foot facility situated at the corner of Donaghey Avenue and Bruce Street holds a concert hall, a percussion suite, a recital hall, a photography studio, a 190-seat black box theater, rehearsal and design spaces, classrooms and much more.

The much-anticipated project is made possible by a $20 million gift from the Windgate Foundation, the largest single gift in BTĚěĚĂhistory. The Alice L. Walton Foundation dedicated $3 million to the project. The BTĚěĚĂFoundation also received significant contributions for the project from the Sunderland Foundation, the Bridges-Larson Foundation, the Hearst Foundation, and the Munro Foundation.

“In addition to generous donations from foundations, the Windgate project also received more than $419,000 from 121 individual donors and couples. These gifts are an excellent example of how private funding allows us as a university to do things we would not be able to do otherwise,” said Mary Bane Lackie, vice president of University Advancement and president of the BTĚěĚĂFoundation. “These funds all count toward our BTĚěĚĂNow comprehensive capital campaign to raise $100 million.”

Along with the Windgate Foundation’s generous gift of $20 million, the BTĚěĚĂBoard of Trustees authorized the university to issue more than $25 million in bonds for the project.

“The more private money we can raise, the more we can advance academic prosperity and pedagogy,” said Greg Weber, senior director of development for the College of Arts, Humanities, and Social Sciences.

Before arriving at UCA, Weber spent three decades as an arts executive and producer of opera and other theatrical works. His toolbox of knowledge has been instrumental in anticipating various needs for equipment and other accompaniments needed for Windgate.

“A performing art space is only built typically once every 50 to 70 years,” Weber said. “So you have one shot over three generations to get this right. You have to make certain not only that it’s built but also that you have all the necessary equipment. Understand those core needs; that it’s not just the space we want, we also want the tools the students need to make this a world-class facility.”

“We programmed this building five years ago,” said Shauna Meador ’92, chair of UCA’s Department of Film, Theatre, and Creative Writing. “When Greg found out we had not originally specked projectors for this space, it became his goal. He made a great effort to help us achieve a grant for $60,000 worth of equipment. This is important equipment that our students learn how to use because projection is happening a lot in the production of theatre now.”

Meador has a long history with BTĚěĚĂtheatre that began in 1973 when she saw her first play on campus as a child.

“I remember where I sat in the audience, and I remember being completely in awe of it. But I didn’t remember I had seen it here until I was going through some old cards and stuff. I found the program and realized the play I’d seen was in the theater I’m teaching at now.”

Meador also earned a theater degree from BTĚěĚĂand met her husband, associate professor of art Scott Meador, while they were undergraduates at UCA. She became chair in 2019, making her journey with BTĚěĚĂfull circle.

She said support from the Bridges-Larson Foundation has changed the program, the university and the community. The James M. Bridges Black Box Theatre is named in honor of UCA’s 2012 Distinguished Alumni award recipient, a Hollywood movie producer, director and screenwriter who kickstarted the foundation along with actor and writer Jack Larson.

Windgate, Meador said, will allow students to work with all brand new, state-of-the-art equipment and take full advantage of learning the technology that goes into the production of theatre as well as stagecraft and other practical skills they can use beyond theatre.

“We’re not just training students to go into theater; we’re training them to go into other parts of the entertainment industry,”Meador said. “They can work on a lighting system here, and ultimately, they may be able to do concert lighting on tour with somebody. This will provide our students with familiarity with equipment that is being used in the industry.”

Trey Ewart, a junior theatre major from Bentonville, was still in high school when he learned BTĚěĚĂwould be getting a brand-new art center. The Windgate Center is a big reason Ewart chose UCA.

“I had gotten really into the theater after I quit playing football due to a nasty concussion. I wanted to step away from that, so I got into the technical aspects of theatre,” Ewart said.

Ewart started working backstage jobs as a stagehand or assistant stage manager; then, he landed professional opportunities in northwest Arkansas with a few companies. By his senior year of high school, he started doing lighting designs for his school’s theatre productions.

“After my first one, I said, ‘Okay. I might try to make a career out of this’,” said Ewart, who is now the lead student lighting designer for BTĚěĚĂtheater. “You get to be a part of the story in a sense. Because you control the feel of the room, you can make colors pop and choose what to highlight and what to hide. There’s a lot of cool stuff you can do with lights and thematic things you can bring to the forefront.”

Ewart is looking forward to working in the new space, which he says already has a lot of aspects not yet available in most shops.

The Windgate Center allows BTĚěĚĂto foster collaborative partnerships between students across art disciplines within the College of Arts, Humanities, and Social Sciences.

“One of the examples is Kristin Lewis as an artist-in-residence where she will be performing with the Conway Symphony Orchestra. Her residency will also include an art exhibit to feature her garments and a four-dimensional art-and-time concepts class focused on her visit,” said Amanda Horton ’95, UCA’s executive director of Public Appearances. Lewis ’99, a world-renowned opera singer, received the 2022 Distinguished Alumni award. “The students not only get time with the professional artists, but their visits in Windgate also allow for greater collaboration between the arts.”

Bryan Massey Sr., chair of the BTĚěĚĂDepartment of Art and Design, has already been in discussions about collaborating with students in the College of Business and the interior design program. He says his students are already enjoying the extra space they have in which to create. The art studio allows Massey to expand the program and its outreach, and students can now have more hands-on experience even in the introductory classes.

“In the [Schichtl] sculpture area where I taught students, we had one small room where we taught wax making, mold making and plaster work. In the new studio, each area has its own space,” Massey said. “The students have given a lot of positive feedback so far about their new work area.”

Massey also donated to the Windgate Center by having the sculpture studio named for both his grandmothers.

“My grandmothers were instrumental in getting me to where I am today,” Massey said.

“There is nothing like having praying grandmothers, so in order to keep their memory alive, I decided to name the sculpture studios after my grandmothers. My father’s mother’s name was Beulah Cogdell, and my mom’s mother was named Lille Mae Penny. It is called the Cogdell-Penny Sculpture Studio, and it’s where we teach all aspects of sculpture from stone carving to fabrication to casting.”

Massey and his wife made an additional donation to the Windgate Center that will name the main art office inside Windgate after him (after some encouragement from his wife). It is named the Bryan W. Massey Sr. Chairs Office Suite of Art and Design.

The Windgate Center will be an addition – not a replacement – to the robust and world-renowned performing art events held annually at the 1,200-seat Donald W. Reynolds Performance Hall. Windgate will allow BTĚěĚĂto offer a variety of performances. Amanda Horton oversees events at both Windgate and Reynolds.

“We will be presenting public appearances with professional artists in the Windgate concert hall,” Horton said. “This gives us an opportunity to present niche artists and acts we would not typically feature at Reynolds. Reynolds is built for big, spectacular broadway shows and large concerts. Windgate offers spaces that are more intimate with incredible acoustics specifically designed for classical, jazz and alternative music, to name a few.”

The optimized acoustics will make for a better performance venue for some plays as well. Many modern plays have much smaller casts. “When performing in a space better suited to be an auditorium, the actors can tend to get lost,” Meador said.

The James M. Bridges Black Box Theatre will serve as the premiere venue for Arkansas Shakespeare Theatre, the state’s only professional Shakespeare theater. Chad Bradford ’06, who was named managing director of AST in June 2022, has worked with the program since 2007. He is grateful and excited about the new space for the intimate and immersive experience it will offer the audience and actors.

“In my intro to theatre classes, I talk about what makes theater, and one of those things is the actor-audience dynamic – that makes it different from film,” Bradford said. “This space, with its size, scope and state-of-the-art technology, will allow a special, sublime kind of feeling to emerge from our shows. Because, at the end of the day, theater is really a transformational art form. I really do think that the theater is going to allow us to do our art even better than we could before. It is so nice to be able to say that this is our new home for a new season.”

Those interested in making a gift to the building or to student scholarships can contact Greg Weber, senior director of development, at gweber@uca.edu or (501) 852-2606.

The Windgate Center for Fine and Performing Arts represents a significant investment in the music program at the University of Central Arkansas and the future of music education in the region and across the country.

The spacious and modern building is aesthetically pleasing but has been designed with acoustics and functionality in mind. One of the most impressive features of the new building is the concert hall, which is not only visually stunning, but also equipped with acoustics that have been carefully designed to ensure the highest level of sound quality.

“The recital hall in Snow Fine Arts seated somewhere around 250 bodies, but the new recital hall at the Windgate Center for Fine and Performing Arts will seat 450,” said Brent Shires, associate professor of music and brass chamber music coordinator.

“That’s an important number because it’s small enough that things feel intimate and the hall feels full, but it’s large enough to accommodate our audience sizes for day-to-day recitals. To have a full hall is important psychologically for the performer, but even more importantly, it’s a big deal acoustically because the bodies in the seats change how the sounds play out.”

In addition to the new and improved concert hall, the Windgate Center also has a range of rehearsal spaces and practice rooms that cater to the needs of students and faculty.

Jacob Rodriguez, a student ambassador from Foreman, Arkansas, plays the trumpet for the Bear Marching Band. He says he was blown away the first time he entered the building.

“It’s so state-of-the-art, and it feels like you’ve been transported into this brand new, really cool place,” Rodriguez said. “A new multi-million dollar building really shows the music students that BTĚěĚĂcares about them and finds value in the arts. When they were building it, the fencing around the construction site said, ‘Expanding the arts in Arkansas.’ I thought that was impactful especially because other places are cutting art programs, but BTĚěĚĂis investing in it.”

Nia Kelley, a sophomore vocal performance major from North Little Rock, had her eye on BTĚěĚĂsince attending the summer Arkansas Choral Connection choir camps starting in middle school. She was in awe when she first visited the choir room inside the Windgate Center.

“The colors are so vibrant, and we have so much more space,” Kelley said. “You can sing out, enjoy yourself and have the space you need to be able to move around. The new auditorium and sound system will not only allow us to make quality music but also to record quality music and put on amazing productions.”

The building will allow BTĚěĚĂto expand its arts programming and foster collaborative partnerships across academic disciplines, attract more artists and offer more opportunities for growth.

“BTĚěĚĂhas always had a strong music program, and we have always been a leader in the state and in the region, all the way back to Homer Brown back in the day up until present day,” said Shires. “The legacy of the Department of Music is moving forward. We should be immensely proud of where we are headed toward the future. The Windgate Center for Fine and Performing Arts shows that we can put together mind-blowing facilities, programs, teaching opportunities, and performances for our students and our community. It shows the world how invested BTĚěĚĂis in the futures of our students.”

Overall, the new building at BTĚěĚĂis a game-changer for the music department faculty and students. The contemporary facility provides students the resources they need to excel in their program while pursuing their passion for music. It is a testament to the commitment of BTĚěĚĂto provide its students with the best possible education and prepare them for success in their careers.

“This new facility is going to leave people with the impression of not only our amazing faculty, amazing students, and amazing music, but an amazing place where all of this happens on campus,” said Shires. “That sends a signal on a national level that we are one of the major players in the music scene. This new building represents our forward direction as a university and as the center of music in Arkansas.”

Since its beginning more than 20 years ago, the University of Central Arkansas’ artists-in-residence program has been inspiring faculty, students and the surrounding community. Showcasing nationally and internationally recognized artists, authors, design specialists, journalists, musicians, vocal artists and others, this program has become a vibrant part of the curriculum – inspiring graduate and undergraduate students alike. An additional benefit that sets UCA’s program apart from other universities is that it is also free to a community that may not otherwise have access to such acclaimed artists.

The earliest known artist residencies began in 16th century Europe and expanded as academics grew worldwide. In the late 19th and early 20th centuries, artists would isolate to find inspiration. The pendulum swung back in the 1960s when British visual artists Barbara Steveni and John Latham founded the Artist Placement Group, which became one of the first major residencies to introduce visual artists into institutions of higher learning with a focus to bridge the gap between academia and the working class.

Increased globalization in the 1980s and 90s made artist residencies even more popular, and by the turn of the century, BTĚěĚĂembraced this program model to meet the needs of students and the community.

In February 2000, the BTĚěĚĂBoard of Trustees approved the Fine and Performing Arts Fee with the express purpose of “expanding artistic opportunities that supplement and enhance university life and academic programs.” The fee ensures a consistent revenue plan while providing a significant budget.

Gayle Seymour, associate dean in the BTĚěĚĂCollege of Arts, Humanities, and Social Sciences, says the budget funds between 15 to 20 artists each year with around 100 activities that include readings, performances, showcases and workshops. With this sustainable budget, BTĚěĚĂcan reach more artists, bring them to campus and schedule events for students and the community, thus spreading impact and inspiration and bridging the gap between academia and the community.

The purpose of the artist-in-residence program is to offer more than just quantity. Quality is at the forefront of the experience. Students are inspired by artists in their field of study when meeting the artists and learning more about their profession. This connection inspires students to forge ahead with their career goals and continue to graduation.

“Students report that there is nothing quite like having an accomplished artist work alongside them,” Seymour said. “They report being inspired by the experience especially when artists are able to convey to students, ‘I was here just like you, and this is what I did to achieve my goals and make a difference in my life.’”

The impact offered by the program adds to UCA’s national prominence as a university offering artist-in-residence experiences throughout the academic year. By bringing artists from different attitudes, experiences and geographic locations, students who may otherwise feel isolated get to relate to fresh, new perspectives. This expansion in worldview adds to the inspirational impact and knowledge base felt by students on UCA’s campus.

Community members are also encouraged to attend artist-in-residence readings and performances. The events are free to the public and are held on UCA’s campus or in close venues. This sharing of artistic riches inspires students in area K-12 schools by providing a view of UCA’s campus life and what the school has to offer. It also furthers the artistic interests of people in Conway, Little Rock and other towns in Arkansas.

In addition to bolstering student and community interest in the arts, the program offers great inspiration and opportunity to the visiting artists. Seymour says artists become inspired when they visit the campus. She believes that UCA’s location makes it unique in that students here are hungry and appreciative of the experience.

“What I hear from our artists is without exception how inquisitive, interested and hungry our students are,” Seymour said. “We get lots of artists who come and they say ‘You know, you guys are doing stuff at BTĚěĚĂthat nobody else is doing.’ Sometimes they will say that from the stage and I like to think ‘Okay, I hope everybody is listening to this.’”

The BTĚěĚĂartist-in-residence program has hosted diverse artists working in varying genres including authors, musical artists, visual artists and writers. Past authors include Ibtisam Barakat, Sarah Broom, Jericho Brown, Marita Golden and Kiese Laymon. Musical performances included artists such as opera star Cecilia LĂłpez or the Ivalas Quartet. Dance performances have also been offered. One such experience included dance as healing via “Akeem Ayanniyi and Core Dance Public Performance: Planetary Dance for Community Renewal” as part of the Facilitating Pandemic Healing through the Arts series in spring 2022. Most recently, world-renowned paper sculptor Fabiola Jean-Louis who, as part of a $30,000 grant from the National Endowment for the Arts, spent a three-month visual art residency at BTĚěĚĂin spring 2023.

Seymour says interesting developments are on the horizon for the future of UCA’s artist residencies. Since the fusion of the former College of Fine Arts and Communication and the College of Liberal Arts, there will be more professors who submit proposals and with that, new artists being brought to campus. The word “trust” comes to mind for Seymour as she believes the artist-in-residence program is one where the artists, students and community trusts the university to bring inspiration by way of diversity, vision and impact, thus making “the artist-in-residence program supported by the fine and performing arts fee the jewel in UCA’s crown.”

Memphis-based interior designer Carmeon Hamilton’s ’08 premiere focus in her work is the psychology behind the design.

Hamilton’s childhood home in West Memphis was always pulled together beautifully. She remembers her mother was fashionable and had a natural knack for decorating and creating spaces that felt warm, inviting and peaceful.

“I know what our home felt like. When I would go to other homes, it didn’t always have the same feeling. My mom was very particular about the details – from the plants she had to the types of dishes we ate from. She even put up multiple Christmas trees every year.” It wasn’t until several years later that Hamilton could put words to those feelings.

Excelling in the classroom and on the basketball court in high school, Hamilton received several academic and athletic scholarship offers. She decided the University of Central Arkansas would be the best fit for her. “I chose not to play basketball, but I didn’t want to stray too far away from the environment of sports. Physical therapy seemed like a good fit for me at the time,” Hamilton said.

Hamilton lost her academic scholarship after her sophomore year. “I was overdoing it,” she said. Some semesters she enrolled in several intense and time-consuming classes, at times totaling more than 18 credit hours. “I wanted to make sure I didn’t become a professional student. I was aiming to graduate within four years.”

The setback would lead to a new journey from which she never looked back.

“Design found me,” she said.

Entering her junior year, Hamilton applied to be a resident assistant to cover some of the cost.

She was assigned to Carmichael Hall and would have her own room. The space and autonomy served as a blank canvas for the future designer. “It had cinder block walls and VCT [vinyl composition tile] floors. I don’t remember if it was white or gray. It just felt cold, and I wanted the opposite of that. I wanted it to feel as much like a studio apartment as possible.”

Hamilton told her mom about her vision which would have a hot pink and zebra print theme. Together they found a plethora of hot pink and zebra items, including fabric they used for pillows, curtains and lampshades.

“My mom, who was a teacher, was big on inspirational sayings. She printed several quotes on hot pink construction paper and laminated them to hang in the room. There was a lot of hot pink and zebra in that room.”

Hamilton no longer has photos of the space and struggles to remember all the details, but she remembers being very pleased with the results. One of her friends encouraged Hamilton to look into UCA’s interior design program.

“I didn’t know interior design could be a career, let alone something you could study at a university,” Hamilton said. “The next day, I went and talked to the dean and decided to change my major within 10 minutes of talking to her.”

Hamilton says everything that affected the way her life is today happened the week of August 6, 2006. “I started my RA job. I met my husband, and I changed my major to interior design within three days of each other,” Hamilton said. “At the time, I knew I was smart and capable, but I never saw myself as being where I am today.”

Hamilton’s first opportunity to be a professional designer came during one of her senior seminar classes at UCA. The professor had invited a colleague who happened to be the vice president of an interior design department for a health care company.

“I was the only person in the class that had a finalized presentation by the deadline. My professor’s colleague offered me a job on the spot. She told me, ‘I love what you did, but I am more impressed that you were prepared.’ Being prepared has been what I lived by ever since.”

Hamilton started her new job in Fort Smith, Arkansas, two weeks after graduation. She learned a lot about commercial interior design, including reviewing facilities, developing design plans for dementia units and working with clients. That experience shaped Hamilton into an even more thoughtful designer.

“I started gaining a deeper understanding of how certain colors affect moods as we designed around people’s favorite memories,” Hamilton said. “Witnessing how the environments were aiding their health and a better existence helped me understand how important the role of an interior designer is. It is not just to make a space pretty, but it is also to transform how people feel in the space.”

Knowing how interior design can affect an atmosphere, mood and overall well-being has been a driving force for Hamilton for the past 12 years. That, she says, is one reason she did not enjoy working in retail.

“I got fired as a design consultant because I stunk at sales,” Hamilton said. “I would tell clients not to buy certain things because it wasn’t worth their money. Going from the sales side to the environmental side – making sure people felt something when they walk in a store – was more my style. The way we feel in an environment can affect how much money we spend, how our food tastes, how much fun we have.”

Today, Hamilton is an interior designer and lifestyle blogger who has created and grown her brand, Nubi Interiors, into a successful business.

“I didn’t go after being on a design show or having a TV show. I didn’t strive to be a lead buyer of a retail brand, but I was prepared when those opportunities came along. Learning and absorbing as much as possible keeps me prepared. It’s that ‘if-you-stay-ready-you-ain’t-gotta-get-ready’ mentality that I subscribe to.”

In 2020, Hamilton was named a rising star in the design world by “Architectural Digest.” In 2021, she participated in and won HGTV’s competition show “Design Star: Next Gen.” She also hosts the HGTV series “Reno My Rental,” which began streaming in 2021 shortly after her husband of ten years, Marcus Hamilton ’07, was hit and killed in a motorcycle accident by an intoxicated driver. She shared on social media he would have wanted her to keep pursuing her dreams.

“Nubi is a nickname my husband gave me, which was short for Nubian princess. He is actually the person who named my company. We also liked the play on the words ‘Nubi’ and ‘Interior’. You hear ‘Nubian’ when you say it,” Hamilton said.

Hamilton wants people to recognize the beauty that surrounds them in everyday life.

“If I can open your eyes to something that you see every day and may have ignored – like a houseplant – and convince you about how much of a difference they make in a space, that makes me happy. That is the influence I want to have: enlightening people to see the beauty of the everyday.”

Education consultant and coach Teri Cox-Meadows ’90, ’94 understands the hardships of a first-generation student with limited-to-no income trying to better their life with a college education. With that understanding, she has made it her mission to give hope to children by means of music and education.

The current owner of a consulting company and founder of Daryl’s Music Makers, a nonprofit organization specializing in providing music and education to impoverished children worldwide, Cox-Meadows grew up in “a trailer park, literally the wrong side of the tracks” in Bryant, Arkansas. With no expectation or encouragement at home to further her education, she encountered a band director and a doctor who believed in her and helped her to dream.

“I wasn’t expected to go to college. It wasn’t anything that anybody in my family thought of, but I knew inside myself that was my way out,” and with the help of her band director, she earned a music scholarship at the University of Central Arkansas for playing the trumpet. This was what allowed her “to dream about UCA.” The scholarship got her in, but the financial hardship did not end there.

A couple of weeks before she was supposed to report to campus, Cox-Meadows received a call while she was working at Camp Aldersgate. She learned she still owed a substantial amount for room and board – an amount she had no way of paying.

“I just didn’t have it. I hung up the phone, and I just started crying. I turned around and there was a guy behind me, Dr. Kelsey Kaplan. He looked at me and said, ‘I need you to take a breath and tell me what’s going on.’”

Kaplan listened to her story. The next day, she got a call from BTĚěĚĂstating her room and board had been paid by an “anonymous donor” and that she could come to school for the fall semester.

“I just knew it was Dr. Kaplan. He never admitted to it … but I knew it was him.”

Cox-Meadows went on to work three jobs to save up money for room and board for the spring semester. The music scholarship, her jobs and the anonymous donation settled the cost.

“[With] what Dr. Kaplan had done for me, I was able to get there and stay there. It was a huge blessing – absolutely life-changing for me,” Cox-Meadows said. “The first semester, at the end of the semester, I sent Dr. Kaplan a letter from the president saying that I had made the President’s List. I mailed a copy to him and one to my mother that just said, ‘Merry Christmas.’”

Cox-Meadows went on to earn bachelor’s and master’s degrees at UCA. In 2010, she earned a doctorate in educational leadership from Walden University. She never forgot about the donation and has paid it forward in spades.

Her nonprofit organization Daryl’s Music Makers provides instruments, teachers and other supplies to cultivate a love of music. The program serves more than 1,200 children annually in the Dominican Republic, Haiti and several music camps all across the United States. Cox-Meadows created the nonprofit in memory of her husband Daryl Cox who passed away in March 2012.

“You want to do something that helps make a legacy. Daryl and I were not able to have kids and so as a way of trying to honor his memory and support causes that would make him smile, I founded Music Makers. We take hope and a future to kids through music and education across the world. It is literally about exposing kids to music, education, and hope in the future that they can have through those.”

In addition to music education, the program teaches English and reading, provides food and water and awards scholarships in the United States. Cox-Meadows said each partnership is different, giving what is most needed and then expanding to music by providing lessons and instruments.

Attending BTĚěĚĂallowed Cox-Meadows to see the possibilities and impact education can make in life. Now she gives hope to others.

“My life is about giving back to others because I have been given to and had I not been given to, then my life would have been totally different … because of what people have poured into me, I’m allowed to pour back to other people.”

Nan Snow ’57

ALUMNA | WRITER | AUTHOR | PHILANTHROPIST | PUBLIC SERVANT | ADVOCATE

For decades, Nan Snow ’57 has been a resounding champion for the cause of women’s equality.

Throughout her years of service, Snow has been instrumental in improving women’s economic opportunities and overall well-being. Her work, which has had a substantial impact on the lives of countless individuals, earned her the 2023 University of Central Arkansas Distinguished Alumni Award.

In her early years, Snow lived in the far western part of Oklahoma. As a child, her father was involved in bridge construction, which forced the family to move every time a bridge was completed.

“It taught me to adapt and do different things and go different places,” Snow said. “It was a very busy and fascinating start to life.”

Snow and her family eventually settled in Harrison, Arkansas, which is where she graduated from high school before enrolling at Arkansas State Teachers College.

“I had always heard good things about it because so many Harrison graduates went to BTĚěĚĂ– which was ASTC then,” she said. “I would visit my friends there, so I was very familiar with it and wanted very badly to go.”
Snow even received a private tour from Silas Snow, UCA’s fifth and longest-serving president (1953-1975).

“You can’t say ‘no’ to that sort of invitation,” Snow said. “It really has been, and remains to this day, one of the highlights of my life.” Snow says her college experience opened more doors for her than she ever anticipated.

While in school, Snow was editor of The Echo, secretary of her senior class and vice president of Alpha Sigma Tau. She was also a member of Royal Rooters, Alpha Chi and listed as Who’s Who Among Students in American Colleges and Universities. Snow earned her bachelor’s degree in journalism in 1957.

Snow’s interest in writing and journalism began at a young age. Both her grandfathers owned small-town north Arkansas newspapers. Even though both of them sold the newspaper businesses before she was born, Snow believes their careers influenced her. She wrote a poem in 5th grade that was published in the Harrison High School newspaper.

“Then, I was hooked. ‘I’m a writer,’ I thought. From then on, that became my interest,” she said.

Snow worked for several newspapers, starting with high school, then college and as a career, “doing a little bit of everything.” She experienced inequality which led to a few key “a-ha” moments that crystallized her drive to fight for change. The first happened in high school when she and some friends wanted to start a girls’ basketball team. The superintendent refused, saying it “wasn’t lady-like.” Snow would eventually get to play intramural basketball, as well as touch football, for her sorority at UCA.

“You should’ve seen us; it was hysterical,” she said.

Another “a-ha” moment for Snow came when she applied for a position at the Arkansas Gazette in 1959 after years of experience in a newsroom.

“I thought the newspaper would be glad to have my experience and would hire me. But they told me that they did not allow women in the city room,” she said. Years later, the newspaper offered her a reporter position, which she turned down.

Those events and others sparked Snow’s desire to fight for women’s equality. She earned two master’s degrees from Southern Methodist University and shifted her career to public service and advocacy. As a graduate student, Snow interned with the Dallas Chamber of Commerce where she helped develop the first Leadership Dallas program.

Much of Snow’s career was devoted to working in federal service, and she served for a time as the Federal Women’s Program coordinator for the five-state Dallas Region. During her federal employment, Snow suggested and implemented a nationwide program to train and employ blind persons in Federal Job Information Centers.

Snow has served on many boards. She was selected as the inaugural chair of the Arkansas Women’s Hall of Fame, and was named president of the Arkansas affiliate of Susan G. Komen for the Cure. She also served as a board member for the Butler Center for Arkansas Studies, the Arkansas Women’s History Institute, LifeQuest of Arkansas and Encore for Women’s Health.

She was president of the Arkansas Chapter of the American Society for Public Administration and a member of the Arkansas Governor’s Commission on the Status of Women, which produced a landmark report still used as a benchmark on women’s status.

“We were very proud that we published the first complete report about women that had been done in literally dozens of years. I was very proud to be a part of that and it did make a lot of difference,” Snow said. “For example, in one of the state agencies – the State Department of Education – when a young high school girl became pregnant, she was expelled. We got that changed. We felt she especially needed to continue her education with having a child to support. Plus, there was no penalty for the boy involved. That was one of our biggest successes, to give opportunities for those young women.”

Snow’s work with the commission fueled her passion and led to even more equality work. She met like-minded changemakers across the country through conferences and other networking events, including newspaper publisher, civic activist and governmental official Dorothy Stuck (1921-2021). Stuck and Snow formed a management and public relations firm in Little Rock called “Stuck & Snow Resultants.”

Snow authored two books that reached the bestseller list in Arkansas. “Roberta: A Most Remarkable Fulbright,” which she co-authored with Stuck, received an award of commendation from the American Association of State and Local History. Her second book, “Letters Home,” is a World War II memoir.

Snow is a founder and charter member of the BTĚěĚĂWomen’s Giving Circle, a member of the BTĚěĚĂPurple Circle and, most recently, the inspiration for the C.D. Wright Women Writers Conference. She was part of the Arkansas Women’s Foundation, which started “Girls of Promise.” She helped BTĚěĚĂfaculty and staff start “Girls of Promise” at UCA, which is now UCA’s “Girl Power in Stem.”

As president of Komen and a breast cancer survivor, Snow created a fundraising project called “4 Survivors, 4 Rivers, 4 a Cure,” in which she and three other survivors rafted four rivers, raising $10,000 for the foundation.

She also served as a board member for Southern Methodist University’s Archives of Women of the Southwest. She was among those honored by the archives in its “Remember the Ladies” program.
In spite of all her accomplishments, being honored with UCA’s most distinguished recognition came as a surprise to Snow.

“When I got the call from President Houston Davis, and he told me that I had been selected, I think my response is best described as a total shock,” she said. “It was not something I had ever expected. I really was floored by the news and flattered and honored at the same time. It means a great deal to me.”

Marlie Allgood ’18

From her beginnings taking art classes at a local church in Cabot, Arkansas, to a studio educator at the famed Crystal Bridges Museum of American Art located in Bentonville, Arkansas, Marlie Allgood ’18 did not foresee her future as an educator. After completing her degree at the University of Central Arkansas, followed by some traveling, she got the opportunity to return to her home state and work in both painting and teaching, thereby experiencing the best of art and education.

Allgood recognized her interest in art, specifically painting in oils, during her junior high school years when she participated in art classes and athletics. As she entered high school, her focus had shifted to art alone.

“I was finally like, ‘I don’t really like sports. What am I doing?’ And so I really took all kinds of art classes then. That’s when I started painting and really thought seriously as far as, ‘I want to be an artist, and I want to go to art school,’” Allgood said.

She started BTĚěĚĂas an art education major and later changed her major to studio art.

“I had great professors that really encouraged me to take it seriously. I committed to oil being my medium, and that’s still primarily what I do,” she said.

Her favorite piece was one she made for her senior show at UCA, which provided “a deep dive into creating it, giving real meaning behind it.”

The summer after graduating, Allgood worked as an intern for professional artists in New York. She then moved to San Diego to work security in a museum there. That experience is what led to her interest in working in museums. After deciding to come back to Arkansas, she was happy to take a job at Crystal Bridges, where she now develops educational programs. Allgood loves this job because she integrates art, education and community work.

“I deal with art every single day,” Allgood said. “I feel lucky to have that because I teach a lot of the kids’ art classes. I also organize and plan basically any studio art class that we have here. Our adult studio classes fall under me. So everything I do has some kind of gallery connection incorporating all the art that’s on the walls and all the amazing stuff we have inside and on the grounds to what we’re doing in class.”

When discussing how her experience has brought her full circle, Allgood readily recognizes how meaningful Crystal Bridges’ learning and engagement classes are for the community. Many of her students attend multiple classes.

“Sometimes they’re new, but a lot of times it’s like a core group of kids that are really growing up going into personal practice, and that’s an experience that most kids in the world don’t have. I think the most fulfilling thing is just seeing how the kids are getting that encouragement and exposure to the arts, whether they decide to be an artist or anything else.”

The museum also hosts events throughout the year that include art activities and hundreds of participants, creating a space and atmosphere where families and community members can come and spend time together. She enjoys seeing the impact of her work and believes UCA’s art department prepared her for this combination of art, education and community and credits her professors.

“I felt like I was in a tight knit community where my professors were able to give me one-on-one advice and help, and the fact that they took that very seriously meant that I was very well-prepared. Number one was to be knowledgeable about art, but also to have that experience and professional realm of what it looks like to have an art practice. They definitely put an emphasis on that, and I am thankful for it,” Allgood said.

Daniel Cockrell ’97, ’04

Daniel Cockrell ’97, ’04 is director of the Old State House Museum in Little Rock. He exhibits his passion for Arkansas history and the connections it makes on a worldwide stage by telling Arkansas’ story.

Cockrell, whose undergraduate degree was in kinesiology and exercise science, realized he had a passion for Arkansas history when he taught the subject to junior high students at the Palestine Wheatley School District in St. Francis County. In addition to teaching Arkansas history, Cockrell taught social studies and civics while also coaching baseball and football.

He had thought of transitioning into an administrative role, but teaching Arkansas history proved to be the highlight of his day.

“My favorite class was Arkansas history because this was my story – our story. These were things that I knew as a young man growing up here,” Cockrell said. “I love the stories. I knew I would go back to BTĚěĚĂto get a master’s in history because that’s what I loved most about my days.”

While completing his master’s degree, Cockrell had an opportunity to work as a part-time tour guide at the Old State House Museum. The rest is history.

“I fell in love with it because it’s everything I’ve enjoyed about teaching,” Cockrell said. “Then there was a full-time educator position that came up, and I was encouraged to apply for that because I loved being a tour guide. So, I get to tell our stories and tell them to people who are amazed by them.”

These stories build connections for the director and strengthen his passion for teaching and learning this state’s history. Arkansans, Cockrell said, have influenced people all over the world.

The “Play It Loud: Concerts at Barton Coliseum” exhibit at the museum features memorabilia from concerts of various genres. Cockrell says music serves well as a conduit for the connections he makes with visitors.

“It allows me a quicker connection to people from all over the world. I can work with a piece of knowledge that they already own—music,” he said. “Then I am no longer a foreign person trying to teach something they do not know about. I’m someone just helping them gain a better understanding of something they already have an appreciation for.”

Cockrell credits a great team and the museum’s mission for his success as director. They are “the best in the field because they created the field” of Arkansas history.

“Our goal is to better understand who we are and where we came from. I want everyone that walks through our doors to feel like there’s something about Arkansas that is a part of them – that they feel represented within these walls,” Cockrell said.

The team works together in research, archives and building exhibits that tell Arkansas’ rich story while making connections. This community outreach of the museum is termed by Cockrell as “invaluable.” They are already making plans to commemorate the building’s 200th anniversary in 2033.

Cockrell said his time at BTĚěĚĂprepared him for his various classrooms by showing him how he can make connections through critical thinking and creating empathy through the humanities. He believes the family dynamic at BTĚěĚĂprovided him a unique pathway to share history in an engaging way for visitors.

“I get the chance to talk to people from all over the world about my hometown, about where I grew up and my home state. The amazing characters that have come through here in the past, they do all the heavy lifting for me. All I do is tell their stories.”

On a given night at the Brewer-Hegeman Conference Center, one can hear a mix of languages spoken from its classrooms. That is the satisfying sound of the Community Language School.

The University of Central Arkansas outreach program offers foreign language classes to students, employees and community members. During the summertime, it hosts Bear Camps, welcoming children from ages 5 to 13 for weeklong deep dives into a new language.

“People take these classes to engage people on a familiar level,” said David House, the Community Language School director and a lecturer of Japanese at UCA. “Even if it means being only able to say greetings or ask simple questions, speaking in another person’s native language means you’re meeting someone on more positive terms. That can lead to a new friendship or make a difference in a professional setting.”

Created in 2007, the Community Language School started as a program exclusively for elementary students and offered courses including Arabic, French and Mandarin. At the time, children in the area had few options for foreign language education because many, if not most, elementary schools lacked those classes. BTĚěĚĂsought to address this education gap and encourage a more multilingual society and cultural understanding.

According to the Journal of Child Language, there’s a reason why children outclass adults in their ability to learn new languages, as the adolescent brain begins developing its memory capabilities and passive learning skills. This makes childhood the sweet spot to learn the rules of a language.

The Community Language School has evolved over time. The program introduced classes for adults, and the ever-changing demand of offerings has made some languages more popular than others. Now, it offers a robust catalog of online classes — largely developed because of the COVID-19 pandemic — and has pivoted its classes for elementary-aged children to interactive summer camps.

The Bear Camps are never ones where children sit still. During the 2022 summer camp, children had options in Japanese and Korean in largely regimented days. Mornings were dedicated to exercises to warm up the minds of campers with physical activities connected with a culture, whether it be a Japanese dance, singing a popular Spanish-language song or a game of Red Light, Green Light — a nod to the popular Korean-language Netflix series, “Squid Game.” Everything the children partake in is meant to encourage speaking the language and connecting it to practical aspects of that culture.

“We often show videos of children, a similar age to the camp goers, exploring their native countries and saying the greetings and phrases,” said House. “As our students speak these same words, we want them to connect with this new culture.”

Through this engagement, students learn about the aspects of life in another country that may seem familiar and the wondrous parts that are quite different: an introduction to their school life, the cuisine, traditional festivals and forms of entertainment.

The camp ends with students presenting crafts they made, ranging from Day of the Dead masks to traditional crowns from the Korean Silla Dynasty. They recite the colors of the rainbow in a new language, write their names in a different alphabet and use simple phrases. By the end of the week, the campers leave using their newly learned version of “rock, paper, scissors” in another language, no doubt engaging their parents and siblings in endless sessions of fun back home.

Year-round, adults gather for classes for an hour-and-a-half a week for 10 weeks.

“The reasons why people enroll vary,” House said. Sometimes students pick up a language out of a prior interest in the culture, such as influence from a popular K-pop musical genre or Japanese anime. Some are current BTĚěĚĂstudents who wish to be able to reach out to a friend or classmate among the university’s sizable international community, while others want to enjoy a new hobby or reach out to others in a society that is increasingly multilingual.

“Given that over a fifth of U.S. house-holds speak a language other than English and that the percentage of Hispanics in Arkansas has grown tenfold in the past 20 years, offering affordable, convenient language and cultural programming is important,” said Katelyn Knox, the associate director for the School of Language and Literature.

“Ultimately, the Community Language School is about opening doors for people to make a positive impact on others,” House said.

When Stuttgart Park Avenue Elementary library media specialist Tia Brickey ’11 started her college career, she initially wanted to be a dental hygienist. As her undergraduate years progressed, she discovered that she didn’t have a passion for it. After conferring with a couple of close friends and her academic adviser, Brickey switched her major to elementary education. This, after her adviser stated that an aptitude test indicated she was more inclined to education technology, a result that surprised her.

“I [originally] went with dental hygiene even though I had a lot of educators in my family. I grew up around teachers and have always loved school and had positive experiences,” Brickey said. “I never considered being a teacher going into college … I remember going to two close friends and some other people and told them what my interest inventory indicated, and everyone said, ‘Oh yeah, you’d be a great teacher!’ And so, I followed that path, and I haven’t regretted it.”

In 2009, Brickey earned a National Board Certification for Teachers, becoming part of the less than 10% of Arkansas teachers with this certification, the highest professional certification for teachers.

“It was blood, sweat and tears. It was a grueling process,” said Brickey. “It changed how I thought about what I was doing and its impacts on students. The program was intended to be life or career changing, and it was. It was one of the most thrilling things to pass it.”

About a year after earning the certification, Brickey received an email that highlighted shortages in Arkansas, including library media.

“They were trying to get people to go into these programs, and they would help pay for the master’s program, which was very appealing. As I read that email I thought, ‘Well, you know what? I like to read. I think I would like to be a media specialist.’”

Brickey began researching what schools offered the program, and chose the University of Central Arkansas College of Education because it was nearby, flexible and well-known for its quality and cutting-edge education technology. She says the program prepared her for great things to come.

“I don’t know if I can adequately verbalize how well that program prepared me. I came into my school’s library before completing the program, even still, I walked into the library knowing how to build a collection, knowing how to sift a collection, how to collaborate with teachers and how to build dynamic programs. The word I have for the program is ‘phenomenal’,” Brickey said.

“The instructors were very well-versed and aware of what was happening in the library media world.”

“There was this change on the horizon with Ed Tech coming and they were already preparing us for the rapid changes.”

During her orientation, Brickey learned that “being a librarian is about more than just promoting literacy. There are so many different hats that you wear. It’s also about citizenship.”

This citizenship became furthered by her community outreach via a Bookmobile, which she lovingly calls “Betty.” Brickey and her co-worker and close friend Tawnya Herring run “Betty” during the summers to help promote literacy and learning.

Brickey and Herring first came up with the idea when they attended a yearly library conference that had a session about bookmobiles. Herring brought up the idea at a dinner after the session.
“She was telling me about it and I said, ‘We have to do that. We have to make it happen.’”

The educators started their grant-funded project in 2015 using a food service van and plastic tubs filled with books. As the program grew more popular and more funding became available, they were able to purchase a custom bookmobile in 2019 which was perfect for their summer runs into the community providing books for children and their families in Stuttgart, Arkansas.

Brickey, who is an avid reader and lifelong learner, wanted to spread the joy of reading to the community and improve her students’ education.

“The ultimate goal has always been to promote literacy to combat the ‘summer slack.’ It’s well documented that kids can lose up to 20% of the literacy gains they made during the school year,” Brickey said. “That can stack up and become two to three grade levels by sixth grade, so we knew we wanted to combat that. We wanted to get out and get books in the hands of kids.”

“We have a lot of students in our community who don’t have books in their houses. We’ve seen children from the age of three and now they’re in middle school. So we’ve had that relationship we’ve built with kids and parents. Parents will come and ask for something they can read together. We’ve learned that our community does have a love for reading.”

Brickey was a semi-finalist for Arkansas Teacher of the Year in 2021. She has also initiated new technologies in her K-4 school which “let students lead the way” by learning about coding, robotics and 3-D printing.

The professional and personal legacy Brickey hopes to leave is one of building a future through literacy and learning – a field that, initially, she hadn’t thought of entering.

“I really just want my kids to be readers and understand that literacy not only helps you academically, but it [also] helps you to be a better person. It makes you a better citizen by imparting compassion and empathy.”

UCA’s annual Day of Giving event on March 9 saw the largest dollar amount raised in its nine-year tenure. With a total of more than $1.2 million raised, the university is at 94 percent of its $100 million goal for the BTĚěĚĂNow: Impact Arkansas and Beyond campaign. And while the Day of Giving may be counted in dollars and cents, the lasting impact for students, faculty and community is immeasurable.

Funds raised during UCA’s Day of Giving assist students in several ways including emergency funds, the Bear Essentials Food Pantry, scholarships, new learning equipment and research funding. Additionally, the Day of Giving promotes morale by giving everyone an opportunity to participate.

This year’s event saw the College of Education raise their highest total to date. Dr. Victoria Groves-Scott, dean of the college, said these funds make “a huge, huge difference for our students.”

Emergency funds help students in many ways, such as providing gas for student teachers who commute to area schools during their internships. “That’s what really drives the enthusiasm is that we can have contact with these students, we know them, we know their situations, and we know that this money can really make a difference,” she said.

The food pantry at BTĚěĚĂalso benefits from Day of Giving Funds. With an average of 428 visits per month, the Bear Essentials Food Pantry is a tool to prevent food insecurity for students, faculty and staff.

“We rely on donations from different groups to help keep the pantry afloat,” said Food Pantry Coordinator Will Baker. “In April, we had 606 visits to the pantry. That’s roughly 150 people per week. We raised $5,260 during this year’s Day of Giving and that has helped us buy a lot of food to help support our BTĚěĚĂcommunity. We are just so thankful to have people to help support us. We would like to just say ‘thank you’ for helping us help someone else.”

Scholarships and new learning equipment along with funding for research are other vital parts of UCA’s campus benefiting from the Day of Giving’s immense impact. “The amount of money that’s given to scholarships and the number of students that will benefit from a college degree because of those scholarships changes everything for the individual and their family, so that is a huge legacy,” said Groves-Scott.

Students can also be a part of the Day of Giving through either giving or volunteering. Student Government Association (SGA) 2022-23 executive president Courtney Clawson ’23 said Day of Giving has many benefits for the student body. Every year, SGA matches the amount given by students and then they choose a different BTĚěĚĂFoundation scholarship fund to support in order to help as many students as possible.

Students also volunteer by taking donations at the SGA’s table on Day of Giving at the Ronnie Williams Student Center. Clawson said the best part of that is the opportunity to see students getting involved and giving back in whatever way they can. Students supporting each other builds a connection. “And, so I think students are seeing that [and] they’re like, ‘Oh! We can actually do this,’ and it builds morale on campus,” she said.

Different colleges participate in Day of Giving with creative approaches that bring in faculty and student participation. The College of Education had a table in front of Mashburn where students could drop a quarter in a bucket and receive a hand-made trinket. This allows all students to participate and have a reminder that they gave. “Every little bit helps, and we want them to know that right away,” said Groves-Scott.

Fans of UCA’s Athletics program also played a significant role in the Day of Giving event by committing more than $250,000 this year. Athletics Director Brad Teague said, “It is empowering to see how our alumni and campus community have embraced it. It affords our institution great awareness.”

Matt Whiting, associate athletic director for external relations, agrees, “Gifts received on Day of Giving have a tremendous impact on our athletics program. These gifts enhance the student-athlete experience at UCA, provide a significant boost to all of our programs, and help us achieve our goal of competing for championships in the classroom and in competition. The generosity and support from all donors is felt throughout the athletics program, and we are very appreciative of their leadership on this day.”

The area community also benefits from UCA’s Day of Giving. The Main Stage EdUCAtion Series program at Reynolds Performance Hall offers Arkansas K-12 students the opportunity to watch and engage in performances by professional national-touring artists which raises cultural awareness and puts an emphasis on the importance of the arts. Reynolds Performance Hall raised their largest total to date this year proving their dedication to expanding the curriculum for local students and impacting their future.

Amanda Horton, executive director of public appearances, said the Main Stage EdUCAtion program exposes children to the arts. “We are planting a seed for future artists and arts lovers, but also future college students, and [this exposure] broadens their view of the world, helps them understand different perspectives and embraces critical thinking.”

Horton continued, “In addition to show expenses, we also provide access for all students regardless of their economic status. Therefore, we donate free tickets to around 40 percent of our students that qualify for free/reduced lunch. For many years our Day of Giving campaign funded the tickets for students who were not able to afford the $5 ticket price.”

BTĚěĚĂis a big-small university: a big-small university with a heart for giving back. Students participate in the Day of Giving knowing they are supporting each other. Faculty want to watch their students excel during their time here, so they volunteer and give enthusiastically to add to that excellence. Alumni give and further their legacy with their generosity and kindness. Donors and friends are also giving and seeing the great impact giving has for so many.

The BTĚěĚĂNow: Impact Arkansas and Beyond campaign now sits at more than $94 million of the $100 million goal, and that is because of all who gave.

“The current campaign total is the result of the continued engagement of our entire community of students, faculty, staff, alumni, donors and friends,” BTĚěĚĂPresident Houston Davis said. “They are dedicated to BTĚěĚĂand to supporting the positive impact our graduates make in communities across our state and beyond.”

The BTĚěĚĂDay of Giving shows a campus community aware of the needs of students, faculty and staff. It also shows the university’s unwavering dedication to giving back. Alumni, donors, friends, faculty, staff and students, all are welcome to give and grow, making UCA’s Day of Giving more than just a day for numbers. It is a day that shows the generosity of the BTĚěĚĂfamily and the impact of giving as a characteristic of leadership. When we all give, we all grow — together.