Getting Schooled in Museum Education

student interns strike a pose. Courtesy UCSB Art, Design & Architecture Museum.

Art, Design & Architecture Museum student interns strike a pose. Courtesy UCSB Art, Design & Architecture Museum.

Interns at the Art, Design & Architecture Museum earn academic credit and valuable experience

By Leslie Dinaberg
Wednesday, August 28, 2019 – 06:00 Santa Barbara, CA

When this year’s cohort of interns take their place at UC Santa Barbara’s Art, Design & Architecture Museum (AD&A Museum), they’ll have the opportunity not only to add valuable skills to their own resumes, but also serve to the University and the broader Santa Barbara community.

“We are contributing to the development of the museum field by fostering future professionals,” said Elyse Gonzales, AD&A Museum’s acting director. “I also see the internship program, and all of our efforts really, as a means of developing future museum visitors, members, and donors for our museum and all museums in general. Our goals for the undergraduate internship program at the AD&A Museum are quite ambitious.”

Internships for academic credit are offered in the curatorial, collections management, archival management, programs/events, education outreach and public relations departments of the AD&A Museum. The museum also offers collaborative internships with the University Library’s special collections department; the Santa Barbara Museum of Art, where interns serve as gallery guides for students in grades six through 12; and with online platform impactmania — in collaboration with the Neuroscience Research Institute, Department of Religious Studies and global partners — where interns work to deliver a suite of interviews, interactive presentations, and events related to the topic “Human Mind and Migration.”

“I approach all of our UCSB students — really all students — who come to the museum the same way, with a warm welcome, emphasizing that the museum is for them,” Gonzales said. “If we can get them to visit while they are at UCSB, give them a positive experience and help them understand that the museum is not an intimidating place — this is not a place that is about exclusion, it’s about inclusion — then you’ve hooked a museum-goer for the rest of their life.

The more we can reach out to and engage younger generations, the better we are going to be in the long run. And when I say ‘we’ I mean the AD&A Museum, but also museums in general.”

Gonzales credits much of the vision for the internship program to Bruce Robertson, the recently retired museum director. “Studies reveal that most museum professionals and others in the arts became interested in these fields because they had a pivotal moment with an object or a formative creative experience. Knowing that, and with education as the imperative of the entire university, we immediately understood that we could make a significant contribution to our field,” Gonzales said. “But, also the reality of our situation is that we have a lot of tasks, projects, and events that need to be executed and managed and loads of ambitions to do even more. Knowing this, it became clear that working with students would not only help them but help us achieve our goals and mission.”

Focused on professional development, the resulting program pairs students with employees at the museum.

“The students have been great to work with — they are excited to learn new things, go ‘behind the scenes’ at the museum, and are able to explore possible career paths,” said Architecture and Design Collection Reference Archivist Julia Larson. “The students are eager to come in for their intern shifts because they are working on concrete projects — putting materials in folders, organizing and labelling collections, assisting with cataloging which they can cite as examples of work projects for future jobs or grad school. They also ask a lot of good questions and force me to think through my work and how best to explain things.

“The students learn how to process archival collections,” she added, “which is very hands-on work.”

Said Susan Lucke, collections manager and registrar, “We rely on our interns so much. They’re just not doing entry-level work. They actually get to do work that I would do. We need the help, and they gain a lot of experience and that’s so useful when they start to look for a job.

“I think it’s helpful for kids to look at all their options in school and this is a really a good program,” Lucke continued. “It’s not like sitting in a classroom with 300 other kids. It’s more of an intimate experience, and students get a lot of one-on-one attention plus it enables them to look at another side of life.”

AD&A Museum interns have gone on to graduate school; the Peace Corps; and to careers at many different kinds of museums, including the Smithsonian, the Peterson Automotive Museum, the Santa Barbara Museum of Art, the Museum of Contemporary Art Santa Barbara and the Architectural Foundation of Santa Barbara, among others.

For-credit internships are open to undergraduates in all majors. “We find that many of our interns love art and architecture but also feel like they need to have a degree in something else, something they perceive as being more stable,” said Gonzales.

“The impetus behind this internship program is primarily to help give students professional experiences but also to help alleviate student and parental concerns about future career opportunities,” she added. “In addition, one of my goals is to help reflect the diversity of our campus and to create opportunities to diversify the field for future museum leadership.”

What she feels most proud about the internship program is that when students leave, they have concrete real- world experiences they can put on a resume and several individuals willing to give them a great reference. “A really smart and committed intern can do wonders,” Gonzales noted. “We should know, our museum wouldn’t function half so well without their terrific help.”

Originally published in The Current (UCSB) on August 28, 2019.

Bells Will Be Ringing

Performance by university carillonist Wesley Arai celebrates the 50th anniversary of Storke Tower

By Leslie Dinaberg

Tuesday, August 20, 2019 – 12:00, Santa Barbara, CA

University Carillonist Wesley Arai, courtesy photo.

University Carillonist Wesley Arai, courtesy photo.

From a small space atop Storke Tower, the music Wesley Arai creates on a 61-bell carillon rings out across the UC Santa Barbara campus.

Audiences will be treated to a special program Sunday, Aug. 25, when Arai, the university carillonist, gives a recital as part of series celebrating the 50th anniversary of Storke Tower. Free and open to the public, the concert begins at 2 p.m. Listeners are encouraged to bring blankets or lawn chairs to sit on the grass beneath the tower.

“I realize that most people aren’t familiar with the carillon, so I try to make my recitals accessible and varied,” said Arai, who also oversees the maintenance of the instrument and organizes guest carillon recitals as part of his duties. The summer concert will include well-known classical music, popular songs and some music written specifically for the carillon. As a tribute to the 50th anniversary, Arai said, “I’ve been trying to also include music that is significant to the university and its carillon. Going with that theme, the concert will likely include some music written for the campus carillon, music written by past university carillonists and school songs.”

Arai, also a lecturer in the Department of Music, has performed extensively across the United States and abroad. He has recently performed in Australia, at the Eighth Berkeley Carillon Festival, at the Springfield International Carillon Festival and at the Congress of the Guild of Carillonneurs in North America, which this year took place in Lake Wales, Florida. In addition, he gave the dedicatory recital for the carillon at the University of Washington. Arai also performs annually at the Cathedral of St. John the Evangelist in Spokane, Washington.

In addition to the carillon, Arai has studied piano, trombone and voice, and has performed in a variety of concert bands, marching bands, jazz bands, orchestras and choral groups. He also enjoys arranging music and occasionally performs some of his own arrangements on the carillon.

An alumnus of UC Berkeley, where he received bachelor’s degrees in mathematics and in statistics, Arai discovered the carillon as an undergraduate student. “I would hear the bells all the time while walking to class,” he said, “and I heard there was a class to learn how to play — so I signed up and have been playing ever since.”

Enthusiastic to share his passion and skill, Arai invites UC Santa Barbara students interested in learning to play the Storke Tower carillon to email him at warai at gmail dot com to schedule a piano audition. Enrollment is limited to three students per quarter.

Storke Tower and its carillon were a gift from Thomas More Storke, former publisher of the Santa Barbara News-Press. The instrument consists of 61 bells cast by Petit & Fritsen of the Netherlands, with the bells weighing from 18 pounds to 2.5 tons and spanning five octaves. The carillon at UC Santa Barbara is a much larger modern copy of historical instruments that were invented approximately 500 years ago in the Low Countries of Europe. Then, tower bells were used to signal time, much like a clock chime, and as a means of additional notifications (e.g. an enemy is approaching) and directives, such as to close the city gates or go to church.

Eventually, the number of bells was increased and they were connected to a keyboard to facilitate the performance of music. A melody was often played to attract the attention of the townspeople before the hour bell tolled the time throughout the day. A carillon is played with the fists and feet, and the action is completely mechanical. To vary the dynamics of the music, the performer must strike the key harder or use a lighter touch, much like a piano.

Originally published in The Current (UCSB) on August 20, 2019.

A Standing Ovation for The Silver Bough

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough culinary team, photo by Joel Schmelzer.

By Leslie Dinaberg

Like its Irish mythological legend, The Silver Bough—the entry into the Celtic otherworld, believed to offer everlasting youth, beauty, health and joy, and a rich paradise of delights, where food was ever abundant and where travelers were treated as kings and queens—is an impressive bounty of elegantly prepared food and dramatic culinary theatrics. This intimate, eight-seat tasting menu fine dining experience is one of the most ambitious restaurant endeavors I’ve ever experienced.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

From the moment you enter the Montecito Inn, the new home of The Silver Bough, you are transported into an exquisite, magical world of high-class indulgence. The evening starts in the lobby lounge, where a personal concierge offers you specialty libations or champagne from a custom-made bar cart.  

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

Promptly at 7 p.m. (there’s only one seating per night, Thursdays-Sundays), you are escorted in a dark, theatrically anointed room, with an intricately designed Silver Bough-themed table as the focal point. Handcrafted and modeled after a voluminous Ginkgo tree, completed with painted brass butterflies and a glass top, the table—as well as the dishes, silverware, candelabras and serving pieces—was custom designed by award-winning American artist Michael Aram. Here the overture for the journey officially begins, with the host acting as narrator, guiding guests through the story of The Silver Bough and correspondingly gorgeous canapes that are almost too beautiful to eat—but I force myself, to the delight of my taste buds.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

At the end of the canape courses, a curtain I didn’t notice before is dramatically opened, revealing the main stage, a 16-foot, kitchen-facing Brazilian Quartzite chef’s counter, with Owner/Executive Chef Phillip Frankland Lee and his team of chefs there to greet us. There are from three to five executive-level chefs at your service on any given night. 

The Silver Bough, photo by Joel Schmelzer.

Owner/Executive Chef Phillip Frankland Lee at The Silver Bough, photo by Joel Schmelzer.

Each chapter in the main room starts out with an introduction of the ingredients. Act 1, the seafood chapter, previews a platter of moving King Crab legs, live spiny lobster, sea urchin, caviar and more.

The theme—that guests are to be treated royally—is impressively executed, as we watch Chef Lee and his team prepare each dish as if it were a precious work of art. Indeed, this meal is probably museum worthy. With the precision of a jeweler, Chef Lee adds gold leaf to the Sturgeon Caviar, which sits atop a gorgeous concoction of Lobster Gelee, Hazelnut Cream and Smoked Eel.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

And, in a dramatic dance that takes place for each of the 18 courses, the chefs have mastered  impressive choreography to ensure that each dish gets to each patron (along with thoughtfully selected wine or nonalcoholic beverage pairings) at precisely the same moment. Additional seafood dishes, each more incredible than the next, include Live Spiny Lobster Tartare, topped with local Sea Urchin and puffed quinoa; Pommes Souffle stuffed with Lobster innards whipped with Crème Fraiche, and topped with Sea Urchin and Carnations; and Vermillion Crudo. The Act 1 finale, which includes almost every ingredient used in the seafood chapter, is a delicious preparation of lightly grilled King Crab in sea urchin emulsion, with sourdough bread crumbs and caviar.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

Act 2, an equally impressive series of land-based courses, is again introduced with a peek at the ingredients, including Kings Pigeon from Flying H Ranch in Carpinteria, Olive Wagyu Ribeye, pasture-raised venison, caviar and an abundance of truffles.

Dishes include Kings Pigeon Breast with Pistachio Crust; a Liver Tartlette with a tasty Mini-Parker House Roll; a Kings Pigeon Leg. Both the Aged Venison Saddle with brown butter Roasted Chestnuts and the Venison Tenderloin with butter roasted Chantrelles smell every bit as terrific as they taste. In fact, the whole dining room is designed for amazing aromatics. Despite the huge number of courses, each one continued to dazzle both my eyes and my nose. 

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

While I hesitate to choose a favorite in a menu so filled with delights, perhaps with most memorable dishes were the two made with Legendary Olive Wagyu Ribeye. According to Chef Lee, the Silver Bough is only restaurant in the world to have this beef, and it’s no wonder. Billed as “the rarest steak on the planet,” it currently retails for more than $200 a pound and is sourced via Santa Barbara resident Ethan Lowry, co-owner of the online meat seller Crowd Cow. 

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

A mouthwatering cheese course of Andazul Goat’s Milk Blue with Fried Sourdough, Warm honey and Black Truffle bridges the savory and the sweet worlds with amazing flavors. 

The Act 3 finale, the domain of talented Pastry Chef Margarita Kallas-Lee, who is married to Chef Frankland Lee, begins with a Citrus vanilla Tea emulsion combining blood orange sorbet with basil blossoms and black lime. Additional jewel box-worthy dessert courses include the Strawberry Duck Liver Mousse, a Chamomile Custard with Shaved Truffles, Candied Bee Pollen and 24k Gold Leaf, and literally, a jewel box of Mignardises, comprised of a Kalamansi Pate de Fruit, a Blood Orange Pate de Fruit, a Strawberry-Creme Fraiche Bon Bon and a Tarragon-Buttermilk Bon Bon.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

Not quite ready to end such an enchanted evening, the chefs invite us to continue to imbibe and enjoy after-dinner drinks and aperitifs with the team, which was quite fun and the perfect capper to an amazing culinary experience.  

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

The all-inclusive tasting menu has a ticket price of $550/person, with a non-alcoholic specialty pairing available for $450/person (both inclusive of tax and gratuity). Obviously, this price point isn’t something most of us can indulge in every day, but I’m hopeful that a one-of-a-kind, gastronomic, theatrical experience like this will find its audience. 

For more information, visit 

Originally published in Santa Barbara Seasons on March 1, 2019.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough opening culinary team, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

The Silver Bough, photo by Joel Schmelzer.

Body-Mind Connection

UCSB Campus Bluffs, painting by Chris Potter.

UCSB Campus Bluffs, painting by Chris Potter.

BMCA somatic movement conference focuses on embodiment and brain research, with an indigenous education element

By Leslie Dinaberg

Monday, August 5, 2019 – 10:15

Santa Barbara, CA

Bringing together more than 70 presenters from around the world, the Body-Mind Centering Association (BMCA) presents its 34th annual interdisciplinary laboratory, research and workshop conference at UC Santa Barbara August 6-11.

brooke smiley.  Photo by Peter Aguilar.

brooke smiley.  Photo by Peter Aguilar.

Hosted by brooke smiley, a lecturer in the Department of Theater and Dance, this somatic movement conference features an array of workshops, panel discussions, presentations and performances. The theme, “Self and Other,” reflects the conference emphasis on the evolving indigenous embodiment in relation to dance, song and land.

“I wanted to create a focus on what it means to value our differences and also bring focus to our interconnectedness,” said smiley.

She anticipates approximately 130 participants at the conference, which is open to the public. “It’s interesting because we have a lot of people from different realms: science, dance, academia, choreographers, dancers, therapists and infant movement development specialists,” smiley said. “Movement research takes a lot of different forms out in the world. As host, I’ve been able to be supported in bringing a focus to an indigenous educational awareness about the land here, specifically before UC Santa Barbara was here, and the dances and the songs that came from the bodies in relationship to this land.”

With that awareness in mind, the Friday, Aug. 9 plenary session led by smiley, titled “Embodying Land in Dance and Song: Addressing Decolonization in Indigenous Ceremony and Performance,” includes a panel from the Santa Ynez Band of Chumash Indians. An indigenous dance artist herself, smiley was recently named a 2019/2020 Advancing Indigenous Performers Fellow by the Western Arts Alliance, a program made possible by a lead grant from The Andrew W. Mellon Foundation, and additional support from the Doris Duke Charitable Foundation and the National Endowment for the Arts.

Among the conference highlights:

• A two-part presentation by BMCA founder and Bonnie Bainbridge Cohen. “Engaging Self and Other through Embodiment, Part I” will begin at 12:30 p.m. Saturday, Aug. 10. Part II will take place at 9 a.m. Sunday, Aug. 11.

• 2019 Guggenheim Scholar Ann Cooper Albright’s two-part “Cultivating the 3R’s: Responsiveness, Resistance, Resilience” (Aug. 6 at 2 p.m. and Aug. 7 at 9 a.m. ). Cooper is professor and chair of dance at Oberlin College.

• Two evenings of dance performances (Aug. 7 and 8 at 8 p.m.) in 1151 Humanities and Social Sciences Building. Admission is free.

Founded in 1985, the BMCA is a professional organization dedicated to exploring, sharing and expanding body-mind centering work. Members reside around the world, including the Americas, Europe, the Middle East, Asia and Australia.

Additional conference details and registration information is available at A complete schedule of events can be found at

Originally published in The Current (UCSB) on August 5, 2019.

From Social Media to Pedagogy

With a spotlight on undergraduate research, a new campus journal covers a wide range of topics

A new journal aimed at promoting the research achievements of the campus’s undergraduate students has launched, featuring contributions from nine students in six different fields of study.

The Undergraduate Research and Creative Activities (URCA) Journal demonstrates the range of interests and talents of UC Santa Barbara faculty and students, according to Professor Anne H. Charity Hudley, director of undergraduate research and the project’s faculty advisor. “Each article is specifically tailored — thanks to the author, their mentor and our URCA peer review board — for a general readership in order to support the mission of the URCA office, which is to encourage students from all backgrounds and interests to come together as a scholarly community,” she said. “It’s been exciting to see that happen in person and online.”

URCA Journal Editor in Chief Sydney Leigh Martin, left, and Journal Editor Sarah Allen-Sutter. Courtesy photo.

Sydney Leigh Martin served as the editor-in-chief, assisted by Sarah Allen-Sutter as journal editor. “The URCA  journal is this new, innovative, academic thing and is the only journal on campus that is interdisciplinary,” said Martin, who graduated in June with a minor in professional editing and will begin law school at UC Irvine in the fall.

“We received papers from a lot of different disciplines, including a wide range of humanities and fine arts, math, life and physical sciences and social sciences,” Martin continued, noting that about a third of the submissions for the inaugural journal were selected. “It’s a wide range of research but a lot of it focuses on UCSB students. There are specific case studies that people do that are really innovative.”

She emphasized that undergraduate research journals are produced by undergraduate students. While Charity Hudley advised the editors, the reviews were all done by students because, as she explained, “if it’s an undergraduate research journal then students should be able to decide who goes in and who goes out and those students are the best indicator as to whether or not that paper is accessible to a general population.”

The review board consisted of the two editors and nine URCA peer advisors: Lesly Silva, Jordan Mitchell, Sabreena Sukhram, Erika Prado, Brenda Wu, David Lowe, Jasmin Morales, Wendy Santamaria and Xochitl Briseño. It is anticipated that this will be an annual publication.

The 2019 UCSB Undergraduate Research and Creative Activities Journal publications include:

A Black Feminist Approach to Recreational Pole Dancing by Brianna A. Robinson, Department of Feminist Studies; Faculty Mentor, Laury Oaks

Unpaid Interns: ‘Breaking Persistent Barriers’ Without Employee Status and Anti-Discrimination Protections by Chelsea Borg, Department of History; Faculty Mentor, Nelson Lichtenstein

White by Association: The Mixed Marriage Policy of Japanese American Internees by Ashlynn Deu Pree, Department of History; Faculty Mentor, Adrienne Edgar

Impact of Ethnic Studies Pedagogy on Latinx Student Achievement by Jose Tapia, Department of Chicanx Studies; Faculty Mentor, Veronica Fematt

Literacy and Social Media: Young Adult Readers in Goodreads Online Communities by Emma Anderson, Department of English; Faculty Mentor, Elizabeth Heckendorn Cook

Investigating the Potential of Interactive Digital Learning Tools by Chinmay Surpur, Department of Psychological and Brain Sciences; Faculty Mentor, Richard E. Mayer

Effects of Stress on Cognition and Performance (ESCAPE) by Chinmayee Balachandra, Department of Psychological and Brain Sciences; Faculty Mentor, Michael B. Miller

Exposure to Multicultural Environments: Influence on Social Relationships and Altruistic Behavior by Paola Rivera, Department of Psychological and Brain Sciences; Faculty Mentor, Vanessa Woods

How Remittances Are Changing Poverty Spending in Central America by Kuvimbanashe Edwin Chikukwa, Department of Political Science; Faculty Mentor, Kathleen Bruhn

Created as an open-access publication in order to expand the reach of the undergraduate research, the journal is available at

Originally published in The Current (UCSB) on July 26, 2019.