During 麻豆原创 Celebrates the Arts 2026, Legally Blonde took the stage with a twist audiences didn鈥檛 see coming 鈥� one that blurred the line between performance and possibility.

The story still delivered the heart: College student Elle Woods chases love, faces doubt and ultimately discovers her own strength along the way. But this production layered something new into that journey: state-of-the-art robotics. At 麻豆原创, Florida鈥檚 Technological University, innovation shows up in unexpected places 鈥� even onstage.

The result was a show that felt both nostalgic and forward-looking, where dynamic musical theater met emerging tech.

Musical theatre major Lyric Stratton played the perfect protagonist, Elle Woods, whose dreams of settling down after college graduation are cut short when her boyfriend, Warner, breaks up with her to attend Harvard Law School. Devastated and determined to get him back, Woods pulls together an unconventional application and charms her way into Harvard Law.

High-energy dance numbers powered the production from start to finish. In one standout scene titled 鈥淲hat You Want,鈥� Woods turns her Harvard application into a full-scale performance, trading a traditional essay for a show-stopping number alongside the UCLA cheer team.

The number featured 25 students on stage and took 13 hours to stage.

Three characters led a Harvard admissions conference room scene, delivering sharp dialogue as they debated Woods鈥� fate.

From left: Joey Fields as Winthrop, Tristan Haberland as Lowell and Jasper Allen as Pforzheimer.

Just as the audience settled into the story, two robot dogs stepped into the spotlight. During the nine-minute number 鈥淲hat You Want,鈥� they appeared in a Harvard campus scene where engineering students 鈥� played by theatre majors Mia Freeman and Isabel Ramos 鈥� walked them around as UCLA cheerleaders looked on in awe. In a brief but striking moment, technology wasn鈥檛 just a prop 鈥� it became part of the story.

Operated live on stage, the robots transformed the moment into a seamless blend of performance and engineering. Freeman and Ramos were trained by Mohsen Rakhshan, assistant professor in the Department of Electrical and Computer Engineering (ECE) in the College of Engineering and Computer Science, and his graduate teaching assistant, Chinmay Dhanraj Nehate.

鈥淲e鈥檙e seeing the incorporation of robotics into different things at an accelerated rate, including art. It’s exciting,鈥� says Rakhshan, who closely collaborated with the production鈥檚 director to bring the robots into the show.

The electrical and computer engineering department houses 15 state-of-the-art robot dogs, nine of which are in Rakhshan鈥檚 Laboratory for Interaction of Machine and Brain. There, he and his graduate teaching assistant use them for both instruction and research 鈥� teaching an Introduction to Robotics course and training the robots to navigate the uncertainties of real-world environments.

During last year鈥檚 annual 麻豆原创 football Space Game, Michael Jablonski, assistant professor of musical theatre in the College of Arts and Humanities, watched the ECE department鈥檚 robot dogs in motion across the field. At that moment, he saw more than entertainment 鈥� he saw the potential for storytelling. A way to take something typically confined to classrooms and labs and give it emotion and meaning.

When planning聽Legally Blonde, a story rooted in breaking expectations, the idea came naturally: why not let innovation share the stage?

Even with its high-tech twist, the show stayed true to its roots 鈥� including Bruiser, Woods鈥� loyal (and stylish) Chihuahua, brought to life by a real dog named Marty McFly.

During 鈥淲hipped Into Shape,鈥� fitness guru Brooke Wyndham, played by theatre major Isabel Ramos, led her cellmates through a relentless workout. Accused of murder, Wyndham refused to reveal the truth when Woods visited 鈥� unless she could keep up 鈥� turning the moment into a high-energy number where actors sang while performing intense jump rope choreography.

In the climactic courtroom scene, Woods took the lead, defending Wyndham and using sharp instincts, wit and confidence to expose the real culprit. It was a defining moment where she proved she belongs, blending intelligence, intuition and boldness to win the case.

Front row from left: Lyric Stratton as Elle Woods, Isabel Ramos as Brooke Wyndham and Jaxon Ryan as Emmett Forrest.

Along the way, Woods stops chasing approval and finds her confidence, purpose and voice. This central theme drew Jablonski, Legally Blonde production director, to the female-driven story.

鈥淭his story showcases how a very strong, intelligent woman [Elle Woods] finds her way in a male-dominated world. She initially follows love, but through it, she finds a space where she fits perfectly,鈥� Jablonski says. 鈥淭hrough being misjudged and stereotyped, we come to see that she鈥檚 far above the people around her in her thinking and in the way she brings humanity into her work as a lawyer.鈥�

What audiences saw was only part of the story. Behind every scene change, lighting cue, and musical number is a network of students, faculty, and staff working in sync 鈥� often just out of sight. Behind the curtain, more than 50 people managed lighting, sound and scene transitions in real time.

The music didn鈥檛 just support the story 鈥� it drove it. Legally Blonde, presented through special arrangement with Music Theatre International, featured music and lyrics by Laurence O’Keefe and Nell Benjamin, with 23 total musical numbers. The book is by Heather Hach.

Projection-mapped animations and imagery 鈥� created with QLab software and delivered through two high-brightness front projectors 鈥� were precisely timed to the music, blending seamlessly with choreography and lighting to shape the show鈥檚 visual rhythm.

鈥淓ach scene had its own visual identity, with projections adding specific details that help it stand out,鈥� says Tim Brown, associate professor of theatre design and technology. 鈥淭he goal is to support the show鈥檚 fun, colorful world in a clear and energetic way.鈥�

Costuming defined each character with bold color and precise detail. Huaixiang Tan, professor of costume and make-up design in the School of Performing Arts, led the design, with support from assistant costume designers Sabrina Cervilla and Aisha Bader-Ortega. The production featured more than 100 costumes, each the result of hundreds of hours of craftsmanship.

In the Theatre 麻豆原创 scene shop, students began using hands-on technical skills to build and refine set pieces in January.

Built through layers of paint, planning and precision, the set came together as a large-scale collaboration among more than 40 students.

Designed for transport, much like a touring production, the set added an extra layer of complexity and was built to be assembled at the Dr. Phillips Center for the Performing Arts. It was completed and delivered on March 30.

That鈥檚 because every dollar ripples far beyond a single day. Every gift opens doors: for students to chase a dream, create unforgettable memories, boldly invent the future and be recognized for their hard work. And every donor does more than give 鈥� they ignite potential, spark inspiration and elevate Knights for generations.

With 麻豆原创 Day of Giving 2026 right around the corner 鈥� Thursday, April 9 鈥� we鈥檙e reflecting on the transformational effects and personal stories of triumph that emerged from last year鈥檚 show of support, knowing that shortly, our collective contributions will set another wave of Black & Gold breakthroughs, successes and discoveries into motion.

Prioritizing Unique Opportunities

Area of Support: College of Engineering and Computer Science Dean鈥檚 Excellence Fund
Amount Raised: $67,421
Impact: Learning experiences

Growing up in rural Ohio, Jordan Hires, an aerospace engineering major and Burnett Honors College Scholar, often gazed at the boundless night sky, inspired by the astronauts from her home state of Ohio. Moving 1,000 miles away for college was daunting, but manageable. With her sights set on becoming a chief engineer for deep space flights, 麻豆原创 offered two key benefits: a renowned aerospace engineering program and proximity to NASA.

鈥淚t鈥檚 the best decision I鈥檝e made,鈥� she says.

Since becoming a Knight, she鈥檚 done backstage tours at NASA, met with industry leaders from Mitsubishi, Siemens Energy and Lockheed Martin, and even talked to a former astronaut at an awards ceremony. This past summer, she worked alongside Professor Kareem Ahmed in the Propulsion and Energy Research Lab as a U.S. National Science Foundation Research Experiences for Undergraduates (REU) fellow, testing a solution to remove heat from engines 鈥� research that could make hypersonic aircraft safer and cheaper. It was her second research experience as an undergrad.

鈥淚 don鈥檛 know if it鈥檚 every little girl鈥檚 dream to work on classified projects with military and civilian applications, but it definitely was this little girl鈥檚 dream,鈥� she says. 鈥淭hanks to 麻豆原创, I鈥檝e had experiences that most students don鈥檛 get until graduate school.鈥�

Many of those opportunities are made possible by the College of Engineering and Computer Science Dean鈥檚 Excellence Fund, which supports hands-on learning, cutting-edge research equipment and innovative initiatives.

Supporting Lasting Memories

Area of Support: Marching Knights Scholarship Fund
Amount Raised: $14,067
Impact: Multiple scholarships for band members

For 麻豆原创 Marching Knights President Zoie Taverna, two moments define her 麻豆原创 experience: the rush of running onto the field for her first game and the bittersweet joy of singing the alma mater song alongside her best friend for their final game before graduation.

鈥淔or three whole years, we stood next to each other in the stands, screaming, feeding off each other鈥檚 energy,鈥� Taverna says. 鈥淔or her last game, we went all out. We couldn鈥檛 even talk by the end of it. We cried while singing the alma mater.鈥�

Taverna is among the Marching Knights whose experiences at 麻豆原创 are bolstered by the Branen Band Endowed Scholarship, which helps cover essentials like textbooks, meals and rent that her Bright Futures scholarship does not. As a mechanical engineering major, band leader and corresponding secretary for the national chapter of Kappa Kappa Psi, she packs her days with coursework, practice and student engagement.

During the summers, she works full-time at a summer camp for kids, and she spends her weekends and evenings at Panera Bread to save up enough to cover the expenses to allow her to stay focused while in school.

鈥淲ithout scholarships, I wouldn鈥檛 have the time to do extracurriculars, such as Marching Knights, where I get to represent 麻豆原创 in Central Florida and around the world,鈥� she says. 鈥淎nd I wouldn鈥檛 get to spend every Saturday in the Bounce House with all of my friends, immersed in the band life we love.鈥�

Illuminating Pathways

Area of Support: College of Optics and Photonics (CREOL)
Amount Raised: $54,880
Impact: $4,880 Went Toward Supporting 19 scholarships for attendees

This summer, high school student Chloe Phung left the bright lights of Ho Chi Minh City, Vietnam, to spend a week immersed in the study of light on 鲍颁贵鈥檚 campus. As part of the third Laser and Photonics Summer Camp hosted by CREOL, she joined more than 50 high school students from across Central Florida 鈥� and around the world.

鈥淚 had the chance to learn many things, to learn more about optics, lenses and lasers,鈥� Phung says.

In addition to learning opportunities, the camp shines a light on the photonics industry, where more than 10,000 jobs open each year in the U.S., despite only 80 to 100 students in the nation graduating with bachelor鈥檚 degrees in photonics annually. A third of those graduates come from CREOL.

Paying it Forward

Area of Support: Dr. Michelle R. Dusseau Communication and Community Impact Endowed Scholarship Fund
Amount Raised: $1,780
Impact: $1,500 scholarship for one communication major, awarded annually

Beatrix Alerte transferred to 麻豆原创 in Spring 2024 with a plan: build community on campus, explore a career in media, stay active in service and say yes to every opportunity.

The first three goals came naturally. She enrolled in classes, mentored two freshmen as part of the 麻豆原创 chapter of Big Sister Little Sister mentoring program and served as a trip coordinator for the Alternative Spring Break Program. Alerte also gained work experience as a marketing ambassador for Project BEST, a Student Support Services project that supports first generation students, and as an intern with 麻豆原创 Athletics.

Her final goal was made easier this summer when Alerte was named the inaugural recipient of the Dr. Michelle R. Dusseau Communication and Community Impact Endowed Scholarship, created this past year by longtime the College of Science‘s Nicholson School of Communication and Media faculty member Michelle Dusseau.

鈥淭his scholarship has given me the freedom to say yes to career-building opportunities, many of which are unpaid, while worrying less about covering

personal living expenses,鈥� Alerte says. 鈥淭hat support makes all the difference.鈥�

This 麻豆原创 Day of Giving, we鈥檙e launching Knights to new heights! Save the date to on Thursday, April 9, 2026. Check out the to maximize your impact. And get ready to join your Knight Nation family as we Bounce, Stomp, Splash and Cheer our way to more impact than ever before.

In 2026, we celebrate the United States of America鈥檚 250^th birthday 鈥� also known as the semiquincentennial (a word so convoluted that spellcheck doesn鈥檛 recognize it, so we have decided America250 is simpler). As we do so, we should take some time to reflect on what we think we know about our bold declaration of independence and the American Revolution that followed.

Here are some common misconceptions about the revolutionary era that show popular memory doesn鈥檛 necessarily reflect reality.

鈥淭he British(?) are Coming!鈥�

Legend has it that in Boston on the evening of April 18, 1775, silversmith and now folk hero Paul Revere watched for flashing lanterns from the Old North Church 鈥� one if by land and two if by sea 鈥� and when he saw the two flashes, he jumped onto his horse for his midnight ride through the Massachusetts countryside yelling the 鈥淏ritish are coming!鈥�

This shout brought out the militia in Lexington and Concord and also warned Sam Adams and John Hancock, two revolutionaries who some believed were the target of this secret British military mission. Armed and ready for the British soldiers to enter their villages, early the next morning, the militia fired the first shots of the American Revolution and pushed the Redcoats back to Boston. A fighting war had begun.

If one ponders the date for long enough, one might see the problem with the words that Revere allegedly shouted. In April 1775 (and for 14 months thereafter), Revere, the militia, and everyone he woke up were still British. Most likely, he shouted 鈥渢he Regulars,鈥� 鈥渢he Redcoats,鈥� or 鈥渢he king鈥檚 men,鈥� were coming, which all have less catchy rings to them.

Washington鈥檚 (Perilous?) Crossing.

If we can鈥檛 believe our ears regarding Paul Revere鈥檚 Midnight Ride, we also cannot believe our eyes about one of the most famous images of the American Revolution, Washington Crossing the Delaware. The giant (12 feet by 21 feet) painting depicts Christmas evening 1776 when the United States鈥� independence hung in the balance.

General George Washington and his army traveled from Pennsylvania where they would surprise Hessian mercenaries at Trenton, New Jersey.聽 After a tough few months which included the evacuation of New York City, these victories helped restore the Americans鈥� morale.

German American artist Emanuel Leutze painted the image in Germany almost 75 years later. Meant to inspire German revolutionaries more than serve as an exact depiction of the event, the painting is filled with inaccuracies. It contains a flag that did not yet exist, ice bergs that did not appear in the Delaware River, Washington positioned in a manner which unnecessarily courted the danger of falling overboard, too much light for the crossing, and far too small a boat (in 2011, Mort Kunstler painted a more accurate version).

Yet, at the same time, others have praised Leutze鈥檚 version for sacrificing precise details for a larger truth. His painting has a wide cross section of Americans including farmers, riflemen, a Scotsman, two future presidents (Washington and James Monroe), men from a variety of states, an African American, and perhaps a woman. Thus, it is the archetypal American melting pot and conveys Americans鈥� determination in the time that tried men鈥檚 souls.

All Colonists were not Team Rebel.

We know that 13 original colonies revolted against British rule. In 1776, however, Britain had more than 30 colonies stretching from Canada through the Caribbean. Among those was Florida. Technically, Florida was two colonies (East Florida and West Florida). One would think that the two Floridas would have excitedly joined their neighbors to the north in rebellion as they had only been British colonies for 13 years (having been under Spanish rule from 1565鈥�1763).

Yet, when news of the Declaration of Independence reached St. Augustine, instead of embracing the document, the settlers reaffirmed their loyalty to the king and hung effigies depicting two leading revolutionaries that Revere had warned: John Hancock and Sam Adams. The former was the first signer of the Declaration of Independence and the president of Continental Congress, and the latter was a Boston radical, better known today as a brewery owner.

Why didn鈥檛 the Floridas revolt? Frankly, they disliked the British colonies more than they disliked England. They saw themselves as connected to the British Caribbean colonies, which also remained loyal to the king.

The Legend Behind A Cherry Tree.

In myth busting about the American Revolution, one can also tackle George Washington 鈥� he did tell lies, he didn鈥檛 chop down a cherry tree (that anecdote was invented by 19th-century bookseller Parson Weems), and the once commander-in-chief didn鈥檛 win many major battles in the early years of the revolution. However, Washington, if anything, is underestimated for his contributions to American history.

Washington did what many of his contemporaries considered to be unthinkable 鈥� he gave up power. Not once but twice.

When the war ended in 1783, Washington was a conquering hero who could have asked for anything. Instead, he simply requested retirement to Mount Vernon. Later, he returned to politics at the Constitutional Convention in 1787 and then was elected the nation鈥檚 first president in 1789. After serving two terms, he retired again (the constitutional provision limiting a president to two terms didn鈥檛 come until the 22^nd amendment in 1951).

Thus, he set a precedent that president would not serve for life but instead would rotate regularly out of office.

A Day to Celebrate 鈥� But Which Day?

None of the above should stop you from celebrating in July. After all, as one of the declaration鈥檚 authors and our second president John Adams wrote in letter to his wife about Independence Day, it 鈥渨ill be the most memorable Epocha, in the History of America.鈥擨 am apt to believe that it will be celebrated, by succeeding Generations, as the great anniversary Festival . . .聽 It ought to be solemnized with Pomp and Parade, with Shews, Games, Sports, Guns, Bells, Bonfires and Illuminations from one End of this Continent to the other.鈥�

Other than omitting hot dog eating contests, this sounds fairly accurate. Alas, nothing is ever simple. Adams wrote this prediction on July 3, 1776, about future July 2s (not July 4s).

On July 2, the Continental Congress voted to declare independence. Two days later, on July 4, its members adopted the Declaration of Independence with John Hancock, the president of the Continental Congress, putting his John Hancock on the document.

Historians just have to ruin everything, don鈥檛 we?

Supported by a gift from Meta, the two-year project uses electromyographic (EMG)-based human-machine interface technology as a platform for investigating motor learning through gamified training systems. While EMG systems are often studied in the context of prosthetic limb control, the broader goal of the project is to understand how adaptive interfaces can become more intuitive and embodied over time.

鈥淭his Meta support will enable my lab to work on real-world problems that can have an immediate impact on neurotechnologies.鈥� 鈥� Mohsen Rakhshan, assistant professor

麻豆原创 was selected through Meta鈥檚 competitive funding initiative, in part because of its interdisciplinary approach pairing engineering with philosophy and ethics.

Mohsen Rakhshan, an assistant professor in 鲍颁贵鈥檚 Department of Electrical and Computer Engineering and the Disability, Aging and Technology (DAT) faculty cluster initiative, and Jonathan Beever, a professor of philosophy and director of the 麻豆原创 Center for Ethics, will lead the project.

鈥淭his Meta support will enable my lab to work on real-world problems that can have an immediate impact on neurotechnologies,鈥� Rakhshan says. 鈥淭he impact ranges from individuals using augmented and virtual reality for entertainment to individuals with amputation or paralysis seeking to improve their quality of life. It also gives my engineering students the opportunity to integrate ethics research into their technical work.鈥�

Advancing Motor Learning Through EMG

EMG-based interfaces translate electrical signals generated by muscle activity into digital commands, allowing users to control devices through subtle physical gestures. In immersive environments, these systems can enable more natural interaction with virtual objects. In rehabilitation settings, they can assist in training neural prostheses.

The 麻豆原创 team is using this technology to examine how people learn new motor skills in digital environments, particularly through gamified interaction tasks designed to strengthen human-computer coordination. By training both the participant and the signal-processing algorithm (often called a 鈥渄ecoder鈥�) simultaneously, through a process known as co-adaptation, researchers aim to create systems that improve alongside the user.

鈥淎 significant challenge for most of these systems is that they require constant retraining or calibration of the decoder,鈥� Rakhshan says. 鈥淩etraining after each use can discourage individuals from using these devices long term. The human nervous system is plastic 鈥� it can adapt and improve performance over time. But if the decoder is constantly reset or kept static, it may prevent the nervous system from leveraging that plasticity. We aim to develop a co-adaptive loop between the human and the device.鈥�

Rather than focusing solely on stable decoding, the project investigates how adaptive systems can enhance motor learning, improve user confidence and promote a stronger sense of embodiment in human-machine interaction.

If successful, the research could inform next-generation EMG systems used in immersive computing, rehabilitation technologies and assistive devices.

Embedding Ethics Into Engineering

A defining feature of the project is the integration of ethics alongside engineering from the outset.

鈥淚nterdisciplinary collaboration between ethics and technical experts is the best path forward for responsible innovation.鈥� 鈥� Jonathan Beever, professor

Longitudinal EMG studies can reveal subtle motor signatures that uniquely identify individuals, raising questions about privacy and data protection. Adaptive systems may also influence a user鈥檚 sense of agency, whether individuals feel genuinely in control of the interface. For example, if an EMG system begins adjusting its interpretation of muscle signals automatically, users may feel the device is responding to them intuitively or, in some cases, acting unpredictably. Researchers want to better understand how these dynamics affect trust, confidence, and long-term use.

To address these questions, Beever will be embedded within the 麻豆原创 Laboratory for Interaction of Machine and Brain (LIMB), contributing directly to experimental design and evaluation. The team will conduct structured assessments of agency and embodiment while examining potential privacy leakage from EMG signal data.

鈥淚nterdisciplinary collaboration between ethics and technical experts is the best path forward for responsible innovation,鈥� Beever says. 鈥淭echnological advancement must be guided toward good ends. Our work emphasizes not only ethical research practices but also deeper questions about autonomy and agency in human-machine interfaces.鈥�

A Three-Phase Study

The longitudinal study will involve 30 participants completing 10 sessions over two months, allowing researchers to measure both short-term and long-term motor learning outcomes.

The project will occur in three phases:

Phase 1: Standardizing muscle signal data so artificial intelligence systems can more accurately interpret user intent.

Phase 2: Training both participants and machine learning models simultaneously 鈥� a co-adaptive process designed to improve human-computer interaction through gamified tasks.

Phase 3: Conducting structured evaluation of agency, embodiment and privacy risks while developing a publishable ethics framework for adaptive EMG-based systems.

鈥淭here has been a significant increase in industry interest in using biological signals such as EMG, from muscles, and EEG, from the brain, to interact with virtual and augmented reality, consumer electronics, prostheses for individuals with amputation and robotic systems for individuals with paralysis,鈥� Rakhshan says.

This research is supported by a gift from Meta. The project is conducted by faculty, staff and students in 鲍颁贵鈥檚 Department of Electrical and Computer Engineering, the Disability, Aging and Technology research cluster and the 麻豆原创 Center for Ethics.

鲍颁贵鈥檚 texts and technology program has received a 2026 grant from the National Endowment for the Humanities (NEH) to launch 鈥淏uilding a Digital Humanities Generative AI Learning Community,鈥� a 24-month initiative designed to help faculty and graduate students thoughtfully integrate AI into humanities teaching.

This year, 麻豆原创 is leading one of only 84 projects funded by the NEH and is the only institution in Florida to be selected for the award.

Associate Professor and Professor will lead the initiative, which focuses on interdisciplinary collaboration, curriculum redesign and hands-on experimentation with emerging AI tools.

Coding for Creativity

Salter, director of graduate programs in the College of Arts and Humanities, says the project builds on a long tradition in digital humanities of teaching creative problem-solving through technology.

鈥淚n a lot of humanities programs, when we teach people how to build digital projects, we鈥檙e teaching them some level of code,鈥� Salter says. 鈥淏ut often we鈥檙e working with low-code tools 鈥� interfaces designed for a specific purpose, like building a certain kind of game. Once students learn how to navigate those tools, what really matters is their ideas, the design, the story they want to tell.鈥�

She explains that generative AI tools function in a similar way. Rather than replacing creativity, they can expand it.

鈥淲hen we look at agentic AI, it鈥檚 essentially a low-code computational interface,鈥� Salter says. 鈥淭he better you can define and plan a concept, the more the system can assist with the underlying technical work 鈥� especially in the creative applications.鈥�

Reimagining Humanities Work

Stanfill says the grant will fund course redesign efforts over the next two years. Faculty and graduate student participants will adapt existing undergraduate digital humanities courses to meaningfully incorporate AI in ways that align with humanistic expertise. Stanfill鈥檚 scholarship has recently received national recognition. In 2025, they were awarded the National Communication Association’s Diamond Anniversary Book Award for their book 鈥淔andom Is Ugly: Networked Harassment in Participatory Culture鈥�.

鈥淚t鈥檚 about integrating AI in a way that makes sense for each course and for what humanities already bring to the table,鈥� Stanfill says. 鈥淭he goal is to enhance 鈥� not replace 鈥� the core strengths of humanities scholarship.鈥�

The funding will also support stipends that allow participants in the program to experiment with advanced AI tools that are expensive to access.

鈥淭hey are more cost-intensive,鈥� Salter says. 鈥淧art of what this grant allows us to do is give students real access 鈥� not just a limited sandbox version 鈥� so they can fully understand what these tools can do.鈥�

The implications extend to areas such as archival transcription and preservation. Advances in handwriting recognition and large-scale document analysis could help students work with under-digitized collections in new ways.

鈥淚f you can bring a class into an archive that鈥檚 been underappreciated and use these tools, you can build searchable databases and identify patterns in ways that used to require years of manual labor,鈥� Salter says.

The grant strengthens 鲍颁贵鈥檚 position as a leader in digital humanities education, the researchers say. By fostering collaboration across disciplines and encouraging thoughtful AI integration, the texts and technology program aims to model how humanities scholarship can evolve alongside technological innovation.

The 鈥淏uilding a Digital Humanities Generative AI Learning Community鈥� 聽project has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. Any views, findings, conclusions, or recommendations expressed in this publication do not necessarily represent those of the National Endowment for the Humanities.

The realization hit him one day on the job. This project鈥檚 legacy and impact were going to outlive him.

鈥淲hen I think back on every cool thing I鈥檝e gotten to do so far in my career, it does all kind of lead back to Orlando Family Stage,鈥� Lowe says.

Lowe was 6 years old when his cub scout troop attended a show at the stage, which recently celebrated its 100th anniversary 鈥� the last 25 of those years in partnership with 麻豆原创.

He eventually went through its Youth Academy, interned as a 麻豆原创 theatre student on site, made industry connections and now regularly contracts work at the stage as a full-time lighting designer for Clair Global, a tech company that specializes in live production services.

Lowe鈥檚 story is just one example of the countless ripple effects that have materialized from 鲍颁贵鈥檚 longstanding, collaborative partnership with a nationally recognized leader in the theater industry.

鈥淚鈥檝e watched kids come in and they鈥檙e so shy and they can鈥檛 do anything. But by the time they leave, they鈥檙e not only signing up for the next show, they鈥檙e leading the next show,鈥� says Paul Lartonoix, assistant dean for the College of Arts and Humanities and longtime Orlando Family Stage board member. 鈥淪ometimes it鈥檚 amazing at what it does. There鈥檚 no reason to not be proud of it. It鈥檚 doing great things for families. It鈥檚 doing great things for kids. It鈥檚 doing great things for our students, and it鈥檚 awesome that it鈥檚 being run by Knights.鈥�

A Partnership That Builds Community

Orlando Family Stage, founded in 1926 as part of the City of Orlando鈥檚 Recreation Department, has evolved over the past 100 years while persevering through historic challenges including the Great Depression, World War II, the Great Recession and the COVID-19 pandemic.

麻豆原创 entered the picture in 2000 when former Orlando Mayor Glenda Hood and 麻豆原创 President John C. Hitt formed a community coalition to bring the stage under 鲍颁贵鈥檚 oversight. At the time, the theater needed a major overhaul 鈥� both to its physical home at Loch Haven Park and in programming 鈥� to ensure it could thrive in the new millennium.

鈥淚 know with great confidence we would not be sitting here today without 麻豆原创 on board. We wouldn鈥檛 have survived.鈥� 鈥� Chris Brown 鈥�05, Orlando Family Stage executive director and 麻豆原创 theatre alum

鈥淲e wanted it because we thought that space was an exceptional,聽it had tremendous potential, and 麻豆原创 should be a part of it.聽That聽really was the driving force,鈥� says Lartonoix, who served as executive director on-loan and was instrumental in leading the early years of the partnership. 鈥淎nd when things worked, it was fantastic.鈥�

The intervention proved to be a major catalyst for its impact in the community today, and for the world at large through the countless children and 麻豆原创 graduates who have been affiliated with its programming and education.

鈥淚 know with great confidence we would not be sitting here today without 麻豆原创 on board. We wouldn鈥檛 have survived,鈥� says Chris Brown 鈥�05, Orlando Family Stage executive director and 麻豆原创 theatre alum. 鈥淭o think that leaders came together and said, 鈥榃e don鈥檛 want to lose a vital theater organization in our town, and we want to create an active and engaged partnership with the university where we can collectively do good things to serve young people in the world.鈥� It鈥檚 very special.鈥�

Florida鈥檚 Only Professional Theatre for Young Audiences

A major part of that partnership is 鲍颁贵鈥檚 MFA in theatre for young audiences program, which launched in 2004. The program has operated for the past two decades as Florida鈥檚 only professional theatre for young audiences and is one of the most distinctive programs in the country with its unique graduate-training residency.

In addition to learning from the university鈥檚 esteemed faculty, students gain practical experience with opportunities to work with professional artists and teach in Orlando Family Stage鈥檚 award-winning Youth Academy, which offers camps, classes and experiences for every age level from infancy through teens.

The MFA program has seen graduates go on to work at some of the most prestigious theaters in the country, become educators at universities as far as Dublin and help run community theaters across the United States.

In addition to his leadership role, Brown teaches theatre management courses on 鲍颁贵鈥檚 campus. He says he believes an important part of his responsibility as an educator is to expand his students鈥� idea of where a career in the arts can take them.

鈥淲e鈥檙e helping them recognize that arts administration is creative work,鈥� he says. 鈥淲riting a grant narrative, crafting a brand voice, planning a touring route or stewarding a donor relationship all require the same storytelling skills they bring to performance and production roles.鈥�

Instilling Bravery in Children

The stage鈥檚 mission is to empower young people to be brave and empathetic.

Sure it sounds good, but more importantly, there鈥檚 truth to the claim. Recent research by the 麻豆原创 Department of Psychology provides evidence to support it.

The Orlando Family Stage鈥檚 education team collaborated with associate professor Valerie Sims and senior lecturer Matthew Chin and more than a dozen undergraduate students from the Applied Cognition and Technology Lab along with associate professor of musical theatre Tara Deady 鈥�07MFA on a study, which they are currently working on publishing. The study aimed to determine if the stage鈥檚 programming delivers on its promise to promote creative engagement and bravery in children ages 1-5.

Because of the young age of the participants, traditional survey tools and written questionnaires wouldn鈥檛 work. The team needed to get creative in a research approach that matched how children experience theatre.

The research team meticulously observed second by second footage of children and parent engagement during performances of Yo, Ho, Ho! Let鈥檚 Go! 鈥� an interactive, multi-sensory original production created by the stage鈥檚 senior director of education Jennifer Adams-Carrasquillo 鈥�11MFA.

鈥淲e have evidence that theater participation really is beneficial to these very young kids.鈥� 鈥� Matthew Chin, 麻豆原创 psychology senior lecturer

They logged and quantified data through body language and audience responses. Early on, Sims and Chin say, children needed to be prompted by their parents to participate. However, as the show progressed, you can clearly see children initiating the participation on their own and parental involvement decreasing.

鈥淲ith this study we are able to say that it isn鈥檛 just this thing that we think is true 鈥� we have evidence that theater participation really is beneficial to these very young kids,鈥� Chin says.

In 2024-25 alone, more than 4,770 audience members attended Theatre for the Very Young productions like Yo, Ho, Ho! Let鈥檚 Go!. Multiply those numbers year after year and the impact to the youth in our community is monumental.

The Next 100 Years

As the stage commemorates this special milestone in its history, it also acknowledges the scope of possibilities and impact ahead.

This year, when Gershwin Entertainment Group, who owns the theatrical rights for A Charlie Brown Christmas, needed a national touring partner to bring the show to life on stage around the country, they turned to the Orlando Family Stage to deliver. It became the highest revenue-generating show in the history of the organizatoin鈥檚 performances in Orlando 鈥攚ithout counting the 32 cities it visited from New York City to Vancouver, Canada.

A partnership with the 麻豆原创 Department of History is enabling the stage to create an archive of its materials from the last century as part of the RICHES Mosaic Interface, an online resource dedicated to collecting and sharing the stories of Central Florida.

Another is the inaugural Florida Children鈥檚 Book Festival in partnership with Writer鈥檚 Block Book Store and W麻豆原创, which they hosted in February and plan to host annually to celebrate literature and the link between books, storytelling and live theater.

鈥淲e all need to be aware of how special this place is. And we need to be so proud that our community has something like this.鈥� 鈥� Chris Brown 鈥�05, Orlando Family Stage executive director and 麻豆原创 theatre alum

They look to expand the reach of Mind Matters, a program the stage initiated with 鲍颁贵鈥檚 psychology department and national playwrights to produce 10 original short plays about geared for teens about depression, anxiety, loneliness, isolation and other mental health challenges they face today. The plays serve as an educational resource for teachers to spark honest conversations on these topics with their students.

Brown envisions one day expanding the footprint of the building with more theater space, new classrooms and offices to help alleviate their bursting-at-the-seems infrastructure, so they can keep delivering on all the dreams they want to turn into reality and continue creating meaningful experiences for children and the audiences of tomorrow.

鈥淚 can鈥檛 get past the energy and the faces of busloads of kids coming in here every day,鈥� Brown says. 鈥淲e all need to be aware of how special this place is. And we need to be so proud that our community has something like this.鈥�

Celebrates the Arts Programming

You can catch live performances from the Theatre for Young Audiences program during April鈥檚 麻豆原创 Celebrates the Arts festival at the Dr. Phillips Center in downtown Orlando.

Thursday, April 2 鈥� 7:30 p.m.
Hosted by Ashley Eckstein (Star Wars: The Clone Wars, Her Universe, HypeFriend!), this concert features performances that span musical styles and theatrical traditions, reflecting the many creative paths that begin at Orlando Family Stage.

*Featuring Micheal James Scott (Disney鈥檚 Aladdin on Broadway), Leslie Carrera-Rudolph (Emmy Award-winning performer for Abby Cadabby, Sesame Street), Jack Griffo (Nickelodeon鈥檚 The Thundermans), Davis Gaines (Broadway鈥檚 longest running Phantom of the Opera), Michael Andrew (Composer and one of America鈥檚 greatest interpreters of the American Songbook), Paul Vogt (Broadway鈥檚 Hairspray and Chicago). Video appearances by Mandy Moore (This Is Us), Jasmine Forsberg (Broadway鈥檚 Six and Here Lies Love), Clayton and Bella Grimm (Blippi), Broadway legend Norm Lewis and more.

*Artist lineup is updating and is subject to change.

Tuesday, April 7 鈥� 10 a.m.
When best friends Squiggle and Square move away from each other, they must find creative ways to keep communicating! Told through clowning, puppetry and music, Pen Pals is a 30-minute interactive play designed for 5 to 10-year-olds.

Saturday, April 11 鈥� 10 a.m.
Yo, Ho, Ho! Let鈥檚 Go! is a 30-minute adventure designed especially for children ages 1 to 5 as a multi-sensory experience that invites them to help a pirate navigate the high seas. Together, they follow a treasure map, solve clues and chart the course forward.

H

ome to 麻豆原创, Orlando has long been a global center for themed entertainment. As immersive attractions, museums and themed entertainment experiences continue to grow in scale, complexity and cultural impact, the industry faces a critical challenge: preparing the next generation of professionals with the real-world skills needed to bring immersive experiences to life.

Spanning storytelling, architecture, engineering, media, operations and production, today鈥檚 themed experiences and attractions demand skills that rarely live within a single academic discipline.

For many aspiring professionals, the pathway into themed entertainment remains unclear, with limited visibility into professional workflows, real-world timelines and the cross-functional dynamics that ultimately determine a project鈥檚 success.

A new partnership between 麻豆原创 and AOA 鈥� a leading immersive experience design, production and project management company 鈥� aims to change that to better support the future of the industry.

Ideal Partnership

鲍颁贵鈥檚 themed experience graduate programs at the College of Arts and Humanities and AOA have launched the AOA Scholars Program, a hands-on practicum designed to give graduate students direct exposure to the real-world processes behind themed entertainment design and production.

麻豆原创 introduced a theatre Master of Fine Arts聽track in themed experience in 2018. In 2021, the university offered a stand-alone degree program in themed experience. Both programs are聽 the first of its kind at a public university.

The program鈥檚 focused curriculum in themed experience and attractions makes it an ideal partner for AOA.

The scholars initiative will address a common challenge in the field: while demand for immersive attractions, museums and experiences continues to grow, there is an expanding need for practical training and field work for emerging talent.

鈥淔lorida is home to some of the most sophisticated themed entertainment work in the world, but the way people enter the industry hasn鈥檛 kept pace,鈥� says Tom Acomb, co-founder and chief creative officer of AOA. 鈥淭his program is about opening the door earlier and giving students a clearer view of how these projects actually come together.鈥�

Each semester, a select cohort of students will participate in workshops led by AOA professionals, visit active project sites and production facilities, and learn how creative, technical and operational decisions intersect in real projects.

鈥淎OA has always believed in investing in early-career talent, starting with a strong internship program that鈥檚 been part of our culture since the early days,鈥� says Mike Ostendorf, co-founder and CEO of AOA. 鈥淭his partnership with 麻豆原创 is an evolution of that long-standing commitment 鈥� because seeing the full lifecycle of a project up close matters.鈥�

鈥淭his partnership gives students access to professional workflows with one of the top firms in the themed entertainment industry.鈥� 鈥� Peter Weishar, 麻豆原创 director of themed experience

What鈥檚 Next

麻豆原创 will oversee academic structure and accreditation, while AOA will contribute funding and industry expertise.

鈥淭his partnership gives students access to professional workflows with one of the top firms in the themed entertainment industry with diverse project and a global reach鈥� says Peter Weishar, director of themed experience at 麻豆原创. 鈥淚t strengthens Florida鈥檚 role as a global talent pipeline for themed entertainment.鈥�

The AOA Scholars Program is expected to begin Fall 2026, reinforcing Central Florida鈥檚 position as a training ground for the next generation of immersive experience professionals.

This year, 麻豆原创 honored 84 faculty members during the fifth biennial Faculty Authors鈥� Celebration, held Feb. 17 in the Solarium Room at the John C. Hitt Library on the university鈥檚 main campus. The event celebrates faculty whose published books 鈥� from novels and poetry to textbooks and manuals 鈥� contribute to scholarly excellence and creativity in their respective fields.

The event, which is sponsored by the聽Office of Research听补苍诲听, drew many guests, including Provost and Executive Vice President for Academic Affairs John Buckwalter and Vice President for Research and Innovation Winston Schoenfeld.

Professor of English and Director of Graduate Programs Anastasia Salter delivered the keynote address. Salter is the author or co-author of 10 books on digital culture and electronic literature, including most recently Undertale: Can a Game Give Hope, which invites readers to rethink their relationship with gaming and game characters.

2026 Faculty Author Honorees

• Yara Asi 鈥�07MA 鈥�15PhD, College of Community Innovation and Education
• Jonathan Annand,
• Greg Autry, College of Business Administration
• William Ayers, College of Arts and Humanities
• James Bacchus, College of Sciences
• Morris Beato, College of Health Professions and Sciences
• James Beckman, College of Community Innovation and Education
• Martha Brenckle, College of Arts and Humanities
• Andrea Borowczak 鈥�92, College of Community Innovation and Education
• Wayne Bowen, College of Arts and Humanities
• Sarah Bush, College of Community Innovation and Education
• Jessica Campbell 鈥�12MA 鈥�20PhD, College of Arts and Humanities
• Shannon Carter, College of Sciences
• Robert Cassanello, College of Arts and Humanities
• Necati Catbas, College of Engineering and Computer Science
• Thomas Cavanagh 鈥�06PhD, Center for Distributed Learning
• Karl Chai, College of Medicine
• Baiyun Chen 鈥�07PhD, Center for Distributed Learning
• Amy Cicchino, College of Arts and Humanities
• Brian Collins,
• Ilenia Col贸n Mendoza, College of Arts and Humanities
• Joshua Colwell, College of Sciences
• Aimee Denoyelles 鈥�00, Center for Distributed Learning
• Taseen Desin, College of Medicine
• Ahmad Elshennawy, College of Engineering and Computer Science
• Katia Ferdowsi, College of Health Professions and Sciences
• Julie Feuerstein, College of Health Professions and Sciences
• Scot French, College of Arts and Humanities
• Martha Garcia 鈥�97 鈥�00MA, College of Arts and Humanities
• Amrita Ghosh, College of Arts and Humanities
• Carolyn Glasshoff 鈥�11MA 鈥�21PhD, College of Arts and Humanities
• Donita Grissom 鈥�14PhD, College of Community Innovation and Education
• Gulsah Hancerliogullari Koksalmis, College of Engineering and Computer Science
• Kenneth Hanson, College of Arts and Humanities
• Duncan Hardy, College of Arts and Humanities
• David Head, College of Arts and Humanities
• Bari Hoffman 鈥�96 鈥�98MA, College of Health Professions and Sciences
• Emily Johnson 鈥�15PhD, College of Arts and Humanities
• Naim Kapucu, College of Community Innovation and Education
• Lauren Kehoe,
• Haidar Khezri, College of Arts and Humanities
• Nolan Kline, College of Medicine
• Alla Kourova, College of Arts and Humanities
• Lanlan Kuang, College of Arts and Humanities
• David Lerner Schwartz, College of Arts and Humanities
• Hsiu-fen Lin, College of Health Professions and Sciences
• Robert Littlefield, College of Sciences
• Ty Matejowsky, College of Sciences
• Stephen Masyada, College of Sciences
• Jonathan Matusitz, College of Sciences
• Kevin Meehan, College of Arts and Humanities
• Lisa Nalbone, College of Arts and Humanities
• Hakan 脰zo臒lu, College of Arts and Humanities
• Jason Phillips, 麻豆原创 Libraries
• Laurie Pinkert, College of Arts and Humanities
• Ghaith Rabadi 鈥�96MSIE 鈥�99PhD, College of Engineering and Computer Science
• Luis Rabelo, College of Engineering and Computer Science
• Sherry Rankins-Robertson, College of Arts and Humanities
• Jorge Ridderstaat, Rosen College of Hospitality Management
• Lee Ross, College of Community Innovation and Education
• Mary Rubin 鈥�12 鈥�19MA, 麻豆原创 Libraries
• Houman Sadri, College of Sciences
• Anastasia Salter, College of Arts and Humanities
• Scott Carter, College of Sciences
• Melina Sherman, College of Sciences
• Marwan Simaan, College of Engineering and Computer Science
• Christopher Spinale 鈥�04MEd 鈥�24PhD, College of Sciences
• Mel Stanfill, College of Arts and Humanities
• Sandra Sousa, College of Arts and Humanities
• Bulent Soykan, Institute for Simulation and Training
• Sidney Turner, College of Arts and Humanities
• Jennie Wagner, College of Nursing
• Linda Walters, College of Sciences
• Chung Ching (Morgan) Wang, College of Sciences
• Keri Watson, College of Arts and Humanities
• Taylar Wenzel 鈥�11EdD, College of Community Innovation and Education
• Amanda Wilkerson 鈥�16EdD, College of Community Innovation and Education
• Florence Williams, Center for Distributed Learning
• Andrew Williams Jr., College of Community Innovation and Education
• Ross Wolf 鈥�88 鈥�91MPA 鈥�98EdD, College of Community Innovation and Education
• Sharon Woodill, College of Community Innovation and Education
• Kuppalapalle Vajravelu, College of Sciences
• Jill Viglione, College of Community Innovation and Education
• Staci Zavattaro, College of Community Innovation and Education

Luke Cormican 鈥�01 still remembers a time when animation meant stacks of paper, sharpened pencils and long nights hunched over a drawing table. It was a far cry from today鈥檚 fully digital pipelines and global productions. That hands-on foundation, paired with a willingness to evolve alongside rapidly changing technology, helped propel the 麻豆原创 art graduate to the top of one of television animation鈥檚 most enduring franchises.

A 2001 graduate of 鲍颁贵鈥檚 visual arts program, Cormican now serves as the showrunner of Teen Titans Go!, a globally recognized series that has redefined how superhero stories can blend slapstick humor, heart and cultural commentary. He oversees every facet of production, shaping a show that has entertained audiences for more than a decade.

But his path to that role was anything but immediate.

Betting on the Basics

Growing up in Hollywood, Florida, Cormican knew early on that drawing and storytelling were more than hobbies. Animation captured his imagination 鈥� from flip books and stop-motion experiments to studying The Illusion of Life, the seminal Disney animation text. When it came time for college, he explored top art schools and even earned a scholarship to the Savannah College of Art and Design.

Then he visited 麻豆原创.

鈥淲e had Disney animators giving lectures and even teaching classes. That kind of access was huge.鈥�

What stood out wasn鈥檛 just the campus 鈥� it was the animation program, which at the time was uniquely split between traditional hand-drawn animation and emerging computer animation. In the early 2000s, as Pixar ushered in a new era of computer-generated imagery and many questioned whether traditional animation would survive, 麻豆原创 offered both paths.

鈥淚 opted for the traditional route,鈥� Cormican says. 鈥淚 always loved to draw.鈥�

At 麻豆原创, Cormican immersed himself in storyboarding, visual storytelling and collaborative creative work 鈥� skills that would become foundational throughout his career. Just as impactful was 鲍颁贵鈥檚 proximity to Walt Disney World Resort鈥檚 then-active Orlando animation studio, which brought industry professionals directly into the classroom.

鈥淚t was kind of a secret gem,鈥� Cormican says. 鈥淲e had Disney animators giving lectures and even teaching classes. That kind of access was huge.鈥�

Rising Through the Ranks

After graduating in 2001, Cormican did what many aspiring animators eventually must. He packed up and moved to Los Angeles with little more than a portfolio and determination.

His first job paid just $8 an hour at a small independent studio 鈥� modest by any standard but monumental to someone being paid to do what he loved.

From there, he worked project to project, studio to studio, navigating an industry defined by constant change. His career took him through Disney Television, Nickelodeon and Cartoon Network, each stop building both his creative credibility and leadership skills.

That persistence paid off in 2012, when Cormican joined Teen Titans Go!, a comedic reboot of the earlier Teen Titans animated series, as an episode director.

Cormican rose through the ranks, serving as head of story on the franchise鈥檚 theatrical film before stepping away briefly to direct animated Diary of a Wimpy Kid movies for Disney+. Working closely with author Jeff Kinney, he gained valuable experience guiding stories from script to screen 鈥� experience that proved critical when he returned to Teen Titans Go! as showrunner.

Evolving with the Tools

Cormican鈥檚 role as showrunner requires both creative vision and operational discipline, a balance he credits in part to his upbringing and education.

鈥淎nimation is collaborative at every level. You鈥檙e guiding hundreds of creative decisions, but it all starts with the story.鈥�

Over his 24-year career, Cormican has witnessed dramatic technological shifts within the animation industry. When he entered the field in 2002, animation was still largely analog.

鈥淲e were drawing with paper and pencil, using Xerox machines to resize drawings and fax machines to send images and notes between studios,鈥� he says. 鈥淎round 2006, everything started to go digital.鈥�

While digitization has increased efficiency, it has also raised expectations.

鈥淭he technology allowed people to do more things in less time,鈥� Cormican says. 鈥淎nd so, they were expected to do just that.鈥�

Still, even as animation continues to evolve, with artificial intelligence emerging as the next frontier, Cormican approaches change thoughtfully.

Lessons From Sketching His Path

Despite leading a globally successful series, Cormican prefers working behind the scenes and values the long view of a career built step by step.

鈥淚t鈥檚 taken me about 25 years to get where I am,鈥� he says. 鈥淚 started at the very bottom and worked my way up.鈥�

That perspective is exactly what he hopes to pass on to 麻豆原创 students and alumni with ambitious creative dreams.

鈥淚f you have an interest in something that feels out of reach, just take it one step at a time,鈥� Cormican says. 鈥淜eep the goal in view and keep moving toward it.鈥�

For Cormican, that journey began at 麻豆原创 鈥� a place he credits as the launch point for everything that followed, and one he hopes to continue supporting through mentorship and engagement with future Knights.

Hunter caught McBride鈥檚 attention through a performance at the Montclair Jazz Festival and a subsequent recommendation from a mutual friend. A middle鈥憃f鈥憈he鈥憂ight text exchange sparked several performances together and ultimately resulted in Hunter鈥檚 participation in the album.

鈥淏eing part of Without Further Ado, Vol. 1 was truly an honor,鈥� Hunter says. 鈥淲orking with Christian and this incredible roster of artists reminded me how deeply connected the jazz community is to the broader musical landscape. Serving as the drummer on the project carried a real responsibility, as Christian鈥檚 music draws from many styles and traditions. Seeing the album recognized at this level is no surprise given the artistry and vision Christian brings, but for me the entire experience has been both humbling and inspiring.鈥�

The album, which was released in August 2025, features many notable artists, including a reunion of Sting and Andy Summers from The Police on the track Murder by Numbers. Hunter says that the opportunity to work behind these artists as well as Samara Joy, Dianne Reeves, Jeffrey Osborne and others was a powerful reminder of how versatile and alive jazz music continues to be.

Hunter鈥檚 role on the album is representative of the depth of professional experience found in 麻豆原创 musicians, and a practice of public performance and collaboration that is central to the jazz studies approach to teaching and learning.

The jazz studies program, under the direction of saxophonist Jeff Rupert, offers students a comprehensive foundation in performance, composition and production, supported by experiences that mirror the professional world. Students regularly perform in large ensembles such as the Flying Horse Big Band and in smaller chamber groups, work in professional recording environments, and engage with guest artists through the 麻豆原创鈥揙rlando Jazz Festival and other events in the community. Resources such as an NPR-affiliated jazz station and an in-house recording label further position the program as a training ground for modern jazz careers.

Hunter joins two other 麻豆原创 music faculty who have earned recognition from the Recording Academy. Jeff Rupert performed on Benny Carter鈥檚 award-winning album Harlem Renaissance (1992) and Director of Choral Activities Jeffery Redding received the 2019 Grammy Music Educator Award for his significant contributions to music education.