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Rowland Hall Dancers Honor Marginalized Voices in (R)evolution

Arts Department Chair and Director of Dance Sofia Gorder readily admits that history classes didn't appeal to her much in high school. "It was mostly a white-centric narrative about wars," she recalled. It wasn't until she got to graduate school and started studying the history of movement that she developed a powerful connection to past generations. "In the history of movement," Sofia said, "when people didn't have a voice, they'd use their bodies. All these marginalized voices emerged through movement that was then commodified and adopted by mainstream society."

When planning her annual dance concert this year—Rowland Hall's sesquicentennial—it made perfect sense to use the history of movement as an opportunity for students to explore the silenced voices of the past 150 years. "Asking kids to dive into those marginalized stories and then connect them to the stories we're taught in normative history has been really fruitful," Sofia said. "They're learning that disco and the twist evolved from slave dances, and that Jazzercise stemmed from the empowerment women felt after watching gay men dancing in clubs during the AIDS epidemic."

(R)evolution, as the concert is titled, ran Thursday through Saturday—February 8, 9, and 10—at the Larimer Center for the Performing Arts, and delivered both a celebratory retrospective of dance in America and a rumination on how history learned through words and images doesn't tell the whole story. Senior Sophia Cutrubus described the show as tracing the evolution of mainstream dance while demonstrating how the art provided "an outlet to express ideas and emotions that were taboo and threatened power structures in each time period." Approximately 120 students in sixth through twelfth grades performed renditions of period pieces ranging from the minuet to hip hop, with mixed-media transitions giving contextual cues, and narratives to aid the timeline.

Many of the students learned archived dances rather than developing original choreography, which made the process for this concert more educational than creative, according to Sofia. However, the research and practice of embodying highly respected artists from other generations can inform students' artistic voices in the future. Among the handful of students staging original work was junior Katie Rose Kimball, who teamed up with senior Sydney Rabbit to choreograph a piece about the history of body contact in partner dance. Sophia also had an original piece in the show: she and senior Rowen Kenny created a sequence of five dances based on the work of Merce Cunningham, and audience members will unwittingly have a hand in how these dances are performed each night.

Junior Tori Kusukawa oversaw a cluster of dances that will pay homage to major stars from the 1990s, such as Whitney Houston and Prince. While he copied choreography for Michael Jackson's "Smooth Criminal" from music videos and live performances, he had to improvise when it came to mimicking David Bowie. "He didn't really dance much," Tori said. "So I had to capture his attitude and feeling." He relied on Sofia for guidance, as all the dancers do. "She lets us try and fail," Sophia said. "But she's always there at the end to make sure it goes well on stage."

Whether students are perfecting a replica of historical dances or producing original content, their engagement with the past helps them draw connections to the present. Sophomore Grant Dacklin choreographed a piece to showcase a style of movement from the 1970s called locking, which he referred to as hip hop's disco. While he's excited about the sharp, detailed nature of his own piece, he also recognized that this show has required him to embody roles that he's not familiar—or comfortable—with: as a straight, white male, he depicts the role of the oppressor in history.

However, Grant believes that Rowland Hall students are in a prime position to communicate about discrimination and the need for greater awareness, especially since so many revolutionary movements of the past were youth driven. "I hope that the teenage perspective has power for people," he said. "Even though these dance pieces are founded in history, we are bringing our modern-day voices and identities to them."

While Sofia and the dancers hoped the audience would enjoy the high-energy, community-oriented theme of the concert, they did not shying away from the show's messages about cultural appropriation and the historical biases that viewed bodily movement as low class. Katie Rose emphasized the influence dance has on society, and Sophia agreed, adding "dance is an integral piece of culture shifts." The art form also provides a unique historical lens, Sophia reflected: "Because your body is your medium in dance, there is nothing to hide behind. People can't escape their identities while dancing. You're seeing the most pure expression of who they are—their stories, their struggles."

Dance

Embodying the Past to Understand the Present

Rowland Hall Dancers Honor Marginalized Voices in (R)evolution

Arts Department Chair and Director of Dance Sofia Gorder readily admits that history classes didn't appeal to her much in high school. "It was mostly a white-centric narrative about wars," she recalled. It wasn't until she got to graduate school and started studying the history of movement that she developed a powerful connection to past generations. "In the history of movement," Sofia said, "when people didn't have a voice, they'd use their bodies. All these marginalized voices emerged through movement that was then commodified and adopted by mainstream society."

When planning her annual dance concert this year—Rowland Hall's sesquicentennial—it made perfect sense to use the history of movement as an opportunity for students to explore the silenced voices of the past 150 years. "Asking kids to dive into those marginalized stories and then connect them to the stories we're taught in normative history has been really fruitful," Sofia said. "They're learning that disco and the twist evolved from slave dances, and that Jazzercise stemmed from the empowerment women felt after watching gay men dancing in clubs during the AIDS epidemic."

(R)evolution, as the concert is titled, ran Thursday through Saturday—February 8, 9, and 10—at the Larimer Center for the Performing Arts, and delivered both a celebratory retrospective of dance in America and a rumination on how history learned through words and images doesn't tell the whole story. Senior Sophia Cutrubus described the show as tracing the evolution of mainstream dance while demonstrating how the art provided "an outlet to express ideas and emotions that were taboo and threatened power structures in each time period." Approximately 120 students in sixth through twelfth grades performed renditions of period pieces ranging from the minuet to hip hop, with mixed-media transitions giving contextual cues, and narratives to aid the timeline.

Many of the students learned archived dances rather than developing original choreography, which made the process for this concert more educational than creative, according to Sofia. However, the research and practice of embodying highly respected artists from other generations can inform students' artistic voices in the future. Among the handful of students staging original work was junior Katie Rose Kimball, who teamed up with senior Sydney Rabbit to choreograph a piece about the history of body contact in partner dance. Sophia also had an original piece in the show: she and senior Rowen Kenny created a sequence of five dances based on the work of Merce Cunningham, and audience members will unwittingly have a hand in how these dances are performed each night.

Junior Tori Kusukawa oversaw a cluster of dances that will pay homage to major stars from the 1990s, such as Whitney Houston and Prince. While he copied choreography for Michael Jackson's "Smooth Criminal" from music videos and live performances, he had to improvise when it came to mimicking David Bowie. "He didn't really dance much," Tori said. "So I had to capture his attitude and feeling." He relied on Sofia for guidance, as all the dancers do. "She lets us try and fail," Sophia said. "But she's always there at the end to make sure it goes well on stage."

Whether students are perfecting a replica of historical dances or producing original content, their engagement with the past helps them draw connections to the present. Sophomore Grant Dacklin choreographed a piece to showcase a style of movement from the 1970s called locking, which he referred to as hip hop's disco. While he's excited about the sharp, detailed nature of his own piece, he also recognized that this show has required him to embody roles that he's not familiar—or comfortable—with: as a straight, white male, he depicts the role of the oppressor in history.

However, Grant believes that Rowland Hall students are in a prime position to communicate about discrimination and the need for greater awareness, especially since so many revolutionary movements of the past were youth driven. "I hope that the teenage perspective has power for people," he said. "Even though these dance pieces are founded in history, we are bringing our modern-day voices and identities to them."

While Sofia and the dancers hoped the audience would enjoy the high-energy, community-oriented theme of the concert, they did not shying away from the show's messages about cultural appropriation and the historical biases that viewed bodily movement as low class. Katie Rose emphasized the influence dance has on society, and Sophia agreed, adding "dance is an integral piece of culture shifts." The art form also provides a unique historical lens, Sophia reflected: "Because your body is your medium in dance, there is nothing to hide behind. People can't escape their identities while dancing. You're seeing the most pure expression of who they are—their stories, their struggles."

Dance

Explore More Arts Stories

Senior Ashlee Jackson performing at alum dance show INTERsect.

As the sun set on September 5, its golden light illuminated a masked dancer, casting long shadows that fell on audience members watching her from blankets and benches spaced six feet apart. The dancer’s arms and legs crossed and uncrossed, mimicking the freeway overpasses rising above the group that had gathered in this industrial area of downtown Salt Lake City. The sound of cars whirring overhead mixed with live music, all of it echoing off the area’s concrete columns and warehouses.

This alum-organized dance event, called INTERsect, was designed as a special collaboration between Rowland Hall performing arts students and alumnae dance artists. INTERsect came together after Sofia Gorder, Lincoln Street Campus director of arts and co-director of dance, had heard from several alums who were looking for a creative outlet during COVID-19 restrictions.

“There was a desperate outpour from students I hadn’t talked to in a long time, saying, ‘I want to create, I want to respond, I want to connect,’” Sofia said. Remembering an underground show she had attended in the industrial area located at 600 South 600 West, Sofia proposed that these alums, along with interested current students, use that same space for a physically distanced dance performance. She knew that this opportunity would not only help them feel connected during an uncertain time, but also help them process the emotions they were feeling due to the heavy news of 2020, from the ongoing fallout of the coronavirus pandemic to racial injustice around the country.

“It was a platform for artists to respond to the world around them,” Sofia explained.

Each artist was asked to choreograph a dance or build a performance art piece at home, to use minimal lighting to take advantage of shadows cast by sunset (and by construction lights, after the sun went down), and to wear a mask (a requirement for attendees as well; the event poster specified WYOM—wear your own mask). For alum and student dancers who had felt disconnected from their passion for months, the opportunity was therapeutic.

“Dance is a very important part of my life and I have missed collaborating with others and performing,” said Rowland Hall senior Katie Kern. “This project safely allowed me to connect with other artists and feel the joy of performing again after six months of missing out.”

In dance class, we always talk about how, compositionally, we take bits and pieces from each other. Each of us is a combination of our peers melded by our own style. In other words, all of the dancers from Rowland Hall are connected by an artistic link, even if we never physically danced in the same space.—Ashlee Jackson, class of 2021

INTERsect featured dances by current seniors Katie Kern and Ashlee Jackson, sophomore Mikel Lawlor, and seven alumnae: Laja Field ’08, Elissa Collins ’15, Sophia Diehl ’15, Eliza Kitchens ’16, MiaBella Brickey ’17, Adie Christiansen ’17, and Sydney Rabbitt ’18. The show also included the talents of Matt Jackson ’13—who provided live music with his father, Rowland Hall Jazz and Pop Band Director Bret Jackson—and Oliver Jin ’18, who designed the promotional poster and ran day-of tech. (Sofia also called out four alumnae—Sophia Cutrubus ’18, Grace Riter ’18, Cassidy Clark ’19, and Tori Kusukawa ’19—who were unable to perform due to scheduling or geography conflicts, but who were instrumental in building inspiration for the event.) The evening’s success was due to the enthusiastic collaboration between these students and alums, many of whom had never met before the event. Participants were quick to credit Sofia's ability to make connections among current and former dancers—a testament to the Rowland Hall faculty’s focus on building, and maintaining, meaningful relationships.

“We all have a connection through the education and guidance we gleaned from the one and only Sofia Gorder,” said alumna Laja Field. “The strength of this community is shown through generations of connections coming together.”

The dancers also discovered that, despite varying graduation years and styles, they were connected through a similar approach to dance, thanks to the years they spent in the Lincoln Street Campus studio studying under their esteemed instructor.

“Watching these dancers communicate through the medium of dance—while keeping traces of the same fundamental teachings of Sofia Gorder—has been beautiful to watch and amazing to be a part of,” said sophomore Mikel Lawlor. Senior Ashlee Jackson added, “In dance class, we always talk about how, compositionally, we take bits and pieces from each other. Each of us is a combination of our peers melded by our own style. In other words, all of the dancers from Rowland Hall are connected by an artistic link, even if we never physically danced in the same space.”

For Sofia, these connections, and the show they inspired, are reminders of how Rowland Hall is a place to find calm within chaos.

Sofia isn’t surprised to see dance act as a healing balm during chaotic times. Dance has the power to remind us of our collective humanity, she explained, and it is one way we make sense of life. Because of this, the dances coming out of the pandemic are some of the most creative, intelligent work she’s seen.

“I am so happy to see people coming back to the space of Rowland Hall to find connection and purpose,” she said. And Sofia isn’t surprised to see dance act as a healing balm during chaotic times. Dance has the power to remind us of our collective humanity, she explained, and it is one way we make sense of life. Because of this, the dances coming out of the pandemic are some of the most creative, intelligent work she’s seen. “It’s taken COVID, and being separate, to see why movement has such connecting power,” she said.

Laja, a professional dancer who has devoted her life to sharing the art form with others, echoed her former teacher: “It’s clear that most—I would argue all—people live through some kind of art. We seek out conduits of expression and portals that transcend us elsewhere,” she said. “The arts are the vessels that make us feel whole, allow us to laugh, to mourn, to speak our multilayered emotions that are sometimes difficult to articulate.”

And even, perhaps, to inspire change.

“In a time where COVID-19 has exposed the very pitfalls of our country, and technology has made history and the present of systemic racism an undeniable fact, it is only through art that I find my will to continue working, dreaming, and fighting for a better future to come,” Laja said.


Banner photo: Rowland Hall senior Ashlee Jackson performing in INTERsect. Photo courtesy Joel Long.

Alumni

Death of the American Teenager cast performing

Death of the American Teenager, an original musical about gun violence in schools, opens with some sobering statistics—like that there have been 408 school shootings in the last 10 years, or that in 2017 more school-aged children died from gunshots than did active duty police and military personnel.

For today’s students, gun-violence statistics have become too familiar. In addition to a barrage of news stories about shootings, students are reminded of gun violence during regular lockdown drills (Death of the American Teenager cites an average of 16 per school each year) and are aware of the role guns play in climbing suicide rates—in Utah, for instance, the most recent age-adjusted suicide rate is 22.7 per 100,000 people (compared to a national rate of 14.0 per 100,000). Suicide was also the leading cause of death for Utahns aged 10–17 in 2018.

It’s no surprise that the stress is taking a toll on young Americans.

Gun violence has been affecting my life as long as I can remember.—Noah Schiffman, Class of 2022

“Gun violence has been affecting my life as long as I can remember,” said Rowland Hall sophomore and Death of the American Teenager cast member Noah Schiffman. Junior James Welt, another cast member, added, “It's become a huge part of a lot of my day-to-day experiences. Every time I hear running in the hallways or loud noises, I can't help but fear the worst.” Along with Noah and James, Rowland Hall senior Connor Macintosh and alumna Ella Baker-Smith ’19 were in the musical's original cast. Sophomore Amanda Green joined the cast for the 2019–2020 school year.

In recent years, concerned students have channeled their fears through action—the most famous example is probably the organization of March for Our Lives protests and chapters around the country after the Marjory Stoneman Douglas High School shooting in Parkland, Florida, in February 2018. For the Utah high school actors who make up the Youth Conservatory—a group housed under University of Utah Youth Theatre—that action was researching, writing, and choreographing Death of the American Teenager

Originally created for the Edinburgh Festival Fringe, an annual open access arts festival, Death of the American Teenager was written as a reflection of America. Youth Theatre Artistic Director Penny Caywood explained that the Youth Conservatory, which is made up of 20 actors from 10 Utah high schools, chose to write a musical because it’s an American art form—and that they focused the musical on gun violence because of its prevalence in America today.

“It's a topic we've all been exposed to at a super young age, and it's something that is on a lot of our minds at every second,” said James.

Research and writing began in January 2019, only seven months before the show’s summer debut in Scotland. “The writing process was an incredible experience,” said Connor. The actors spent time researching topics like the history of school shootings and lockdowns, as well as suicide statistics in both the United States and the United Kingdom, where they would be performing the musical. The subjects were heavy, and the experience was emotional. But the process was also cathartic, giving the actors the chance to examine, confront, and discuss their fears—and helping them realize they weren’t alone in those fears.

“The most important thing that came out of it was the sense that we were all there for each other and the sense that we’re all fighting this fight together,” Connor said. “We all share the same collective fear, and as scary as that fear is, it’s comforting to know that I have people around me that know exactly what we’re going through.”

Death of the American Teenager cast in Edinburgh

The musical was cathartic for Fringe audiences too: attendees were so moved by the production that they sought out cast members to thank them and to share their own stories. Other American high school students inquired about performing it in their communities. By creatively addressing their fears through theatre—what Noah called an empathetic art form—the Youth Conservatory found themselves inspiring necessary conversation and action.

“The goal is to tell a story, yes, but also to make those watching believe it to be reality,” Noah said. “Gun violence is some people's reality, and that is not acceptable—but that won't change until everyone understands the extent of the fear those actually affected face.”

Rowland Hall theatre teacher Matt Sincell, who teaches the school’s Youth Conservatory members, agreed.

“Theatre can crack open conversation in a way that no other art form can,” he explained. “There’s something about watching live actors—it somehow becomes easier to put yourself in their place, to empathize, and it affects a person on a very visceral, kinesthetic level.”

Knowing this, Matt wanted to do something in the Youth Conservatory’s home state that would inspire more of the conversations that they started overseas—especially because he knew there was something special about this musical that the local community should experience. “It’s not a piece that’s written by adults trying to imagine what it would be like to be a student—this is written by students who have been born into this culture,” he said. “I really believed the show needed to have a life beyond the Fringe because of its message.”

Matt also felt that offering Rowland Hall’s Larimer Center for the Performing Arts to a community group—particularly one that creatively connected our students with their peers across the Wasatch Front—would be an important step in building other connections across Salt Lake’s vibrant theatre community. In many ways, bringing Death of the American Teenager to the school was a natural fit, as Rowland Hall values deep thinking and seeks to create spaces in which students can examine hard questions and safely express themselves.

Death of the American Teenager cast on stage

“At Rowland Hall, we believe by challenging students to think deeply, they will grapple with complex issues and recognize different points of view,” explained Associate Head of School Jennifer Blake, who was part of the team that welcomed Penny and her students to campus.

On January 29, Death of the American Teenager came to Rowland Hall for two performances in the Larimer Center. Like Fringe audiences, Salt Lake attendees were deeply touched by the musical. “I was blown away by the performance, which was masterfully written with great insight and sensitivity,” said Upper School Principal Ingrid Gustavson.

The performers were grateful for the chance to revisit the piece and to present it not only to an audience of peers, but to the adults who care about them. Often, they explained, it can be difficult to make adults understand their very real fear around the topic of gun violence and how deeply it affects them.

“I was so glad that my school asked us to share this piece with the public and gave us an opportunity to advocate for ourselves in the most politically unbiased way—just speaking from our emotions and how we feel,” said Amanda. That message was undoubtedly received, with most audience members staying after the performances to participate in talk-backs with the actors, further emphasizing the need for conversation around this difficult subject—something that Matt greatly encourages parents and caregivers to remember when supporting their teenagers through gun-violence anxiety.

Sharing our stories with one another and talking through how we feel is the only way to give people the courage to get involved with this issue.—James Welt, Class of 2021

“Talk at dinner with them, ask them questions, continue the conversation,” he encouraged. “We need to have these direct conversations.”

Above all, the actors want Death of the American Teenager to help spread among their peers the feeling of empowerment the cast experienced when confronting their fears together—and for teenagers to understand that they can help spur change by exercising their voting power.

“Sharing our stories with one another and talking through how we feel is the only way to give people the courage to get involved with this issue,” said James. “I want teenagers who watch the show to know that they have the power to be heard.”

“We can conquer gun violence if we all work together,” added Noah.


Update: Since performing at Rowland Hall, the Youth Conservatory presented a 12-minute version of Death of the American Teenager at the Musical Theatre Competitions of America in California in February 2020. It won first place in its division.

Youth Theatre Artistic Director Penny Caywood has been overwhelmed with positive comments about the show and questions about packaging it for performance at other high schools and venues around the country. She is talking with local theatre organizations about how to make this happen. We will update the Rowland Hall community on any news we receive about the future of Death of the American Teenager.


Top photo: The Death of the American Teenager cast performing on stage. Photos courtesy Connor Macintosh

Students

Phinehas Bynum performs in Candide
Winged Lions on the Rise—title page graphic featuring six alumni.

Editor's note: this is one of six profiles republished from Rowland Hall's 2018–2019 Annual Report feature story, "Winged Lions on the Rise." Millennial alumni are finding their voices and already shaping their fields and communities—from physics to film, music to medical innovations, and environmental policy to conservation-minded real estate. Learn how Rowland Hall impacted them, and how they’re impacting the world. From left, Jared Ruga ’06, Claire Wang ’15, Phinehas Bynum ’08, Jeanna Tachiki Ryan ’01, Tyler Ruggles ’05, and Sarah Day ’06.


Phinehas Bynum makes “whizbangs and gizmos” to automate mundane things in his Minneapolis house. A motion sensor on his washing machine messages him when the washer stops. Between loads, he composes and plays music in his DIY home-recording studio. It’s a delightful showcase of his two biggest passions.

Phinehas—Phin, for short—holds a music and computer science degree from St. Olaf College in Minnesota. By day, he works for software company Jamf on a technical-implementation team that teaches and trains clients. But the renaissance man has also been a lifelong singer—performing with the likes of the Mormon Tabernacle Choir as a fourth grader, the renowned St. Olaf Choir as a college student, and operas around Minneapolis, including the Minnesota Opera (MNOp), since college.

You can make someone's day better by fixing their computer, or by singing them a song. And both of these involve compassion, creativity, logic, and technique.—Phinehas Bynum ’08

“I was just about born singing,” said Phin, whose parents prophetically gave him a name that means, among other interpretations, mouth of brass. “Every time you say ‘Phinehas’ a trumpet gets its wings,” the alum quipped. Naturally, young Phin also dabbled in reverse engineering. “Mama and Papa stepped on clock springs and screws on the daily because I took everything apart to see how it worked,” he said. “Computer science was an extension of tinkering for me because you could change how something worked just by telling it to change, no take-apart required.” 

Phin has deftly balanced singing and computing, which he said similarly fulfill him. “You can make someone's day better by fixing their computer, or by singing them a song,” he said. “And both of these involve compassion, creativity, logic, and technique.” And he continues the balancing act, in part, because of Rowland Hall. “I was always encouraged to spend time doing what I was passionate about, and that goal has stuck with me,” he said. “Ultimate frisbee, robotics club, cross country, choir, jazz band—most of the things I am doing now, I was also doing in some form in high school.”

Actors on stage in front of orchestra.

Phinehas Bynum, second from left, stars in VocalEssence and Theater Latté Da’s March 2019 production of Candide. (Photos by Bruce Silcox, courtesy of VocalEssence)

Now, Phin’s arts life is expanding. The singer made his theatrical debut in March to rave reviews. Two Minneapolis arts organizations collaborated to present Candide, a reimagining of the Leonard Bernstein operetta. Phin landed the titular role. Tickets to the five-night, 505-seat show in the heart of downtown sold out early, so the final dress rehearsal became a sixth production. Phin called the performance—his largest to date—transformative. He described his character as an optimist whose misadventures make him wiser instead of bitter. “I'd consider myself a stubborn, but quiet optimist,” Phin said. “It was core-shaking to inhabit a character who lives his optimism completely on the outside, and it challenged me to let the rest of the world, the audience, see that element of me.” His months of practice paid off. In the Star Tribune, critic Terry Blain praised Phin’s performance: “Bynum cut a convincingly boyish figure, his light tenor imparting a touchingly artless quality to songs.”

Since Candide wrapped, Phin has spent more time making his own music—an exploration of jazz, pop, and electronic. He’s recording an album, a longtime dream that combines his musical and technical pursuits. He’s also excited to sing with MNOp again. “I get to sit in a room of wonderfully passionate and diverse folks and bring feelings and ideas and notes and rhythms off a piece of paper and into reality,” he said. “It's the best.” 

Phin credited Rowland Hall for a solid foundation, and expressed gratitude to teachers and administrators—particularly the late Linda Hampton, a beloved Upper School staffer who attended nearly all of his performances. “Linda called herself my ‘biggest fan,’” Phin said. “I’m blessed that my musical endeavors have always been supported by my family and friends, but Linda will always have a special place in my heart.”

Alumni

orchestra concert

Winged Lion musicians enjoyed a banner school year dotted with captivating chapel and morning-meeting performances, well-attended concerts, a visit from a Stradivarius-playing concertmaster, and glowing reviews at competitions.

Highlights for the year, according to music teachers Sarah Yoon and Jeremy Innis:

  • On October 16, our Advanced Chamber Ensemble (ACE) performed at Primary Children's Hospital for the third year in a row; read our November 2017 story about ACE and their volunteerism. New this year, the hospital internally televised the concert for all patients to enjoy.

  • On April 23, Pacific Symphony Concertmaster Dennis Kim visited Rowland Hall for a masterclass, brown-bag lunch concert, and Q&A session. Dennis worked with our musicians in small groups, giving them direct, practical pointers—particularly on playing their instruments with passion. He also shared personal anecdotes, including the story of his career and how he acquired a Stradivarius violin, one of the most celebrated and valuable instruments in the world.

  • On May 2, ACE and the Upper School Orchestra performed music from Schindler’s List at the Jewish Community Center for Yom HaShoah, or Holocaust Remembrance Day. “It was very powerful to be among Holocaust survivors and family members,” Sarah said.

  • On June 1, choir students performed Aretha Franklin’s “Respect” along with our jazz band and dance company at the Salt Lake City Pride Parade; participation was driven by middle and upper schoolers in LGBTQ+ advocacy and allyship clubs.

Competition Highlights

Sixteen Rowland Hall students competed at Regionals on March 26. From there, one choir and all eight ACE students moved onto the Utah High School Activities Association’s State Solo and Ensemble South Festival held Saturday, April 27, in Provo.

At State, all of our competing students (listed below) received a “superior” rating, the highest on a five-point scale. View a full PDF of all results.

Solos

  • Cora Lopez, contralto singer, La fleur que tu m'avais jetee by Bizet
  • Claire Sanderson, piano, Chopin Nocturne
  • Ziteng Zeng, violin, Mozart Rondo from Serenade in D minor "Haffner"
  • Jake Bleil, string bass, Koussevitzy Valse Miniature
  • Augustus Hickman, violin, Bach Concerto in A minor

Duets

  • Austin Topham and Zach Benton, violin and viola, Handel Halvorsen Passacaglia
  • Patrick McNally and Ziteng Zeng, violin, Vivaldi Concerto in D minor
  • Augustus Hickman and Atticus Hickman, violin, Bach Double Concerto

Music

You Belong at Rowland Hall