That journey culminated on March 11, when the ensemble took the stage at Carnegie Hall for the first time in university history, performing as part of the New York Wind Band Festival. For the 51 student musicians, who represent majors from across the university, the moment carried both personal and collective significance.

¡°There is so much history at Carnegie Hall,¡± says Jonathan Poquette, Fletcher Moore Distinguished Emerging Scholar and director of bands. ¡°The fact that we are now part of that history is quite remarkable.¡±

Months of preparation led to a program that reflected both technical precision and artistic ambition, including a piece by Associate Professor of Music Todd Coleman. But for students, the experience extended far beyond the performance itself.

¡°Being able to perform on such an iconic stage was truly extraordinary,¡± says Astrid Hughes ¡¯27, a statistics major and clarinetist. ¡°I have been playing the clarinet for around 10 years and have never been in such awe of a space I was performing in. The music we were able to create in that space is unlike anything I have ever done before. It was a product of all the hard work we put in as an ensemble.¡±

That sense of awe and accomplishment was shaped throughout the week by a series of experiences that deepened students¡¯ understanding of what a life in the arts can look like.

The ensemble first performed at high schools in Delaware and Staten Island, sharing their music with younger students and building confidence ahead of their Carnegie Hall debut. For many in those audiences, it was their first time hearing a collegiate wind ensemble in person, an introduction that underscored the lasting role music can play beyond high school.

In New York, the learning continued in a different setting: Broadway.

Students attended performances of ¡°Aladdin¡± and ¡°The Book of Mormon,¡± where they also connected with ÂÒÂ×ÊÓƵ alumni now performing on some of the world¡¯s most prominent stages. After the shows, alumni welcomed students backstage, offering a glimpse into the professional world of theater.

Being able to perform on such an iconic stage was truly extraordinary.?¡ª Astrid Hughes ’27

Michael Callahan ¡¯13 and Campy Rodriguez ¡¯26 hosted students following a performance of ¡°Aladdin,¡± sharing their journeys and leading a behind-the-scenes tour. Callahan, a swing who covers multiple roles and serves as dance and fight captain, and Rodriguez, making his Broadway debut, spoke about the discipline and versatility required to sustain a career in the arts.

¡°Getting to meet Michael and Campy made such a big city feel like a small world,¡± says Alana Driver ¡¯27, a flutist. ¡°It was inspiring to hear about their journeys and see how their experiences at ÂÒÂ×ÊÓƵ helped lead them to where they are now.¡±

Another group met ensemble cast member Andrew Stevens Purdy ¡¯20 following a performance of ¡°The Book of Mormon,¡± stepping onto the stage and seeing firsthand the complexity of a Broadway production ¡ª from props and lighting to the choreography happening just out of view.

Those moments helped students connect their own experiences at ÂÒÂ×ÊÓƵ with the paths forged by those who came before them.

¡°This was a collaborative event, and I am so proud of the students and all their hard work,¡± Poquette says. ¡°They represented themselves, the band program, the Department of Music and the university with the highest level of professionalism and class.¡±

Beyond Broadway, the group explored the city between performances, taking in views from atop Rockefeller Center and interacting with composers and guest artists. Each moment added another layer to a trip designed not just to showcase talent, but to broaden perspective.

When the ensemble finally took the stage at Carnegie Hall, those layers came together in a defining moment. The performance ended with a standing ovation ¡ª a reflection not only of musical excellence, but of the journey that led there.

And long after the final note faded inside one of the world¡¯s most storied concert halls, the experience itself continues to resonate as a reminder that at ÂÒÂ×ÊÓƵ, the path to extraordinary moments is built through both preparation and possibility

Polly was my second-ever voice teacher. I met her when I was 18 years old. In hindsight, I think I might have been one of her first students, as she isn’t much older than I am. But she was definitely an expert opera singer in my eyes, and a brilliant teacher. She taught me vocal technique, to sing in French, German, Italian and English, with songs from ¡°Oklahoma¡± and ¡°The Pirates of Penzance.¡±

She was also a new mom when I met her. I loved kids and wanted some of my own someday, so I enjoyed asking her about her family during my voice lessons. In my junior year of college, she went on maternity leave to have her second daughter, who I also babysat on occasion. I¡¯ve enjoyed watching her children grow up and become successful young adults.

Polly knew what I could do before I did, and helped me become the soprano I was born to be. I was a very driven performer and student, and relished in any opportunity to exceed her expectations. I¡¯m glad I was really into being ¡°extra¡± at the time, because it definitely paid off. I made the most of those four years to study, practice and learn, and eventually became a Broadway performer.

She came to see me play Glinda in ¡°Wicked¡± on Broadway the first time I went on. I was an understudy, and rarely knew when I was going to be playing the role, but the first date I did, she was there.

I graduated in 2003, but even last year, she came to see me perform at a benefit in Greensboro. I was so nervous. Even though I am a seasoned performer, I was still desperate to exceed her expectations, because I love and respect her as a fellow artist and as a friend. We got to spend time together after that show and talked about the same things we talked about in 2000.

She made an enormous impact on my career, and I am grateful to still have her in my life.

Lindsay Northen Bradshaw ¡¯03, a BFA music theatre graduate, spent more than a decade in ¡°Wicked¡± on Broadway and now performs in ¡°Finding Nemo: The Big Blue and Beyond¡± with Walt Disney Entertainment.

The celebration offers an opportunity for reflection, education and connection, deepening understanding of API communities¡¯ lasting impact, with the Center for Race, Ethnicity, and Diversity Education (CREDE) leading a variety of programs throughout the month.

Recognizing the diversity within Asian & Pacific Islander communities, this year¡¯s theme, “Distinctly in Bloom: Growing Together”, focuses on highlighting the uniqueness of different Asian, Pacific Islander and South Asian cultures and identities across the diaspora.

¡°Our hope for the theme is that the campus community will understand and get to learn about the full spectrum of APISA cultures and identities,¡± George Dou, assistant director of the CREDE, said. ¡°That means also learning about each culture or people individually as well, which is something we’re hoping to highlight throughout the course of the month.¡±

Throughout April, with events continuing into May, the CREDE will host a variety of events to honor and highlight these communities. Highlights of this year¡¯s events include the annual kickoff celebration, the Asian Film Series and the Kaju & Lina Piano Duo (Voyage of Dance).

For additional questions, please contact Dou at gdou@elon.edu.

Asian & Pacific Islander Heritage Month Events at ÂÒÂ×ÊÓƵ

Communi-Tea Time

Every Tuesday in April

12:30-1:30 p.m. | CREDE (Moseley 221)

APIHM?Kickoff

Wednesday, April 1

5:30-7 p.m. | Medallion Plaza

The ÂÒÂ×ÊÓƵ community is invited to celebrate the rich and diverse cultures of Asian and Pacific Islander (API) communities at our API Heritage Month Kickoff Event! This celebration will feature different foods, cultural performances, local businesses and engaging activities that highlight the contributions and traditions of API communities.

Kaju & Lina Piano Duo (Voyage of Dance)

Wednesday, April 1

7:30 p.m. | Whitley Auditorium

A duet piano recital featuring classical and Korean folk music. Kaju Lee and Lina Yoo Min Lee met while teaching in Wisconsin and have performed together at various institutions and venues, often showcasing both well-known classical pieces and works by contemporary and Korean composers. Their performances frequently feature both solo and duo (4-hands) repertoire. Sponsored by the Department of Music.

Matcha & Sushi Pops

Tuesday, April 7

2-3 p.m. | Outside Lakeside

Spring into History w/ Chinese Club & Arabic Club

Wednesday, April 8

6-8 p.m. | El Centro Kitchen (Carlton 114)

K-DNS: Open Dance Session

Friday, April 10

6-7 p.m. | Koury Dance Studio 5

Holi

Friday, April 10 (Rain dates: April 17 and April 24)

4 p.m. | Phi Beta Kappa Lawn

A Hindu spring festival of color and sharing love, Holi marks the end of winter and the beginning of spring. The ÂÒÂ×ÊÓƵ community gathers at Speaker¡¯s Corner to throw colored powder at one another, celebrating the earth returning to color and life and good triumphing over evil. If you plan to throw color, please wear old clothing that can get dirtied by paint. There will also be crafts, food, and other ways to celebrate the holiday. Sponsored by the Truitt Center for Religious & Spiritual Life.

APISA Community Dinner

Monday, April 13

5:30-7 p.m. | CREDE (Moseley 221)

Rainbow Boba?

Friday, April 17

5:30-6:30 p.m. | CREDE (Moseley 221)

Asian Film Series: The Globalization Tapes

Tuesday, April 21

7 p.m. | Global Media Room 103

A documentary exploring how a community in West Java navigates the forces of globalization, tourism and cultural identity.

Food For Thought: Korea

Wednesday, April 22

6 p.m. | CREDE (Moseley 221)

Donghua Night

Friday, April 24

8-10 p.m. | Alamance 315

A collaboration between the Chinese Club and the Anime & Japanese Studies Club where we will be watching donghuas (¶¯»­), which is the Chinese term for anime.

Exploring Asian America: Workshop

Wednesday, April 29

5:30-7 p.m. | CREDE (Moseley 221)

An interactive workshop where participants will get to learn more about the spectrum of voices and experiences in Asian America.

Asian Film Series: Perfect Days

Tuesday, May 5

7 p.m. | Global Media Room 103

A Tokyo toilet cleaner finds quiet beauty and contentment in his daily routine and unexpected human connections.

Tai Chi with Chinese Club

Wednesday, May 6

5-6 p.m. | Colonnades Quad

LTW: EOY Celebration

Thursday, May 7

6-7:30 p.m. | McKinnon (Moseley 128)

Explore the full schedule of API Heritage Month events on the CREDE website.

After several years of self-publication, Associate Professor of Music and Director of Choral Activities Stephen Futrell’s arrangement of Freddie Mercury’s “Golden Boy” has now been officially published through Hal Leonard publications.

“I am honored and extremely pleased that this has been accepted for publication,” said Futrell.

The song “Golden Boy” is featured on Freddie Mercury’s album “Barcelona.” Futrell’s arrangement is now published and available on several sites, such as sheetmusicplus.com, sheetmusicdirect.com and noteflight.com.

A live recording of the arrangement with Futrell as solo vocalist, along with his UMKC vocal coach Anne De Launay, at a concert honoring Eph Ehly’s retirement from University of Missouri Kansas City can be viewed online:.

The performance, held in a concert hall regarded as one of the most prestigious stages in classical music, was the culmination of months of practice by the musicians and faculty.

For ensemble members, the opportunity to perform in the same venue as well-known musicians such as Frank Sinatra, Bob Dylan and Etta James was both an honor and milestone.

¡°There is so much history at Carnegie Hall and the fact that we are now part of that history, is quite remarkable,¡± said Jonathan Poquette, Fletcher Moore Distinguished Emerging Scholar and director of bands. ¡°I am truly grateful for all that the students, community and university have done to make this possible. It still doesn¡¯t feel real.¡±

The program featured five pieces, including ¡°The Arc of the Helios and the Celestial Dial¡± composed by Associate Professor Todd Coleman. Another performance piece was ¡°Unfrettered¡± by composer Jim Stephenson, who attended the performance.

The Wind Ensemble performance concluded the 24th Annual New York Wind Band Festival. Poquette said he enjoyed seeing the students¡¯ excitement and sense of pride before, during and after the performance.

¡°While we were performing, I was trying to remain in the moment,¡± he said. ¡°Then the emotions shifted to a sense of pride for the students, and joy for all of their work.¡±

For many of the student performers, the trip to New York City and the chance to perform at Carnegie Hall was a once-in-a-lifetime experience and a defining moment in their college career.

Reflections from student performers:?

• ¡°Being able to perform on such an iconic stage was truly extraordinary. I have been playing the clarinet for around 10 years and have never been in such awe of a space I was performing in. The music we were able to create in that space is unlike anything I have ever done before. It was a product of all the hard work we put in as an ensemble.¡± – Astrid Hughes ¡®27, a statistics major from Long Valley, New Jersey
• ¡°It means the world that I was able to end my college band career with such an incredible performance playing on a Carnegie Hall Steinway & Sons grand piano. I remember standing backstage and seeing a schedule for those working the event and ¡®piano tuning¡¯¡¯ was scheduled before the concert started. At that moment, it really hit me that I would be playing on a near perfect piano for possibly the only time in my life. I will remember the look at Dr. Poquette¡¯s face when we finished playing our last piece, ¡°Machu Picchu.¡± I played my last chord, looked at the piano, then looked at him, and I have never seen such a huge smile on his face. I felt so proud of us for our performance in that moment.¡± – Faith Almond ¡®26, a creative writing major from Apex, North Carolina
• ¡°It was so special to play at Carnegie Hall with my best friends. The moment I will remember most is when we finished our last song on Carnegie stage and the audience gave us a standing ovation; it was very emotional. I will cherish this trip forever.¡± – Chloe Hyatt ¡®27, a secondary English education major from Ann Arbor, Michigan
• ¡°I have never played on a stage as world renowned as Carnegie Hall and to be in New York City for the first time and play trumpet is such a wonderful experience. I am so grateful to ÂÒÂ×ÊÓƵ for this experience.¡± – Andrew Pipeling ¡®29, an applied mathematics and music performance major from Durham, North Carolina

• ¡°It means a lot to me to have the opportunity to play at Carnegie Hall. I played in a small band in high school and Dr. Poquette was my trumpet teacher so getting to go to New York City and play with somebody who was such a big mentor figure is such an honor. I visited Carnegie Hall last summer and loved it so much, but I had no idea that I would have the opportunity to pay there.¡± – Kalyn Faille ¡®29, a history, political science and music in the liberal arts major from Burlington, North Carolina

Inspiring Young Musicians

While on the trip, the ensemble also shared its music with younger musicians through performances at Middletown High School in Delaware and Susan E. Wagner High School in Staten Island, New York.

“Having the opportunity to perform at these high schools was a tremendous benefit for the ensemble,¡± Poquette said. ¡°Not only did it allow us to continue refining our performance, but it gave our students confidence before they took the stage at Carnegie Hall, while building relationships with colleagues in other parts of the country.¡±

The visits provided the Wind Ensemble an opportunity to perform for student audiences and connect with high school band programs.

¡°A lot of my students have never seen or heard a professional wind ensemble in person,¡± said Emily Poll, the band director at Middletown High School. ¡°To be able to experience the quality of sound and dedication to the craft was truly a special experience for my students. They were able to see that you can still play in band post-graduation from high school and that music can only keep growing in your life.¡±

The high school students appreciated having the Wind Ensemble on their own stage and were in are of the power and sound during the performance, Poll said.

¡°This opportunity is a great way to promote arts education and the value of wind ensembles at both the collegiate and K-12 levels,¡± Poll said. ¡°The collaboration between college students and high school students allows both parties to grow as musicians and is the most exciting part about being in the field.¡±

While in New York City, the ensemble also visited Top of the Rock at Rockefeller Center, attended a Broadway show and interacted with composers and guest soloists.

¡°This was a collaborative event, and I am so proud of the students and all their hard work,¡± Poquette said. ¡°They represented themselves, the band program, the Department of Music and the university with the highest level of professionalism and class.¡±

Since his 2023 arrival at ÂÒÂ×ÊÓƵ, Kelly has hosted a ¡®listening tour¡¯ and spent time with each department to hear directly from faculty and staff about what they value. Kelly said that common themes soon emerged from those conversations and the new statement reflects dozens of discussions.

ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences new vision statement reads: ¡°The Heart of an ÂÒÂ×ÊÓƵ Education: Ignite Curiosity, Engage Challenges, Transform Worlds.¡±

The mission statement then declares:

¡°Upholding the centrality of the liberal arts, we explore and apply disciplinary and interdisciplinary knowledge for inquiry, creativity, discovery and problem solving in a complex and changing world.¡±

The statement lists core values that include accessibility, belonging, critical thinking, diversity, equity and inclusion, integrity, intellectual curiosity, problem-posing and respect for human dignity.

Community Reflections

• ¡°There were several opportunities for different groups, departments, branches, interdisciplinary programs, to discuss versions on the table. It was in those conversations where we might learn how a word or phrase was heard within and across disciplines; where we found convergence, deeper awareness, and respect. The both-and of this process modeled what we value and genuinely captures our shared identity as ÂÒÂ×ÊÓƵ College.¡± – Caroline Ketcham, associate dean of ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences and a professor of exercise science
• ¡°It was always important to us that this wasn¡¯t a process where faculty were just asked to weigh in at the end, after the real decisions had already been made. From start to finish, it was grounded in listening to what faculty across the college say we do well and what values they believe guide our shared work. Our task wasn¡¯t to invent a mission, vision and values, but to clearly articulate what faculty are already living and leading with. I think that¡¯s why faculty can so readily see themselves and their departments represented in the final statements.¡± – David Buck, associate dean of ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences and an associate professor of psychology
• ¡°Having shared goals and articulated values helps everyone in the college feel connected as a community, value each other¡¯s work and prioritize our energies on initiatives that matter to us.¡± – Shannon Duvall, interim associate dean of ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences and professor of computer science
• ¡°I appreciated the collaborative nature of it all, not just between the dean¡¯s office and department chairs, but also extending to faculty members across ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences. It really did involve all of us. What particularly stood out to me were the conversations in our chairs¡¯ meetings with the dean where we came to agreements on core values. It¡¯s inspiring to see that distinctly different types of disciplines uphold the same core values.¡± – Joel Karty, chair of the Department of Chemistry and ÂÒÂ×ÊÓƵ¡¯s Sydney F. & Kathleen E. Jackson Professor of chemistry
• ¡°I appreciated being part of a process that felt genuinely collaborative. Our participation was not merely symbolic. It felt meaningful, and I experienced the dean¡¯s office as truly listening. The process itself was also inspirational, and I feel bolstered in leading my own department through similar work. It was powerful to see such a broad, collective effort take shape into something tangible.¡± – Samantha DiRosa, chair of the Department of Art and a professor of art and environmental studies
• ¡°The process of creating a new vision statement, mission statement and core values for ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences was both thoughtful and deeply collaborative. Over many months, department chairs worked together to reflect on what makes us distinctive and how best to express those qualities in guiding statements. The process intentionally sought input from across departments, ensuring that everyone in the college had the opportunity to contribute their perspectives. Personally, the time spent reflecting with fellow chairs on what makes each of our departments special fostered a deeper sense of shared purpose and collective commitment.¡± – Carrie Eaves, chair of the Department of Political Science and Public Policy and associate professor of political science and public policy

Kelly said he was pleased the final language resonated with the faculty in the college.

¡°The true measure of a successful attempt to lead a group or an organization towards a renewed vision, mission and core values is whether the words and sentiments ¡®sound like us¡¯,¡± he said. ¡°When I heard that some faculty believed my presentation of our vision, mission and core values at our spring faculty meeting ¡®sound like us,¡¯ I knew that our work together in small and large group settings was a huge success. It means that stakeholders were heard and that the words resonate so much so that the tune or melody is familiar. The vision, mission and core values reflect truly who we are and where we are going with much intention.¡±

The conference, themed ¡°Rooted and Rising: Building an Inclusive and Resilient Future for Dance Education,¡± begins at 8:30 a.m. and is open to K-12, higher education and private studio dance educators from across the state. Colleagues from Appalachian State University, University of North Carolina Charlotte, High Point University, North Carolina Agricultural and Technical State University, University of North Carolina Greensboro, Duke University and Belmont Abbey College are among those expected to attend.

Caroline Ketcham, associate dean of ÂÒÂ×ÊÓƵ College, the College of Arts and Sciences, and professor of exercise science, will deliver the keynote address, ¡°It¡¯s Our Day to Be Brilliant: Building Mentally Healthy Habits.¡±

Six ÂÒÂ×ÊÓƵ faculty and students will present research at the conference. Associate Professor of Dance Jen Guy Metcalf will present ¡°Moving the Frame: Integrating Dance Film and Photography in the Classroom,¡± drawing on her Dance for the Camera course from the ÂÒÂ×ÊÓƵ in LA summer program. She will be joined by Associate Professor of Dance Renay Aumiller, Associate Professor of Art Ryan Rasmussen, Associate Professor of Music Doug Jurs, Adjunct Assistant Professor of Performing Arts Caitlyn Schrader and Assistant Professor of Performing Arts Kayla Higbee who is presenting research with Brooke Goldstein ¡¯26.

Students Antonina Spinello ¡¯26 and Evelyn Ealey ¡¯26 also will present original research. Spinello¡¯s work examines how United States ballet companies responded to COVID-19 and social justice movements from 2019 to 2024. Ealey¡¯s research explores the mental health impacts on Black dancers at predominantly white institutions and aims to spark dialogue about how educators can better support their students.

¡°This is an excellent opportunity to strengthen our dance community through networking, sharing research and engaging in professional development,¡± Metcalf said.

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The group will perform as part of Bocelli¡¯s choral ensemble through Bruesehoff¡¯s membership with the North Carolina Opera. For each show, Bocelli partners with local organizations to perform with him, and it will be the second time Bruesehoff has performed with the singer.

¡°It¡¯s very exciting, and it’s just so special to be a part of something so big,¡± said Bruesehoff.

When the performance needed five more male voices, three tenors and two bass baritones, Bruesehoff turned to the ÂÒÂ×ÊÓƵ students and alumni she knew would be interested in the experience.

¡°I think we should be practicing what we preach to our students,¡± said Bruesehoff. ¡°And because I perform regularly, they’re able to watch me perform, but it’s not as often they get to perform alongside me. So, to work with me as a colleague through the process is a fun experience for all of us.¡±

Anthony Hotakainen ¡¯26, Hashini Amarasinghe ¡¯26, George Zemla ¡¯27, JT Loveless ¡¯28, Isaiah Flowers ¡¯28, Michael Mintz ¡¯29 and alumni Travis Foust ¡®23 were chosen to perform. As a first-year student, it¡¯s a new experience for Mintz, and his family will be traveling from New Jersey to see the performance.

¡°It¡¯s going to be really fun,¡± said Mintz, an acting, and music in liberal arts double major. ¡°I¡¯ve never done something at this level, especially with other professionals, let alone something with opera. I think this is going to be a life-changing experience and something I will carry with me forever.¡±

Bruesehoff, along with the ÂÒÂ×ÊÓƵ students and alum, have rehearsed with the chorus five times in Raleigh and will do one full run-through before the show at the Lenovo Center on Friday.

¡°For some of the students, they don’t have as much experience singing in another language. In this concert, we have to sing in Italian, Latin, and English. I rehearsed with the students from ÂÒÂ×ÊÓƵ outside of the official rehearsal process,¡± she said. ¡°I¡¯m an ÂÒÂ×ÊÓƵ alum as well, and that is what has always drawn me to ÂÒÂ×ÊÓƵ: the community, the mentoring, the real-life experience that we offer here. Being able to do this together is something that we¡¯ll remember forever.¡±

As part of Futrell’s presence, he worked with the All-State Jazz Ensemble vocalists in individual coaching lessons and presented an open master class on vocal health and technique, jazz style and improvisation.

“Your LAJE workshop presentation was fabulous, helping students and teachers to seriously consider phrasing and delivery of a song,” said Doug Stone, president of LAJE and LSU Director of Jazz Studies. “All vocalists in attendance were able to walk out of the workshop with actionable concepts that they could immediately put into practice. And the student vocalists you worked with demonstrated noticeable improvement after simply applying your first suggestion! You truly worked wonders with the 2026 LMEA All State Jazz vocalists during your workshop. However, your efforts and willingness to share your teaching in hours of sessions above and beyond your workshop were truly remarkable and inspirational. I have never witnessed a presenter at a conference be willing to spend hours observing rehearsals, working with students in group and private lessons, and contributing helpful ideas and suggestions throughout a multiple-day visit. The work that you did with the All State Jazz vocalists and many others during the conference helped our students perform a stellar concert – the best I have heard in my eight years in Louisiana. I am hopeful that this is the beginning of a long and fruitful association with you, LAJE, LMEA, and me!? Thank you, Stephen!”

As part of Futrell’s trip, he was also invited to work with two choral programs in the East Baton Rouge Parish school system and appeared as a guest artist for the Greater Baton Rouge Arts Council’s?AC23+ Artist Legacy Series audio/video podcast. The interview streams on YouTube, Amazon Music, Spotify Podcasts and Apple Podcasts. View the podcast:?