7 10 196 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jennifer Fabbi Interviewee The person(s) being interviewed Karen Schaffman OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=SchaffmanKaren_FabbiJennifer_2025-06-05_access.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Schaffman, Karen. Interview June 6, 2025. SC027-084 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Karen Schaffman Jennifer Fabbi moving image SchaffmanKaren_FabbiJennifer_2025-06-05_access.mp4 0 https://archivesoralhistories.csusm.edu/files/original/5c41e45a9e19b8754a22c3428a572fc2.mp4 Other video English 0 Interview Introduction 0 56 Experience with dance as a child and adolescent Schaffman reflects on being a lifelong dancer starting with her initial experience with dance as a child and her mother’s role in exposing her to dance. lifelong dancer ; mother ; Connecticut Ballet ; ballet ; jazz ; Hartford Conservatory 0 382 Formal education Schaffman details her formal undergraduate and graduate education in dance including a degree at the European Dance Development Center in Holland and a PhD in Dance History and Theory at University of California, Riverside. University of Massachusetts ; women's studies ; feminism ; gap year ; San Francisco ; improvisation ; Holland ; Germany ; California ; University of California, Riverside ; Feldenkrais Method ; Dr. Moshe Feldenkrais 0 874 Foundational theory and practice for Schaffman’s work Schaffman describes theories and practices that underpin her work including a somatic approach to dance, perceptual improvisation, dance dialects, and contact improvisation. somatics ; perceptual improvisation ; dance dialects ; contact improvisation ; performance and cultural theory 0 1802 Service to the community and profession Schaffman discusses her teaching, scholarship, and service and how she was able to differentiate her service from teaching and scholarship during the retention, tenure, and promotion process. teaching ; scholarship ; creative activity ; service ; David Avalos ; Susan Foster ; Lower Left ; Bonnie Biggs ; Mtfti Imara ; California Center for the Arts ; Andrea Liss ; Kristine Diekman ; Meryl Goldberg ; Center ARTES ; Marilyn Huerta ; Arts and Lectures ; curriculum 0 2233 International work Schaffman speaks to her work in and travels to different countries and the influence this has had on her life and career. global citizen ; intercultural exchange ; Europe ; Mexico ; Pachuca ; Day of the Dead ; Holland 0 2238 Plans in retirement Schaffman shares her plans for retirement including slowing down, participating in a training institute in Vienna, and coming back to teaching at CSUSM as part of the Faculty Early Retirement Program. Donna Ray ; Feldenkrais ; training institute ; Vienna ; Pilates 0 2456 Schaffman’s journey to CSUSM and evolution of the campus and curriculum Schaffman reflects on the evolution of CSUSM, especially regarding the growth of the dance curriculum and program, faculty, and guest artists. curriculum ; University Curriculum Committee ; dance minor ; Choreographies of Resistance ; Michael McDuffie ; Ranjeeta Basu ; Cheri Hill ; breadth ; active learning ; social justice ; diversity ; Arts and Lectures ; Dancing through Prison Walls ; Visual and Performing Arts ; space ; theater ; Anya Cloud 0 4019 Working during the Covid pandemic Schaffman talks about her work during the Covid pandemic and the rise of Black Lives Matter and murder of George Floyd. (keywords: pandemic, Black Lives Matter, George Floyd, online performances, Historically Black Colleges and Universities, Mtfti Imara, T. Lang, Melicia Taylor, Black artists, Zoom, Skyla Miles, Minnie Atkins, sabbatical, Think Gravity Dance Tank, symposium, Anya Cloud, Ishmael Houston-Jones, contact improvisation, Contact Dance International Film Festival, Makisig Akin) pandemic ; Black Lives Matter ; George Floyd ; online performances ; Historically Black Colleges and Universities ; Mtfti Imara ; T. Lang ; Melicia Taylor ; Black artists ; Zoom ; Skyla Miles ; Minnie Atkins ; sabbatical ; Think Gravity Dance Tank ; symposium ; Anya Cloud ; Ishmael Houston-Jones ; contact improvisation ; Contact Dance International Film Festival ; Makisig Akin 0 4486 Schaffman’s most impactful work Schaffman reflects on what she considers to be her most impactful work. She believes the creation of the Dance program at CSUSM is the most important accomplishment of her career. Debra Hay ; Lower Left ; dance program ; Summer Arts ; Think Gravity 0 5169 Additional projects and collaborations Schaffman adds a few more collaborative projects that she wants to give her colleagues and the University credit for. United and Severed ; Kristine Diekman ; traumatic injury ; PTSD ; palliative care ; Mindfulness Center ; Elizabeth Hospice Center 0 Oral history Dr. Karen Schaffman is a Professor of Dance at California State University San Marcos since 2002. She has been pivotal to the development of the Dance program at CSUSM. For Karen dancing is a transformative, healing and transgressive force for self-awareness, political change and social communication. In this interview, Schaffman covers her early exposure to dance, her formal education, international work, and her time at CSUSM. NOTE TRANSCRIPTION BEGIN 00:00:01.000 --> 00:00:29.614 Hello, this is Jen Fabbi, and today I am interviewing Dr. Karen Schaffman for the California State University San Marcos University Library Oral History program. Today is June 5th, and it is 2:10 p.m. This interview is taking place at Karen's office on the CSU San Marcos campus, where we are guests on traditional unceded Luiseño/Payómkawichum land. Karen, thank you for interviewing with me today. 00:00:29.614 --> 00:00:31.545 Thank you. 00:00:31.545 --> 00:00:41.375 So to start off, can you tell me about your experience with dance as a child and adolescent and where you got your passion for dance? 00:00:41.375 --> 00:00:47.495 Great, thank you. And first, I'd like to begin by also thanking you so much for the opportunity to share my story, and it's really truly an honor in this moment of my life to have this interview. 00:00:47.495 --> 00:00:49.638 Absolutely. 00:00:49.638 --> 00:00:54.228 Thank you so much. 00:00:54.228 --> 00:00:56.064 You're welcome. 00:00:56.064 --> 00:01:30.356 My childhood story began with dance. So I've been dancing--I'm a lifelong dancer. And I began dancing as a kid. And very young. My mom, there was, we lived on the end of a street, and there was a summer creative dance program. I must have been two or three. I don't have the exact date from my mom. And that's where I fell in love with dance. I have some little picture somewhere stored away with me like in some kind of end of something performance. But it was on the playground, and it was outdoors,and that's where my dance career began. Dance for me--should I just ramble? Is that good? 00:01:30.356 --> 00:01:34.752 Yeah. 00:01:34.752 --> 00:05:45.834 Dance for me was always a sense of a place for me to belong and I'll say survive. I was very supported to go to dance through my whole childhood, but we were a middle class family, and so I relied on scholarships, I usually got them. I was seriously into dance. So I danced until I was probably in seventh grade, No, maybe sixth grade, like twice a week. And then I got into a dance company, and I had a child's part in the Connecticut Ballet, regional Ballet Company. So very early on was I in a very kind of intergenerational environment, and you'll hear through this interview that that's really important to my work and maturing as a still as a performing artist. So it was really, uh, that was like a turning point for me to be in that company. But it was also a time in my life where I had been studying ballet where--my body started to change and I knew that, and then peer pressure and things like high school and things like that. So I changed to modern dance and jazz. So at the time, jazz dance was really predominant. So that's my, just my, like, early days. But I think I'm really not getting to the heart of it with my mom, because my mom really shuttled me back and forth. She was a nurse and, uh, full time, so I had a lot of chores at home to do and things like that. But I always knew that after the chores, my mother was coming home from work and basically going back to the same neighborhood. And so, yeah, it was a really important time for me. My brothers were very into sports and at the time we didn't have Title IX, and I was not encouraged to do sports. I think I probably would've been a good athlete, actually, but I wasn't really invited or included. So dance was really a natural place for me to be physical. But I loved going to dance class. I loved--in the ballet--I was in a ballet conservatory. It was called the Hartford Conservatory. Again, I was one of the young ones there. And there was a live pianist. His name was Julius. And I just remember just loving going there. And I had two older brothers, and it was really, it wasn't a great home environment. My brothers were pretty rough on me to put it lightly. So going to dance was always a place for me to just go and be. And I had really, really good training. I have to be--I'm so grateful that I landed in those places because my teachers were very supportive, but they were also slow with me. They were like--I was called Little K--Little K, we're not putting you on point shoes yet because your ankles aren't strong enough. So I actually had really, really, really good training. So I'm very--I'm very, very grateful for that. My mom, later in life, showed me a letter that they were encouraging me to go to a performing arts high school, and my mother didn't want me to go. And it was after I got my PhD and a career in dance that she said, You know, I need to--it was like she needed to make amends. So she showed me the letter from the Hartford Conservatory encouraging my mother to put me in a professional program, but she didn't. So, but that's interesting. So I don't know where my career would've went at that time. But I stayed in. So, my time with dance was--but I was very, very shy, I have to say. So I grew into not being shy as I got older, but as a kid I was a very shy, and so people asked me to dance in front of them. I'd always be like, no, I--it's like I didn't, I wasn't one of those kids who would be like, get up on the table or get up in front of grandma and grandpa and show them what you do. So I was very, very shy as a kid. So dance was a place where I-- and performance was a place for me to go. Yeah. I could go on and on about that, but. 00:05:45.834 --> 00:06:22.134 Well, maybe it'll come up in some questions. Okay. So you have substantial formal education. You earned a BA in Dance and Literature at UMass Amherst, and an equivalent degree in experimental dance at the European Dance Development Center in the Netherlands, and also your PhD in Critical Dance Studies at UC Riverside. And please fill in anything that I missed. How did your formal education impact who you are as a professional? 00:06:22.134 --> 00:14:14.595 So I only applied to three schools for undergraduate, and it was not a given, but pretty much where I grew up in a very middle class family that I would go to college. I didn't get into Cornell. That was my first choice. I didn't know how I was gonna afford that anyway. And then University of Connecticut was my backup, but they didn't have a dance program, so I didn't really want to go there, but my parents encouraged me. And at the time, there was this five-hour radius of driving, like, it was very strict where we were gonna apply back then. And I was on my own, actually, my grandmother was very ill, and my grandparents had moved from Brooklyn to be next to my mom. So I got into a dance major program at University of Massachusetts, and it's a very good program. They had something called the Five College Dance Program, which is part of a consortium with Smith College, Hampshire College, Mount Holyoke, and Amherst. So I got to pay, it was still outta state, Massachusetts, but got to take advantage of the five college dance program. But even finishing my first year, I was like, something's wrong here. I didn't really like the dance program. It was very competitive. And even though I didn't have any issues with what they thought would maybe be too much weight in the wrong places or anything, they were very critical of other dancers. And I knew right at that age that I wasn't really jiving with that program. Though I was even teaching my first year 'cause I was very advanced. So they gave me the work study teaching, like for the university. So I kind of gave up that opportunity, and I dropped out of the dance program, and I did what was called a bachelor's degree with an independent concentration. So I did dance and literature. So I always continued dancing, but I took all of my dance classes in the five college area. So I kind of got this semi Ivy League or alternative school 'cause Hampshire is a very alternative education. And then I took other classes at UMass, but UMass just opened my eyes up to many things. I did musical theater there and, but my dance and literature was really, really important because I did a lot of, what we called then, well, was--it was UMass had one of the first women's studies programs. So I did a lot of women's literature and I did, I learned about feminism, I was like, this was like my awakening. Yeah. I took a lot of what we call then third-world women's writing and literature courses. So I'm not from the third world, but we don't even use that phrasing anymore. But UMass was in the forefront of politics in the body at the time. So, it's interesting how that became, came back and around. So I had a great education there. I did take what we call now a gap year at the time 'cause I needed to get out into the world. And then I went, I lived in San Francisco for a while and then I knew I wanted to live overseas or go overseas, but I didn't wanna be a tourist. So I got in--there was no internet or anything then. So I was studying in San Francisco with Joe Good in a summer workshop. And this woman who's now well known in New York, Sarah (now I show my absent mind). Sarah Mickelson said, you should go here. She was British. and so there was a school in Holland, and they take two guests a year, and they accepted me with like my CV and a cover letter and a letter of recommendation. And I had no money. My parents were not supporting me at all in this phase of my life. I was waitressing in San Francisco and doing dictation. I worked on the first little Mac box. And I got a loan--I think I'll share this--from the Hebrew Free Loan Association. They gave me $2,000 up front, but I had to pay, start paying back $50 a month. And off I went to Europe, and I paid my tuition. And so I had like, I don't know, I had only like $500 left in my pocket, and I went to the school in Holland. And that basically just changed my life. So it was very alternative. And it was very much based in improvisation, but many of the teachers were coming from either England or the United States, from New York. So it was kind of the New York, the downtown scene, all of the people who were working with somatics in the body. So really doing deep research in terms of inner sensation and anatomical release it was called. So it was a very particular kind of dancing. And I was just like, I would just, I was just mind blown. I would stand there in the studio and somebody would do a performance where they would just take ten minutes to raise their arms. And it was the most beautiful thing I ever saw in my life. I was like, okay, what is this? And then the school split. They opened a new school in the town called Arnhem, and I went to Arnhem, and I spent two years there. And I had an amazing experience there with many amazing artists that I'm still, some of them I'm still in touch with. And I've curated, actually, here at the school and in summer arts. And so I went to there, changed my life. And then I got a job teaching in Germany before Germany had master's degrees in dance. And I worked in a conservatory environment there in a clown and dance school, So I taught at a clown and dance school for three years. And that was a great experience. But at the time I was involved with someone. I had to make a decision. So I decided to move to California. And, I was, What am I gonna' do here? And that's a longer story, but there was a brand-new program that I was thinking about getting a master's, but because I became so open to this other way of dancing, there was really no master's programs at the time that I was interested in, except maybe in New York. And I was like, Well, I live in California now. But there was a brand-new program at UC Riverside. It was the third year, and it was one of the very, among the very first top three universities that gave a PhD in dance. And so when I saw the poster in the back of one of these magazines called Contact Quarterly is how I found out about it, I was like, Oh, wow. So I went and I sat in on a few seminars and I was like, I wanna go there. So I applied. And so then I went to UC, Riverside. And it's really a groundbreaking program in terms of dance studies, the field of dance studies, which is different than just getting a degree in dance. Yeah. Dance studies is really about the political, social, and cultural impact and of the body and dance in the world. So that's what I did. And then I have one more education that I did that's very extensive called the Feldenkrais Method. So thank you to this university who partially funded that education. Yes. It's a four-year program, and it's based on the somatic educational method. And it's based on research of someone named Dr. Moshe Feldenkrais, and he was part of the human development generation. Yeah. He was also born the same year as my grandfather in the Ukraine, which was interesting. But he had a knee injury. He was one of the first white people, men, white men, to learn judo. And he learned judo, and he brought a lot of Eastern philosophy into this body modality. So it's not a dance training, it's really about finding ease in your own movement. So I still do that now. I bring that into all I do. And so I have, those are my key big degrees. 00:14:14.595 --> 00:14:34.754 So following up on that your focus for your career for the last several decades has been on somatics, perceptual improvisation, contact improvisation, and performance and cultural theory. Can you tell me a little bit more about these areas of focus? 00:14:34.754 --> 00:18:27.000 Yes. So you had somatic, perceptual improvisation, cultural theory, and contact improvisation? Yeah. So a somatic approach to dance, or the body, has to do with more about feeling than how it looks. It's really about inner sensation and really getting in touch with oneself on a very cellular level, if I can speak that way. It's more about embodied and lived experience and of course, that has cultural and impact culturally and through people's cultural history and ancestry. But it--and it really includes this very sensorial based way of dancing and through the world. So it's not about how it looks like, for example, like ballet where you have to look a certain way or something, but really about an inner sensorial world that brings forward the dance or the healing or whatever. So it's, it's an ancient way of being with oneself before we had technologies and things like that. So that's the somatic piece. Is that clear kind of? It is? And then perceptual improvisation really has to do with, again, responding to the conditions. So it's a little bit more related to the visual art world. And one of my areas that I researched, well, probably since I'm a kid, but is visual art. And I also studied--I took Harvard summer school one summer way, way back when, and I did video when it was a three-quarter inch and you sit down (unintelligible). So I did some--I've studied some videos. So I'm, it's really about--how do I explain perception improvisation on an interview like this? Let's see. Something about how do we, how do we perceive the world? So it's, it really does relate a lot to visual arts in terms of perspective and visual field and responding, but could be your auditory field as well. So it's related to somatics in that way. It also is really, really related to Eastern thought, which is about inner perception and meditation and things like that. So I've cultivated a more contemplative way of approaching dance as well. Yeah. It comes from, I wouldn't say I am a Buddhist or anything like that, but I've studied Eastern philosophy. I've done a little bit of martial arts, just a little bit. So I've kind of come at it with that. And then cultural theory is dance and cultural studies. Dance studies is really a blend of dance and the field of cultural studies. So we're really looking about diversity in dance, and we're considering not just a European perspective of dance, which becomes very stereotypical. And so it's changed so much then. But it's really the dance studies field really emerged out of celebrating and analyzing, honoring the histories and practices of diverse cultures across the world. I mean, there's so many dance dialects that around the world. So dance studies really opened my eyes up to how big the world of dance is and how much of an impact it has politically and socially on our identity and things like that. So everything we learn about dance can be applied to (unintelligible). Dance studies can be applied to any field, really, in my opinion, because it has so much to do with the politics of the body. Yeah. 00:18:27.000 --> 00:18:28.000 That's really interesting. 00:18:28.000 --> 00:18:35.444 Yeah. Yeah. And I bring that here to Cal State. 00:18:35.444 --> 00:18:43.535 So how have your areas of focus benefited your students? Many students over the years? 00:18:43.535 --> 00:23:12.493 Well, and I did talk about contact, so I'll bring that back 'cause that's what my area of research was about. I think I should say something about contact now. Is that okay? So my PhD was based on contact improvisation, which is, brings together all of those other practices--somatics, perceptual improvisation, dance technique, and then cultural studies. So I was looking at something that emerged from the fifties and sixties, which was a huge art movement in New York and really influenced a lot of people. And it was based on gravity and momentum and touch. So contact improvisation. My dissertation was really also a lot about touch and how contact improvisation, which is a touch-based dance form. It's like what happens when two bodies move together? And with gravity and momentum? Now we do this, people do this, not me, in tango, in salsa, and all sorts of dance traditions around the world. But contact has a particular aesthetic. And so it might look like something, but it's so much based in sensorial awareness. So this was--has been--a big part of my life is contact improvisation. And so--but contact improvisation sometimes universalizes this idea of what the body is. So my dissertation also took that apart and down a bit that said, No, this is very particular as a particular way of moving. It's not universal. Not everybody does it, you know, things like that. So anyway, it's a longer discussion, but I bring all of that into San Marcos when I--CSUSM--when I came here there was no program. And so it was clear to me that I was starting in a very challenging place but also really exciting place. One of the reasons I took the job here--I got an offer at a school that was already established as well. Because dance, dance for here, the byline here is that dance is for everybody and every body. And that this would be an inclusive environment and that this would be an environment that welcomes all students. So it would not be conservatory driven or even wanting to go in that direction. Even though we would be working on our technique, on our awareness--we would use words like awareness rather than virtuosity. You know, virtuosity is great, but would be more about awareness. So it's a very inclusive environment. And I think I was highly successful at that. And that is actually happening. So I think that's the biggest thing. But the students always are like, it's really different here. When people come to visit or high schools come always like, oh, it's really different here because it's really about community and there's a lot of support. We don't just dance. We talk about where we're at. We take a weather report. What's going on? One word, you know, everybody share a word. How do you feel today? We talk about access needs. We don't make assumptions in the class that everybody's gonna do everything. So there's a lot of that. So it's really with what my friend, Anya Cloud, collaborator, brought the phras--she was a lecturer here for nine years--"Dancing with the body you have." So yeah, no assumptions. No assumptions. Yeah. And also adaptability. access needs, cultural backgrounds, what's going on in the world. We don't ignore, we don't go, you may get a great escape in a dance class, but dance studies is not about this dream. that dance helps me escape the world. It's basically the opposite. It's really about grounding in the reality and what am I dealing with and what are the conditions right here and now? So I've cultivated those kinds of values here. And then the other big thing is because I went to Riverside, early on I brought in that students need to relate whatever we're learning in the class. almost every, and almost--not all classes, but many classes are like--how do you relate this to your major or something you care about in the world? Because dance is always in dialogue. We're always in relationship to the world. 00:23:12.493 --> 00:23:14.733 That's really, it sounds very unique. 00:23:14.733 --> 00:23:28.015 Yes, it is. (laughter) It's a unique program that that emerged. And, um, yeah, see where it goes, too, so I'm hopeful. 00:23:28.015 --> 00:23:35.375 So what has scholarship and creative activity looked like in your career as a professor of dance? 00:23:35.375 --> 00:24:20.000 Um, in my career? Or just, what was, can you repeat the question? I'm sorry. I was looking at my note up before that. I just said at the end, I wrote myself a little note about my area of focus. "It's fun and entertaining, but it's also much more than that." I talk to students. First of all, it's more than just the steps. We're not gonna just learn phrases in here and look in the mirror. I wanna add that students freak out 'cause in many classes we're like, let's close the curtains. Like, we don't always have to--and that's the somatic aspect, okay, is can you feel this movement? Why are you staring at yourself in the mirror? The mirrors can be very helpful, but, so I just wanted to sort of add that. 00:24:20.000 --> 00:24:33.743 So the, the question, the question was, as a professor of dance, what does scholarship and creative activity look like to you? 00:24:33.743 --> 00:24:36.664 Oh. 00:24:36.664 --> 00:24:47.233 And, and one, so in your CV, you also give example, a lot of examples of curated performance processes.And so are those things related? 00:24:47.233 --> 00:29:24.000 They are, for me, but in terms of teaching, I think it relates again to students who find--for our students here--is to find the connection of what dance does for the world and how it is universal. And if it's not, it's because it's being policed, right? By a government that won't allow dance. And like, where are we going now? So the scholarship in dance is about the awareness of what the body can do, like in music or visual art. You know, like we have art history, but we only have dance historians that take it really seriously. And there's tons of books now about dance. But in terms of curation, that's like a separate thing. Yeah. So my own scholarship has been that I've done a lot around--writing about contact improvisation and presenting on that. But I often combine my creative projects with political and historical research. So, for example, a project that was before--that I didn't curate, that I was invited on was like a European project based on a fictional choreographer named Veronika Blumstein. So I ended up spending like two years on that. And then she comes back every now and then, came back during COVID. I was like, okay. Somebody invited me 'cause they were interested in my work with Veronica. And so these Polish and German artists and one person from Slovenia came together in a research project. And they didn't know what to do. And for some reason, at the time, the zeitgeist at the time was a really, like a lot around healing in terms of World War II and the European Holocaust and genocide there. And so, and then the Polish people were so impacted by the war in another way. So this opened up a huge pot of research for me by looking into Veronika Blumstein. And I lived in Europe, but I had never gone into some of my own personal roots. And so I did a lot of ancestral work at the time. And then through that project many things came up because they wrote a fictional--they wrote about a fictional character who happened to be a Jewish woman who escaped and went to New York and studied with all these people that were like part of my own dance lineage. So it became a lineage project. So in that way, I was like weaving together all of these different things. Now, like curation is kind of, I'm, it happens globally, but I know it because I've spent so much time in Europe, like this kind of careful 'cause curation--because they have different funding sources. So in the US, our, the field of dance curation has grown so much and it's--there's so many amazing people doing great projects. But my work in curation, well, I just recently did this Think Gravity Project, which we'll talk about. But I did a big project called the Live Legacy Project. And so I was invited by a former classmate of mine from the school I went to in Holland Center for New Dance Development, which became European Dance Development Center. And we did a whole cultural history on how dance migrated from US and Ukraine, uh, Ukraine--US and the UK through the Dutch school into Germany. So she was living in Germany and the German government gave a huge sum of money to this curation. So we had a symposium that resulted in a film, but we brought together many dance elders and then the younger generation. So it was a big intergenerational project. So we had workshops. So we did everything at the symposium. It wasn't a talking symposium. We had the workshops, intensives alongside the talks, alongside the films. But everybody went to everything. So it wasn't like, I will choose at a conference, it would be like a symposium for a hundred people. And then they came to everything. It was very, very well documented. They all experienced everything together. Yeah. So it's like educational and creative all at once and people got to share their work. Okay. So in that way, like the curation is a way to bring about a living archive. So I'm interested in curation that's very much alive. Does that make sense? 00:29:24.000 --> 00:29:26.222 It does. 00:29:26.222 --> 00:29:35.275 Okay. There's a lot of topics we're we're hitting now, so I hope they're making sense. 00:29:35.275 --> 00:29:47.000 They are. So, you talk, have talked a lot about, you know, previous to this interview about your involvement with Arts and Lectures on campus. 00:29:47.000 --> 00:29:48.809 Yes. 00:29:48.809 --> 00:30:02.505 And so, like a more broad question is what does campus and community service look like in your career over the years? But I know that Arts and Lectures, you know, we talked about as being a substantial-- 00:30:02.505 --> 00:33:42.000 Yes. Well, before I get into Arts and Lectures, what's interesting is I'm flashing now to David Avalos, who was a mentor for me. And, he really helped me when I arrived here, especially with my file, because I, like my service and my scholarship and my teaching all intertwined. And the committees at first didn't really get that. So he had me write this intro and it was really helpful. And so I also share that forward with other people I'm on committees with because it's known now. But even twenty years ago when I was a PhD student, we didn't do a practical PhD. Now there's many practicing dance PhDs. And at the time, one of the most famous godmothers of dance studies, my mentor, Susan Foster, said, Karen, you need to put dancing aside for a while. Get reading, get writing. And I didn't really do that at the time. I still was, I had a very active performing career, and I was curating with a group called Lower Left in San Diego. So it's just like doing way too much. But that's what I did for a large, most of my life. So it's that intertwining of these things that I think is really important. That my service here was always intertwined with my own work in the classroom. Because also, I was performing with students or creating performances with students both at the, in the early years. And it was like, that was my service. I didn't get course release or it wasn't counted as a class, even though I was teaching a class or a project that added another ten hours a week for six to eight weeks. So that's what we do, though. We dance. You gotta make the work. It doesn't fit into a four hour a week class. So my service really got intertwined entwined with dancing. But then I got involved right away because I had been curating in Europe. I had been cur--you know, when I was teaching at the clown school was my first curating. And then I, when I arrived here, I got involved with Bonnie Biggs from the Library, who was running Arts and Lectures, and she invited Mtfiti Imara, Dr. Imara, to do a performance. So that was another big project. He did a--he created a song that was called Power to the People. And I had a group of dancers. It was all extracurricular in our first year. We did a big performance at Center for the Arts in Escondido. It was amazing. And then Bonnie--oh, and then another curatorial thing was happening was Dr. Andrea Liss, who I collaborated with a lot, and Dr. Kristine Diekman. I mean, excuse me. Not Dr. Professor. (Kristine. I love you. You know, it's just as important. what you've done.) Okay. So they were doing a women's rights symposium. So in my second year or my first year--I can't remember, it's in the flyer (points to flyer). It was a really wonderful symposium. So I made a student piece for that, intergenerational. I was on a panel and then I also performed, they invited me. I did this piece in the late nineties called Monster Girl. And it was a very pop piece, feminist piece. And I wore, like, you know, I was standing on a Tide box and doing my soapbox and dancing to Mission Impossible. And it was just like wild. Blue wig-- 00:33:42.000 --> 00:33:43.000 I saw the box up there-- 00:33:43.000 --> 00:33:44.882 Oh yeah. Blue wig. Oh-- 00:33:44.882 --> 00:33:45.617 --that says Monster Girl. 00:33:45.617 --> 00:36:43.000 Oh yeah. It has the handcuffs in it, too. I mean, it was just like this kind of rant about women's rights. And so they knew I did the piece. Kristine had actually seen it at Sushi Performance and Visual Arts in '98. So they invited me to perform that. So I kind of came off and running, like performing, early on a lot. I performed a lot less as the years grew on, and I became more administratively driven. So yeah, so that was a curatorial piece. And then Meryl Goldberg picked up Arts and Lectures, and I was on the committee when she was interim. And then she got started in Center ARTES, so I came on and that was a big part of my service for the University. I worked with Marilyn Huerta for many years and for about--I think I was running it for five years. I used to call myself the unofficial Director 'cause they didn't give me that position. That's what--didn't really didn't compensate me. It was just my service, but I can tell you it was more than nine hours a week. And we did between thirty-nine and forty-two events a year for many years. And even the language that's on the website, I'm like, maybe you should update it. No offense (no shade there, Gina, or the committee). Hey, if it's still working, I'm honored. You know, Meryl also came up with some of those, uh, invoke, inspire. So, but I really brought so many performances to this campus. I mean, Dance has always done at least two a year, but I could tell you this year, we got an IRA grant this school year. We did, I don't know, but there must have been--but I have other faculty working with me. So, but Dance Studies probably hosted at least twelve major public events open to the public. So a lot. So it's big. And then my other service to the campus was, I mean, I created the program. I wrote twenty-eight courses. Of course, they're not all offered. There wasn't any, there was a, few courses on the books, and I did keep one called Global Modern Dance, which I think is very sophisticated. Don Funes wrote that when he founded the program. And, I mean, I guess you probably have knew, you already know the history of this program. It started off as an interdisciplinary program, and then there was the desire to branch out into our own disciplines. But there's always been a desire to work cross-disciplinary and interdisciplinary. and Dance always does. We work with theater, we've worked with visual art, we've worked with literature and writing, we've worked with women's studies, we've worked with theater. And so I've done many projects with all of the faculty. I was actually hired as a collaborator that wasn't going--the job description was to be a collaborator. Even though it was for somebody in dance, was to be a collaborator. So I did that. I definitely did that. 00:36:43.000 --> 00:36:44.000 Yeah, you did. 00:36:44.000 --> 00:36:48.264 Yeah. Am I talking too fast, also? 00:36:48.264 --> 00:36:50.815 I think that you are doing just fine. 00:36:50.815 --> 00:36:55.025 Okay, great. Okay. It's a lot. 00:36:55.025 --> 00:37:13.000 Okay. So you've done a substantial amount of international work, and you talked about your desire to live overseas and not be a tourist. And--but how has that work outside of the United States contributed to your development in the field? And you've already kind of touched on this. But if there's anything else you'd like to say. 00:37:13.000 --> 00:40:30.235 Well, to lift up our campus with the, especially with what's going on right now in the world i--the goal is for us to be global citizens. Isn't that part of our mission still? And so learning about other cultures and living elsewhere gives one that lived experience of intercultural exchange, opens your world perspective. It demands one to be flexible and adaptable. I'm open to new ideas. So it's really enriched my life a lot. And it's given me a lot of empathy, compassion, inspiration, all of those things for ways of being in the world. And, I mean, I've primarily worked in Europe, but I've also--I've been to Mexico a few times on some big projects. And those were really, really wonderful experiences. And because our campus is in, you know, our demographic is so Latinx, that it's really important for me to have firsthand experiences there. So I've traveled personally there, but I've also done artistic project projects there. And it's been an incredible experience. Most recently, I went to Pachuca with Kristine Diekman. And we did an incredible project with sound and movement and electronic art. It was really amazing. So that was so great. And it was based on Day of the Dead. And even though I'm not from that culture, people are super open, and I learned so much at the time. And in fact, my mom had just passed, and so they were like--there were ofrendas everywhere. It was very meaningful for me. I got to learn a lot. So it's like just stepping out of one's, where one's from, you know. So yeah. I mean, I think it's super important and I--really sad to hear that programs like that are in jeopardy right now in our country. 'Cause it's like huge. It's a win-win for everybody. So, but yeah, I've had really amazing experiences overseas. I mean, the school I went to in Holland, we were seventy students from twenty-three countries. So it was on one hand chaotic. But on the other hand, we were from a lot of different cultures, but our language was dance. So we were really in the room together and just, and, you know, there was a lot of nonverbal relational experiences. And so that's where dance comes in as its own language. And it's not a universal language, even though we all have, you know, not all, but many of us, or most of us who are fortunate enough to have our four limbs and or five limbs if you count your spine and your whatever, you know, count many, many limbs. But it was, it was a life changing experience for me. And I had traveled one year. I had traveled in my gap year as well, too. So it was an experience. Yeah. Very big travels (unintelligible). 00:40:30.235 --> 00:40:56.255 Okay. So now turning in earnest to your time at CSUSM--you've been a faculty member on campus for twenty-four years. You already talked about what brought you to CSUSM, but what has been the evolution of CSUSM for you and your time here? For example, what did dance on the campus look like in 2001 compared to now? 00:40:56.255 --> 00:42:50.000 Okay. Yeah. Like I mentioned, I had another offer in Idaho. I mean, I had a lot of interviews, so I was very fortunate for that. I got two offers, and it was kind of like no brainer. It was like, ah, this is just opening. There's so much potential. There were a few courses on the books and they were taught by a lecturer named Terry Sprig, to honor her. She's a dance artist, local. I don't know if she's making work still. So she taught a few classes, but I don't even know to the extent. But as soon as I came in, they gave us, it was, days were different. They were like, okay, you have ten days--they don't tell you us before you get hired--you have ten days to get the courses you want to teach on the books. We're gonna be fast tracking those in in UCC (University Curriculum Committee). I'm like, okay, I don't even know what it's called then. So I wrote some quick courses, and one of the courses I wrote was Women in Performance: Choreographies of Resistance 'cause that really came out of my research and my dissertation. And I did a lot of work on circus when I was in grad school. Even though I did contact improvisation, I did a lot of work on physical culture, the turn of the century, the turn of the 19th to the 20th century. So I got to put that class on the books. I put on a technique class and--but there was like, there was only like three classes. One was Global Modern Dance, which we kept, or was it Cultures in Motion? There was a few. Cultures in Motion we kept, too. Upper division general ed. And then, you know, Bill Bradbury was the chair, and he was like, you need an intro course, so write it. So we like--literally, I'm teaching three courses and then I had to write-- 00:42:50.000 --> 00:42:52.000 --this curriculum. All this curriculum. 00:42:52.000 --> 00:49:49.000 Yeah. Yeah. So it was a lot. But now it's, now it's really challenging. It's great. We don't get a lot of allocations because of how the students have a shopping cart and how they, how they go through the system. 'Cause we're still a Dance minor. So when I got here, there were only a couple of classes on the books. And I was offered the opportunity within the first ten days, faculty when we arrived, you jump in, you teach your three courses and you get on a committee and then we'd like you to write the courses you'd like to teach in the next ten days. I'm like, okay. So I did that. I know that one of the courses I wrote was called Women in Performance: Choreographies or Resistance 'cause I was really fresh outta graduate school. This was my research of feminism and performance. And so I taught that class for like twelve years. Really exciting. And it became a general--upper division general ed class. And I'm looking forward to teaching it when I come back FERPing (Faculty Early Retirement Program) actually, 'cause I haven't taught it for a while. And then I put technique classes on the books, and then we all were putting in these intro classes. So I put an Intro to Dance class on the books. I think at that time, it might have been a year or two later. It's hard to remember, but I wrote twenty-eight classes over time.mI am grateful to the Dean's office when Michael McDuffie was there and Ranjita Basu, and Michael gave me great advice on how to create curriculum that would satisfy many things. So I had a lot of topics courses at the beginning and things like that. So, I've also--one of the most popular classes--the program has grown in just so many ways. So we were just me. And then there were me one lecturer. And then at one point there were me and like five or six lecturers. And then it was down to just me and like two lecturers, you know, with the ups and downs of the, of our economy. And now we are just--it's been a wonderful group of people. We're five people. In fact, two of them are, one of them just got their PhD as well from UC Riverside. And another one is getting their PhD, Cuauhtemoc Peranda. And Dava Hernandez just got her degree too. So, and then we have Nhu Nguyen and we have finally got a new hire because that was supposed to be related to the development of our own major. And so after many years, Dance got another tenure track line. And so I'm working with Cheri Hill, doing great job and will be the next leader of Dance Studies. I'm really excited about that. Sheri comes with a lot of experience as a teaching artist, and she's worked in the field of arts and ed and dance and education. So before she came, I had already been working with Liberal Studies and Meryl Goldberg on creating a class that would feed Liberal Studies. So we do actually six courses a year that feed Liberal Studies. So that's great. But it's also, we are losing some of our allocations. So it's hard, but it's great. It's great for the field, it's great for the students. And I'm really excited about the way that's really grown. The other area of the program that's grown is like, the diversity of the kinds of classes we wrote, that I wrote, over the years. So I really tried to--we're not doing, like--we're not doing ballet, modern, and jazz, you know. We had hip hop. It declined. We're gonna have--Cheri just wrote a new course. We're gonna have a wonderful new intro to hip hop class coming on that's related to, it's called Hip Hop Fundamentals. So it'll really meet the criteria of general ed. And then we will learn about the history of hip hop and alongside the commercial aspects so, and the very, the strong politics of the field. So we're really doing a lot. And then I'm really proud of a class that I co-wrote called Contemporary Folklorico. So that course has been on the books for almost ten years now. And I wrote it with Alfonso Cervera, and he was a student over at UC Riverside as well, and now is teaching at Ohio State. Amazing job. Amazing leader in dance in terms of Latinx work. And so that class is one of our most popular classes. We teach five or six sections a year, too. And I'm really proud of that because it really meets our demographic here and serving our Hispanic service--our Hispanic learning institution goals. So I just think it's very important that dance just stays--it's an alive field. So it's also, it's not the course--like there were other institutions where you might go work and they would--at least 20 years ago--they would just hand you the book and they're like, here, teach this dance appreciation class. But I've always been like, no, you teach what you know, I'm gonna trust that you're gonna teach some breadth. So when I hire faculty, I make sure that they can teach the breadth of the field and touch on many things, but they can really focus in on their, on their areas of research. So Cuauhtemoc, for example, is really--their p PhD is on voguing. And so they're really teaching the students like the history of voguing, the roots of voguing, the political significance of voguing. And so it touches on a lot of different things in terms of sociology and political science and history. And so we do all of that. So all of the dance classes have built in a practice-theory component. So there's always something, whether it's just a project that's embodied--so the students step out outside of the box and have to do something physically--that you know, that they're able to do. So it's a very active learning environment in Dance Studies. And that's really different here. And I think school--other schools have grown into that, but I was able to start that off at the ground. And so I'm actually really proud of that. This program really fosters that way of learning. So we're not just like watching a movie, we're gonna, at some point you're gonna get up and either make a movie or do a documentary and step into what the work is. Yeah, so we're moving towards a major. Unfortunately it didn't pass UCC, and Cheri is leading that and I'm working with Cheri on that. And we're looking at it as really like a degree that meets many branches of the field. So we still wanna' be creating and nurturing those that wanna' be dance makers. We're also meeting the field of arts and education, integrative arts and learning, and also social justice. So, we could say that word (unintelligible). Social justice. 00:49:49.000 --> 00:49:50.835 Absolutely. 00:49:50.835 --> 00:49:55.625 Yes. All of those things are a threat today, so-- 00:49:55.625 --> 00:49:55.848 Yeah, of course. 00:49:55.848 --> 00:52:55.000 But that's what we do. And you know I will say like every course that got passed here has the word diversity in it because that's what we do in dance. Dance is a diverse field. And even though I'm a white woman, I mean, from the beginning I always started with Black dance in America because when I taught lower division general ed, because our country is built upon the history of African people. So, dance is so infused with the migrant experience from so many different cultures. So, and then over the years, we have done a few things with American Indian Studies as well. So we're, we're working, we're working it here on our campus. We do a lot of outreach. So whoever we're bringing in is working that way. It's very integrative. So just this semester I'm really proud of a project. Can I say a little bit more about that? In terms of curriculum? So, I always brought guest artists here. And because it's really important for students to meet people working in the field outside of the institution--even though I am working outside of the institution in the summers and in general with my research. But, so I've always brought in guest artists through Arts and Lectures but also through Dance Studies through grants and things like that. So we started off with a very small lab budget, and it's grown. So I have a little line item to bring in guest choreographers. So I've brought in some amazing people. Many of them my teachers. And so those projects really influence the curriculum. So even though we might offer a choreography class, students can take it three times because it'll be different every time. Yeah. And this year, we brought Dancing Through Prison Walls, and it was just a very profound experience. So, I got a nice grant from IRA (Instructionally Related Activities fund) and Arts and Lecturers, and they came, and we did a residency. So again, in terms of like the hours with dance--and I my offer students alternatives if they're working and they can't make it--but they, I always, for the last, before COVID, there were three years and, yeah, three years of artist residency projects. So artists would come and they would either stay with me or friends, or last year we got a little grant money, they could get their own Airbnb. But I put up several artists over the years and they'd make a piece with students and they would leave and then either I or another faculty member would nurture that. And Anya Cloud and I did that for several years together. We did that for three years, where artists would come for a week and then they would leave and then we would rehearse and nurture the piece all the way through the spring dance concert. So yeah. The spring dance concert is our culminating event. Yeah. It's amazing. Very big event. Did I answer your question? 00:52:55.000 --> 00:53:30.304 You did. Okay. So this is a little bit more general, but ,it sounds like, from what you've talked about and your history, that you could have chosen different paths when it comes to dance. Different career paths in terms of what you did with that. Or even back to the high school, right? Like what would've happened if you had gone to the performing arts high school? But you chose a career in higher education. How has that lived up to your expectations? 00:53:30.304 --> 01:03:00.324 Wow. Good question. I have to say I'm super grateful because at least in the U.S., there's not very many jobs in dance. I'm extremely grateful to have a salaried position in the beginning, a pension. So I don't take that lightly. And, yeah. That's big. And there's not that many jobs in dance and higher education. So I feel very, very fortunate that I got this job as well. And that's why when I got it, I mean, I take it very, very seriously. There's a lot of work to be done in the field. And this--I don't even like the word fighters--but everybody working in dance and higher education is, we're fighting for it all 'cause the resources are less and less, unless you're in certain institutions. But it's a lot. It's a lot of work. So I worked really hard, I realized. My mom used to even say--'cause I, when I was chair also of VPA (Visual and Performing Arts) for a year and a half, almost two years. Interim chair. And I would go see my parents on spring break 'cause they're from the East coast. And so I'd bring my computer and my mother would be like, You gotta' take a break. You gotta' take a break. You gotta' take a break. So, yeah, I mean I worked a lot. I worked way more than forty hours a week in this job, like way more. And I don't have any regrets. I'm a little tired, maybe, but I know I'll refuel. Hence retiring a little sooner than I thought I was going to. 'Cause we'll probably get to that question, I imagine. Somewhere along the way. But, you know, our campus has grown a lot, but we all in the School of Arts are working hard. You know, we, how do I say this? Lots of gratitude, but we've all, you know, we've all talked about how we need space, how we need a theater. Our university has grown to a size that we're really ready for--I'm not so fixed on dance has to be in a theater. But we do need a place. So I think dance could grow more and could have grown more had we had a space. So we have a beautiful studio that doubles as a black box theater and we share it with Theater. But that's all we have. So, and then we use--Music, Theater, and Dance share the theater, the performance hall that was designed for music. So that's been hard. And so it's like, it gets to be, I used--I don't even use the expression anymore, but for like five, the last five years, I'm like, broken record. Like, we cannot, how, you know, what do you need? Or, you know, if I'm writing with Cheri, the needs that we'll need to have a major, and just because we write we need space doesn't mean that that should halt the major. We have to keep moving forward. But it's that whole what what comes first. It doesn't really work in today's economy, but dance is more important than ever, I believe. And I think the, our SoCal and our nation's culture around dance has changed so much in positive ways. With social media and many things. I'm like, wow. You know, and when I, you know, there was like ten years where people are like, do you watch Dancing With the Stars? When it came out. And I'm kind of like, no you know, like I don't have time to watch that show. Or, you know, like, oh I'm going to the theater this weekend. Because I'm really into promoting for students live art, live dance. Students, when they go and see a show here, they've never been--so many students.have never been to the theater. And it's like, so I really, I'm so grateful for my parents that I had that experience. And again, we weren't, I was from a very working class family, but it was a priority for my parents. And my mom used to take me to Brooklyn College. So I saw like really traditional, amazing Black dance in America throughout the seventies. I mean, my dance education was really opened by having my grandparents in New York and going in and out of New York. And my mother would just take me to these things that I probably would never have seen before. So, I just think the live art experience is really important, and I think our University could be cultivating that more. So that's an expect--that's one criticism. Like we had a President who called it the crown jewel, and it really is, and it could be more of a cultural hub. So that, but otherwise, you know, like I'm super grateful. It took me a long time to get to the pro--dance program. So I worked for fifteen years just doing what a program director does but not compensated for that. I just built the program because what else was I gonna' do? Everybody else was building around me. So I'm like, okay, well build a program. So I kind of floated around a little bit. So I reported to Visual Arts for a while and, but I was still doing the work of being a director. So it's really my--the art. When we sent things up to CAPC (Curriculum and Academic Policy Committee), there was a year that, my colleagues stood up for me and said, It's now time for dance to get a hire. So, to be a program. And then there was the moment where to get a hire--so I was, dance got ranked finally for a hire--but that took like five years once the School of Arts stood behind dance, moving up the line. So there was just many, many years where I was carrying everything. You know, I had a great colleague in Anya Cloud did a lot, and Cherie Hill is doing an amazing job. And all of the lecturers right now are above and beyond. But I also, and I also give them autonomy to do what they want. First of all, I can't do it all on my own anymore, but it's like, in terms of positionality, you know, we're very, we've got a wide spectrum of cultural identities and ethnic identities in our makeup of our program. And that's really important. And so for me, it's like I need to step aside what other people bring, people who they wanna' bring. Even though we always had conversations, I was kind of carrying it. But that now I'm able to find a little pot of money so that they can get a little stipend for curating something that they wanna' bring. So I'm really--contact improvisation at it's heart is about horizontal politics, so I lead with horizontal politics here. And I always have too much information. I send too many emails after the Dean's meeting, even though they're lecturers, I'd send them what's going on because we're, we say we're small and mighty. So in order for the program to grow, let the young people come forward as well. Though I do believe in intergenerational, but I also believe, you know, let the young people come forward. And Cheri is doing and also she's gonna do a great job. And she's already done so much since she's here. So, I trust that it's gonna carry forward. I don't know in what ways, but I'm open to that. You know, and I think I, I believe and have faith that the School of Arts is in full support of Dance. I have great colleagues. I've done many things, but we're all working really hard so--but it's just a great group of people. It always has been. So what was the question? Has CSUSM lived to my exectations? Well, yeah. I would say yes. And yet we know we really, we do need some more space, and I wish we had more allocations 'cause we can't build the min--we can't build the major unless we get the classes. And then you can't get the classes if you can't offer them. And you can't get, you can't offer them if the students don't sign up for them. So there was that moment where the shopping cart card came forward for students. I don't think that was great. I liked when we used to do--it was a lot of work. And even I didn't have a program I used to advise for Visual and Performing Arts. So I would have my own list. You know, the chair would say, Karen, here's your list. You're gonna advise all these people. Okay, what, what do they need to take? You know, they're visual arts students. But these halls used to be full, lined up, you know, when we'd be registering for classes. So you'd get to really meet the students, but then you would ensure that all these classes are gonna be full. But now the students, it's a different climate, but, you know, I can't change the system, so-- 01:03:00.324 --> 01:03:04.231 Bringing on the technology and you know, having-- 01:03:04.231 --> 01:05:40.445 it's great. But it's also, I think students, they need the advice and the opportunity to sit down with not just advising, but here. I think I'm taking a tangent from the--okay. So I hope, I hope that the, I hope that, yeah. I've also, the other thing that I've done with the curriculum that I've been en enabled to do with some amazing colleagues on our campus is create community engagement projects. I didn't really talk about that, but I did a few highlights. I did-- I started the collaboration with A Step Beyond, and our dean is now on the board, a fairly new dean, Dean Leora Gubkin. And for five years I taught a class over there. So, and that really ties into our dance and education pathway that may or may not grow into directly into that, but it's a great opportunity for students. And Meryl is working with Cheri and other faculty on this big arts and education certification. Arts certification project. So we're really in that already. And then I've gotten a few students jobs over at A Step Beyond. And so that was great. And I worked with Community Engagement. I got a little stipend at one point to work with them and create a course that was specific to working with them called Dance in the Community. That was inspired by Kristine Diekman as well. She did a big video in the community project for many years that always inspired me. She made public service announcements with like, so many underserved communities in our area. And so she's always been like, how do you do that? So she, she lit the way for me, so I wanna' acknowledge her also in this interview. So there was that. And then I did, I worked with Veronica Anover and worked at the Glenner Town Center, which is an Alzheimer's day center. And we did a whole project there. And then I did another fundraiser over at the Conrad Prebys theater in La Jolla. So I've done a few big community projects. I worked with the Museum of--it was called Museum of Man then--at Balboa Park. And I worked with Judy Bauerlein, and we brought guest artists there, and we did big project there. So I think those kinds of experiences for students are so important. 01:05:40.445 --> 01:05:45.172 Yeah. And a lot of like community feelers and outreach. 01:05:45.172 --> 01:06:24.000 Yeah. And bringing community to campus, too. I've brought a lot of community to campus 'cause I brought some well-known artists here. So different schools would come here. I worked with NCHEA (North County Higher Education Alliance) as well for like five years in my early days. And we did some really big projects. We brought legendary Donald McKayle here. He was at UC Irvine. He was already in his late seventies, early eighties when he came. I think it was early eighties. And he was the Alvin Aileys teacher. And so we've done, we've done some big things. I'm sure there will be more big things. Yeah. So to our little campus, we've done some big projects. 01:06:24.000 --> 01:06:59.605 That's right. Okay. So this is changing gear a bit. Okay so my, the overarching question is what did you do during Covid? But in our pre-interview you mentioned, you talked about the double pandemic and that the Covid-19 virus increased awareness of systemic racism. So the question really is what did you do during Covid? When we were all kind of locked inside-- 01:06:59.605 --> 01:14:20.635 Well, I did a lot during Covid. I--with the rise of Black Lives Matter and the murder of George Floyd, you know, everything stopped in certain ways. And I immediately, you know--for a moment--and then I immediately gathered with other colleagues in School of Arts, a few of us, we worked the entire summer to create a series. We got some money from the dean's office through some donors, through the Wagner family. And we used all of that money to program online lectures and performances. So that was like a big project. I don't know. We did at least nine, ten events per semester that was open to whole campus. But we really geared it towards School of art students to get them, to get them going. And it was, at that time during COVID, too, there was a HBCU (Historically Black Colleges and Universities) project that I worked that Mtifiti Imara invited me to be part of. So I worked with a faculty member.So the artist that we worked with was T. Lang. And we also worked with Melicia Taylor, who's become a friend and collaborator Melicia was a lecturer here in Music. So Melicia was also hired. So these are significant Black artists. Melicia is a sound designer and an opera singer. And Melicia came here and brought compositions. And we did a piece with, I think it was my choreography class. It was choreography or improvisation. We did a dance film called I Am, and the students did their own choreographies at home. And then she worked with a filmmaker to sew it together. So we did a film. I brought another artist. We were still in--well we were just opening--Jose Abad from San Francisco, another Black artist. So I brought a lot of--working with a lot of Black artists to campus. I was doing that. like I said, I've been doing that all along. But it was really a focus on that with HBCU--our campus relationship grew with that. Cheri just did that project this year. So yeah, I was really amazed at that. And we worked with students. We came in even though the campus was on lockdown. We got permission to come in and students got to work with some of these choreographers over Zoom and made their own works. So Skyla Miles and Minnie Atkins both made work, both alum from Dance Studies with, during this HBCU project. Also brought, Mayfield Brooks, who was very known in New York and in Europe and South America, and well, globally, for her work with--she calls it improvising while Black. And she has written a lot and did a lot of projects around Black culture and survival and things. So yeah, it was very, very prolifically busy and happening. And then at the same time, I was gearing up for my sabbatical application. And so even though we were in, still in Covid, I wrote my application to do this project called Think Gravity Dance Tank. So that was really involving--it was happening still during Covid. And we had a symposium and it was taking on the 50th anniversary of contact improvisation. So that's my, it was almost a continuation. It's kind of is a continuation of what I wrote about in my PhD in 2001 about contact not being universalist and who writes the history. So we brought forward some less recognized histories. So Ishmael Houston-Jones was my teacher in Holland way back when, in 1990. No, 1989. 1989. That's his brick (points to brick on window sill). He has a very famous bit called White Hope that he dances with this brick and he's danced with a brick internationally. And he's a very well respected artist. So it was a very creative way to do a curatorial project, where we invited four people, and we let them invite four people. And then we brought students. So Anya Cloud got a job at, in Boulder, University of Colorado. So they have a much bigger facility. So we did it there. And we had a week-long symposium, and we called it a reckoning with contact improvisation. And we stepped back 'cause we're both white women and we let everybody else lead. And, but we held the container and things like that. And then from that, we created a film because we had so much stuff. We had interview, we interviewed everybody, and then we had incredible footage. So we made a documentary. That documentary won best documentary at the Toronto Dance Film Festival. So we were happy with that. Or Contact Festival (Contact Dance International Film Festival) was just recently. And we've screened it in a few places, and it's gotten really good feedback. So it's a bit of a reckoning with the history in terms of who's identified 'cause contact improvisation is historicized as very white. Whereas its influences are very much based in African American culture, history and ways of working in jazz music and things like that. In terms of what is a jam, what is it to improvise. And then also there is a history of Eastern Asian American and Asian art influences in terms of what is yielding, what is gravity, what is meditation. So we brought in other voices to speak about cultural histories and positionality in terms of race and culture. So it was really, it was really productive and it was a deep experience. And it was cool 'cause we brought--I got student success funds from here and Anya got some money from her institution. So we involved, we were about twenty-six people, something like that. Between twenty-four and twenty-eight. But half of them were students. So it was really important to bring the future forward. So again, this was another project that really is based in intergenerational community and containers. And I'm really happy 'cause Makisig Akin is Philippinx and they took the model of curation and they did a whole BIPOC (Black, Indigenous, People of Color) dance festival in Berlin, probably one of the first or of the first. And they used that model of curation and they were really, really excited that, to learn that way of curating. So there's that curating piece of mine, too, that yeah. People, if nobody curates, then you're not gonna' have the work, you know And we're, it's strong to curate one at a time, but it's also strong to curate symposiums that bring people togetherfor some time. Yeah. 01:14:20.635 --> 01:14:32.795 Okay. So do you have work, a work that you've accomplished in your career that has been most impactful in your opinion? 01:14:32.795 --> 01:14:34.704 Impactful on the field or-- 01:14:34.704 --> 01:14:35.805 To you. 01:14:35.805 --> 01:14:42.104 Oh, to me or to the field? 01:14:42.104 --> 01:14:46.305 Or both. 01:14:46.305 --> 01:16:17.000 Well, in terms of my training, my work with Debra Hay affected my perceptual improvisation very greatly. So Deborah Hay is a, still working artist and dance elder. And I studied with her, I saw her perform in Holland, but I wasn't in her class. And then I brought her with this group Lower Left that I worked with for many years in San Diego. So I've dipped in and out of her work. And I'm really proud that I recently got to perform with her in her work at the Getty. It was a re-dance, a recreation of a work from the sixties. So she was a very significant artist that emerged in the sixties. And she's continued to emerge internationally. So she really had a great impact on my career of how I dance. But I think--I don't know, it's such a hard question. I guess--now I'll get a little emotional because I guess creating the program is probably my biggest impact. I mean, it was a lot of work. 01:16:17.000 --> 01:16:19.000 A lot of work. A lot of really important work. 01:16:19.000 --> 01:19:24.505 I hope University continues to support it. I mean, I think it had the greatest impact 'cause I--thousands of students have taken dance classes here. And I'm sure, because you can read it, some of them was whoa, but most of them always write in the evals, I didn't know dance could be like this, or I didn't know--I just can't imagine that we would talk about dance like this, or dance could be this way or this class--even if I'm not teaching it. But creating a program where the people are invited to teach what they love to teach, to teach what they know and but to also really keep bringing in this idea that we're gonna embody the learning. I think San Marcos is unique like that, and I think the way it's open has and its opening, is pretty unique. And, but I guess, you know, I've, and I've done Summer Arts as well, so I've worked within the system and I did six summers with Summer Arts. I did two as an artist. One was during my hire, one was before my hire. And that program is over. It just got closed. 'Cause one of the biggest things the State of California did for the arts was like, oh my gosh. But I think it's, I guess I never really thought about that when you said is there some favorite work? And I was like, favorite, I mean, you know, Think Gravity was enormous. Veronica was enormous. Live Legacy was enormous. You know? I had a big practice in San Diego with people for seven years. We met every Thursday researching dance, and then I'll show you after on the wall. Lower Left was huge part of my life. Holland, Riverside was huge. But I guess the biggest accomplishment or impact, the greatest impact would be I guess this Wow. I never thought about it like that. When I visited, when I was doing, um, the Deborah Hay work--Deborah Hay is friends with Susan Foster, who's the, who I referred to as the godmother of dance studies. I don't know if she'd like that title, but I'll give it to her. She was like--I went to visit her house. She was like, You did it. She, because I think when they took me into that program, I was a bit of a wild card card 'cause they took a lot of scholars. They didn't--at the time wasn't practicing PhD, but I was dancing, like really committed to dancing and performing still. And so I was a bit of a wild card. I didn't get the, I didn't get the scholarship, you know, the first year. I didn't get the teaching the first year. They took me, but they didn't give me the, they didn't give me the scholarship. And, but I was like, I'm gonna do this anyway and see how I like it. And so that, but she looked at me, she's like, You did it. 'Cause you know, I guess I did, right? There's a program here. So time to let it go to the next people. 01:19:24.505 --> 01:19:26.000 Well, that comes to the last question-- 01:19:26.000 --> 01:19:28.000 --the last question, I imagine-- 01:19:28.000 --> 01:19:29.000 which is-- 01:19:29.000 --> 01:19:30.496 now you got me going. 01:19:30.496 --> 01:19:43.234 Oh it's. We want to, we want to get your feelings in there, too. What do you plan to do both personally and professionally in your retirement? 01:19:43.234 --> 01:23:27.185 Well, the first thing I want to do, and I am doing it, is slowing down a bit. I'm coming off of a season of lot of loss, too, a lot of loss of family. So yeah, I wanna' slow down. So I'm gonna slow down this summer and do some organizing. Continue to clean the office a little bit. And also, um, yeah, do some organizing. And then planning for my fall. I'm gonna go to Austria. I've been invited by my mentor, Donna Ray, who's a top-level Feldenkrais teacher. And she runs the institute in Vienna, the training institute. So I'm gonna' go with, there's a brand-new cohort starting. So I rented myself an apartment overlooking some park in Vienna, and it has a beautiful view of a park. And I'll walk through the park every morning and I, I'll be an assistant in the training. That means I'll be working basically. And I'm hoping that will really hone my skills even more so as I transition into retirement, I'm still gonna' be working. I'm not like retiring. So there's a woman who, as a dance legend, there's just many dance legends, you know, who work into their nineties. It's not like you stop. I really think I will always be working in the field in some way. I don't know what that is yet. I would like to curate in a theater, but they don't have those kinds of spaces in San Diego anymore, where you can just have a studio like that where you can. That's one of the things I would, I could imagine. So I'm gonna' do that and I'm gonna' go to visit a former student who's now a well-known Swiss actress and has a wonderful family. So I'm gonna' stay with her and watch her on the big stage and take a walk in the Alps. And then I'm going to do a vocal training. And it something--it's called Roy Hart. And I studied with them in San Francisco, one of their proteges. It's in a long line of lineage from the thirties and forties. And it's a vocal technique that was used in theater, like experimental theater, in the fifties and sixties. But it's also like, I'll use the word therapy. I'm not afraid of that. It's therapeutic as all art can be therapeutic, healing. Like let's transform. That's what we do in the arts, we transform. So I'm going to study some voice. And then when I come back, I'm already invited--there's a, I used to, I put myself through graduate school as a Pilates trainer, even though I'm not certified at Pilates. But I'm gonna bring Feldenkrais into their Pilates studio and do like a little one night a week class. And then, my friend Anya is up for--Anya and Mcsig are up for a big, NEFA, the New England Foundation of the Arts is one of the few funders that give fairly big money in dance in our country. They're a finalist if they get that they're doing an interdisciplinary dance project. And I guess I'll be performing. So that's the goal. The goal is to keep doing yoga, dance, walk, social activism. And I also like to paint and write. 01:23:27.185 --> 01:23:27.965 Wow. 01:23:27.965 --> 01:23:33.154 We'll see. There'll be a little more time for that. Yeah. 01:23:33.154 --> 01:23:36.994 I love that. You're gonna keep busy. 01:23:36.994 --> 01:23:41.045 Yeah, I'll be busy, but I've also, this summer, I'm gonna slow it down. 01:23:41.045 --> 01:23:51.000 And that's really good, too. So is there anything else you'd like to talk about in this interview? 01:23:51.000 --> 01:25:41.064 I think what I would like to do though is we talked about taking a few photos. And I'm really happy--I guess what I'll say is that I'm really happy that the University's interested in this interview and maybe scanning some of the posters and all things that were presented. Maybe they can even use it to use it as fuel to get a theater or a bigger production venue. Or, or a unit that would like to take care of some of these things so that faculty don't have to do all that work, But I also, I guess I wanna' really honor the founding faculty. Maybe just take a moment. I could close with that. Everybody worked really hard, and I'm really honored to have been part of the upstart. And I hope and believe that our campus will keep on during whatever's going on in the world. And I really hope that the arts can really stay strong here. Yeah. I think we are such an incredible group of artists in the School of Arts, so I just wanna' wish everybody well and to keep on. And I really, I hope that students will--and faculty and committees and the administration will--see really the value of what Dance does. 'Cause dance is really, plays a big role in the world. And like I said, it can be a lot of fun, but it goes way deeper than that. 01:25:41.064 --> 01:25:57.645 Well, that's a really great note to end on. Yeah. Thank you. And I just want to thank you for allowing us to celebrate you and your career and every, all the hard work that you've done all of this time. And I know there's a lot more to come for you, but kind of at this milestone-- 01:25:57.645 --> 01:25:58.354 Thank you. 01:25:58.354 --> 01:26:01.805 --you know, moment for you. Just thank you for sharing with us. 01:26:01.805 --> 01:26:09.234 Thank you so much. I appreciate you. Yeah, thank you. 01:26:09.234 --> 01:29:28.000 There's a few projects that I'd like to highlight that were highly sponsored by the University and that had a great, also had a great impact on my life. And the first one is a project called United and Severed. I think that I will reach for the pamphlet to refresh myself on how important this project was. So I did this with Professor Kristine Diekman, and actually this project was really personal, but I was able to take a very personal experience--this is what artists do if you don't write memoirs, and they take it out into the world. And so it was following my own--I had a very severe traumatic injury while I was employed here. Lived through that. And I stood in as like a surrogate body on film for the topic of that window of time. So it deals with women and traumatic injury and PTSD. So at the time, I was also in close relationship with somebody who is working as a active--not active duty--non-active duty for the military, who was working around soldiers and PTSD and the Afghanistan and Iran and Iraq aftermath. And so Kristine and I looked for alum and students from our school, who were survivors of traumatic injury and how they dealt with it. And so Kim Anderson is--was in it and she was a CSUSM Liberal Studies major. And Ivy Kensinger was a student of mine and also Veronica Anover. She survived a horrific car accident on the way to campus. And turns out she is now a PhD in psychology. So very--came through in a miracle way. And we did a project that was a very poetic representation of movement and understanding disability. So that was featured. And we also worked with Butoh dancers because it was also during the time of some wild fires out in East County. So we took a group of students and we took down a tree from the extremities down to the trunk that was burned. And Richard Keeley is a professor, was a professor at San Diego State--is retired. and Anna O'Cain is a professor, visual art professor, who was working at Miracosta. And we did a huge project together that was featured at Center for the Arts Escondido. So I really wanted to highlight that. It was a very deep project. We have beautiful video footage. Kristine did an incredible job editing. I was sitting alongside her. She pushed all the buttons. Of course, it was really her editing that made the project so spectacular. And our work was featured in many film festivals internationally. So I just really wanted to mention that we have this beautiful artifact from that. And then the other project that I wanted to talk about was, um, wait a minute. 01:29:28.000 --> 01:29:30.315 Your palliative care work. 01:29:30.315 --> 01:30:59.000 Oh, my current work that I will continue when I'm, that I actually have a meeting in ten minutes for, that I'm working with Palliative Care--that's a pilot project--that's run by Michael McDuffie. And I'm working with Ranjita Basu and Andrew Spieldenner. And now we have a cohort of people from the Mindfulness Center working on it. And we're working with Elizabeth Healthcare Center, Elizabeth Hospice Center. And we're doing a once-a-month project on mindfulness. And so I'm bringing in the somatic piece. So really it's been a great, We've been working on that together for about a year and a half. And now we're enacting it over there in Escondido. And next week we'll have our third monthly session, and it will go through the year. So I will be still staying involved as a volunteer for that, while I'm off the books. And so I'm very happy to be doing practical applications in different fields. And that connects as I interweave everything that I've said today, that you know, that what I do with dance and what I believe dance can do in the world has a great impact because we're working with the body and compassionate empathy. We all have a body. We're always moving, even if it's, we're just, we're down to the breath. Breath is movement. And so with that, I'll just take a breath and say thank you. 01:30:59.000 --> 01:31:00.000 Thank you. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. &#13 ; 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=SchaffmanKaren_FabbiJennifer_2025-06-05_access.xml SchaffmanKaren_FabbiJennifer_2025-06-05_access.xml https://archivesearch.csusm.edu/repositories/3/resources/19 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schaffman, Karen. Interview June 6, 2025. Description An account of the resource Dr. Karen Schaffman is a Professor of Dance at California State University San Marcos since 2002. She has been pivotal to the development of the Dance program at CSUSM. For Karen dancing is a transformative, healing and transgressive force for self-awareness, political change and social communication. In this interview, Schaffman covers her early exposure to dance, her formal education, international work, and her time at CSUSM. Identifier An unambiguous reference to the resource within a given context SC027-084 Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-05 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Karen Schaffman Contributor An entity responsible for making contributions to the resource Jennifer Fabbi Subject The topic of the resource Higher education Dance Study and teaching Improvisation in dance Movement education California State University San Marcos -- Faculty Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Connecticut Amherst (Mass.) Riverside (Calif.) San Francisco (Calif.) Holland Germany Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Karen Schaffman Art and artists CSUSM history Women's experience https://archivesoralhistories.csusm.edu/files/original/abdeb6b5993217c41d7d8f3dc1554cff.mp4 3c6df60dbdd1c712db4b06dd7a37c483 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral history of Tiffaney Boyd, April 15, 2021 Description An account of the resource Tiffaney Boyd is a CSUSM alumna and former president of Associated Students, Incorporated (ASI). She was a driving force in the creation of the Black Student Center (BSC), Cougar Pantry, and Sigma Gamma Rho. In this interview, Boyd Tiffaney details the process in which she and her fellow ASI cohorts proposed the idea of the BSC. She also discusses the politics that were involved in the process and the major contributors helping to bring the BSC to life. Creator An entity primarily responsible for making the resource Tiffaney Boyd Contributor An entity responsible for making contributions to the resource Sierra Jenkins Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-15 Subject The topic of the resource California State University San Marcos. Black Student Center California State University San Marcos. Associated Students Incorporated California State University San Marcos -- Students Activism, Student Black experience in America Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (Calf.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Tiffaney Boyd License A legal document giving official permission to do something with the resource. https://creativecommons.org/licenses/by-nc/4.0/ Format The file format, physical medium, or dimensions of the resource moving image Identifier An unambiguous reference to the resource within a given context Boyd Tiffaney_JenkinsSierra_2021-04-15 Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral history of Tiffaney Boyd, April 15, 2021 Description An account of the resource Oral history interview of Tiffaney Boyd on 2021-04-15 for the Black Student Center Oral History Project at California State University San Marcos. Tiffaney goes into detail about the process in which she and her fellow Associated Students, Incorporated cohorts proposed the idea of the Black Student Center. She also discusses the politics that were involved in the process and who were major contributors to helping bring the BSC to life. Creator An entity primarily responsible for making the resource Tiffaney Boyd Contributor An entity responsible for making contributions to the resource Sierra Jenkins Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-15 Subject The topic of the resource Black experience in America California State University San Marcos, Associated Students Incorporated California State University San Marcos, Black Student Center California State University San Marcos--Students Publisher An entity responsible for making the resource available California State University San Marcos University Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (Calif.) Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Tiffaney Boyd License A legal document giving official permission to do something with the resource. https://creativecommons.org/licenses/by-nc/4.0/ Type The nature or genre of the resource moving image Identifier An unambiguous reference to the resource within a given context BoydTiffaney_JenkinsSierra_2021-04-15 Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project https://archivesoralhistories.csusm.edu/files/original/2f5f1f5e8e2ab849149ddd2d77b15aa4.jpg ba32d71554e6120c0b7841a00e58146b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alphonso Cevera titled "Poc-Chuc Iteraciión 4" Description An account of the resource Guest artist choreographer Alphonso Cevera. Collaboration and Performance with Dance Studies Students: Vanesa Bedolla, Nicole Carr, Kati Echeverria, Xochitl Garnica, Alex Maravillas, Emilia Medina, Raelen Pellos, Karen Rocha, Maria Sandoval, and Nina Watts. This performance is part of the The Experimental Dance Project (EDP), which celebrates dance through interaction with professional artists and project-based learning. The EDP brings outstanding dance artists to perform, lecture, dialogue, teach and create with CSUSM students. Importantly, the EDP offers cutting-edge training and performance opportunities by hosting dance artists across the spectrum, including people of color, Latinx, Black, and LGBTQ identities. The EDP embraces our campus’ mission of inclusivity.  The EDP focuses on experimental and improvisational approaches to dance, with a particular emphasis on social justice and community engagement. The EDP aims to break down societal norms around dance and create a space where students can explore their own unique movement styles. Creator An entity primarily responsible for making the resource Tim Richards https://archivesoralhistories.csusm.edu/files/original/803d77588fbc77f28af85130979c60c1.jpg 9ced4a5c7480b90010047507e5db9e0e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jaamil Olawale Kosoko titled "The Chameleon Complex" Description An account of the resource Guest artist choreographer Alphonso Cevera. With Live composition/sound designer Malesha Tayloy, Professor/Dr. Karen Schaffman and Dance Studies students: Kevine Benitez, Xochitl Garnica, Alex Maravilles, Emilia Medina, Raelene Palos and Cornelius Stringer. This performance is part of the The Experimental Dance Project (EDP), which celebrates dance through interaction with professional artists and project-based learning. The EDP brings outstanding dance artists to perform, lecture, dialogue, teach and create with CSUSM students. Importantly, the EDP offers cutting-edge training and performance opportunities by hosting dance artists across the spectrum, including people of color, Latinx, Black, and LGBTQ identities. The EDP embraces our campus’ mission of inclusivity.  The EDP focuses on experimental and improvisational approaches to dance, with a particular emphasis on social justice and community engagement. The EDP aims to break down societal norms around dance and create a space where students can explore their own unique movement styles. Creator An entity primarily responsible for making the resource Tim Richards https://archivesoralhistories.csusm.edu/files/original/0e7e677cdb8596e444b17c80b2adfb8c.jpg 45067d84631621666986f8424dcf45c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Karen Schaffman and Ishmael Houston Jones Description An account of the resource Karen Schaffman and Ishmael Houston Jones at Think Gravity Dance Tank.Think Gravity Dance Tank: Celebrating & Reckoning with Contact Improvisation and Performance was an intergenerational research gathering in Boulder Colorado from March 21-26, 2022. Creator An entity primarily responsible for making the resource Tim Richards https://archivesoralhistories.csusm.edu/files/original/5f893935bd6c92420817c088e0d444cc.jpg 5e968aadd43e72d0487cb77679d8b7c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Karen Schaffman and Darrell Jones Description An account of the resource Karen Schaffman and Darrell Jones at Think Gravity Dance Tank.Think Gravity Dance Tank: Celebrating & Reckoning with Contact Improvisation and Performance was an intergenerational research gathering in Boulder Colorado from March 21-26, 2022. Creator An entity primarily responsible for making the resource Tim Richards Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schaffman, Karen. Photographs, June 5, 2025. Description An account of the resource Four photos related to the oral history of Karen Schaffman. Photograph #1 depicts dancers in a performance of the Experimental Dance Project titled "Poc-Chuc Iteraciión 4." Photograph #2 depicts dancers in a performance of the Experimental Dance Project titled "The Chameleon Complex." Photograph #3 depicts Karen Schaffman with with Ishmael Houston Jones in the Think Gravity Dance Project. Photograph #4 depicts Karen Schaffman with Darrell Jones in the Think Gravity Dance Project. Click on the thumbnails to view the full images in more detail. https://archivesoralhistories.csusm.edu/files/original/0068bb6bea2ea5f55c2f9c5c968a5d27.pdf a666cc68c14f402d6f965e1b1ace736a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schaffman, Karen. Interview transcript, June 5, 2025. Description An account of the resource Dr. Karen Schaffman is a Professor of Dance at California State University San Marcos since 2002. She has been pivotal to the development of the Dance program at CSUSM. For Karen dancing is a transformative, healing and transgressive force for self-awareness, political change and social communication. In this interview, Schaffman covers her early exposure to dance, her formal education, international work, and her time at CSUSM. Creator An entity primarily responsible for making the resource Karen Schaffman Contributor An entity responsible for making contributions to the resource Jennifer Fabbi Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-05 Subject The topic of the resource Higher education Dance Study and teaching Improvisation in dance Movement education California State University San Marcos -- Faculty Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Connecticut Amherst (Mass.) Riverside (Calif.) San Francisco (Calif.) Holland Germany San Marcos (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Karen Schaffman Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context SchaffmanKaren_FabbiJennifer_2025-06-05_transcript Art and artists CSUSM history Women's experience Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jennifer Fabbi Interviewee The person(s) being interviewed Regina Eisenbach OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=EisenbachRegina_FabbiJennifer_2025-07-01.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. higher education;women in leadership;Western Association of Schools and Colleges;mentorship;administration OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Eisenbach, Regina. Interview July 1, 2025. SC027-085 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm higher education ; women in leadership ; Western Association of Schools and Colleges ; mentorship ; administration Regina Eisenbach Jennifer Fabbi moving image EisenbachRegina_FabbiJennifer_2025-07-01.mp4 0 https://archivesoralhistories.csusm.edu/files/original/1b6dd8309f4ca65c7028d0d2f151d601.mp4 Other video English 0 Interview Introduction 0 39 Childhood and adolescence Eisenbach reflects on her childhoood. She was born in Puerto Rico but is of Cuban descent. She was very close with her parents. She attended University of Miami for her undergraduate degree. San Juan, Puerto Rico ; Cuban ; only child ; Miami ; Massachusetts ; University of Miami ; Gainesville 0 175 College experience Eisenbach's undergraduate degree was in psychology after which she started a PhD program in Management Studies in the COllege of Business at University of Miami. psychology ; academic ; business ; organizational behavior ; calculus ; Program in Management Studies 0 399 Eisenbach meets her spouse Eisenbach met her husband at the same time as she started her PhD program when she was twenty years old. They have now been together since 1987. Hialeah, Florida ; Madonna ; young ; girlfriend 0 509 Moving to San Marcos Eisenbach found out about a faculty position at CSU San Marcos from her PhD advisor. She interviewed a few places but ended up accepting the job at CSU San Marcos. Her plan was to be in San Marcos for two years and to move back to Miami. Chet Schriesheim ; young woman ; Dean Bernie Hinton ; faculty position ; marriage ; Spanish speaking ; Cal Poly Pomona ; Florida Atlantic University ; Len Jessop 0 878 CSU San Marcos when Eisenbach arrived When Eisenbach arrived at CSUSM, the "campus" was in an office park a few miles away from where the permanent campus would eventually be built. She was an instrumental contributor to the creation of the Business curriculum. She loved teaching, but research more of a challenge for her. College of Business Administration ; San Diego State ; curriculum ; research agenda ; teaching ; service ; Academy of Management ; administration 0 1232 Administrative path Eisenbach started on her path to administration early in her tenure at CSUSM. She reflects on the positions she has held and some of the ups and downs along the way. dean ; interim dean ; Kathleen Watson ; associate dean ; Mohammed Mustafa ; friendships ; challenges ; Dennis Guzman ; work-life balance ; disappointment ; provost ; Graham Oberem ; Patricia Prado-Olmos 0 1919 Role in Academic Programs Eisenbach was named as the Associate Vice President of Academic Programs (now Dean of Academic Programs) in 2013. In this role, she has overseen the academic catalog, the curriculum, assessment, and accreditation. In 2019, academic advising was added to her to her portfolio. catalog ; curriculum ; Western Association of Schools and Colleges ; Accreditation Liaison Officer ; accreditation ; dean ; asessment ; advising ; President Karen Haynes ; student affairs ; academic affairs 0 2112 Evolution of CSUSM After thirty-four years at CSUSM, Eisenbach reflects on its evolution. The building of the physical campus was a key milestone, and she was very closely involved with the building of the Markstein Hall. She also discussed the growth of the student body. Regina expresses her gratitude for getting to be a part of the evolution from the beginning and being able to build CSUSM for future generations. campus ; buildings ; Markstein Hall ; enrollment growth ; City of San Marcos ; infrastructure 0 2304 Becoming an academic Eisenbach discusses her unexpected path to a career as an academic. teacher ; academic struggle ; academic conference ; research 0 2449 High points at CSUSM and impactful work Eisenbach reflects on the high points and low points of her time at CSUSM. Highs include the opening of Markstein Hall, the great people she has worked with, and her son graduating from CSUSM. She also discusses her work and what she thinks has been most impactful. Markstein Hall ; Melissa Simnett ; reaccreditation ; son ; graduation ; Academic Advising ; Academic Programs ; Curriculog ; Acalog ; catalog ; curriculum ; pandemic 0 2742 People who have influenced Eisenbach's career Eisenbach gives credit to colleagues and mentors who have influenced her career over the years. Dennis Guzman ; Beverly Anderson ; mentorship ; women in leadership ; Pat Worden ; President Karen Haynes ; Kamel Haddad ; Graham Oberem ; Dawn Formo ; David Barsky 0 3034 Plans in retirement Eisenbach discusses her professional plans for retirement as she will be participating in the Faculty Early Retirement Program. Faculty Early Retirement Program ; Voluntary Separation Incentive Program ; Western Association of Schools and Colleges ; WASC accreditation teams ; Ecuador 0 Oral history Dr. Regina Eisenbach is retiring from CSUSM as the Dean of Academic Advising and Academic Programs in 2025. After thirty-four years at the University, she shares a rich history of CSUSM’s evolution over time. In this interview, she discusses what brought her to CSUSM, her path to administration, people who have influenced her professionally, and the physical and structural changes to CSUSM through its development. NOTE TRANSCRIPTION BEGIN 00:00:01.000 --> 00:00:23.000 Hello, this is Jennifer Fabbi, and today I'm interviewing Dr. Regina Eisenbach for the California State University San Marcos University Library Oral History program. Today is July 1st, 2025 at 10:30 a.m. This interview is taking place at Regina's office on the CSU San Marcos campus. Regina, thank you for interviewing with me today. 00:00:23.000 --> 00:00:26.000 Thank you. I'm honored that you asked. 00:00:26.000 --> 00:00:39.000 Okay. So to start off, we'll start young. Can you tell me about your childhood and adolescence, for example, where you were born and a bit about your family? 00:00:39.000 --> 00:02:43.000 Sure. so I was born in San Juan, Puerto Rico by accident. I'm not Puerto Rican, but I'm actually Cuban. I'll get to that in a second. My dad was there on business. My mom went to go see him, and she was bedridden for six months to have me. And so she was in Puerto Rico and got stuck there basically. And so I was born there. I think that's telling because it shows the kind of parents that I had. So I was an only child and they'd lost--my mom miscarried four times before me, and after me, I had a brother who died after a day. And so my parents lost a lot of children. I was the only surviving kid, so they were, (tears up)--didn't think it would start this early. So they were very devoted to me. And you'd say overprotective, but as a young child, it was great. So we lived in, we moved to Miami early on and then moved to Massachusetts for a little bit, came back to Miami. And so I grew up in Miami from second grade all the way through college. And went to the University of Miami because when I graduated from high school, wasn't really ready to leave home. So went there and went to graduate school there as well, because I thought I might wanna' go away to grad school, and a little independence from my parents at that point when I was, you know, twenty or so. And when I said, Yeah, I think I might go to Gainesville or something, they'd say, oh, they said, Okay, we'll come with you. Okay. That defeats the purpose. So I think I will just stay here. And so I did. And so I went straight from my parents' house to my husband's house. I have never lived alone. So that also says a little bit about me. 00:02:43.000 --> 00:02:55.000 Okay. So you started to talk a little bit about your education. Can you tell me about your formal education, including your areas of academic focus? 00:02:55.000 --> 00:06:35.000 Yeah, so I my undergraduate degree was in psychology. And I did my undergrad in three years. And so when I was, I graduated from college, I was, I wasn't even--I was twenty and wasn't ready to leave school. So I know some folks say that, you know, they always knew they wanted to be an academic or they always knew they wanted to be such and such. I didn't know what I wanted to do. All I knew is I wasn't ready to leave school. So I was looking for graduate programs. And I got word that this professor over in the College of Business was starting a PhD program in business. It was gonna be brand new in organizational behavior. And I thought, Okay, that's, you know, psychology adjacent, let's check this out. And one of those vivid memories I still remember and he did, too--what I was wearing the day that I went to see him 'cause I was wearing red high top Reebok sneakers. This was in 1980--Lord, '87. So yeah, I swear it was in style then. And I wandered into his office and he said, yeah, we're gonna start this new PhD program, but it'll be great. And so I said, sure, why not? So I got in, it was a full assistantship, so I didn't have to pay for it. I actually didn't have to pay for any of my education. It's something that I look back on. And I think, how did that work? Because my parents didn't make a lot of money. I got lot of scholarships. And so my undergrad was completely covered. And then the PhD program was a full ride. Truly blessed. Didn't really know at the time what a blessing it was. And so I thought, all right, I'll try this. And the PhD program, since it was brand new, I was the first student admitted. And there weren't classes for just us in business, so we took classes--there was, there were only two or three, there were a few IO (industrial organizational) psych students in the program at the time, but there was five of us total, if that. So we would take classes with the other PhD students and other disciplines. But when I started my PhD advisor said, Well, you haven't taken calculus. And I said, Yes, I know. That was intentional. He said, well, business folks have to take calculus. And so I did. As a graduate student, one of my classes was to take calculus with the freshmen. And I got an A minus, I still remember. So that first summer of the PhD program, since I didn't have an undergraduate degree in business, I had to take classes with the MBA students. And it was the name has since changed, but I am not even making this up. The program was called the PMS (laughter) Program in Management Studies. And it was basically a business bootcamp, so really condensed all of the basics of business. And I learned that I hated accounting and I hated economics, and I sucked at it. And I got my first Cs ever in school in those two classes. But overall, you know, I liked school and I liked the--I thought, Okay, I'll, you know, keep doing this. And so that's how I got into the PhD program. It wasn't anything premeditated, which is actually the story of my life. It wasn't a plan. It was just, Eh, this'll work out. 00:06:35.000 --> 00:06:39.000 And Regina, when did you meet your husband and where? 00:06:39.000 --> 00:08:19.000 I met him the day after I started the PhD program. So I was twenty years old. We both grew up in the same town in Hialeah, Florida. And met through a mutual friend. He, my friend and my husband worked at Marshall's together. And it was, the Madonna was going on tour, the Who's That Girl concert. And back in the day, he had to sleep in the parking lot. You may even be too young to remember this. You had to sleep in the parking lot to get concert tickets. And so my husband and my friend were sleeping for the Madonna tickets, and I was supposed to meet them in the morning to give them my money for my ticket and stand in line when they bought them. My husband had no idea. He just thought I was coming 'cause I was, you know, Rick--our friend's name was Rick--Rick's friend. And so I showed up. So we met in the parking lot of Westland Mall, very romantic. And I saw him, and the first thing I thought of was, He looks very young. And so I pulled Rick aside. I said, Rick, how old is this guy? He goes, no, I swear he is your age. Okay, great. Turns out he is, he's two days younger than I am. And it was, I mean, for me it was like, wow. Almost love at first sight. And so that was June 6th that we met. And we went out, we started talking on the phone every day. And we went out in a big group on June 12th, and he asked me to be his girlfriend. And we've been together ever since. 1987. 00:08:19.000 --> 00:08:29.000 Okay. So how did you find out about the CSU San Marcos faculty position? And what was the process of you moving here? 00:08:29.000 --> 00:14:25.000 So as I mentioned in my retirement speech, like one of those moments that just sticks in your mind. I was standing in my PhD advisor's office and his name was Chet Schriesheim. And my mom, who I alluded to, I'm Cuban. So my mom was raised in Cuba, born in Spain. My dad was Hungarian. And my mom had a very thick accent when she spoke English. And we used to joke that she had her own language 'cause the way she pronounced things so she could not say Schriesheim to save her life. So she called him Shoeshine. And so we all did. So I was standing in Shoeshine's office, and Shoeshine knew my mom called him Shoeshine. We got very close. He became--not that I needed a father 'cause my father was very, very strong presence in my life. But he became a father figure. So much so that his son was the ring bearer at my wedding. And so I was standing in his office and 'cause I was really young at the time, I remember I was, you know, twenty when I started grad school, I was twenty. And so he really, you know, made it a point of raising me in the academy as well as, you know, trying to prepare me for being a young, very young woman in this field. So anyway, I'm standing in his office and he, back then, it was all mail obviously. And so he got a letter from then acting Dean Bernie Hinton, who was founding faculty here who was recruiting. And so he sent letters to all the PhD chairs at institutions that he was familiar with. And so Shoeshine read the letter to me and it said do you know of anybody who wants to take on the opportunity of building the first new public university in twenty-five years in this country? And I said, Alright, I'll give it a shot. And so that's how I ended up interviewing here. And when I came to interview, I--so at the time, I was with Angel and we had already made plans to get married. And so we were looking at the job market together, and we said, We need to go someplace where people speak Spanish. And so ignorantly, now we know, we said, Oh, San Diego. Great. They speak Spanish there, and Mexicans, Cubans, same deal. Yeah, it's not at all. But we figured, all right, California would be, you know, pretty cool. So I interviewed at Cal Poly Pomona, and I interviewed here, and I interviewed at Florida Atlantic University in Boca. We didn't wanna' leave Miami, and we thought we never would leave Miami. And in fact, the, I was heartbroken to know that U of M wouldn't hire me 'cause they didn't, they really didn't like to hire their own grad students. 'Cause the plan was supposed to be, I was supposed to stay in Miami, and we were gonna buy the house next door to my parents. And that's it. We were gonna stay there. So I came out here to interview and remember somebody that, you know, picked me up, Len Jessop. He was on the faculty then went on to become UNLV's President. And he picked me up. There was no campus, it was Cal State Jerome's. He took me to the office park. None of that bothered me 'cause I was young. And he drove me down Barham, and they pointed at the dirt and they said, There's gonna be a campus there. Oh, great. And they showed me the drawing and all the things. And I remembered the people seemed to be a little younger as compared to Cal Poly Pomona, especially. A little younger. Very excited and super energized. And I thought, Wow, this is great. Too bad I'm never gonna' leave Miami. So the, I did get offered eventually the job at Cal Poly Pomona, but I thought, no, it's just the, the vibe was very traditional and it felt old to me. I was twenty-four. Everything feels old when you're twenty-four. And Florida Atlantic only had a visiting position, so Angel and I thought Well, we'll go to California for a couple years, and we'll come back 'cause by then something will have opened up. And so we did. And moving out here was--we got married August 2nd, moved out here August 12th, 1991. And it was one of the most traumatic things we have-I have--ever done, we have ever done. We got here, got to our apartment on Mission, still there. And had to buy everything 'cause we came with no furniture, nothing. So we went to Jerome's and we bought an apartment full of furniture, and went to the grocery store where the Stater Brothers is now. And got on a payphone, called home and said we wanted to come back. And we were going to 'cause we had bought round trip tickets because it was cheaper. And so we thought, All right, the round trip goes back in a week. We can, we can go. And we kind of thought we were 'cause it was just, it was heartbroken, it was the fir-- heartbreaking. It was the first time we had ever been away from our families. And Angel moved out here sight unseen. He had never even been to California. So thankfully, I think the next day I went onto into the office, I can't even say campus 'cause it was an office park. And saw the people again, got excited about the opportunity. And that's why we decided, All right, we'll give it, we'll give it the two years. 00:14:25.000 --> 00:14:38.000 And you've talked a little bit about this, but what was the entity, the organization, CSU San Marcos, like when you arrived? 00:14:38.000 --> 00:17:29.000 Well, it was, there were no offices. So I was, you know, in a cubicle for the first, what, three years. Everybody knew, literally, everybody knew everybody 'cause it was tiny. When I got hired in COBA (College of Business Administration), there were eight faculty, and then four were hired when I got there at the same time as me. Three Asian guys and me. And it was--in some ways it's good that I was so young because I didn't know that I should be terrified because of everything that we had to do. They--the curriculum in COBA was basically just San Diego State's repackaged. And, but the Dean, Bernie at the time said, you know this is just a placeholder for us. We're gonna, and then the first thing we're gonna do is we're gonna create our own. Well, I didn't even know what curriculum was, so I had to go to the library to get a book to, because back then, PhD programs did not train perspective faculty in teaching pedagogy, curriculum design, or any of that stuff. It was straight up research. And by the way, my PhD advisor, Shoeshine, thought I was nuts to come here because he said, you are gonna' be overwhelmed with service. You're not gonna' be able to get your research agenda off the ground. And I said, Yeah, you know, two years, it'll be fine. So yeah, there's a lot, there's a lot that just fell into place, me coming here because, you know--spirit of full disclosure--as far as the profession. I loved to teach. I was very good at it, not just to toot my own horn, but I was very good at it. And students loved me. I loved the students. So I was a great teacher. The research I could do. It wasn't my passion, though. And so coming here was a blessing in that way because I was able to lean into my strength, which was teaching and this whole new thing of service that as a faculty member or as a PhD student, I had no clue what that was about. Shoeshine used to call it administrivia, if he ever had to serve on a committee. And when I would go to conferences, the Academy of Management, and I would go to the PhD or the new faculty seminars, and I would talk to people and they would look at me like, You're doing what? You're on what committee? What? And they thought I was insane. But looking back, it was the best training for an administrator that you could ever have as a faculty member. So I, you know, unbeknownst to me, I was kind of on this trajectory towards becoming an administrator without even knowing it. 00:17:29.000 --> 00:17:43.000 Okay. So your focus for the first years of your career was in the classroom. And what did you teach? And then what was the focus of your research and service, which you've spoken to a little bit, but anything else you'd like to add? 00:17:43.000 --> 00:20:20.000 Yeah, so I taught management and organizational behavior. And I taught IO (industrial organizational) psych in the early days. And I taught H--I think I taught HR once, but mostly it was the basic organizational behavior class. And the classrooms were storefronts back then. So there was a glass in the back and there's little shutters, but inside it looked like a classroom. And almost all of my students were older than me. I think all of my students were older than me. So back then I used to always wear suits and professional stuff and wear glasses to look older. So yeah, on the research side I continued to work with some of my PhD student colleagues to get, because, you know, you have to get enough stuff out the door to get tenure. So, so I did that. The great secret of my life was that I came here at the time ABD ("All But Dissertation"). So I was, I wasn't done with my dissertation, which in retrospect was insane. Coming into a brand new job, brand new everything. And I was scared to death. I didn't tell anybody when I got here and then finally one day I just broke down in the dean's office in Bernie's office and said, I just, I wasn't able to finish the year, but I'm almost done. I just have to write this stuff up. And he said, Don't worry about it, you'll finish it. So by March of the spring semester, I was done and I walked. So part of my first semester was, you know, finish up the dissertation, get started on your res- on your teaching. And oh, by the way, you'll be on all these committees. I don't know. I don't know how I did it. So those were the yeah, the early years. And then the yeah, the service stuff was just all, everything you can imagine. So there's a faculty member in computer science at the time, Shell Baning. And he said, Oh, you should be on Academic Senate. I, what, what is that? And so I was, that was one of the first things I did. And I remember then, and it's still true now, how can they spend forty-five minutes talking about one sentence in a document? I don't understand. So that's why when folks, Academic Senate, now when I see things, it's like, I, what, so what's new? I've seen this for years. 00:20:20.000 --> 00:20:32.000 Okay. So you started your administrative path relatively early on in your career. Can you tell me what that path looked like for you and the positions that you've held? 00:20:32.000 --> 00:31:53.000 So in 1999 we had a dean search. And for reasons completely unbeknownst to me 'cause I was an associate professor at the time, the then-vice president for Academic Affairs, he was not pro--the title didn't include Provost yet. That's a not recent anymore, but in '99 it was just the VPAA (Vice President for Academic Affairs). He asked me to serve as the Dean Search Committee Chair. And so, Alright, sure. And unfortunately the search was not successful. So the VPAA had to pick an interim dean and chose one of my colleagues, Kathleen Watson. And she and I were very close and close friends as well as colleagues. We did consulting together. We were friends outside of work. And so he thought--the VPAA thought I could be her associate dean. And so I was made interim Associate Dean in 1999. And I thought, you know, sure, for a year, I'll try it. I don't have any idea what it entails. Because up until then, the associate deans in the colleges had been these older full professors at the time. I thought they were old. I now look back and think they were like way younger than I am now. I am sure. And so I didn't know. I didn't know what I didn't know. And so I said, yes, I would be associate dean 'cause I figured I'm working with Kathleen, it'll be okay. And then there was another dean search and that one also failed, and the VPAA--no wait, no, that dean search was successful, sorry. And he, the dean who came in, came from Cal State Long Beach, Mohammed Mustafa. Called him Mo, rest his soul. He kept me on as associate dean, and he made me permanent. And the first, the first semester was fine ; after that thing started going sideways because his management style and what the faculty wanted at the time were completely different. And the faculty--he began to get really suspicious of them. They began to really hate him. And I was stuck right in the middle. And so that was, I'm sure one of the questions is gonna' be, what's the most chal-- what are the most challenging times that you faced here? That was really one of them, if not the most, because I basically lost all my friends because Kathleen and the other senior faculty thought that I had betrayed them because I stayed on as Associate Dean. They thought I should have resigned. But, you know, at the time, I liked the job and I didn't want to, I didn't wanna' quit. And they never got over the fact that I stayed on as Mo's Associate Dean. And so lost my friends. They wouldn't talk to me. People would yell at me in meetings 'cause they couldn't yell at him. So it was really unpleasant. And so after eighteen months, Mo resigned and that was the only time that I started looking for jobs elsewhere. And I actually got an interview as--for a dean of faculty position in, outside of Boston, Massachusetts at a Catholic school called Easton. And it was when Vince was three, and I remember that because he couldn't pronounce Massachusetts. And so I had to, when I left, Angel would tell him that I was going on an airplane to Massachusetts and he would say, Mama, go airpane Ma-chusetts. (laughter). So that was a great experience because I thought, Okay, I'm a relatively new associate dean. It was only a couple years out, and they still wanted to interview me. And the people were really nice, and I didn't get the job, but at least I felt validated, like, Okay, I could do this. And then thankfully there was a dean search, and the dean who came in was Dennis Guzman. And he was--he ended up being the stability that COBA needed. So prior to that, I said Mo stayed for eighteen months. The permanent dean before Mo stayed eighteen months. There had been a bunch of interims. So the, there was a revolving door in the dean's office basically every eighteen months for the first about ten years of Cal State San Marcos's existence. But when Dennis came in, he was a great people person. He really got to know the faculty. They began to trust him. He ended up serving as dean for ten years. He made it his mission the first couple of years to get folks to respect me again and to treat me well. And it worked. I never got my friends back, like Kathleen and I never fully recovered our friendship. We got to at least talk 'cause she wouldn't even talk to me. We got to at least be on speaking terms and be civil and thanks to Dennis. And he also was great because he--Vince was young. And he let me do all of the things that moms can do. I never had to miss any of his things. I could go on field trips, if I needed any time, Dennis would give it to me. And so he let me be a mom to a young child, which was the most important thing to me. So when I first became Associate Dean, Vince was three. And I figured, I'm gonna be--and I was really young at the time--so I was gonna be the youngest everything. I was gonna' be the youngest provost. I was gonna' be the youngest president. I was going all the way before I was forty. And then Vince started kindergarten, and I realized, holy moly, he needs me. And this time is not gonna' come back. And if I miss it, I am gonna' regret it. And we only have the one kid we couldn't have anymore. So like, this is my one shot. And so thankfully Dennis let me do that. And so that's why I stayed on as Associate Dean for thirteen years. And then he decided--so provost came, new provost came in. She was quite something, and they didn't get along. And so he decided to step down. And I thought, Oh God. Because I used to tell him, Dennis, don't leave 'cause I don't want your job. But by the time he stepped down, I had been Associate Dean for like eleven years. So they asked me to be the interim dean. And I thought, all right, I'll give it a shot. And so I was, and found that, you know, I'm a chameleon. I can adapt pretty darn well. 'Cause It's a completely different skillset, associate dean to dean, as you well know. Being the the associate dean, you're the support, you're the details, you're the sounding board, you're all the things. As the dean, you are it. If you don't think of it, it doesn't get done. You need to--and then in COBA, you had to fundraise. There was an advisory board, all of the things. So business, community stuff. So all kinds of stuff I was learning. But I loved, I liked it. I liked it a lot. And so when the fall semester went well, when the spring semester rolled around and the dean search started, I put my hat in the ring. I thought, You know, why the heck not? And the Provost at the time, she said that, you know, I was doing a great job. She loved working with me, I liked working with her. Everything was going great. Dean search happened. And I didn't get the job. And I still remember to this day, it was April 1st, 2012. She called me and told me I didn't get the job. And I cried harder than I had ever cried. 'Cause I gave my heart and soul to this, to the job. And I thought I should have gotten it. People were telling me I should have gotten it. The advisory board was. Everybody was thankfully rallying around me, but, you know, to no avail. 'Cause the person that they picked at the time, and I'm not, I'm not saying anything that anybody doesn't know, she left after two years and gave the provost at the time--so the provost shift, Graham came in, Graham Oberem--gave him two weeks notice. So, she basically came here to get her retirement. But the provost who hired her saw dollar signs because she had come from San Diego State and raised, supposedly raised, thirteen million dollars. And so they thought, oh, she'd come here and do the same. So that didn't work out. And she, you know, I did my best. I swear it wasn't sour grapes or anything like that. I did my best to transition her in and to work with her. But her work style and mine were very different. Like, I'd come in and before 7:00 a.m. there were sixteen emails for me to do stuff. She was having me do spreadsheets left, right, and sideways for absolutely no reason. And so after a year, I thought I can't do this anymore. So I was gonna' go back to faculty, and Graham called me 'cause David Barsky was stepping down as the--it was AVP (Associate Vice President) of faculty--of Academic Programs at the time. And Graham asked me, do you want to do it? And I said, no, I don't, because let's see, David works until midnight, and I don't know what the job entails and, you know, but let me sleep on it. So I did. And Angel and I talked and he said, You know, what have you got to lose? Do it for a year. I said, okay. Twelve--it would've been twelve years today that I stayed in this job. And, you know, turns out that Patricia Prado-Olmos told me this, and it's true. That the COBA dean thing was, you know, the best thing that never happened to me because this gig was really, you know, very well suited to what I like to do, what I like to think I'm good at, and allowed me to work with faculty across the University, which I didn't get to do in COBA. Gave me a really a bigger picture view. Had I decided to go on to be a provost someplace else, it really would've positioned me well for that. And so, you know, looking back, there really has--well, I haven't had a plan for my career. There has been a plan by someone, you know. So I'm a person of faith, so I believe God took care of me somehow. Put me where I was supposed to be when I was supposed to be at each stage of my career. 00:31:53.000 --> 00:31:59.000 So tell me what an AVP of Academic Programs does. 00:31:59.000 --> 00:34:55.000 So the evolution of--so started off with basically the catalog maintenance. And back then it was a paper catalog and then shifted to PDF. So the catalog and then the curriculum. So curriculum goes through a bazillion approval steps--new courses, new programs, all the way up to the Chancellor's Office. And so all of those steps really shepherding, shepherding faculty along in their creativity around new courses and new programs to get them through all of the myriad of steps. So the position originally was an AVP and it didn't do--David didn't do accreditation and what else didn't he do? And he did first year programs. So when I took it over, first year programs really wasn't in Academic Programs anymore. Neither was scheduling, which he had for a while. And then after about a year, we had--we were ramping up for our WASC (Western Association of Schools and Colleges) reaffirmation in 2014 at the time. And Sharon Hamill was our campus Accreditation Liaison Officer. And she was a faculty member. We had our visit from the Vice President from WASC, and he recommended that it be an administrator. And so Sharon and I talked, I had, you know, gotten to know the VP from WASC. I was really impressed. And I said, you know, sure, I'll do it. And so that's how the WASC piece came over. Then Academic Affairs reorganized, and we brought in a Vice Provost for the first time. And when that happened, that's when the AVP position became a dean position because they wanted all of the senior leaders in academic affairs to be at the dean level. And so I became Dean of Academic Programs and still doing the accreditation, assessment, curriculum, catalog. So those basic things. Then in 2018, President Haynes called me into our office, and there had been a task force put together to look at advising and infrastructure and organization around academic advising on the campus. And they said that it should be consolidated in one division 'cause It was bifurcated in Student Affairs and Academic Affairs at the time. And they wanted all in Academic Affairs. And Karen--President Haynes--asked me if I would do it. And I said, why me? Academic programs, advising, why? She said, you know, we really think that you can make it work. And so that's how advising, that's how it became Dean of Academic Advising and Academic Programs in 2019, I think we launched. 00:34:55.000 --> 00:34:57.000 Yeah, it's been a long road. 00:34:57.000 --> 00:34:59.000 Yeah, it has been. 00:34:59.000 --> 00:35:12.000 Okay. So you've been a faculty member and administrator on campus for 34 years. What has been the evolution at CSUSM? How has it changed? 00:35:12.000 --> 00:37:16.000 Well buildings are nice. (laughter) It still boggles my mind to this day. I will just like stand in Palm Court and look up the stairs 'cause for the longest time, those stairs were there and there was no building. And they were the stairs to nowhere. That's what we would call them 'cause Markstein Hall didn't open, hadn't opened yet. So every single building on campus, I have seen open. I've been in many of them before they were even built, like this building, I got to--I have a rivet from this building. So just basically growing up with the campus was just insane. And it's not, you know, it really exceeded expectations 'cause I certainly hoped that once we decided to stay here 'cause I mentioned we were gonna' be here for two years. After two years and, you know, this weather, we called home and we said, Yeah, we're not going back. And so my parents packed up and moved, and eventually, Angel's family packed up and moved. So once we decided to stay, and I got to, you know, we were at 400 students when I started. We're at what, close to 17,000 now. So just seeing that, and all of the talk in the early years was always about the City of San Marcos, the region needs us 'cause there's gonna be this explosion in the college age population. North County's population is exploding. We need to be here. And they, the City, you know, put its money where its mouth was. The Twin Oaks (Valley Road) has been as it is today, since before there was a campus. So they really were thinking ahead. And so, all of those promises and dreams so many of them came true. And I got to see that. I got to--(weeps) I knew this would happen. 00:37:16.000 --> 00:37:20.000 It's okay. We very much want you to be as vulnerable as you can. 00:37:20.000 --> 00:38:13.000 And anybody who knows me knows that I cry. So it's okay. But I got to be a part of that. I got to, to build, build this place. And I think, wow, you know, I built it, and then my son came here. So I built it for him, for all of the other students that have graduated. And for all the faculty who have come here. So, you know, if you look for God, did you, did you go someplace where they let you make an impact? Yeah, I did. I did. And I'm so grateful. I'm so grateful that Shoeshine got that letter that day and that I gave it a chance. 00:38:13.000 --> 00:38:24.000 Did you always know that you wanted to be an academic or this was something that Shoeshine, like, helped to develop? 00:38:24.000 --> 00:40:33.000 Yeah I, when I was little, I used to play school, and I'd line up my stuffed animals, and I had blue books, and I thought they were the coolest thing in the world, and I would give them little tests. So I guess leaning towards teaching was always a thing for me. But being a professor, no. And in fact, Angel can tell you this, when we, since I met him the day after I started the PhD program, I hated my classes. 'Cause they were very quantitative. I was a psych major. This was not my wheelhouse. And it was a lot more difficult. Like, I had been a really good student my whole life. Even in my undergrad, I got two B's. So school came easy to me. That all ended in grad school. It was not easy anymore. And so I would cry on the phone with him every night that we were talking, Oh, I hate this, I hate this, I hate this program. And so after the first year, I got an internship in HR for a bank. It was called Sun Bank at the time, in Florida, in Miami. And it was on Brickell Avenue, which is a beautiful big office right on the bay. And so I just had an intern job. But I got offered, at the end of the summer, I got offered a permanent job for ten dollars an hour. And I thought, Wow, that's lot of money. This was in 1988. That's a lot of money. Maybe I should drop out of the PhD program since I hate it so much. And I almost did. Oh my God, thank you. I went to my first academic conference at around the same time. And at the conference when I met other PhD students, when I saw faculty presenting on their research, I said, oh, okay. This is what faculty do. It's not these quantitative classes that I hate. So I was able to see the bigger picture. And so at that point, I, and then I started teaching in the PhD program, too. And I thought, okay. I like this. I like this part. Now, being an administrator, never crossed my mind. But being faculty-- 00:40:33.000 --> 00:40:37.000 Until you started to be an administrator and then you were going all the way to the top. 00:40:37.000 --> 00:40:38.000 Yep. Then I was gonna' be president. Yep. 00:40:38.000 --> 00:40:49.000 Okay, I get it. Okay. So can you speak to your highs and lows at CSUSM? You talked about one of the lows. 00:40:49.000 --> 00:43:48.000 Yeah. So highs. This building, Markstein Hall. I was involved from the very, very early stages. I saw, I think I was on the first building committee, the first building design--people might not know this--was a circular building, but then in the CSU that can't work because it's too much wasted space. And then on the inside, so the scrap that, came up with the design, so work from the--work with the architect from the very beginning, as I said, was in this building multiple times as it was going up. And so when it finally opened, this was like my child. So it's funny now that I'm back in here, it's like, oh, I'm, I'm home. I feel completely comfortable. I was like, I picked out this furniture. Fourth floor, all of it, you know, we, the I--the fourth floor, I picked. Dennis, let me pick it. Dennis, let me pick this chair. It is a Coach leather chair in green. It's mine. This, I tell Angel, this is going home with me when I retire. And he says, University property. No, it's my chair. So opening this building was just awesome. The, in this job, well, accreditation, you know. Getting ten years when I didn't know anything about was going into this and was able to put a great team together, work with great people. God bless Melissa Simnett, you know, we were able to pull off a ten-year reaffirmation, which was awesome. Just seeing the growth, that's just been so exciting. My son graduating from here, that was, you know, best day of my life, no doubt. I was able to--I used to, before we got the, it's not an AI reader, it's a--how would you call our, how we do names at graduation now? So it's the computer reads them basically, but it's a human voice. Anyway, before that, it used to be faculty, and I used to coordinate the reading of the names and I would read names. So I got to read his name, and I got to say "my son Vincent Lorente," and my voice cracked just like that. So that was like one of the best days ever. Actually, every graduation is just amazing. And so those are all high points. The last thing I'll say is, you know, working with Academic Advising and getting to know those folks. This team of in Academic Programs that I'm working with now, like the stuff that's been happening recently, that's, that's all been awesome. I've loved it. Low points. I mentioned the one that was the lowest. What was the other one? Yeah, there really haven't been many. There really haven't been many. Yeah, I'll leave it at that. 00:43:48.000 --> 00:43:59.000 Okay. Do you have work that you've accomplished in your career that you think has been the most impactful? Like if you had to name one or two things? 00:43:59.000 --> 00:45:36.000 Curriculog and Acalog. So our curriculum system--curriculum management and our catalog--that's fully online. 'Cause that's, I mean, that's a piece of infrastructure that's gonna' last us. And we, that was entirely. I don't do "me" very much, but that one was me doing the research. Other CSUs, only three were using it at the time. But we had to do something 'cause we had paper forms that we're chasing all around campus. And we tried working with IT to do something that was an early version of DocuSign, but the technology wasn't there yet. And so these companies just started up then that were saying, Hey, we can do it all for you. And so I started researching them and thankfully we chose these folks. And now most of the CSUs uses 'em. And so that, while I don't fool myself into thinking it's gonna last us forever, I'm sure there's gonna be a better mousetrap someday. It has taken us quite far and took us through the pandemic, which if we had not had that, then there is no way. Everything would've ground to a halt. So I think that's had a big impact. This building, this thing's my legacy right here. So those things, and I guess just all the, I haven't counted, maybe I should, all of the program proposals, new programs, all of the things that have gotten approved in the last twelve years while I've been in this job. Like, at least--not a hundred, but about fifty easy. And so so those things. 00:45:36.000 --> 00:45:42.000 Great. Can you tell me about the people who have most influenced you in your career? 00:45:42.000 --> 00:50:24.000 Hmm. So going--I mentioned Dennis Guzman, who had been the dean in COBA. So he was a great mentor and a great friend. And he rebuilt my self-esteem such that I could stay on as an administrator and not think that I was the piece of dirt that all of the faculty thought I was at the time. Beverly Anderson. So she was the first permanent dean hired in 1992. And she was, unfortunately, not what the senior faculty at the time wanted. I don't know if there were gender issues then. I was too young and blind to see any of that at the time. But they did not like her. They wanted to get rid of her and made her life miserable. And in fact, they co-opted us junior faculty. 'Cause I was twenty-six, what did I know from anything at the time? These, you know, senior faculty, who had been around forever, different universities were telling me, oh no, this isn't what we need in a dean. So they co-opted all of us and did a vote of no confidence against her. And so she stepped down after eighteen months. And then as I got a little bit older, I had a little bit more experience. After about three years, I realized, Man, that was a mistake. Beverly was good people and she was a good dean. And so I went to her and I said, Beverly, I am so sorry if you could ever forgive me. And so she became a mentor to me. She became a very close friend, and we stay in touch to this day. And she is like the exemplar of what a woman in the academy should be like. She came up in a time when women weren't respected, but yet she kept her head high. And I still remember the things that she told me. Like she said, nobody insults you without your permission. She taught me that careers are cyclical and that they go up, they go down, they go up, they go down. So never when they're down, when you're down, never worry about it 'cause it's gonna' go back up. So she had a huge impact on me. I'd say Karen Haynes, so she was a great mentor to me. She and Pat Worden, who was a VP of Student Affairs for a while, had been all of the things, like she had been Associate Dean in, it wasn't CHABSS (College of Humanities, Arts, Behavioral and Social Sciences) then, it was COAS, College of Arts and Sciences. Lots of positions on campus. And so she was a mentor to me and she, Karen and wait, yeah, she, Karen and I taught a class on women in leadership. And so that was super exciting. And that's how I got to know President Haynes as a person. And she wasn't just like in name only, she, we team taught that class and she was there. Like, she would come, she would lecture, she would discussion, all of the things. So she was a great influence on me. Kamel Haddad. He was just amazing. He made me better, you know, he just had a way of, you know, he was tough. He was hard to understand sometimes, not verbally, but just, What is it that you want from me? and I can't do it! And he yes, you can. And he taught me. And he was so patient. And so he made me better. Graham. Graham, he came in from the the provost who didn't give me the job. And he treated me fairly. He respected me. He--I guess that was a low time when I didn't get the job, the dean job. But Graham came in and saved the day for me. And so he was, he was definitely a mentor. My super close friend here, Dawn Formo. She and I have been together now for what, thirty years we've been friends. And so I always looked to her for like, what would Dawn do if? 'Cause she always does the right thing. Yeah, I'd say those, those folks. I'm sure there's more. I'm leaving out. Oh, David Barsky, who held the position before me. So he taught me. He spent a whole year training me, and I was thinking, I can't do this, David. I can't do it your way. But he still taught me and he taught me well, and he was always there to answer questions. 00:50:24.000 --> 00:50:32.000 So what do you plan to do during retirement? Personally and professionally. Today is your first day of retirement, I will say-- 00:50:32.000 --> 00:50:33.000 It is. 00:50:33.000 --> 00:50:34.000 --and you're in your office-- 00:50:34.000 --> 00:52:27.000 --and here I am. (laughter) Aye-yai-yai. So I am going to FERP, faculty early retirement. And so as part of that, I need to continue my--funny how I phrase that--I need to continue my work on WASC because the retirement was unexpected. My plan had been 2026 after my sixtieth birthday in September, after we had done our WASC reaffirmation visit, which is in March of 2026. But this VSIP (Voluntary Separation Incentive Program) thing came up, and it was too good to turn down. So I retired now. But leaving this place in a lurch with accreditation wasn't an option for me. And thankfully, the Provost and Vice Provost agreed. And so that's my fac--my FERP assignment is instead of going back to the classroom, I'm going to continue on as the, the WASC ALO and lead us through the accreditation visit. Also, since I'm not being replaced yet, the whole what happens to academic programs and academic advising question is still a very real one. And so I will be a faculty fellow for accreditation and curriculum, which means, kind of have to figure out how much I can do within the constraints of my FERP assignment to kind of keep the boat afloat for a year. So in a lot of ways, nothing has changed but then everything has changed. So I'm just, I'm still trying to figure out in my head what that means. I think at minimum it means that I set my schedule. And that I am the boss of no one for the first time since 1999. And that technically no one is the boss of me, other than my dogs. (Laughter) 00:52:27.000 --> 00:52:31.000 Will you still continue to do professional work with WASC? 00:52:31.000 --> 00:53:56.000 Yes. So I will still serve on teams. So I've been doing that for about ten years now. I got involved with WASC after our visit because I was very impressed with them as an organization, because you think accreditation and it, you think it's about checking a bunch of boxes and oh, you don't do this right. WASC is not that. WASC is all about, you know, maybe it's the California philosophy, I don't know, but it's all about let's try to make you better. Let's get to know you, let's help you be a better version of you. And so that felt really good. And it also felt good to learn about other institutions because since this is the only place I've ever worked in higher ed, you know, that's my, that's a strength and it's a weakness because it's all I knew. And so getting involved in WASC exposed me to all types of institutions, you know, private, not-for-profit, for-profit, all of the things. Big schools, little schools, international schools. They sent me to the Emirates to review a school, I'm going to Ecuador next year. So really, WASC like swung open the door on professional development for me as someone in higher ed. And so I will absolutely love to keep doing that. And in fact, I just did a sub-change review yesterday for a school in Africa, of all places. Didn't go there, obviously. It was Zoom. But yeah, Ecuador in April. 00:53:56.000 --> 00:54:10.000 Very cool. Okay. Is there anything else you'd like to talk about in this interview? Anything that we missed? 00:54:10.000 --> 00:55:17.000 So in my retirement speech, I made a reference to Hamilton," and I read part of George Washington's farewell speech. I won't do that again. But the one thing I didn't say was another quote from Hamilton and it says "legacy is planting seeds in a garden you never get to see." I got to see the garden. So that's pretty cool. And as I said earlier, I'm really grateful for that. Hopefully there's still some flowers that will bloom once I'm gone. But that won't be for another, well, I can FERP for five years. And that's my plan, you know, I think, God, old people retire and I'm not old, you know, fifty-eight, I'll be fifty-nine, but I've got five years now, and so I can see going all the way through five years for sure. Unless and until Vince has a baby. If that happens, then we are Napa bound and I will be raising grandchildren. (laughter) 00:55:17.000 --> 00:55:43.000 Very good. Okay. Well thank you. I will say the theme that came across to me the most in this interview is your like, can do, I can do it for a year, I can do it for two years. I could, I can do it for six months. And you've obviously been open to these possibilities, and that is really what has made your career and CSUSM so much better. So thank you so much for interviewing today. Thank you. Thank you for letting me talk about myself for two hours. (laughter) 00:55:43.000 --> 01:55:49.000 Thank you. Thank you for letting me talk about myself for two hours. (laughter) NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. &#13 ; &#13 ; This resource is licensed for noncommercial educational use using CC NC-BY 4.0. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. &#13 ; 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=EisenbachRegina_FabbiJennifer_2025-07-01.xml EisenbachRegina_FabbiJennifer_2025-07-01.xml https://archivesearch.csusm.edu/repositories/3/resources/19 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eisenbach, Regina. Interview July 1, 2025. Description An account of the resource Dr. Regina Eisenbach is retiring from CSUSM as the Dean of Academic Advising and Academic Programs in 2025. After thirty-four years at the University, she shares a rich history of CSUSM’s evolution over time. In this interview, she discusses what brought her to CSUSM, her path to administration, people who have influenced her professionally, and the physical and structural changes to CSUSM through its development. Identifier An unambiguous reference to the resource within a given context SC027-085 Date A point or period of time associated with an event in the lifecycle of the resource 2025-07-01 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Regina Eisenbach Contributor An entity responsible for making contributions to the resource Jennifer Fabbi Subject The topic of the resource California State University San Marcos -- History California State University San Marcos -- Administration Education, Higher Women in leadership Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Juan (P.R.) Miami (Fla.) San Marcos (Calif.) CSUSM history Women's experience Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Sierra Jenkins Interviewee The person(s) being interviewed Geoffrey Gilmore OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=GilmoreGeoffrey_JenkinsSierra_2021-04-14_Access.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Black Student Center OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 Gilmore, Geoffrey. Interview April 14th, 2021. SC027-04 01:12:56 SC027 California State University San Marcos University Library Special Collections oral history collection Campus oral histories CSUSM This oral history was made possible in collaboration with the Black Student Center and with generous funding from the Instructionally Related Activities fund.&#13 ; &#13 ; Please see the related “Preferred Citation note” for language on citing materials from this collection. &#13 ; &#13 ; Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder. &#13 ; &#13 ; The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the library's materials. &#13 ; &#13 ; In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. &#13 ; csusm Black Student Center student success California State University San Marcos Black experience Geoffrey Gilmore Sierra Jenkins moving image GilmoreGeoffrey_JenkinsSierra_2021-04-14_Access.mp4 0 https://archivesoralhistories.csusm.edu/files/original/5092b218abace83b431090029a7e6156.mp4 Other video English 0 Interview Introduction 0 36 Childhood Gilmore briefly discusses his childhood growing up in Seattle and his feeling of isolation without close family. Seattle ; Los Angeles ; isolation ; family 0 177 Developing an understanding of Blackness Gilmore speaks about how his understanding of blackness came mostly from books, documentaries, lectures, and his family and peers. self-education ; informal education 0 300 Learning about Black history and the Black experience in childhood and adolescence Gilmore talks about her exposure to Black history in school, which was largely misinformation and seen through a lens of whiteness. Black history ; Dr. Martin Luther King, Jr. ; Malcom X ; Civil Rights Movement ; Black Panthers ; power ; teacher 0 680 College experience Gilmore reflects on his time in college at Washington State University. In contrast to his earlier education experience, he was able to take Black studies courses and interact with a diversity of Black people. He talks in length about a television series titled “Them” and how its premise and conclusion has impacted him. Black history ; Black studies ; Black and white relations ; Them television series ; racism ; power dynamic 0 1703 Personal impact of Black activism and social justice movements Gilmore reflects on his main philosophy that is Black empowerment through education. He has spent his career helping students to realize how they can succeed in education and in their careers. educational philosophy ; student success ; empowerment through education ; student struggle ; student learning ; remedial education 0 2624 Early focus of the Black Student Center's initiatives, programming, events Gilmore speaks about many events sponsored by the Black Student Center. From his perspective, the main purpose of the Center was to be focused on education and student success. Black Student Center ; education ; learning ; events ; Kwanzaa ; Black Panters ; Tulsa Massacre ; Black health 0 2992 Gilmore's role in establishing the Black Student Center Gilmore speaks about his role in establishing the Center, including his initial oversight of the Center. From his perspective, the main purpose of the Center was to be focused on education and student success. Black Student Center ; student success ; Dr. Gail Cole-Avent ; John Rawlins III ; Jake Northington ; organizational structure 0 3147 The process of creating the Black Student Center Gilmore discusses the initial push by students for a Black Student Center. Black Student Center ; meeting ; President Karen Haynes ; formal request 0 3295 Leaders of the Black Student Center project, their contributions, and unsung heroes Gilmore mentions how to find a list of people who were involved in establishing the Black Student Center. He also talks about the faculty and staff working behind the scenes on this student-driven initiative Black Student Center website ; CSUSM faculty ; CSUSM staff ; student-driven 0 3441 University Administration’s vision for the Black Student Center Gilmore speaks about the priorities for the Black Student Center being student success, engagement, and involvement. The Black Student Center was moved from Student Academic Support Services to Student Life. Black Student Center ; student success ; student engagement ; Student Academic Support Services ; Student Life 0 3607 Opposition to the creation of the Black Student Center Gilmore briefly speaks to campus worries about the establishment of a Black Student Center on campus. Black Student Center ; white student center ; pushback 0 3732 Experiencing the Grand Opening of the Black Student Center/BSC's impact on the campus communitiy Gilmore reflects on the grand opening of the Center, especially the emphasis on creating relationships with the local Black community. grand opening ; relationships ; local service area ; Black Student Unions ; pipeline ; community members ; careers ; National Association for the Advancement of Colored People ; Jack and Jill organization ; conference 0 4118 Personal impact of the Black Student Center on Gilmore Gilmore reflects on how the educational events and connection with students in the Black Student Center impacted him. educational events ; student connection 0 4273 Future expectations of the Black Student Center Future expectations of the Black Student Center. Gilmore shares his expectation for taking the Black Student Center to the next level. Dr. Gail Cole-Avent ; John Rawlins III ; student success ; graduation 0 oral history Dr. Geoffry Gilmore specifically touches on the issues of Black people within academic spaces and his experience helping students to succeed on a university level. Dr. Gilmore also discusses his own history as he moved from Los Angeles to Seattle, and back to California. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:01:00.000 Today is Wednesday, April 14, 2021 at two zero eight p.m. I am Sierra Jenkins, student at CSU San Marcos, and today I'm interviewing Dr. Geoffrey Gilmore for the Black Student Center oral history project, a collaboration of the CSUSM Black Student Canter and CSUSM University Library Special Collections. Dr. Gilmore, thank you for being here with me today. How are you doing? Geoffrey Gilmore: I'm doing well. Thank you. Jenkins: Glad to hear it. So I'm just gonna' jump right in. So our first question for today is where were you born and where did you grow up? Gilmore: I was born in, I was born in, in Los Angeles, California, and I grew up in Seattle, Washington. Jenkins: How was it growing up in Seattle as compared to Los Angeles? Gilmore: It was different, you know, it was, you know, it was a lot, it was a lot different. 00:01:00.000 --> 00:02:00.000 It was isolating in the sense that, in the sense that, that the family that we had here in California was very expansive. We have a lot of family who had migrated and settled and stayed in the Los Angeles area for a long time. And so I've got a lot of family in the Los Angeles area and particularly in Pasadena, California, and you know, in Washington, when we moved up there, that wasn't the case. I think, a little later on, we had a couple of cousins 00:02:00.000 --> 00:03:00.000 who were up there, but, who had moved up there, but other than that there wasn't, there were not, there were not that many. So yeah, it was different. Jenkins: How old were you when you moved to Seattle? Gilmore: I was, I was very young. I was four years old. Jenkins: Okay. And how old were you when you moved back out to California? Gilmore: When I moved back to California, I was, I was 30. Jenkins: Oh, wow. So you definitely grew up in Seattle completely. Gilmore: Right. Jenkins: How did you come to your understanding of Blackness? Gilmore: A lot of it, I would say a lot of it came from 00:03:00.000 --> 00:04:00.000 experience and then there was, family as well. And then on top of that, there was the education I received. And I will emphasize that when I say education, I'm not talking about education in the formal sense of school, although school did attempt to educate me to accept what the role that society had actually established for Black people in this country. But, you know, it was more so self-education, as well as informal 00:04:00.000 --> 00:05:00.000 experiences, where maybe peers or other members within the Black community had actually referred me to information from different books, documentaries, and, having attended different lectures, all that kind of stuff. So educationally, it was largely informal but then, of course, like I said, there's the life experience as well as, the education that came from family. Jenkins: Thank you for that. What were you taught in childhood and adolescence about Black history and the Black experience? Gilmore: It's 00:05:00.000 --> 00:06:00.000 interesting that you asked that question. Really when it came down to Black experience, what I was educated is that in school in particular, is that Black people are in a lower social class than white people. And really than anybody else in the world that we are at the bottom when it comes to when it comes to social class, based on race and was also educated--actually, I'll tell you what--I'll tell you a story that sort of underscores what that was. I can remember, I believe it may have been 00:06:00.000 --> 00:07:00.000 in the fourth grade that this really occurred. We were learning about, I guess, quote, Black history in the classroom, and it was all about slavery and the struggle of the Black people in the Civil Rights Movement, and how Martin Luther King was this great person because he encouraged the struggle to be non-violent, whereas Malcolm X and the Black Panthers were violent, racist, haters of white people and wanted to kill white people and 00:07:00.000 --> 00:08:00.000 all this kind of stuff. And as she went into that part of our education, I can remember that one of the white students in the class had raised his hand and asked the teacher a question, and the question that he asked was if we were to ever let Black people have power then would they put us in slavery and do the same things to us that we've done to them. And the teacher thought about the question for a moment and really her answer to that question reinforced what the intention 00:08:00.000 --> 00:09:00.000 of that lesson was, right? And really, reinforced what the whole message about power in this country is all, as it pertains to race, is all about. And her answer to the question was you know that's a really good question. I don't know. And so the thing is, just in looking at, in really unpacking that question and what the student was asking, first of all just in asking, if we ever let Black people have power, first of all, that means that the white people have the 00:09:00.000 --> 00:10:00.000 power, and the only way that Black people can ever have power is if the white people let Black people have power. Right? And so that's the first thing. And then, the second thing was this fear that what they have imposed on Black people would be reciprocated back to them and all of that. Right? And just in what the teacher was saying all of that message was the message that she clearly intended to get across given the answer to that question. And that answer basically confirmed that, yes, her intent was to--what's to say that white people have all the power 00:10:00.000 --> 00:11:00.000 and the only way Black people can ever have power is if white people let them have power? And that it is a real fear of white people that Black people with power would return the evil that has been imposed on our people. So that was the gist of the formal education that I was given about Black people in school. And I can tell you that really from year to year moving on from there, and even before that, that was the message that was being delivered. That was the, that was what we were being educated to 00:11:00.000 --> 00:12:00.000 believe. Jenkins: That's horrible. That's such an interesting story to have experienced in fourth grade. What did you learn after adolescence prior to coming to CSUSM? Gilmore: Well, there's a whole lot of time in between adolescence and CSUSM. So, I would say--I guess you're talking about, after I left high school, correct? Jenkins: Yes. Gilmore: Okay. So when I left high school and went to college, it was different. And it was different in the sense that while 00:12:00.000 --> 00:13:00.000 attending a predominantly white college, or university, I also, the company I kept was largely Black. We had a sizable enough Black community at Washington State that really was who I was with the majority of the time I was there, you know? And so educationally speaking, it was different in the sense that, at this point I'm actually--I could actually take Black studies courses 00:13:00.000 --> 00:14:00.000 and actually learn more in a formal educational setting about Black people in this country and around the world. On top of that, there was the informal education, that was in the same vein, along the same vein of what I had mentioned before with peers and with other people in the community and what--really just being referred to different books, different documentaries, all that kind of stuff. And even in special lectures and all that kind of stuff. And even that, 00:14:00.000 --> 00:15:00.000 looking at a lot of these things on my own, that was a big part, but also, I would say that interacting with people who had come to Washington State from a continent, that was a huge educational experience in itself as well. And to be able to learn more about the continent and about what had, what had actually gone on the continent beyond slavery, beyond the slave trade, was a very illuminating experience. And so that kind of gets back to your previous 00:15:00.000 --> 00:16:00.000 question about what I learned about Black people growing up. And one thing that I would say that I walked away from my K-12 experience with was the warped understanding that Africa was all about National Geographic or apartheid, one of the two. And so therefore, my perspective was that anybody from, anybody who I met from Africa, either lived in apartheid under the apartheid system, being oppressed by white people, or they live like National Geographic in the bush. And that was my understanding 00:16:00.000 --> 00:17:00.000 coming out of high school and it was very illuminating to be able to go to college and actually get to know and interact with people who had come over to the United States from the continent and get their college education at Washington State like I did. And in doing that, that understanding or that misunderstanding, and that miseducation as to what Africa was all about was dispelled definitively in the--through those interactions. 00:17:00.000 --> 00:18:00.000 And I would have to say that what, in learning about what had actually occurred in various places around the continent over, around the continent that I came to realize that I'd been lied to, and it's that sort of thing to where when you have a--let's say if you're talking to your parents growing up and they asked you a question about what happened and you give them a part of the story but not the whole story as to what happened and what are they going to say? They're going to say that you lied. Right? And essentially 00:18:00.000 --> 00:19:00.000 that's what happened in my educational experience, that a part of the story that really made them look good or powerful maybe--I wouldn't even say look good because much of our story in this country as it pertains to Black and white race relations much of that is rooted in pure evil, you know? And I don't know if you've seen that, the Lovecraft Country show, or if you've seen Them, which just came out on Amazon Prime. Jenkins: I've heard a lot about it, and I haven't heard the best of things. 00:19:00.000 --> 00:20:00.000 And that's what kind of pushed me away from it. 'Cause it has a lot of our trauma on screen and some of that can be triggering. So I kind of stayed away from it. I've planned to watch Lovecraft, 'cause I know that that one has more of a better ending, but I've heard that Them doesn't really come to a conclusion--that it, it's kind of just like our trauma for entertainment. Gilmore: Them had a conclusion. Jenkins: Oh, it did? Gilmore: Yes, it did. And it had a very powerful conclusion at that. And I would say that as far as that show is concerned, that it is important for us to watch that, the creator's expression of 00:20:00.000 --> 00:21:00.000 the Black experience, is through that, through that program because the creator really nailed the trauma as you put it of the Black experience in this country 100%, and the way in which he did it, in my opinion, was pure genius, you know? So, I would highly, highly, highly recommend it, very highly recommend it. It was difficult to watch, and it was painful in much--I would say the majority of it was painful, but the way in which it ended, it ended 00:21:00.000 --> 00:22:00.000 with power, and again, I most definitely wholeheartedly recommend that show. There's a lot to unpack in that show. And one of the things about it is that we recognize our experience and the experience of those who came before us because I'll tell you one of the things about watching something like that, right? Is where we can hear about the experiences that the people who came before us went through, right? But to really see it and to really understand it is a whole 'nother thing. And to really get down to the 00:22:00.000 --> 00:23:00.000 evil of racism that has existed in our country and still exists in our country is critical for us to really wake up and determine our place in the society. Really the way in which the system has been set up and continues to be set up is that we're supposed to know our place in a society. We're supposed to know our role and stay in it, you know? And that's the way that it's designed. But if we're all to also understand that the, 00:23:00.000 --> 00:24:00.000 really the power to determine what our role is going to be in society and take that role on, the power to do that actually lies within ourselves to make that determination and to and stand by it, you know? And so that's where I think that this program really hit the nail on the head and really delivered that message. And the other thing, too, is that it's one of those things where I was watching--in watching the show, 00:24:00.000 --> 00:25:00.000 it made me think about my grandfather, right? And I had to go back and really think about what the kinds of things that my grandparents would say about their experiences and what their attitudes were. You know, what about this society and about what was and was not possible, all kinds of stuff, right? And in doing that, I actually just on a whim typed my grandfather's name into Google and looked up 00:25:00.000 --> 00:26:00.000 --and was trying to look up and see if there was any information there about him and about that time, and in doing so, I came across an article that was about my great-grandmother in the LA (Los Angeles) Times. And the article was really just a human interest piece that was talking about her because she had turned a hundred and really, in coming to California, that's where a lot of family just actually just came from her and is in the Los Angeles area as a result. 00:26:00.000 --> 00:27:00.000 And there was one part in there where they were talking to her, and she was talking about coming to California and how--from the deep South--and how that, and how, in some ways what she experienced in California was worse than what she experienced in the deep South. And that's where it--that show really resonated because that's what the show is centered on. Centered on Black people coming to California from the South. And moving into neighborhoods that are 00:27:00.000 --> 00:28:00.000 predominantly, if not all white. And how they were and how they were received. And so I can--it gave a picture as to what may have been behind that statement, you know? Yeah. So-- Jenkins: I’ll try it. I will, but 'cause my grandma, she also had a similar experience. She came from Seattle to California around the fifties. And so, but she lived in like a Black area. She, yeah. Gilmore: Okay. Jenkins: How has Black social justice and activism such as the Civil Rights Movement, feminism, the natural hair movement, and Black Lives Matter affected you? 00:28:00.000 --> 00:29:00.000 Hmm. How has it affected me? Jenkins: Yes. Gilmore: You know, I'll tell you what, when I was in school, I was very much involved in social justice and activism on our campus at Washington State. I would also say that when it comes to 00:29:00.000 --> 00:30:00.000 my life beyond college, it has taken on a different form than the activism that I was involved in when I was a student in school. And the form that it is taken on has been more so in my work, right? And so we can look at that basically, given that I've been in education, it's been more about empowerment through education, and that has actually been a philosophy that I have, 00:30:00.000 --> 00:31:00.000 that has, that has grounded in my work. That philosophy of empowerment through education has grounded my work. And that would be through math, through writing, through--and really through looking at ourselves and looking at our history and where we come from and also looking at the possibilities of where we can go and--if we so desire and how to get there. And that's where I would say that connecting the students to resources, helping students to see that 00:31:00.000 --> 00:32:00.000 what they may have thought was out of reach when it comes to their education is actually actually tangible. It's possible to learn this stuff. And one of the things--we talk a lot about impostor syndrome. That's something, that's a term that I've heard used quite a bit when it comes to people not realizing or understanding that they can actually learn what's there and that it's not a reflection of their intelligence or ability that they struggle with certain 00:32:00.000 --> 00:33:00.000 material because the thing is that when it comes down to it, say for instance, we struggling with math, right? And I've heard so many students saying that I'm just not good at math. Right? And the thing to understand there is that there's no such thing as not being good at math. The thing to understand is that you are in school and in being in school, you're here to learn. And the fact that you don't know the information that is being presented to you in the classroom--is not--that's the way it's supposed to be, right? Because you're here to learn it, you know? And so you're not going into the classroom already knowing how to do what they're presenting to you. 00:33:00.000 --> 00:34:00.000 Otherwise you're wasting your time. If you're just sitting there to showcase that you know how to do stuff that--and and basically pay him money to take a class, to show you how to do stuff that you already know how to do, you know? And so that is--that has been what a large part of what I've done after college. One thing, for instance, was at Washington State, I was Director of the Freshman Seminar Program at Washington State for a while. And while I was doing that I was called by the athletics department. Right? And they had all these football players 00:34:00.000 --> 00:35:00.000 during the summertime who were taking a math course that they were failing. And in order to be eligible to play in the fall, they absolutely had to pass this class. And so they called me in to help them pass the--help them with the math and to help them pass the class. And so I did that and what we ended up doing was we ended up addressing the concepts that they were being presented in that class. And as they address those concepts, they gained, they started gaining understanding of how these things work, of how the concepts that they were being presented with work and on how to use those--and how and when to use the different concepts that they were being given 00:35:00.000 --> 00:36:00.000 and what they ended up discovering was that the knowledge that they had previously thought was unreachable and was out of--and unattainable was actually accessible and that all they had to do was the learning, right? And so coming to that understanding that just because I don't know what's--what this is all about going into it, doesn't mean that I can't learn it. Right? And what you ended up seeing was that with this, in this classroom full of football players, who I was working with, who are majority Black, finding out that that knowledge was accessible and actually coming to that understanding of what this 00:36:00.000 --> 00:37:00.000 education was all about, what you saw them do after that experience was consider the possibilities for their own lives and start to see that, well, Hey, maybe I can be a doctor, or maybe I can be an engineer. And what you saw was you saw these students changing their majors from general studies, or from social sciences, just anything that they had signed up for because they were told that it was going to be easier for them to do while they were playing football and change their majors to physics or to engineering or to pre-med and--or other fields that they thought might be 00:37:00.000 --> 00:38:00.000 of interest or might--that they might want to go into. And that was that empowerment, right? To where it's like coming to that understanding then they ended up really taking a look at their own lives and their own direction and determining where they were going to go. And for the next few years after that I would see those same students, those same football players, progressing through the different levels of math. They started out at the class that I was helping them with was considered a remedial math course, right? And in taking that class, they then 00:38:00.000 --> 00:39:00.000 advanced to the next level and then to the next level. And were taking calculus two, calculus three, depending on what their major was asking for and approaching it from that standpoint of learning. And to this day, a couple of those students are actually doctors to that--medical doctors. There's, another one that I know of who did and end up becoming an engineer and then there was, I think there were a couple others who went into business and actually started their own businesses and are successful in doing so. So that's what I'm talking about when it comes to empowerment through education. And even when I got here 00:39:00.000 --> 00:40:00.000 at Cal State San Marcos that was the thing that I was brought into address. I was brought into address math and writing. And in particular, those students who were coming into the university with a knowledge foundation that was below the college level, so it was a matter of helping those students to get up to speed with what they needed to know to do--to be successful in school. Right? And that's what I did. And that was actually one of the things that I had told--that I would tell students as they came into the university. And I would tell these students and you would see it, too, when it came down to actually talking to the students, what, you 00:40:00.000 --> 00:41:00.000 would see that in orientation, when they dismissed the students who did not need to attend the discussion on what was called remedial math or writing, then the students who were left were largely Black and Latino. And on any given day, that would--orientation day, when I would speak to the students, it would be the case. And that's the thing that I would that I will conclude with when I would talk to them, after telling them about the requirements, after telling them about the classes that they would have to take, and addressing all of those things. 00:41:00.000 --> 00:42:00.000 I would tell them to take a look at the name badges, where their test scores were printed out--the placement scores--and where the classes that they would have to take were listed and the--their requirement for early start was on there as well. And I would tell them that this is the most important thing that I was going to tell them out of that whole presentation. And in looking at that, their name badges with their test scores in those classes, I would tell them those scores and those classes are not a reflection of your intelligence, nor are they a reflection of your ability, but they are a reflection of what you know and what you don't know right now. And all of that that I just presented 00:42:00.000 --> 00:43:00.000 is, it's about what you are required to learn and to understand that when you are learning new knowledge, that that learning experience is supposed to be a struggle. And so the fact that you may have struggled with math and writing in the past, that does not mean that you are not good at it. It just means that you've come across some knowledge that you don't know right now, but you can learn it and that we're here to support you in learning it. And as a result of that, seeing countless students go through, starting at the, from the lowest levels of math and go on into, going into fields that they thought were not accessible to them just like the, those football players. Same with students who were, who needed 00:43:00.000 --> 00:44:00.000 a stronger foundation in writing, same kind of thing. And in doing so, helping them to think about what it was that they wanted to do and how it is that they can leverage what they were learning in the classroom to actually do those things that they wanted to do, you know? So that was the, that was what, has been in large part what my experience has been since leaving the state of Washington. There's been more and, as you know, I was a part of actually helping to establish the Black Student Center here at Cal State San Marcos, as well. And so when, that was 00:44:00.000 --> 00:45:00.000 in large part from the, from an administrative standpoint, but at the same time also setting the tone from an educational standpoint as to what the Center was to, what it was to be about, which was education, right? And learning and advancing yourself to go back into the community and build up the community. And so, when they were, there were quite a few things that we did to actually do that through the Black Student Center. One, I would say, was through 00:45:00.000 --> 00:46:00.000 a lot of the educational events that we put on. One of those events was that we brought a panel of Black Panthers to the University to speak on their experiences and what that was all about. And we also had a photography display up in the Library, where you had all these pictures of Black Panthers and narratives where they were telling their stories and their experiences in the movement. We also had an event where we, what we brought the founder of Kwanzaa to the University to preside over the Kwanzaa ceremony and to also educate us on where it came from 00:46:00.000 --> 00:47:00.000 and why it was, why was it established here in this country. We also brought in some people who, from Tulsa, Oklahoma, to talk about the Tulsa Massacre you know where--and I'm sure you've probably heard you, you're probably knowledgeable of that history. And it was those kinds of things that we did to really create a learning environment about the Black experience, as well as establishing a forum 00:47:00.000 --> 00:48:00.000 within the Black Student Center for students to exchange knowledge and also to learn from each other with what they were learning in the classroom and to help uplift each other in that sense. Another thing that we did was to also address the Black experience, whether that be in general or whether that be on this campus. And to really help students to come to an understanding of what it is that they're going through, and what it is that is happening with them 00:48:00.000 --> 00:49:00.000 when it comes to stress, when it comes to their interactions with others, and to understand that what they may be experiencing is not abnormal, and that there are many of us, have, and do experience the same things. You know, we brought in a psychologist from Student Health and Counseling Services to come in and talk about Black stress and how as Black people, there is so much that we carry around on a daily basis that 00:49:00.000 --> 00:50:00.000 is a huge contributor to the high blood pressure that many of us experience to the hypertension that many of us experience and into our general health. And so those are the kinds of things that we did with the, in establishing the Black Student Center. Jenkins: That definitely goes into my next questions that are all centered on the Black Student Center. So you touched on, kind of what, how, what you guys have done now that it's already created, but what role did you play in the beginning or the creation of the Black Student Center? Gilmore: So the Black Student Center was actually established in my area, 00:50:00.000 --> 00:51:00.000 which is Student Academic Support Services. Right? And so, you know Dr. Cole-Avent, right? Oh, you don't know Dr. Cole-Avent-- Jenkins: --I'm new, I'm like very new. Like I started fall 2020, so we've already, we've been in, quarantine and Zoom school, so I haven't gotten to know anybody in any fundamental way. Gilmore: Sure. Okay. So, but you know, Mr. Rawlins, John Rawlins? Jenkins: Yes. I met him and I also met Jake (Northington). Gilmore Okay. So Dr. Cole-Avent is Mr. Rawlins' direct supervisor. Right? And so I was 00:51:00.000 --> 00:52:00.000 essentially, when the Black Student Center was established, I was in that role, to where the Black Student Center, the Director of the Black Student Center reported to me. Right? And so in establishing the Black Student Center, the, like I had mentioned, the way in which I wanted to approach it was from more of an educational standpoint, more of a educational success standpoint. And with that, with that success, with the end goal of that success, actually being what I previously mentioned about being employed upon graduation and going out into the community and thriving in the community, and 00:52:00.000 --> 00:53:00.000 being that mover and shaker in this society. So that was the role that I played in the establishment of the Black Student Center. Jenkins: Okay. Had you seen a push for the creation of a center before? Gilmore: Had I done what? Jenkins: Had you seen a push for a center before it was created? Gilmore: Yes, actually. And when I was, I was actually at the forum where the president, our previous president, President Haynes, was speaking about the--she was speaking, I believe she may have been being, giving an update on the campus budget to the campus community. And 00:53:00.000 --> 00:54:00.000 there were some Black students who came to that meeting and essentially expressed the need and the desire for a Black Student Center on this campus. And so the president had informed the students that she was open to it and that and that they needed to submit a formal request. And so in the background, I was helping the students who were working on that formal request with the information that they needed to support that request. And so 00:54:00.000 --> 00:55:00.000 more information about the Black experience on this campus. And how students were performing in their classes on this campus and what a Black Student Center would do to bolster the success of Black students at CSUSM. Jenkins: It definitely sounds like you were one of the leaders in the creation of the Black Student Center. Were there anyone that worked on this project and their contributions, including any unsung heroes we may not know about? Gilmore: There were quite a few, and so 00:55:00.000 --> 00:56:00.000 I would say a lot of the people who were involved in the and actually establishing the Black Student Center at Cal State San Marcos are listed on the website under the history of the Black Student Center. So you can find a lot of the names there. As far as unsung heroes are concerned, I would say that there were quite a few faculty and staff who worked 00:56:00.000 --> 00:57:00.000 in the background in supporting the students to help them get the Center established, you know? And so this was in large part, it was a student-driven thing. Establishing a Black Student Center, it was definitely student driven, but at the same time, it was supported and--it was supported by a lot of our Black faculty and staff on this campus. Jenkins: Okay, awesome. What did the university administration communicate was their vision? You kind of already touched on this, that it was 00:57:00.000 --> 00:58:00.000 mainly education. And was there anything else that they envisioned? Gilmore: Yes. Let me, I'll tell you what, when it comes to the vision, right? I would say that student success was a large part of that. So students actually being successful in their classes and also going on into careers. 00:58:00.000 --> 00:59:00.000 That was a large part of it being in my area ; whereas, the other piece that they really wanted to be more emphasized was the student engagement piece and the student involvement piece, right? And so that's where you have it moving from Student Academic Support Services over to Student Life. And so now the emphasis, at least in the vision of the institution, 00:59:00.000 --> 01:00:00.000 really wanted to make this more, make the students, the Black Student Center, have more of a student engagement and student life emphasis. I don't--and that's not to say that there's no interest in student success and that that educational aspect is not is no longer a part of that part of that vision. But that's the vision that the institution really wanted to emphasize was the student life and student involvement aspect. Jenkins: Okay. When it came to the creation of the BSC, was there external or institutional pushback, and did you 01:00:00.000 --> 01:01:00.000 experience or witness any pushback on the creation of the Center within the Center or on social media? Gilmore: Well, I can answer the social media question right now. And that is that I didn't see anything on social media for the simple fact that I'm not on social media, so I try to keep my digital footprint pretty light. So I can't speak to what may have been going on social media. But one thing that I can say that I heard repeatedly was doesn't establishing a Black Student Center doesn't that, isn't that encourage more division and more in isolation of our Black students instead of folding them into the fabric 01:01:00.000 --> 01:02:00.000 of the entire campus community? And if we're going to have a Black Student Center, then why not a white student center? That was another thing that I heard. And then another thing that I heard was a worry that other groups might want a center as well. So what if the Asian students start asking for a center and all that kind of stuff and that was the, those were the type--kinds of things that I heard when it came to pushback. 01:02:00.000 --> 01:03:00.000 Yeah. I would just leave it at that, that was, those were the kinds of things that I heard. Jenkins: Okay. Were you at the BSC's grand opening? Gilmore: I was. Jenkins: Okay. What was your experience? Gilmore: I thought that it was a great experience. It was very celebratory experience. There were a lot of people who came out from the community and a lot of different constituents from our community in the area. Were very pleased to see this, the Black Student Center opening, and were actually very involved in what was going on in the Center. And it was one of those things where 01:03:00.000 --> 01:04:00.000 it opened the door to connect with a lot of people in our local service area to interact with our students. And, like one of the things, when you were talking about vision, one of the things we really wanted to do was to create relationships with the schools within our local service area, which extends from San Diego up to Riverside and Orange County. So we were in, we were engaging with schools as far out as 01:04:00.000 --> 01:05:00.000 Hemet and connecting with the BSU’s (Black Student Unions) that they had out there and in, Hemet, Murrieta, and Menifee, and going into Poway and right here in San Marcos and Oceanside and all over the local service area. And we were connecting with Black students and with Black community organizations and with the teachers and administrators and counselors who were working with the different student groups to really establish that connection in an attempt to 01:05:00.000 --> 01:06:00.000 create a pipeline into the University from those entities. And so that was a big part of it. Another part of it was in connecting with community members, one of the things that we also wanted to establish was a pipeline out of the University. And so what we wanted to do was to bring in various community members in different--in a wide range of professions--to come in and talk to the students and provide the, provide insight into different careers 01:06:00.000 --> 01:07:00.000 and in different professional fields for the students to be able to see themselves in those areas. And so that was one of the things that that grand opening really did was allow us to make those, allow us to make those connections and really build on those connections. Another thing that we did was we connected with the North County chapter of the NAACP (National Association for the Advancement of Colored People). We connected with North County chapters of different NPHC (National Pan-Hellenic Council) organizations. So, and have those organizations different, doing different activities with the students on our campus. And one 01:07:00.000 --> 01:08:00.000 of the things that they were doing was in really promoting voting, so that was one just an example of one of the things that the community brought to the table. Another thing that we did was, it was, we connected with the Jack and Jill organization (a membership organization of mothers with children ages 2-19, dedicated to nurturing future African-American leaders), and they ended up having their national conference at CSUSM. So you had all of these Black students from all over, in fact, I saw people from the state of Washington who came in and people who I knew who came in and were a part of that. And it was a 01:08:00.000 --> 01:09:00.000 huge and very empowering experience to see and be a part of. So yeah, those were the things. Jenkins: The more I'm hearing about the grand opening of the BSC, I wish I was there, you know? Gilmore: Yes. Jenkins: We didn't have anything like that at CSUN (California State University Northridge), so it just sounds really amazing. My next question is what has been the impact of the BSC on you personally? Gilmore: The impact of the BSC on me personally. You know, I would say that the impact on me personally 01:09:00.000 --> 01:10:00.000 has been that, I too have been able to receive from the types of educational events that we put on and to learn from those events about things that I didn't know about and so education is, was a big part. Or has been a big part. The other very big part and was being able to connect with the students, you know? And so because I had the Black Student Center in my area then that was one of the places where I would come in and actually spend time with students. 01:10:00.000 --> 01:11:00.000 And I would say that, in my role, student interaction is something that doesn't occur as often as I would like. And so having oversight of the Black Student Center actually gave me the opportunity to interact with our students a whole lot more. And so that would--so those would be those things. And then also, as I mentioned, the connections around the community that were established. Those would be the impacts that the 01:11:00.000 --> 01:12:00.000 Black Center has had on me personally. Jenkins: Amazing. What do you expect to see next for the BSC? Gilmore: Well, I see the Black Student Center really just going to the next level under the direction of Mr. Rawlins and Dr. Cole-Avent. And really seeing the two of them bring to fruition the kinds of things that we've been talking about here, which is really that student success and also engaging students in those very meaningful 01:12:00.000 --> 01:12:56.000 activities and experiences that would contribute to their success as students and also to their success as professionals as they get ready to graduate and leave this University. Jenkins: (Unintelligible) Are there any questions I should have asked that I didn't? Gilmore: I think you have done an excellent job of asking questions in this interview and I can't think of anything. Jenkins: Awesome. Thank you. Let me see what I have here. Well, thank you for very much for your time today. And thanks for being a part of this project. We all really appreciate it. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. &#13 ; &#13 ; This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives csusm.edu if you need reproductions made. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=GilmoreGeoffrey_JenkinsSierra_2021-04-14_Access.xml GilmoreGeoffrey_JenkinsSierra_2021-04-14_Access.xml Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gilmore, Geoffrey. Interview April 14th, 2021. Description An account of the resource Dr. Geoffrey Gilmore played a key role in the development of the Black Student Center at CSUSM. In this interview, Gilmore touches on the issues of Black people within academic spaces and his experience helping students to succeed on a university level. Dr. Gilmore also discusses his own history as he moved from Los Angeles to Seattle, and back to California. Identifier An unambiguous reference to the resource within a given context SC027-04 Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-14 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Geoffrey Gilmore Contributor An entity responsible for making contributions to the resource Sierra Jenkins Subject The topic of the resource Black experience in America Activism, Student Anti-Black Racism California State University San Marcos, Black Student Center Student Success, Black Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Los Angeles (Calif.) Seattle (Wash.) San Marcos (Calif.) Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Robert Sheehan Interviewee The person(s) being interviewed Alex White OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=WhiteAlex_SheehanRobert_2024-04-18.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Chamorro;imperialism;colonization;culture;decolonization;Guam OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 6.0 White, Alex. April 18th, 2024 SC027-082 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Chamorro (Micronesian people) Chamorro ; imperialism ; colonization ; culture ; decolonization ; Guam Alex White Robert Sheehan moving image WhiteAlex_SheehanRobert_2024-04-18.mp4 0 https://archivesoralhistories.csusm.edu/files/original/a8a1f90cbd2908f9886a3aeb3bbc3e4f.mp4 Other video This interview is conducted in English and Chamorro 0 Introduction Oral history interview with Alex White, April 18th, 2024, by Robert Sheehan, Distinct Collections Specialist, University Library, California State University San Marcos. 0 ["[\"\"]"] 23 Background and Childhood White discusses his background and childhood growing up in Colorado before moving to California and living on a Miwok reservation. During his time in Colorado, White felt that he was unable to express himself freely due to the homogenous nature of living in a white, Christian, military town. White also talks about how his father was unwilling to speak Chamorro because of his own upbringing where he was beaten in school for speaking his native language. Colorado ; California ; Chamorro ; religion ; military life ; repression ; language 0 ["[\"[\\\"[\\\\\\\"[\\\\\\\\\\\\\\\"[\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"]\\\\\\\\\\\\\\\"]\\\\\\\"]\\\"]\"]"] 1137 Returning to Guam Alex talks about his return trip to Guam in 2015 and how that trip sparked his interest in learning more about his Chamorro history and culture. Guam ; Chamorro culture ; heritage ; Pacific island history 0 ["[\"[\\\"\\\"]\"]"] 1648 The Impact of Imperialism on Chamorro Culture Alex discusses how the extended periods of colonization and imperialism have affected Chamorro culture. From the Spanish colonization to American imperialism and Japanese occupation, the Chamorro community on Guam has had been forced to demonstrate their cultural resilience for more than 400 years. Colonizing forces have displaced Chamorro communities across the island of Guam and significantly affected everything from their culture, to their language, and how they live their lives. colonization ; imperialism ; Spanish colonialism ; American imperialism ; Japanese occupation ; Spanish American War ; World War Two ; WWII ; forced march 0 ["[\"\"]"] 2537 Differing Views of "Liberation" Alex talks about the cultural shift that is happening within the Chamorro community in regards to how "Liberation Day," the day that Guam was returned to US control from Japanese military occupation, is seen between elders and younger generations. The elders within the Chamorro community widely view Liberation Day in a positive light, but there is a growing feeling among younger generations that "liberation" really just means re-occupation. cultural shift ; imperialism ; opression ; displacement ; Chamorro culture 0 ["[\"[\\\"\\\"]\"]"] 2968 How Language can Renew the Path to Cultural Healing Alex demonstrates his views on how language can be a tool to reclaim parts of his heritage that imperialism and colonization have attempted to destroy. This is especially important for the Chamorro community because of how the Spanish words and linguistic nuances, like gendered terms, have infiltrated the Chamorro language. Reclaiming the Chamorro language also creates a connection between Alex and his ancestors and solidifies aspects of his religious beliefs. language ; generational trauma ; decolonization ; Chamorro culture ; cultural healing 0 ["[\"[\\\"\\\"]\"]"] 3379 Inafa'maolek Inafa'maolek means in the literal sense to "make good" or "to do well." In the broader sense, Inafa'maolek describes the Chamorro concept of restoring harmony and reciprocity for good deeds and taking care of one another. Alex talks about how this concept is applied by Chamorro people both on Guam and in the Chamorro diaspora. community ; respect ; reciprocity ; harmony 0 ["[\"[\\\"\\\"]\"]"] Oral history Alex White is a Chamorro activist who experienced a two week long Chamorro immersion program histed by the Prugraman Sinipok organization. In this interview, he speaks on his experiences growing up in Colorado, his engagement with Chamorro culture, and his path to learning the Chamorro language. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:14.000 So today is July 18th, 2024. My name is Robert Sheehan and I'm here with Alex White for an oral history interview with, California State University San Marcos. How are you doing today, Alex? 00:00:14.000 --> 00:00:16.000 I'm good. Yeah. Grateful to be here. 00:00:16.000 --> 00:00:30.000 Good. We're happy to have you. Thanks for being here with me today, it's really special that we get to do this oral history. If it's all right, I'd like to start with your childhood and family. Could you tell me a little bit about how you grew up and where you grew up? 00:00:30.000 --> 00:00:34.000 Yeah. Any of it in Chamorro or, or 00:00:34.000 --> 00:00:41.000 Yeah, you can do any of it in Chamorro. We don't necessarily have a Chamorro translator, but if you wouldn't mind translating yourself, that be fine. 00:00:41.000 --> 00:02:07.000 Yeah, absolutely. So, yeah, So my name is, Tadon Guita Pago. But my American name is Alex -- Alexander Michael White. I'm currently living in, on the territory of the Pomo and Miwok people in Santa Rosa, California. But I grew up in Carter Springs, Colorado, and I come from the families of Leon Guerrero White, from the Village of Manila and Todesco Cruz from the Village of Santa Rita. So I was just like, my somewhat traditional, like Chamorro greeting is like naming like who I am and the family that I, come from. And yeah, so that's, that's the, you have to gimme like, honestly, like my brain's a little foggy, so, I'll need, I'll need more prompting than usual just given the, given my current, yeah. 00:02:07.000 --> 00:02:09.000 Sure. No worries. 00:02:09.000 --> 00:02:11.000 Cognitive, cognitive sharpness, I suppose. 00:02:11.000 --> 00:02:12.000 You bet. 00:02:12.000 --> 00:02:14.000 So, but yeah, so that's, that's the intro. 00:02:14.000 --> 00:02:16.000 How was it growing up in Santa Rosa? 00:02:16.000 --> 00:02:18.000 So I grew up in Carter Springs. 00:02:18.000 --> 00:02:19.000 Carter Springs. 00:02:19.000 --> 00:04:28.000 I would say being, mixed race, if you will. So my dad is Chamorro and my mom is, European descent, German and Italian predominantly. And, Carter Springs is known as the Evangelical Vatican, so there's more evangelical Christian churches per capita than anywhere else in the world. And then it's also triangulated by the Air Force Academy, Fort Carson and NORAD (North American Aerospace Defense Command) so it's kind of, a predominantly like white, militant, evangelical community and then growing up with, liberal parents, of, yeah, mixed race. So it was, the landscape was beautiful, but I'd say culturally very isolating. And I didn't, I never met another I Chamorro, my entire time. I had family there, but in saying in school and in the community, aside from Liberation, which is like one of our main, Chamorro holidays, I never, I rarely crossed paths. I never went to school with another Chamorro. so yeah, it was definitely very isolating and I think part of it being so conservative, as well as being such a, like a military town, as well as my dad's experiences after World War II. Growing up, he identified us as like, I'm American first and Guamanian second. So that's, and I didn't actually even know the term Chamorro until I was 10 years old. so I, I identified as Guamanian, but not, not Chamorro until, I was ten. So yeah, so there was, there was beautiful things. My material needs were met. I always had, you know, stable housing, food, had neighbors who were kind to us. But I'd say like there was a lot of, yeah, there was things that were challenging, I would say. 00:04:28.000 --> 00:04:36.000 Like socio-culturally outside of, outside of like my like inner circle of like friends and, and neighbors. Yeah. 00:04:36.000 --> 00:04:40.000 What sort of challenges did you face other than the isolationism? 00:04:40.000 --> 00:05:53.000 I'd say, the, I think of not being a evangelical Christian was probably like the, the most challenging. you know, it'd be kind of things like, my dad had a, or maybe it was my parents had a sticker on the back of the car that, had like the Darwin fish that said evolve. And so a car got keyed. You know, it was known that I wasn't that, like we weren't evangelical and so, you know, people leave like bibles on our car or like illustrated guys to salvation, like tucked in. It was also, I'd say like homophobic, and very heteronormative and, yeah, I think it was, I very much in order to feel safe, I was perceived as being white cis male and so I never really tried to step outside of that identity just to feel safe. So yeah. 00:05:53.000 --> 00:05:55.000 It sounds like a little difficult growing up. 00:05:55.000 --> 00:06:11.000 Yeah, it was. I, you know, I wouldn't, growing up, I wouldn't say this is difficult. It's just upon reflection there's like a lot of, yeah, a lot of, yeah. I can reflect upon it as as as very challenging. Yeah. 00:06:11.000 --> 00:06:17.000 Did your father speak any Chamorro in at home or does he speak any Chamorro now? 00:06:17.000 --> 00:08:44.000 No, I, the, the three phrases that I, the only three phases he really taught me were, . So Hafa Adai is hello. And that's kind of like every Chamorro at least knows Hafa Adai. And then Si Yu'os Ma'ase is, thank you. The literal translation is like "the creator is merciful." but Si Yu'os Ma'ase is like, our common for thank you. is the way my dad grew up saying, I love you. and then Hafa Tatatmanu Hao was like, how are you? I thought as a kid it meant I'm hungry. Please feed me. Because that was on the, one of the important phrases my dad taught me before he went back to Guam for the first time. So, but no, it, Chamorro was never spoken in the household. I know there was, Chamorro was a genderless language, and so my dad mixed up, he and she all the time, you know, which my mom found very frustrating and embarrassing. And the, I think my dad was of a generation where, you know, he was, he was beaten for speaking Chamorro, like growing up, like in schools. He was born in (19)41, so for the first 18 years of his life, he only spoke Chamorro at home, but he would go to school where it said English only if he spoke Chamorro, the nuns would beat him. And also his parents saw that in order for, you know, for his, for their children to have the greatest chance of like success and stability, they needed to learn English to get a good job. And to, also just to assimilate into American culture. So he moved to the States when he was 18, so in 1959 actually in Oceanside. And so from the time he left the island, the only time he spoke Chamorro was like with family and friends, but in the community, he really, he found like an immense sense of pride of being American, growing up. And so, very much just wanted to be American speak American act American get an American job. And so, yeah, so speaking the language like was never really a priority. And I only knew those phrases, and it's not like we ever said it really outside of like, when you like traveled to or preparing to travel to Guam for the first time. 00:08:44.000 --> 00:08:47.000 When did you travel to Guam for the, the first time? 00:08:47.000 --> 00:09:56.000 First time was for Liberation in 1997, so I was 10 years old and actually was like full credit to my mom. She called the University of Guam, you know, it was like pre-internet, you know, really. So like called the University of Guam, and there's an 18 hour time difference. So I don't know if she like woke up early or stayed up late to call them and ordered a book, to be delivered to our house. And, you know, mail in a check , this is oral histories, I'm just telling, you know, like, you know, that's, it was pre, pre transferring to any funds digitally. And so she had a book delivered and that was, I remember distinctly that my dad was teaching me, like we were learning Chamorro History for the first time, and that's the first time I heard the word Chamorro was when I was 10-year-old, like from that book. But my dad was learning stories about Chamorro history that he had never learned growing up, 'cause he was taught American history, not Chamorro history. so that was very distinct. And yeah, so we went back for Liberation. So it would've been the third week of July, 1997. 00:09:56.000 --> 00:10:00.000 Is that the first time that you were kind of in a Chamorro community? 00:10:00.000 --> 00:14:28.000 Yes. Yeah, absolutely. I, we, because there's a large military presence, and I believe, you know, you can like factor, but something like, like four out of every five Chamorro, like are enlisted in the, in the military. It's like a very like high enlistment rate for our veterans. Because of the large military presence, there actually was a Chamorro community that existed, you know on base. And so, you know, once a year there would be a Liberation picnic, at a park in Colorado Springs. And so it was there, but that was really, more of like food, you know, it was like, I experienced culturae through food, but I don't have any recollection of the language or necessarily I couldn't, I wouldn't have been able to articulate that as like Chamorro like values or practices. So yeah, going on island, like for the first time, that was very much like the first time I experienced Chamorro culture and like the thing was though, is that I had a older cousin, tell me that because my mom is haole, which is like somewhat derogatory term for like a white person. not as much as like it is in Hawaii, but nevertheless, it's not like a, you don't want to be a haole , you know, like per se. But, because my last name is White, which has its own very unique story, but because my last name was White and my mom was white, and I'm light skinned, you know, my cousin said like, you're not Chamorro. and so since then, when I was 10 years old and I had a cousin telling me that, you know, who's like slightly older than me, then I, I thought like, well then I'm not allowed to, you know, I have a cousin telling me that, so I'm not allowed to say I'm Chamorro. So I would, I would say I was like Guamanian to non-Chamorros, but I wouldn't necessarily, if I was in a group of Chamorros, like I wouldn't say I was Chamorro too. Just because I thought, you know, yeah. Not that I had this language at the time, but I don't wanna be like appropriating or posing as Chamorro or like claiming an identity that I didn't have any right to. So yeah, it really wasn't until my early thirties that, I identified as Chamorro. Because of, because of that first time, like going back. I think an another experience that stood out was, that was like the first time I had experience with Taotaomo'na. So those are like our ancestors. and I remember going to a home that was next to a graveyard, and my dad asking permission, you know, for us to enter like doing like a kinda like indigenous protocol for entering like that type of space. And I remember going and then like feeling like picked up and like lifted up like as a kid. So that was like, those are like some of the, the things that I remember like standing out, like there was. And then the other was, that we were, my dad was, you know, it had been probably, let's see, he left in (19)59. They came back for their wedding one time. So it probably been about 15 years since he'd been, like, he went in (19)59, came back in the eighties (1980s) from my, my parents' honeymoon. And then it wasn't again until like (19)97. 'cause the thing is, it's, you know, there's like only one airline that goes there, and so they have a monopoly. So like nowadays it's $2,000, but you can kind of like adjust that for inflation. It's not, not like a quick, easy, affordable trip to go back. And so, you know, my parents were, working class and so it's not like we had the funds and there's actually like a story that goes with that, but I was just like, focus on that. But my dad was lost, like looking for directions on Guam. And, I just remember like, when you stop and ask people for directions, you know, they were like, oh, hey, come and eat, come and eat, you know, so, which is just very Inafa'maolek (striving for harmony). It's like our, our, like the Chamorro people are very generous and reciprocal and giving. And so that like stood out to me of like these complete strangers inviting us in to feed us food. So yeah, those are some of the, the memories from our first time. 00:14:28.000 --> 00:14:37.000 Very cool. What caused you to want to kind of reconnect with your culture? And learn Chamorro and become and identify as Chamorro? 00:14:37.000 --> 00:16:51.000 Yeah, I would say, a couple things. First was that my dad had 12 siblings. Two that died during the forced march to concentration camp, on Guam. So they never survived infanthood. And I had two, my auntie Cindy and my uncle Danny passed away while I was in college. But around 2016, between 2016 and 2023, I lost my uncle Jesse, auntie Terry, auntie Annie, aunt Dorothy and uncle Vince. So I lost five of my dad's siblings. And so, especially after my aunt Dorothy, my dad became like the eldest surviving in his family. And the only one who like spoke Chamorro, his younger siblings, Agnes and David, they grew up, kinda like English first rather than like Chamorro first. and then they moved to the states when they were young, still in school. So they went to school, in the US. And so my dad was like the, the last of his, like his family, his lineage to speak Chamorro. And so just like, there's an enormous amount of grief around not learning more of the language. You know, there's, there's that saying that like, every time an elder passes, a library burns down. And so, so many of our families stories, passed with my aunties and uncles who passed in like, such a concentrated point of time, you know, it was just kind of like one after the other. So that was, you know, definitely motivated by that, of like, man, you don't have, like, you know, I felt like, at the time I very much felt like, like sand that was like trying to hold onto sand and it just like falling from my fingers of like not getting that, getting those stories while they were still here with us. 00:16:51.000 --> 00:18:17.000 The other was just going through, you know, kind of feeling spiritually malnourished, like trying to make sense of this world and my place in it. And, unfortunately got involved in some like, new age spiritual communities that didn't have good, spiritual hygiene. Did not necessarily, like appropriated practices without knowing the protocol or, consulting with elders. And just seeing a lot of harm, as a result of that. And it was connecting with other spiritual practitioners of, like indigenous, spiritual practitioners. And, I had like a specifically like a mentor Luna Pantera, who I like see as a spiritual counselor from the African diaspora had a saying that, like, you need to, you need to connect with your ancestral roots, otherwise, the coming storm will sweep you away. And so just kind of seeing where we're going, like in the larger, you know, sociopolitical, economic, conflict and chaos, , it feels like we're like, especially 2016 of how do we ground ourselves? 00:18:17.000 --> 00:18:57.000 And so like trying to develop an ancestral reverence like lineage practice, was was part of that journey of like really wanting to reconnect. And then also returning to Guam in 2015, with my siblings and my dad. And so like returning to the island and, and learning more of the history, in my adulthood, was really like another like another major catalyst for wanting to return to that. And yeah, so those are like, those are some, we'll take like a breath for you to ask my questions from there because it's like a lot. 00:18:57.000 --> 00:19:01.000 Yeah. On that. so could you tell me about the trip in 2015? 00:19:01.000 --> 00:20:14.000 Yeah, that was the, that was like the first and maybe last time that, my siblings and all of their kids, and my dad all would go to Guam together. And so we went for Liberation again. But that time I was, very much like wanting to learn about, like, about our history outside of, you know, like you grow up kind of like on, like I grew up really only knowing the story of the, of World War II and the Americans coming to liberate, Guam. That's like really kind of, the extent of what I knew about that. And so returning, I was trying to learn about what our practices were, like, what our history was prior to not only like the Americans, but like pre-colonization. and so, you know, I bought a, ancient Chamorro Society book, and was reading about that, just like very hungry for all of that. 00:20:14.000 --> 00:21:47.000 And, man, I'm trying to remember. I think, and we also like went to, oh my God, I'm forgetting the name. It's in the south in Inarajan. Oh my God, I'm embarrassed. This is on his, that there's a village in the south, I think it's Inarajan that is near a cave. But, where it was like set up like a, it's not an actual ancient Chamorro village, but it was set up like a ancient Chamorro village. So, going through those practices and, and then also of like talking like of having the awareness that you don't have when you're ten of like, of speaking to elders. So I would go and like, visit the elders and ask them stories about like their past and their history, and, visiting my dad's, like our family's old house and our village, and really just very, very hungry to understand, understand my people because I was, you know, at that point I was, let's see, like twenty, twenty-seven, no, anyways, I was in my mid-twenties at that point. And so just like to be in your mid-twenties and still like questioning and like wouldn't be able really to explain anything about my, like where my people come from, I think was, yeah, I was like was very much like inspired, by that, like by that trip. 00:21:47.000 --> 00:21:59.000 How has Chamorro culture changed from pre-colonization to colonization to Japanese occupation, to liberation to US... 00:21:59.000 --> 00:23:28.000 How much time we got how, you know, it's, it's a miracle that like, we're here. You know, I'd say there's, there like our Hinengge, like our values, there's certain values that have survived like throughout the arc of, all of that, you know, I'd say like our, our values of like Inafa'maolek, so like of our kind of social reciprocity and mutual aid and like, I will support you and take care of you like when you're in need right now, because I know one day I'll be in need and like, you'll take care of me. Like that, that type of, that type of reciprocity that has survived amidst like, all of those changes like that, that cultural, like tenet is there. and I'd say like, , so like showing respect for, for elders, but as well as children. Like going both ways and just like a reverence for, you know, caring for those who are older than you, even if they're not your, even if you're not blood related, like they're your family, your community, like you take care of each other. you know. Mamahlao is like having, to have shame, like seeing that as like a good thing to like, Guaiya that's like the cultural value of love, like, and loving for each other. So those, there's certain values that have survived. 00:23:28.000 --> 00:24:33.000 And I'd say like really we're, it's kind of, it's existed in different forms, but of, of like our ancestral like reverence practices, our relationship with the land. And, you know, the foods that we make, those have all have survived, but so much has been lost, during, when the, I guess I mean, just to, just to kind of like set the context, like we were like the first first people to people, the Pacific. And so, you know, roughly 4,000 years ago, our ancestors from back then, like were at the edge, like maybe it was Taiwan, maybe it was the Philippines, probably not Indonesia, but maybe it was like one of those, like one of those points they were like on the, like eastern shoreline, like looking out over the Pacific, and they wondered like what was on the other side of that water. 00:24:33.000 --> 00:25:36.000 And so they, they carved a canoe by hand and filled, without any refrigeration, like filled their canoe with food and said goodbye to everyone they knew, not knowing if they would ever see anybody ever again. And just by like following the stars, like reading the stars and the pattern of the waves, [they] paddled east to try to find another land. And that's what they found this little 24 mile long island. And, actually it's like the birds that are like on the bill of my hat, the story goes that like they saw birds and so they knew if there was a bird, that there was land as they actually like followed the bird, like to Guam. So just thinking of like that and then creating this, creating this culture where like, you know, of course there was conflict, but there would be, it was like only amongst like the warrior class, and as soon as like one person was harmed, like, then it was over, like the conflict ended. 00:25:36.000 --> 00:26:38.000 and that all of our, our people, you know, that we had, we had healers, we had like Yo'amte, you know, like our medicine people who healed both like physical and spiritual ailments and used plants and, you know, I'm pretty sure the thing goes like is that people like live to be a hundred, and there was really an absence of like any disease and we had, you know, fresh water, we had birds that didn't exist anywhere else in the world. Like all these different, you know, it was like, it was like a paradise, you know, like of course there's conflict, you know, because there's human beings on there. And also there's these stories from like other indigenous tribes, like the, the Haida Gwaii, like the First Nations, who are like north of kwakwaka'wakw like of them, going across to like Taiwan and then down to New Zealand and everything like that. 00:26:38.000 --> 00:27:39.000 So like they, they went amongst other islands, like there was like international relations, but it was, there's like reciprocity and like sharing and that it was that way for like 3,500 years. Oh, also like the Latte Stone, like, it's like a really amazing thing. It's kind of like the Maria as islands versions of Easter Island, you know, it's these huge, these structures that like were carved that weigh thousands of pounds that they don't know how they moved these type of things. But that's like, we built our houses on top of those things. So there's things that are like, it's a very thriving, incredible culture that existed. And then, Guam was like the first one to be, colonized by like a European colony. So like in the, what was it like 1521 I think was when Magellan landed there. 00:27:39.000 --> 00:28:31.000 And you can like, I don't even wanna be telling like this story, you know, I'll just like, like share some of my stuff. But, you know, like, like say like my ninth great grandfather, say he was like eight or nine, like when the Spanish arrived, by the time he was 64, he was seen nine out of the 10 Chamorro people perish, either through like the Chamorro Spanish war or disease, you know, that the Spanish brought. And so just to think like, you know, my ninth great grandparents like survived a genocide, and to see nine out of the 10 of everyone they knew die, you know, like either killed or died. And just to, you know, that's like when they talk about like ancestral intergenerational trauma like that, like exists in our bones, like my bones are made of my ancestors that survive that. 00:28:31.000 --> 00:29:37.382 But that also, like, for us, it's like both trauma, but really trying to focus more on like the resilience of like, we still kept our culture alive, you know, amidst surviving, like that type of genocide. So there's like the Spanish period, which lasted from the 1500s to the1900s, and then the Spanish American War and just as imperialists do, you know, when America won the war, then the treat of Paris of 1898 was when, America "won" Guam like a trophy, but it's because it's one of the largest islands that far west in the Pacific. Like, it's the western most colony of America. It's incredibly strategically significant and important for imperial military operations. So it's like really significant. So then there's like the naval period, which is when my grandmother grew up. 00:29:37.382 --> 00:30:57.905 So like in the early 18, early 1900s , late 1800s, early 1900s, my grandmother and Gracia Tedasco Cruz, was growing up and yeah, so it was like, it wasn't run by the US government, it was like run by the, the Navy. And, just the way, like one of the stories that I connected with that is that like my dad is like, you know, he, he jokes about it as like the curse of the dirty corners, but it's like where like he always has to have, like, he can never leave the house. Like all the counters like have to be clean and like, even the corners have to be washed. And so I kind of like, it's, the way that manifests is like for me too is like there's like kind of this like low grade anxiety if things are cluttered or messy at home, because my dad always kept everything like super clean and he got that from his mom. 00:30:57.905 --> 00:31:15.000 But for his, like for my grandma Gracia, like my Nanan biha , like the Navy would come and do inspections of like Chamorro's houses, you know? And so if you have a Navy officer like coming in, in uniform inspecting the cleanliness of your house, like you have to keep it clean, like military standards type of thing. And so as a young girl, having this, like this, you know, white man in a uniform come in threatening, aggressive, like, you came in and clean, like you're gonna keep your house a certain level of clean. So those are just like small, like, you know, there's like kind of these like abstract academic things, but that's like the way, you know, it kind of like shows up. 00:31:15.000 --> 00:31:16.000 And they weren't in the military at all? 00:31:16.000 --> 00:31:21.000 No, no, no. They were, they were just living on their land, their ancestors had for thousands of years. 00:31:21.000 --> 00:32:28.000 But, you know, you know, that's just the settler colonial mindset is like, "I am here to like dominate and impose my culture and my rules and my regulations on these people." You know, one of the things that I get I think about a lot too is like before the Navy were there, I mean, yeah, Spanish, like I think the Spanish imposed some type of taxes, but like when the US arrived, they started, having the Chamorro people pay taxes on their own land that they had lived on for thousands of years. And that was like the thing I just think about for my grandparents is like, they didn't pay for food, they didn't pay for water, they didn't pay for shelter and they didn't pay for healthcare. Because like, all of that comes from the land naturally, the earth gives us that, you know, , it's like we, it's like, you know, a tree's not gonna charge us for harvesting it, you know, like our responsibility is to steward that land is to care for it, you know, so that, that those things can survive. 00:32:28.000 --> 00:33:20.000 But, and you would like for the, for the So'ampti and the Suruhanu , like you gave them food as like an expression of gratitude, so you take care of them so they can continue to do, you know, you help harvest their medicine, but you're not, you're not bringing money. There's actually, like, it's really bad juju to like give money to like a healer because that's like, that's seen as like, you know, there's, there's a lot of negative energy that's associated with like, that type of transactional thing. Like, you wouldn't, like, why would you ever pay someone to heal you? Like you're healing them because they need healed, you know? but I think it's, I really try to impart on like young people, like, like young indigenous people, and especially like young people like in the Pacific diaspora and Chamorros is like, it's not that long ago. 00:33:20.000 --> 00:34:20.000 Like the way that we're living right now is not the only mode of existence. Like, it's not like capitalism is like the highest potential of our human expression, you know? It was not that long ago. It was like in our grandparents and great grandparents generation, which is less than 150 years ago where they didn't have to pay for food and for water and for shelter and healthcare. It's not that long ago. And so another way of living does exist. It's in our lineage and everything like that. But yeah, so when theUS came, like the Navy came, they were trying to diminish the influence of the Spanish missionaries, Catholicism, just freaking wreaked havoc on our island too. But the Catholic priests held like enormous kind of sway and power. 00:34:20.000 --> 00:35:18.000 And so in a way to diminish their power, trying to lessen it, the naval officers came in and burned all the Chamorro-English dictionaries. And the sentiment at the time too was that like, if you spoke Chamorro and English, you only had half a brain in each. And so, like, people were stupid. People were looked down on for being bilingual, you know, it's like if like English is the "most superior" language. Also, there's a thing called like the Insular cases from 1901, which is [where] the Supreme Court said that these unincorporated territories like Guam, like Puerto Rico are an alien race that can't understand Anglo-Saxon principles, which is why they don't have rights. Which that Supreme Court case is still why, like is that's still today. 00:35:18.000 --> 00:36:26.000 It's not like, that's not ancient history. Like that is still like a Supreme Court ruling. That is how our islands are governed. So that's like a lot. But, so they come in and they degrade and exploit and take advantage and control and extract the resources from our land. And then the same day that, so my dad was born, November 7th, 1941. And so he was a month old that the same day that Japan bombed Pearl Harbor [it] was also the same day they invaded Guam. But the US had intelligence around that, so they evacuated the US military members, but those US military members weren't allowed to bring their Chamorro families with them. So they're just like, they're like, "You're on your own Chamorros!" I mean like, "Good luck!" you know, like, "We know Japan's coming, but like, we just gotta get our white military people outta here and like fend for yourselves!" 00:36:26.000 --> 00:37:35.000 And so yeah, my dad was like, a month old, like when it happened. And so then it was, they were under a Japanese rule, which was, and there was some ways, some ways that it was like a little better than the US but most ways it was, it was, cruel and just like an immense amount of suffering that like, I don't necessarily have the energy to unpack, you know, at 10:00 in the morning. You know, the one story I'll tell is like when the, US military campaign was coming to reclaim, you know, like they're doing their, their Pacific theater of like going to... the military campaign to take back those territories and to fight back the Japanese Imperial Army. The Japanese were afraid, like, were afraid that the Chamorro people would side with the Americans, that there would be like that loyalty and allegiance to America, and that they would help the Americans as they came in. 00:37:35.000 --> 00:38:34.000 And so they gathered up all of the Chamorros that they could find, you know, and did a forced march to the Manenggon concentration camp. So my whole family, my dad was three or four [years old] having to do a forced march, no food, no water, middle of the summer, so like nineties [degrees Fahrenheit] humid. And that's what, so my, my auntie Anna, my Aunt Anna and my aunt Maria, I think they were like probably less than two [years old], twins. They were twins and they were being carried. And, during that forced marched the first, one of the first twins, passed away because they didn't, because of those really severe conditions. And, the Japanese guard made my grandparents just leave her on the side of the road. 00:38:34.000 --> 00:39:44.000 And, and then a few miles later, the second twin passed away and my grandpa, so we have a belief, with like a, a very... I'm gonna try to like tell this part... but basically he didn't, it was important to him that they not be alone. And so he, took a major risk and when he saw, a wasp nest, a hornet's nest, stuck his foot in it so his foot would swell up and he risked that so it looked like he basically said like, "I can't walk anymore," to the Japanese guard. and they could have just shot him on the spot. They did that to a lot of [people], but they figured that he would just perish. And so when night came, he walked back, to the first twin that died and buried them together, on the side of the road so they wouldn't be alone. 00:39:44.000 --> 00:40:32.000 And then he went and rejoined his family and they lived in a concentration camp without food or water or shelter, just in the jungle. With violence that I've never experienced or witnessed. And that is very difficult for our elders to even talk about. So yeah, that was, and that's something that's not really taught outside, I mean, it is kind of known about, but it's not really taught much. That experience of like what the Chamorro people suffered in that concentration camp. 00:40:32.000 --> 00:40:34.000 Would you like to take a short break? 00:40:34.000 --> 00:40:38.000 Ah, no. . I'll just, I'll take a water. Yeah, I'll take a sip of water. 00:40:38.000 --> 00:40:44.000 Okay. that's such a traumatic experience. 00:40:44.000 --> 00:41:31.000 Yeah, and it just like, it, I think, you know, there's like our, it's traumatic and it just shows like our traumatic and our resilience that we could, you know, I think that's like any time that I, I'm going through like a hard time, I'm actually planning to get a tattoo, like next time I go back to Guam of, of a hornet's nest, like on my ankle, of the hive and, and it say , which in Chamorro means "this is the way" just like you'll do the right thing and you'll take care of like, of your family and your people. 00:41:31.000 --> 00:42:26.000 Like, whatever. It's like a communal thing. It's like, not about me, it's about us, you know? And so I just have that, yeah, I think that's like probably like one of like the strongest stories that lives in me, that I got from my family, and I just feel like, [it] is important to share. But yeah, so then the Americans came and they just, carpet bombed the whole island. They indiscriminately, you know, they didn't really care if there was Chamorros there, they were, they were just trying to kill as many Japanese as possible, so they leveled the whole island. And then for my dad, so it is absolutely the, like, the living conditions, the acute violence and trauma that the Chamorro people experienced under Japanese rule is like, there's no question about that. 00:42:26.000 --> 00:43:25.000 And so in terms of like being liberated from a concentration camp, yes, that is an accurate term. So that's what our Liberation day was like when the Americans arrived and liberated the Chamorros from the concentration camp. But that's what my dad's generation calls it. You know, the elders and yeah, if you're living in those conditions, and you have these Americans come in and they give you candy and you're gonna just be so patriotic, you know. You're free from Japanese rules. So that's where so much of the, there was a legitimate like love and reverence for the US military, especially the Marine Corps, like those who arrived. I mean, that's like one of our main roads on [Guam] is like Marine Corps Drive. So there's like a, almost borderline worship of the US military because of that, for my dad's generation. 00:43:25.000 --> 00:44:45.000 However, my generation sees it as... we call like Reoccupation day, because the US military came and took over two thirds of the island. You know, like stole the land from our ancestors. As we speak, they're, you know, clearing football fields, like multiple football fields of our ancient villages and our ancient burial grounds. They're like, our ancestors' bones are just in paper bags in military offices. One of our most sacred island or sacred parts of the island, the , because of the US military, you know, this is July, 2024. Like because of the enormous amount of violence that Okinawa people have experienced in Japan and the years of resistance of trying to get the military off of there. They're moving the US military service members from Okinawa to Guam, and they're setting up a firing range, over, you know, our ancient caves like a, a place [where] an eight spotted butterfly and this flower that don't exist anywhere else in the world or anywhere else on the island. 00:44:45.000 --> 00:45:46.000 This like precious, like limestone jungle that doesn't, that is like this precious one of a kind only place in the world ecosystem. They're putting in, a live firing range and doing war games and detonating, detonating, like the, it is like the, also like their way of getting rid of ammunition and things they fire from World War II and just military equipment they're not doing [anyhting with] is literally like creating like a burn pit. They're just like putting old bombs and toxic chemicals and like lighting it on fire, like on the beach, next to an aquifer that supplies 70% of the island's fresh water. You know, so like when we , when we say "liberation", you know it's a complicated term. 'Cause of course we're gonna honor our, our elders experience for like being liberated from that and are grateful to the young men who sacrificed their lives to free my elders and relatives from those oppressive conditions. 00:45:46.000 --> 00:46:20.000 And what is also true is like, it's not like we got our land back, you know? and so like we've never gotten that land back. Like we can't even go, Sumay [destroyed village in Guam] is like, you know, some of my family, we're not even able to go pay our respects to, you know, they, it's called like Sumay Day. Like, I think once a year people are allowed to go to like pay the respects to their elders, you know? So yeah it's very complicated. And, you know, if we had more time, I could even dig into that, but I'll take a breath and see what what questions are coming up for you. 00:46:20.000 --> 00:46:34.000 Yeah. Sounds like all that is a very emotionally complicated feeling to have on one hand, Liberation day for your elders and the new generation is saying it's Reoccupation day and having to walk that fine line 00:46:34.000 --> 00:47:33.000 . And we'd never say that to our elders, to the face, like ever, you know. But amongst us, you know, and it's, oh man. I was, I was there for Liberation Day in 2022 and actually for the first iteration of this Prugraman Sinipok, and man, it's just like, because they just parade all of the military equipment they have there, you know, and they're not shy about it at all. You know, they call it like "America's largest aircraft carrier." It's like how they refer to our island. and, you know, it just, it's, it's so militarized and unfortunately because you have that, because the military occupies like two thirds of the island, really the only two industries are like the military and tourism, you know, and also 'cause of the Jones Act. 00:47:33.000 --> 00:48:26.000 Like, we're not allowed to like import food from other countries, you know, it's the same thing as what happens with the Puerto Rico. So, you know, it's like, even though we're so close to China and Indonesia and like all of that, all of our food has to be imported from America. And so that's why like, a gallon of milk is like 10 bucks or something, you know, . It's insane. But because there's all that like markup, you know, the Chamorro people like, yes, we're like US citizens, but we don't have any representation. We have a representative to Congress, but they don't have any voting power. and so, you know, if you, you pay the taxes, you pay for this expensive food to be imported from America, you don't have control over your own land or your own water or your food. 00:48:26.000 --> 00:49:29.000 You know, there's all of that sloganeering of like, "land of the free, because of the brave." You know, it's like the military gives our freedom's. But how free? How free are we if we don't have any sovereignty? If we don't have any say. Also because we're a pawn, you know. North Korea is always talking about like, if they're gonna shoot a missile, that's the first thing they're gonna bomb is Guam. You know, it's like we're a pawn piece in larger imperial conflicts. It's not like Guam has any hostile relations to the Korean people, or like the Chamorro people don't have any hostilities towards China, you know, but because of the US military being there, we're caught in the middle of this larger imperial conflict. So, yeah. 00:49:29.000 --> 00:49:33.000 Can I shift gears, and talk about language for a second, 00:49:33.000 --> 00:49:34.498 Please? Yeah. 00:49:34.498 --> 00:49:43.000 Is language a way that the Chamorro people can regain part of that agency that might have been lost through colonization or occupation? 00:49:43.000 --> 00:50:58.000 Yeah. Absolutely. Yeah. Language is, I think language is the one of the most critical things we can do for cultural preservation and revitalization. Because there's so much of our values and our history that are woven in the language that could be lost. I have a Coast Miwok [Indigenous tribe in California] friend who, their last fluent elder passed in the seventies [1970s]. And so if they're wanting to learn Miwok, Coast Miwok, they're just listening to recordings of like, you know -- [I'm] thankful for people like yourselves who preserve that type of thing. And like, I don't ever wanna see, you know -- I will have failed the, I would have failed to fulfill the responsibility my ancestors have given me if my descendants, generations from now, are only able to hear Chamorro spoken through oral history collections, in libraries. We need to keep the language alive, you know, in like canonical terms, it is like in academic canonical terms, it's extinct. 00:50:58.000 --> 00:52:01.000 Because we only have like 20,000 speakers left in the world, and probably over 60% of those are like over the age of 80, you know, they're like my dad's generation. And so this is like an absolute critical time for us to be doing this language revitalization, and preservation and revitalization. You know, one of the things, one of the complicated things too is because we had four centuries of Spanish colonization, so much of our language has Spanish influence. So there's a lot of words. So gender comes in [from the Spanish], you know, so like saying, Maestro, Maestra, you know, instead of like, those are gender terms of like a teacher [in Spanish], but in Chamorro it's like Fafa'na'gue, you know, it's like someone who teaches and it's gender neutral. You know, there's, there's things like that in terms of like, of preserving, you know, our, our concepts of gender neutrality. 00:52:01.000 --> 00:53:03.000 I mean, one is that, you know, there's like Nana and Tata, like those are inherited terms, because prior to colonization, you know, there was, Saina was an elder, Che'lu was a sibling, and then like Patgon was a child. And so yes, you had a biological mother and father, but every elder was responsible for like caring for the children, you know, and every person your age was your sibling. And so there's that type of like, yes, that's language, but there's a worldview that exists, within understanding that framework, of like, just because we're not blood doesn't mean -- whether you're my blood relative or not, you're still an elder that I respect that I can go to, that I can count on that I also have a responsibility of caring for. Another example, you know, for Spanish, like paz is, you know, like if you're looking up like in the dictionary, like probably like the word for peace in Chamorro, but that's, that's inherited from Spanish. 00:53:03.000 --> 00:54:16.000 But [speaking in Chamorro language] that's actually like the, [speaking Chamorro language] means like "from the land." That's like the, the root of all of our Chamorro language that existed pre colonization. Hinagung is I believe breath. And so [speaking in Chamorro language] is peace. And so just like to understand those cultural concepts of like, we find peace in our breath, you know, there's, there's just these really deep spiritually culturally significant things that, come with like learning the language that -- and there's things just like, you know, the way I'm trying to parse the concepts of like mutual aid and reciprocity, like those are like the closest things that we can try to use English to explain, but there's a felt sense of Inafa'maolek like an, Inafa'maolek of like caring for each other. That is a felt embodied value and practice, cultural practice, that you can't get from speaking English. 00:54:16.000 --> 00:55:20.000 It's just, it's so critical that we learn the language and keep it alive and teach it to -- And then for me, so that's just in terms of like, in this realm, like in like of thinking ancestral reverence practices, that's another major reason I was motivated to learn the language is like I almost lost my dad in 2019. And part of my belief system is that, is to do that ancestral lineage healing is that we need to like call upon our like, well and elevated ancestors, so our ancestors that didn't experience any of this intergenerational trauma, and we ask them for their blessings to come down the lineage to heal everybody in between like me as the anchor and them as the well and elevated ancestor for us to heal that lineage. And you know, like, yes, there, I think there's prayers can be said and felt in a spiritual -- can be expressed in a spiritual sense and understood in a spiritual sense. 00:55:20.000 --> 00:56:18.000 And I think there's a critical, a thing that I, I won't even be able to explain until I become an ancestor myself, of praying, for ancestors in our mother language that just, you know. So for me, as I prepare for my dad to transition, 'cause he's 83, you know.We're all ancestors in training, and his training is nearing an end, you know? I feel responsibility to be able to call upon the ancestors in Chamorro, you know, and ask for them to support my dad's, like transition into that realm, you know. To make his transition welcoming and peaceful and loving and easeful as easeful as possible that I living in this realm can like, help support facilitate with. 00:56:18.000 --> 00:56:29.000 I know we're running short on time, so I might ask one more question. Does [attempts to say Inafa'maolek ] extend across the diaspora, the Chamorro diaspora? 00:56:28.989 --> 00:58:20.000 And so that's, that's him practicing Inafa'maolek in the diaspora. And you know, there's people who, you know, they'll see that and reciprocate, but a lot of times because that's not honored here, I think that's where a lot of Chamorros can struggle in the diaspora. Is when Inafa'maolek is not reciprocated. But, absolutely like if you see another Chamorro and they have Inafa'maolek in their heart, they will like take you in. And if I see any, I mean, that's part of me doing this interview right now is for that like Inafa'maolek of like hoping that someone watching this, you know, another Chamorro in that diaspora knows that we're here for you, you know, like Inafa'maolek exists in diaspora. You don't have to be back home for your people to care for you. 00:56:29.000 --> 00:56:28.989 Yeah. Yeah. I would say Inafa'maolek exists in the diaspora. That's kind of what you can -- for the like -- one way that I a quick story to tell about it was my dad was practicing Inafa'maolek, when he was a mechanic. So he really struggled [with] seeing mechanics take advantage of people, you know. Like up charging them for services they didn't need. So he started his own business and that there was a lot of conflict between my mom and dad. 'Cause she was the accountant, my dad was the mechanic. And, you know, if there was say like a starving college student or a single mom, he would go to the junkyard, find the part used, and then just charge at cost for the part and not charge any labor because they knew that mom needed her car to get to that job to feed her kids. 00:58:20.000 --> 00:59:33.000 And like, if you need support, we're here for you just need to call on us. Like, and we'll be there to support you, because, you know, one day we'll be in need of support and you'll support us, you know? So yeah, absolutely. Like Inafa'maolek is like the theme that unites us, like across all the diaspora. Actually I'll just like, if we got time. Yeah. Even during Typhoon Mawar, so that was the typhoon that hit last year [2023]. Man, if I had the statistics, we started like Inafa'maolek mutual aid and just within, you know, a few weeks we were able to get, two shipping containers full of water, clothes, generators, all of these needs that our relatives in the islands told us. Like we were able to get supplies to the most underserved communities on the island, before FEMA [Federal Emergency Management Agency] was able to even disperse like one emergency payment. And so, yeah, I know for a fact that Inafa'maolek is one of the things that unites us anywhere we are in the world. I think if there's like, if, if our people know that you're in need, like we will, like we'll be there for you. 00:59:33.000 --> 00:59:40.000 That's great. Thank you so much for taking the time to sit down and, and talk to me today. Is there anything else you'd like to say before we end the interview? 00:59:40.000 --> 01:00:49.000 Oh, man. Yeah, the thing I'll just say is like, it's, I think, one of the things that really -- , I think both on island and [speaking Chamorro] like in the diaspora where they struggle with is feeling like Chamorro enough. I think just like if any Chamorro, any indigenous student, any Pacific Islander, and especially like any Chamorro, like if you're feeling like you're not indigenous enough, you're not feeling Chamorro enough, I just want you to know that like, that is the voice of the colonizer that -- I promise you're Chamorro enough, you're indigenous enough. Just you existing and you having your ancestors in your bones, you are enough. 01:00:49.000 --> 01:01:44.000 It doesn't matter. Blood quantum is a control tactic of the colonizers, you know? It doesn't matter how much blood you have, how light your skin is, how much language you speak, if you know how to make our food. You have that in your bones alone and you having those Chamorro values in your heart, that makes you Chamorro. That makes you indigenous. So, you know, don't believe the lies. Don't believe what any of those external forces that -- you know. You can just -- if you need that support, reach out to your community and ask the ancestors for that support. Because you are enough and you have so much to be proud of. 01:01:44.000 --> 01:03:01.000 We have an incredible -- the fact that you're listening to this. The fact that you're listening to this and that you're here is a testament to our resilience. And so you are our ancestors wildest dreams. And so like whatever you choose, whatever path you choose, whatever you do in your life, just know that your ancestors are with you and your community's with you, and they have your back and you're never alone. And yeah, the last thing I'll say is [speaking in Chamorro language] which is like the Creator is the Creator and we are people. so just, you know, there's only so much that we can control in this room. There's so many other things that are happening outside of like our mortal perception. So just calling the creator, and you know, calling your ancestors and calling your community for support. And I think actually we have time. I'll just like end in a chant. and this comes from, Si Jeremy Cepeda, and so this is called Manetnon Hit. 01:03:01.000 --> 01:04:02.000 Manetnon hit guini på’go, Na ta tuna si Ásaina, i Yahúlulo’, Nu i gef fina’tinås-ña siha, Nu i lina’lå’-ta, nu iya hita, Nu i mañaina-ta, nu i pa’å’-ta siha, Nu i guinahå-ta, Yan hókkokok ayu ni ha na’guahåyi hit, Taiguenao Mohon 01:04:02.000 --> 01:04:06.000 [We come together here today, To praise the Creator, the Most High, For all of the great things they have done, For our lives, for each other, For our elders/ancestors, for our ancestral words of wisdom, For the things that we have, And for all of the things that the Creator provided for us, And so shall it be (Amen)] 01:04:06.000 --> 01:04:08.954 Thank you Alex. We really appreciate your time today. 01:04:08.954 --> 01:04:09.000 Absolutely. Yeah. Thanks for, thank you for doing this. 01:04:09.000 --> 01:04:10.000 Absolutely. 01:04:10.000 --> 01:14:34.000 Appreciate your work. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=WhiteAlex_SheehanRobert_2024-04-18.xml WhiteAlex_SheehanRobert_2024-04-18.xml Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource White, Alex. Interview, April 18th, 2024 Description An account of the resource Alex White is a Chamorro activist who experienced a two week long Chamorro immersion program hosted by the Prugraman Sinipok organization. In this interview, he speaks on his experiences growing up in Colorado, his engagement with Chamorro culture, and his path to learning the Chamorro language. Identifier An unambiguous reference to the resource within a given context SC027-082 Subject The topic of the resource Language revival Chamorro language Chamorro (Micronesian people) -- History Chamorro (Micronesian people) -- Social life and customs Colonization -- Spain -- Oceania Colonization -- Japan Colonization -- United States -- Guam Decolonization -- Guam Date A point or period of time associated with an event in the lifecycle of the resource 2024-04-18 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Alex White Contributor An entity responsible for making contributions to the resource Robert Sheehan Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Guam San Diego County (Calif.) Colorado Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource This interview is conducted in English and Chamorro Rights Holder A person or organization owning or managing rights over the resource. Alex White Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a> Asian Pacific Islander Desi American experience Community history Prugraman Sinipok https://archivesoralhistories.csusm.edu/files/original/a52581a7fd498b492ea058b5ac827903.pdf cb5cb7f0bbb67fab48730406ff5f2971 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eisenbach, Regina. Interview transcript, July 1, 2025. Description An account of the resource Dr. Regina Eisenbach is retiring from CSUSM as the Dean of Academic Advising and Academic Programs in 2025. After thirty-four years at the University, she shares a rich history of CSUSM’s evolution over time. In this interview, she discusses what brought her to CSUSM, her path to administration, people who have influenced her professionally, and the physical and structural changes to CSUSM through its development. Creator An entity primarily responsible for making the resource Regina Eisenbach Contributor An entity responsible for making contributions to the resource Jennifer Fabbi Date A point or period of time associated with an event in the lifecycle of the resource 2025-07-01 Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Subject The topic of the resource California State University San Marcos -- History California State University San Marcos -- Administration Education, Higher Women in leadership Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Juan (P.R.) Miami (Fla.) San Marcos (Calif.) CSUSM history Women's experience https://archivesoralhistories.csusm.edu/files/original/f1954c51e658c7c1490af7202f3dbde2.pdf 5ca2c1981c17983bb5b3e2fb65211dd5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Taitingfong, David. Interview Transcript August 30th, 2024. Description An account of the resource David Taitingfong is a member of the Chamorro community and involved with the group Prugraman Sinipok, which teaches a two week Chamorro language immersion program. David describes his involvement with Prugraman Sinipok and how his interest in sharing the Chamorro lanugage and culture has shaped his life. Creator An entity primarily responsible for making the resource David Taitingfong Contributor An entity responsible for making contributions to the resource Robert Sheehan Date A point or period of time associated with an event in the lifecycle of the resource 2025-07-22 Subject The topic of the resource Language revival Chamorro language Chamorro (Micronesian people) -- History Chamorro (Micronesian people) -- Social life and customs Colonization -- Spain -- Oceania Colonization -- Japan Colonization -- United States -- Guam Decolonization -- Guam Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English and Chamorro Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. 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Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource White, Alex. Interview transcript, April 8, 2024 Description An account of the resource Alex White is a Chamorro activist who experienced a two week long Chamorro immersion program histed by the Prugraman Sinipok organization. In this interview, he speaks on his experiences growing up in Colorado, his engagement with Chamorro culture, and his path to learning the Chamorro language. Creator An entity primarily responsible for making the resource Alex White Contributor An entity responsible for making contributions to the resource Robert Sheehan Date A point or period of time associated with an event in the lifecycle of the resource 2024-04-08 Subject The topic of the resource Language revival Chamorro language Chamorro (Micronesian people) -- History Chamorro (Micronesian people) -- Social life and customs Colonization -- Spain -- Oceania Colonization -- Japan Colonization -- United States -- Guam Decolonization -- Guam Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English and Chamorro Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Alex White License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Identifier An unambiguous reference to the resource within a given context WhiteAlex_SheehanRobert_2025-07-22_transcript Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Guam San Diego County (Calif.) Colorado Type The nature or genre of the resource text Asian Pacific Islander Desi American experience Community history Prugraman Sinipok