All performances and panels will take place at the Logan Center for the Arts, Theater East, 915 E. 60th Street.

WEDNESDAY, MARCH 2

7:30pm   Welcome

7:40pm   Performance

• Dancers: Daniel Applebaum (Prince), Georgina Pazcoguin (Princess), Tyler Hanes (Sorcerer)
• Musicians: Adriane Post (violin), Wendy Benner (violin), Craig Trompeter (viola da gamba), Brandon Acker (theorbo), Andrew Rosenblum (harpsichord)

8:00pm   Reimagining the Exotic Panel with Q&A

• Moderator: Julia Rhoads (UChicago)
• Panelists: Phil Chan (Choreographer, Arts Activist), Georgina Pazcoguin (Dancer, Author), Irene Hsiao (Writer, Dancer, Photographer), Lisa A. Freeman (UIC)

THURSDAY, MARCH 3

7:30pm   Welcome

7:40pm   Performance

• Dancers: Daniel Applebaum (Prince), Georgina Pazcoguin (Princess), Tyler Hanes (Sorcerer)
• Musicians: Adriane Post (violin), Wendy Benner (violin), Craig Trompeter (viola da gamba), Brandon Acker (theorbo), Andrew Rosenblum (harpsichord)

8:00pm   Porcelain, Material Culture, and Embodiment Panel with Q&A

• Moderator: Wu Hung (UChicago)
• Panelists: Meredith Martin (NYU), Judith Zeitlin (UChicago), Alicia Caticha (Northwestern), Ellen Huang (ArtCenter College of Design)

Julia Rhoads is Director of Dance and Assistant Senior Instructional Professor in Theater and Performance Studies at University of Chicago and the founding Artistic Director of Lucky Plush Productions, a MacArthur Award-winning ensemble recognized for its unique blend of dance, theater, comedy, and socially relevant themes. Her work with Lucky Plush has toured to over 75 venues worldwide, including the Kennedy Center for the Performing Arts (DC), Joyce Theater (NYC), Institute of Contemporary Art/Boston, ODC (CA), Wellesley Center (Auckland, NZ), and Teatro Las Carolinas (Havana, Cuba). Other choreography credits include Hubbard Street Dance Chicago, Steppenwolf Theatre, Milwaukee Repertory Theatre, Lookingglass Theatre, River North Dance Chicago, and she was commissioned to create a work in honor of the Year of Chicago Theater for Art on theMart, the world’s largest digital installation. She is the recipient of an Alpert Award in Dance, fellowships from Maggie Allesee National Center for Choreography and Chicago Dancemakers Forum, and her work for Lucky Plush has received creation and touring awards from National Endowment for the Arts, National Dance Project, National Theater Project, and National Performance Network. She is a former member of the San Francisco Ballet and ensemble member of XSIGHT! Performance Group, and received her BA in History from Northwestern University and her MFA in Performance from the School of the Art Institute Chicago.

Phil Chan is a co-founder of Final Bow for Yellowface, and most recently served as the Director of Programming for IVY, connecting young professionals with leading American museums and performing arts institutions. He is a graduate of Carleton College and an alumnus of the Ailey School. As a writer, he served as the Executive Editor for FLATT Magazine and contributed to Dance Europe Magazine, Dance Magazine, Dance Business Weekly, and the Huffington Post. He was the founding General Manager of the Buck Hill Skytop Music Festival, and was the General Manager for Armitage Gone! Dance. He served multiple years on the National Endowment for the Arts dance panel and the Jadin Wong Award panel presented by the Asian American Arts Alliance. He serves on the International Council for the Parsons Dance Company, and the Advisory Board of Dance Magazine. He is the author of Final Bow for Yellowface: Dancing between Intention and Impact, and was a 2020 New York Public Library Dance Research Fellow, and is  ‘21/’22 “Citizen Artist” at Manhattan School of Music and Visiting Scholar at the A/P/A Institute at NYU.

Georgina Pazcoguin, aka "The Rogue Ballerina," joined NYCB in 2002 and became the first Asian American female Soloist in NYCB's history after being promoted in 2013. She was most recently featured in the world premiere of "Sweet Gwen Suite" in collaboration with the Fosse Verdon Legacy/NYCC Fall for Dance, honoring Gwen Verdon. Pazcoguin's artistry spans across mediums from her extensive stage repertory at NYCB to being featured on the hit show Fosse/Verdon (2019) as well as the film NY EXPORT: OPUS JAZZ. Pazcoguin has also made a home on Broadway with additional credits including Victoria in CATS 2016 and Ivy Smith in On the Town. Georgina is co-founder — with Phil Chan — of Final Bow for Yellowface, recently expanded into the bigger foundation umbrella of Gold Standard Arts, which raises awareness and promotes inclusivity through sincere representation of all ethnicities in the performing arts. Georgina is also the author of a memoir, Swan Dive: The Making of a Rogue Ballerina, published in July 2021 and available worldwide since October 2021. Beyond ballet, she is a passionate ambassador for The Orphaned Starfish Foundation and Best Friends Animal Society.

Irene Hsiao is the inaugural Artist in Residence at the Smart Museum, a 2020 Chicago Dancemakers Forum Lab Artist, 2020-21 CDF Lab Artist in Residence at High Concept Labs, and the recipient of a 2020 Peter Lisagor Award for arts reporting and criticism. Her writing on dance, theater, art, literature, and science can be found in venues including the Chicago Reader, LA Review of Books, SF Weekly, Newcity, Chicago Sun-Times, Multi-Ethnic Literature of the US, Cambridge Quarterly, In Dance, Dance Teacher, the Chemists Club, and more, with a commissioned chapter-in-progress on contemporary Asian American dance and dancers in Chicago in Dancing on the Third Coast, edited by Susan Manning and Lizzie Leopold and forthcoming from University of Illinois Press. As a dancer and choreographer, she creates performances with visual art in museums, galleries, and public spaces, a practice that includes interaction with visual artworks and experimental engagement with artists, institutions, and the public. She has taught at the University of Chicago, UC Berkeley, the School of the Art Institute of Chicago, University of San Francisco, Ludwig-Maximilians-Universität München, City University of Hong Kong, and National Taipei University of Technology, and currently teaches performance art at Roosevelt University. You can see her most recent project, Translated Vase, on the Smart Museum website that is in conversation with their Porcelain: Material and Storytelling exhibit.

Lisa A. Freeman is Professor and Head of the English Department at the University of Illinois at Chicago and the author of Character's Theatre: Genre and Identity on the Eighteenth-Century English Stage (UPenn, 2002), and Antitheatricality and the Body Public (UPenn, 2017), which was named the Runner-Up for the Association of Theatre in Higher Education Outstanding Book Award, a Finalist for the Theatre Library Association George Freedley Award, and an Honorable Mention for the Joe A. Callaway Prize.  Freeman is the editor of the Sarah Siddons volume for Pickering and Chatto's Lives of Shakespearean Actors series and recently published in Theatre Survey on Elizabeth Inchbald's Remarks for the British Theatre. She is a founding member of the R/18 Collective: Reactivating Restoration and 18th-Century Drama for the 21st Century for which she received a UIC Creative Activity Award. She is currently Second Vice-President of the American Society for Eighteenth-Century Studies and will serve as its President in 2023-2024. She is currently working on two new book projects: Race, Racialization, and Adaptation on the Restoration and Eighteenth-Century Stage and Contemporary Playwrights of Color and the Canonical Stage: Metaphors and Materialities.

Wu Hung is the Harrie A. Vanderstappen Distinguished Service Professor of Art History and the College, Director of the Center for the Art of East Asia, Adjunct Curator at the Smart Museum of Art, and Special Advisor to the Provost for the Arts in Asia at the University of Chicago. As a scholar, he has published widely on both traditional and contemporary Chinese art and has experimented with different ways to integrate these conventionally separate phases into new kinds of art historical narratives. He is also a renowned international curator and has curated more than 50 exhibitions in the United States, China, and other countries. Most recently, he organized The Allure of Matter: Material Art from China, a major touring exhibition that Most recently, he organized The Allure of Matter: Material Art from China, a major touring exhibition that was presented at the Los Angeles County Museum of Art (summer 2019) and will be presented at the Smart Museum and Wrightwood 659 (winter 2020), Seattle Art Museum (summer 2020), and Peabody-Essex Museum (Fall 2020). The exhibition is the latest in a series of contemporary Chinese projects he organized as a consulting curator at the Smart Museum, including Transience (1999), “Canceled” (2000), The Art of Mu Xin: Landscape Paintings and Prison Notes (2002), Between Past and Future: New Photography and Video from China (2004), Displacement: The Three Gorges Dam and Contemporary Chinese Art (2008), and Inspired by the Opera: Contemporary Chinese Photography and Video (2014).

Meredith Martin is associate professor of art history at NYU and the Institute of Fine Arts. A specialist in early modern French art and architecture, she is the author of Dairy Queens: The Politics of Pastoral Architecture from Catherine de’ Medici to Marie-Antoinette (Harvard University Press, 2011); The Sun King at Sea: Maritime Art and Gallery Slavery in Louis XIV’s France (Getty Research Institute Publications, 2021; co-authored with Gillian Weiss); and Meltdown: Picturing the World’s First Bubble Economy (Harvey Miller/Brepols, 2020; co-authored with Nina Dubin and Madeleine Viljoen). She is currently working on several projects, among them an exhibition on the 1720 Mississippi and South Sea bubbles for The New York Public Library and the restaging of a French ballet pantomime from 1739 known as the Ballet des Porcelaines, or The Teapot Prince. Martin is a founding editor of Journal18 (www.journal18.org).

Judith T. Zeitlin is William R. Kenan, Jr. Professor in East Asian Languages and Civilizations and Theater and Performance Studies at the University of Chicago. Her many publications related to Chinese opera, visual culture, and music include Performing Images: Opera in Chinese Visual Culture, co-edited with Yuhang Li (2014) and The Voice as Something More: Essays Toward Materiality, co-edited with Martha Feldman (2019). She is currently collaborating with composer Yao Chen on the creation of the opera Ghost Village, for which she has written the libretto. A short excerpt from the opera is on view at the Logan Center Gallery at the University of Chicago as part of the exhibition ON DRAWING DRAWING ON: Ten Years of Fellowship at the Richard and Mary L. Gray Center for Arts and Inquiry (January 28 - March 13, 2022).

Alicia Caticha is Assistant Professor in the Department of Art History at Northwestern University. She specializes in eighteenth- and nineteenth-century European sculpture and decorative arts with a particular focus on issues of materiality, colonialism, and popular culture. Her book project, tentatively titled “Sculpting Whiteness: Marble, Porcelain, and Sugar in Eighteenth-Century Paris,” takes up the career of the eighteenth-century French sculptor Étienne-Maurice Falconet and the replications and reverberations of his work in porcelain and sugar sculpture as a case study through which to understand the rise of the classical marble ideal and its long-term aesthetic and racial implications. Other research and teaching interests include the relationship between popular culture, fashion, and art history from the eighteenth-century to the present day. She has published on this topic in Journal18, Eighteenth-Century Fiction, and American Quarterly.

Ellen Huang’s research addresses the relationship between art, science, and materials with a focus on the material culture of China. Based upon gazetteers and prose texts, as well as on archaeological objects, her current book project examines Jingdezhen porcelain as material design in the early modern period. Having worked at university art museums as a curator (Cantor Arts Center at Stanford University, Ackland Art Museum at UNC), Ellen also curates exhibitions about Asian arts in order to generate public discourse and scholarship. She currently teaches at the ArtCenter College of Design where she offers courses about the history of objects and material culture from global frames, giving particular attention to the impact of translation on cross-cultural understandings of making and design.

Meredith Martin is associate professor of art history at NYU and the Institute of Fine Arts. A specialist in early modern French art and architecture, she is the author of Dairy Queens: The Politics of Pastoral Architecture from Catherine de’ Medici to Marie-Antoinette (Harvard University Press, 2011); The Sun King at Sea: Maritime Art and Gallery Slavery in Louis XIV’s France (Getty Research Institute Publications, 2021; co-authored with Gillian Weiss); and Meltdown: Picturing the World’s First Bubble Economy (Harvey Miller/Brepols, 2020; co-authored with Nina Dubin and Madeleine Viljoen). She is currently working on several projects, among them an exhibition on the 1720 Mississippi and South Sea bubbles for The New York Public Library and the restaging of a French ballet pantomime from 1739 known as the Ballet des Porcelaines, or The Teapot Prince. Martin is a founding editor of Journal18 (www.journal18.org).

Phil Chan is a co-founder of Final Bow for Yellowface, and most recently served as the Director of Programming for IVY, connecting young professionals with leading American museums and performing arts institutions. He is a graduate of Carleton College and an alumnus of the Ailey School. As a writer, he served as the Executive Editor for FLATT Magazine and contributed to Dance Europe Magazine, Dance Magazine, Dance Business Weekly, and the Huffington Post. He was the founding General Manager of the Buck Hill Skytop Music Festival, and was the General Manager for Armitage Gone! Dance. He served multiple years on the National Endowment for the Arts dance panel and the Jadin Wong Award panel presented by the Asian American Arts Alliance. He serves on the International Council for the Parsons Dance Company, and the Advisory Board of Dance Magazine. He is the author of Final Bow for Yellowface: Dancing between Intention and Impact, and was a 2020 New York Public Library Dance Research Fellow, and is  ‘21/’22 “Citizen Artist” at Manhattan School of Music and Visiting Scholar at the A/P/A Institute at NYU.

Judith T. Zeitlin is William R. Kenan, Jr. Professor in East Asian Languages and Civilizations and Theater and Performance Studies at the University of Chicago. Her many publications related to Chinese opera, visual culture, and music include Performing Images: Opera in Chinese Visual Culture, co-edited with Yuhang Li (2014) and The Voice as Something More: Essays Toward Materiality, co-edited with Martha Feldman (2019). She is currently collaborating with composer Yao Chen on the creation of the opera Ghost Village, for which she has written the libretto. A short excerpt from the opera is on view at the Logan Center Gallery at the University of Chicago as part of the exhibition ON DRAWING DRAWING ON: Ten Years of Fellowship at the Richard and Mary L. Gray Center for Arts and Inquiry (January 28 - March 13, 2022).

Julia Rhoads is Director of Dance and Assistant Senior Instructional Professor in Theater and Performance Studies at University of Chicago and the founding Artistic Director of Lucky Plush Productions, a MacArthur Award-winning ensemble recognized for its unique blend of dance, theater, comedy, and socially relevant themes. Her work with Lucky Plush has toured to over 75 venues worldwide, including the Kennedy Center for the Performing Arts (DC), Joyce Theater (NYC), Institute of Contemporary Art/Boston, ODC (CA), Wellesley Center (Auckland, NZ), and Teatro Las Carolinas (Havana, Cuba). Other choreography credits include Hubbard Street Dance Chicago, Steppenwolf Theatre, Milwaukee Repertory Theatre, Lookingglass Theatre, River North Dance Chicago, and she was commissioned to create a work in honor of the Year of Chicago Theater for Art on theMart, the world’s largest digital installation. She is the recipient of an Alpert Award in Dance, fellowships from Maggie Allesee National Center for Choreography and Chicago Dancemakers Forum, and her work for Lucky Plush has received creation and touring awards from National Endowment for the Arts, National Dance Project, National Theater Project, and National Performance Network. She is a former member of the San Francisco Ballet and ensemble member of XSIGHT! Performance Group, and received her BA in History from Northwestern University and her MFA in Performance from the School of the Art Institute Chicago.

Daniel Applebaum was born in Olney, Maryland. At age seven, he began studying ballet with Maryland Youth Ballet.He attended summer courses at the School of American Ballet (SAB), the official school of New YorkCity Ballet, in 2000 and 2001, becominga full-time student that fall. In October 2004, he became an apprentice with New York City Ballet and joined the corps de ballet in July 2005. Mr. Applebaum was promoted to soloist in October 2018.He is also a contributing writer for Opera News.

Georgina Pazcoguin, aka "The Rogue Ballerina," joined NYCB in 2002 and became the first Asian American female Soloist in NYCB's history after being promoted in 2013. She was most recently featured in the world premiere of "Sweet Gwen Suite" in collaboration with the Fosse Verdon Legacy/NYCC Fall for Dance, honoring Gwen Verdon. Pazcoguin's artistry spans across mediums from her extensive stage repertory at NYCB to being featured on the hit show Fosse/Verdon (2019) as well as the film NY EXPORT: OPUS JAZZ. Pazcoguin has also made a home on Broadway with additional credits including Victoria in CATS 2016 and Ivy Smith in On the Town. Georgina is co-founder — with Phil Chan — of Final Bow for Yellowface, recently expanded into the bigger foundation umbrella of Gold Standard Arts, which raises awareness and promotes inclusivity through sincere representation of all ethnicities in the performing arts. Georgina is also the author of a memoir, Swan Dive: The Making of a Rogue Ballerina, published in July 2021 and available worldwide since October 2021. Beyond ballet, she is a passionate ambassador for The Orphaned Starfish Foundation and Best Friends Animal Society.

Tyler Hanes is an actor/singer/ dancer/ choreographer best known for his work on the Broadway stage. His Broadway credits include Rum Tum Tugger in Cats, Larry in A Chorus Line, On The Town, Hairspray, Sweet Charity, The Frogs, The Boy From Oz, Urban Cowboy, and Oklahoma! Off-Broadway, he was featured in Stephen Sondheim’s A Bed and A Chair: A New York Love Affair, Juno, and American Dance Machine for the 21st Century. He toured nationally with the first national tour of Fosse. Some regional credits include The Old Globe, The Kennedy Center, Hartford Stage, Barrington Stage, Signature Theatre, Paper Mill, and MSMT. Onscreen, he has appeared on Pose, The Good Fight, Elementary, the Coen Brothers’ Hail, Caesar!, The Blacklist, 30 Rock, Ms. Guidance, Scenario, and as Jerry Orbach in the Emmy Award winning Fosse/Verdon on FX. Most recently, Tyler choreographed Kristin Chenoweth: For The Girls on Broadway. Other choreography credits include Dancing with the Stars, Kristin Chenoweth’s Some Lessons Learned World Tour, Kristin Chenoweth: Coming Home for PBS, The American Country Awards, New York Fashion Week, and El Chico De Oz in Lima, Peru. www.tylerhanes.net

Adriane Post’s baroque violin playing has been described as “exquisite” by The New York Times. Sought after as leader, collaborator and soloist in ensembles across the US, she is a founding member of ACRONYM Ensemble and Diderot String Quartet, concertmaster of the Washington National Cathedral Orchestra, associate principal of Apollo's Fire, soloist and collaborator with Four Nations Ensemble, and guest concertmaster with groups such as Seraphic Fire and NY Baroque Inc. A tenured member of Handel + Haydn Society, Adriane performs regularly with Trinity Wall Street Baroque Orchestra, has appeared with The English Concert and Harry Bicket and as guest with Les Délices, Chatham Baroque and Tenet. Recent and upcoming Festival and tour appearances include Carnegie Hall, Caramoor, Tanglewood, Ravinia and Carmel Bach Festival. Invested particularly in 17th Century and Classical through Early Romantic performance practice, Adriane received her BM from Oberlin Conservatory, where she first fell in love with the baroque violin. She received her MM from The Juilliard School’s Historical Performance program.  Based in New York and Chicago, she was born and raised in Vermont.

Wendy Benner enjoys a richly varied artistic life as an orchestral, chamber, and solo violinist throughout Chicago and beyond. Her solo appearances include performances with the Bach Sinfonia (Maryland), Baroque Band (Chicago), Metropolis Symphony Orchestra (Chicago), and Columbia Orchestra (Maryland). For eight years Ms. Benner served as concertmaster of the Bach Sinfonia, leading the ensemble’s transition from modern to period instruments in live performances and recordings on the Dorian label. Ms. Benner performed as a member of the Vancouver Symphony Orchestra, including a 2008 Grammy-Award winning collaboration. Highlights of her artistic life in Chicago include performing with Haymarket Opera Company, the Apollo Orchestra, and Chicago Opera Theater. She holds a doctorate in violin performance from the University of Maryland.

Craig Trompeter is the founder and artistic director of Chicago's acclaimed Haymarket Opera Company. As cellist and violist da gamba he has performed in concert and over the airwaves with Second City Musick, Music of the Baroque, the Chicago Symphony, Lyric Opera of Chicago, Chicago Opera Theater, the Smithsonian Chamber Music Society, and the Oberlin Consort of Viols. He has performed at the Metropolitan Museum of Art, the Art Institute of Chicago, the Glimmerglass Festival, the Brooklyn Academy of Music, and the Valletta International Baroque Festival in Malta. He has appeared as soloist at the Ravinia Festival, the annual conference of the American Bach Society, with the Chicago Symphony Orchestra, and with Music of the Baroque. Trompeter has recorded works of Mozart, Biber, Boismortier, Marais, Vivaldi, Handel, Greene, Henry Eccles, and a potpourri of Elizabethan composers on the Harmonia Mundi, Cedille, and Centaur labels. As a modern cellist, he was a founding member of the Fry Street String Quartet. He premiered several chamber operas by MacArthur Fellow John Eaton, performing as actor, singer and cellist. He has taught master classes at his alma mater, the Cleveland Institute of Music, Grinnell College, and the Chicago Musical College. In 2003, Trompeter founded the Feldenkrais® Center of Chicago where he teaches Awareness Through Movement® and Functional Integration®. He has given Feldenkrais workshops throughout the nation in universities, music conservatories, and dance studios. He conducts the Early Music Ensemble at the University of Chicago and teaches Baroque Performance Practices at Northwestern University.

Andrew Rosenblum is a Chicago-based harpsichordist and pianist, passionate about exploring great pieces of music from across every period of composition. As a harpsichordist, he won second prize in both the 2018 Leipzig International Bach Competition and the 2017 Prague Spring International Music Competition. An experienced collaborator, Rosenblum has performed with singers and instrumentalists at Carnegie Hall, Alice Tully Hall, The Kennedy Center, The Phillips Collection, and 92Y, and has been on the staff of the Chicago Symphony Chorus, Lyric Opera of Chicago, Cleveland Orchestra Chorus, Cleveland Institute of Music, and Northwestern University. He has soloed with the Leipzig Baroque Orchestra, Collegium 1704, Bohuslav Martinů Philharmonic Orchestra, and Civic Orchestra of Chicago, and performed as a continuo player with Haymarket Opera, Third Coast Baroque, Music of the Baroque Orchestra, and Three Notch'd Road. He is a member of the Harpsichord and Piano Faculty of the Heifetz International Music Institute.

Brandon J. Acker is a classical guitarist and specialist on early plucked instruments such as the lute, baroque guitar and theorbo. His latest passion has been to run his successful Youtube channel which now has over 260,000 subscribers and 14 million views. His channel provides educational content about early plucked instruments as well as guitar tips and artistic performance videos. Brandon’s performance career has varied from starting out playing electric guitar in metal bands to his current main focus researching and performing on early plucked instruments from the Renaissance and Baroque periods. He has toured extensively through England, Canada, Scotland and Wales, and performed with notable groups such as the Leipzig Baroque Orchestra, Piffaro, the Joffrey Ballet, the Chicago Philharmonic, the Newberry Consort, Haymarket Opera Company, Music of the Baroque, Third Coast Baroque, Opera Lafayette and Bella Voce.

Originally published on Feb 21, 2022

Click here for the press release.

Porcelain: Material and Storytelling Now on View at the Smart Museum of Art

Porcelain is an artistic medium as well as a material substance. It can be used to represent figures and to tell stories in two-dimensional and three-dimensional forms, and its own materiality can also be made into the subject of artistic expression.  View the concurrent exhibition, Porcelain: Material and Storytelling, now open from February 15th through March 6th at the University of Chicago's Smart Museum of Art.  Curated by Wu Hung, Adjunct Curator at the Smart Museum of Art ; Harrie A. Vanderstappen Distinguished Service Professor of Art History and the College; and Director of the Center for the Art of East Asia at the University of Chicago, at the University's Smart Museum of Art, this exhibit is taking place in conjunction with the upcoming Ballet des Porcelaines program, taking place at the Logan Center for the Arts March 2-3, 2022.

Published in conjunction with the exhibition, view the special brochure created that features three essays written by University of Chicago PhD students that delve into the exhibition’s central themes of substance, cracking, and storytelling, as well as a translation of Pu Songling’s story “Mister Sea.”

Additional Press:  Chicago Maroon | April 27, 2022 | The Mesmeric and Complex Beauty of Yeesookyung’s "Translated Vase"

University of Chicago first-year undergraduate student and Smart Museum gallery attendant, Julian Stern, writes about Yeesookyung’s "Translated Vase" - “an artwork that I find unendingly mesmeric and meaningful in its subtle complexity and its quiet beauty.”

This event is co-sponsored by UChicago Arts, the Committee on Theater and Performance Studies, the Office of the Provost, Department of Music, and the Center for East Asian Studies at the University of Chicago with generous support from a Title VI National Resource Center Grant from the United States Department of Education.