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Scholars aim to help women make a quantum leap

Rachel Sauer — Fri, 25 Apr 2025 19:46:50 +0000

Scholars aim to help women make a quantum leap Rachel Sauer Fri, 04/25/2025 - 13:46

Rachel Sauer

Quantum Scholars Emily Jerris and Annalise Cabra started CU Women of Quantum to help women interested in careers in quantum to network and share experiences

First, the good news: Between 1970 and 2022, the percentage of U.S. women workers in STEM jobs grew from 7% to 26%.

The obvious and not-so-good news is that while women represent almost half the U.S. workforce, they hold only a quarter of STEM jobs. And the numbers get even more stark in quantum fields. A 2022 report from the London School of Economics and Political Science reported that fewer than 2% of applicants for jobs in quantum fields are female.

Quantum Scholars Annalise Cabra (left) and Emily Jerris (right) gave a presentation about CU Women of Quantum at the December Quantum Scholars meeting attended by CU President Todd Saliman. (Photo: Casey Cass/91��)

However, in the 100 years since German physicist Werner Heisenberg submitted his paper “On quantum-theoretical reinterpretation of kinematic and mechanical relationships” to the journal Zeitschrift für Physik, a July 1925 event that is broadly credited with kick-starting the quantum revolution, the possibilities and potential of quantum science and engineering have grown enormously.

Recognizing that potential, a group of 91�� scholars wants to help ensure that women participate equally and fully in quantum science and engineering.

CU Women of Quantum, founded last semester by Quantum Scholars Emily Jerris and Annalise Cabra, aims to be a community of support, connection, mentorship and networking for women interested in pursuing careers or research in quantum fields.

“Our primary focus,” Cabra explains, “is just to create a space where we can come together, share our experiences and create relationships that are lasting.”

100 years of quantum

Both Jerris and Cabra say that this is an exciting time to be in quantum science and engineering. Not only did the United Nations declare 2025 as the International Year of Quantum Science and Technology, and not only did Colorado Gov. Jared Polis last week announce the Blueprint for Advancing K–12 Quantum Information Technology, but research happening on the 91�� campus and in Colorado is swiftly expanding the boundaries of quantum technology.

However, they also add that as exciting as this time is, women in quantum fields still face some of the same roadblocks that women in STEM always have.

“I think if you asked most of the women in the club or just in a STEM major if they’ve had a moment where a peer or coworker has talked down to them or they felt not necessarily fully included in a project because they were the only woman in the group, I think most probably have,” Jerris says. “So, it’s nice to have a space to talk about that—how to navigate situations like that. A lot of us do research, too, and those types of situations are also really prevalent in the research space.”

Jerris and Cabra worked with Michael Ritzwoller, a physics professor of distinction and Quantum Scholars co-founder, and physics Professor Noah Finkelstein to create CU Women of Quantum as a place for not only female Quantum Scholars, but for women across campus who are interested in pursuing careers in quantum science, technology or engineering.

Annalise Cabra (left) works with Brooke Nelson (right), a career advisor for the College of Engineering and Applied Sciences, on her resume during a recent CU Women of Quantum meeting.

Supporting women in quantum

One of the group’s aims is creating networking and mentorship opportunities for members by asking professors and women working in quantum fields to speak at group meetings. This has included Alex Tingle, a 91�� physics alumna and senior technical project engineer at Quantinuum, who was named one of the Wonder Women of the Quantum Industry by the Quantum Daily.

CU Women of Quantum gatherings also focus on skill-building, including a recent meeting at which Brooke Nelson, a career advisor for the College of Engineering and Applied Sciences, gave a presentation on creating and honing a resume.

“One of our goals is to help (CU Women of Quantum members) narrow in on their interests and build connections,” Cabra says. “And then also having opportunities to see how women in their shoes were able to navigate and build careers in quantum. I think it’s important for a lot of women in the field, too, to go back and encourage other women who are just starting out or just getting interested in quantum.”

The members of CU Women of Quantum also get together for study sessions, “because even if we’re not taking the same classes, with other women you can feel more open and not like you’re the outlier in the group.”

Both Cabra, who is graduating next month, and Jerris, who is completing her third year, are interested in pursuing careers in a quantum field, bolstered by the support they’ve found in CU Women of Quantum.

“It’s so fascinating because it’s just so unintuitive,” Cabra says. “It makes your brain think in such crazy ways, from the ways particles behave to the ways stars don’t collapse or do collapse, to parallel universes, and it all goes back to quantum. I think it’s just so exciting to study.”

Jerris adds that often the common perception of quantum science and technology is that “it’s kind of magic or something we don’t totally understand, but we actually do have a pretty good understanding of quantum. We know what’s going on and can model it, and we’re maybe just one step behind with how we can actually manipulate things. So, it’s not magic; it’s something we do know a lot about and we’re learning more every day.”

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Quantum Scholars Emily Jerris and Annalise Cabra started CU Women of Quantum to help women interested in careers in quantum to network and share experiences.

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Top image: Casey Cass/91��

Holocaust victims to be memorialized on campus

Rachel Sauer — Wed, 16 Apr 2025 17:23:18 +0000

Holocaust victims to be memorialized on campus Rachel Sauer Wed, 04/16/2025 - 11:23

Holocaust Remembrance Day, or Yom HaShoah, to be observed by a public reading of the names of Jews killed in the Holocaust

Yom HaShoah, Holocaust Remembrance Day, will be observed on campus again this year with a public reading of the names of European Jews murdered by the Germans and their allies during the Holocaust.

Weather permitting, the reading will take place on Thursday, April 24, from 10 a.m. until 5 p.m. at the Dalton Trumbo Fountain Court in front of the University Memorial Center.

The event’s organizers encourage the campus and broader communities to participate in the readings. Prospective participants may sign up here.

The U.S. Congress established the Days of Remembrance in 1980 as the nation’s annual commemoration of the Holocaust. The United States Holocaust Memorial Museum in Washington, D.C., which opened in 1993, leads the nation in observing Days of Remembrance and encourages observances throughout the United States.

Holocaust Remembrance Day

What: Public readings on Yom HaShoah

When: Thursday, April 24, from 10 a.m. until 5 p.m.

Where: Dalton Trumbo Fountain Court in front of the University Memorial Center.

The main event takes place at the U.S. Capitol, often attended by the U.S. President. In Israel, the Holocaust Martyrs’ and Heroes’ Remembrance Day (Yom HaShoah in Hebrew) is a national day of commemoration on which the 6 million Jews murdered in the Holocaust are memorialized.

It begins at sunset on the 27th of the month of Nisan, the first month of the Jewish calendar, and ends the following evening, according to the traditional Jewish custom of marking a day. Established in 1953 by a law from the Knesset, Israel’s parliament, it falls close the anniversary of the 1943 Warsaw Ghetto Uprising.

The central ceremonies, in the evening and the following morning, are held at Yad Vashem, Israel’s official memorial to victims of the Holocaust.

During Yom HaShoah ceremonies in the United States, Israel and elsewhere, people read the names of Jews murdered by the Germans and their allies during the Shoah.

“The events of the Holocaust are given meaning only by remembering the individuals who died during that time,” Rabbi Sharon Sobel writes. “We gather as a community, we remember the names of those who died, and we affirm their lives by how we choose to lead our lives. So, names, indeed, are very powerful. ... we honor those who came before us and those who perished during the Holocaust by giving our names—and their names meaning through our actions and aspirations and the way we fulfill them.”

The 91�� event is presented by the Program in Jewish Studies. It is co-sponsored by the 91�� Department of History, Department of Women and Gender Studies and Center for Humanities and the Arts.

For more information on the Days of Remembrance and Yom HaShoah commemoration, please contact Professor Thomas Pegelow Kaplan, the Singer Endowed Chair in Jewish History, at thomas.pegelow-kaplan@colorado.edu.

“In our rapidly changing domestic and global political situation and the various devastating ongoing wars, especially in Israel and Gaza, these commemorations have again taken on yet a different meaning,” Pegelow Kaplan said.

“This event will also once more amount to a small contribution towards addressing charges of antisemitism (‘structural’ or not) that are still leveled against CU not only by right-wing non-Jewish and Jewish groups, but even by officials in or close to the federal government.”

Pegelow Kaplan noted that April 24 is also the anniversary of the start of the Armenian genocide, “and we will most certainly mention it and other mass crimes and mass death, especially in Gaza/Israel.”

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Holocaust Remembrance Day, or Yom HaShoah, to be observed by a public reading of the names of Jews killed in the Holocaust.

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Voices of the Andes: Sharing Quechua stories and culture through modern media

Rachel Sauer — Wed, 16 Apr 2025 14:21:08 +0000

Voices of the Andes: Sharing Quechua stories and culture through modern media Rachel Sauer Wed, 04/16/2025 - 08:21

Cody DeBos

In new audio storytelling project, 91�� scholar Doris Loayza works to preserve the traditional tales and lore of the Peruvian highlands

In the highlands of Peru, Andean cultures have thrived for millennia. There, Quechua, the most widely spoken indigenous language in the Western Hemisphere, is more than just a means of communication—it’s a medium of cultural heritage, stories and traditions.

As a predominantly oral language, Quechua has historically been underrepresented in modern media. To bridge this gap, Doris Loayza, a teaching assistant professor in the 91�� Latin American and Latinx Studies Center, is on a mission to preserve and revitalize Quechua storytelling. Her project, “Producing and Distributing Audio Stories in Central Quechua of Peru,” aims to capture the voices of Quechua speakers and share their stories with a broader audience.

Doris Loayza (center, brown jacket), a teaching assistant professor in the 91�� Latin American and Latinx Studies Center, is leading a project to preserve and revitalize Quechua storytelling.

By recording these stories in audio form, Loayza and her team aren’t just connecting with millions of native speakers; they’re also honoring the oral traditions that have kept Quechua alive for centuries.

“We have so much to share and contribute in our own language, because our languages are the repository of our knowledge and our ways of relating with the world,” she says.

Connecting heritage and modern media

Across the Andes—primarily in Peru, Bolivia and Ecuador, with smaller pockets in Columbia, Argentina and even the United States—some 8 to 10 million people speak Quechua. For Loayza, Quechua is more than just a language; it’s a connection to her heritage.

Preserving Quechua stories and traditions is deeply personal for her. Growing up in the central Andes of Peru, she learned the Central Quechua variety from her mother.

“I always loved hearing and telling stories in Quechua,” she recalls. “Growing up, we always listened to the radio, especially the local radio. Today, I still love radio, and now podcasts.”

While earning a master’s degree in Latin American Studies at NYU, Loayza focused her research on Quechua radio in the Andes and learned the Southern Quechua variety. After graduating, she discovered the Colectivo Quechua Central, a volunteer group of native Quechua speakers who publish an online newspaper to promote reading and writing in Central Quechua.

“I reached out and proposed the idea to make audio versions of their newspaper stories, focusing on local cultural topics like food and identity, and then sharing them in a podcast format to distribute to radio stations in the central Peruvian Andes and on social media,” she explains.

Grant supports language education

Doris Loayza, teaching assistant professor at the Latin American and Latinx Studies Center and affiliated faculty of the Center for Native American and Indigenous Studies, along with co-project directors Joe Bryan, Leila Gomez and Ambrocio Gutierrez Lorenzo, has won a two-year, $149,925 National Endowment for the Humanities grant to develop course modules and educational resources about Quechua and Zapotec language and culture as part of efforts to expand and strengthen the Latin American Indigenous Languages and Cultures program.

“The group welcomed the idea, and thanks to support from 91��’s Center for Native American and Indigenous Studies, we recorded the first episode this summer in Peru.”

The challenges and joys of storytelling

The lengthy process of recording and distributing audio stories in Central Quechua began with a discussion of where to perform interviews—and what to talk about. For the pilot episode, Loayza and the Colectivo settled on stories about tuqush, the Quechua word for “fermentation.” Tuqush also is an important traditional food in the central Andes, prepared from potato pulp or maize.

“We started in Lima, where thousands of migrants from the central Andes speak the language and are fervent consumers of tuqush,” she explains, “which is known as the penicillin of the Andes because it is a natural antibiotic.

“We got off to a great start because, during our first interview, we were eating tuqush while we were recording, which made the interview really intimate and enjoyable.”

She later traveled to Chavín de Huántar in Peru’s Ancash region, the site of one of the most ancient cultures of the Andes, to reconnect with members of the Colectivo and record nearly 20 more interviews.

“We have so much to share and contribute in our own language, because our languages are the repository of our knowledge and our ways of relating with the world,” says Doris Loayza of her "Producing and Distributing Audio Stories in Central Quechua of Peru" project. (Photo: Doris Loayza)

“One big challenge was finding time to get together because the members of the Colectivo have their own jobs and commitments where they live,” Loayza says.

The team also ran into some pleasant “trouble” when their arrival in Chavín coincided with the first day of a weeklong fiesta.

“I had just started an interview in Chavín when the brass band arrived,” she recalls. “Of course, we had to stop and dance with them at the entrance of the town.”

That wouldn’t be the only memorable moment of the trip. In her hometown of Llamellin, Loyaza interviewed the couple who rent her parent’s farm in the highlands.

“He told me that he still makes tuqush there, but that it was hidden because people used to steal it. He gave me instructions on how to find the site of a stream where potatoes were buried in a hole beneath the water,” she says. “I was excited to find this place on a hot sunny day in the highlands because it was on my father’s land. It meant a lot to me personally.”

After completing the interviews, Loayza and members of the Colectivo began editing the recordings and distributing them to local listeners.

“I learned so much about food, vocabulary and their storytelling style,” Loayza says. “The Andean people, especially Quechua women, are great storytellers. They are so proud to tell their stories.”

Sharing Quechua with everyone

With the successful launch of their pilot episode, Loayza and the Colectivo aim to continue editing and distributing the recorded stories, making them accessible to a wider audience of Quechua speakers.

The Quechua audio stories will also play a role in educating the next generation of students at 91��, Loayza says: “With Professor Leila Gómez, we are working on developing a new curriculum to include the Central Quechua variety of these podcasts in our classes and teach it along with the Southern variety that we currently teach.

“Being able to offer both varieties to our students will enrich and expand the cultural understanding of the Quechua culture.”

Loayza adds that she hopes these audio stories will inspire others in Peruvian highland communities to start their own recordings, further preserving the language and its cultural significance.

“It is so important to connect and learn from other indigenous languages and cultures,” she says. “We all have similarities and particularities. Everyone on this team is excited to share their knowledge, enthusiasm and time so that this project continues.”

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In new audio storytelling project, 91�� scholar Doris Loayza works to preserve the traditional tales and lore of the Peruvian highlands.

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Initiative gives students a voice with hip-hop

Rachel Sauer — Thu, 10 Apr 2025 15:39:27 +0000

Initiative gives students a voice with hip-hop Rachel Sauer Thu, 04/10/2025 - 09:39

Cody DeBos

Founded by a collaborative including 91�� scholars, the Lyripeutics Storytelling Project aims to empower Black and Brown youth through the medium of hip-hop

A Manual High School student sits behind a microphone, headphones on. Their world outside—which sometimes holds uncertainty, systemic barriers and institutional indifference but also encompasses the rich musical and cultural heritage of Denver’s Five Points neighborhood—fades away for a moment as a beat drops. As the student leans in, the cadence of hip-hop becomes an outlet to speak their truth.

For many Black and Brown youth in the greater Denver area, the Lyripeutics Storytelling Project is more than a way to express their creativity. It’s survival.

That’s why the artists and educators behind the project are battling to keep the space alive.

Shawn O'Neal (left), an assistant teaching professor of ethnic studies, and Kalonji Nzinga (right), an assistant professor of education, are co-directors of Lyripeutics.

“We’re trying to provide these platforms of learning that we think Black and Brown students in particular really resonate with,” says Kalonji Nzinga, a 91�� assistant professor of education and Lyripeutics co-director. “In a way, we’re just building upon the history of creating learning environments based in a cultural reference point, based in our ways of knowing.”

Through storytelling and music production, young people in the Lyripeutics program gain an opportunity to share stories of their unique cultural wealth. But while the program has been a source of empowerment for many, it also faces funding struggles and systemic resistance.

What is Lyripeutics?

Founded by a collective of 91�� scholars, artists, educators and community organizers, Lyripeutics’ mission is to empower Black and Brown youth through a medium many connect with—hip-hop. The program is embedded in schools in the greater Denver area and aims to offer alternative learning environments for students who find themselves overlooked in traditional education systems.

“We don’t all learn the same, yet we have this system of education that’s been around for hundreds of years and is really geared for only one very particular type of student,” says Shawn O’Neal, an assistant teaching professor in the 91�� Department of Ethnic Studies and Lyripeutics’ founding member and co-director.

“It’s just not working for us. For many students. It hasn’t worked,” he adds.

Rather than using the traditional education system’s philosophy of rigid structure and standardization, the Lyripeutics program operates through collaboration and an evolving process in which students, teachers and artists co-create learning spaces.

“A typical day can look quite different depending on whether we have a producer leading the session or a lecturer on hip-hop history, or an actual MC helping create space for youth to do storytelling,” O’Neal says.

Students can also create and produce their own music in the state-of-the-art hip-hop studio adjacent to the Manual High School library in Denver.

“We collaborate with other hip-hop artists across the Denver area to develop the programming and to do the instruction,” Nzinga says.

At its heart, the program is about creative expression.

“We’re even working with students on exercises like field recordings of their environments and recording their neighborhoods and creating tracks and experiences out of those,” O’Neal adds.

Building confidence, one verse at a time

Through storytelling and music production, young people in the Lyripeutics program gain an opportunity to share stories of their unique cultural wealth. (Photo: iStock)

Those behind the Lyripeutics program know education isn’t just about what happens in the classroom, but what happens when students see their own voices amplified in the real world.

Recently, one group of high school students visited the 91�� campus to play original tracks on the university’s radio station.

“The folks who run the radio station were just blown away,” says O’Neal. “It was an enriching experience for everyone involved.”

“We believe that doing work related to the social context, the cultural movement that is hip-hop, allows young people to really express their story from their perspective,” adds Nzinga.

For many of the youth involved, the program is much more than an extracurricular activity; for some, it’s the first time they’ve been given tools, encouragement and a platform to tell their stories, O’Neal says.

“When we get to engage with the students, it’s normally within a place of creativity and joy. We aren’t there for a lot of the day-to-day things I know they’re going through, but we see and hear the expression of their frustrations and the various roadblocks they’re up against through their music and their performance,” O’Neal says.

Fighting to keep the mic on

For all its successes, Lyripeutics faces a current reality: Programs focused on BIPOC youth, particularly those challenging traditional educational models, are under an intense microscope.

“We are at this moment receiving so much resistance from multiple levels,” Nzinga says. “From previous and future funding situations to different regulations at the state and district level—it’s extremely frustrating.”

Despite widespread recognition of the program’s impact, Nzinga and his colleagues cite an uphill battle to secure funding. While institutions like 91��’s Renée Crown Wellness Institute have provided crucial support, securing consistent financial backing remains a struggle.

But the pushback isn’t just about money. Nzinga and O’Neal attribute much of the resistance to a larger national trend of rolling back diversity, equity and inclusion (DEI) initiatives, making it harder for programs like Lyripeutics to operate freely.

“We claim we want this type of programming for students that they need, yet we have to fight tooth and nail just to get a dollar, when we see so much money funneled into things that seem to be the antithesis of community building,” O’Neal observes.

“We believe that doing work related to the social context, the cultural movement that is hip-hop, allows young people to really express their story from their perspective.”

The most devastating consequence? Students who should be at the center of the conversation lose access to much-needed programming, and their voices are silenced—sometimes literally. Despite receiving parental consent, Lyripeutics has faced institutional roadblocks when trying to bring student voices into larger discussions about the program’s success.

“We would really prefer to have those students speaking for themselves,” O’Neal says, “But we’re not even at liberty to say many of the things we want to say.”

O’Neal and Nzinga also know Lyripeutics isn’t the only program fighting this battle. It’s part of a system of community-led education that refuses to be erased.

Nzinga says, “Our program isn’t the only one facing these types of pushback.”

“A lot of times these resistance movements try to separate us. They make us feel like we’re alone in doing this work, but we aren’t,” he adds.

When asked how outsiders can support the Lyripeutics program, Nzinga and O’Neal didn’t point to a single solution. They emphasized the importance of solidarity, awareness and amplifying voices.

“I think parents and community leaders voicing their opinions about any of the positive effects our programming has had would help,” O’Neal says.

The road ahead isn’t easy. Yet, despite the challenges, Lyripeutics will be there to keep a beat playing and a mic on for its students, ensuring the next generation of storytellers and leaders will have their voices heard.

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Founded by a collaborative including 91�� scholars, the Lyripeutics Storytelling Project aims to empower Black and Brown youth through the medium of hip-hop.

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Financial wellness despite the current chaos?

Rachel Sauer — Mon, 07 Apr 2025 22:47:57 +0000

Financial wellness despite the current chaos? Rachel Sauer Mon, 04/07/2025 - 16:47

Expert to discuss letting money work for you in April 15 workshop

A 91�� finance expert will discuss financial independence this month during a Let’s CU Well presentation.

Let's CU Well

What: Let's CU Well: Financial freedom and happiness: Don't work for your money, learn how to make your money work for you, with Diane Hirschhorn

When: 1 p.m., Tuesday, April 15

Where: Zoom, registration is required.

Who: Diane Hirschhorn is a lecturer of finance in the Leeds School of Business and a wealth manager.

The College of Arts and Sciences event, titled “Financial Wellness with Diane Hirschhorn,” is scheduled for 1 p.m. April 15 via Zoom. Attendance is free, but registration is required at this link.

The presentation is designed to inspire and empower CU students, staff and faculty and community members on their journey to financial independence.

Led by Diane Hirschhorn, a wealth manager and lecturer of finance at the Leeds School of Business, this hour-long session will revisit powerful strategies to optimize savings and earn more with what you have. Hirschhorn will also discuss the current market swings.

This workshop will approach wellness through a financial lens and aims to help participants feel more secure within the changing financial landscape. The workshop is for informational purposes only and does not constitute financial advice.

The workshop will be moderated by Erin Cunningham, director of employee wellness and engagement in the College of Arts and Sciences.

The event is presented by the college’s Office for Access and Community Engagement. It is co-presented by the college’s wellness initiative, called Be Well. Let’s CU Well is that initiative’s regular series of expert presentations.

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Expert to discuss letting money work for you in April 15 workshop.

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CU prof fighting to keep Latin classes alive through video storytelling

Rachel Sauer — Tue, 01 Apr 2025 15:51:17 +0000

CU prof fighting to keep Latin classes alive through video storytelling Rachel Sauer Tue, 04/01/2025 - 09:51

Cody DeBos

For Reina Callier, learning Latin ‘is like lifting weights for your brain’

When a student in one of Reina Callier’s Latin classes said, “I came for the language, I stayed for the vibes,” she laughed, but the phrase stuck with her.

It captured something essential about Latin classrooms. Beyond conjugations and declensions, they offer students a haven for community, curiosity and a shared passion for the ancient world.

In recent years, though, that community has been shrinking.

Reina Callier, a 91�� teaching assistant professor of classics, notes that “Latin survives because people love it. And as long as we keep sharing that love, it’s not going anywhere.”

“Enrollment in Latin classes, especially at the secondary level, has largely been declining,” Callier explains. “During COVID, Latin classes were seen as non-essential, so they lost a lot of students. And they’ve been having a hard time bringing the numbers back up.”

For Callier, a teaching assistant professor of classics and the Latin Program Coordinator at the 91��, this trend is more than an academic concern.

She wasn’t alone in her worries. In response to falling enrollment rates, the Colorado Classics Association (CCA) formed a committee dedicated to promoting interest in Latin classes.

The solution? A project that would convey the benefits of learning Latin to students in their own words.

A language in decline

Across the country, Latin programs have struggled to justify their existence in an education system increasingly focused on STEM fields and workforce development. In some districts, administrators have proposed cutting Latin entirely, forcing teachers and students to fight for their programs.

In collaboration with the CCA and local high school educators, Callier helped spearhead You Belong in Latin, a video project designed to remind high school students why Latin is worth learning.

“We finally came up with the idea for a video, because it’s something you can share easily. It’s more entertaining than just looking at a brochure that says, ‘Here’s why Latin is a good thing to take,’” Callier says.

The project quickly took shape as teachers across Colorado filmed interviews with their students, capturing firsthand accounts of what Latin means to them. They also collected footage of classrooms filled with laughter, animated discussions and moments of discovery.

“One of the things we noticed is that once students get into Latin class, they really love it,” Callier says. “You just have to get them in the door.”

The team secured a grant to bring the project to life, which allowed them to hire a former 91�� student who majored in film—and took several semesters of Latin with Callier—to professionally edit the videos.

Over the course of a year, the raw footage was transformed into a compelling series of short videos, each emphasizing a unique aspect of the Latin classroom experience.

Now available on YouTube, the You Belong in Latin videos are a vital resource for teachers, students and parents to share.

Latin is for everyone

A central theme of You Belong in Latin is the tight-knit community formed in Latin classrooms. Unlike more popular language programs, Latin classes tend to be small, allowing students to form deeper relationships with their peers and instructors.

“At 91��, if you take Latin, aside from the first semester where there are two sections of Latin I, after that, everybody’s in the same class together,” Callier explains. “You continue to see the same instructors in the department as well. So you get to know them, and you get to know your peers in a way that’s not really very common at the college level.”

The same holds true in high schools, where Latin students often stay in one cohort across multiple years and gain a sense of unity and belonging.

The videos also seek to challenge the misconception that Latin is elitist—a subject reserved for Ivy League prep schools and aspiring academics.

“Latin actually isn’t elitist. Everybody’s starting from the same level when they walk into Latin class. There’s no barrier, and everybody can benefit from it in various ways,” Callier says.

And while Latin’s reputation as a “dead language” often turns students away, Callier argues that its benefits are very much alive. Latin gives students a foundation for English vocabulary, enhances their analytical skills and prepares them for careers in law, medicine and the sciences, she says, adding that it also provides direct access to Latin texts, “which is immensely beneficial to anyone who is enthusiastic about Roman literature or history.

“Latin actually isn’t elitist. Everybody’s starting from the same level when they walk into Latin class. There’s no barrier, and everybody can benefit from it in various ways.”

“Learning Latin is like weightlifting for your brain,” she says with a smile.

Keeping the momentum going

Now that the You Belong in Latin videos have been published, Callier is working to spread the word.

“We have been sharing our Colorado Classics Association YouTube channel with educators from around the country who are looking for different ways to promote Latin,” she says.

Feedback on the project has been encouraging for Latin educators who rarely receive recognition for their efforts.

“What we are doing as Latin educators is something that is really having an impact,” Callier says. “Students are getting a lot out of Latin in various ways, and they’re really appreciating what we bring to the table.”

At its heart, this project isn’t just about keeping Latin alive but also celebrating what makes it special. As Callier and her colleagues know, the language is only the beginning. The real magic comes from the people who learn and teach it.

Callier says, “Latin survives because people love it. And as long as we keep sharing that love, it’s not going anywhere.”

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For Reina Callier, learning Latin ‘is like lifting weights for your brain.'

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Patty Limerick and George Orwell merge to celebrate anniversaries

Rachel Sauer — Tue, 18 Mar 2025 15:17:07 +0000

Patty Limerick and George Orwell merge to celebrate anniversaries Rachel Sauer Tue, 03/18/2025 - 09:17

Daniel Long

The historian loaned her voice to the author in the summer of 2024 to commemorate her 40th year in 91�� and the 75th anniversary of 1984

It was a hot summer evening in June of 2024, in a barn on the east side of 91��, Colorado. On a low stage blanketed with a small, thin rug, two empty chairs sat facing each other, and between them, tall and menacing against the black backdrop, stood a red banner with “1984” written on it.

A large gray eye gazed out upon the audience from the center of that banner, lidless and all-seeing, an icon of surveillance.

Big Brother, it seemed, was watching, and he likely disapproved of what he saw.

91�� Professor Patty Limerick embodied 1984 author George Orwell in several public conversation, guided by the belief that “historians are people who try to reactivate the voices of the departed.”

His creator and harshest critic, George Orwell (born Eric Arthur Blair), had returned from the dead to discuss his life and work nearly 75 years after succumbing to tuberculosis at the age of 46 on Jan. 21, 1950, seven months following the publication of his most famous novel, 1984, the nightmare-vision that gave the world Room 101, memory holes, Newspeak and doublethink.

It would be the first of two public conversations he’d have over the summer, this one with TV show host Aaron Harber and the second with scholar, author and educator Clay Jenkinson.

Harber took the stage and faced the humble gathering of spectators. “I would like to introduce to you George Orwell,” he said.

Applause mounted in the sweltering barn as the author of Animal Farm, Road to Wigan Pier and numerous essays ambled down the aisle dividing the crowd and stepped up to meet Harber, dressed sharply but unseasonably in a jacket, trousers, tie and hat . . .

. . . and bearing a remarkable resemblance to 91�� history professor Patty Limerick.

Why channel Orwell?

“Tragedy . . . belonged to the ancient time, to a time when there was still privacy, love, and friendship, and when the members of a family stood by one another without needing to know the reason.”
—George Orwell, 1984

The year 2024 marked Limerick’s 40th in 91��, which is another way of saying she moved there in 1984. She wanted to celebrate, but how?

“Then I thought, ‘Yes, 1984—when was that published?’ I thought I knew, but I didn't. And when I checked, it was the 75th anniversary.”

This convergence of round numbers gave Limerick an idea: Maybe she could observe both anniversaries together, with the same event, as only a historian would.

Her initial thought was to ask her friend Jenkinson to don Orwell’s persona while she interviewed him. Having impersonated many historical figures—Thomas Jefferson, Theodore Roosevelt and J. Robert Oppenheimer, among others—for a variety of audiences, including Supreme Court justices and U.S. Congress, he seemed the natural choice.

But Jenkinson didn’t have sufficient time to prepare for the role, which left Limerick wondering: Could she do the impersonation herself?

She’d impersonated President Richard Nixon in her American History survey course several years prior, thinking this would prove more engaging than her usual lecture on the man. “The lecture on Richard Nixon was so useless because I, as a person of my age group, have a lot of feelings about Nixon,” Limerick says. “The lecture would be quite interesting if you were curious about my feelings about Nixon, but if you thought you might want to learn about Richard Nixon, you came to the wrong place.”

Even without the standard accoutrements—makeup, clothing, five o’clock shadow—Limerick’s impersonation of the 37th president did the trick, she says. Her students asked thoughtful questions, and she got the chance to put some flesh and sinew on the bones of her Nixonian knowledge.

“I certainly conveyed some moments in which Nixon was insufferably full of questionable convictions, but I also . . . conveyed his accomplishments,” such as “the lessening of tensions with China and the signing of crucial environmental laws,” she recalls. “I feel I got it right.”

So, why not impersonate Orwell? Why not lend him her voice as she had Nixon?

Why not indeed. After all, Limerick says, “historians are people who try to reactivate the voices of the departed.”

Guaranteed tyranny

“Don’t you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it.”
—George Orwell, 1984

One of 1984’s most famous innovations is Newspeak, a language Orwell constructed to represent the nation-state of Oceania’s drive to control not just its citizens’ behavior but also what went on in their heads.

Patty Limerick (left), a 91�� historian, embodied George Orwell during a televised conversation with Aaron Harber. (Screen grab: PBS)

“The purpose of Newspeak was not only to provide a medium of expression for the world-view and mental habits proper to the devotees of Ingsoc (English socialism), but to make all other modes of thought impossible,” Orwell says in his appendix to 1984, “The Principles of Newspeak.”

“It was intended that when Newspeak had been adopted once and for all and Oldspeak forgotten, a heretical thought—that is, a thought diverging from the principles of Ingsoc—should be literally unthinkable, at least so far as thought is dependent on words.”

“Newspeak,” says Limerick, “is the foundation of guaranteed tyranny. You don’t let people have the words that they need. What became of justice? What became of freedom? What became of honor? They can’t ask those questions if they don’t have those words. People can’t resist if they don’t have the word ‘resist.’”

Orwell held strong views about the relationship between word and thought. He famously criticized nebulous prose in his essay “Politics and the English Language” by arguing that fuzzy writing both emerges from and leads to fuzzy thinking.

Decades later, not fully realizing her indebtedness to Orwell, Limerick made a similar case in her essay “Dancing with Professors,” though she approached the issue from an educational rather than a political angle. Yet both agreed that the stakes of clarity are high: freedom of thought for Orwell, the legitimacy and survival of academia for Limerick.

But what about some of the words that appear in the media these days—words like “mistruths” in place of “lies”? Would Orwell consider these examples of Newspeak?

Not necessarily, Limerick argues. For one thing, these words, wooly as they may be, add to the English language, creating new shades of meaning, while Newspeak feeds on subtraction.

“Do you know that Newspeak is the only language in the world whose vocabulary gets smaller every year?” the Newspeak enthusiast Syme asks of 1984’s protagonist, Winston Smith. “Every year fewer and fewer words, and the range of consciousness always a little smaller.”

For another thing, a word like “mistruth,” says Limerick, is often used not by the powerful to maintain their power but by media outlets that are trying to report on falsehoods without using incendiary words like “lie” or “liar.”

“If you're going to call the leader of the United States a liar repeatedly, and his supporters are not gentle and forgiving people, you’re going to spend much of your conscious life wondering how you’re going to cope with the consequences of your having said he’s lying.”

Newspeak does not deal in such subtleties, Limerick believes. Newspeak is where subtlety goes to die.

Two plus two equals five

“You are a slow learner, Winston,” said O’Brien gently.
“How can I help it?” (Winston) blubbered. “How can I help seeing what is in front of my eyes? Two and two are four.”
“Sometimes, Winston. Sometimes they are five. Sometimes they are three. Sometimes they are all of them at once. You must try harder. It is not easy to become sane.”
—George Orwell, 1984

Another of Orwell’s stickier inventions in 1984 is doublethink, or the capacity to believe two logically opposed things at once—things like war is peace, freedom is slavery and ignorance is strength.

“Doublethink is the power of tyrants to say contradictory things and not be held responsible for the disparities,” Limerick explains. “It is really bad, and really dangerous, and really perilous.”

Winston discovers how perilous when he’s interrogated by O’Brien, a character he assumes is a friend but who turns out to be a member of the Thought Police tasked with rooting out thought-criminals. After learning of Winston’s secret opposition to Ingsoc, O’Brien tortures him relentlessly to convert him back into doublethink, arguing that it “is impossible to see reality except by looking through the eyes of the Party.”

Yet Limerick points out that it is important not to mistake the direct contradictions of doublethink in 1984 with the paradoxes of real life.

Take historical figures, for example. The more one learns about them, says Limerick, the more complex they become, to the point that they may force students of history to hold seemingly contradictory thoughts when appraising them.

This happened to Limerick herself with William Stewart, senator of Nevada from 1865-75.

“Environmental activists and historians hold Stewart in contempt because he was the guy who wrote the 1872 mining law, which enshrines the notion that individuals can just go out and make mining claims and owe nothing in the way of revenue to the government,” she says.

Yet Stewart also proved crucial to getting the Fifteenth Amendment passed in 1870, which granted African American men the right to vote—an accomplishment Limerick urges everyone to admire.

Evidence sometimes demands conflicting feelings, Limerick says. Villains can do heroic things, and heroes can do villainous things, including Orwell. The great champion of free thought also expressed complicated, often inconsistent views about women, Jews and Catholicism. He wasn’t perfect, and any estimation that claimed he was would be flat. Posterity can both praise and blame him simultaneously—paradoxical, but true.

But that doesn’t mean two plus two will ever equal five.

Orwell’s lingering relevance

“We are the dead. Our only true life is in the future. We shall take part in it as handfuls of dust and splinters of bone. But how far away that future may be, there is no knowing.”
—George Orwell, 1984

The conversation between Jenkinson and Limerick’s Orwell, organized by the Vail Symposium, took place on Aug. 21, 2024, at the Donovan Pavilion in Vail. That night, the two engaged in an often funny and frequently tetchy back-and-forth about Orwell’s childhood, his views on socialism and his enduring legacy.

“Doublethink is the power of tyrants to say contradictory things and not be held responsible for the disparities. It is really bad, and really dangerous, and really perilous,” argues historian Patty Limerick.

When, about three-quarters of the way through the discussion, Jenkinson revealed he was wearing a 1984 T-shirt, Orwell stared at it, nonplussed, and asked, “My understanding from that shirt is that my name and that book are still recognizable?”

“Universally!” Jenkinson proclaimed. “One of the most recognizable books written in English and certainly one of the most recognizable books of the 20th century. And it has become extremely important again in the last dozen years or so because the world is having a strange flirtation with authoritarianism, and one of the ways that people have coped with this abroad and at home . . . is to go back to your book. And they find solace in it, they find warning in it, they find hope in it, and they find discouragement in it, but it is a key text as people try to sort our way through this extraordinarily difficult time in modern history.”

A long silence followed while Orwell gathered his thoughts.

“I’m having such mixed feelings,” he admitted to Jenkinson. “I hoped that what I wrote about (in 1984) would become mocked, humorous. ‘He thought these terrible things were going to happen. Nothing like that happened! Boy, did he get that wrong!’

“As an author, I am gratified knowing that (1984) went on and on,” he added. “(But) as a human being who welcomed a child (his adopted son Richard Blair) into the world, I’m not anything but shaken to believe that this book is still so relevant.”

Yet Orwell’s distress turned to horror when Jenkinson delivered the worst news of the night: the definition of the word “Orwellian.”

“When we say ‘Orwellian,’” Jenkinson said, “we mean surveillance, torture, discrimination, disappearances, propaganda, lies, permanent war, keeping the class system, keeping down the poor … ‘Orwellian’ is a dystopian word for us meaning a nightmare world.”

Orwell winced at this revelation. “The things I tried to prevent, the things I tried to warn people about, they associate with me?” he railed. “Change that word!”

Jenkinson held out his hands, welcoming Orwell’s ideas. “What would you prefer?”

Orwell offered two alternative definitions: one about intellectual openness and diversity, the other about the necessity of precise language.

But a third definition, one governed not by foreboding or criticism but by a zeal for life and all it contained, can be culled from the beginning of Orwell and Jenkinson’s talk.

“If you think . . . that I wrote 1984 when I knew I was dying, and knew that this would be my last book, and that the grimness of this book comes from the melancholy and despair of a dying man, you have that wrong,” Orwell said. “I lived with a commitment to being alive that never, never faltered.”

Perhaps the only thing comparable to Orwell’s commitment to being alive is Limerick’s commitment to keeping him alive—or, if not him, at least his memory. He won’t be memory-holed on her watch.

“I hate it so much that he died when he did, just a few months after 1984 came out, and that he was so sick and so frail while he was writing it,” she says. “I wanted to do anything I could to provide people today with an interlude where he was speaking.”

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The historian loaned her voice to the author in the summer of 2024 to commemorate her 40th year in 91�� and the 75th anniversary of '1984.'

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Top illustration: Márton Kapoli

‘My role is to remind you that we are all humans’

Rachel Sauer — Tue, 11 Mar 2025 14:37:12 +0000

‘My role is to remind you that we are all humans’ Rachel Sauer Tue, 03/11/2025 - 08:37

Collette Mace

In a community discussion March 4, Buffs One Read author Javier Zamora shared his immigration story, emphasizing the importance of representation

El Cadejo is a spirit figure in Central American folklore that takes the shape of a dog and can either help or harm travelers depending on whether their Cadejo is good or bad.

Salvadoran author and poet Javier Zamora sees his Cadejo as an embodiment of his ancestors, protecting and sheltering him through his arduous childhood immigration journey. He credits those who came before him with his survival against the odds.

Zamora shared this and other perspectives March 4 during the CU Buffs One Read author discussion. This academic year, the program chose Zamora’s memoir, Solito, as its Common Read selection.

Javier Zamora (left, with microphone) discussed his memoir, Solito, during a community event March 4 for the Buffs One Read program. (Photo: Collette Mace)

Solito details Zamora’s experience as a child immigrating from El Salvador to the United States, a journey that took him over land and sea, through dense urban settings and desolate deserts. In the memoir, he tells the story of his journey through his 9-year-old self’s eyes—a story that encapsulates the themes of courage that the Buffs One Read program aimed to highlight.

Zamora began the program by answering a few questions about his first book of poems, Unaccompanied, published in 2017. Addressing the book’s tone of urgency, Zamora noted that the purpose of this book was mainly to answer the question, “Why am I here?” Written right before the 2016 U.S. presidential election, he said he knew immigration was heavy on the minds of the nation, and he felt it was urgent to tell his story about migration, as well as his parents’ stories.

His family, part of the 2% of Salvadoran immigrants granted refugee status by the U.S. government, didn’t discuss with Zamora why they left El Salvador until he was much older. He recalled learning about his country through the ominous, ever-present headlines about the violence and cartel wars raging there.

The images of Salvadoran migrants were mostly “unaccompanied minors,” something Zamora both identified with and rebelled against, knowing that there was more to the migrants’ stories than what was being shown on the news.

This was partially why Solito had such a heavy change in tone, he said. He wanted to show the journey the way he experienced it as a boy—exploring the confusion, half-truths and even pockets of joy that he experienced on the journey. This was something that he only felt capable of doing after he had been employed at Harvard as a fellow, he said.

“Time is a privilege,” he said, adding that he recognized that the benefits his higher education, and thus employment, gave him the ability to process his childhood trauma enough to write his memoir well and authentically.

He credits therapy with his success in this and remarked that therapy is a lifelong journey from which everyone could benefit. Through his therapy, Zamora said he was able to explore his feelings about the “unaccompanied minor” stereotype associated with Salvadoran migration—imagery that was widely circulated around the United States in the early 2000s of El Salvadoran parents sending their children across the border unaccompanied, which furthered racism and anti-immigration rhetoric by painting Salvadoran parents as irresponsible. He questioned where he fit into that narrative and how to reckon with the overwhelming sense of survivor’s guilt that he still feels to this day.

His way of coping with the questions “Why me? Why did I survive when so many did not?” is through traditional Salvadoran folklore, which he mentions frequently in the memoir in the form of the spirit El Cadejo.

Feeling safe

Zamora also discussed his experience after migrating to the United States, specifically in schools. He said that he experienced bullying even in his predominantly immigrant community and oftentimes used “assimilation as a coping mechanism.” He tried to turn himself into an “American-born Salvadoran” to fit in, he said, by doing things like only speaking English and not having a strong attachment to El Salvador, and didn’t fully embrace his identity as an immigrant until much later in life, after years of therapy.

"Everyone should be allowed to exist as humans. Not just the children and not just the ‘good students,’ but everyone. My role is to remind you that we are all humans."

It wasn’t until late high school that he even considered writing poetry, he said. He recalled how looking up “Salvadoran poets” and seeing that representation was the catalyst for his interest in writing: “All of the sudden,” he said, “writing was something I could do, if I wanted to.”

He said that one of the most important discoveries he made within Salvadoran poetry was the coexistence of Spanish and English on the page, a reflection of how his parents and grandparents spoke, as well as English and academic language. “Representation fuscking matters,” he said.

One theme that Zamora strongly emphasized was the importance of teachers in the American school system, who make young immigrants feel a little bit safer. He mentioned how important it is for teachers to signal to students that they are safe. Even something as simple as speaking to him in Spanish was enough to signal to a young Zamora that his teachers were trustworthy; even if he chose not to talk with them about his trauma and experiences, he knew that he could, and that was what was important, he said.

Especially in a time where immigrants and children of immigrants may feel unsafe in school settings, he added, signaling to students that their teachers are there for them and that they are all on the same team is critical in making sure that children feel supported in the education system.

Explaining what he wanted people to take away from the Buffs One Read discussion, and from Solito as a whole, Zamora said, “Everyone should be allowed to exist as humans. Not just the children and not just the ‘good students,’ but everyone. My role is to remind you that we are all humans.”

He said he wanted the audience Tuesday to leave the conversation with the knowledge that borders and citizenship are new concepts and that being human is what binds us together: “We need to remember the past as actively as we are trying to erase it.”

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In a community discussion March 4, Buffs One Read author Javier Zamora shared his immigration story, emphasizing the importance of representation.

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Creating an inclusive and future-focused Hellems

Rachel Sauer — Tue, 04 Feb 2025 20:44:49 +0000

Creating an inclusive and future-focused Hellems Rachel Sauer Tue, 02/04/2025 - 13:44

Supporters revivify not just the building but also what it fosters and represents

John and Karen McLaren didn’t meet in Hellems—they met in a women’s studies class held in Ketchum—but their son William met his fiancée there.

So, as a family they well understand that a university education extends far beyond successive semesters of classes. It’s also a collection of experiences—bright beads on a string that grow, one after another, into something complete and beautiful.

Where those experiences happen is an important part of them, both in the moment and recalled in memory years later. For the 85% of 91�� undergraduate students who will have taken a class in Hellems Arts and Sciences Building by the time they graduate, the place is a part of the story.

91�� alumnus Michael Klump (right), with College of Arts and Sciences Interim Dean Daryl Maeda, gave $2 million to the Hellems Fund for Collective Belonging and the Hellems Fund for Fostering Success. “I owe a lot of my success to attending the University of Colorado, where I had the privilege of meeting inspiring individuals and forming lifelong connections across the country,” says Klump. “These experiences have deeply motivated me to give back and set an example.”

“It’s the center of campus,” says Karen McLaren, explaining what inspired her and John, in part, to donate to the ongoing Hellems renovation. While their names will be on a plaque at the entrance of a conference room in honor of their donation, they see it as not only supporting the physical place—the walls and tables and teaching technology—but the broader idea of experience.

Hellems, then, is more than a building; it is also a symbol, one that heralds the liberal arts, signifies a common student experience and fosters student success. In that vein, supporters like the McLarens buttress two funds that advance these ends: the Hellems Fund for Collective Belonging and the Hellems Fund for Fostering Success.

These funds have garnered support. For instance, in addition to his $13 million donation to fund the Michael A. Klump Center for Real Estate, Klump gave $2 million to the Hellems Fund for Collective Belonging and the Hellems Fund for Fostering Success.

The Hellems Fund for Collective Belonging will provide resources for student mental health and well-being, which inspired Klump to include Hellems as part of his recent $15 million gift to 91��. His gift of $2 million to name the Hellems south courtyard will help students find support groups through the Hellems Fund for Collective Belonging. “I owe a lot of my success to attending the University of Colorado, where I had the privilege of meeting inspiring individuals and forming lifelong connections across the country,” says Klump. “These experiences have deeply motivated me to give back and set an example.”

Hellems is “one of the most significant contributors to the student experience at 91��,” notes designer David Keltner of Hacker Architects, which is working with 91�� to reimagine Hellems for today and tomorrow. “As such, it is not only one of the most commonly held experiences of the university; it also plays a role in creating those critical first impressions of collegiate life for incoming freshmen.”

Hellems also is the heart of the College of Arts and Sciences and home not only of the beloved Mary Rippon Theatre, but the Colorado Shakespeare Festival—a renowned nexus between the university and the community beyond its borders.

Construction on the 95,000-square-foot building is expected to be complete in 2025. The process of re-envisioning Hellems has been guided not only by administrative, faculty and staff input, but by guidance from students. They suggested not only practical improvements to accessibility, study spaces, classrooms and lighting, but creating spaces of gathering and belonging.

Reimagining Hellems has been a process of not only honoring its more than 100-year history and preserving the integrity of the building but also recreating it as a 21st-century space.

The redesign seeks LEED for New Construction Version 4 Gold Certification as well as reduced energy consumption, aligning with campuswide sustainability goals and aligning with college priorities

A reimagined Hellems will create opportunities for students to gather, linger, connect and succeed in their arts and sciences home on campus. It will be a place for everyone—accessible and inviting, a key part of the college experience.

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Supporters revivify not just the building but also what it fosters and represents.

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Black History Month celebration emphasizes building the ‘beloved community’

Rachel Sauer — Mon, 03 Feb 2025 22:07:13 +0000

Black History Month celebration emphasizes building the ‘beloved community’ Rachel Sauer Mon, 02/03/2025 - 15:07

Rachel Sauer

While speakers acknowledged the change and uncertainty of the moment, they encouraged hope and the importance of continuing to work toward justice

The afternoon began with a karibu, the Swahili word for “welcome”—not just to the Glenn Miller Ballroom or the 91�� campus, but to the beloved community “where everybody is included and nobody is excluded,” said Reiland Rabaka, founder and director of the Center for African and African American Studies (CAAAS), in opening the CAAAS Day Black History Month celebration Saturday afternoon.

The celebration came, as several of the speakers acknowledged, during a time of great change, when many are feeling the anxiety that often accompanies uncertainty.

CU President Todd Saliman (left) and Reiland Rabaka, Center for African and African American Studies founder and director, emphasized the importance of compassion in the present moment.

“I have spent many decades watching progress and regress,” said 91�� Chancellor Justin Schwartz. “We seem to step forward and then back and then forward again.”

In emphasizing the Rev. Dr. Martin Luther King Jr.’s observation that, “The arc of the moral universe is long, but it bends toward justice,” Schwartz noted that the arc “is not smooth like a rainbow,” but rough and jagged. “The arc does not bend on its own, people bend the arc. Collectively, we bend the arc toward justice.”

Todd Saliman, president of the University of Colorado, told those in attendance that “we are not changing anything until we are required to do so by a lawful order. We’ll keep our eye on the ball and continue to do our work. At this point, there’s very little we’ve been required to do lawfully.”

Saliman added that the University of Colorado remains committed to all of Colorado and encouraged people to “approach each other with compassion right now.”

CU Regent Wanda James, the second Black woman and third Black regent in the history of CU, was forceful in pointing out the lack of Black leadership within the CU system, while Annett James, president of the NAACP of 91�� County, emphasized the importance of accurately told history during Black History Month.

“History must be approached as a discipline rooted in fact,” James said, “not interpreted by those who wrote it.”

91�� Mayor Aaron Brockett, while acknowledging the “struggle, setback and oppression” in 91��’s history, said that “in the days and years to come, we will continue to build the beloved community here in 91��.”

Carrying the theme of building the beloved community, Rabaka emphasized that “we are going to keep doing this and we shall not be moved.”

Nandi Pointer (right), a PhD student in the College of Media, Communication and Information, performs with her brother, Shegun Pointer.

CU Regent Wanda James (center, black baseball cap) observed that "this is a deep Black History Month for us for a lot of reasons."

91�� Chancellor Justin Schwartz emphasized that the "arc (of the moral universe) does not bend on its own, people bend the arc."

Denver musician Enmanuel Alexander performs at the CAAAS Day Black History Month celebration.

Reiland Rabaka, a 91�� professor of ethnic studies, said that in the work of building the beloved community, "we are going to keep doing this and we shall not be moved.”

Angel Anderson (left) and Tyreis Hunt (white shirt), both MFA students in the 91�� Department of Theatre and Dance, and Constance Harris, an MFA graduate from the department, perform with Parris Fleming (on trumpet).

Denver musician Parris Fleming (left, on trumpet) performed with (left to right) Tyreis Hunt, Constance Harris and Angel Anderson; Hunt and Anderson are MFA students in the 91�� Department of Theatre and Dance, and Harris is an MFA graduate from the department.

While speakers acknowledged the change and uncertainty of the moment, they encouraged hope and the importance of continuing to work toward justice.

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