Women Making History – Dr. Sybil Jordan Hampton

Dr. Sybil Jordan Hampton made history as the first African American student to attend each high school year at and graduate from Little Rock Central High School.  But her impact on history exceeds that and extends into classrooms throughout Arkansas.

After a career which took her from elementary classrooms to corporate boardrooms, Dr. Hampton returned to Little Rock in 1996 to become the President of the Winthrop Rockefeller Foundation.  In that capacity, she oversaw many opportunities to broaden the ways the arts and humanities were used in classrooms and outside of classrooms.  Dr. Hampton led the WRF until her retirement in 2006.  Through her vision and leadership, many tens of thousands of dollars of support went to cultural institutions and organizations during her decade at the helm.

In the mid-2000s, following the unexpected death of the Arkansas Symphony Orchestra’s executive director, Dr. Hampton served as acting executive director of the ASO while a national search could be conducted.  She had long been a supporter of the ASO and other cultural institutions as a patron.

During the Central High Integration 60th Anniversary, Dr. Hampton served as emcee of the Commemoration Ceremony.  A few months later, she received one of the LRCH Tiger Foundation’s first Award of Excellence. She has also been honored by inclusion in the Arkansas Civil Rights Heritage Trail and the Arkansas Black Hall of Fame.

She continues to be involved with Little Rock’s cultural life through her involvement in the Mount Holly Cemetery Association. She is a tireless advocate for this living museum of Little Rock’s past.

Last year, she was was interviewed by The HistoryMakers.  Recently, she was featured at Robinson Center when the public radio program “The Moth” recorded a show there.  L

 

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Women Making History: Anne Bartley

In 1976, Anne Bartley was sworn in as the first director of what was then known as the Department of Arkansas Natural and Cultural Heritage.  In that capacity, she was the first woman to serve in an Arkansas Governor’s cabinet.  She had encouraged Governor David Pryor to propose establishing the department and then had lobbied the Arkansas General Assembly to create it.  (Her oath of office was administered by the first woman on the Arkansas Supreme Court, Justice Elsijane Trimble Roy.)

Since 1968, Bartley had been involved in historic preservation, promotion of the arts, and civic engagement.   In 1979, Bartley was asked to establish a Washington Office for the state of Arkanas.  She later was involved in founding the Threshold Foundation (1981), the Funders’ Committee for Citizen Participation (1983), the Forum Institute for Voter Participation (1986), the Faith and Politics Institute (1991), Vote Now ’92 and ’94, America Coming Together (2004), Democracy Alliance (2004), America Votes (2005), and, currently, the Committee on States.

Some of the boards she has served on have been the New World Foundation, the Winthrop Rockefeller Foundation, and the Rockefeller Family Fund. She is currently on the boards of the Bauman Family Foundation, Rockefeller Philanthropy Advisors, America Votes, and on the Advisory Councils for Project New West and TAI SOPHIA.

31 Days of Arkansas Rep: THE LEGACY PROJECT: IT HAPPENED IN LITTLE ROCK

Since today is Elizabeth Eckford’s birthday, the past Arkansas Rep production that is featured is 2007’s The Legacy Project: It Happened in Little Rock.

Culled from three years of research and over 80 interviews, playwright and director Rajendra Ramoon Maharaj created a multi-faceted play with music that explored stories past and present of Central High’s desegregation and the legacy the events of those years have provided citizens of Little Rock, of Arkansas and of the United States.

The cast featured Destan Owens (playing parallel roles of a 1957 Harlem reporter and a 2007 artist (a stand-in for Maharaj) as well as nine other actors who played multiple roles of diverse ethnicity — from current Central students to the Little Rock Nine, from elected officials to blue-collar workers.  Those actors were J. Bernard Calloway, Mary-Pat Green, Taifa Harris, Shannon Lamb, Vanessa Lemonides, Arthur W. Marks, Gia McGlone, Nick Petrie and Julian Rebolledo.

The creative team included Sybil Roberts Williams (dramaturg), Michael Susko (choreographer and assistant director), Charles Creath (musical director) Steve Hudelson (musician), Mike Nichols (scenic design), Matthew Webb (lighting design), Leslie Bernstein (costume design), M. Jason Pruzin (sound design) and Lynda Kwallek (properties). Producing Artistic Director Bob Hupp and Education Director Leslie Golden were also involved in shepherding the project over the years.

Funding for the production came, in part, from the Winthrop Rockefeller Foundation and the National Endowment for the Arts.

The production ran from September 14 to September 30, 2007, in conjunction with other events commemorating the 50th anniversary.

In 2008, Maharaj directed a play called Little Rock Off Broadway. While a separate piece of drama, it was based on the research he conducted and infused by his experiences creating The Legacy Project: It Happened in Little Rock.

 

LR Women Making History: Dr. Sybil Jordan Hampton

Dr. Sybil Jordan Hampton made history as the first African American student to attend each high school year at and graduate from Little Rock Central High School.  But her impact on history exceeds that and extends into classrooms throughout Arkansas.

After a career which took her from elementary classrooms to corporate boardrooms, Dr. Hampton returned to Little Rock in 1996 to become the President of the Winthrop Rockefeller Foundation.  In that capacity, she oversaw many opportunities to broaden the ways the arts and humanities were used in classrooms and outside of classrooms.  Dr. Hampton led the WRF until her retirement in 2006.  Through her vision and leadership, many tens of thousands of dollars of support went to cultural institutions and organizations during her decade at the helm.

Following the untimely death of the Arkansas Symphony Orchestra’s executive director, Dr. Hampton served as acting executive director of the ASO while a national search could be conducted.  She had long been a supporter of the ASO and other cultural institutions as a patron.

During the Central High Integration 60th Anniversary, Dr. Hampton served as emcee of the Commemoration Ceremony.  She continues to be involved with Little Rock’s cultural life through her involvement in the Mount Holly Cemetery Association. She is a tireless advocate for this living museum of Little Rock’s past.

Central to Creativity – Dr. Sybil Jordan Hampton

Dr. Sybil Jordan Hampton made history as the first African American student to attend each high school year at and graduate from Little Rock Central High School.  But her impact on history exceeds that and extends into classrooms throughout Arkansas.

After a career which took her from elementary classrooms to corporate boardrooms, Dr. Hampton returned to Little Rock in 1996 to become the Executive Director of the Winthrop Rockefeller Foundation.  In that capacity, she oversaw many opportunities to broaden the ways the arts and humanities were used in classrooms and outside of classrooms.  Dr. Hampton led the WRF until her retirement in 2006.  Through her vision and leadership, many tens of thousands of dollars of support went to cultural institutions and organizations during her decade at the helm.

Following the untimely death of the Arkansas Symphony Orchestra’s executive director, Dr. Hampton served as acting executive director of the ASO while a national search could be conducted.  She had long been a supporter of the ASO and other cultural institutions as a patron.

During the Central High Integration 60th Anniversary, Dr. Hampton served as emcee of the Commemoration Ceremony.  She continues to be involved with Little Rock’s cultural life through her involvement in the Mount Holly Cemetery Association. She is a tireless advocate for this living museum of Little Rock’s past.

Women’s History Month – Anne Bartley, first woman to serve in Arkansas Governor’s cabinet

bartley_255x320px_0In 1976, Anne Bartley was sworn in as the first director of what was then known as the Department of Arkansas Natural and Cultural Heritage.  In that capacity, she was the first woman to serve in an Arkansas Governor’s cabinet.  She had encouraged Governor David Pryor to propose establishing the department and then had lobbied the Arkansas General Assembly to create it.  (Her oath of office was administered by the first woman on the Arkansas Supreme Court, Justice Elsijane Trimble Roy.)

Since 1968, Bartley had been involved in historic preservation, promotion of the arts, and civic engagement.   In 1979, Bartley was asked to establish a Washington Office for the state of Arkanas.  She later was involved in founding the Threshold Foundation (1981), the Funders’ Committee for Citizen Participation (1983), the Forum Institute for Voter Participation (1986), the Faith and Politics Institute (1991), Vote Now ’92 and ’94, America Coming Together (2004), Democracy Alliance (2004), America Votes (2005), and, currently, the Committee on States.

Some of the boards she has served on have been the New World Foundation, the Winthrop Rockefeller Foundation, and the Rockefeller Family Fund. She is currently on the boards of the Bauman Family Foundation, Rockefeller Philanthropy Advisors, America Votes, and on the Advisory Councils for Project New West and TAI SOPHIA.

2015 In Memoriam – Susan Purvis

1515 PurvisRemembering Susan Turner Purvis, Artist and Teacher – by Judy Baker Goss

From the bulletin, “A Service of Resurrection and Thanksgiving to God for Susan Turner Purvis:”

In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of love. 

-Marc Chagall

On July 22, there were many reasons that an overflowing crowd filled the sanctuary of Pulaski Heights United Methodist Church to memorialize the radiant life of Susan Turner Purvis. I believe that her large heART was the root of them all. A native of Hope who lived in Little Rock over forty years, Susan’s love deeply touched family, friends, fellow teachers and artists, and students.

Fortunately, I knew Susan for half a century. We met as Hendrix freshmen living in Galloway Hall, where she was the ringleader for fun. Packed three girls to a room, we were the last class to endure Hendrix’s version of orientation “hazing.” When commanded, “Button, Freshman,” we fell to a knee in dresses, one hand touching beanie cap, and sounded off, “Good afternoon, Miss Jones, m’am, I’m freshman Susan Turner from Hope, Arkansas, m’am.”  An “upperclasswoman” told Susan and her roomies to “fly like birds” into the dining hall for supper, but Susan topped that comical idea. Looking adorably innocent, Susan’s impulses were extremely impish. She made bloody bandages from huge gauze pads dripping with red lipstick blood, which they taped to their knees. They boldly flapped in that evening, giggling in front of the astonished crowd! Wherever Susan went, there was laughter, and many anecdotes prove that she never sought sainthood. The blessings she showered on others, however, gave her the aura of cherished guardian angel.

Susan knew she was an artist in college, as I was stepping into theatre, and she always encouraged my dreams. We know this was her nature, too. During her twenty-eight year career as Art Specialist at Gibbs International Studies Magnet School, which she began with no classroom and, rather, one table and a box of Mardi Gras beads, she not only provided excellent art education, but she aligned her efforts with others, enhancing the creative potential of all.  Discovering that a former Gibbs custodian, Eddie Lee Kendrick, was a self-taught artist, she facilitated his joining her for a year at Gibbs and then co-curated a show of his work with the New Orleans Museum of Art and the Arkansas Arts Center. When she worked with a project of the Rockefeller Foundation, UALR and the Japanese-American Museum in Los Angeles dealing with the Japanese-Americans who were relocated during World War II, especially to the Arkansas camps at Jerome and Rowher, she co-wrote curriculum for social studies and art teachers based on those internees’ experiences. Her Gibbs students made a wonderful quilt reflecting their encounters with this curriculum. Susan brought people together to move forward, through art, to greater human understanding.

Her approach to learning always demonstrated curiosity and creativity, making something new from what was at hand. By no accident did her methods produce remarkable results time and again. Her students won many awards, some in the exclusive International Children’s Art Exhibition sponsored by Pentel.  In nineteen of the twenty-six years that Gibbs students’ work was accepted in the Young Arkansas Artists (YAA) exhibition through the Arkansas Arts Center, they won “Best in Class.” In 2015, Susan’s retirement year, two Gibbs group projects won awards. Also beloved by her professional peers, she was twice named Arkansas Elementary Art Educator of the Year and once as Arkansas Art Educator of the Year.

Bright and well-educated, Susan’s contributions were never limited to theory; her talented efforts blossomed through personal relationships: Susan provided her full self. She convinced students that they were artists by opening their hearts to believe it and coaxing their visions into art objects, the solid evidence. She presented core ideas which students could research and expand and for which they could imagine inclusive group participation to produce results. Their remarkable achievements sprang from authentic shared creativity. I agreed with Susan that there is no higher educational goal. The outpouring on Facebook by young adults whom Susan taught at Gibbs often referenced specific examples of her inspired teaching, which still nurtures them today.

One of my happiest memories of Susan is a joyful collaboration on a music and arts project with other young mothers at our church in 1986. We guided elementary students, including our children, to create their own Christmas pageant.  They wrote a script from Bible stories, selected songs, built props and acted the play in the sanctuary. Susan and I loved the children’s interpretations, especially their decision that someone should BE the star of Bethlehem, and “it should move.” With Susan’s direction, they created a stunning orb, which was carried atop a pole down the center aisle, one of the high points in “Starry, Starry Night.” Yes, think Van Gogh, too, for Susan added art history along the way. It’s apt to say we followed Susan, our star.

Time and again, I saw that Susan’s vision of the power of self-expression was all-encompassing. It mattered to her how others experience the world, and her empathy for them, especially for children, opened the heavens for us all.

Great grief pours from great joy and love, and though the light of her life will not fade, Susan is deeply missed in this community. I treasure reminders of Susan: the faces of her family and friends, the photos and stories we’ll share over and over, her voice in my mind’s ear, and her artist’s spirit tucked deep in my heart.