Monday, January 11

4:00 PM - Sabbatical Report:  Sangeetha Rayapati:
"Extreme Soprano Sports: The Story of One Singer, One Sabbatical and Many Projects"
Wilson Center

Tuesday, January 12

11:30 AM - Tuesday Reflections - Erin O'Leary
Ascension Chapel, Founders Hall, 2nd Floor

8:00 PM - Guest Artist Recital - Joel Brown, piano
Queenes Alman-William Byrd Aria and variations in the Italian Style-Bach Piano Variations-Copland Fantasie in C, Op. 17-Schumann Jeux d'eau-Ravel and probably an arrangement of a Chinese Folk Song-Silver Clouds Chasing the Moon
Wallenberg Hall, Denkmann Building

Wednesday, January 13

9:30 AM - Coffee and Conversation
Evald Hall

12:00 - 1:00 PM - Bible Study "Life's meaning and purpose"
Chicago Room, College Center
Bring your lunch if you wish. Bring your Bible, or there are extras to use.

7:00 PM - 15th Annual Hispanic Film Festival:  "Valentin"
Science Building Auditorium
In Spanish with English subtitles. Free of charge

9:30 PM - Evening Prayer & Holy Communion
Ascension Chapel, 2nd floor, Founders Hall

Thursday, January 14

10:30 - 11:20 AM - Convocation: President Steve Bahls and Dr. Tom Tredway: Founders Day Presentation
Centennial Hall

11:30 AM - Faculty Senate Meeting   Cancelled
Science Building 102

4:00 PM - Library Reception Celebrating Augustana's 150 Years!
Cake (in Augie shapes) and punch, book signing by Tom Tredway, announcement of winners of caption contest, and souvenier bookmarks.
Thomas Tredway Library

7:00 PM - French Film Festival:  Le Fils de l'épicier (The Grocer's Son)
Free and open to the public
Olin Auditorium 

Friday, January 15

All day - Sesquicentennial Displays
In honor of Augustana's sesquicentennial year, two collections on display through February: "You Can Take It With You: Augustana Mementos and Souvenirs" is on the second floor, and "True Blue and Gold: Memorabilia from Special Collections" can be seen in the Special Collections area
Free and open to the public
Thomas Tredway Library

4:00 - 5:00 PM Friday Conversations:  Balancing Teaching, Scholarship, and Service I: Using Your Leave Wisely
3:30 PM - Refreshments

Wilson Center

5:00 PM - Deadline for submitting Faculty Research Grant proposals
(see Announcements)

8:00 PM - Faculty Recital - Charles Schmidt, piano
Performing Charles Ives' Concord Sonata
Wallenberg Hall, Denkmann Building

Saturday, January 16

6:00 PM - Dr. Martin Luther King Community Celebration
Special performers include: The Westbrook Singers, Augustana's Ascension Singers, Friends, the Community Gospel Chorus and the Quad City Praise Dancers
Centennial Hall

Sunday, January 17

10:30 AM - Sunday Morning Worship
Ascension Chapel, 2nd Floor, Founders Hall

5:00 PM - Sunday Catholic Mass
Ascension Chapel, 2nd Floor, Founders Hall

 

Volume 8, Issue 16 - January 11, 2010

An Augustana Story

THE MAVERICK FACTOR:  AN AUGUSTANA STORY 

      You might call it the maverick factor.  Or the social justice gene.  That impulse to push, or at least, to nudge boundaries established by ethnicity and pietism seems to have been part of the Augustana story almost from the beginning. 

      It started back with T. N. Hasselquist, Augustana's second president. White-bearded, keen-eyed, "venerable," and determined, Hasselquist made up his mind to create an "American college."  Undoubtedly he saw this as a pragmatic move:  the more you market to varied constituencies, the more students you're likely to get.  And for an institution struggling financially, that's good news.  But it's nice to believe that other motives operated as well, and there's some evidence to support this belief.  Because among other "Americanizations," Hasselquist proposed to educate women. 

      Educate women?  In 1870?

      In 1870, among 582 degree-granting institutions in the U.S., 12 admitted women only and 29 admitted women along with men, according to statistics prepared by Barbara Miller Solomon in her study of women in American higher education.  Yet as early as the Paxton years (1863-1875), Hasselquist was writing catalogue copy (in Swedish, of course) that didn't specify gender when it referred to the need for more students. 

      Did he not know what was going on in the American academy?  Perhaps.  But if your motive is to "Americanize"-or anything-ize-your logical first step would be to look at the model you seek to adopt.  Hasselquist, scholar and practical visionary, would understand this.  So it seems more likely that he was going his own way, acting on his own values.  Playing the maverick.  And, importantly, redefining "American college." 

      He was bucking his own Swedish-American culture as well.  In the eyes of many fellow émigrés, college was simply a necessary evil for preparing (male) teachers and preachers.  Too much education, some Swedish farmers contended, put you above your station-made you lazy and unfit for the real work of the world.  And certainly that applied doubly to women.  If "girls" could cook, sew, sing in a (church) choir, and plunk out a one-finger piece on the piano, that was as much learning as they needed.  More could be downright dangerous.

      But Hasselquist had never let opposition stop him.  By the 1880s he was actively recruiting women.  The Conservatory of Music and the Commercial Schools, separate but equal institutions under the general aegis of Augustana, were organized during his tenure (1886 and 1888 respectively), perhaps in part designed to attract women.  At any rate, that's what happened; with the establishment of these schools, the number of women students rose.  And the first catalogue for the commercial school states as its objective to "give young men and women the best possible opportunity of acquiring such a knowledge of business as will enable them to utilize, to the best advantage, the means and opportunities within their reach [italics mine]."

      What makes these activities of the eighties more impressive is that they came near the end of Hasselquist's life, at a time, for him of age, exhaustion, and grief.  His vigor had spent itself in a life of teaching, writing, editing, and administration-all with pen and ink, in shaded script, often by candlelight-whose demands stagger the imagination.  By 1881 he'd lost both his wife and a much-beloved nineteen-year-old daughter.  In 1888 he had only three more years to live.  And yet he made that vision of equity real, to the last years of his presidency. 

      Maybe his final energy came from a maverick spirit even more profound than that which urged social justice. 

      Maybe it came from love for the women he'd lost.   

              --Ann Boaden