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Miller, Artistic Director of Music of Remembrance The Chris Knutzen Room (Anderson University Center) The Current Crisis: The Dehumanization of Refugee Children in the U.S. 3:45p.m. – 5:00 p.m. In 2014, thousands of children made the dangerous trek from Central America to the U.S., traveling without adult family members and facing violence, exploitation, and sexual assault. How was their plight described in various U.S. commentaries and why were these children not welcomed as refugees? This panel
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Miller, Artistic Director of Music of Remembrance The Chris Knutzen Room (Anderson University Center) The Current Crisis: The Dehumanization of Refugee Children in the U.S. 3:45p.m. – 5:00 p.m. In 2014, thousands of children made the dangerous trek from Central America to the U.S., traveling without adult family members and facing violence, exploitation, and sexual assault. How was their plight described in various U.S. commentaries and why were these children not welcomed as refugees? This panel
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up arms to fight against their oppressors. In other instances, Jews practiced resistance by joining underground activities to preserve artifacts and accounts of the Jewish community under the Nazi regime. Still others, in their everyday lives, continued to resist the Nazis by maintaining their spiritual practices, by engaging in sports activities such as soccer, or by creating music to lift people’s spirits. Jews also worked in underground organizations to assist in aid and rescue work, risking
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Miller, Artistic Director of Music of Remembrance The Chris Knutzen Room (Anderson University Center) The Current Crisis: The Dehumanization of Refugee Children in the U.S. 3:45p.m. – 5:00 p.m. In 2014, thousands of children made the dangerous trek from Central America to the U.S., traveling without adult family members and facing violence, exploitation, and sexual assault. How was their plight described in various U.S. commentaries and why were these children not welcomed as refugees? This panel
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months in teaching her only to repeat the “Beggar’s Petition”; and after all, her next sister, Sally, could say it better than she did. Not that Catherine was always stupid—by no means; she learnt the fable of “The Hare and Many Friends” as quickly as any girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinnet; so, at eight years old she began. She learnt a year, and could not bear it; and
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financial aid We know that choosing a university is among the most important, most life-shaping investments you will ever make. And not just for you – for your entire family. To that end, remember that 97 percent of PLU students receive some kind of financial aid. That’s a lot. So is this number: $26,700. That’s the average financial aid package at PLU. #1 If you have a passion for the arts, there’s no better place PLU has a passion for the arts. Whether you are here for drama or music, there’s no
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years, less than nine percent of credit hours were taught by part-time faculty teaching individual courses without benefits, or taught as private hourly music instruction. According to data gathered by the Chronicle of Higher Education, universities in the Puget Sound area pay approximately $2,300-$5,000 per course. PLU’s per course pay ranges between $4,200-$5,600 per course. The only faculty members paid hourly are those who provide private music instruction. They are paid $51.00 per hour. For
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competition, our accommodations, and many other details. The region we are in is just beautiful, and we have a very nice view of the Alps from our accommodations at the Bavarian Music Academy. We are also fortunate to have along with us now not one, but a total of three composers whose repertoire we are performing – our very own Brian Galante (“Exsultate”), student composer and Choir of the West performer, Austin Schend (“To Achieve Thine Ends”), and now Daniel Knaggs whose work “Of Time and Passing” has
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post-graduate lives and will remain connected through the strong community fabric that is ever present for all alumni who come through PLU during their college years. Below are four individual stories of students who will soon join that alumni class (Alaa Alshaibani, Theo Hofrenning, Takara Mitsui and Thomas Horn). They reflect upon their experiences with study away, music performances, social justice efforts and rigorous academics at PLU, and look ahead to the exciting experiences that
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music from various religious traditions. Those visuals transform into a marriage of fluttering lines that dance on the pages, illuminated with gold trimmings and vibrant colors. The sound waves of psalms run horizontal; those of the other traditions — Islamic, Jewish, Native American and more — run vertical. Together, they create an inclusive tapestry of sound that you see rather than hear. The idea is to honor the physics of sound, which reverberates through the universe forever. For me, thinking
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