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intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

classroom managers in K-8 classrooms know and are able to do. (2-4) EDUC 568 : Internship in Teaching Internship in classroom settings. Fourteen weeks of teaching under the direct supervision of cooperating teachers and university supervisors. Designed for students in the M.A.E./Cert program. (6) EDUC 587 : History of Education A study of great men and women whose lives and writings have shaped and continue to shape the character of American education. (3) EDUC 588 : ST: Leadership in Higher Education

, including five grateful juniors (now seniors), had other plans. “They asked me to come back,” Dickerson said. “I’m very glad I did.” So, Dickerson is mostly leaving on his own terms. A celebration May 6 at the Washington State History Museum formally sent him off before his last day on campus May 31 (even though he’s not much for pomp and circumstance). As for the future of the basketball program, Dickerson hopes for more of the same: “Keep turning out great people,” he said. “It’s a good place.”

Learn More: Yaka Ndeemba MaskAfter a long history of forced migration and union with other groups, the Yaka have been an independent society since the 19th century.  Living in the northern Congo, the Yaka are primarily hunters, although they also practice small scale farming.  The tight-knit social system of the Yaka consists of a chief and his second in command who delegates to lineage chiefs.  The Yaka are known for their masks, sculpture, and decorative everyday objects.  Also, the

social issues of the new millennium. PLU has been a lively center for the study of Lutheran higher education and the Lutheran intellectual tradition since its beginnings in 1890. Distinguished lecturers, undergraduate courses in history, music, scripture, theology, and the visual arts, study away classes in Germany, Namibia, and Norway, campus ministry workshops, faith and reason dialogues, faculty publications and public presentations, musical performances, seminars on vocation, summer theological

Congregation—along with one special event that could happen only once every 125 years. On Saturday, join the Lute celebration of our 125th anniversary with the PLU at 125 Wine Walk , featuring 125 objects from PLU’s history and a sampling of scrumptious alumni wines. Check www.plu.edu/alumni/homecoming-2015 for updates and information, and in the meantime, enjoy this photographic tour through past PLU Homecomings! PLU Homecoming Timeline 1947 1947: The candidates for Homecoming Queen pose for a group

the mysterious and exotic. Alas, the same is true of the wide variety of objects produced throughout the continent that all can be called “African art.” Too often it is suggested that such objects are bizarre or creepy, thereby ignoring their beauty and sophistication and totally missing what such objects can reveal about cultures, values and history. That which can be called African art ranges from what is often labeled traditional sculpture and masks to contemporary painting, photography