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March 15, 2017 04:27 PM

The city of Eugene announced in a press release today (see below) that City Councilor George Poling has resigned from his Ward 4 seat and suggested former Ward 6 City Councilor Jennifer Solomon be appointed in his place.

City Councilor George Poling Announces His Resignation After More Than 14 Years of Service

At today’s City Council meeting, Councilor George Poling, Ward 4, announced his resignation effective April 10, 2017. Councilor Poling was elected four times to four-year terms. He took office in 2003 was in his fifteenth year of service. Prior to being a City Councilor, Poling was a law enforcement officer for approximately 30 years.

Councilor Poling made the announcement at the beginning of today’s meeting, stating that “after 45 years of public service, it’s time to fully enjoy my retirement. At my age now, I want to take advantage of that while I still have reasonably good health.”

Poling said it has been a pleasure working with his “fellow councilors, past and present, and Eugene’s dedicated and professional staff. I’m very proud of the staff we have.” He continued, “To my constituents of Ward 4, I want to express my thanks and sincere appreciation for the privilege you have afforded me to represent you for these many years. You are the best.” He also thanked his wife, Glenda, and family for their support.

Other City Councilors at the meeting as well as Mayor Vinis each offered their appreciation and admiration for Poling’s contributions to the council and his example. Several noted that when they began, they looked to Councilor Poling as a model of how to behave as a member of the City Council. Councilor Mike Clark said, “I hope that the people of our community truly understand the amount that you’ve given over many more than 15 years to serve our community and to serve the public. What an honor it’s been to serve with you and we’re going to miss you at this table, but you’ve earned the opportunity to rest a bit.”

Poling’s term runs until January of 2019. The City Charter states that within 90 days of the resignation, Council will appoint someone to fill the remainder of the term. The process for filling a vacancy on the City Council may include publicizing the opportunity, taking applications, conducting interviews and then making an appointment.

As has been done when there were previous vacancies, Councilor Poling made a recommendation regarding someone he thinks would be good to fill the position. Poling recommended former City Councilor Jennifer Solomon, who served two terms as councilor for Ward 6 from 2003 – 2011.

March 13, 2017 02:38 PM

Irony noted please: Downtown Eugene, Inc., of the DWN TWN EUG promotion fame, has a list of downtown businesses it's promoting on its website, including Voodoo Doughnut. Voodoo features a "Happy National Dog Day" doughnut against its customary hot pink background.

But thanks to the city's new downtown dog ban, you can't walk your dog downtown to Voodoo Doughnut, at least until November. 

The ban takes effect 30 days from the March 8 Eugene City Council meeting it was voted on.

March 8, 2017 11:54 AM

 Eugene Opera, which in January canceled the rest of its season amid a pile of unpaid bills, announced Wednesday that it has received $80,000 in challenge donations to help it get out of debt. The future of the 40-year-old company, though, remains unclear, as it will have to raise even more money to survive.

A group of supporters has pledged $60,000 to help erase the opera’s $160,000 debt — on the condition that the non-profit arts group find another $60,000 in matching donations. The money would be earmarked for paying existing debts to local artists, technicians and businesses.

Another donor has promised $20,000 to support the opera’s 2017-18 season, once again only if other donations match that amount.

Even if both challenges are fully met, the opera will have to raise more money to stay in business, and its path forward remains unclear. The opera held two town hall meetings at Eugene Library in February to tell supporters what its financial position is and to seek comment on what its future plans should be.

In January, the opera announced it was canceling a planned March production of West Side Story and a May production of Peter Brook's adaptation of Georges Bizet’s The Tragedy of Carmen.

“Eugene Opera is humbled and grateful to these benefactors,” General Director Mark Beudert said in a release on Wednesday.  “Our hope is that their generosity will inspire others to invest in Eugene Opera, so that we can meet our outstanding obligations.  If this happens, the company has a good chance of staying in business and continuing our mission of presenting great live opera for our community.”

March 8, 2017 02:20 PM

Once in a while you see a performance that is everything: Beautiful, funny, developed but loose, open, sad. Montreal’s 7 Fingers Company (Les 7 Doigts De La Main) is like that. Their latest, Cuisine and Confessions, presented by White Bird dance at Portland’s Newmark Theatre last weekend, is a revelation.

Let’s start at the very beginning: Circus arts tend to make me grumpy.

I know, I know: I should love it, everyone loves it! Silks, tumbling, climbing, wall-walking, everyone enjoys it and I’m a terrible person for taking issue.

But, I mean, the tricks. What’s my beef? I’ll tell you: I get tired of showmanship for its own sake. I grow weary of acts divined not by creativity, not by reality, but seemingly by fantasy, the kind of elliptical, formless noodling that relies on the next death-defying spectacle, the roar of the crowd, the bread and circuses of distraction. Le sigh.

Typically, these shows sit on old tropes about gender, as women get hurled around by bigger, stronger men, and contort like origami, til we all ooh and ahh.

Where’s the theme and variation? Where’s the shape, the form? Where’s the arc, the narrative depth? Where’s the envelope we’re pushing? And are we pushing it enough?

Usually, circus arts shows leave me with that feeling like I’ve eaten a bunch of popcorn for dinner. I’m full, but I’m not satisfied.

But hold the phone: 7 Fingers has a new idea.

I adore White Bird. There, I said it.

Is anyone doing anything more for dance in Oregon? Nope. Producers Walter Jaffe and Paul King are worth their weight in gold. They know how to pick ‘em, and how lucky are we that they keep bringing this stuff to our leafy part of the world.

It would be a mistake to provide a synopsis of Seven Finger’s Cuisine and Confessions. I mean, don’t you hate that, when a reviewer gives away all the good parts? Who wants spoilers? NO ONE wants spoilers.

But this show has so many good parts.

Helpful hint: Get there early. The pre-show’s wonderful.

But when the show itself begins, here’s the powerful alchemic reaction, the artistic crucible that burns a bright new substance: Imagine the Icarian flying, the hand-to-hand work, the acro-dance, the floor work, tumbling, climbing, the juggling and music and the Chinese pole, and now — wait for it — combine all that with evocative, charming, heartfelt memoir theater.

I’ve never seen anything like Cuisine and Confessions, in all my years in the theater, all around the world.

Hats off to directors Shana Carroll and Sébastien Soldevila, and the entire cast and crew. From the onstage kitchen (yup!), to the powerful movement, music and words, the piece has the power to transform, like the banana bread they bake while the performance hums along.

Shows like this make you really damned proud to be a human.

March 7, 2017 06:29 PM

Eugene Weekly — an award-winning alternative newspaper in the beautiful Pacific Northwest — seeks a calendar editor with a writer’s sensibility to edit EW’s “What’s Happening” calendar. Our calendar fills in Lane County on the area’s vibrant arts, music, political, entertainment and everything-in-between scene. 

EW is looking for a person who can handle the doldrums of data entry and information management (the bulk of the job) but is hoping to move up to a career in feature writing and news or news reporting.

The calendar editor should be excited to highlight both highbrow and grassroots events in the community in short, fun blurbs each week in addition to the data entry.

The ideal candidate will be highly interested in news or arts reporting and current events, as well as be organized, detail-oriented, determined and versatile. Infinite amounts of patience, good office communication skills and the ability to deal with the public are key.

Copyediting abilities are a plus. Must not be married to the Oxford comma. The position starts as soon as it’s filled.

We’re a small feisty office with a fierce dedication to covering community issues with an alternative flare. 

This opportunity comes with a $15 an hour salary, excellent non-financial perks (mainly free food, kombucha and endless coffee).

The job is a full-time position with benefits, including health insurance. Send résumé, cover letter and three writing clips by March 13 to editor@eugeneweekly.com.EW is an equal opportunity employer. 

March 6, 2017 04:03 PM

 

I’ve usually missed the annual Lane County Propagation Fair and seed swap because it coincided with spring break. Last year, however, we took our vacation early, and I was able to visit the prop fair for the first time since it moved to the old Whiteaker school building.

Once I had negotiated the long, congested hallways (congested, I should say, with interesting information displays and various items for sale, including veggie starts) I emerged in the huge main hall, where an impressive line of people were busy grafting fruit tree scions to rootstock for customers. Scions (grafting cuttings) from hundreds of fruit varieties were offered for sale, in buckets lined up on long tables.

Looks as if this is an experience that won’t quite be repeated, because there are big changes for this year’s prop fair. The organizers of what is now called the Agrarian Sharing Network felt the event had outgrown the current space. They also want to “remain true to the deeper community involvement, neighborhood-sharing intentions of the original gatherings.  In the interest of providing these services more effectively to both the community, as well as the wider bioregion, we have decided to decentralize the Propagation Fair.”

That means there will be multiple events this year, in three Eugene neighborhoods as well as Portland, Sweet Home and Williams. Eugene events are scheduled for March 11, April 1 and April 7. For times and locations, as well as tons more info about the Agrarian Sharing Network, visit www.springpropagationfair.com. You can also find information and updates on the Facebook page for Agrarian Sharing Network.

March 6, 2017 03:49 PM

The newly formed group: Intersectional People’s Network of Eugene/Springfield, Disrupt! Eugene and So Just Collective present "A Rally for International Women and Women Aligned Day" 6 pm, Wednesday, March 8, at the Wayne Morse Free Speech Plaza to celebrate “International Women’s Day."

Full press release is below. More info at http://disrupteugene.com/

 

 

Eugene, Ore., March 4, 2017 - Intersectional People’s Network of Eugene/Springfield (a newly forming community organizing group), Disrupt! Eugene, and So Just Collective present A Rally for International Women and Women Aligned Day at the Wayne Morse Free Speech Plaza this coming Wednesday, March 8th at 6:00 p.m., to celebrate “International Women’s Day,” as the groups take time to honor women and transfeminine people across all intersectionalities, as a community.

They will gather to celebrate and center the lives and experiences of women of color, transgender, queer, disabled, indigenous, and immigrant women, and nonbinary people who are woman aligned. The three groups support and recognize the intersectionality of "womanhood" and that many identify more with an adjective that precedes the word “woman.” This event will have an anti-racist framework to give voice to those who have been underrepresented or misrepresented.

Ashanti Gilbert, one of the event’s organizers, says, “As an African American woman living in Eugene, I felt there was a need for marginalized groups of women’s voices to be heard and celebrated from our own perspectives, whether immigrant, women of color, Muslim, disabled, or woman-aligned. Much of the organizing that happens here in Eugene usually is centered on the voices of white women. While I appreciate their efforts, many of us are not afforded the freedom to identify as just ‘woman.’ We are mostly identified by the adjective before woman, that is, Black woman, Muslim woman, disabled woman, et cetera. In conjunction with International Women's Day, we celebrate those intersections."

March 3, 2017 11:28 AM

On Feb. 22, White Bird Dance, the Northwest’s stellar presenter of contemporary dance, offered the West Coast premier of France’s Centre Choréographique National — Ballet de Lorraine, one of Europe’s most acclaimed companies.

CCN’s 26 dancers (um, that’s a ton of dancers, state-supported arts funding is neat), under Artistic Director Petter Jacobsson, offered a wide-ranging program, including two recent pieces and an American masterwork.

A bit of background: As a company, Ballet de Lorraine explores new work while keeping treasures by modern dance heroes alive, with work by Merce Cunningham, Twyla Tharp, Trisha Brown, William Forsythe and more in their repertoire. (What does that mean? It means that at any given time, the company knows and can perform an astounding range of dances. Keeping dance in repertory is expensive and logistically challenging, but without these efforts, pieces are lost to the sands of time, like a painting on the wall of a museum slowly vaporizing over decades, until perhaps only copies of it — incomplete video or photos — remain.) 

The Portland performance opened with 2015’s Devoted, by Cecelia Bengolea and François Chaignaud.

Ducking in and out of cold, gray light, dancers cut and push through space, with angular turns, slicing leaps and gyroscoping patterns and repetitions. A hyperkinetic meditation, the effect is like watching the cellular process of photosynthesis, at once alive, yet autonomic.

Dancers course through space, whirring like spores released from a fern frond, like the piecing, dissecting fractal of a leaf, or the unfurling branches of a tree, opening and accenting patterns with a kind of stilted urgency.

The driving Phillip Glass score enlivens, and at times, overly ensconces the piece. (One wonders what the same dance would look like in partial silence.)

Some of the strongest moments find near stillness. In one, a trio of women stand en pointe for a torturous time, nearly motionless, their arms rapt to the ceiling, another dancer circling around them menacingly. It’s in this dynamic that emotions heighten, that the machinations and order seem to breakdown, revealing an animus, a stark revelation of lurid sexuality — waggling bottoms, pelvic thrusts — amidst the spectacle and distant beauty.

After the first intermission, Alban Richard’s 2015 Hok Solo Pour Ensemble made exquisite design of the space.

Set to music by Louis Andriessen, the work explores pattern and rhythm, progressing fluidly from the simple to the complex. From the individual pieces of the dance to the circular permutations that develop, the effort takes on a cumulative vision, machine-like, but human, with everyday gestures that are refreshingly pedestrian, doable. As the intricate work evolves, the movement vocabulary becomes more dancerly, relaxed and fluid, while maintaining razor-sharp patterning and relational groupings. The resultant dynamic takes on an orbital force, like witnessing heavenly bodies — Terpsichore in sneakers? — careening through a distant galaxy.

Finally, after intermission two, the evening culminated with Merce Cunningham’s 1975 masterwork Sounddance for 10 dancers.

Cunningham’s beloved Sounddance opposes the uniformity and unison that is often found in ballet and has been described as “organized chaos,” taking the form of fast paced, vigorous choreography. The stunning set design consists of a gracefully draped plush gold curtain, with the dancers entering and exiting as though thrust into the space from the curtain itself.

With Cunnigham’s signature movement motifs — the sprung jackknifed leap, the soft connection of a hand, between and among dancers, the sporadic, seemingly random dispersal of movement across the stage — as well as his undeniably sharp, clear intention, his directional genius and relational capacity, the work is nothing less than nature itself.

Having only ever seen terrible, grainy and incomplete videos of Sounddance, the chance to see it live was unforgettable, like a reset for the heart and soul.

One by one, the dancers exit, swallowed by that giant gold curtain.

Is it death? Life? Are they spirits, now heading to the next space? Does it matter?  

David Tudor’s trance-like score provides the perfect energetic accompaniment to Cunningham’s astoundingly fast-paced, yet richly rewarding, choreography.

March 2, 2017 04:57 PM

The Southern Poverty Law Center tracks hate crimes nationally. Every year, the nonprofit publishes its Hate Map, a map of the United States that counts the number of active hate groups. The online map key alphabetizes hate groups, and each group is represented by a minuscule circle with a symbol and color. 

The circle concentrations vary by region. For example, the Ku Klux Klan circle is grey with a triangular white hood in the center, and the symbol overlaps itself in parts of Tennessee, Texas, Mississippi and North Carolina. The online map features a drop down menu that can be used to breakdown and separate the types of groups and number of groups by state. 

A total of 11 groups are listed in Oregon, which includes statewide chapters of the Black Separatists, Neo-Nazi, Racist Skinhead and White Nationalist.

Anti-LGBT, Anti-Immigrant, Anti-Muslim, Christian Identity, General Hate, Holocaust Denial, Neo-Confederate, Racist Music and Radical Traditional Catholicism construct the remainder of the symbols on the map key. Overall, the SPLC documented 917 hate groups in U.S. in 2016.

Last year, there was a notable rise in anti-Islamic groups, which surged from 34 in 2015 to 151 — a 197 percent increase.

Ryan Lenz, a senior writer for the SPLC’s Intelligence Project and editor of its Hatewatch blog tells EW, “Since 9/11, the sentiment of targeting Muslims has been ever-present in the United States to varying levels of intensity.”

“In the last two years or so, as the national political discussion surrounding the presidential campaign turned heavily on various conservatives who were attacking Muslims as being secret agents, or trying to undermine the constitution or trying to infiltrate the federal government—there’s a number of complaints and conspiracy theories they have,” Lenz says.

Since 1999, hate group numbers have dipped and increased ranging from 497 in 1999 to 1,018 in 2011, according to SPLC data.

Lenz says, “We’ve seen over a thousand incidents of hateful harassment and intimidation reported to us and other news media outlets in the aftermath of the election.”

SPLC has reached out to President Trump asking him to “distance himself from this movement repeatedly, and he’s sort of waffled on that.”

Lenz says it’s hard to say what is going to happen over the next four years.

“This is a movement that has at its core rhetoric that leads to or inspires violence. We know that we’ve documented that repeatedly,” he says.

“Previous periods of time that have seen [a] similar rise in rhetoric and similar increases in energy across the radical right — periods that have ended or culminated in historic acts of violence like Oklahoma City have resulted in federal crackdowns on these ideologies that lead to violence.”

Eugene Weeklyasked Lenz what he thinks people can people can do to push back against the up rise in hate incidents. “Every journalist I talk to asks that question,” he says. Lenz often receives text messages from friends asking the same question.

“That’s a hard question to answer because at its fundamental core you’re asking how can we stop racism?” he says.

“I think it is important for those who believe in humanity, for those who believe in harmony of human kind, to speak out and make their minds clear because the political direction of this country right now is not in line with that, and it’s important to make sure that your voice does not get drown out by what is a global way of a populist nationalism.”

February 23, 2017 12:54 PM

The University of Oregon Department of Dance presented its 48th annual Faculty Concert Feb. 16-18, to an enthusiastic audience.

Representing collaborations among UO dance and theatre faculty members and their students — in dance, lighting and costume design — the effort was a richly realized event, featuring only premieres, three with original scores.

The evening opened with Hannah Anderson’s Ecliptic.

Beginning in a tense unison, Anderson’s dancers unfurl, peeling from the center through sideways leaps, axial turns and earthy slides. They continually discover balance, only to lose grip of it again, creating a dialectical whorl of intention. One particularly strong moment — organic crosses from stage left to right and back again, set against Markus Johnson’s evocative music — show off Anderson’s knack for accented rhythm, dynamic relationships and explosive shape.

Brad Garner’s genesis, set to music by Caleb Burhans, walks a tightrope between free and bound flow. Garner explores a thematic motif throughout — digging one’s heel sharply while flexing arms backwards in a tight curve — as contrasted to the subtle, sinewy dappling of shared self-space. Through shifts in focus, Garner expertly divines changes in mood as he and dancer Shannon Mockli rise and fall and rise again.

Rosetta, by Darian Smith, has an alien look and feel to it — white unitards emblazoned with bold alphabet letters, the dancers wearing white grease paint — but underneath the façade there’s something tellingly human, almost fragile, at play. A moment pops out: One dancer, downstage, runs to the other side of the proscenium as dancers upstage do the opposite. It’s a simple idea, a counterbalance, but the effect is satisfyingly dizzying, like watching a pendular carnival ride.

Garner’s Admitting Light, about the work of physicist Nikola Tesla, ambitiously weaves together detailed, introspective dance, with animated projections by John Park and an original score by Jon Bellano and Jeremy Schropp. Lighting design by UO faculty member Janet Rose creates unity, as if we’re peering through a mechanical aperture into the mind of Tesla himself. At times joyful, other times deeply pensive, Garner’s work takes its breath through curving, taut shape. A powerful moment comes towards the end, as Garner braids together groups of dancers (and he has a big crew of them) through loose pathways from upstage to down. (Inspired by Tesla’s famous pigeons perhaps?) These dancers take flight.

Become, by Rita Honka, toys with angularity and changes in energy, from smooth and swingy to sharp, almost nervous. What begins as a solo morphs into a duet, and here Jessica Taylor glows. Though the UO dancers, as a whole, are strong and capable, Taylor’s technique, her expression, her powerfully integrated performance — is something to behold.

And Mockli’s Unearthed, set to an original score by Christian Cherry, cuts through levels as it heaves from a molten place. With blasts of intensity, Mockli’s work here is at once sad and playful, like a familiar nursery rhyme whispered in the shadows.

February 23, 2017 05:06 PM

Actual press release from the Oregon Dairy Farmers Association posted without comment.

OREGON DAIRY FARMERS CONVENTION FOCUSES ON THE CONTRIBUTION OF DAIRY WIVES

Oregon Dairy Farmers Association Convention Focus on Issues Including Dairy Wives who bring so much to their Dairy Farm Operations 

The Oregon Dairy Farmers Association hosted a two day convention at the Salem Convention Center on February 20-21

A panel of well-informed women spoke candidly about the joys and struggles of dairy farming during a convention workshop Monday afternoon.

Attendees heard four farm wives share their experiences of working in the dairy industry. It can be trying when frictions in the barns hit home, they said.

"It's super hard to see my son get yelled at by his dad," said Susan Pierson, a fourth-generation farmer. As both mother and wife, she is often a sounding board when things get overheated. "I have to do a lot of listening and not a lot of talking. But later I might say something to my husband like, 'You know, you were a little hard on him..."

"I feel like I'm in the middle a lot," said Julie Lourenzo, who shares the workload with her husband and other family members. When conflict arises, "I talk to both sides and try to work it out."

"I brought a husband into the job," said panel moderator Bobbi Frost, who is familiar with that uncomfortable space between the spouse you love and the parents who raised you. The audience responded to a frank discussion about whether the panelists encouraged their children to pursue farming.

Sarah Rocha, mother of four boys, said she chose to allow her children to find their path. "The more you push, the more they push back," she said.

Rocha runs the calf operation on a farm with 600-650 cows and 150 goats.

"I pushed my sons away from the dairy," said Pierson, an organic farmer for 12 years. But as it was with other panelists, some children decide to join the family business after a time. Of one son she said, "All of a sudden he came to us and said he wanted to come back."

In response to a question about when how to draw the line between work and family time, Lourenzo said she knows she has reached her limit when she begins to voice complaints. "If you are going to complain, it's a sign you are doing too much," she said.

A highlight of the breakout session was when moderator Frost, who brought along her 11-month-old daughter, Max, to the convention, said she "felt like Superman" on a day when she completed her work while toting an infant around the farm.

Then she provided the quote of the afternoon with an observation about childbirth.

"One day my husband said to me that getting hit in the nuts is worse than having a baby. " How so, she wondered?

"You want another baby, right?" he said. "But you don't hear me saying I want someone to hit me in the nuts again."

The Oregon Dairy Farmers Association is located in Salem. The Association has been proudly serving Oregon's Dairy farmers since 1892.

 

February 22, 2017 03:41 PM

At this extraordinary juncture in U.S.. history, I’m finding it hard to write about gardening. Gardening itself, however, is still seductive — a rare escape from anguish mixed with sheer terror. When I am gardening, gardening is pretty much all I think about. So any chance I get, as long as the temperature hits 45 or better, I have been outside sprucing up my winter garden, clearing the decks for emerging signs of spring.

My first priority is removing an excess of wet, fallen leaves where primroses and small early bulbs are emerging. Then I cut last year’s leaves off the hellebores. It deters blackspot disease and shows off the flowers, some of which are already opening. And it is easier to do now than after new leaves appear, especially if the clumps are large. I’ve also started clearing and weeding some places where the foliage of daffodils and tulips are poking out of the ground.

Most yards look pretty drab at this time of year. They don’t have to. Winter flowers may be smaller and less showy than the glorious blooms of late spring and summer, but they can still make a difference. They also provide food for honey bees, which can emerge on any sunny winter afternoon. One witch hazel, a couple of Lenten roses and a clump of snowdrops in a spot you pass by every day or see from a window can really lift your mood.

Lenten rose

Lenten rose

SOME OUTSTANDING WINTER ORNAMENTALS

Lenten rose (Helleborus x hybridus)
Snowdrop, early crocus, winter aconite
Witch hazel
Cornus alba ‘Elegantissima’, Cornus ‘Midwinter Fire’(for colorful twigs)
Pieris variegata - compact growth and pretty leaves-a great container plant
Iris fetidissima ‘Variegata’(for beautiful variegated leaves)
Mahonia species, native or not, are great for the bees

Witch hazel

February 22, 2017 03:29 PM

In an update sent to Lane Community College faculty and staff today, LCC president Mary Spilde reminds that that a sanctuary policy was passed by the LCC board in February and says, "In the unlikely event that anyone from any federal agency shows up in a classroom or office they should be directed to the President's Office."

The portions of the president's message that relate to immigration are below.

Resolution on the Protection, Safety and Sanctuary of All Students

You may be aware that the board of education passed a resolution on the Protection, Safety and Sanctuary of All Students at the February meeting. The resolution is attached. We are now working on developing board policy that embeds some of the elements of the resolution. We plan to have first readings in March.

In the meantime, I'd like to provide some guidance. In the unlikely event that anyone from any federal agency shows up in a classroom or office they should be directed to the President's Office. Our staff is developing a protocol to review credentials and warrants or subpoenas.

The Department of Homeland Security (DHS) has recently updated its FAQs on the "Sensitive Locations Policy." In the past colleges and universities were listed as places to avoid for enforcement activities. The update does not appear to change this practice. Please remember also that FERPA protects student information and representatives of the college are not to provide any information about our students’ schedules, attendance, grades, etc. to anyone not authorized to receive it. If something happens after hours, please send the individual(s) to Public Safety.

At this time this scenario is highly unlikely. DHS guidance released on Tuesday does not appear to target “Dreamers” or DACA students but, of course, their families will likely be impacted as these enforcement actions ramp up. In addition, we expect a new Executive Order regarding banning individuals from certain countries. As the situation evolves we will be monitoring things and re-grouping as events change.

February 22, 2017 02:39 PM

This Facebook Live video was posted by Angie Spencer from the Standing Rock protest against the Dakota Access Pipeline. State officials ordered the protest camps to be cleared out today, Feb. 22, by 2 pm.

Spencer lists herself as a "PTSD Specialist. PhD Candidate. Human & Civil Rights Advocate. Oceti Oyate, All Nations."

News site Buzzfeed has been there covering the removal, as has The Atlantic.

Local DAPL water protector Janie Coverdell is still at Standing Rock. She posted to her Facebook page this morning that she was on her way back  to the Sacred Stone Camp,  and "There will be a blockade of sorts. Armed forces will not be allowing entry in a few days or so..not even food/firewood."

Coverdell is fundraising to cover the cost of her trip to Standing Rock. She gave up her job to join the protest, she writes on her GoFundMe page. To donate, go here