Workshops

Higbee Gallery | Linda Öhrn-McDaniel

Concept, problem solving and material process are the fundamental starting points for all my creative work as a designer, artist and educator. The act of exploration and discovery consistently inspires me to create new ideas. Narrowing my field of options in theme or color expands the need to use craft technique, fit or surface design to solve creative issues within each garment. A primary example of this approach is the circles and hearts that feature prominently in this exhibition. The symbolic meanings and basic geometric shapes allow a wide variety of options to explore and help to reflect my…

LIFE, THOUGHTS & GARMENTS

Stager and Blum Galleries | Sara Hume, Curator

Cultures around the world have developed an array of resist dye techniques. Dyeing provides rich colors but once the fabric has been colored in a dark shade, lighter color patterns will not show up. In order to allow lighter colors to come through, areas have to be blocked from receiving dye. Any of these techniques of blocking the dye are referred to as a “resist.” Sometimes these techniques have arisen independently; sometimes the techniques have been passed across cultures through trade and exchange. In many cases the origins have been lost to time, leaving only rich and remarkable textile traditions. Resist techniques can be seen in the most expensive and treasured textiles, but also in relatively humble objects.

The exhibition is organized by technique in order to bring together examples from around the globe. The objects are grouped into three main categories of resist methods: mechanical, chemical, and ikat. While specific techniques may vary widely, they rely on a few basic principles. The dye can be resisted using mechanical means by tying, stitching or folding. Alternately the resist can be chemical, generally paste or wax. The third category, ikat, refers to textiles in which the resist is applied to the threads before weaving. Ikat is generally a mechanical resist technique, in which the threads are wrapped and bound.

MECHANICAL RESIST

Shibori, bandhani, tie-dye

Tie-dye is a technique that has become familiar to many Americans because of brightly colored t-shirts popular in the 1960s and 70s. The technique of tying off sections of cloth or garments before treating it with dye has been around for centuries. Japan and India are among the many parts of the world with long traditions of tie-dye. While most of the examples of mechanical resist techniques in the collection are variations of tying and binding with thread, other methods such as clamping and pole-wrapping can also be used. While these techniques have been practiced for centuries and are performed by highly experienced artisans, there is always an element of randomness and chance to the results. The subtle variations in shade and pattern are intrinsic to the beauty of the handmade pieces.

CHEMICAL RESIST

Batik, adire eleko, tsutsugaki, modrotlac

The use of paste or wax as a resist has developed in many cultures around the world. In the earliest forms, the patterns were created free hand by drawing the wax or paste onto the fabric. Such techniques can be seen in the finest Indonesian batiks and Japanese tsutsugaki. As textile printing developed, resists played a critical role in preventing dark colors from spreading into lighter areas. Several cultures developed techniques of printing the resist onto the fabric before dyeing. Achieving several colors on a textile demands repeated application of wax or paste before each submersion in the dye. Additional colors are created by overdyeing one color over another.

IKAT

Ikat, jaspe, adras, kasuri

The word ikat derives from the Indonesian verb menigikat, which means “to bind, tie or wind around.” Clearly the word first applied to Indonesian textiles, but has come to be the general term used to describe any textile made with this technique. The method involves wrapping yarn with a resist before dyeing. When such yarn is woven, the resulting textile will be patterned. The elaborate Central Asian and Indonesian examples required repeated binding and dyeing to achieve the variety of colors and intricacy of design. The patterns created in ikats will have a characteristic raggedness around the edges. The patterns can be created on the warp or the weft, or both. When both the warp and the weft are patterned, the resulting textile is a double ikat.

 

 

Broadbent Gallery | Jean L. Druesedow

The defining characteristic of any fashion period is the shape of the silhouette. Shape is largely determined by what is worn underneath the fashionable garment and next to the skin. Why silhouettes have often had so little to do with the shape of the human body is one of the mysteries of fashion. It is influenced by economic, political and social circumstances as well as attitudes toward sexuality and the ever-present desire for novelty. In this exhibition undress includes not only the garments that give the body structure and shape, but also garments worn at night, at home and in informal situations. These are the garments that reveal and shape private life.

Alumni Gallery | Sara Hume, Curator 

Fans are among the earliest accessories because they perform a critical function. In the days before air conditioning, the cool breeze created by a fan came as welcome relief. Far from purely functional, fans became highly ornamented and beautiful. Over the centuries and across continents, a number of different basic forms of fans developed. This exhibition explores these different shapes and styles. From hand-painted rococo designs of the eighteenth century to celluloid, art deco pieces from the twentieth century, the variations are remarkable and stunning. Approximately fifty fans spanning three centuries will fill the Alumni Gallery.

Stager and Blum Galleries | Sara Hume, Curator

Pleating is one of the most basic fabric treatments as it serves to create three-dimensional clothing out of two-dimensional cloth. Folds and draping occur naturally when cloth is wrapped around the body. As tailored clothing developed in the West, these folds were stitched down, creating pleats. Pleats can also be produced through heat treatment of fabric to form intentional, lasting creases. 

Box, inverted, kick, knife, sunburst, accordion, cartridge, tuck…

This exhibition highlights many of the countless variations of pleating. The pieces on exhibit span more than two hundred years of fashion history and are organized by type of pleat and technique rather than chronologically or geographically. Masterpieces by Mariano Fortuny, Mme. Grès, Issey Miyake, and Christian Dior are exhibited alongside folk costumes and intricate 18th- and 19th-century gowns

 

Broadbent Gallery | Margarita Benitez and Noël Palomo-Lovinski, Guest Curators

The innovative subject of the exhibition has potential to shape future ideas of fashion and business. The exhibition seeks to address pioneering applications of technology that will have a radical effect on the future of personal expression, image and clothing. The exhibition will be divided into four categories: Generative Technology Design, Democracy of Preference/ Subversion of Traditional Production, DIY, Technology and Expression. These four categories will illustrate how designers are creatively addressing technology in a wide variety of forms to express changing 21st-century culture. The applications of technology allow articulation of complex philosophical ideas and context, the perceptions of uses of impending technology, the fostering of a new relationship with craft, and individual means of production that are shaping future conceptions of fashion and clothing.

 

 

Alumni Gallery | Jean Druesedow, Director

Architect/sculptor/jeweler: all describe the work of Arthur Koby whom Vogue Magazine described as “one of the masters of collage.” Designer Geoffrey Beene asked Koby to provide jewelry for his runway collections as did Oscar de la Renta and Donna Karan throughout the 1980s. He combines, manipulates and assembles unexpected materials, found in his worldwide travels, into necklaces that his clients can choose to wear in full evening dress or with jeans and T-shirts. The fantasy necklaces might be made of “drawer hinges, Victorian shoe buckles, diamond-faceted stones made from melted-down beer bottles, hand-carved buffalo horn and shredded or solidified balloons” as the New York Times put it in 1987.  “You have to be a little daring; that’s what adds excitement!” said the designer.

This exhibition will include works on loan from clients who have amassed collections of Arthur Koby’s jewelry, and from the designer himself.

Broadbent Gallery | American Tapestry Alliance

The American Tapestry Alliance is pleased to sponsor the 10th iteration of American Tapestry Biennial. Launched in 1996, this premiere, international exhibition highlights the best of international contemporary hand woven tapestry. From 118 artists who submitted 230 tapestries, juror Dr. Jessica Hemmings, Professor of Visual Culture and Head of the Faculty of Visual Culture at the National College of Art & Design, Dublin, selected 37 tapestries for the show. She says:

“The tenth American Tapestry Biennial Exhibition confirms that the weaver’s pace of work and hunger for concentration continues to deserve recognition despite our ever increasing pace of life. As the range of works selected for the exhibition confirm, the portrait, landscape and abstract image all continue to find relevance as woven images today.” 

The American Tapestry Alliance was founded in 1982 to bring together tapestry weavers throughout North America and its membership now hails from countries around the world. ATA is a non-profit educational organization that offers a network through which tapestry artists interact by means of a quarterly newsletter, an active website and both educational and exhibition opportunities.

Higbee Gallery | Sherry Schofield and Sharon Kilfoyle

The Kent State University Museum is pleased to host this invitational exhibition of felted work by fifteen contemporary textile artists from the United States and Canada. Felt is legendary as one of the oldest materials from which garments have been made. Created primarily of wool fibers that have been manipulated with pressure and moisture so that the fibers interlock, traditional felt is non-woven. Although wool is not the only fiber that can be felted, the physical properties of wool fibers felt more easily to form a strong bond. In this exhibition the majority of pieces are made in the nuno felting technique developed by Australian Polly Stirling in the early 1990s. The word nuno is derived from the Japanese word for cloth. Nuno felting techniques are simple, and allow the blending together of fabric and wool in the felting process. It has inspired designers to create sheer fabrics that are easy to drape and to sew into elegant garments. Fiber artists and designers are experimenting with the parameters of this process, and the result has been an amazing array of fabrics, styles, and aesthetics, as well as surprising combinations of fabrics, wools, and synthetic embellishments. By hand dying both the felting fibers and the base textiles, the artists achieve imaginative patterns of color and texture and create garments unique in both silhouette and style. Our focus in this exhibit is the use of felt in elegant garments, using both seamless and sewn felt techniques, and showcasing both sheer elegance and sturdy construction.

Higbee Gallery | Jean Druesedow, Director

"Raiment for Liturgy: Vestments in the Kent State University Collection" will highlight a variety of religious garments and textiles from the KSU Museum's permanent collection, many of which are made from lavish materials.

The Roman Catholic Church decreed that vestments be made of silk, the most expensive and precious of all textiles, because bishops and priests celebrating mass should wear only the finest materials. For this reason, many of the vestments in the exhibition are made of luxurious woven silks brocaded in gold and silver or embroidered in polychrome and precious metallic threads.

Shannon Rodgers acquired liturgical vestments as part of the collection that formed the original gift establishing the Kent State University Museum.  Along with these pieces, "Raiment for Liturgy" includes textiles from the Fulton-Lucien Collection, acquired in 1986, and the Allen Memorial Art Museum at Oberlin College, transferred to the KSU Museum in 1995. These pieces were collected primarily as examples of the textile art of the seventeenth and eighteenth centuries. Together these vestments serve as a survey of the extraordinary textile art of the periods of their creation.

Higbee Gallery | Linda Öhrn-McDaniel

Concept, problem solving and material process are the fundamental starting points for all my creative work as a designer, artist and educator. The act of exploration and discovery consistently inspires me to create new ideas. Narrowing my field of options in theme or color expands the need to use craft technique, fit or surface design to solve creative issues within each garment. A primary example of this approach is the circles and hearts that feature prominently in this exhibition. The symbolic meanings and basic geometric shapes allow a wide variety of options to explore and help to reflect my…

LIFE, THOUGHTS & GARMENTS

Stager and Blum Galleries | Sara Hume, Curator

Cultures around the world have developed an array of resist dye techniques. Dyeing provides rich colors but once the fabric has been colored in a dark shade, lighter color patterns will not show up. In order to allow lighter colors to come through, areas have to be blocked from receiving dye. Any of these techniques of blocking the dye are referred to as a “resist.” Sometimes these techniques have arisen independently; sometimes the techniques have been passed across cultures through trade and exchange. In many cases the origins have been lost to time, leaving only rich and remarkable textile traditions. Resist techniques can be seen in the most expensive and treasured textiles, but also in relatively humble objects.

The exhibition is organized by technique in order to bring together examples from around the globe. The objects are grouped into three main categories of resist methods: mechanical, chemical, and ikat. While specific techniques may vary widely, they rely on a few basic principles. The dye can be resisted using mechanical means by tying, stitching or folding. Alternately the resist can be chemical, generally paste or wax. The third category, ikat, refers to textiles in which the resist is applied to the threads before weaving. Ikat is generally a mechanical resist technique, in which the threads are wrapped and bound.

MECHANICAL RESIST

Shibori, bandhani, tie-dye

Tie-dye is a technique that has become familiar to many Americans because of brightly colored t-shirts popular in the 1960s and 70s. The technique of tying off sections of cloth or garments before treating it with dye has been around for centuries. Japan and India are among the many parts of the world with long traditions of tie-dye. While most of the examples of mechanical resist techniques in the collection are variations of tying and binding with thread, other methods such as clamping and pole-wrapping can also be used. While these techniques have been practiced for centuries and are performed by highly experienced artisans, there is always an element of randomness and chance to the results. The subtle variations in shade and pattern are intrinsic to the beauty of the handmade pieces.

CHEMICAL RESIST

Batik, adire eleko, tsutsugaki, modrotlac

The use of paste or wax as a resist has developed in many cultures around the world. In the earliest forms, the patterns were created free hand by drawing the wax or paste onto the fabric. Such techniques can be seen in the finest Indonesian batiks and Japanese tsutsugaki. As textile printing developed, resists played a critical role in preventing dark colors from spreading into lighter areas. Several cultures developed techniques of printing the resist onto the fabric before dyeing. Achieving several colors on a textile demands repeated application of wax or paste before each submersion in the dye. Additional colors are created by overdyeing one color over another.

IKAT

Ikat, jaspe, adras, kasuri

The word ikat derives from the Indonesian verb menigikat, which means “to bind, tie or wind around.” Clearly the word first applied to Indonesian textiles, but has come to be the general term used to describe any textile made with this technique. The method involves wrapping yarn with a resist before dyeing. When such yarn is woven, the resulting textile will be patterned. The elaborate Central Asian and Indonesian examples required repeated binding and dyeing to achieve the variety of colors and intricacy of design. The patterns created in ikats will have a characteristic raggedness around the edges. The patterns can be created on the warp or the weft, or both. When both the warp and the weft are patterned, the resulting textile is a double ikat.

 

 

Broadbent Gallery | Jean L. Druesedow

The defining characteristic of any fashion period is the shape of the silhouette. Shape is largely determined by what is worn underneath the fashionable garment and next to the skin. Why silhouettes have often had so little to do with the shape of the human body is one of the mysteries of fashion. It is influenced by economic, political and social circumstances as well as attitudes toward sexuality and the ever-present desire for novelty. In this exhibition undress includes not only the garments that give the body structure and shape, but also garments worn at night, at home and in informal situations. These are the garments that reveal and shape private life.

Alumni Gallery | Sara Hume, Curator 

Fans are among the earliest accessories because they perform a critical function. In the days before air conditioning, the cool breeze created by a fan came as welcome relief. Far from purely functional, fans became highly ornamented and beautiful. Over the centuries and across continents, a number of different basic forms of fans developed. This exhibition explores these different shapes and styles. From hand-painted rococo designs of the eighteenth century to celluloid, art deco pieces from the twentieth century, the variations are remarkable and stunning. Approximately fifty fans spanning three centuries will fill the Alumni Gallery.

Stager and Blum Galleries | Sara Hume, Curator

Pleating is one of the most basic fabric treatments as it serves to create three-dimensional clothing out of two-dimensional cloth. Folds and draping occur naturally when cloth is wrapped around the body. As tailored clothing developed in the West, these folds were stitched down, creating pleats. Pleats can also be produced through heat treatment of fabric to form intentional, lasting creases. 

Box, inverted, kick, knife, sunburst, accordion, cartridge, tuck…

This exhibition highlights many of the countless variations of pleating. The pieces on exhibit span more than two hundred years of fashion history and are organized by type of pleat and technique rather than chronologically or geographically. Masterpieces by Mariano Fortuny, Mme. Grès, Issey Miyake, and Christian Dior are exhibited alongside folk costumes and intricate 18th- and 19th-century gowns

 

Broadbent Gallery | Margarita Benitez and Noël Palomo-Lovinski, Guest Curators

The innovative subject of the exhibition has potential to shape future ideas of fashion and business. The exhibition seeks to address pioneering applications of technology that will have a radical effect on the future of personal expression, image and clothing. The exhibition will be divided into four categories: Generative Technology Design, Democracy of Preference/ Subversion of Traditional Production, DIY, Technology and Expression. These four categories will illustrate how designers are creatively addressing technology in a wide variety of forms to express changing 21st-century culture. The applications of technology allow articulation of complex philosophical ideas and context, the perceptions of uses of impending technology, the fostering of a new relationship with craft, and individual means of production that are shaping future conceptions of fashion and clothing.

 

 

Alumni Gallery | Jean Druesedow, Director

Architect/sculptor/jeweler: all describe the work of Arthur Koby whom Vogue Magazine described as “one of the masters of collage.” Designer Geoffrey Beene asked Koby to provide jewelry for his runway collections as did Oscar de la Renta and Donna Karan throughout the 1980s. He combines, manipulates and assembles unexpected materials, found in his worldwide travels, into necklaces that his clients can choose to wear in full evening dress or with jeans and T-shirts. The fantasy necklaces might be made of “drawer hinges, Victorian shoe buckles, diamond-faceted stones made from melted-down beer bottles, hand-carved buffalo horn and shredded or solidified balloons” as the New York Times put it in 1987.  “You have to be a little daring; that’s what adds excitement!” said the designer.

This exhibition will include works on loan from clients who have amassed collections of Arthur Koby’s jewelry, and from the designer himself.

Broadbent Gallery | American Tapestry Alliance

The American Tapestry Alliance is pleased to sponsor the 10th iteration of American Tapestry Biennial. Launched in 1996, this premiere, international exhibition highlights the best of international contemporary hand woven tapestry. From 118 artists who submitted 230 tapestries, juror Dr. Jessica Hemmings, Professor of Visual Culture and Head of the Faculty of Visual Culture at the National College of Art & Design, Dublin, selected 37 tapestries for the show. She says:

“The tenth American Tapestry Biennial Exhibition confirms that the weaver’s pace of work and hunger for concentration continues to deserve recognition despite our ever increasing pace of life. As the range of works selected for the exhibition confirm, the portrait, landscape and abstract image all continue to find relevance as woven images today.” 

The American Tapestry Alliance was founded in 1982 to bring together tapestry weavers throughout North America and its membership now hails from countries around the world. ATA is a non-profit educational organization that offers a network through which tapestry artists interact by means of a quarterly newsletter, an active website and both educational and exhibition opportunities.

Higbee Gallery | Sherry Schofield and Sharon Kilfoyle

The Kent State University Museum is pleased to host this invitational exhibition of felted work by fifteen contemporary textile artists from the United States and Canada. Felt is legendary as one of the oldest materials from which garments have been made. Created primarily of wool fibers that have been manipulated with pressure and moisture so that the fibers interlock, traditional felt is non-woven. Although wool is not the only fiber that can be felted, the physical properties of wool fibers felt more easily to form a strong bond. In this exhibition the majority of pieces are made in the nuno felting technique developed by Australian Polly Stirling in the early 1990s. The word nuno is derived from the Japanese word for cloth. Nuno felting techniques are simple, and allow the blending together of fabric and wool in the felting process. It has inspired designers to create sheer fabrics that are easy to drape and to sew into elegant garments. Fiber artists and designers are experimenting with the parameters of this process, and the result has been an amazing array of fabrics, styles, and aesthetics, as well as surprising combinations of fabrics, wools, and synthetic embellishments. By hand dying both the felting fibers and the base textiles, the artists achieve imaginative patterns of color and texture and create garments unique in both silhouette and style. Our focus in this exhibit is the use of felt in elegant garments, using both seamless and sewn felt techniques, and showcasing both sheer elegance and sturdy construction.

Higbee Gallery | Jean Druesedow, Director

"Raiment for Liturgy: Vestments in the Kent State University Collection" will highlight a variety of religious garments and textiles from the KSU Museum's permanent collection, many of which are made from lavish materials.

The Roman Catholic Church decreed that vestments be made of silk, the most expensive and precious of all textiles, because bishops and priests celebrating mass should wear only the finest materials. For this reason, many of the vestments in the exhibition are made of luxurious woven silks brocaded in gold and silver or embroidered in polychrome and precious metallic threads.

Shannon Rodgers acquired liturgical vestments as part of the collection that formed the original gift establishing the Kent State University Museum.  Along with these pieces, "Raiment for Liturgy" includes textiles from the Fulton-Lucien Collection, acquired in 1986, and the Allen Memorial Art Museum at Oberlin College, transferred to the KSU Museum in 1995. These pieces were collected primarily as examples of the textile art of the seventeenth and eighteenth centuries. Together these vestments serve as a survey of the extraordinary textile art of the periods of their creation.

Fashion Timeline
Jun. 29, 2012

Palmer and Mull Galleries | Sara Hume, Curator
The “Fashion Timeline” showcases the Kent State University Museum’s world-class collection of historic fashions. Encompassing over two centuries of fashion history, this exhibition is designed to show the evolution of styles and silhouettes while contextualizing the pieces with relevant political, technological and cultural developments.

Jun. 28, 2024

"The Hepburn Style: Katharine and her Designers" is now on display at the Kent State University Museum. Throughout the exhibition, you will see the elements of comfort, movement and proportion represented in Katharine Hepburn’s fashion choices and in the costumes she wore.

Joe Lanzilotta, The BM Room, Oil on Canvas, 20” x24”, 2023.
Jun. 13, 2025

Riffing on the Human Condition features artwork from the two Cleveland-based artists/designers and will be on display from June 13 – July 26, 2025, in the KSU Downtown Gallery, located at 141 East Main Street in Kent, Ohio. There will be a reception on June 13 from 5-7 p.m., which is free and open to the public.

Northeast Ohio artists Justin Will and Joe Lanzilotta’s graphic painting styles both employ bold colors and flattened shapes as their visual languages for coping with the contemporary human condition. Will’s work uses joy and humor as means of easing the burdens of existence, while Lanzilotta confronts it head-on, highlighting some of the absurd and strange truths about being a human alive in the world today.

This exhibit is free and open to the public and has been brought to you with support from the Ohio Arts Council.

Jul. 07, 2025
Three images of kids engaged in various activities including listening to a presentation about robotics, building a small robot, and sitting in an augmented reality flight simulator

 

Get hands-on with experiments, explore real-world engineering, and complete an exciting design project. Whether you’re in middle or high school, these camps are your ticket to a summer of discovery and fun in STEM!

Registration is now closed for the 2025 Emerging Engineer Camp!

Brandenburg Strings Camp graphic with a woman playing the cello
Jul. 07, 2025

KSU Brandenburg Strings Camp is a 4-day event for High School String and College string players. Students will learn string arrangements of several of JS Bach's Brandenburg Concerti, receive coaching and instruction from Kent Violin Instructor Amy Glick, and present a concert on the last day of the camp. This camp is a great way to increase facility on your instrument, learn chamber music skills, tackle Baroque style, and have a great time making music in a small group!

Schedule:
July 7-10, 2025 from 9 a.m. - 12 p.m. each day.
There will be a public concert at 11 a.m. on Thurs., July 10

Cost: $145

Jul. 10, 2025

First Step is your next step to becoming a Golden Flash! First Step is Kent State Stark's first-year advising and registration program. Newly admitted students should check their email for instructions on how to register for First Step. Registration is required. See website for details.

You're a Good Man, Charlie Brown Logo
Jul. 10, 2025

With charm, wit and heart, “You’re A Good Man, Charlie Brown” explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, is guaranteed to please audiences of all ages!

“YOU'RE A GOOD MAN, CHARLIE BROWN” is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com

"You're A Good Man, Charlie Brown"
July 4 – July 12, 2025
Based on The Comic Strip “Peanuts” by Charles M. Schulz
Book, Music and Lyrics by Clark Gesner
Additional Dialogue by Michael Mayer
Additional Music and Lyrics by Andrew Lippa

Director and Choreographer: Amy Fritsche
Music Director: Jonathan Swoboda

Jul. 10, 2025

Here’s your chance to enjoy a beautiful sunset, relax in nature, and let your worries drift into the night as we paddle into the sunset on a peaceful and serene lake right down the road from Kent. Transportation is provided. We will meet at the Student Recreation and Wellness Center (or you can meet us at Wingfoot Lake, just let us know ahead of time!). Contact actrips@kent.edu with any questions.
Location: Wingfoot Lake State Park Boat Launch – meet at the SRWC
Cost: $35

You're a Good Man, Charlie Brown Logo
Jul. 11, 2025

With charm, wit and heart, “You’re A Good Man, Charlie Brown” explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, is guaranteed to please audiences of all ages!

“YOU'RE A GOOD MAN, CHARLIE BROWN” is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com

"You're A Good Man, Charlie Brown"
July 4 – July 12, 2025
Based on The Comic Strip “Peanuts” by Charles M. Schulz
Book, Music and Lyrics by Clark Gesner
Additional Dialogue by Michael Mayer
Additional Music and Lyrics by Andrew Lippa

Director and Choreographer: Amy Fritsche
Music Director: Jonathan Swoboda

Jul. 11, 2025

Here’s your chance to enjoy a beautiful sunset, relax in nature, and let your worries drift into the night as we paddle into the sunset on a peaceful and serene lake right down the road from Kent. Transportation is provided. We will meet at the Student Recreation and Wellness Center (or you can meet us at Wingfoot Lake, just let us know ahead of time!). Contact actrips@kent.edu with any questions.
Location: Wingfoot Lake State Park Boat Launch – meet at the SRWC
Cost: $35

Jul. 12, 2025

Join fellow Kent State alumni for a wild and wonderful day at the Pittsburgh Zoo and Aquarium, where you can come nose-to-nose with more than 8,000 animals from around the world. This family-friendly experience includes lunch in the zoo’s Garden Tent and a private animal encounter, as well as a $5 donation to the Kent State Biological Sciences Department. 

Thank you for your support. This event is sold out. 

Jul. 12, 2025

Join fellow Kent State alumni for a wild and wonderful day at the Pittsburgh Zoo and Aquarium.

Register Now

Jul. 12, 2025

This trip will be held locally on the Cuyahoga River. We will meet at the Student Recreation and Wellness Center (or you can meet us at Kramer Fields-just let us know ahead of time!) From there, we will paddle to Brust Park in Munroe Falls. We will then take the shuttle back to the Student Recreation and Wellness Center. A staff member will be with you on the water for the entire trip. The trip is 4.0 miles long, is beginner friendly, and no prior experience is needed.
Location: Cuyahoga River in downtown Kent - meet at the SRWC
Cost: $30

You're a Good Man, Charlie Brown Logo
Jul. 12, 2025

With charm, wit and heart, “You’re A Good Man, Charlie Brown” explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, is guaranteed to please audiences of all ages!

“YOU'RE A GOOD MAN, CHARLIE BROWN” is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com

"You're A Good Man, Charlie Brown"
July 4 – July 12, 2025
Based on The Comic Strip “Peanuts” by Charles M. Schulz
Book, Music and Lyrics by Clark Gesner
Additional Dialogue by Michael Mayer
Additional Music and Lyrics by Andrew Lippa

Director and Choreographer: Amy Fritsche
Music Director: Jonathan Swoboda

Jul. 12, 2025

This trip will be held locally on the Cuyahoga River. We will meet at the Student Recreation and Wellness Center (or you can meet us at Kramer Fields-just let us know ahead of time!) From there, we will paddle to Brust Park in Munroe Falls. We will then take the shuttle back to the Student Recreation and Wellness Center. A staff member will be with you on the water for the entire trip. The trip is 4.0 miles long, is beginner friendly, and no prior experience is needed.
Location: Cuyahoga River in downtown Kent - meet at the SRWC
Cost: $30

You're a Good Man, Charlie Brown Logo
Jul. 12, 2025

With charm, wit and heart, “You’re A Good Man, Charlie Brown” explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, is guaranteed to please audiences of all ages!

“YOU'RE A GOOD MAN, CHARLIE BROWN” is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com

"You're A Good Man, Charlie Brown"
July 4 – July 12, 2025
Based on The Comic Strip “Peanuts” by Charles M. Schulz
Book, Music and Lyrics by Clark Gesner
Additional Dialogue by Michael Mayer
Additional Music and Lyrics by Andrew Lippa

Director and Choreographer: Amy Fritsche
Music Director: Jonathan Swoboda

Jul. 13, 2025

This trip will be held locally on the Cuyahoga River. We will meet at the Student Recreation and Wellness Center (or you can meet us at Kramer Fields-just let us know ahead of time!) From there, we will paddle to Brust Park in Munroe Falls. We will then take the shuttle back to the Student Recreation and Wellness Center. A staff member will be with you on the water for the entire trip. The trip is 4.0 miles long, is beginner friendly, and no prior experience is needed.
Location: Cuyahoga River in downtown Kent - meet at the SRWC
Cost: $30

Jul. 15, 2025

First Step is your next step to becoming a Golden Flash! First Step is Kent State Stark's first-year advising and registration program. Newly admitted students should check their email for instructions on how to register for First Step. Registration is required. See website for details.

Jul. 16, 2025

First Step is your next step to becoming a Golden Flash! First Step is Kent State Stark's first-year advising and registration program. Newly admitted students should check their email for instructions on how to register for First Step. Registration is required. See website for details.

Jul. 16, 2025

For more information, please contact Theresa Hootman at 1-440-964-4252 or thootma1@kent.edu. Students, please use the link below to register.