Dr. Larson’s leadership includes the creation of the South Carolina School of the Arts, expansion of the Rainey Fine Arts Center, the establishment of key degree programs in the arts, and the new Conservatory of Music.��

Former Anderson President Dr. Mark Hopkins got to know Dr. Larson when they both lived in Illinois. When Dr. Larson was leading the Theatre Department at Judson College (currently Judson University) in Illinois, Dr. Hopkins reached out to him, initially seeking his advice regarding uses for the newly constructed Henderson Auditorium.��

Dr. Larson recalls, “He wanted someone who would help chart a course for this new auditorium he had inherited.�� When I visited, I realized I was being tested, and so I dutifully submitted a report with my suggestions. A year later, Dr. Hopkins sent me a voicemail and said, ‘We have a new position, the Associate Dean of Arts. Sensing God’s leading, Dr. Larson said “yes” and moved with his young family to Anderson. His job was to help develop music, art and theatre and to manage the new auditorium.��

“There was no Peace Center. There was no Brooks Center. In the late eighties, Centre Stage at Anderson College was the primary venue for professional performing arts in the Upstate. For eight years, Centre Stage presented six to eight touring performances per year. About a thousand season tickets a year were purchased for Center Stage—which was just enough to cover artist fees.” The series attracted some big acts for the time, including the Atlanta Symphony, Burl Ives, Chet Atkins, Lionel Hampton and Dizzy Gillespie.����

���n my second summer here, we were given money to renovate Merritt Auditorium, turning it into a home for the theater program. I transitioned over to academics just before the institution made the change to four-year status, about the time the college was deciding to build phase two of the Fine Arts Center.” Dr. Larson added, “Those were wildly busy days!”��

Dr. Larson asserts that none of the successes of the South Carolina School of the Arts would have happened if not for the vision of President Evans P. Whitaker and a supportive administrative team.��

He also praises the leadership of the school’s three academic programs—Art + Design, The Conservatory of Music, and Theatre and Dance—developing innovative, relevant programs that guide graduates into rewarding careers in the arts.����

Dr. Larson is thankful for ��ҹ�糡 rallying around him over four decades of change and various health challenges. When asked about what retirement looks like, Dr. Larson says that, at least for now, he’ll stay in Anderson.����

Assuming Dr. Larson’s role is Associate Professor of Art and Design, Jer Nelsen. Beginning in the summer of 2026, Nelsen will serve as the Interim Dean of the South Carolina School of the Arts.��

���n summary,” Dr. Larson says, “my story is one of God’s faithfulness to help build a serious arts program, firmly set on a strong faith foundation. Ultimately, that means hiring and cultivating dynamic Christian faculty who will inspire and role model the integration of their art and their faith. Hire the right people, and good things happen. I am thankful to have seen this arts enclave grow and develop. Indeed, we are a special place- serious about our art and serious about our faith at the same time.”����

��

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Pipkin is Assistant Professor of Art and Art Foundations Program Coordinator in the South Carolina School of the Arts at ��ҹ�糡.��

Every year, South Carolina Independent Colleges and Universities (SCICU) recognizes outstanding faculty from each of its 20 member colleges and universities and honors them with a $3,000 professional development grant and a framed certificate at a special awards dinner in Columbia.��

Pipkin will use the grant to support the purchase of a suite of equipment designed to deepen observational skills and visual accuracy in drawing courses. A Wacom Cintiq table will allow students to work digitally with precision on iPads or laptops. Digital handheld microscopes will give students close access to empirically observe surfaces, textures, and fine details for drawings and artwork. Additionally, a set of full-color WRGB lights will support still life and figure drawing by providing a wide range of lighting and color options. The purchases with the grant money will further connect the digital and analog worlds, allowing students to have experience with an even wider range of materials and mediums.��

Additionally, in recognition of her excellent work and commitment to her students’ learning, Pipkin will receive a $1,000 prize from AU’s Center for Learning and Teaching Excellence.��

Earnings from the SCICU Endowment fund the $60,000 needed to award the 20 SCICU Excellence in Teaching development grants.��

SCICU celebrated 20 outstanding faculty members at the annual Excellence in Teaching Awards dinner on April 21, 2026 at the Columbia Metropolitan Convention Center in Columbia.��

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��ҹ�糡 today announced the formal transition of its Department of Music to the Conservatory of Music, effective June 1, marking a natural progression for a program that has long demonstrated the rigor, artistic standards and professional preparation associated with leading conservatories.

The change was formally approved by the ��ҹ�糡 Board of Trust at its February meeting and the announcement made during the annual President’s Gala, a performance extravaganza featuring the breadth of Anderson’s performance programs.

The new Conservatory will remain a central component of The��South Carolina School of the Arts at ��ҹ�糡, the comprehensive arts school Anderson established on its campus to bring together programs in dance, music, theatre and art and design.��The announcement comes as Anderson continues its broader institutional momentum as South Carolina’s largest private university and its status among the state’s five more selective universities, reflecting sustained growth alongside rising academic expectations.

Heading the conservatory is Dr. David L. Perry, currently chair of the music department. His new title will be��Director of the Conservatory of Music.��He will provide leadership over curriculum, ensembles, faculty, students and artistic standards.

“For years, Anderson’s music program has exhibited the depth, discipline and artistic excellence one expects from a conservatory,” said Dr. David W. Larson, dean of The South Carolina School of the Arts. “This transition allows us to strengthen what already exists—deepening our focus on performance, investing in faculty and expanding professional opportunities so our graduates are prepared to thrive in today’s musical landscape.”

Johnny Mann Center for Commercial Music

A signature component of the Conservatory is the��Johnny Mann Center for Commercial Music, which honors the legacy of Johnny Mann (1928-2014)—the Grammy-winning arranger, composer and longtime musical collaborator of Lawrence Welk, and whose career spanned television, recording and choral performance. Mann was widely respected for bridging artistic excellence with broad audience appeal, a spirit reflected in the Center’s mission. He was a contributor to the University and a personal friend of ��ҹ�糡 President Evans Whitaker and his wife, Diane. Mr. Mann’s wife, Betty, transferred his compositions and other important papers on loan at Pepperdine University to Anderson in perpetuity.

Anderson’s commercial music program prepares students for contemporary careers across genres including pop, rock, jazz, singer-songwriter, studio production, worship leadership and music for media. Through performance, songwriting, recording and industry studies, students develop both artistic voice and professional versatility.

“The Johnny Mann Center embodies our conviction that musical excellence can be both artistically serious and culturally engaged,” Larson said. ���t prepares students not only to perform, but to create and lead in the evolving music industry.”

Nationally Recognized Specialized Arts Accreditations

The Conservatory’s launch also underscores the University’s distinctive national standing in the arts. Anderson is one of only four Christian universities in the United States accredited across music, theatre and design by their respective specialized accrediting bodies, reflecting a comprehensive commitment to professional artistic education.

These recognitions include accreditation from the National Association of Schools of Music (NASM) for music; the National Association of Schools of Art and Design (NASAD) for visual art and design; and the National Association of Schools of Theatre (NAST).

Together, these accreditations affirm that the University’s arts programs meet nationally recognized standards for curriculum quality, faculty credentials, facilities and student achievement, placing The School of the Arts—and the new Conservatory—among a select group of institutions with comprehensive professional validation across creative disciplines.

Strengthening an Already Selective Program

The Conservatory designation will sharpen emphasis on intensive performance training, ensemble excellence and industry-aligned professional development while maintaining Anderson’s personalized approach. Music programs at the University are already audition-based and selective, and leaders affirmed that the Conservatory will sustain and further enhance that selectivity as part of its commitment to artistic distinction.

“With more than 20 ensembles spanning instrumental, choral, jazz, commercial and worship traditions, our students have abundant opportunities to perform, collaborate, and develop the skills needed for professional musical careers,” Dr. Larson said.

President Whitaker noted that the development aligns with the University’s broader mission of preparing graduates for professional achievement across disciplines.

“Anderson has long believed that artistic excellence and professional preparation belong together,” Whitaker said. “The Conservatory of Music formalizes the high standards already present and positions us to cultivate musicians of exceptional skill, discipline and expressive power. Strengthening faculty, enhancing performance opportunities and maintaining rigorous admissions will ensure that our graduates are prepared for meaningful careers and cultural leadership.”

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Anderson’s Jazz Fusion Ensemble was formed by Commercial Music students at the South Carolina School of the Arts. According to Music Professor Dr. Derick Cordoba, the AU Jazz Fusion Ensemble was the only group from the U.S. invited to perform at the prestigious conference. JAM LAB offers the only accredited commercial music program in Europe. ��

“We got to perform on Friday night at a concert… They did an amazing job,” said Cordoba, who led the trip. “Not only did we get all these master classes and get to play in their facilities, we got to tour their music production facilities for movie recording and video game composing. We have a memorandum of understanding with the school, so students in the future will be able to take summer classes there for credit.” 

“This is something I definitely wanted to do, and it’s even better that I got to go with my friends and my peers that I work with closely to make music,” said Kate Strickland, who plays electric violin in the group.����

Kate Strickland and Nathan Freeman on stage.

Ensemble member Dalvin Gray got to play for an Italian band attending the conference, filling in for their drummer. Gray recalls he fit right into the group, citing music as a universal language. ��

“The way that we can all come in together and just mesh as one and have that uniform sound is just incredible,” Gray said. “My favorite memory is getting to meet a lot of the students over there who have played with or are on projects with big inspirations of mine. This one guy over there, Adrian Varday, was signed to Quincy Jones at 11 and played in his band for a while. Getting to meet him and hear his backstory and just getting to hang out with him—we connected instantly as soon as we met.” ��

Dalvin Gray, right, playing drums with a group from Italy.

��� do not speak German. I do not speak Italian… but I knew if we reached a solo section and I looked at somebody and they nodded at me, it was my turn. It’s a really coolcollaborative experience,” Strickland said. ��� view music and cultural exchange as a mission opportunity of going, this is how I see the world, and I hope that you see Jesus in me to the point where you ask me why I am the way that I am.”

Gray will never forget interacting with musicians in Vienna who had a natural ability to play as if they’ve been jamming together for many years.��

“That was literally my biggest memory, having that connection with everyone, knowing that we can make great music and also just be connected through music, because that is the universal language,” Gray said.��

The AU Fusion Ensemble also got to perform at two of Vienna’s top jazz venues. ��

“That was a really unique experience for the students because it was something only a local jazz musician would really be able to do,” said Cordoba. ��

Olivia Burdette on keyboard with Duncan Stone on guitar in the background.

“The jazz scene there is absolutely phenomenal,” Strickland continued. “There are so many people there playing jazz and teaching jazz and just speaking that language to each other. I saw people when we were playing at jazz clubs coming up to me and being like, ‘wow, you sound great. This is awesome. Will you be back tomorrow?’”��

Cordoba said, “We had a great time and the schools really enjoyed working with American jazz students. They were very excited for that since the U.S. is where jazz was basically born.” He added that Professor Greg Alewine played a key role in preparation for the trip, rehearsing the ensemble, guiding them in selecting their repertoire and leading in fundraising concerts.��

Music Professor Derick Cordoba speaking on the microphone. At left is Braden Anderson on bass and at right is Nathan Freeman on trumpet.

If you’re interested in hearing the AU Jazz Fusion Ensemble play, they will be in concert April 29 at 7:30 p.m. in the Daniel Recital Hall of the Rainey Fine Arts Center on the ��ҹ�糡 campus. ��

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���t’s a week where the theater students can be together, create together, learn from each other and learn from other creative artists in the theater,”��said��Department��of Theatre and Dance��Chair��Dr.��David��Sollish. ���t’s��a beneficial addition to our year, because sometimes we can get��pretty focused��on what��we’re��doing here on campus. This is an opportunity to��get to know��other��people in the industry��and to see their work.”��

More than 20 ��ҹ�糡 students took part in this year’s festival. The following students received awards and recognition:��

• Irene Ryan Acting Program Semi-finalist: Hannah��Auci��

• Musical Theatre Initiative Semi-finalists: Hannah��Auci, Hunter Ballard, Savannah Grace McCart��

• Musical Theatre Initiative Finalist:�� Hannah��Auci��

• KCACTF Region 4 Stage Management Award for Excellence in First Time State Management: Krysia Thomas��

• SETC/David Weiss Regional 1st place in Scenic Design: CJ Peterson��

• SETC/David Weiss Regional 1st place in Lighting Design: Thomas��Cawood��

• Applied Theatre Award of Excellence: Krysia Thomas��

The awards were presented on the stage of the Alabama Shakespeare Festival, which is considered��one of the nation’s most prestigious regional theatre events.��The festival took place��in Mongomery, Alabama.��

��

AU Theatre and Dance����

AU Theatre and Dance��is part of the South Carolina School of the Arts at ��ҹ�糡. The South Carolina School of the Arts trains professional visual, musical, and theatrical artists who are serious about both their art and Christian faith.��

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Earlier this month,��Dr.��Sollish��was recognized��with one of the greatest honors a theatre educator could��possibly receive.��

On the stage of the prestigious Alabama Shakespeare Festival, Dr. Sollish was presented with the Kennedy Center Gold Medallion, the most prestigous regional award given by the American College Theatre Festival (ACTF). The award recognizes Dr. Sollish for his extraordinary contributions to the teaching and production of theatre and for dedicating his time, artistry and enthusiasm to the development of the festival. The award also honors him for his strong commitment to the values and goals of ACTF and to excellence in educational theatre.��

South Carolina School of the Arts Dean Dr. David Larson said,��“This professional recognition places the Department of Theatre and Dance at the center of theatre programs in the Southeast.  Simply put, this significant award is as good as it gets for a university theatre educator.”��

��

AU Theatre and Dance����

AU Theatre and Dance��is part of the South Carolina School of the Arts at ��ҹ�糡. The South Carolina School of the Arts trains professional visual, musical, and theatrical artists who are serious about both their art and Christian faith.��

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��� knew that my mother loved that instrument so much,” Littlejohn said, ��� really wanted to make her happy at the time.”��

Littlejohn��has grown significantly in his trumpet playing skills��and now��is��one of a select few who advanced to the live��round of��the National Trumpet Competition, one of the premier musical competitions for trumpet players in the U.S.����

Littlejohn is one of just 60 undergraduate students from various colleges,��universities��and conservatories across the nation to advance to the competition’s live performance round.��He’s��the��first ever from ��ҹ�糡.����

Littlejohn��will perform��Alexandra��Pakhmutova’s��Trumpet Concerto��in the competition��taking place March 19-22 at the University of Iowa.��The concerto��was written early in��the Russian composer’s��career and reflects the bold, optimistic spirit of post-war Soviet music.��

“When I read about the piece, something just clicked,” Littlejohn said. ���’m not sure what it was, but there was a lot that I could find from that story, from the adversity��I’ve had to deal��with in my life, just looking back on that and where I’m at now, even just with keeping in mind my current struggles and how I’m still putting my best��foot forward and trying to obtain my degree, and��just��to��do right by my mother, though she’s no longer here physically.”��

In dealing with his mother’s passing during his childhood and the deaths of other family members over the years, Littlejohn finds solace in music.��

“When I play music, what I notice is that I’m enabling myself to feel the way that I need to feel to get through the moment,” he said.��

Littlejohn, who has played in Anderson’s wind symphony, jazz fusion combo, jazz big band, and pep band, feels that if it��weren’t��for his professors and the many opportunities and resources ��ҹ�糡��has offered him, he would not have gotten as far as he has.����

���’m grateful to ��ҹ�糡 for providing these��top-notch��quality experiences for me and my colleagues,” said Littlejohn, whose goal is to��consistently improve his musicianship.��

“The music that we read—it’s not only just about hitting every single note, or being very articulate—but it’s more so about what do you think this piece is about by sitting here and playing it,” Littlejohn said, adding “And can you draw something into your life that can make this musical moment near and dear to your heart?”��

Trumpet Professor Chris Imhoff of the South Carolina School of the Arts at ��ҹ�糡, said, “This is Marqual’s first year here at ��ҹ�糡 and he has embraced the attitude and culture of our trumpet studio. He is surrounded by a group of hard-working, dedicated students who are there to support each other in times of hardship and push each other to become their best, in music but also in life. ��Marqual is a gifted trumpet player who is growing in the positive, Christ-centered environment of AU. This is a wonderful accomplishment for this young man and the start of an exciting time in his musical journey.” ��

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A father, husband, and seasoned professional, Dr. Deyton authored his book, a collection of stories, life lessons, reflections on triumphs and losses, and discreet instructions learned in quiet moments, intended for Deyton’s 17 to 21-year-old younger self.  ��

The book is born from the universal experience of wishing one had the wisdom of hindsight. Dr. Deyton, who transitioned from high school graduate to college freshman 37 years ago, shares a collection of thoughts and facts he wishes he had better considered and applied at that age.  ��

Dear Graduate is structured as a comprehensive guide addressing key life areas. Here are topics and subtopics covered within the book:��

��

SUCCESS �ē�į
The Golden Rule, Attitude, Details, Failure, Persevere, Organization, Intangibles, Dress and Interview for Success, Confidence and Humility, Showing Up, Courage, Continuous Improvement, Think, Goals, A Lifelong Learning Lifestyle.��

COMMUNICATION & RELATIONSHIPS �ē
Listen, Encourage, Perception, Therapy, Understanding Others, Family, Admitting Mistakes, Narcissism, Healthy Confidence, Tough Conversations, Grief, Accepting Others, Language, Taking Responsibility, Suicide, Old People, Impressing Others.��

FINANCES �ē
Money, Budgeting, Debt, Taxes, Retirement Principles, Retirement Vocabulary, Compound Interest, Insurance, Buying a Car.��

LEADERSHIP �ē�į
Leadership Principles, Empowering, Expectations and Boundaries, Mentoring, Emotional Intelligence, Adaptability, Identifying Weaknesses, Building Trust, Building Teams, Be a Reader.��

MORALS, ETHICS, & VALUES �ē�į
Know Your Why, Mental Conversation, Ethics and Values, The Truth, Right Choices, Take a Break, Gratitude, True Wealth, Wisdom, Joy, Self-Control, Good Advice, Problems, Finding a Spouse.��

FAITH��–��
In the epilogue, Dr. Deyton explains that the book’s core principles are fundamentally Judeo-Christian, a discussion he intentionally saved for the end so the advice could be evaluated on its own merits. This final chapter provides the full framework for his worldview, outlining his personal beliefs and offering a clear path to faith for readers.��

��

Dr. Deyton emphasizes that the wisdom within these pages is not theoretical but comes from his own life experiences, successes, failures, and the lessons learned as a father. His hope is that readers will apply these lessons to their lives to avoid some of the pitfalls others have made before them. ��

Dr. L. Lavon Gray, CEO of Blue Hen Agency, wrote the foreword, stating that Dr. Deyton’s words are “lived truths” and offer a “compass to guide graduates forward with confidence and clarity.” Attorney Scott Copeland called the book “a cheat code to a better life.” ��

Dr. Deyton is an adjunct faculty member of the South Carolina School of the Arts at ��ҹ�糡 and currently resides in Taylors, South Carolina, with his wife. He holds degrees from the University of South Carolina, The University of West Georgia, Southwestern Baptist Theological Seminary, including a doctorate in conducting. Over his career, he has taught every level from middle school through graduate school. He has also served on the staff of several churches, owned a business, and maintained an active professional music career. ��

Dr. Deyton and his wife have two sons and a daughter-in-law. Their oldest son works as an accountant with a private equity group in Nashville, where their daughter-in-law teaches. Their youngest son recently graduated from college and serves on staff at his church.   ��

More details about Dr. Deyton’s book, available through Amazon, .����

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Henson and Auci joined college students from around the country running theatre camps for third- through eighth-grade youngsters at various Houston area locations, helping them build confidence in themselves as they learned the basics of creating and staging theatre productions.����

“Our first week of camp consisted of training. All of the interns were together for that entire first week. And we got to learn about both the theatre company, the heart behind it and our goals for the camps for the week,” Henson said. ��

Following training, the interns formed three teams, each with five interns conducting weeklong camps at a different location in the Houston area.����

“They were very intern-run camps,” Henson noted. ��

“We taught them a lot of different theatre games to get their voices engaged, to get them out of their shell, to get them to imagine different circumstances, to interact with their friends,” Auci said, adding that campers created unique scripts for familiar fairy tales such as Goldilocks and the Three Bears or Little Red Riding Hood. “They could make it however they wanted it to be… Of course they had to write content that was clean—nothing too dark.”��

Each camp was capped by a performance at A.D. Players’ main auditorium.����

“They got to do it with backdrops and we also gave them experiences creating their own costumes and molding their own set,” Auci continued. “On the final day we would rehearse everything, and then we would show it to their parents, we would show them the warm-ups that they learned, we would show them some of the games and we would show them their set designs and their costume designs. Then, they would show their scenes to their parents. It was one of the most rewarding experiences ever.”��

During the last week, the interns got together with the head of A.D. Players’ education department to go over the camps and assist in planning for next summer’s camps.����

Henson said, “One of the biggest things about our job is giving back to our community and giving back to those who’ve poured into us… Through this experience, I got to see kids find a joy of theatre and art for the first time. It reminded me of when I was a kid, and my parents were looking for something that sparked my interest… It brought me a lot of reminders of why I love to do what I do and how important it is to use the knowledge that I have and the knowledge that I’m learning and in the future to pour into the younger generation to keep things going and keep the genuine love of art alive.”��

AU Theatre and Dance��

AU Theatre and Dance is part of the South Carolina School of the Arts at ��ҹ�糡. The South Carolina School of the Arts trains professional visual, musical, and theatrical artists who are serious about both their art and Christian faith.��

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The dancers staged a performance exploring the everyday lives of commuters on a New York City subway.����

Wolcott said, “You can watch people fall in love. You can watch people fall out of love. You can watch people deal with grief. You can watch people get a promotion. I’ve watched people book their first Broadway show on a subway to get a phone call while they’re sitting at a station… they get a phone call from their agent and they start breaking down, crying and screaming and all these strangers are celebrating with them.”��

Further explaining storytelling through dance, Wolcott added, “The theme of any musical theater piece is that it has to be theatrical. It has to tell some kind of stories—challenging the students to come up with characters and work them into the dance so it’s not just them doing dance steps next to each other but trying to inhabit these characters and interweaving their stories in a way that we don’t always do in dance.”��

Wolcott enjoyed spending time with students and faculty at Anderson, commenting, “They have great faculty that I have gotten to know while I was there. It’s always good to have a fresh perspective that gives them some reassurance that what they’re learning… it seems like we’re always aligned.”��

Wolcott teaches at Marymount Manhattan University and a few professional dance studios in New York. He loves to travel and work with students at various institutions.��

Lauren Imhoff of the Department of Theatre and Dance in the South Carolina School of the Arts asserts that bringing in an esteemed artist is an important way to support ��ҹ�糡’s pillar of Great Academics.����

“We are also exercising great hospitality and great purpose as our students drive towards professional careers in this art form,” Imhoff said.��

The South Carolina School of the Arts at ��ҹ�糡 trains professional visual, musical, and theatrical artists who are serious about both their art and Christian faith. More details about Theatre and Dance at ��ҹ�糡 can be found online here.

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