Tag: 2026 Utah College Media Collaborative

By Payson Davis | Southern Utah University

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

Dr. Christian Bohnenstengel, piano professor and director of keyboard studies, wasn’t surprised when Southern Utah University announced that the piano performance program would be cut under House Bill 265. Most of his students were graduating, and the number set to take their place was far lower than the school and state legislature preferred. 

Even though his job wasn’t in jeopardy, he said it wasn’t easy to accept the fact that many of his classes would be eliminated.

On March 26, 2025, Gov. Spencer Cox signed HB 265, or the Higher Education Strategic Reinvestment Bill, into law. The bill requires all colleges and universities in Utah to submit three-year plans to reduce costs, reallocate funding to programs that promote in-demand jobs and prioritize administrative spending.

The Early Impacts of HB 265

In preparation for the new funding requirements, lawmakers have already cut $60 million from higher education budgets and moved it to a reinvestment fund. The University of Utah, which saw a decrease of $19.6 million, has already eliminated 81 academic programs — including 22 humanities degrees, 16 in Middle East Studies and eight from the College of Fine Arts.

“I think, in the long run, it could be wise to refine education to help people prepare for future careers, but ultimately I disagree with the principles of the bill,” said Topher Hansen, a piano student at SUU. He’s among those who learned last year that they would be the final members of their major.

Due to HB 265’s reallocation of funds, SUU’s Bachelor of Music in Piano Performance was designated to be cut after its current students graduate. Students can still pursue a piano degree through music education, a Bachelor of Arts or the commercial music program, but the loss of the performance degree has left many frustrated.

“If the government is mandating universities to bottleneck educational opportunities into only working-class careers, they are limiting the freedom to pursue happiness,” Hansen said. “College isn’t meant just to produce workers for the country, but artists, philosophers and professionals to increase the quality of the nation. If there are those who wish to teach and learn a subject, let them.”

Students React to Cuts

The bill became the year’s talking point among many music students. Like Bohnenstengel, they weren’t surprised by the decision, but many expressed frustration and disappointment.

“It was definitely a big topic of discussion among piano majors,” said an international music student who asked to speak anonymously. “Many people don’t fully understand why we go to school for instrument performance. Many of us double major in other fields while using the degree to keep learning about piano and pursuing our passion.”

The student said the cut hit especially hard, given the recent elimination of the National Endowment for the Arts grants and what they see as a trend of making cuts to the arts.

“We were all upset over the cut,” they said.

“But I keep educating and advocating for piano despite all of that…” they continued. “Piano improves cognitive development in children, the overall IQ of pianists is higher than average, and the instrument rewards discipline while improving academic performance.”

Other students in the program also spoke adamantly about the positive effects music and the piano have on the wider world, rejecting the notion that a piano degree is low-value.

Other students shared concerns about the wider impacts of cutting the arts. 

“It’s sad to see artists living off scraps just trying to get by,” Hansen said. “What needs to happen is higher-paying positions for workers in the arts. They may not be as functional as electricians or engineers, but that doesn’t mean there isn’t a market for the arts.”

Students Turn to Activism and Outreach

Even though many students worry their degrees may be next, they continue to champion music in all its forms.

“My advocating works in practical ways,” said the international student. “I perform at local events, I encourage all of the people I know to appreciate music and piano and I tell people to get their kids interested in piano lessons and classical music.” 

They explained what their generation stands to gain from music.

“In the age of artificial intelligence, people yearn for something real and meaningful, which is what music can offer them.”

The Resilience of Festival City

Despite its role as a small college town with fledgling markets and infrastructure, Cedar City’s art scene continues to thrive even with these cuts. SUU’s music department, choirs, and commercial music program continue to grow, its stage plays attract huge audiences, and local bands and musicians keep performing.

SUU is the smallest of the six major Utah universities. Cedar City is the least populous with the smallest endowment among them. 

However, Cedar City is widely known as Festival City for its farmers’ markets, Tony Award-winning theatre and active arts community. Even as the piano students graduate and the major ends, southern Utah will continue to offer opportunities for creatives and performers.  

 Payson Davis reported this story as a communication student at Southern Utah University.

By Laney Hansen | University of Utah

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

Sophia McDonald was 10 years old when her filmmaking debut premiered at the Tumbleweeds Film Festival. Now, 13, she will be attending this year’s festival to gain inspiration for her next project. 

Her experience at Tumbleweeds Film Festival fueled her passion for filmmaking, which was influenced by her father, Ryan McDonald, a film director in Utah.

“I thought it was pretty cool that he did these things, like he knew how to make movies and stuff,” she said. “And I wanted to know how to do it, too.”

This has always been the mission of the Utah Film Center– to give kids the chance to experience the full film festival, including creating their own work.

Sophia likes horror and comedy genres, so blending them, she created her two films ‘Sister, Sister Jinx” and “The Sockening,” which screened at the 2023 and 2024 film festivals. Both were a collaborative effort between Sophia, her sisters and her father, who added that it was an explorative process even for him.

 “It’s cool to see the kids put the pen to paper and then turn it into a movie that gets made with an iPhone,” McDonald said. 

Sophia met filmmaker Jared Hess, director of “Napoleon Dynamite” and “Nacho Libre,” at the festival in 2023 and received direct feedback on her work. McDonald said Hess’s involvement created a unique experience for young filmmakers attending the festival.

Sophia said the collaborative process of showcasing the films was her favorite part “because you could see what other people came up with and how their ideas came to life.” 

Sophia’s films went on to screen at festivals in San Diego and Australia. 

Community and collaboration since day one

Community involvement has been at the core of the Tumbleweeds Film Festival since 2011. The festival is directed and curated for children ages 4 to 14, but also draws adults interested in wholesome, family-friendly films.

This was true for parents like Mark St. Andre, who was seeking out new opportunities for his kids in 2011. At the time, he was volunteering for the Sundance Film Festival and wanted something his children could enjoy and grow up with.

 “As a parent, you’re always looking for unique but educational experiences for your kids. And this was it, because all the movies are like, great quality,” he said. “They’re meaningful, they’re foreign films that the kids had to read the titles too, so that it exposed them to other cultures. … It’s just like all around a great experience.”

His daughter, Julia St. Andre, was 8 years old when she first attended the festival. Now 22, she’s pursuing a minor in documentary film at the University of Utah. She said growing up with Tumbleweeds is what led her toward nature documentaries. 

“I really am interested in real-life stories and turning them into something interesting and something beautiful,” she said. “And I think that there was a lot of films that felt very real … a lot of them were based off of people’s real lives … I think it just opened my eyes to different forms of storytelling that were possible.”

The opportunities Tumbleweeds offered kept the St. Andre family coming back year after year. As the family grew close to the festival, Mark and his wife became sponsors and plan to keep volunteering, attracted by not only the opportunities, but the community, too. 

“I think what’s really always been very interesting to me is how much of the arts really tries to create a sense of community and belonging,” said Julia Gale, the Utah Film Center’s education and family programs director. “I think that’s why you have something like Tumbleweeds around for 15 years. Because when you come, you feel really welcome. It feels like, ‘This is my place. This festival is made just for me,” she added.

About the festival

Tumbleweeds took root with the Utah Film Center when festival founder Patrick Hubley approached them with an idea. Early in his career, Hubley worked with the Toronto International Film Festival Group, where helping run a children’s film program made a lasting impression. So, after leaving Sundance Institute in 2007, he realized there was a gap to be filled in Utah.

“My vision for Tumbleweeds was to create an event aimed to engage and inspire young audiences through films and stories from around the world, specifically tailored for them,” Hubley said. “By presenting these films and conducting educational workshops that offered a glimpse into the creative and technical aspects of filmmaking, I hoped to ignite a new generation of film enthusiasts, artists, and creators.”

In 2014, the Sundance Film Festival approached the Utah Film Center to collaborate on film programming to engage younger audiences. This partnership evolved into the festival’s new programming, “The Matinee,” which produces family-friendly films like this year’s movie, “The Cookie Queens.”

The festival returns April 25 at the Viridian Event Center. Now in its 15th year, Tumbleweeds is the longest-running youth film festival in the Mountain West. 

This year’s theme is “Passion in Action,” which Gale defined as intentional and circular. She added this year’s films surround the themes of “passion, creativity, curiosity and positivity,” which will give young festivalgoers the tools to explore their own passions.

Executive Director of the Utah Film Center, Mariah Mellus, said that Tumbleweeds continues the century-long tradition of film in the state.

“I feel like letting kids know that this is part of Utah’s DNA, and that there are a lot of resources and infrastructure here, including the Utah Film Center, is really important,” she said. “We want to keep them all here in Utah … Make your movie here, and then let’s show it to the world.”

Where it’s going from here

Sophia and Julia’s stories reflect others impacted by the festival’s mission of inspiring young minds to create new work. Mellus said Tumbleweeds has always been a way for kids to allow their curiosity to flow. 

“As kids are growing up, making this content more of a shift to inspiring future content creators has really been a driving mission for me and for the film center,” she said. 

The center is looking at implementing an alumni advisory committee of past Tumbleweeds participants who have moved on to film careers. 

“To have them come back, I think, is really going to help kids envision, if they stick with it, ‘where can I go to school? What might I study?’ And that there’d be a place for them to come back, and show their work and give back to the next generation,” she added. “I think that that kind of pipeline and ecosystem is really important when it comes to inspiring kids on future career paths and then letting them know that the Film Center is a resource.”

Celebrating 15 years, Tumbleweeds is growing rapidly with community and creativity at the forefront.

“We really want to focus on young kids exploring the world through film, learning about the movie-making magic, and then also having an opportunity to create that magic …” Mellus said.

Laney Hansen reported this story as a journalism student at the University of Utah. Podcast production by U of U student, Greta Faatz.

By Avery Truman | Utah State University

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

LOGAN – Carlin Troska was 17 when she found herself in a psychiatric hospital. She wasn’t disheartened to be there — she was inspired. The soft, calming music that flooded the room was Troska’s first encounter with music therapy, a discipline she’s since devoted her studies and career to. 

When the music therapist started playing, Troska said it was a bittersweet moment that drew her to learn more. 

“I kind of saw someone in front of me, and I was like, ‘okay, this is what my future could be.’” Troska, now a senior in Utah State University’s music therapy program, said. “I saw for myself, in the eyes of a patient, how powerful it was.” 

Combining art and science

In her arc from patient to practitioner, Troska said she found a passion for bringing together two fields that, to an outside perspective, might seem opposite. 

“When art and science go together — when people of those disciplines work together — it makes a product that is so much stronger,” Troska said. 

Students in Utah State University’s music therapy program do just that by using their voices and instruments to improve the mental health of others. From hospital bedside visits to group sessions and even kindergarten classrooms, music therapy has proven versatile. 

“Its hard in a talk-therapy setting sometimes to share, but music can really help serve as a container and something that can make someone feel a little bit more comfortable with expressing how they’re feeling,” Troska said. “Sometimes, it’s not with words. Sometimes, it’s with how they play.” 

During a session, the music therapist may play or sing songs, teach music as a coping strategy or experiment with lyrics adapted to the patient. A patient may simply listen to the music or contribute as an active participant by playing an instrument.

The music therapy program landed in USU’s College of Arts and Sciences after the university restructured, placing arts, sciences and humanities under one umbrella. 

Many of Troska’s friends didn’t understand the choice to combine the colleges, but for someone who studies both, Troska said the decision made sense to her.

“It doesn’t have to be science or art,” Troska said. “They can very much go together, and that’s when music therapy really is. Music therapy is a scientific field, but it’s also a creative field.”

The role of music in therapy

Clarissa Zollinger, a senior in the program, has loved music since childhood. When she was 3 years old, she asked her parents for violin lessons and started her classical training at age 5. Now, Zollinger plays the violin, guitar and piano. 

 She is currently completing her practicum requirement while working with music therapists in Cache Valley. 

“This semester, I’m with a behavioral health group in Logan, and it’s been really cool to see how music therapy works with adolescents with various mental health diagnoses,” Zollinger said. “It’s a cool way to create interventions around their interests and the things that will help them have that release and build their own self-esteem.” 

Throughout a session, participants might work on writing lyrics to tie music to their own personal circumstances, learn to play an instrument or participate in guided breathing meditation. 

The session ends with box-breathing techniques and a “goodbye song,” giving participants a stairway to wind down after an energetic session.

“Music just plays such an essential role in so many lives … whether it’s something that people are listening to on their own, or creating a release within their own music that they’re creating,” Zollinger said. “It’s such a valuable tool to be able to bring into the community — of providing [a] higher quality of life for those who are in hospice. They don’t have much life left … to be able to bring something so beautiful into their lives as they’re transitioning to the end of life, I think is so impactful.”

Zollinger said music therapy can positively influence people at all stages of life, from adults with disabilities who use music to express themselves to preschoolers who learn valuable lessons from songs that teach skills like sharing. 

“Music just plays such an essential role in so many lives …,” Zollinger said. “It’s such a valuable tool to be able to bring into the community — of providing [a] higher quality of life for those who are in hospice … to be able to bring something so beautiful into their lives as they’re transitioning to the end of life, I think is so impactful.”

Creating peace in a hospital

Mallory McAlister, music therapy student association president, didn’t come from a musical family, but pursued theatre and piano regardless. She learned about USU’s program from a missionary in her hometown in northern California, and moved to study music therapy. 

“Everyone uses music kind of as a coping mechanism,” McAlister said. “I see that with my own people, I have in my life. A lot of people who come into the program say that that’s a big reason why they did — was because music was that for them.”

McAlister said when working in a hospital, a music therapist’s goal is to improve quality of life, increase relaxation and reduce agitation. 

“Seeing the real-life application of what we’re learning, and seeing how it can positively affect people, is crazy,” McAlister said. “Being in a hospital room and seeing a kid who you thought was going to be paralyzed the rest of his life, move his arm — things like that just really get you.” 

Anna Small, music therapy student association treasurer, said that because music is part of daily life, it can provide comfort and normalcy when faced with life-threatening or challenging situations, such as a visit to Primary Children’s Hospital. 

“Being in a hospital is not very fun for some young, very energetic kiddos,” Small said. “Bringing that piece of familiarity to them in their hospital room can really change the experience for them and make them feel more comfortable.” 

For older patients with dementia, Small said music is one of the few therapies proven to slow the effects of the disease.

Troska said many music therapists have to advocate for their field when people say music isn’t as credible or effective as other therapies. Troska said that, like other forms of arts and sciences, they should work in tandem. 

“When music therapists work together with speech therapists or occupational therapists, physical therapists — when they work together, I think that is when it’s the most powerful.”

Avery Truman, with contributions from Malory Rau, reported this story as a journalism student at Utah State University.

By Brooklyn Beard | Southern Utah University

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

Cedar City, also known as Festival City, is home to a diverse and lively art scene. From the Shakespeare Festival to hardcore heavy metal garage shows to improv comedy, nearly every niche can be found here. The town’s small size has cultivated a strong arts community. 

For Cedar City artists, the community fosters support, ambition, creativity and connection. The range of creative outlets provides room for experimentation and self-discovery. Cedar City has become a launch pad for new artists, and audiences often see their evolution in real time. 

This photo essay takes a tour through Festival City.

Brooklyn Beard reported and produced this story as a communication student at Southern Utah University.

By Hazel Harris-Staples | Utah State University

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

LOGAN – When Whysound, one of Logan’s primary venues for live music, unexpectedly closed in April 2025, it left local musicians and the broader community without a dedicated place to gather and be heard.

The Utah Statesman reported that Whysound closed due to “multiple allegations of sexual assault within their management.”

Whysound cancelled shows and its annual festival after the allegations surfaced, saying in a public statement that the venue and management wanted to address community concerns and seek “transparency for everyone involved in the music scene and Logan community.” The statement also said they are working with Citizens Against Physical and Sexual Abuse (CAPSA) and have opened an anonymous comment form for anyone to voice their concerns. 

While the venue has since reopened, the disruption left uncertainty in Logan’s live music scene and prompted musicians and organizers to create new spaces.

A scene without a stage

In the months that followed, the absence of a venue dedicated to live music and discovering local talent became increasingly visible. 

Sydney Traveller, a local singer-songwriter and self-described avid local music fan, discussed the importance of live music venues and the connection she finds there. Traveller attended local shows, particularly at WhySound, before it closed.

“I think it’s a really great way to meet people, it’s so easy to connect with people over music,” Traveller said. 

She said parts of this community-building have been missing since their temporary closure. 

New to performing live, she said the lack of a stable music venue has made it difficult to break into the scene. 

“How are you supposed to know where to start?” Traveller said, “There’s nowhere to go. There’s no way to meet people.”  

Traveller said the closure limited both performance opportunities and her access to discovering new artists and bands. When it’s hard to find shows to play, she said, it also makes it hard for audiences to discover new bands.

This uncertainty extends beyond individual performers. Venues can give an overall reading of the music scene, said Preston Tangren, member of the Logan band Faux Fiction. 

“The biggest thing that’s happened is we can’t get a good litmus test on the health of the local music scene, because it’s really hard for them [bands] to find a place to showcase,” Tangren said. 

Tangren doesn’t believe this lack of a venue has hindered the creativity of Logan’s musicians. 

“I think we’re surprisingly diverse for a very seemingly culturally homogenous area,” Tangren said. “We have Midwest emo bands, we have punk bands, we have folk bands, we have indie rock bands. I think that’s really good and I feel like there’s more out there, but they just haven’t had their chance to show it.”

This diversity is what makes the live music scene in Logan so important, said Tanner Merritt, bassist for local band dustdust, Aggie Radio DJ and  Utah State University student.

“I think it’s important to have a music scene that provides a safe space for queer people, and for women and for racial minority groups,” Merritt said. 

Tangren said it’s important to have a space for musicians to give back to something that means so much to them. 

“My philosophy is, if you really love something, you want to give back to it, and I think those who really love music inevitably want to give back to it — they do in different ways, but making music is one of those,” Tangren said. 

Searching for solutions

Tangren is trying to do that himself through a platform he is developing called Patched. Named after the cables used to connect musical instruments and audio equipment, Patched will connect musicians and help them find spaces to play live. 

Tangren said he still sees a gap in the scene without a stable venue. 

“I do think that we need something a bit more permanent, something that can be seen as sort of like a rallying location for the local music scene, because we’ve been kind of robbed of that,” Tangren said. “That’s kind of one of the points of why I decided to pivot with my platform —  I can’t create a venue, but I can organize all of the different venues.” 

Tangren isn’t the only one who saw a need and went to fill it. After Whysound closed, people jumped in to provide spaces for bands to perform. 

Merritt said they saw an increase in house shows and other temporary venues that opened their doors to local musicians. 

Building something new

Old Star Audio popped up during this time. Founded by local musician and audio engineer Miles Larkin, Old Star combines an audio mastering studio and a moving concert series that promotes a safe environment. 

“The emphasis is [on] the music and the art, and to allow performers to showcase their art to a crowd of all ages, in a safe environment where everyone can have a great time,” Larkin said. 

Larkin, who plays in local bands dustdust and Antique Loft, said rebuilding the local music scene should be done by those who are a part of it, and on their own terms.

“I think that we deserve a good, safe, fun music scene that encourages people to start new bands, and to see live music and to hear their friends play,” Larkin said. “Even if you don’t know people in the music scene, I still think it’s just magical to go and see what people are creating in your community. I think we deserve that, so we’ve got to make it happen somehow.” 

Slade Blackburn plays guitar as Sydney Traveller sings and plays guitar at the Old Star Audio show, held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

The view from the back of the crowd at the Old Star Audio show held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

Dylan Baldwin, left, and Elliott Lucherini, right, play the bass and guitar, respectively, at the Old Star Audio show held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

Dylan Baldwin plays bass and sings at the Old Star Audio show held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

Jude Harper plays a polka-dotted guitar during the Old Star Audio show held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

Avery McGee plays the bass during the Youch! set at the Old Star Audio show, held at Prince of Peace Lutheran Church on Feb. 21, 2026. (Hazel Harris-Staples)

The lack of a permanent venue hasn’t deterred Larkin, even as they work full-time and run Old Star Audio.

Old Star continues to host a variety of artists at a range of venues, including Prince of Peace Lutheran Church and a local resale boutique, Erthaware, emphasizing their commitment to safe and accessible shows. 

Old Star has hosted bands from Salt Lake City to bands founded in Logan, including World Record, Youch!, Bad Luck Brigade, hurtado and Sydney Traveller, who played one of her first gigs with the project at the end of February. 

Traveller, joined by bands Youch!, Mr. Madame and World Record, performed at the Prince of Peace Lutheran Church on Feb. 21. The church was transformed into a live music venue by adding lights and a smoke machine to the stage. The crowd sang and danced along, even forming a mosh pit multiple times throughout the night. 

Traveller said the work Larkin and Old Star Audio are doing is important — not only for her performance opportunities, but for the music scene community as a whole. 

“It’s a good step in the right direction of starting to get shows going again and getting people to get their music out there more,” Traveller said. 

Larkin stressed the importance of creating spaces where people can come together and build something in their community.  

“Just do it — even if you don’t have what you need, just start getting the ball rolling because you never know when an opportunity will present itself,” Larkin said. “There are people who probably share your vision for what you want to see in your community, artistic-wise, music, whatever, and when people come together, stuff happens.”

Hazel Harris-Staples reported this story as a journalism student at Utah State University.

By Melodi Brooke | Southern Utah University

This story is jointly published as part of the Utah College Media Collaborative, a cross-campus project bringing together emerging journalists from Southern Utah University, the University of Utah, Utah State University and Utah Tech University. The collaborative is an Amplify Utah project with support from PBS Utah and POV.

CEDAR CITY – In an era of short-form content and shrinking attention spans, Cedar City Children’s Musical Theatre has spent more than 15 years proving that live performance still matters. Founded in 2009, the nonprofit provides musical theater opportunities for children regardless of experience or ability to pay, and the demand keeps growing.

“There are many kids that just don’t fit into sports or other types of after-school programs,” said Jewly Krause, CCCMT president and founding member. 

The organization offers what she describes as a family-like atmosphere where kids can build confidence, develop talents and have fun. 

“We often hear from parents that this program has ‘saved their child,’ and that makes all the hard work and sacrifice worth it,” she said.

Run entirely by volunteers, CCCMT has moved seven times since its founding and often navigates challenges around rehearsal space, funding and burnout, Krause said. Still, the organization has a packed 2026 season, including Disney’s “Descendants,” “Aladdin” and a summer production of “Little Mermaid” at the Heritage Theater. 

Doug Spencer, a parent whose four children have participated since 2016, said the program cultivates positive, enduring relationships and gives kids greater confidence and leadership skills. 

“It really helps the community,” he said.

Listen along as Krause and Spencer share how CCCMT is preserving live performance art for the next generation.

Melodi Brooke reported and produced this story as a communication student at Southern Utah University.