Sarah Tucker ’13 from Indonesia

A Fulbright grant took Sarah Tucker ’13 to Indonesia to study biology with a research proposal to study small-scale fishing communities. Last month, Tucker’s research with Eka M. Kurniasih and Matthew T. Craig, on a newly discovered species of grouper, was published in the internationally regarded journal Copeia. Copeia is known for its publication of original research on fish, amphibians, and reptiles.

More information on Tucker’s article, “A New Species of Grouper (Epinephelus; Epinephelidae) from the Indo-Pacific”, may be found here via the American Society of Ichthyologists and Herpetologists.

The Fellowships Program extends sincerest congratulations to Sarah Tucker on her remarkable achievements.

The featured image in this post is courtesy of the Biodiversity Heritage Library. It depicts a previously recorded species of grouper.



Dara Kaye ’09 from South Korea

Dara Kaye ’09 taught English in South Korea for her Fulbright. Dara decided to extend her stay because she had such a good time. She is offering to give advice to any student interested in applying to Korea.

Relevant links:

  • A radio interview that Dara did with KBS (Korean Broadcasting System) World Radio.
  • The website for English-speaking volunteers of the Daejeon Children’s Home, the orphange Dara volunteers for.
  • An article written by Dara about her experience raising money to buy computers for the children at the orphanage.
  • Dara’s blog posts concerning the orphanage.
  • Two blog entries that will be incorporated into an article for Infusion, the Fulbright Korea magazine.
  • Thisblog post is for Dara’s students and other teachers, about her classroom projects.
  • This newspaper article featuring Dara’s experiences in South Korea.

Krystal Banzon ’07 from Philippines

Read her post on the Fulbright blog about getting a Fulbright grant here

While in the Philippines, Krystal directed Rody Vera’s adaptation of MARISOL. Here is the advertisement for the performance:

In celebration of the 60th Anniversary of the Fulbright Program in the Philippines, the University of the Philippines—Diliman, Department of Speech Communication and Theatre Arts and the Philippine—American Educational Foundation (PAEF) present Rody Vera’s Filipino Adaptation of José Rivera’s MARISOL.

MARISOL is a surreal tale of an apocalyptic Philippines, a Manila on the verge of collapsing from the pressures of poverty and violence. The play revolves around the character of Marisol, whose guardian angel leaves her to survive in a world
that is dangerous and falling apart, without the protection of her faith. The themes in MARISOL ring true to a present-day that is local as well as global.

To commemorate six decades of international exchange and mutual understanding between the United States and the Philippines, Krystal Banzon, 2007-08 American Fulbright Student Scholar directs this original adaptation of Rivera’s Puerto Rican/American play, in collaboration with an entirely Filipino cast, design, and production team.

The cast is made up of eight talented artists, Marjorie Lorico, Mailes Kanapi, Nicco Manalo, Sigrid Bernardo, Virgie Sorita-Flores, Tao Aves, Miela Sayo, and Chic San Agustin. Set design and poster design by Lex Marcos, technical direction and lighting design by El Abquina, sound design by Roxanne Pagdanganan, costume design by Sigrid Bernardo, and the stage manager is Hazel Gutierrez.

MARISOL runs from May 14-17, 2008, 7pm at the Teatro Hermogenes Ylagan, Faculty Center, UP Diliman, Quezon City.

Eve Grinstead ’09J from France

Eve Grinstead '09J, France

Check out her blog at the

If I could think of one word that describes my experience as a Fulbright Scholar to Paris, it would be independence. I spend most of my time in various libraries and archives: some are immense, such as the Bibliotheque Nationale while others are small, provincial (which in Paris always implies inferior, though this is not always the case) archives in medieval castles and forts. And because it is France, and everything works this way, each library has its own set of regulations and paperwork. Painfully bureaucratic, but the ends do justify the means.

I have been granted this fellowship to research the artistic patronage of Jeanne d’Evreux, a fourteenth-century queen who had the misfortune (or fortune, depending on how you view her situation) of becoming a widow at the age of 16 after a four-year marriage to Charles IV. Yes, fellow Smithies, that means that she married at 12. This was actually a rather common practice at the time, especially when the king had already been married twice before, failed to produce a male heir, and grew desperate to marry whomever he could as an attempt to save the family bloodline.

Though he and Jeanne were unsuccessful in giving birth to a son (which, as a result, is the reason that Jeanne is often unjustly credited for “ending” the Capetian dynasty), Charles at least did try to keep the power within the family, since Jeanne was also his first cousin.

After the sudden death of her husband, Jeanne gave birth to a third girl and power shifted to the Valois House. From that point on, Jeanne was kept in a rather unique position at the French court: as a dowager queen. She was still regarded and addressed as queen, but she no longer reined over the French court—nor did she have a husband who was able to encumber her political and religious ambitions.

Appropriately, Jeanne spent the majority of her widowhood as an important patron of the arts. She commissioned secular works to decorate her many castles in the Ile-de-France and Champagne regions as well as religious objects such as illustrious reliquaries or sculptures to decorate important Parisian cathedrals and monasteries. I am particularly interested in what her motivations were behind these commissions–how her donations were actually used as means for self-advancement.

Because Jeanne was not the official ruling queen for the majority of her life, there is very little written or recorded about her directly. This means that some information that I thought would be beneficial to my research has been completely unhelpful, while other, unexpected treasures of history have surfaced.

And in order for these unforeseen changes to be a blessing, rather than a burden, the independence I mentioned at the beginning of this update is most important. It is this freedom that allows me to follow where my research leads me, rather than be forced to squeeze irrelevant information to a specific class or assignment.

Following this year, I plan to stay in France to pursue a master’s degree in art history, using some of my findings for my thesis. I also intend to write the biography of Jeanne d’Evreux, a volume that has never before been published.