While many know that Charm City is home to the wizard of weird himself, John Waters, along with the quirky American Visionary Art Museum, poodle skirts, and flamingos galore, most probably don’t associate UMBC with the same offbeat reputation. But take a splash in the wacky waters and you’ll find Retrievers all the way down.

By Janelle Erlichman Diamond

It’s a few minutes into her Fluid Movement water ballet scene, and while most of the swimmers have dropped the red cloaks that hid their bathing suits—a nod to The Handmaid’s Tale—and slipped into the pool as Madonna’s “Like a Prayer” plays on the speaker, Delana Gregg stands alone. As the song reaches its crescendo—“let the choir sing”—Gregg, still in her red cape, falls dramatically backward into the water as the audience gasps and cheers.

Gregg, M.S. ’04, Ph.D. ’19, has worked at UMBC for more than 20 years and is currently the assistant vice provost for Undergraduate Academic Affairs, working with the Academic Success Center and with data and analytics supporting student success. But her summers are filled with swimsuits, glitter, and choreography sheets. 

Fluid Movement is a Baltimore-based nonprofit performance art organization that creates joyful, inclusive, quirky, and accessible performances in public spaces, most notably their annual synchronized swimming shows in city pools. “Our art is a love letter to the city of Baltimore and its residents,” says Ashley Ball, Fluid Movement artistic director. “We focus on inclusivity and the empowerment that comes from movement.” 

Baltimore City’s commitment to the quirk is well documented, but you might be more surprised to learn that UMBC may be one of the best breeding grounds for pursuing and creating non-traditional art. (John Waters, the kinky, eccentric, famous Baltimore-based filmmaker, writer, and artist known as the “Pope of Trash,” borrowed UMBC film equipment to make some of his early films.) UMBC, a school with an R1 classification for its high level of research and known by a national audience perhaps for the immensely successful STEM-focused Meyerhoff Scholars Program or the 2018 NCAA men’s basketball upset, has a long history of stirring the artistic pot—and current Retrievers play an active role in the weird and inclusive art world of Charm City. 

Water ballet get STEAM-y

Photos by Erik Whipple

Gregg swam in her very first water ballet in 2014—Star Spangled Swimmer—and has starred in, stage managed, or produced almost every ballet since including her role as a fatberg in Sinkholes, Sewers, & Streams: A Water Infrastructure Ballet. This past summer she added directing to her repertoire with The Handmaid’s Tale scene in the Dive Into Banned Books: A Water Ballet of Resistance and Joy performance. 

That her love for theatrics and performance might be nurtured at a school that has earned a national reputation for excellence in STEM education is not a surprise to Gregg. “Art and design are in everything, and you can’t have theatre without science and technology,” she says. Anyone who has ever built a set or mixed music can attest to that. “Performance is the ultimate interdisciplinary project, and community performance allows for all the different talents to find expression. You know how to sculpt, sew, run cable, create a program, design a logo, write a script, plan a budget, figure out how to create a waterproof, lightweight, affordable set design that can fit in a storage pod—so much geometry and engineering—we need all of those talents, along with sparkle.”

Ball, the artistic director, comes from a STEM background and has her master’s degree in environmental engineering. “People in STEM need art just as much as anyone else, and a Fluid Movement show is nothing short of an engineering marvel,” she says. 

And it’s clear that this is a draw for Retrievers. “I’ve met so many UMBC people via Fluid Movement: former board members like visual arts professor Timothy Nohe and Kelly Quinn—people who are committed to creating art in Baltimore with people in our communities. UMBC alumni who live in the area, like Amelia Meman ’15; Maria Blanca, M.A. ’15; and Charlotte Keniston, M.F.A. ’14, Ph.D. ’24—it was so great to work with them at UMBC and to create art with them in Baltimore City. Other amazing artists, like Ann Tabor ’03 of the Mercury Theater, I met through Fluid Movement and realized the UMBC connection later,” says Gregg. 

“I think there is something about working at a university committed to excellence that makes space for people to be excellent in many aspects of their lives,” says Quinn, managing director of The Choice Program at UMBC and a longtime Fluid Movement participant. “I’m really grateful that I have a boss who’s challenged me as part of my performance plan for this year to incorporate more of my artistic work with Fluid Movement into my leadership of our organization,” says Quinn. This next year she’s going to add “whimsy and creativity” to her storytelling. “I think that’s a testament both to Fluid Movement and my boss’s understanding of the value of arts in everyday life. People at UMBC—including our leadership—really take seriously our artistic and civic lives beyond our position descriptions.”

There’s a place in the pool for everyone

These artistic endeavors may hit the UMBC sweet spot because of the recognition that STEM and art go hand in hand, but the accessibility and inclusiveness of the programming also aligns with the Retriever spirit. “I first became acquainted with Fluid Movement while lifeguarding for Baltimore City Aquatics,” says Judith “Judi” Reynolds-Stokes ’87, M.A. ’02, who works as an instructor, advisor, and career counselor at the Caroline Center, a workforce development program for adult women. “I guarded many of their water ballet shows and loved their creativity and inclusivity. I decided that I wanted to be a swimmer in one of their shows.” Her Fluid Movement debut was in the 2019 show Fluid Movement: The Water Ballet in honor of the nonprofit’s 20th anniversary. 

“I think the pull of Fluid Movement for UMBC folks is that you can be a big kid having fun dancing, swimming, and acting. You get to wear pretty costumes and outrageous makeup, and the best part is you get to bring others joy and laughter,” says Reynolds-Stokes.

Like Gregg, she loves that the quirky—in the best way possible—group brings her so much joy and affirmation. “People are validated by seeing people of all shapes and sizes and ages and ethnicities performing. My performing at age 60-plus as a full-figured, African American woman is affirming to many people in our audiences. It lets others know that they too can be in a Fluid Movement show and will be accepted just as they are,” says Reynolds-Stokes, who swims with Stephanie Johnson ’86, her aunt and a fellow UMBC alum. “I love to swim and dance and put on pretty things, so Fluid Movement is a perfect fit for me.”  

Release the Kraken

The American Visionary Art Museum, adjacent to the Inner Harbor, is another incubator of Baltimore quirk. The distinctive landmark and home to Fifi, a 15-foot pink poodle on wheels, is dedicated to the preservation and display of outside art and features the work of self-taught artists. (Retriever Jess Owens-Young ’08, political science, recently showed her sports-inspired work in the museum’s galleries.) That includes the Kinetic Sculpture Race, for which teams build and pedal works of art for eight hours on Baltimore City streets, including a foray into the Baltimore Harbor.

In 2011, Steven McAlpine, assistant teaching professor in the Individualized Study Program (INDS), was at the race, as a casual observer with his son. “Dad, can we build one of these?” he asked in awe. McAlpine had also been blown away by both the artistry of the floats and the physical effort of the 15-mile human-powered, all-terrain race for custom-built amphibious sculptures. McAlpine was trying to figure out how he could construct a 12-foot high and 30-foot-long creature at his house when he had a lightbulb moment—the answer was UMBC. 

In 2014, McAlpine started the Kinetic Sculpture Project, an interdisciplinary applied learning experience funded by the Alex. Brown Center for Entrepreneurship and UMBC community engagement organization BreakingGround. Students from INDS, mechanical engineering, computer engineering, visual art, psychology, geography and environmental systems, and mathematics all came together to design, build, and race the Kraken Upcycle in the 2015 race. “You need all those perspectives and disciplines to be that innovative,” says McAlpine.

In the 400-level class, students studied sustainable design methods and use of recycled materials (including plastic bottles and barrels as well as reclaimed metal and wood) that would often involve McAlpine dumpster diving—especially after the theatre department broke down a set.

“I wanted to explore something less traditional, where I could express new, wacky ideas and merge creativity with engineering.” 

—Michael Webb, computer engineering student

Top and bottom photos courtesy of Steve McAlpine; Middle photo by Poulomi Banerjee ’16, M.P.P. ’21

That very first year UMBC’s team was awarded the “Grand Mediocre East Coast Champion,” and in the 10 years since, more than 100 students have passed through the class. Last year UMBC teamed up with a disability advocacy organization and took home the “Best Art Award” for IMAGE Man—in which a larger-than-life teal superhero sits in a wheelchair with a football in hand, flying over some of Baltimore’s iconic buildings, such as the Bromo Seltzer Arts Tower and the Baltimore World Trade Center. 

Of all the years UMBC has participated, McAlpine was especially proud of this one since it showed “the beauty of an infusion of a new partnership,” that, like the water ballet, also underscored UMBC’s commitment to accessibility for all. 

“It’s a lot of work—but unconventional art that leans a little offbeat and weird is never all work because it’s playful too,” says McAlpine. “I think it’s absolutely essential for education to feel thrilling and full of discovery and adventure.”

An Out-of-the-Ordinary Spectacle

Dulcey Comeau, a sophomore computer engineering student, participated in the 2025 race with IMAGE Man. “The race day was super cool; we woke up early to get our capes and our helmets, and we spent some of the morning talking to people who wanted to know more about the float,” says Comeau. “It was a cool experience to have people cheering you along all throughout Baltimore,” she says. The race started a bit rocky—they were having some issues with the brakes—but once they were fixed, it was smooth sailing. 

“Part of the race is to ride through the mud and I remember getting stuck, and it was so fun to be pushed up the hill through the rest of it,” she says. “Usually as engineers, we create something for a very specific reason with specific standards for the customer, so it was cool to create something for ourselves and really see the full engineering cycle. The opportunity to have creative freedom with such little specifications made the project that much more enjoyable, and I was able to find the fun in being an engineer again.”

Michael Webb had a similar experience. “As a computer engineering student, I was initially drawn to STEM-related clubs and activities like Baja SAE and UMBC’s chapter of American Institute of Aeronautics and Astronautics. Those organizations are incredible for hands-on experience, but they tend to be more formulaic, focused on refining and improving designs from past generations,” the sophomore says. He wanted something a little more left-field and subversive. “I wanted to explore something less traditional, where I could express new, wacky ideas and merge creativity with engineering.”

The Kinetic Sculpture Race, like Fluid Movement, is a perfect blend of the new iteration of STEM—one that includes art with an emphasis on off-the-wall—and it’s in that combination that UMBC excels. The UMBC team and faculty Webb ended up working alongside helped challenge some of his established systems and beliefs and consider alternative perspectives. 

“The Kinetic Sculpture Race is unlike anything I had ever seen before,” says Webb. “It was fun, quirky, and completely different from the structured world of engineering I’m used to. The whole event is just for fun, and the sculptures people bring in are absolutely wild: a giant poodle, giant alligators, even a platypus with a differential axle. The rules are just as wacky—you can even bribe the judges.”

It was the wake-up he needed. “In engineering, the goal is usually performance and efficiency,” he says. But in the Kinetic Sculpture Race, the goal is simply to make something imaginative and have fun trying to race it. “It’s messy, unpredictable, and just laughs; a reminder that engineering and art can come together and be creative, ridiculous, and fun at once.” 

It was polymath Leonardo da Vinci who declared, “Learning never exhausts the mind,” a credo that propelled a rebirth of education with people seeking to master art, science, and invention in pursuit of human potential. At UMBC today, this same spirit thrives among our many “Renaissance Retrievers”—students, faculty, and staff who blend disciplines into a symphony of diverse talents and whose stories reveal a community where interdisciplinary curiosity isn’t an exception, but rather the engine of innovation.

Jazz harmonies and rhythms emanating from a grand piano echo through The Commons, mingled with the smell of coffee and student conversations. At the bench sits Elia Mascolo, who has just completed his Ph.D. in biological sciences, with a focus on bioinformatics and information science. He’s a math, biology, and computer science whiz who once thought he’d rather be a professional musician—and had a real shot at it.

Across the Quad, on the fourth floor of the Math and Psychology Building, Manil Suri, professor of mathematics, scrawls partial differential equations on his office whiteboard. In the evening, he pores over the manuscript of his forthcoming memoir, A Room in Bombay. It’s the latest of his non-academic publications—a list that includes a trio of bestselling novels and regular New York Times columns.

Meanwhile, Bonnie Lander, production coordinator for the Performing Arts and Humanities Building (PAHB), is speaking with urgency into her headset, quickly resolving a catering glitch before guests arrive for a performance of Shakespeare in Harlem. The following night, she’s onstage, lending her soprano to an experimental music festival put on by High Zero Foundation, a Baltimore-based group Lander also supports as a board member and volunteer.

While Lander sings, Mareisha Banga, a senior double majoring in information systems and design, is coding on her laptop, and Mahrukh Eijaz, a senior studying information systems and media and communication studies, is analyzing how media consumption affects our worldviews.

Mascolo, Suri, Lander, Banga, and Eijaz merge scientific rigor and technical analysis with artistic and literary expression. In a world of specialization and targeted career goals, these community members might sound like rare exceptions. But at UMBC, they’re far from alone. The university’s interdisciplinary ethos invites students, faculty, and staff to forge paths that cultivate the full spectrum of their interests and potential.

Nearly half of UMBC students are pursuing either a second major, a minor, an undergraduate certificate, or a combination of these. Looking at the most popular majors across UMBC’s three colleges, 58 percent of psychology majors are taking on an additional area of study, including dance, chemistry, and creative writing; 55 percent of biological sciences majors are working toward additional credentials, such as in music, finance, and Arabic; and 30 percent of information systems majors are pursuing something else, from entrepreneurship to Japanese. 

And for students whose interests don’t fit within an established major, there is the Individualized Study Program (INDS). Launched in 1969—only three years after the university’s founding—INDS is one of the longest-standing individualized degree programs in the country. It affords motivated, intellectually mature students the opportunity to construct their own academic sequence, limited only by their ingenuity.

Employers see the value in a diversified education. A 2013 survey commissioned by the Association of American Colleges and Universities revealed that 80 percent of employers believe all college students, regardless of major, should gain broad knowledge in the liberal arts and sciences to succeed in today’s workforce. Skills like critical thinking, communication, and adaptability don’t just fill résumés, though; they build lives resilient to shifting workforce winds and position UMBC alumni to impact the world for good.

Speaking from an apartment in Vienna, Austria, where he’s about to launch a postdoctoral fellowship in theoretical biology at the Institute of Science and Technology Austria, Mascolo describes how overhearing his older sister’s piano lessons as a child inspired him to sit down at the bench. “It felt just like a big toy. But a super interesting one,” he recalls.

Eventually, he took his own lessons. “When I was studying classical music, I didn’t see the point of jazz music at all. I was like, ‘I don’t know what that is,’” he admits with a laugh. But curiosity won: Hearing a modern jazz piece, “I had to admit I had no idea what I was hearing. I didn’t like it yet, but there was structure; it was something different from random.” He found the genre’s improvisational chaos a puzzle demanding a solution. What started as an academic mission evolved into joy and appreciation. “I wanted to defeat jazz, and the opposite happened,” he says.

Poised to pursue music full time after high school, Mascolo’s parents urged him to take a detour at university. “They said, ‘You have always had this super strong interest for science. Why don’t you do one year of something scientific? If you still say after that, “I just want to do music,” we’ll support you.’”

He chose biology, thinking it would leave more room for piano gigs. But “after one year, I was like, ‘Actually, I like science a lot. I want to keep doing both.’” He was drawn to UMBC to work with computational biologist Ivan Erill, but when classmates learned he played piano, they recruited him for the department band, Fever Dream. “They said, ‘Hey, we figured out that you were a piano player,’ and I could not say ‘no.’”

Mascolo’s two passions might seem completely different, but there are surprising and profound parallels. Both biology and jazz resist tidy reduction. “Music and biology share complex structures that invite analytical exploration, despite differing contexts,” he notes. In bioinformatics, he applies information theory to gene regulation, much like decoding harmonic progressions.

“You start with these simple rules, and then something is built on those in a way that is too complex to completely figure out,” he reflects. “Biology and music demand a leap of wonder. It’s like a color; can you describe a color with words to a blind person and have them know exactly what the color looks like? It’s not clear that you can actually reduce that to language.”

This duality guards against tunnel vision. Having once obsessed over jazz stardom, imagining that “that was the only important thing in the world,” and then coming to experience just as much passion for scientific research, has taught Mascolo, “It doesn’t do justice to a person to equate fulfillment with a specific career.”

Suri, too, has found ways to meld his disparate skills. His novels, like The Death of Vishnu, long-listed for the 2001 Booker Prize and short-listed for the 2002 PEN/Faulkner Award, have graced The New York Times-bestseller list, his math-related columns have helped demystify the discipline for lay audiences, and he has contributed to progress in the mathematical field of numerical analysis. Yet his dual life as novelist and mathematician started as a lark. “Everyone has hobbies,” Suri says. “I know people in the department who act in plays, for example. My hobby was writing.”

Not until he was tenured did Suri join writing groups and classes at The Writer’s Center in Bethesda. He broke onto the literary stage when an agent excerpted his debut novel in The New Yorker. 

Suri’s writing and math worlds merged with his 2022 book The Big Bang of Numbers, which traces how to “build the universe with only math.” The book was inspired in part by a math-humanities mash-up UMBC honors seminar, which he co-taught with English faculty and Folger Theatre resident dramaturg Michele Osherow. That course also led to a play, ‘The Mathematics of Being Human,’ co-written by Suri and Osherow that premiered at UMBC and then ran at the National Museum of Mathematics in New York City and other sites in the U.S. and Canada.

This fusion sharpens his teaching, too. In a writing-intensive history of math course, Suri grades students’ writing like a novelist. “They got a shock. ‘Hey! This guy is really serious about essay writing,’” Suri laughs. “Writing is so essential when you’re trying to articulate technical things.” Employers echo this claim: Broad liberal arts skills like communication boost employability across fields. Suri’s students—many future STEM teachers—emerge equipped to bridge disciplines.

Lander’s voice soars through experimental operas at night, but by day, she orchestrates UMBC’s performing arts venues. As operations and production coordinator for the College of Arts, Humanities, and Social Sciences, she books events, manages staff, and troubleshoots the rare crisis—like the time fog from a theater rehearsal triggered fire alarms mid-concert. “Everybody had to evacuate. After we all returned to the hall, the pianist sat down, picked up where she left off, and finished the last 10 minutes of a 70-minute piece. It was incredible.”

In 2007, Lander co-founded Rhymes With Opera, which premiered more than 22 chamber operas over its 15-year run. In 2018, she began working with 2640 Space, a nonprofit event venue in Baltimore. During the pandemic, “I wrote out the entire handbook and operations manual for 2640 Space. It was a big labor of love,” she says. In that role, her love of events management grew. 

Lander joined UMBC in January 2023, blending her worlds. Her role in the PAHB “pays the bills and comes with a wonderful community,” she says, and “I still have plenty of time outside of work to continue pursuing performance.” On top of her production role, she teaches voice lessons and led an improv workshop for UMBC’s Linehan Artist Scholars.

The contrast in the skills required for logistics management versus performance keep her on her toes. During a performance, “Your primary role is to exist solely in the present moment,” while coordinating events requires tracking many elements on a strict timeline. “When is the caterer showing up? When is furniture being delivered?” Lander says. “But, as with a musical performance, if you’ve prepared well, you can usually just press play, enjoy the event, and go home having made an impact.”

In Lander’s experience, UMBC’s venues aren’t just stages—they’re launchpads for lives lived in 360 stereo.

Mareisha Banga fuses aesthetics and algorithms as a senior double-majoring in design and information systems. Banga is drawn to user experience and user interface (UX/UI) projects, where the visual and functional worlds collide. “I didn’t want to just make something beautiful. I wanted to make it work,” she says.

“Having both perspectives made me a more well-rounded thinker and creative,” Banga says. “The more I learned about systems and how people interact with technology, the better I became at designing visually. Similarly, design helped me understand the human element behind the technical problems I was trying to solve. They push and inform each other in ways I didn’t expect when I first declared both majors.”

Those connections have created unique opportunities for Banga, including as a designer for the UMBC Student Events Board. “Not only do I get to design and plan events, which I love, but the fast-paced environment and tight turnaround times have helped me grow as a professional in ways I didn’t expect. It’s taught me how to work under pressure, communicate with people, and what it really means to be a student leader on campus.” 

Her unique skillset is attractive to prospective employers, too. “My interviewers have consistently been fascinated by my background, wanting to dig deeper into how I think about problems from both perspectives,” Banga says. “I genuinely believe I wouldn’t have the same prospects if I’d only focused on one major.”

Senior Mahrukh Eijaz has similarly merged two fields that initially might seem unrelated. “I’ve always been interested in how people and technology interact. My information systems major gives me the tools to understand how systems and data work, while my media and communication studies major helps me think critically about how messages and meaning shape those systems,” Eijaz says. “I wanted to bridge the gap between tech and storytelling, because I believe the most impactful innovations come from people who can speak both languages.” 

Like Banga, Eijaz has found that her unusual double major has opened doors. “Having both degrees has made me more confident in my ability to adapt and collaborate,” she shares. “I feel more prepared to work in interdisciplinary environments, whether it’s in UX design, digital marketing, or tech policy, because I can translate ideas between technical and creative teams as well as with consumers.”

Support she found at UMBC has enhanced her ability to blend her two majors. “Professors in both departments encouraged me to find connections between the fields, instead of treating them as separate paths,” Eijaz says.

That encouragement is no accident. The way Eijaz is making connections, like the way Mascolo dissects jazz chords with the same analytical eye he brings to gene regulation, is exactly the inclination UMBC seeks to cultivate. The role of a liberal arts institution is not to slot students into pre-grooved tracks, but to offer fertile terrain where seemingly disconnected gen-eds become scaffolding for unexpected connections. In this environment, every Retriever forges a personal mosaic of ideas, methods, and passions no single major could contain. 

It is here, in this complex intermingling, that Renaissance Retrievers emerge—adaptable, inspired, and whole.

Dear Colleagues,

As we close out the semester and come together to honor our Service Award recipients, I want to pause and acknowledge the dedication, compassion, and steady commitment each of you brings to UMBC. This community is shaped by your care for our students and for one another, and we are truly grateful.

At this morning's celebration, we shared that UMBC will observe Wednesday, December 24, as an Administrative Leave day. Our hope is that this additional time allows you to rest, recharge, and spend meaningful moments with the people who matter most. Timesheets for eligible Regular and Contingent II employees will be coded automatically with the administrative leave code ADM.

December 24 will be used as an Administrative Leave day. If the governor announces a state holiday for that date, that designation will take precedence. If you are part of a team that maintains essential services, please check with your supervisor about expectations during this period. Collective bargaining employees who are required to work will be compensated according to their agreements. Other employees who must support essential operations may use this Administrative Leave day on another date before March 31, 2026.

Thank you for everything you do to make UMBC a welcoming and supportive place. I hope the weeks ahead offer rest, joy, and connection as we look forward to a new year together.

Lynne Adams
Associate Vice President and Chief Human Resources Officer

commonvision, UMBC Student Design and Print Center will be open from 9 a.m. – Noon on December 10 (Study Day) to recognize our student staff.