ScholarWorks @ SeattleU (Seattle University)

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Scott, Tristan

Seattle University 
ScholarWorks @ SeattleU 
The Spectator Online Newspapers 
4-16-2025 
2025-04-16 Artist June Sekiguchi Presents a Lesson in Resilience 
Tristan Scott 
Seattle University 
Follow this and additional works at: https://scholarworks.seattleu.edu/spectator-online 
Recommended Citation 
Scott, Tristan, "2025-04-16 Artist June Sekiguchi Presents a Lesson in Resilience" (2025). The Spectator 
Online. 1522. 
https://scholarworks.seattleu.edu/spectator-online/1522 
This News Article is brought to you for free and open access by the Newspapers at ScholarWorks @ SeattleU. It 
has been accepted for inclusion in The Spectator Online by an authorized administrator of ScholarWorks @ 
SeattleU. 
The Spectator • April 16, 2025 • https://seattlespectator.com/2025/04/16/artist-june-sekiguchi-
presents-a-lesson-in-resilience/
Artist June Sekiguchi Presents a
Lesson in Resilience
Tristan Scott, Staff Reporter
Seeking shelter from the rain on a walk down 1st Avenue,
one may be drawn to the warmly lit brick entrance of ArtX
Contemporary. Currently on display is Tacoma-based artist
June Sekiguchi’s collection “The Geometry of Resilience,”
her return to gallery exhibitions after a five-year focus on
public art installations.
Passing through the doorway transports visitors to a world
both alien and familiar. Abstractions reminiscent of
undersea creatures flow atop blue painted waves. Each
form lining the walls has intricate, repeating patterns like
those of a mandala. Some have branches infinitely splitting
off of themselves while others are made up of hundreds of
circles spiraling inwards. Sekiguchi’s work has a hypnotic
quality to it, bringing perceived life and movement to each
static form. 
Living on the West Coast, Sekiguchi is no stranger to
tidepools and the microorganisms that inhabit them. This fascination grew stronger in recent years as she had the opportunity to
participate in artist residencies at Willapa Bay and Vashon Island.
“[Residencies are], to me, the pinnacle of my opportunities for art,” Sekiguchi said. “You’re supported to go someplace beautiful to
contemplate and, you know, just produce art. Both [residencies] were by the water and that was what really drew me to explore the
natural environment.”
Inspired by the pattern and symmetry of the creatures she observed, Sekiguchi’s research led her to the work of Ernst Haeckel and
his study of radiolaria, a type of microscopic organism. These creatures rarely move, yet are capable of surviving extreme
conditions.
“Contemplation was a big part of the residencies, like what we’ve just gone through with the pandemic, and now what we’re going
through politically. It’s like, God, you know, we’re really being put through the wringer…Especially young people, you guys have gone
through a lot, and it’s hard,” Sekiguchi said. “I wish for resilience for everyone getting through all this. And these little creatures,
these little microorganisms, they sustain.”
Each complex pattern found in the gallery, some made up of holes as small as a few centimeters, is entirely hand cut. Sekiguchi uses
a scroll saw, a tool she describes as a “rigid piece of yarn,” to carefully remove each unwanted piece of fiberboard. 
Sasha Volovnikov
“June Sekiguchi - The Geometry of Resilience” printed on a wall
displaying a variety of Sekiguchi’s work.
“It’s
kind
of a
meditative process,” Sekiguchi said. “So addictive, once you get going
you just want to get it done.”
This process can take her anywhere from a few hours to several weeks
depending on the size and complexity of the piece.
“Just yesterday a gentleman came in and said, ‘Did they actually do it by hand?’ And the answer is absolutely yes,” Summer
Ventimiglia, associate director of ArtX, said. “People often think it’s laser cut. When you explain the process of the scroll saw, it
really opens things up, and I think it clicks, the labor and the care and the dedication to the process that she makes.”
Throughout the gallery, Sekiguchi makes the bold choice to leave most pieces raw and unpainted. This decision allows viewers to
fully focus on the shapes of each piece and appreciate the transformation the material has gone through.
“My material is called MDF, it’s medium density fiberboard. It’s this crappy material, like the back of cheap dressers. It’s like one step
up from cardboard, so it’s not precious. It’s not a special material,” Sekiguchi said. “I wanted to kind of elevate what this material is
that I commonly use and show what can be done with it, the way I use it and cut it and make forms with it.”
The natural beige of the MDF also allows it to mesh with the natural sticks and rocks used throughout the gallery, many of which
were found during Sekiguchi’s residencies.
ArtX’s versatile, open space allowed Sekiguchi to experiment with
these bold choices. Having shown work through ArtX for a number of
years, Sekiguchi has formed a close connection with Founder and
Curator Cora Edmonds. 
“They’ve been really wonderful. Just, you know, more than a business
relationship, it feels like family,” Sekiguchi said, reflecting on her past
exhibits with ArtX.
Edmonds founded ArtX in 1995 as a response to the growing
diversity she had noticed in Seattle. Her goal was to create a space
for cultural connection through the arts, showcasing a wide variety of
styles and mediums from around the world.
“I’ve always been really keenly aware of the beauty that all the
diversity brings, and the fact that we can all learn from each other.
For me, art is a way of telling the story, diving deeper into different
traditions, different customs, different cultures. Sort of short of opening a restaurant, right? The universal language is food, art,
music, and that’s what we all have in common.” Edmonds said.
As our country becomes ever divided, Sekiguchi’s work celebrates the beauty, connection and strength that exists in every creature,
no matter their size or strength.
Two large sculptures hang in the ArtX Contemporary
gallery next to the window.
Sekiguchi’s sculpture Leaf Jack is displayed upon the
entrance of “The Geometry of Resilience.”
Sekiguchi’s modular sculptures are arranged against a
painted blue backdrop.
June Sekiguchi’s “The Geometry of Resilience” is available to view for free at ArtX Contemporary until May 24, 2025. The gallery
will host an Artist Talk with Sekiguchi April 26, 2025, at 1 p.m.


2025-04-16 Artist June Sekiguchi Presents a Lesson in Resilience

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Seattle University 
ScholarWorks @ SeattleU 
The Spectator Online Newspapers 
3-5-2025 
2025-03-05 Student Stars Shine in First Annual “Dancing With 
RHA” Competition 
Tristan Scott 
Seattle University 
Follow this and additional works at: https://scholarworks.seattleu.edu/spectator-online 
Recommended Citation 
Scott, Tristan, "2025-03-05 Student Stars Shine in First Annual “Dancing With RHA” Competition" (2025). 
The Spectator Online. 1536. 
https://scholarworks.seattleu.edu/spectator-online/1536 
This News Article is brought to you for free and open access by the Newspapers at ScholarWorks @ SeattleU. It 
has been accepted for inclusion in The Spectator Online by an authorized administrator of ScholarWorks @ 
SeattleU. 
The Spectator • March 5, 2025 • https://seattlespectator.com/2025/03/05/student-stars-shine-in-first-
annual-dancing-with-rha-competition/
Student Stars Shine in First
Annual “Dancing With RHA”
Competition
Tristan Scott, Staff Reporter
The lights began to dim in the Pigott Auditorium as
students dressed to the nines filed in and found their seats.
Anticipation hung in the air as Seattle University’s
Residence Hall Association (RHA) prepared to begin their
first annual “Dancing With RHA” competition March 2.
“I am a reality TV junkie, I would say. I love reality TV,”
Gabby Prado, director of programming for RHA and
second-year criminal justice major, said. “I really got into
Dancing with the Stars this last season because my
roommate was a dancer. I just feel so much joy watching
those people put all this work into something they didn’t
believe they could do and I was like that is exactly the
energy I want to bring here.”
As the name suggests, the event was based on the structure
of the hit reality TV show “Dancing with the Stars.”
Students with dance experience were paired with “stars,” or those who had never danced before. These stars represented a wide
range of clubs and student groups, from student government to Women’s Golf. The pairs then had only two weeks to choreograph
and learn a dance to a song of their choice before performing in front of a panel of judges as well as a live audience.
“We really tried to reach out to cultural clubs and dance clubs to find these pro dancers, but we also really wanted to focus on
getting stars who really represented a vast majority of different people on campus,” Prado said. “I think a really big focus in our
vision was just making sure that we’re not only entertaining but also doing it for a good cause and being able to represent people
who maybe don’t have the platform to do so themselves. We had such a vast group of people who have a bunch of different
experiences, I think that’s the best part of all of it.”
Four pairs competed representing a variety of dance styles for a panel of judges including Assistant Residential Community
Coordinators Elizabeth Armour and Maria Gonzalez, as well as surprise guest Rudy the Redhawk.
The competition was kicked off by Ren Meyers as choreographer, and Andrew Fletcher representing Chess Club. The duo
performed a high-energy hip-hop routine to “Sticky” from Tyler, The Creator’s most recent album Chromakopia. Their electricity
and expressive movements earned them a solid total score of 24 out of 30 possible points from the judges.
Meyers and Fletcher were followed by choreographer Krystal Guo and Triangle Club representative Masee Anderson performing
Sheridan Wang
The Four dancing pairs stand on stage during rehearsals.
an upbeat, Barbie-inspired routine to “Dance the Night” by Dua Lipa. Their performance included impressive gymnastics moments
and rapid footwork, earning them eights across the board with a final score of 24 points.
Between performances, the audience was given chances to win various prizes through trivia, spontaneous dance-offs and raffles.
Winners took home gift cards, tickets to see the Seattle Kraken and a Nintendo Switch thanks to their eager participation.
Choreographer Katie Miyasato and Student Body President Sophia Cofinas competed next, dancing to “Mamma Mia” by ABBA. The
pair drew on Miyasato’s cheer experience to put on a synchronous, clean and confident performance, placing them in the lead with
28 points.
“I didn’t really want it to be, like, a hip hop thing. I wanted it to be something that we can twirl around in, and the first thing that
came out of my mind was Mamma Mia,” Miyasato said, reflecting on her song choice. This unique style choice helped set the pair
apart from their fellow contestants.
Last but not least, choreographer Iona Robinson and Women’s Golf player Tsara Ralamboarison performed a hip-hop medley of
“Sticky” by Tyler, The Creator, “No Pole” by Don Toliver and “Tell Ur Girlfriend” by Lay Bankz. Their routine was dynamic and full of
excitement, tying the top score with another 28 points.
After a tie-breaking vote from the audience, Miyasato and Cofinas were declared the first ever winners of Dancing With RHA. The
duo took home trophies as well as a pair of tickets to see Dancing With The Stars Live together in Seattle March 19.
“I didn’t think I had it in me, but apparently I did!” Cofinas said, celebrating the win. “My favorite part of the whole experience was
probably bonding with Katie and revisiting my theater kid roots. We ended up really connecting, and so I’m really grateful for that.”
“I’ve never seen Dancing with the Stars before, but I’m really excited that my first experience is going to be live,” Miyasato added. 
As the first event of its kind for RHA, the team behind the competition hopes to grow and improve the competition for years to
come.
“I’m so excited to watch this sort of blossom and grow and evolve,” Prado said. “I would love to include more dancers next year. I
think this is an incredible group we had this year and I’m gonna miss seeing those people again, but I would hope that this could
expand and get around campus and people would join next year.”
As the event ended and the auditorium began to clear, the air of excitement and community remained. Contestants congratulated
one another on their hard work, already beginning to plan for next year. 


2025-03-05 Student Stars Shine in First Annual “Dancing With RHA” Competition

Behar, Alan

Seattle University 
ScholarWorks @ SeattleU 
The Spectator Online Newspapers 
2-19-2025 
2025-02-19 Little Shop Hops: Break Away Vintage Market 
Alan Behar 
Seattle University 
Follow this and additional works at: https://scholarworks.seattleu.edu/spectator-online 
Recommended Citation 
Behar, Alan, "2025-02-19 Little Shop Hops: Break Away Vintage Market" (2025). The Spectator Online. 
1527. 
https://scholarworks.seattleu.edu/spectator-online/1527 
This News Article is brought to you for free and open access by the Newspapers at ScholarWorks @ SeattleU. It 
has been accepted for inclusion in The Spectator Online by an authorized administrator of ScholarWorks @ 
SeattleU. 
The Spectator • February 19, 2025 • https://seattlespectator.com/2025/02/19/little-shop-hops-break-
away-vintage-market/
Little Shop Hops: Break Away
Vintage Market
Alan Behar, Staff Photographer
Streetwear classics and vintage collectables sit next to
sports memorabilia and hip-hop relics, with Break Away
Vintage Market offering a wide collection. Right down Pike
Street, this one-of-a-kind shop draws shoppers from all
over Seattle with its large curated selection of vintage
clothing and accessories.
Six years ago, a group of friends turned an uneventful
summer into something bigger, setting out to sell vintage
clothing and items. What started as garage sales and pop-
ups slowly made its way through Tacoma and eventually
into Seattle. That small idea has now grown into Break
Away Vintage Market, a thriving brick-and-mortar shop
built on years of dedication and hustle.
The store has made a large scene in Capitol Hill with its
unique atmosphere that attracts different communities from all
over the city.
“A big part of Seattle culture is represented, anywhere from hip-
hop to sports, to streetwear, to vintage clothing. It’s just a place
where no matter who you are, you can find a piece that represents
who you are and somewhere you came from,” Tanner Callies, one of
the founders, said.
A lot of people who walk into the shop aren’t necessarily looking for
clothes, or anything specific at all. For many, it’s a place to hang out,
meet like-minded people, or just chill and enjoy the mix of music
playing throughout the store. 
Spread across multiple large rooms, including an underground
section, Break Away also works alongside its neighbors, Late Night
Vintage Mall, a separate business with a shared love for vintage
items. These two businesses have a variety of attractions, including a Wii, Xbox, foosball table, and a basketball arcade stand where
customers can enjoy a different experience beyond just shopping for clothes. 
Destiny Reyes is a staff member at LNVM. 
Alan Behar
Racks of unique vintage clothing fill the store.
“It’s not just about looking through a bunch of racks, it feels like you can go explore,”
Reyes said. 
Adding to its uniqueness, both Break Away and Late Night Vintage Mall set themselves
apart with their hours—both open from 3 p.m. to 12 a.m., giving those who are looking
for an after-hours shopping experience or a late-night hangout spot to explore. 
Apart from everyday browsing, both stores also host events that add another layer to the
experience. Previously, they held a “Bring Your Own Bag” event, where shoppers could
bring any size bag, fill it up with clothes from a massive pile, and pay just $25. In the
future, they plan on hosting more events, some including the video game consoles in
store.
The Late Night Vintage Mall community goes beyond just the customers; it also includes
a variety of vendors who get to share their own interests within the store. Certain
sections are set up by around 15 different vendors who bring new items into the shop.
This brings a bigger sense of belonging and community as these vendors are putting their
own personality into something that is shared with many, creating a space where people
can connect over their shared interests and experience the store in a personal, ever-
evolving way.
Walking into a store like
this can sometimes feel a bit daunting. With so many trends and
styles seen everywhere today, stepping into a space filled with all
these varied themes can be intimidating, especially if you’re not
familiar with them. The mix of vintage clothing, streetwear, sports
memorabilia and unique collectibles can leave you feeling
overwhelmed, wondering where to start or if you’ll fit in. 
However, once inside, the experience shifts. There’s no pressure to
know everything or fit into a particular style. You don’t feel the
demand to fit into a specific mold, this is what makes these shops so
unique. They’ve become a place where community and personal
expression intersect. 
“All of our employees are really friendly. If you need help looking for
something, we’re there for you, styling or even trying stuff on, we’re
really helpful with everything,” Itzel Huato said, an LNVM employee, reinforcing why there’s no reason to feel intimidated. 
The market is a spot that invites people to connect over shared interests and discover something new, whether through the items
on the shelves or the atmosphere that surrounds them.
A shopper tries their luck at the in-
store basketball arcade game. (Alan
Behar)
Two friends browse through a rack of vintage clothing.
(Alan Behar)


2025-02-19 Little Shop Hops: Break Away Vintage Market

Seattle University 
ScholarWorks @ SeattleU 
The Spectator Online Newspapers 
5-21-2025 
2025-05-21 [REVIEW] “She’s the He” is Campy, Vulgar and Proudly 
Trans 
Tristan Scott 
Seattle University 
Follow this and additional works at: https://scholarworks.seattleu.edu/spectator-online 
Recommended Citation 
Scott, Tristan, "2025-05-21 [REVIEW] “She’s the He” is Campy, Vulgar and Proudly Trans" (2025). The 
Spectator Online. 1509. 
https://scholarworks.seattleu.edu/spectator-online/1509 
This News Article is brought to you for free and open access by the Newspapers at ScholarWorks @ SeattleU. It 
has been accepted for inclusion in The Spectator Online by an authorized administrator of ScholarWorks @ 
SeattleU. 
The Spectator • May 21, 2025 • https://seattlespectator.com/2025/05/21/review-shes-the-he-is-campy-
vulgar-and-proudly-trans/
[REVIEW] “She’s the He” is
Campy, Vulgar and Proudly
Trans 
Tristan Scott, Staff Reporter
Looking for a queer comedy to fill the hole left by 2023’s
smash hit “Bottoms?” I certainly was. Luckily, first-time
director Siobhan McCarthy has delivered. I had the chance
to see their debut film “She’s the He” at the Seattle
International Film Festival (SIFF) this year and was blown
away by the passion, humor and trans joy that permeates
every frame.
“She’s the He” follows Ethan (Misha Osherovich) and Alex
(Nico Carney), two high school seniors and inseparable best
friends. So inseparable, in fact, that their entire school is
convinced that the pair are secretly gay lovers. In an
attempt to beat these rumors, get Alex closer to his longtime crush Sasha (Malia Pyles), and gain access to the coveted girls locker
room, the pair hatch a scheme to pretend to identify as transgender women. 
On its face, the film’s premise is outdated at best and flat-out transphobic at worst. Men pretending to be trans in order to creep on
women in the bathroom? Really? However, a major twist flips the movie on its head early on: Ethan really is trans, and must navigate
this realization while keeping herself and Alex out of trouble.
“She’s the He” is set in a timeless, caricatured world that feels like an 80s throwback and an optimistic future all at once. Familiar
tropes like letterman jacket clad quarterback Jacob (Emmet Preciado) intermix with characters like Forest (Tatiana Rigsby), a
sarcastic nonbinary lesbian who wouldn’t be out of place at a school like Seattle University. These tropes are further subverted by
the film’s almost entirely trans cast and crew: though his character is an outspoken transphobe, Preciado himself is a trans man. This
is an incredibly rare and refreshing casting choice. Trans actors are so often relegated to trans roles, leaving them with few chances
to demonstrate their versatility. I can’t lie: seeing a fellow trans person take on the role of a meatheaded bully was oddly cathartic.
My biggest hesitation going into the film was that the humor wouldn’t land successfully. Satire is a hard genre to nail, especially
when you’re dealing with a minefield of controversial topics. Thankfully, I had nothing to worry about: I can’t remember the last time
I laughed out loud in a movie theater! Nico Carney’s portrayal of immature, sex-obsessed Alex is particularly entertaining (and yet
another case of a cis character played by a trans actor!). Carney’s stand-up comedy background helps him nail Alex’s deadpan and
conversational tone, as well as giving him the charisma to endear audiences to the otherwise unlikable character. Most impressively,
he manages to use modern slang without coming across as out of touch or, God forbid, cringey. 
Alex’s constant joking only becomes grating in one specific scene, at which point Ethan screams at him to “shut the fuck up” on the
audience’s behalf. When the film does dip into absurdity, it does so with the same self-awareness as this moment.
Photo courtesy of SXSW Film Festival
Though “She’s the He” is undoubtedly a comedy, the film doesn’t shy away from emotional moments. Ethan’s first attempt at coming
out to her mother, Mary (Suzane Cryer), ends with the two no longer on speaking terms. However, Mary isn’t just brushed off as a
typical unsupportive parent. The film explores the deep insecurity that drives her actions: Mary doesn’t see herself as beautiful, and
fears that Ethan will take after her if she transitions. She knows how difficult life is as an “ugly woman,” and wants to protect Ethan
from the inevitable pain she will experience. Each scene between the pair is authentic and heartbreaking. The characters clearly
share a deep love for one another but can’t figure out how to communicate it without hurting each other.
As a trans person myself, I found Ethan and Mary’s dynamic, along with many other plot points, to be intensely relatable. At one
point, Ethan describes the feeling of looking in the mirror and being able to imagine herself growing old for the first time. Her exact
words on the topic have come out of my mouth numerous times, yet I’ve never seen this description used in a piece of fiction before.
Even today, the majority of trans content I’ve engaged with still uses outdated and oversimplistic ideas of being “born in the wrong
body” or knowing you were the opposite gender since you popped out of the womb. Ethan’s identity is much more complex and
could only have been written and acted by people who have shared her journey.
This energy could be felt throughout the sold-out theater. The feeling of watching a film that seemed like it was made for me, while
being surrounded by other trans people feeling the same way, was something I’ll never forget. Now more than ever, moments of
community like this one are crucial. Art like this is a powerful reminder that no matter how hard things get, trans joy and humor will
persevere.
Currently, “She’s the He” has not been picked up for widespread distribution. However, viewers can purchase a SIFF streaming pass
to gain access to the film from May 26 through June 1. “She’s the He” will make its way to the Frameline film festival in San Francisco
June 24, where Californian readers can catch it at the Roxie Theater.


2025-05-21 [REVIEW] “She’s the He” is Campy, Vulgar and Proudly Trans

Bodley, Jennifer L.

Hall, Jason B.

Papadopoulou, Ekaterini

Seattle University 
ScholarWorks @ SeattleU 
Library Faculty Scholarship Lemieux Library & McGoldrick Learning Commons 
2025 
Examination of Trends, Returns to Best Practices, and Post-Covid 
Reset of Library Reference Models 
Jennifer L. Bodley 
Jason B. Hall 
Ekaterini Papadopoulou 
Follow this and additional works at: https://scholarworks.seattleu.edu/library-fac 
RESEARCH POSTER PRESENTATION DESIGN © 2019
www.PosterPresentations.com
At a midsize, private university library, the reference services team has implemented several 
iterations of library reference services since 2016; the changes have been in response to 
substantial shifts in library trends, institution priorities, and student needs. Here we examine the 
process and impact of an evidence-based relaunch of in-person services in 2023, and the initial 
impact of the second iteration in 2024.
We present:
- A timeline of the evolution of reference models at this institution
- Statistics showing the service levels achieved under each model; 
- Our observed trends and correlations between service models and service usage are 
contextualized through a literature review of contemporaneous trends.
Introduction
A review of scholarly literature reveals discernible trends in reference desk services and models 
over time. A steady decline in reference transactions, as documented by ACRL Trends & 
Statistics,1,2 has been a driving factor impacting reference desk model trends.3 Additionally, the 
types of questions at reference desks diversified, encompassing not only research-related 
questions but also questions about circulation, directions, technical support, and student 
support services, such as writing center assistance. Many libraries started consolidating 
reference desks or eliminating reference desks, replacing them with integrated service points 
that offered comprehensive information, services, and support for both library and campus-wide 
resources.4,5
In addition to these physical changes, there has been a significant shift in reference service 
personnel/staffing, characterized by an increased reliance on student workers or peer research 
consultants. The expanding scope of librarian responsibilities, including heavier teaching loads, 
participation in campus-wide committees, promoting scholarship and faculty 
development, makes the scheduling of dedicated and consistent reference desk hours 
challenging. Most academic libraries have experienced budget cuts and reductions in librarian 
numbers.6 In response to limited librarian availability and declining budgets, many university 
libraries have adopted peer peer-to-peer models, similar to successful implementations in 
tutoring centers, writing centers, and math labs.7,8,9 These libraries have training programs to 
develop peer research consultants to staff service desks and provide basic reference assistance 
to their fellow students. In these models, librarians are still available on an “on-call” basis.10
Students may be referred to an on-call librarian by peer research consultants or students may 
make 1:1 consultation appointments with librarians.
Even with the differing trends of reference desk services and models, the value of librarians as 
educators and information literacy experts remains constant and traditionally staffed, physical 
reference desks remain prominent in higher education libraries.11
Selective Literature Review
In 2022, with the first full post-Covid academic year, and 80% turnover in the Research Service 
Team since 2020, it was an opportunity to review and revise service norms.  This was done 
through a combination of collaborative planning, a holistic assessment of workload, and a 
review of data.  Steps included:
• Assessment of the reasons for existing models – what had changed?
• Assessment of campus changes  – post-Covid student needs.
• Projected calculation of available work hours dedicate to services.
• Team retreat to review data, brainstorm and collaborate on a new approach – opportunity to 
combine ideas across the team, combining institutional knowledge and fresh perspectives.
• Implementation and data tracking to gauge impact.
Methods and Approach
2016-2019 Student Peer Model: Student Employees provide peer-to-peer reference 
services. Librarians are available by request for more in-depth consults.
2020-2021 On-call/COVID: No active drop-in reference desk service at all. Librarians 
available by appointment virtually. DURING COVID CLOSURE PRIMARILY
2022-2023 Joint Desk: Student Employees & Librarians share desk and patron reference 
or informational inquiries. Librarians take the bulk of reference questions.
2024-2025 Dedicated Reference Desk Model: Librarians relocate away from student 
desk. Student desk focuses on direction and campus-information. Dedicated reference 
desk rebranded on "Reseach and Scholarly Services". Librarians handle ALL reference and 
research related inquiries.
Job Requirements & Distribution of Load Discussion 
Co-staffing the desk with student assistants created stronger mentorship, modeling, and 
referral process and saw and increase in reference transactions. 
Separate and play to strengths: Post-Covid, we saw a clear need to actively support "Student 
Success" services: financial aid, advising, career support etc. In a post-Covid reset, the peer-to-
peer services are rescoped as "Peer Advocates" who answer and triage questions from across 
the campus that are related to student success services.
Putting librarians "back on the desk" led to highly visible access to library faculty at the in-
person point-of-need. Students now have immediate access to information literacy and subject 
experts. Starting in Fall 2024, librarians are at a separate desk; clearly demarcating professional 
and specialized services from peer assistance.  The conspicuous physical presence of the 
librarians within a floor that is "library coded"(i.e. has stacks, reading rooms, and library 
classrooms) has integrated all visible library services into one clearly identifiable zone, and 
democratized access to faculty librarian assistance that otherwise required students to self-
advocate for more services than the peer-to-peer assistants were trained for.
Proof is in the patron numbers: A return to high visibility, high availability of the highest-trained 
information professionals had a positive impact in the number of reference transactions (Fig. 4) 
but has also contributed to an increase in consultation services due to the stronger campus 
connections that start at the reference desk (Figs 3 and 4).
1. Kuntz, Janine A., and Jeannette E. Pierce. “The 2019 ACRL Academic Library Trends and Statistics Annual Survey: Mapping Results to the ACRL Standards for Libraries in Higher Education.” College & 
Research Libraries News 82, no. 2 (February 8, 2021): 87. https://doi.org/10.5860/crln.82.2.87.
2. Taylor, Laura Rose. “2021 ACRL Academic Library Trends and Statistics Survey: Highlights and Key Academic Library Instruction and Group Presentation Findings.” College & Research Libraries News
84, no. 4 (April 3, 2023): 149. https://doi.org/10.5860/crln.84.4.149.
3. Jameson, Jodi, Gerald Natal, and John Napp. “Evolving and Enduring Patterns Surrounding Student Usage and Perceptions of Academic Library Reference Services.” College & Research Libraries 80, no. 3 
(April 3, 2019): 366. https://doi.org/10.5860/crl.80.3.366.
4. Flierl, Michael, and Kristin Henkaline. “Redesigning Reference Services for Academic Success.” In Forging the Future: Proceedings of the ACRL 2023 Conference, Pittsburg, PA, March 15-18, 2023. 
Association of College and Research Libraries.
5. Bowron, Christopher Ross, and Joseph E. Weber. “The Evolving Reference Desk: A Case Study.” The Journal of Academic Librarianship 45, no. 5 (September 1, 2019): 102057. 
https://doi.org/10.1016/j.acalib.2019.102057.
6. Adler, Andrew. 2024. “Navigating Change: Dealing with Staff Loss and Job Realignment in Libraries.” Journal of Library Administration 64 (2): 217–23. doi:10.1080/01930826.2024.2305073.
7. Bennett, Jessica L., and Tracy L. Stout. “Changing the Service Model: Utilizing Tutor Center Models for Reference Desk Redesign.” Public Services Quarterly 17, no. 4 (October 2, 2021): 248–55. 
https://doi.org/10.1080/15228959.2021.1969311.
8. Quigley, Brian D., Jeffery L. Loo, Lisa Ngo, Susan Powell, Samantha Teplitzky, Anna Sackmann, and Kortney K. Rupp. “Training, Support, and Connection for Student Library Employees in a Tiered 
Reference Service Model.” RUSQ: A Journal of Reference and User Experience 59, no. 3/4 (December 20, 2021): 195–203. https://doi.org/10.5860/rusq.59.3/4.7720.
9. Granatino, Christopher. “Guest Editorial: The Peer-Led Library.” Reference Services Review 51, no. 2 (June 9, 2023): 78–80. https://doi.org/10.1108/RSR-06-2023-117.
10. Kennedy, Samantha, Daniel G Kipnis, and Ashley Lierman. “Facing the Future: New Directions for the Reference Desk Based on Findings from Mixed-Methods Survey of United States Academic 
Libraries.” Slides, ACRL 2021 Virtual Conference: Ascending into an Open Future, April 13-16, 2021.
11. Kennedy
Key Take-Aways
• Value the work of librarianship: review workload distribution to allow librarians to focus on 
key library services like reference, consultations and instruction; and ensure contributions to 
key services are not overlooked in favor of other institutional projects in tenure and promotion.
• The desk is not a barrier: no QR code, booking system or chat is as barrier-free as physical 
interaction and outreach.
• Carefully weigh how to distribute work through deputizing student assistants, vs 
democratizing access to information literature expertise.
Seattle University
Jennifer L. Bodley, Jason B. Hall, Ekaterini Papadopoulou
Examination of Trends, Returns to Best Practices, and Post-Covid Reset of Library Reference Models
Reference Model Timeline 
Job Requirements Prior Annual Time Burden 
(AY2019-2023)
Revised Annual Load AY2023-
2024
Revised Annual Load 
per RS Team Member AY 23/24
Reference ~720hrs or less 
(7 librarian FTE)
~1440 hours
(5 Librarian FTE)
~360hrs per librarian 
(~21% of annual load)
Instruction ~112hrs average total 
(7 librarian FTE)
~438 hours
(5 Librarian FTE)
~110 hours per librarian 
(~10% of annual load)
Consultation ~169hrs average total 
(7 librarian FTE)
~849hrs 
(5 Librarian FTE)
~212hrs per librarian
(~15% of annual load)
Service Data unavailable ~640 hours
(5 Librarian FTE)
~160hrs per librarian
(~10% of annual load)
Scholarship Data unavailable ~320 hours
(5 Librarian FTE)
~160 hours per librarian
(~10% of annual load)
Professional Development Data unavailable ~640 hours
(5 Librarian FTE)
~160 hours per librarian
(~10% of annual load)
Flex Availability Data unavailable ~1700 hours
(5 Librarian FTE)
~420 hours per librarian
(~25% of annual load)
Service Usage Trends 
2018 - Student 
Peer Desk Model
2020 - On-
call/COVID Desk 
Closure
2022 -
Librarians join 
Student Desk
2024 – Separate 
Desk Models
Fig. 2- Total number of consultations per year. Fig. 3 – Total number of instruction sessions per year.
Fig. 1 – Total number of reference transactions per academic year.
Projected Impact for 2024 –2025
Initial data from AY24-25 indicates that centering and spotlighting librarian-led services has 
continued the upwards trend in usage data; with only a slight decrease in year-on-year delivery 
of instruction despite losing 1FTE librarian from the team in Summer 2024.
0 500 1000 1500 2000 2500 3000 3500 4000
Reference Transcations
Instruction
Consultations
Fall and Winter Quarter Comparisons
 F/W 24/25 F/W 23/24
Fig. 4 – Reference, Instruction and consultation comparisons Fall 23/Winter 24 to Fall 24/Winter 25
0
500
1000
1500
2000
2500
3000
3500
2018-2019 2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
N
u
m
b
e
r 
o
f 
Tr
an
sa
ct
io
n
s
Academic Year
Reference Transactions
Bibliography
60
70
80
90
100
110
120
130
140
150
160
2019 - 2020 2020 - 2021 2021 - 2022 2022 - 2023 2023 - 2024
N
u
m
b
e
r 
o
f 
In
st
ru
ct
io
n
 S
es
si
o
n
s
Academic Year
Instruction
0
50
100
150
200
250
300
2019 - 2020 2020 - 2021 2021 - 2022 2022 - 2023 2023 - 2024
N
u
m
b
e
r 
o
f 
C
o
n
su
lt
at
io
n
s
Academic Year
Consultations
Democratizing Access to Information Services at Seattle University


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