�鶹��Ƶ Arts at Home

�鶹��Ƶ Arts Amplified Releases New Content, including performances by the Royal Philharmonic Orchestra, Cirque Kalabanté, and more!

Laura Mertens — Thu, 16 Jan 2025 15:57:45 +0000

�鶹��Ƶ Arts Amplified Releases New Content, including performances by the Royal Philharmonic Orchestra, Cirque Kalabanté, and more! Laura Mertens Thu, 01/16/2025 - 10:57

Rising star British pianist Isata Kanneh-�鶹��Ƶ performs Prokofiev's Piano Concerto No. 3 with the Royal Philharmonic Orchestra at the Center for the Arts on January 28, 2024.

New content will launch throughout January 2025 on �鶹��Ƶ Arts Amplified, �鶹��Ƶ Arts’s digital venue that features live and on-demand performances, lectures, behind-the-scenes talks, and more from �鶹��Ƶ’s Center for the Arts, the Hylton Performing Arts Center, and College of Visual and Performing Arts.

The limited-release recording of the London-based Royal Philharmonic Orchestra (RPO), featuring “phenom” (San Francisco Chronicle) British pianist Isata Kanneh-�鶹��Ƶ, will is available to watch through February 16 at 11:59 p.m. ET. Recorded in front of a live audience at the Center for the Arts under the direction of Maestro Vasily Petrenko on January 28, 2024, the program featured Kanneh-�鶹��Ƶ’s powerful performance of Prokofiev’s popular Piano Concerto No. 3 in C major, Op. 26, “a dazzling kaleidoscope of a piece” (The Times). Repertoire also included Debussy’s Danse (orch. by Ravel) and Rimsky-Korsakov’s beloved Scheherazade, Op. 35, culminating in a standing ovation from the crowd. The concert was described by an attendee as “one of the best concerts we ever experienced at the center.” Another audience member declared, “This performance has to rank among the 25 best I have ever seen.”

“Notable for the beauty of the orchestral sound” (The Guardian), the RPO made its triumphant return to the Center for the Arts—having performed there previously in 2022—with rising star Kanneh-�鶹��Ƶ, who served as the RPO’s 2022/2023 Artist-in-Residence and has been hailed by BBC Music Magazine as “a pianist who makes lines sing beautifully and virtuosic passages dance, finding intimacy and eloquence at telling moments.” The eldest of a famous family of seven musically gifted siblings who have been featured on CBS Sunday Morning, Kanneh-�鶹��Ƶ performed with Sir Elton John in Los Angeles in 2013, inspiring the pop icon to pay her tuition at the Royal Academy of Music. She has since performed as guest soloist also with the Philadelphia Orchestra, Cleveland Orchestra, Toronto Symphony, and Stockholm Philharmonic, among others; and recorded four solo albums for the Decca Classics label. She recently performed an NPR Tiny Desk Concer t that aired Jauary 7, 2025.

Read Isata Kanneh-�鶹��Ƶ’s advance Q&A with WETA Classical about the Prokofiev and her performance at the Center for the Arts. The performance, which was sponsored by the Tom and Evelyn Kiley Fund, is available on �鶹��Ƶ Arts Amplified for $15.

Cirque Kalabanté performs Afrique en Cirque, which was recorded at the Hylton Performing Arts Center in November 2024.

Also available on January 16, 2025 at 1 p.m. ET is the limited release performance by Cirque Kalabanté, recorded in front of a live audience on November 16 and 17, 2024 at the Hylton Performing Arts Center’s Merchant Hall in Manassas, Virginia, on �鶹��Ƶ’s Science and Technology Campus. This performance is also available to watch through February 16 at 11:59 p.m. ET.

Cirque Kalabanté’s multisensory extravaganza, Afrique en Cirque, delivers a unique fusion of African arts and European circus traditions. Daring acrobats and dancers perform gravity-defying feats accompanied by the pulsating rhythms of a live Afro jazz ensemble. Inspired by life in his native Guinea, the founder of Cirque Kalabanté Yamoussa Bangoura created Afrique en Cirque to celebrate the vitality, joy, and beauty of African culture. “Explosive drumming and dance routines, the group delivered mind-blowing acrobatic sequences with extraordinary precision” (Vice Magazine). The performance is available for $15.

Accessibility as Inclusion participants from left: Moderator Niyati Dhokai, program director for the Veterans and the Arts Initiative at George �鶹��Ƶ, and panelists Amanda Loerch, captioner with c2 and director of patron services at Sixth & I; Betty Siegel, director of the Office of Accessibility and VSA at The John F. Kennedy Center for the Performing Arts; Ermyn King, audio describer, consultant, and arts educator; and Rachael Abbott, actor, theater artist, and advocate.

Additional College of Visual and Performing Arts events released in January will include the Accessibility as Inclusion: Panel Conversation, exploring strategies and practices arts spaces can utilize to provide fully accessible arts programming, and how these techniques impact the audience’s sense of inclusion and belonging. Available on January 23, 2025, at 1 p.m. ET for free, this discussion was recorded live on November 13, 2024, at the Center for the Arts, moderated by Niyati Dhokai, program director for the Veterans and the Arts Initiative at George �鶹��Ƶ. Panelists included Amanda Loerch, captioner with c2 and director of patron services at Sixth & I; Betty Siegel, director of the Office of Accessibility and VSA at The John F. Kennedy Center for the Performing Arts; Ermyn King, audio describer, consultant, and arts educator; and Rachael Abbott, actor, theater artist, and advocate.

Then on January 30, 2025 at 1 p.m. ET, the Legends and Legacies event presented by The LIVE Center (The Center for Live Interactive Virtual Education) and George �鶹��Ƶ’s College of Visual and Performing Arts. In this first installment of the LIVE Center’s new Legends and Legacies series, which celebrates the leading artists of our time, Tony Award-nominated performers and husband-wife duo Terrence Mann and Charlotte d'Amboise participated in a virtual discussion (streamed in real time from the National Dance Institute in New York and projected onstage at the Harris Theatre on George �鶹��Ƶ’s Fairfax Campus, moderated live by George �鶹��Ƶ's School of Theater Professor Edward Gero.

The �鶹��Ƶ Arts Amplified platform—formerly known as �鶹��Ƶ Arts at Home, launched in April 2020 during the pandemic—gives digital audiences the opportunity to experience the work that takes place across our campuses. Digital programs include pre-performance discussions with world renowned artists like choreographer Mark Morris; the “Silkroad and the American Railroad” course, produced in collaboration with the Silkroad Ensemble and the 92nd Street Y; performances by �鶹��Ƶ Jazz, �鶹��Ƶ Opera, �鶹��Ƶ School of Theater, and much more.

Create a free account and explore enriching �鶹��Ƶ Arts content from anywhere.

View January 2025 releases on �鶹��Ƶ Arts Amplified

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Topics

College of Visual and Performing Arts (CVPA)

Campus News

A Contemporary Composer Fuels a New �鶹��Ƶ Collaboration

Emily Schneider — Tue, 07 Mar 2023 19:19:10 +0000

A Contemporary Composer Fuels a New �鶹��Ƶ Collaboration Emily Schneider Tue, 03/07/2023 - 14:19

In This Story

Lawrence M. Jackson

Dr. William Lake, Jr.

Growing up in the Black church, Assistant Professor of Music and Director of Concert Bands, Dr. William Lake, Jr., deeply understands the power of music and movement.

After hearing Come Sunday by composer Omar Thomas, Lake dreamed of bringing this work to life with movement, bringing together the �鶹��Ƶ Bands and the School of Dance. Working on such a project would not only expand his students' musical vocabulary but also create an authentic and expansive cultural experience for the �鶹��Ƶ community. Associate Professor of Dance, Lawrence M. Jackson, had similar experiences, growing up in “the southern Black church, a very charismatic church” and reflected on his own upbringing and research into African diasporic dance forms. This collaboration came to life onstage in the Center for the Arts on �鶹��Ƶ’s Fairfax Campus on February 28.

Students from �鶹��Ƶ's School of Dance performing with the �鶹��Ƶ Wind Symphony to Omar Thomas's Come Sunday on February 28. Photo by Will Martinez.

As a composer, arranger, and educator, Omar Thomas works with some of the most respected names in composition and education, including multiple GRAMMY-winning composer and bandleader Maria Schneider, Ken Schaphorst, and Frank Carlberg. Born to Guyanese parents in Brooklyn, New York, Thomas pursued music diligently, completing his Master of Music at Berklee College of Music and becoming the first Black composer to ever receive the National Bandmasters Association/Revelli Award for Come Sunday. His compositions are described as “thought-provoking, multi-layered masterpiece[s],” which made embarking on a partnership around this piece even more exciting for Jackson and Lake.

“I really hold dear my experiences as a musician in the Black church (I started playing the piano for my children’s choir around age 6) to my musical upbringing. Since I know gospel and other sacred music intimately, I can infuse the music with the extra nuances that can’t be described using notation but are true to the style. This piece has been performed by many great ensembles across the country… however, there hasn’t been a performance that centers movement and these great sounds.” said Lake.

Professor Jackson’s career often includes collaborations, a hallmark of his practice at other universities before coming to �鶹��Ƶ in the fall of 2022. While the invitation to work with Dr. Lake at the end of the fall semester was a surprise, it also felt reassuring to find this partnership so early on and to begin exploring what this experience would mean for �鶹��Ƶ students from both the School of Dance and the Dewberry School of Music.

A student from the School of Dance smiles at the audience during the performance of "Come Sunday" by Omar Thomas, performed by the �鶹��Ƶ Wind Symphony. Photo by Will Martinez.

Building a vocabulary for the dancers was an opportunity for Jackson’s students to explore the storied culture of the Black church's sacred space and develop an understanding of the types of movement vocabulary that would reflect the energy and history of these spaces and traditions. From watching Alvin Ailey’s Revelations and clips of a particular scene from the movie Blues Brothers, Jackson offered context to his creative process, “blending contemporary dance forms, African diasporic dance forms, and pedestrian movement that is derived from the Black church, all merged into an amalgamation of movement vocabulary uniquely designed for this work.”

“The �鶹��Ƶ School of Dance students are excited to work with the musicians,” said Jackson. “These dancers, most of them, if not all of them, have never had the experience of working alongside a symphony or a band. I’m excited for them to experience the unique energy of the symphony and adapt in the moment.” All of the dancers performing in this piece are seniors in their final semester with the School of Dance, which made Jackson that much more eager to share this experience with them before they embark on the next stage of their careers.

The dancers are not the only ones expanding their understanding and skills with this performance. “The jazz and gospel musical vocabulary is foreign to my students,” said Dr. Lake.

“It’s inspiring to see how invested our students are in something that they realize is new and different. My hope is that through music and collaborations, my students have a gateway to appreciate cultures different than their own,” Lake adds.

Dancers from �鶹��Ƶ's School of Dance perform Professor Lawrence M. Jackson's original choreography to Come Sunday by Omar Thomas, performed by the �鶹��Ƶ Wind Symphony on February 28. Photo by Will Martinez.

Unlike most concerts, the Wind Symphony will be moved further upstage than normal and without the acoustic shell to allow for the choreography to be presented downstage. This has resulted in the assistance of the Center for the Arts Artistic Staff to add audio, lighting, and stage-managing support. This unique concert has been chosen as one of the �鶹��Ƶ Arts at Home features that will be captured via six cameras in the hall and even GoPros! Dr. Lake shared, “I’m jealous of the audience, I won’t get to experience the concert from their vantage point – I’m thankful that the School of Music and the College of Visual and Performing Arts have agreed to record, edit, and professionally mix our hard work”.

The duo is optimistic that this is just the beginning of collaborations between the �鶹��Ƶ School of Dance and the Dewberry School of Music.

You can watch an in-depth interview with Jackson and Lake on the College of Visual and Performing Arts YouTube channel, including behind-the-scenes footage of rehearsals leading up to the performance.

The Wind Symphony’s performance from February 28, 2023, including Come Sunday featuring the School of Dance, will be available to watch from March 28 through April 28, 2023 exclusively through �鶹��Ƶ Arts at Home.

Topics

College of Visual and Performing Arts

�鶹��Ƶ Arts

Dewberry School of Music

College of Visual and Performing Arts School of Dance

Introducing a New Look for �鶹��Ƶ Arts at Home!

Kirstin Franko — Wed, 09 Nov 2022 19:40:47 +0000

Introducing a New Look for �鶹��Ƶ Arts at Home! Kirstin Franko Wed, 11/09/2022 - 14:40

In This Story

Adrienne Bryant Godwin

Create Free �鶹��Ƶ Arts at Home Account

More Information and FAQs

�鶹��Ƶ Arts at Home is an online platform and “digital venue” featuring curated arts experiences, including livestreamed concerts, releases of previously recorded content, behind-the-scenes talks with artists, and more. It features both free and pay-to-view options from professional touring artists from the Center for the Arts and Hylton Performing Arts Center, as well as faculty, students, and alumni from �鶹��Ƶ’s College of Visual and Performing Arts.

“Over the past few years, artists and audiences learned that we didn’t need a theater to be able to engage with inspiring artistic works,” shared Director of Audience Programming Adrienne Bryant Godwin. “After launching �鶹��Ƶ Arts at Home in April 2020, we quickly learned the incalculable benefits of providing access to high quality arts programming on a digital platform. As we have returned to in-person performances, we are committed to continuing offer opportunities for professional artists and our students and faculty to share their work with audiences across the globe on this digital platform, furthering the College’s mission to advance the study, creation, performance, and exhibition of the arts.”

�鶹��Ƶ Arts at Home is a constantly evolving digital resource to experience the arts at �鶹��Ƶ. Create a free account and explore the current archival offerings in addition to two upcoming performances which offer a pay-to-view limited release: �鶹��Ƶ School of Theater’s upcoming performance of Sutta and the Hylton Center’s A Celtic Christmas with Seán Heely.

For more information, including frequently asked questions about the new platform, visit the Center for the Arts' �鶹��Ƶ Arts at Home website.

Topics

�鶹��Ƶ Arts at Home

College of Visual and Performing Arts (CVPA)

Center for the Arts

Hylton Center

Campus News

School of Theater’s 'The Originals!' introduces student works to the campus community

Colleen Rich — Mon, 17 Oct 2022 20:39:11 +0000

School of Theater’s 'The Originals!' introduces student works to the campus community Colleen Rich Mon, 10/17/2022 - 16:39

"The Originals!" six plays were performed at Theatrespace in September and recorded for watching online on �鶹��Ƶ Arts at Home. Photo by Shayla Brown/Strategic Communications

The Originals! is an annual production within �鶹��Ƶ’s School of Theater that showcases the writing, acting, and directing skills of the creative students of the College of Visual and Performing Arts. This year six amazing plays were put on in de Laski Performing Arts Building TheaterSpace. Read all about them here:

“Merry, Bright, etc.”

Written by Zoe Harr and directed by Erin Birchfield

In this play excerpt, a young man named Ben struggles to connect with a girl he likes, who works as an elf in same mall that he does. She is only known as “The Hot Elf” and has no idea that Ben exists.

“Ben is my definition of a loser,” said Harr, who wanted to explore the concept of an unlikeable protagonists. “Someone who, as an audience member, you’re kind of stuck with. Someone who you root for him in the play, but wouldn’t be friends with in real life.”

Ben lives with his friend, Lisa, who acts as a driving force that helps him step outside himself. Throughout this scene, Ben is trying to break out of this mold of being this guy who can’t even talk to a girl he likes, but constantly puts his foot in his mouth.

“I don’t think he necessarily succeeds in the sense that he gets exactly what he wants,” said Harr, “but he succeeds in the sense that he is actually able to make a connection.”

Will he get the hot elf’s name? And do you need to achieve a goal completely in order to win?

“The Great American Class Interactive Experience (GACIE)”

Written by Sarah Strunk and directed by Caroline Austin

The concept of GACIE came to Strunk as she scrolled through Tik Tok, she said. There were interesting nuances within the relationship of a couple who came from completely different backgrounds. Young couple, Christian and Gwen, participate in an interactive experience. The game is filled with tension as the couple step into new territory and are exposed to their different upbringings, as well as comic relief in the form of Nella Hautala’s performance as the Elevator/ticket seller/game master.

“Seven Years’ Time”

Written by Dyllan Hutchison and directed by Jeremy Pritchard

“Seven Years’ Time” is a story about a girl named Lucy who turns 20 and finds a letter from seven years ago. She calls her own phone number, and when her 13-year-old self answers, the conversation that follows is inspiring. Hutchinson’s take on society’s fear of growing older as well as self-love and confidence takes place in this sentimental yet entertaining phone call between 13-year-old Lucy and 20-year-old Lucy.

“It was a lot self-reflection and trying to figure out who I used to be, who I am, and who I want to be in this new stage of my life,” said Hutchinson. “It was a really special experience for me.”

The characters are also surrounded by different versions of Lucy’s mom and dad, also seven years apart. Reflection on the past is something that connects the audience to the performance.

“Robin’s Therapy”

Written by Brett Womack, directed by Annie Graninger and musical direction by Brett Womack

The only musical in the bunch, “Robin’s Therapy” tells the story of Robin’s journey going to see Dr. Prue Warwick every day. With Womack on the piano as the story unfolds, Robin and her therapist take us for a ride.

The musical element helps these characters to convey their thoughts and feelings toward the concept of therapy and whether it’s really effective. This conversation in song touches on so many questions about mental health and who to reach out to for help.

“This character is doing their best to committing to their resolution to improve their mental health even though they don’t necessarily know why they should and what they should do to get there,” said Womack.

The fear and hesitation a lot of individuals feel toward the idea of therapy is represented in a lyrical way that captures the audience and makes them think even after the story has ended.

“I Shouldn’t Have Stuffed My Muffin with Jelly”

Written by Trevor Handlin and directed by Jo Arnett

There was a lot going on with this piece. It was unclear which way to look as characters interacted with one another. Some were strangers, and some were enemies. This play included shocking instances of murder and seemed to take place in an unknown apocalyptic setting.

It was funny, creepy, and bemusing. It had the most characters of any of the plays from “The Originals!” and everyone did their part. With the prize for most interesting name, “I Shouldn’t Have Stuffed My Muffin with Jelly” is one to see.

“Full Disclosure”

Written by Lillian Della Maggiora and directed by Shannon Rodgers

This story is about two women in a relationship that’s hit a rough patch. In the beginning, they are silent for much of the piece, portraying thoughts and emotions with their facial expressions in a way that was entertaining enough even without the dialogue the audience was likely expecting.

They walk around what is assumed to be a gallery of some kind, observing the art on the walls. When the conversation finally starts, it’s intriguing how genuine and beautiful it is. These women have an open and honest conversation. What’s more fascinating is that the story is not tied up with a neat little bow in the end. The ending is somewhat unexpected and unresolved.

If you missed these live performances, no worries! The School of Theater has released a video recording of all six plays. Check it out on �鶹��Ƶ Arts at Home.

Topics

Students

College of Visual and Performing Arts School of Theater

student artists

�鶹��Ƶ Arts at Home

A Song of Freedom: Featuring World Premieres by Evelyn Simpson-Curenton and Michael W. Nickens

Pam Muirheid — Mon, 19 Jul 2021 20:20:11 +0000

A Song of Freedom: Featuring World Premieres by Evelyn Simpson-Curenton and Michael W. Nickens Pam Muirheid Mon, 07/19/2021 - 16:20

In This Story

Dr. Michael Nickens

(FAIRFAX, VA) �鶹��Ƶ’s Reva and Sid Dewberry Family School of Music presents A Song of Freedom: Featuring World Premieres by Evelyn Simpson-Curenton and Michael W. Nickens, Saturday, May 8 at 8:00 p.m. as part of �鶹��Ƶ Arts at Home. The concert celebrates unity and resilience in the face of division and uncertainty and showcases works by Black composers as well as selections inspired by the African-American experience.

The program’s world premieres are commissions by the Dewberry School of Music from renowned composer Evelyn Simpson-Curenton and �鶹��Ƶ’s own Associate Professor of Music and Director of the Green Machine Ensembles Michael W. Nickens (Doc Nix).

“This magnificent concert is a true collaboration across our Dewberry School of Music students, staff, and faculty and is a celebratory finale to an unparalleled year. We heard clearly from our students that ‘representation matters,’ and our music faculty resolved to commission and highlight works by gifted Black composers for our May concert,” shared Dewberry School of Music Director Linda A. Monson. “Together we are using our gifts as artists to demonstrate the power of working together. I am so proud of the performances by our students and honored for the opportunity for the Dewberry School of Music to commission two remarkable compositions.”

Simpson-Curenton’s world premiere of Passages will feature current students from across the University Choirs, a guest solo appearance by School of Music alumna and Metropolitan Opera artist Aundi Marie Moore, as well as solos by current students Rosie Wright, Case Hope, and Eliyahu Young.

Under the direction of the Director of Choral Studies, Stanley Engebretson, Passages uses phrases from the Bible and other sources and lifts up the ideals of justice and of loving the common good. Lyrics such as “sing now a song of freedom where all are inherently free” and “let justice roll down as water with righteousness, like an ever-flowing stream” guide the beautiful imagery within the music.

Reflecting on the piece, Engebretson shared, “Teaching and rehearsing this premiere by one of Washington’s most famous composers has been a great honor and privilege. It was a great delight to introduce her to �鶹��Ƶ’s singers via Zoom so they could experience her amazing talents for themselves. Her brilliant piece captures the majesty of freedom with the call for us to ‘come together as one’ in a most empathic way.”

Nickens’s original work, titled The Orator, The Abolitionist, The Man: Frederick Douglass is based on the 1893 biography written by his great-great grandfather James Monroe Gregory, a contemporary of Douglass. His piece features the �鶹��Ƶ Wind Symphony, members of the Green Machine, and spoken word derived directly from the biography and Douglass’ speeches, delivered as narration by Nickens himself.

Nickens’s piece is inspired by composers such as Aaron Copland, George Gershwin, Leonard Bernstein as well as 90s hip hop artists including Wu-Tang Clan, who all unapologetically brought the local culture to the sound of the time. The piece’s musical style ebbs between orchestral, go-go, and hip hop layered with spirituals and Protestant hymns.

Nickens shared, “As a work very much in progress (the second movement of a larger composition I am creating), I am grateful to our students collaborating with me to bring this nine-month project to life. I hope all who experience it hear the narration both as an artifact of our American history and as an opportunity to connect with the enduring issues that are being addressed today.”

This pre-recorded digital concert features more than 100 students performing as part of the momentous event, including additional works ranging from works by distinguished Black composers such as William Grant Still and George Walker, to Antonin Dvorák, and U2’s “MLK.” The performance highlights students from the �鶹��Ƶ Symphony Orchestra, University Choirs, Wind Symphony and Green Machine, Trombone Choir, Percussion Ensemble, and Tuba/Euphonium Ensemble.

Topics

Black African Heritage

�鶹��Ƶ Arts at Home

Dewberry School of Music

Behind the Premiere: The Making of the Black Voices Screening Project

Emily Schneider — Tue, 13 Jul 2021 15:34:39 +0000

Behind the Premiere: The Making of the Black Voices Screening Project Emily Schneider Tue, 07/13/2021 - 11:34

In This Story

Carmella Taitt

Brianna Dawkins

Olivia McCall

Students in the College of Visual and Performing Arts are empowered to share their stories through the arts. In April 2021, three students from the School of Dance partnered with world-renowned choreographer Rafael Palacios to explore, express, and share their experiences as Black women through movement.

The collaboration resulted in three world premiere dance-films presented as part of �鶹��Ƶ Arts at Home. View the three films here:

The project was born from a desire to sustain connections during the isolation of lockdown in 2020 when Palacios reached out to the dancers from his Colombian-based company, Sankofa Danzafro. He asked them to write letters about “their stories, their experiences, things that they felt they have been silenced for.” Founded by Palacios in 1997, the company’s work centers on rewriting the history of Black communities through the eyes of those who are directly involved, the Afro-descendants, in Colombia and around the world. Shortly after the dancers began to document their stories, a call for creative works that could be presented online came from their government. Palacios asked his dancers if they would be willing to “translate those letters into movements” and the company then created 26 videos of individual dances, including one from Palacios himself.

Inspired, Rafael decided to bring the Black Voices project to other communities to explore this idea of expression and release, first in Boston (billed as Black Voices Boston) and most recently through the �鶹��Ƶ Arts at Home. Palacios sent an open call into the �鶹��Ƶ community for students who identified as Black, African American, Afro Caribbean, Continental African, Afro European, Afro Latino, Afro Hispanic, Afro Asian, Afro Australian, or Mixed race with one parent who identifies as Black to apply. The only requirement was that participants be willing to write letters and share their own stories through movement or other art forms, and School of Dance majors Brianna Dawkins (Class of 2024), Carmella Taitt (Class of 2022) and Olivia McCall (Class of 2021) seized the opportunity.

The dancers each investigated deeply personal encounters in the letters that would become their dances. Speaking during a live post-premiere conversation Taitt reflected on the process, “I asked myself questions that I wanted to ask society, about why do they view Black people the way that they do, and so through those questions …I started to come up with my own answers for them.”

Given the travel complications caused by the pandemic, Palacios had to participate in the rehearsals and creation process remotely via Zoom. This coupled with the incredibly personal and vulnerable nature of the work meant that everyone involved in the project was determined to construct both a technologically equipped and emotionally protected space.

“It was paramount that we as a team recognized the gift that our students were offering,” shared Haley Smyser, Programming and Engagement Manager for the Center for the Arts and the College of Visual and Performing Arts. “We were absolutely intentional about who was allowed to be in the room so that there was no pressure to feel censored or criticized by people who could not relate to the experiences these dancers were tapping into.”

Smyser added that, as �鶹��Ƶ continues our work towards anti-racism and inclusive excellence, “We can further enrich the experiences and learning environments for our students by considering the depth of the connections that are possible and made available with these professional artists, in addition to the width of their impact when they share their work with our audiences both on and off-campus.”

At the end of the rehearsal process, conducted over Zoom using The LIVE Center Window Wall technology developed at �鶹��Ƶ, each student choreographed their full piece in collaboration with Rafael. Acting as their own creative directors, the dancers selected the spaces on campus where they would perform and record their works, then directed the editing of the raw footage into the films that premiered on May 7 on �鶹��Ƶ Arts at Home. Taitt edited her own work, and Dawkins and McCall were supported by alumni and student editors from �鶹��Ƶ’s Film and Video Studies program.

“The hardest part about the entire process was coming to terms [with the idea] that it was a collaborative process,” confided Dawkins. “Instead of the choreographer telling me what to do, because as dancers that is what we’re used to.”

McCall concurred, saying that her biggest challenge in the process was setting choreography [on herself]. She shared, “When you’re dancing by yourself, it’s easy to improvise or just do what you want to do in the moment, because it’s just you, you don’t have to worry about anyone else.”

Faculty mentor Setarra Kennedy, Assistant Director of the Arts Management program and adjunct professor in the School of Dance, wore many hats during the rehearsal and production process, from company manager to sounding board, coach, and videographer. While in the rehearsal room, Kennedy kept to the background, recording notes and feedback as Palacios, his translator, Monica Delgado, and each dancer worked together to develop the movements of their pieces.

“At the end of the day, we would review those notes together, with me asking, ‘this is what I understood as the elements that need work, do you agree? Does that feel right to you?” Kennedy said. “The idea was always to be in conversation, because these dances are not only based on personal stories, the students are making these dances on their own bodies, which was also a new experience. I concentrated on encouraging them to lean into their own creative voice, reminding them that anything they want to explore is possible, as long as it feels authentic and real to them.”

The resulting dances are eye-opening, powerful, and courageous, a testament to the willingness of these students to explore their personal lives through their professional art. The emotional power of these performers is clearly evident in each of their works: “Becoming,” “On View,” and “Hear Me As I Am".

Reflecting on the experience, Palacios said, “I would just like to reiterate my deepest gratitude for amplifying and sharing my vision of the world through dance, a world that becomes smaller thanks to the mutual interest in knowing each other not as foreigners or strangers but rather as who we really are; diverse and valuable humans in distant and common lands at the same time.”

Dawkins shared that she’s “excited to continue choreographing” as part of her studies in the School of Dance, as she was a freshman during this project. Taitt, who will begin her senior year in Fall 2021, said that as a result of this experience, “I find it important to incorporate my Black voice into whatever I create so that I can fill spaces with my purpose and be able to represent my community.” McCall concurred, noting that as she moves into her professional career, “it’s important for me to also incorporate my own Black movement and voice into all the choreography that I do.”

Topics

�鶹��Ƶ Arts at Home

College of Visual and Performing Arts School of Dance

College of Visual and Performing Arts (CVPA)

Bravo! �鶹��Ƶ students take center stage in digital workshop production

Colleen Rich — Thu, 27 May 2021 21:21:52 +0000

Bravo! �鶹��Ƶ students take center stage in digital workshop production Colleen Rich Thu, 05/27/2021 - 17:21

In This Story

Rick Davis

Edward Gero

The cast and crew of the School of Theater's production "Luther's Trumpet" rehearses in the Center for the Arts Concert Hall. Photo by Shelby Burgess/Strategic Communications

The Reformation-era play “Luther’s Trumpet” poses provocative questions about faith justice, priestly celibacy and standing up against authoritarianism.

For �鶹��Ƶ rising junior Steven Franco, who has the role of Philip, friend of Martin Luther, it is just as relevant for today’s time period.

“The script,” the theater major said, “is an example of how people fought for what they believed in.”

Franco is one of two �鶹��Ƶ students in the production, which will be presented May 28 through June 4 as a prerecorded digital performance. Rising senior Hasan Crawford, also a theater major, plays Charles V, the Holy Roman Emperor.

Theater major Steven Franco has the role of Philip, friend of Martin Luther, in the production. Photo by Shelby Burgess/Strategic Communications

“As I would expect, our students came to work well prepared and with lots of creative energy,” said Rick Davis, dean of �鶹��Ƶ’s College of Visual and Performing Arts and the play’s director. “They meshed well with the professional cast members and adapted to the hybrid environment of our workshop, which was rehearsed and shot like a television show or film much more than a traditional play. And they delivered their roles with precision.”

“Luther’s Trumpet” takes place in the early 1500s, when Martin Luther went toe-to-toe with the dominant powers of the Western world—the Catholic church and the Holy Roman Empire. Luther’s public objections to what he believed was a Christianity driven by greed and materialism brought him into grave personal danger, even as he shook the foundations of European civilization.

�鶹��Ƶ students joined community and faculty actors in the production, which was recorded at the Center for the Arts. The Moving Story Window Wall projection technology, developed by �鶹��Ƶ Heritage Professor of Dance Christopher D’Amboise, blended scenic effects with other actors who appeared remotely.

Some actors appeared remotely using the Moving Story Window Wall technology developed at �鶹��Ƶ. Photo by Shelby Burgess/Strategic Communications

"I hope the audience enjoys the hybrid workshop environment as much as we did, blending in-person actors, Zoom-world actors, and digital scenery,” Davis said. “Audience response will be key to the next steps for the project, and we invite folks to be in touch with their reactions and questions.”

“Luther’s Trumpet” also stars �鶹��Ƶ associate professor of theater and well-known Washington, D.C., actor Edward Gero as Martin Luther, and Craig Wallace as Pope Leo X. Other appearances include Kevin Murray (interim director of the School of Theater) as indulgence seller Friar Tetzel. David Tatel (a judge on the U.S. Court of Appeals) appears as the Devil, a role he played in the 2018 premiere production at the Stone Hill amphitheater.

Hasan Crawford. Provided photo

Acclaimed historian James Reston Jr. adapted his 2016 book “Luther’s Fortress” into this new dramatic work for the stage.

“I will say that author Jim Reston saves the best for (almost) last, in a deliciously intellectual and emotional scene between Luther and the Devil, in which, as is traditional in great literature, the Devil gets most of the good lines,” said Davis.

“Luther’s Trumpet” can be seen through �鶹��Ƶ Arts at Home from May 28 through June 4. The performance is free, but registration is required.

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Students

College of Visual and Performing Arts (CVPA)

�鶹��Ƶ Arts at Home

Connecting Students with Today’s Top Artists Despite the Pandemic

Pam Muirheid — Mon, 29 Mar 2021 18:25:08 +0000

Connecting Students with Today’s Top Artists Despite the Pandemic Pam Muirheid Mon, 03/29/2021 - 14:25

Learn More �鶹��Ƶ the Window Wall Technology

For more than a year, the pandemic has impacted many aspects of the day-to-day at the College of Visual and Performing Arts (CVPA). One thing that hasn’t changed is our faculty and staff’s commitment to providing outstanding educational experiences. This moment has enhanced our resilience and creativity in order to satisfy the needs of the student community. The most recent examples took place in March 2021, during which four masterclasses were held over the span of a single week. These ranged from virtual classes via Zoom webinar, to a hybrid session (half in-person, half virtual) utilizing the Moving Story Window Wall technology.

An important element of the College’s instructional offerings is our intrinsic link with the Center for the Arts at �鶹��Ƶ and the Hylton Performing Arts Center, which enables �鶹��Ƶ students to learn directly from today’s top artists. When performers and touring ensembles appear in the professional season of music, dance, and theater offerings, CVPA ensures that masterclasses or similar educational opportunities are part of what they bring to the table. This learning exchange is in line with the College’s longstanding mission to “educate the artists of tomorrow.” In spite of the current restrictions, CVPA and its two performing arts centers have continued to provide these exceptional experiences to �鶹��Ƶ students.

Lawrence Brownlee giving a Zoom masterclass to students from the Dewberry School of Music.

Beginning on March 2, Lawrence Brownlee—who is recognized as one of America’s foremost modern opera singers—led a Zoom masterclass for a group of Vocal Studies and Opera majors from the Reva and Sid Dewberry Family School of Music. The class was held the day after he participated in The Artist-Activist: Centering Black Voices series as part of �鶹��Ƶ Arts at Home.

Of her experience, Rosie Wright (Vocal Performance ‘22) commented, “Singing for Mr. Brownlee was an infinitely valuable experience for me. He was an absolute joy to work with. I had the privilege of singing a Rossini aria for him and, since that’s one of his specialties, I was very nervous. I had so much fun learning from him and it was so inspiring to get a coaching from him on the piece. This masterclass was one of the highlights of my college career.”

The following day, School of Theater students were welcomed to participate in a masterclass with Broadway singer and actress Laura Osnes—who appeared in Broadway Princess Party on March 21. For this session, students gathered in person (physically distanced) on the Center for the Arts’ stage while Osnes was projected live onto the Moving Story Window Wall. Sophia Inserra (Theater ‘21) explained, “the innovativeness of the set up and how we connected with Ms. Osnes was excitingly effective and, of course, getting the opportunity to meet and work with her virtually was amazing. This experience made my entire year; I am so grateful.”

Left: School of Theater students participate in a masterclass with Broadway singer and actress Laura Osnes. Photo: Even Cantwell. Right: Clarinetist Thomas Lessels from Academy of St. Martin in the Fields giving a Zoom masterclass to students from the Dewberry School of Music.

Similarly, on March 8, instrumentalists from the Dewberry School of Music had the opportunity to study with clarinetist Thomas Lessels and cellist Will Schofield of the world-class Academy of St. Martin in the Fields. These two, separate masterclasses were held via Zoom webinar and they preceded the ensemble’s �鶹��Ƶ Arts at Home virtual performance on March 13. Teresa Jenkins (Clarinet Performance ’22) summarized her involvement as follows, “the masterclass was fantastic and enlightening. I really enjoyed the musical ideas that Mr. Lessels recommended and shared with me regarding my playing. The Zoom masterclass experience is one full of silver linings, and I am so appreciative to have been chosen to participate!”

Students from the Dewberry School of Music participate in a masterclass with clarinetist Thomas Lessels (top left) from Academy of St. Martin in the Fields.

These testimonials both confirm and reinforce the importance of making masterclasses, workshops, lectures, and artist conversations available to our student community.

In addition to the abovementioned masterclasses, the School of Art’s Visual Voices lecture series continues to feature nationally-recognized visiting artists and designers each month in an online format. Recent guests included Wendy Red Star, Rozeal, and Mia Rollow. Film and Video Studies’ Visiting Filmmaker Series is also thriving in the digital space, highlighting films and artists who are committed to innovation, social justice, and diverse and inclusive filmmaking. Most recently, the series featured film director Stefon Bristol and TV writer Hank Jones.

CVPA is proud to offer these opportunities to students, and we look forward to increasing their reach throughout the academic year. Support our educational initiatives beyond the classroom.

Topics

College of Visual and Performing Arts (CVPA)

Reva and Sid Dewberry Family School of Music

School of Art

�鶹��Ƶ Arts at Home

College of Visual and Performing Arts School of Theater

Haley Smyser is November Employee of the Month

Colleen Rich — Tue, 27 Oct 2020 20:53:23 +0000

Haley Smyser is November Employee of the Month Colleen Rich Tue, 10/27/2020 - 16:53

Haley Smyser

When the COVID-19 pandemic hit in March, and �鶹��Ƶ closed its campuses and pivoted to online learning, the College of Visual and Performing Arts (CVPA) faced a problem.

What to do about the students who had recitals to give as part of their graduation requirements? What about the local community, which was looking forward to another 20 performances at either �鶹��Ƶ’s Center for the Arts or the Hylton Performing Arts Center. And what about the professional artists who were counting on the income for their performances?

“We saw all of these dual needs and said ‘let’s figure out how to do some digital programming,’ ” said Haley Smyser, CVPA’s programming and engagement coordinator. “People need distractions, they need entertainment. They need a feeling of community.”

The solution was �鶹��Ƶ Arts at Home, a virtual performance platform that showcased about 80 events from April 2 to the end of the spring semester.

For being what CVPA Dean Rick Davis called “the tip of the spear” in terms of CVPA’s public response to the coronavirus, Smyser is �鶹��Ƶ’s November Employee of the Month.

“Without Haley’s work, we would have been seriously set back from the outset of the crisis, and our artistic and intellectual vitality would have gone into quarantine, along with our physical selves,” Davis said.

Smyser, who came to �鶹��Ƶ in 2019, stressed that establishing �鶹��Ƶ Arts at Home was a collaborative effort undertaken by herself, Davis and Adrienne Bryant Godwin, CVPA’s director of programming.

In the spring, the program consisted of student projects, curated talks with professional artists, videos and recordings of past performances at �鶹��Ƶ.

This semester, hoping to avoid what Smyser called “digital fatigue,” the number of shows has been trimmed to around 50 specifically curated pieces and programming in collaboration with the Hylton Center’s Affiliate Arts Organization.

“Coming to �鶹��Ƶ gave me the ability to truly grow within the specific areas that inspire me—building community through the arts, creating more welcoming spaces for artists and art-lovers alike, and fostering amazing experiences for the �鶹��Ƶ students, faculty, and staff,” Smyser said.

How she got here:

I moved from North Carolina almost exactly one year ago, wanting to push myself a bit outside of the community that I'd called home for my whole life. Before �鶹��Ƶ, I worked for another university's performing arts center that gave me a glimpse of the broad field of arts administration and how I could combine my creativity and love for the arts with my project management skills.

Best day on the job:

The first residency I planned was with a dance company that I'd idolized my whole life—the Bill T. Jones/Arnie Zane Company. They were workshopping and performing a world premiere piece at the Center for the Arts and were incorporating 25 community members and students into the final act of their show. Getting to watch this group of people, who were basically strangers, come together and create something as a community was beautiful.

What she likes best about working at �鶹��Ƶ:

I've found �鶹��Ƶ to be an incredibly supportive environment for new innovation and collaboration. If there is something you want to do, let's figure out a way to make it happen. Especially in this transition to digital, my colleagues across CVPA have been game to try some new things far outside of all of our comfort zones.

What she does when not working:

In the before times, I enjoyed seeing friends, going to concerts, and trying new restaurants, but these days I've found a lot of joy in making things with my hands. I've gotten perhaps too into breadmaking and taught myself how to macrame. I love going on hikes and watching countless hours of “Love Island (UK).”

�鶹��Ƶ Arts at Home

�鶹��Ƶ Arts Amplified Releases New Content, including performances by the Royal Philharmonic Orchestra, Cirque Kalabanté, and more!

View January 2025 releases on �鶹��Ƶ Arts Amplified

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