Pia Fries

Thursday, September 14-Saturday, December 9, 2017

TOPICS

  • Abstraction, Abstract Expressionism
  • Art History: Baroque Art, Mannerism
  • Metaphors
  • Painting: Process and Technique; Color, Texture, and Application
  • Printmaking
  • References to Movement, Transition, and Transformation

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

CURRICULUM CONNECTIONS

  • ASPECT
  • Fine Arts: Creativity & Aesthetic Experience
  • Humanities: The Creative Process
  • Material Culture & Public Humanities
  • Philosophy: Aesthetics
  • School of Visual Arts: Art History; Studio; Language of Visual Arts; Interpretation of Visual Arts

VIRGINIA STANDARDS OF LEARNING

  • Virginia SOLS: Visual Arts

RESOURCES

ARTSPEAK

  • Abstract art: Non-representational works of art with imagery that does not necessarily reflect or depict “objective” reality. It is a continually-evolving movement in art from its beginnings in the late 19th century with Paul Cézanne into the 20th century with artists such as Georges Braque, Pablo Picasso,Wassily Kandinksy, and Piet Mondrian; on through to mid-century giants like Jackson Pollock, or—one of the greatest artists of our times— Gerhard Richter; to artists like Pia Fries who build on but carry forth the genre into new directions.
  • Abstract Expressionism: A post–World War II art movement in American painting, developed in New York in the 1940s. Sometimes referred to as the “New York School” or, more narrowly, as action painting, the varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content.
  • Baroque: A period of artistic style that used exaggerated motion, detail, vivid color, and elaborate ornamentation to produce drama, tension, and emotion.
  • Gestural: The vigorous application of paint and expressive brushwork. The term originally came into use to describe the painting of the Abstract Expressionist artists Jackson Pollock, Willem de Kooning, Franz Kline, Robert Motherwell, Hans Hofmann, and others (also referred to as “action painters”). Such movement, vitality, and “action” is clearly visible in Pia Fries’ work. 
  • Mannerism: A period of artistic style lasting roughly 1520-1580 that employed exaggerated proportion, balance, and ideal beauty in compositions that were asymmetrical and unstable but also unnaturally elegant.

ARTIST REFERENCES

  • Hendrick Goltzius (1558-1617): Dutch printmaker, draftsman, and painter who was the leading engraver of the Mannerist period known for swirling lines and repeated patterns that give a sense of movement, light and shadow, and exuberance.
  • Stefano della Bella (1610-1664): Italian printmaker highly regarded for his spirited and dynamic etchings with a wide range of subject matter, including landscapes and scenes of festivals, the military, and everyday life.

QUESTIONS

  • Fries prefers that viewers find their own interpretation of her work. What do you see in each work? How do the colors, lines, and textures interact in each piece? Do they evoke any feeling or response in you?



Radcliffe Bailey

September 14-December 9, 2017
 

TOPICS

  • Ancestry
  • Collective memory
  • Concepts of identity
  • History and culture: African, African-American, the American South
  • Layering: of Meaning, Objects, Culture, and Materials
  • Migration
  • Music
  • Objects and meaning
  • Symbolism and metaphor

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Civility

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Diversity & Inclusion
  • Context
  • Facing Challenges/Achieving Goals
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critical Analysis of Equity and Identity in the U.S.
  • Discourse
  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Ethical Reasoning
  • Intercultural and Global Awareness

CURRICULUM CONNECTIONS

  • ASPECT
  • English: Creative Non-Fiction
  • Fine Arts: Creativity & Aesthetic Experience
  • History: History of the United States; Intro to World History; History of Africa, African
  • American History; the American Civil War, Emergence of Modern America; United States
  • Social History; Afro-American History; U.S. South; History of Virginia; Public History
  • Humanities: The Creative Process
  • Material Culture & Public Humanities
  • Naval Engineering: Naval Architecture (History of)
  • Philosophy: Aesthetics; Global Ethics
  • Political Science: Human Rights; Global Issues
  • Psychology: Environmental Psychology; Sensation and Perception
  • Religion and Culture: American Studies; Race and Gender
  • School of Performing Arts: Music
  • School of Visual Arts: Art History; Studio; Language of Visual Arts; Early Modern Global
  • Visual Culture; African-American Art; Interpretation of Visual Arts; Exhibition Design and Display
  • Sociology: Africana Studies; Race and Racism; Black Aesthetics; Sociology of Popular Music

VIRGINIA STANDARDS OF LEARNING

  • Virginia SOLS: Visual Arts; History VS.4, VS.5, VS.7, USI.4, USI.5, USI.9, WHII.9, VUS.2, VUS.3, VUS.6, VUS.7; English 8.5

RESOURCES

ARTSPEAK

  • Installation art: an artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art, or intervention art; however, the boundaries between these terms overlap.
  • Found objects: originates from the French objet trouvé, describing art created from undisguised, but often modified, objects or products that are not normally considered materials from which art is made, often because they already have a non-art function. Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object.

QUESTIONS

  • Bailey describes himself as a storyteller. What stories do you see here? How might they connect to your story?
  • What are objects you might associate with the migration of your ancestors or family?
  • Bailey incorporates elements of music in his creative process and finished works. How can music be a symbol of cultural identity? Of our common experience?

 

A Hokie Hi Event: Demetri Martin

Saturday, August 26, 2017, 7:30 PM


TOPICS

  • Stand-up comedy
  • Political satire
  • Irony
  • Illustration
  • Music

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Decision Making
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Quantitative and Computational Thinking
  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • Architecture + Design
  • Cinema
  • Communication
  • English
  • Human Development
  • Music
  • Philosophy
  • Psychology
  • Studio Art
  • Teaching and Learning
  • Theatre

RESOURCES

  • "Demetri Martin On His Directorial Debut: 'I Felt Compelled To Share Something Personal' ." Here & Now, WBUR, 30 May 2017., wbur.org/hereandnow/2017/05/30/demetri-martin. Accessed 18 July 2017.
  • Martin, Demetri, Actor. Demetri Martin - Standup Comedian. - Fog Machine. Demetri Martin, YouTube, 2012, youtube.com/watch?v=QOxzieqlxnA. Accessed 18 July 2017.
  • Martin, Demetri. Demetri Martin, 2013, live.demetrimartin.com. Accessed 18 July 2017.
  • Martin, Demetri. Point Your Face at This: Drawings. New York, Grand Central Publishing, 2013.

QUESTIONS

  •  View some of the illustrations that are featured in Demetri Martin’s Point Your Face at This: Drawings or on his website. How would you describe his style? How does his style as an illustrator relate to or stray from his style as a stand-up comedian and musician?
  • Watch the excerpt of Demetri Martin’s stand-up routine, Fog Machine, then listen to his interview on WBUR’s Here & Now. What roles do authenticity and vulnerability play in his work as a stand-up comedian, writer, illustrator, and (now) director? As a viewer, how would you describe the experience of encountering “something personal,” as Martin puts it, compared to his comedic persona?
  • Choose one of Demetri Martin’s stand-up jokes or illustrations that is particularly impactful to you. What does it make you think and feel? Why?

 

 

Season Opener: Tango Buenos Aires

The Spirit of Argentina

Friday, September 22, 2017, 7:30 PM

TOPICS

  • Argentina
  • Tango
  • Cross-cultural influence

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Education
  • Diversity and Inclusion
  • Context
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Art History
  • Cinema
  • Foreign Languages and Literatures
  • Geography
  • History
  • International Studies
  • Material Culture and Public Humanities
  • Music
  • Religion and Culture
  • Sociology
  • Theatre

RESOURCES

QUESTIONS

  • In the resource “Biography, Tango Buenos Aires,” read the section titled “The Tango” to learn more about the history of the dance form. In what ways were the cross-cultural and social roots of tango evident in the performance? Be specific in describing what you saw and heard.
  • Read Amy Cunningham’s Carlos Gardel: The King of Tango. How did the performance further inform or impact your understanding of Gardel as described in Cunningham’s piece?
  • Participate in the post-performance tango lesson in the Cube, taught by Sapphire Ballroom and Dance Center of Christiansburg. How did the experience of dancing the tango compare with viewing it as an audience member? What did the hands-on experience teach you about yourself?

 

 

Cheryl Strayed

A WILD Life

Thursday, September 28, 2017, 7:30 PM


TOPICS

  • Resilience
  • Grief
  • Feminism
  • Long Distance Hiking
  • Survival
  • National Parks and Scenic Trails
  • Memoir

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Poverty
  • Education
  • Context
  • Mentoring
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Service/ Ut Prosim
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critical Thinking in the Humanities
  • Discourse
  • Reasoning in the Natural Sciences
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Ethical Reasoning
  • Intercultural and Global Awareness

VT CONNECTIONS

  • English
  • Human Development
  • Philosophy
  • Psychology
  • Sociology
  • Cinema
  • Women and Gender Studies
  • Natural Resources and Environment
  • Venture Out
  • Geography
  • Agricultural Leadership and Community Education

RESOURCES

QUESTIONS

  • In Wild, Cheryl Strayed describes poet Adrienne Rich’s The Dream of a Common Language this way: “That book was a consolation, an old friend, and when I held it in my hands on my first night on the trail, I didn’t regret carrying it one iota--even though carrying it meant that I could do no more than hunch beneath its weight. [..] The Dream of a Common Language was my religion.” As Strayed did on that first grueling night on the Pacific Crest Trail, read Rich’s poem Power. Why do you think Strayed read the piece? What does the poem offer someone--emotionally and aesthetically--who is facing their limits?
  • While hiking the Pacific Crest Trail, Strayed drew inspiration and resilience from a number of sources. Where do you draw inspiration and resilience when facing adversity? Why those sources?
  • Starting out her hike, Strayed is one person, how does changing her personal narrative--switching from affirmations of fear to affirmations of ability and courage--affect her journey? What do you need to shift in your personal narrative?

 

 

Third Coast Percussion

Lyrical Geometry

Friday, October 6, 2017, 7:30 PM


TOPICS

  • Minimalism
  • Rhythm
  • STEAM (Science, Technology, Engineering, Arts, Mathematics)
  • Innovation

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity

VIRGINIA STANDARDS OF LEARNING

  • Math: K.3, K.4, K.6, K.13, K.16, 1.2, 1.17, 1.18, 2.4, 2.6, 2.20, 3.19, 3.20, 4.4, 4.15, 5.3, 5.17, 6.3, 6.7
  • Music: K.1, K.2, K.3, K.5, K.6, K.7, K.9, K.10, K.11, K.12, K.13, K.14, 1.1, 1.2, 1.3, 1.5, 1.6, 1.7, 1.8, 1.9, 1.10, 1.11, 1.12, 1.13, 1.17, 2.1, 2.2, 2.4, 2.5, 2.6, 2.7, 2.8, 2.9, 2.13, 2.14, 3.1, 3.2, 3.4, 3.5, 3.6, 3.8, 3.9, 3.10, 3.14, 3.15, 3.16, 4.1, 4.2, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10, 4.11, 4.12, 5.1, 5.2, 5.4, 5.5, 5.6, 57. 5.8, 5.9, 5.11, 5.17, 6.1, 6.2, 6.4, 6.5, 6.7, 6.8, 6.10

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Decision Making
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Quantitative and Computational Thinking
  • Reasoning in the Natural Sciences
  • Critique and Practice in Design and the Arts

VT CONNECTIONS

  • Music
  • Mathematics
  • Physics
  • Theatre
  • Education
  • Human Development

RESOURCES

  • “Audio & Video.” Third Coast Percussion: Look and Listen, thirdcoastpercussion.com/look-and-listen/audio-and-video/. Accessed 14 Sept. 2017.
  • Harris, Louis. "Third Coast Percussion Soars After Winning Grammy Award." Third Coast Review, 29 Aug. 2017.

QUESTIONS

  • In their educational programs for youth, Third Coast Percussion explore the intersection of sound and science. What aspects of this evening's program seemed to bridge disciplines? How?
  • How would you describe the timbre or audible textures among pieces int he evening's program? What kinds of moods or atmospheres do those diverse timbres create?

 

 

Lucky Plush Productions

Trip the Light Fantastic: The Making of SuperStrip

Friday, October 13, 2017, 7:30 PM


TOPICS

  • Satire
  • Nonprofit and Nongovernmental Organizations
  • Superheroes
  • Comics
  • Altruism

ASPIRATIONS FOR STUDENT LEARNING

  • Self-Understanding and Integrity
  • Courageous Leadership
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Diversity and Inclusion
  • Mentoring
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Service/Ut Prosim
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Ethical Reasoning

VT CONNECTIONS

  • Architecture
  • Center for Public Administration and Policy
  • Urban Affairs and Planning
  • Creative Technologies
  • Studio Art
  • Music
  • Theatre
  • Cinema
  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Philosophy
  • Religion and Culture
  • Science and Technology in Society
  • Sociology
  • Women's and Gender Studies
  • Center for Leadership in Global Sustainability
  • Psychology

RESOURCES

  • Molzahn, Laura. "For Julia Rhoads of Lucky Plush, dance comes with a 'Super' story." Chicago Tribune, 7 Sept. 2016.
  • “Excerpts from SuperStrip @ Hope College (2016) .” Vimeo, 17 Feb. 2016, vimeo.com/155728671. Accessed 14 Sept. 2017.

QUESTIONS

  • What are some of the variables that complicate the characters’ ability to simply “do good” for society in Trip the Light Fantastic: The Making of SuperStrip? What presence have those variables or others had in your experience of embodying Ut Prosim (That I May Serve)? How did you navigate them?
  • The characters work closely to develop their vision. What opportunities and challenges come from teamwork?
  • What is the significance of the characters’ unique superpowers? What do those superpowers contribute to the story?

 

 

Roanoke Symphony Orchestra

Masterworks Concert

Sunday, October 15, 2017, 3 PM


TOPICS

  • Ludwig van Beethoven
  • Johannes Brahms
  • Classical orchestral music

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Decision Making
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • Music
  • History

RESOURCES

  • Schwarm, Betsy. Emperor Concerto, Encyclopaedia Britannica, 25 June 2013, britannica.com/topic/Emperor-Concerto. Accessed 11 Sept. 2017.
  • Symphony no. 4 in E Minor, Encyclopedia Britannica, britannica.com/topic/Symphony-No-4-in-E-Minor. Accessed 19 Sept. 2017.
  • Woods, Kenneth. "Explore the Score- Brahms Symphony no. 4 in E minor." Kenneth Woods.net, Apr. 2013, kennethwoods.net/blog1/2013/04/28/explore-the-score-brahms-symphony-no-4-in-e-minor/. Accessed 19 Sept. 2017.

QUESTIONS

  • While Beethoven was writing the Emperor Concerto, his city of Vienna was under attack by Napoleon Bonaparte’s troops. How do you imagine that influenced Beethoven’s approach to creating the work? Where and what do you hear in the Emperor Concerto that reflects the tumult of Vienna in 1809?
  • It has been pointed out by many musicologists that Beethoven was highly influenced by Wolfgang Amadeus Mozart, even going so far as to have the same sequence of intervals in Emperor’s third movement as that of the opening theme to the final movement of Mozart’s Symphony, no. 40. Beyond this example, what similarities do you hear between the music of Beethoven and Mozart? Where do they diverge, stylistically?

 

 

Flip FabriQue

Catch Me!

Friday, October 20, 2017, 7:30 PM


TOPICS

  • Circus
  • Physical Comedy
  • Play
  • Acrobatics

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Leadership

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Discourse
  • Quantitative and Computational Thinking
  • Reasoning in the Natural Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Ethical Reasoning
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Deep Fried Improv Troupe
  • LGBTA of Virginia Tech
  • Pathways/General Education Program
  • Creative Dance at Virginia Tech
  • Virginia Tech Dance Company
  • Hula Hoopers at Virginia Tech
  • Virginia Tech Club Gymnastics
  • Hokie Cheerleaders
  • School of Performing Arts
  • Material Cultures and Public Humanities
  • Global Perspectives Program
  • Sociology Department

RESOURCES

  • Flip Fabrique, flipfabrique.com/en/. Accessed 25 Sept. 2017.
  • Catton, Pia. "Circus, Performance Art, What's the Difference?." Wall Street Journal, Aug. 2013, wsj.com/articles/circus-performance-art-whats-the-difference-1377480923. Accessed 25 Sept. 2017.
  • Montreal Cirque Festival, https://montrealcompletementcirque.com/en/. Accessed 25 Sept. 2017.
  • Spiegel, Jennifer B. Re-approaching community development through the arts: a ‘critical mixed methods’ study of social circus in Quebec, Oxford University Press, 2 May 2017, academic.oup.com/cdj/article/doi/10.1093/cdj/bsx015/3788531/Re-approaching-community-development-through-the. Accessed 25 Sept. 2017.

QUESTIONS

  • What moments in the performance recalled “traditional” circus routines you are familiar with? Conversely, which routines seemed particularly innovative or contemporary? Why?
  • How applicable can collective transformation prove to be, regarding methodologies through circus arts and acrobatics?
  • Many of the physical acrobatics performed by Flip FabriQue require the utmost concentration and focus. Do you believe that the physical idiosyncrasies associated with this art form allow participants to have some form of control in the midst of potential fear and/or chaos? If so, why or why not?

 

 

Jenny Scheinman

Kannapolis: A Moving Portrait

Friday, October 27, 2017, 7:30 PM


TOPICS

  • Outsider Art
  • Documentary Film
  • 1930s-'40s America
  • Folk
  • The South
  • Appalachia

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Poverty
  • Community Development
  • Education
  • Diversity and Inclusion
  • Context
  • Service/Ut Prosim
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States

VT CONNECTIONS

  • Music
  • History
  • Cinema
  • Appalachian Studies
  • Agricultural, Leadership, and Community Education
  • Urban Affairs and Planning
  • Material Culture and Public Humanities
  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Religion and Culture
  • Science and Technology in Society
  • Sociology

RESOURCES

  • Jenny Scheinman, jennyscheinman.com. Accessed 25 Sept. 2017.
  • Jenny Scheinman Reaches Out to Her Father in a Song, NPR, June 2014, www.npr.org/2014/06/13/321673767/jenny-scheinman-reaches-out-to-absent-father-in-song. Accessed 25 Sept. 2017.
  • Scheinman, Jenny. Jenny Scheinman Kannapolis: A Moving Portrait EPK. , YouTube, 2015, https://www.youtube.com/watch?v=bWod0hlr7n0&feature=youtu.be. Accessed 26 Oct. 2017.

QUESTIONS

  • How would you characterize the relationship between the live music and H. Lee Waters’ footage? How does that relationship contribute to your overall experience of Kannapolis: A Moving Portrait?
  • What does Waters’ footage teach you about the communities he documented? Conversely, what remains a mystery?

 

 

Niyaz presents

The Fourth Light Project

An Immersive Multi-Media Experience

Friday, November 3, 2017, 8 PM


TOPICS

  • Sufism
  • Feminism
  • East Meets West
  • Immersion

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Civility
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Education
  • Diversity and Inclusion
  • Context
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Theatre and Cinema
  • Music
  • Creative Technologies
  • Government and International Affairs
  • Foreign Languages and Literatures
  • Religion and Culture
  • Women's and Gender Studies
  • Sociology
  • Biological Systems Engineering
  • Architecture
  • Biomedical Engineering and Mechanics
  • Electrical and Computer Engineering
  • Learning Sciences and Technologies

RESOURCES

  • “Niyaz: From Iran To India To Los Angeles.” NPR, NPR, 12 Oct. 2008, npr.org/templates/story/story.php?storyId=95607779.
  • Danton, Eric R. “Niyaz Honors 8th-Century Mystic on ‘Feminist’ Album ‘The Fourth Light’ (Exclusive).” The Wall Street Journal, Dow Jones & Company, 16 Mar. 2015, blogs.wsj.com/speakeasy/2015/03/16/niyaz-honors-8th-century-mystic-on-feminist-album-the-fourth-light-exclusive/.
  • “NIYAZ-‘The Fourth Light’- new album and live multimedia show coming soon.” YouTube, YouTube, 13 Feb. 2015, youtube.com/watch?v=hAzARFOZyM4 /li>

QUESTIONS

  • How does the interplay between sound, movement, and projection speak to the facets of Niyaz’s varied cultural background?
  • In Niyaz: From Iran To India To Los Angeles the artists speak about learning their instruments and the dedication and time required. What skills do you commit to growing? Does mastery allow unconventional use like Niyaz incorporates into their performance?
  • The Fourth Light Project chronicles the life of Rabia Al Basri, who is considered to be the first female Sufi mystic and poet. Considering this, Niyaz states on their website that "The Fourth Light is in many ways a feminist album." How did the performance explore multiple facets of femininity?

 

 

Yo-Yo Ma, cello

Kathryn Stott, piano

Sunday, November 5, 2017, 3 PM


TOPICS

  • Classical Chamber Music
  • Collaboration

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Civility
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Education
  • Context
  • Mentoring
  • Facing Challenges/Achieving Goals
  • Leadership

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Discourse
  • Critical Thinking in the Humanities
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Music
  • Theatre
  • Human Development
  • Political Science
  • Public and International Affairs
  • Teaching and Learning
  • History
  • Religion and Culture
  • International Studies

RESOURCES

  • “Life & Music.” Yo-Yo Ma, yo-yoma.com/about-2/. Accessed 21 Sept. 2017.

QUESTIONS

  • Stott and Ma have been musical collaborators for over 30 years. Try to perceive how they communicate with one another as they perform; how would you describe it? What values would enable you to sustain a creative collaboration with someone else for such a length of time?

 

 

Beo String Quartet

Thursday, November 16, 2017, 7:30 PM


TOPICS

  • New Music
  • Collaboration
  • Classical String Quartet
  • Adaptation

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

VIRGINIA STANDARDS OF LEARNING

  • Music: 3.1, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 3.9, 3.11, 3.13, 4.1, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10, 4.11, 4.12, 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8, 5.9, 5.10, 5.11, 5.14, 5.17, 6.1, 6.2, 6.4, 6.5, 6.6, 6.7, 6.8, 6.9, 6.10, 7.1, 7.2, 7.4, 7.5, 7.6, 7.7, 7.8, 7.9, 7.10, 8.1, 8.2, 8.4, 8.5, 8.6, 8.7, 8.8, 8.9, 8.10

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Mentoring
  • Facing Challenges/Achieving Goals
  • Leadership

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts

VT CONNECTIONS

  • Music
  • Studio Art
  • Creative Technologies
  • Amateur Musician Club at Virginia Tech
  • Music Club at Virginia Tech
  • Emerging Artists

RESOURCES

  • Creep - Radiohead - Beo Underground. , YouTube, 2017, https://www.youtube.com/watch?v=M4Slk1jjn6Q&feature=youtu.be. Accessed 31 July 2017.
  • The Legend of Zelda. , YouTube, 2015, https://www.youtube.com/watch?v=3GzPf6D_8Go. Accessed 9 Oct. 2017.
  • Beo String Quartet, Squarespace, www.beostringquartet.com. Accessed 9 Oct. 2017.

QUESTIONS

  • Watch the Beo Underground video of the string quartet’s cover of Radiohead’s 1993 song, Creep. How does it compare and contrast with Radiohead’s original version? What’s gained and lost in this adaptation of the original song?
  • Watch the video of Beo String Orchestra paying homage to the video game series ‘The Legend of Zelda.’ This arrangement was transcribed by Jason Neukom, a member of the quartet. What do you believe to be most important when arranging a popular piece to fit the style of specific musicians? To what extent should an arranger honor a piece’s original intent or form vs. exercise their own voice.

 

 

The Tallis Scholars

Wednesday, November 29, 2017, 7:30 PM


TOPICS

  • Renaissance
  • Sacred Music
  • Heinrich Isaac
  • Voice
  • Polyphony

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • Music
  • History
  • Art History
  • Material Cultures and Public Humanities
  • Teaching and Learning
  • Foreign Languages and Literatures
  • Religion and Culture

RESOURCES

QUESTIONS

  • What did you learn about composer Heinrich Isaac from the program? What’s the impact and significance of hearing his music performed in a secular context, nearly 500 years after its composition?
  • After viewing the program, one can gather that ear training and chord structure go precisely hand in hand. Do you believe Medieval chord structures and their combinations to be repetitive, or are they clearly distinguishable between pieces? Were the voices clearly distinguishable from one another?
  • What is the significance of having only ten singers in the group as opposed to a larger number? Does this factor make for more elevated performance, and if so, is there more of a demand for the blending of voices?

 

 

Awadagin Pratt, piano

Thursday, November 30, 2017, 7:30 PM


TOPICS

  • Music Education
  • Piano
  • Collaboration
  • Versatility

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Diversity and Inclusion
  • Context
  • Mentoring
  • Facing Challenges/Achieving Goals
  • Leadership

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Quantitative and Computational Thinking
  • Critical Analysis of Equity and Identity in the United States

VT CONNECTIONS

  • Music
  • Teaching and Learning
  • History

RESOURCES

QUESTIONS

  • In a 2015 television interview with Matt Peiken of WCPO Channel 9 News, Pratt expressed that, “playing the piano is an infinite art [...] there’s not a dimension of our physical and intellectual and emotional capabilities that it doesn’t touch upon.” In what ways is this perspective evident to you in Pratt’s performance?
  • Pratt is renown for his eclectic and varied programming. What are the variances you have found in his performance? Do you think he hit upon multiple themes, and if so, what themes?

 

 

Roanoke Symphony Orchestra

Holiday Pops

Saturday, December 9, 2017, 4 PM


TOPICS

  • Symphony Orchestra Music
  • Holidays
  • Engagement
  • Community
  • Adaptation
  • Sing-Alongs
  • Family Programming

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Diversity and Inclusion
  • Context
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Music
  • Religion and Culture
  • Human Development
  • Music Education
  • Teaching and Learning
  • Hospitality and Tourism Management

RESOURCES

QUESTIONS

  • How do the Roanoke Symphony Orchestra and its community supporters (e.g. New River Valley Friends of the RSO) contribute to music education for youth in the region? How does the Holiday Pops concert contribute to this mission of the orchestra?
  • Listen to a podcast episode of the RSO’s Inside the Music program. How does Music Director David Stewart Wiley talk about his approach to conducting? How does he describe the ensemble’s approach to music-making? How were these evident for you in the performance?
  • How did the audience relate to/participate in the performance? How did the ensemble foster this? Describe your experience of the performer-audience relationship that developed.

 

 

Alarm Will Sound

1969

Thursday, January 25, 2018, 7:30 PM


TOPICS

  • The 1960s
  • Revolution
  • John Lennon
  • Karlheinz Stockhausen
  • Paul McCartney
  • Luciano Berio
  • Yoko Ono
  • Leonard Bernstein
  • Historical Fiction

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Diversity and Inclusion
  • Context
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Art History
  • Creative Technologies
  • Material Culture and Public Humanities
  • Music
  • Theatre
  • Cinema
  • History
  • Sociology
  • Studio Art
  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Communication
  • Science and Technology in Society

RESOURCES

  • Smith, Steve. “A Soundtrack to a Collaboration That Never Was.” The New York Times, The New York Times, 11 Mar. 2011, nytimes.com/2011/03/12/arts/music/1969-by-alarm-will-sound-at-carnegie-hall-music-review.html
  • Kozinn, Allan. “A ’60s Mash-Up That Didn’t Happen.” The New York Times, The New York Times, 5 Mar. 2011, nytimes.com/2011/03/06/arts/music/06alarm.html
  • “About.” Alarm Will Sound, alarmwillsound.com/about.php.

QUESTIONS

  • What is the value of an artistic illustration of a fabled moment in history that did not exist?
  • Reflect on the relationship between the music, acting, and video design in 1969. How did those media--individually and as a whole--contribute to the storytelling?
  • Whether you were born before or after 1969, how did the evening's program influence your sense of that momentous year in United States' history?
  • In his New York Times review of 1969, A Soundtrack to a Collaboration That Never Was, Steve Smith describes the production as a “heady meditation on the intersection of experimental and commercial spheres, and of social and aesthetic agendas.” How does 1969 illustrate this nexus? Where did you see alignment and conflict among the experimental, commercial, social, and aesthetic forces in the piece?

 

 

L.A. Theatre Works

The Mountaintop

Sunday, January 28, 2018, 4 PM


TOPICS

  • Martin Luther King Jr.
  • Civil Rights Movement
  • Race
  • Social Justice
  • United States History

ASPIRATIONS FOR STUDENT LEARNING

  • Self-Understanding and Integrity
  • Civility
  • Courageous Leadership
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Diversity and Inclusion
  • Context
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Service/Ut Prosim
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Ethical Reasoning
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • English
  • Theatre
  • Sociology
  • History
  • Psychology
  • Communication
  • Africana Studies
  • Political Science
  • Center for Public Administration and Policy
  • Race and Social Policy Resource Center
  • Religion and Culture

RESOURCES

  • About L.A. Theatre Works.” Audiobooks and Plays Featuring Stars of Stage and Screen - Available to download or buy on CD - L.A. Theatre Works, 2017, store.latw.org/shop/about-l-a-theatre-works/
  • Hall, Katori. The Mountaintop. New York, Dramatist's Play Service, 2013.
  • “I've Been to the Mountaintop.” King Encyclopedia, Stanford University, kingencyclopedia.stanford.edu/encyclopedia/documentsentry/ive_been_to_the_mountaintop/.

QUESTIONS

  • How did this production impact your perception of Martin Luther King Jr.? What in the playwright, performer, and/or director's depiction conflicted with who King was? Conversely, what deepened our understanding or illuminated new truths about King and what he stood for?
  • While King did stay in the Lorraine Motel in Memphis on April 3, 1968, the specific events depicted in Katori Hall’s play The Mountaintop are fictitious. What would you consider to be the value and potential dangers of an artist creating such an imagined historical moment?
  • In addition to staged plays, L.A. Theatre Works produces “radio theatre," a form experienced exclusively through sound. How might a “radio theatre” format serve Hall’s work differently than The Mountaintop in live performance?
  • On this 50th anniversary of King’s death, take a moment to reflect on his legacy. How have his words and actions impacted your life, personally?

 

 

The Helsingborg Symphony Orchestra of Sweden

Saturday, February 3, 2018, 4 PM


TOPICS

  • Symphony Orchestra Music
  • Ludwig van Beethoven
  • Sweden
  • The French Revolution

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Facing Challenges/Achieving Goals
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Intercultural and Global Awareness
  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • Music
  • Teaching and Learning
  • History
  • Art History
  • Material Cultures and Public Humanities

RESOURCES

  • Eroica Effect; Andrew Manze and the. Andrew Manze. 2007. YouTube, youtube.com/watch?v=1C5k7Fa-p_E. Accessed 30 Oct. 2017.
  • Andrew Manze on vibrato, violin lessons . Andrew Manze and Kristin Skjølaas. 2015. YouTube, youtube.com/watch?v=3q74N_RuHXI. Accessed 30 Oct. 2017.
  • Andrew Manze (Violin, Conductor), Bach Cantatas Website, 26 Sept. 2017, bach-cantatas.com/Bio/Manze-Andrew.html. Accessed 30 Oct. 2017.

QUESTIONS

  • The program notes describe Beethoven as “a democrat in an age of revolution and an indignant spokesman against tyranny.” Where do you hear this spirit in the evening’s program? In musical terms, what forms does it take?
  • A notable element of Symphony no. 3 in E-flat Major, op. 55, Eroica, is its numerous variations on select themes. Listen closely for those musical themes and track their transfiguration. Where do you hear the themes and how does Beethoven continually reimagine them?
  • In Beethoven’s biography, the story of Eroica is iconic. Originally dedicating the symphony to Napoleon Bonaparte for his commitment to realizing democracy in monarchical France, Beethoven later tore away the title page after learning that Bonaparte had hypocritically pronounced himself emperor. How does this historical context impact your understanding and experience of hearing the symphony?

 

 

Dorrance Dance

ETM: Double Down

Friday, February 23, 2018, 7:30 PM


TOPICS

  • Tap
  • Rhythm
  • Electronic Music
  • Collaboration
  • Innovation
  • Creative Technologies
  • Sensors

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Quantitative and Computational Thinking
  • Critique and Practice in Design and the Arts

VT CONNECTIONS

  • Theatre
  • Music
  • Creative Technologies
  • Africana Studies
  • Women's and Gender Studies
  • Electrical Engineering
  • Computer Science
  • History

RESOURCES

  • MacArthur Foundation. “Tap Dancer and Choreographer Michelle Dorrance, 2015 MacArthur Fellow.” YouTube, YouTube, 29 Sept. 2015, youtube.com/watch?v=lyAc_GqTrSs
  • Sadler Wells Theatre. “Dorrance Dance - ETM: Double Down.” YouTube, YouTube, 9 May 2017, youtube.com/watch?v=MUCX4HHchpI
  • Seibert, Brian. “Review: Dorrance Dance, Where Tap and Computers Intersect.” The New York Times, The New York Times, 27 Apr. 2016, nytimes.com/2016/04/28/arts/dance/review-dorrance-dance-where-tap-and-computers-intersect.html?_r=0

QUESTIONS

  • Speaking about the origins of tap in the context of American slavery, Michelle Dorrance explained that, “[tap] is born of some of the most oppressed people in our country and culture has known and… finds its way to joy.” How and where was this history and concept present in the performance?
  • How did the incorporation of electronic drum pads impact your perception of tap dance as an art form?
  • How would you describe the performers’ interaction with one another? How did that contribute to the overall spirit of ETM: Double Down?
  • Where in the performance of ETM: Double Down did you experience a clear distinction between performers as dancers vs. musicians? Where were the lines most blurred between dance and music? What was the effect of this exploration for you?

 

 

Limón Dance Company

Saturday, March 3, 2018, 7:30 PM


TOPICS

  • Cultural Diplomacy
  • José Limón
  • Dance Theatre
  • Community

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Courageous Leadership

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Community Development
  • Education
  • Diversity and Inclusion
  • Context
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Intercultural and Global Awareness
  • Critique and Practice in Design and the Arts
  • Critical Analysis of Equity and Identity in the United States

VT CONNECTIONS

  • Music
  • Theatre
  • Foreign Languages and Literatures
  • Alliance for Social, Political, Ethical, and Cultural Thought
  • Government and International Affairs
  • Art History
  • International Studies

RESOURCES

  • LimonDanceCompany. “Limon 8-Minute documentary.” YouTube, YouTube, 16 Mar. 2010, youtube.com/watch?v=GpyWNh3X8q8
  • Dunbar, Diana. “Limón Dance Company Injects Humanity Into a Chaotic World.” Miami New Times, 26 Oct. 2017, miaminewtimes.com/arts/limon-dance-company-at-south-miami-dade-cultural-arts-center-october-21-9758179

QUESTIONS

  • In a Miami New Times review of an October 2017 performance of Limón Dance Company, the reviewer describes The Unsung as a piece that "honors unsung Native American heroes." Aesthetically, what aspects of the piece create a spirit of "honoring?" What elements of Native American tribes' imagery, history, or religious and cultural practices are evident within the piece?
  • How does the company honor the legacy and artistry of José Limón, while also maintaining contemporary relevance?
  • Which piece in the program did you connect with most deeply? Why?

 

 

Circa

Carnival of the Animals

Saturday, March 10, 2018, 2 & 7 PM


TOPICS

  • Circus
  • Animal Kingdom
  • Carnival
  • Camille Saint-Saëns
  • Family

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Context
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • History
  • Theatre
  • Music
  • Education
  • Deep Fried Improv Troupe
  • Pathways/General Education Program
  • Creative Dance at Virginia Tech
  • Virginia Tech Dance Company
  • Hula Hoopers at Virginia Tech
  • Virginia Tech Club Gymnastics
  • Hokie Cheerleaders
  • Global Perspectives Program

RESOURCES

  • Circa, circa.org.au/about-circa/. Accessed 4 Nov. 2017
  • Carnival of the Animals by Circa. 2014. YouTube, youtube.com/watch?time_continue=2&v=vq7oca1uCuY. Accessed 4 Nov. 2017.
  • Carnival of the Animals - Behind the Scenes!, QPAC, 2014. YouTube, youtube.com/watch?v=BlI5hxa8vQE. Accessed 4 Nov. 2017.

QUESTIONS

  • Watch the YouTube video Carnival of the Animals - Behind the Scenes! Artistic Director of Circa and Director of Carnival of the Animals, Yaron Lifschitz, states that one of the key themes of this show is exploring the line between humans and animals. How do the performers explore the similarities and differences between the two?
  • To ensure the safety of performers, teamwork and clear communication are vital in circus arts. How did the performers communicate with one another, particularly during some of the riskier routines? What were some of the signals you perceived? Where did the communication seem invisible?
  • Circa has toured over 39 countries and has been seen by over one million people worldwide. What does Carnival of the Animals share with traditional circus (i.e. aesthetically, topically, etc.), and in what ways does it innovate the art form?

 

 

National Symphony Orchestra of Cuba

Wednesday, March 21, 2018, 7:30 PM


TOPICS

  • Cuba
  • Symphony Orchestra Music
  • Manuel de Falla
  • Amadeo Roldán
  • Pyotr Ilyich Tchaikovsky
  • Ludwig van Beethoven

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Diversity and Inclusion
  • Context
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Intercultural and Global Awareness
  • Critique and Practice in Design and the Arts
  • Critical Thinking in the Humanities

VT CONNECTIONS

  • Music
  • International Studies
  • Religion and Culture
  • Material Cultures and Public Humanities
  • Communication
  • Foreign Languages and Literatures: Spanish
  • History
  • Government and International Affairs

RESOURCES

  • “Yekwon Sunwoo.” The Cliburn, 2017, cliburn.org/?performer=yekwon-sunwoo
  • Erlich, Reese. “Cuban Symphony Changes Tune.” NPR, NPR, 23 Aug. 2008, npr.org/templates/story/story.php?storyId=93906363
  • La Orquesta Sinfónica Nacional / Cuba. Produced by Michael Preibisch, YouTube, 2011, youtube.com/watch?v=3K89tO37vSQ. Accessed 12 Feb. 2018.

QUESTIONS

  • In addition to the pieces by de Falla and Roldan, where did you hear Spanish or Latin influences in the orchestra’s performance? What forms did they take?
  • A 2008 story on National Public Radio described a successful effort by the National Symphony Orchestra of Cuba—an historically white, male institution—to diversify its membership. The result was a symphony orchestra composed of 40 percent black or mixed-race musicians and 45 percent women. What positive impacts do you imagine this had in Cuba and the broader classical music world?
  • Which piece in the program had the strongest impact on you? Why?

 

 

Urban Bush Women

Hair and Other Stories

Saturday, April 28, 2018, 7:30 PM


TOPICS

  • African-American Women
  • Cross-Cultural Exchange
  • Race
  • Gender
  • Class
  • History
  • Body Image
  • Spirituality
  • Hair

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Courageous Leadership
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Poverty
  • Community Development
  • Education
  • Diversity and Inclusion
  • Context
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Service/Ut Prosim
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Critical Analysis of Equity and Identity in the United States
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Africana Studies
  • Cinema
  • Dance
  • History
  • Music
  • Religion and Culture
  • Sociology
  • Theatre
  • Women's and Gender Studies

RESOURCES

  • Urban Bush Women, Design Brooklyn, urbanbushwomen.org. Accessed 13 Nov. 2017.
  • Caught In the Act - Urban Bush Women., Bric TV, 2011. YouTube, youtube.com/watch?v=TFeBsk9NLCo. Accessed 13 Nov. 2017.
  • Urban Bush Women., Vimeo vimeo.com/urbanbushwomen. Accessed 13 Nov. 2017.
  • Wessel, Kathleen. "30 Years Later, Urban Bush Women Still Innovates." Dance Informa, danceinforma.com/2015/04/01/30-years-making-urban-bush-women-still-innovates/. Accessed 13 Nov. 2017.
  • Zollar, Jawole Willa Jo. "Questions of Practice: Choreographer Jawole Willa Jo Zollar on Artistic Evolution and Risk." 7 Nov. 2016. The Pew Center for Arts & Heritage, pcah.us/post/questions-practice-choreographer-jawole-willa-jo-zollar-artistic-evolution-and-risk. Accessed 13 Nov. 2017.

QUESTIONS

  • Every man, woman, and child has a hair story. If your hair could talk, what would it say?
  • Consider your childhood notions of beauty. What were notable influences? How were they supported, reflected, and by whom were they embodied? How have they shifted in your adult/present age?
  • Consider liberation as a practice as opposed to a destination. How can we individually and culturally support building the muscle to "stay free?"

 

 

Sarah Koenig + Julie Snyder

Binge-Worthy Journalism

Saturday, May 5, 2018, 7:30 PM


TOPICS

  • Journalism
  • Serialization
  • Podcasting
  • Narrative Non-Fiction

ASPIRATIONS FOR STUDENT LEARNING

  • Curiosity
  • Self-Understanding and Integrity
  • Civility
  • Courageous Leadership
  • Ut Prosim (That I May Serve)

FIRST YEAR EXPERIENCE, COMMON BOOK THEMES

  • Education
  • Diversity and Inclusion
  • Context
  • Decision Making
  • Facing Challenges/Achieving Goals
  • Service/Ut Prosim
  • Leadership
  • Power of Information and Stories

PATHWAYS LEARNING OUTCOMES

  • Discourse
  • Critique and Practice in Design and the Arts
  • Reasoning in the Social Sciences
  • Critical Thinking in the Humanities
  • Critical Analysis of Equity and Identity in the United States
  • Ethical Reasoning
  • Intercultural and Global Awareness

VT CONNECTIONS

  • Government and International Affairs
  • Alliance for Social, Political, Ethical, and Cultural Thought (ASPECT)
  • Army ROTC (Military Science)
  • Communication
  • English
  • History
  • International Studies
  • Philosophy
  • Political Science
  • Psychology
  • Religion and Culture
  • Sociology
  • Journalism
  • Criminology Studies

RESOURCES

  • Koenig, Sarah, Actor. Sarah Koenig Interviewed the Taliban For Serial. Stephen Colbert, YouTube, 2016, youtube.com/watch?v=wq7bsJD6BCM. Accessed 4 Nov. 2017.
  • Grant, Linda. "Hooked on Serial, the whodunnit that has become a cultural phenomenon." Crime, Drama, Opinion, The Guardian, 14 Nov. 2014, theguardian.com/commentisfree/2014/nov/14/serial-hae-min-lee-adnan-syed-whodunnit-us-crime-drama. Accessed 4 Nov. 2017.
  • Gebelhoff, Robert. "How the ‘Serial’ podcast is challenging the criminal-justice system." In Theory, Opinion, Washington Post, 6 July 2016, washingtonpost.com/news/in-theory/wp/2016/07/06/how-the-serial-podcast-is-challenging-the-criminal-justice-system/?utm_term=.197aea2dcc66. Accessed 4 Nov. 2017.

QUESTIONS

  • In form, Serial tells a single story in episode installments over an entire season. What makes this format ideal for the stories Koenig and Snyder explore? What do you imagine are the challenges of constructing a serialized podcast?
  • In a 2016 Washington Post op-ed on season one of Serial, Robert Gebelhoff writes, “some have already suggested that journalistic series such as Serial are changing the way people view criminal justice in the United States—and more than that, are upending cases that seemed settled long ago. Is this a threat to the legal system, or is it simply a healthy and intellectual form of entertainment?" What are your thoughts about the role of series like Serial in relationship to the criminal justice system and the “court of public opinion?”
  • If you have listened to Serial, think back to a particular moment in season one or two that was memorable to you. What was it? Why did it resonate?