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.