Community Engagement – Creative Campus

The Creative Campus Initiative Finds New Ways to Engage

March 6, 2015 by mko

Campus and Community Engagement Intern Michele Ko ’16 discusses the CFA’s student engagement strategies.

What if arts engagement programming was like an a la carte menu. What would you pick? A talk about an upcoming performance? A workshop with the artist? Maybe an intimate lunch or dinner followed by discussion? These are all ways that the Creative Campus Initiative at the CFA is experimenting with student engagement with the arts. One could think of it like a pyramid – a three-tiered strategy that gives participants an opportunity to pick the level they are comfortable in and have a variety of opportunities to choose from.

At the base of the pyramid is the beginner level, where engagement appeals to students who have little to no knowledge of the arts or CFA programming. These students might be attending a CFA event for the first time or seeking more informal ways to interact with art. Moving up the pyramid, the intermediate level attracts students who have a bit more comfortability with the arts; maybe they are enrolled in a related course or have previously expressed interest in a particular art form. At the top of the pyramid is the advanced level, which targets students who are very invested in the arts, such as studio art and art history majors or students who create art on campus or in collaboration with the CFA. The hope is that with the right programming, students will find an appealing entry point into the arts and may potentially move up the pyramid. At every level the main goal is to encourage students to invest in attending CFA programs.

Lucidity Suitcase Intercontinental: '17 Borders Crossing' — *Lucidity Suitcase Intercontinental: ’17 Borders Crossing’*

The easiest ways to engage students who are unfamiliar with the arts is through supporting course modules and co-taught courses, which emphasize a cross-disciplinary approach to teaching, learning and researching. Modules entail non-art faculty collaborating with an artist to teach two to four class sessions in an existing course. For this semester’s module, ENVS 255 Getting a Bigger Picture: Integrating Environmental History and Visual Studies, Associate Professor of History Jennifer Tucker is working with Amy Lipton, co-Director of the Eco Art Space. Co-taught courses are created and taught by two faculty members, one from the performing arts and one from a non-arts discipline. This semester, postdoctoral teaching fellow Helen Mills Poulos and choreographer Jill Sigman are teaching ENVS 201 Research Methods in Environmental Studies: River Encounters.

Other beginner-level events involve facilitating informal conversations about art, such as the “Artful Lunch Series,” where students and faculty discuss their favorite works in the Davison Art Center over bagged lunches. This semester’s series features presentations by Professor of History and Letters Laurie Nussdorfer, Assistant Professor of Art History Claire Grace and Lucas McLaughlin ’15.

Another way to engage beginner students is through social media platforms. As part of the “Lucidity Suitcase Intercontinental: ‘17 Borders Crossing’ (Connecticut Premiere),” the CFA invited students to participate in an essay writing contest on Facebook. By connecting to students on Facebook, the CFA reached students who may not normally engage with the CFA.

*Tari Aceh! Music and Dance from Northern Sumatra*

On the intermediate level, the CFA engages students who are more familiar with the arts and the CFA’s work. Some of these programs also open up opportunities for students to become more advanced engagers. In conjunction with “Tari Aceh! Music and Dance from Northern Sumatra,” for example, the CFA hosted a free dance workshop that allowed students to directly and physically engage with the performers, the dance form and Indonesian culture.

Dine/Dance/Discover events, which take place before and after Breaking Ground Dance series performances, seek to build a community of engaged students. The program enhances the experiences of students who are typically well acquainted with dance. The consistent set of programs also reinforces their engagement with the arts and the CFA.

Advanced engagers have a high comfort level with exploring topics through the arts and are often artistic producers or curators on campus or with the CFA. Engaging these students involves giving them the opportunities to embark on their own artistic projects or engage very deeply in the artistic process with a visiting artist.

Feet to the Fire, in collaboration with the COE and the Green Fund, gave three students the opportunity to develop their own multimedia project exploring the Coal River Valley of southern West Virginia. Rachel Lindy ’15, Rachel Weisenberg ’15 and Isaac Silk ’14 spent the summer living in the area, interviewing residents and taking photographs. The project was put on display in Zelnick Pavillion in February. By sharing their images and stories, they hope to encourage dialogue around fossil fuel consumption.

*Betty Lou. Rachie Weisberg. August 2013*

One major advanced level program is the “makers workshops,” where visiting artists help students create their own art related to the artist’s work, concepts or show. Last year, artist Evan Roth visited Wesleyan and participated in a makers workshop in association with his show “Evan Roth//Intellectual Property Donor.” Drawing on the show’s themes of open-source, activism and digital media, students identified systems and urban conditions ripe for hacking at Wesleyan and turned them into participant-driven art works. Later this semester, visiting singer/songwriter Omnia Hegazy will participate in a songwriting makers workshop on Thursday, March 26, with students interested in music and writing.

The new Design Digital Design studio, which opened in January 2015, provides a more ongoing, permanent space for art students to conceptualize and produce their own work in a meaningful way. Students interested in art, photographic, architecture, graphic design and more are encouraged to work on digital design projects in the space in conjunction with other students and faculty.

An illustrative way to see the pyramid strategy at work is by looking at how the programming of one visiting artist engages each level, such as Montreal-based Algerian singer-songwriter and rapper Meryem Saci’s visit last fall. Saci engaged beginner level students through numerous class visits as well as post-class lunches, which gave students the opportunity for intermediate engagement. Saci also engaged in informal, moderated conversation with Turath House residents. Saci even attended one of the the Rap Assembly’s cypher – a group of highly engaged Wesleyan rappers.

The CFA is not alone in its engagement strategy. Colleges across the country are experimenting with new and innovative ways to involve their student body in the arts. At colleges like MIT, Virginia Tech and the University of Michigan, engagement takes a number of forms, from arts-based entrepreneurship festivals to master classes with professional dancers to art-making events during Welcome Week for freshmen. Check out their events with these links: MIT, Virginia Tech and the University of Michigan. Where would you fall on the pyramid?

Behind the Scenes with Muslim Women’s Voices

November 21, 2014 by slookman

Muslim Women’s Voices at Wesleyan Documentation Intern Brittany Benham reflects on her behind the scenes experience with Muslim Women’s Voices.

It was 9am on a Saturday and instead of being curled up in bed, I was running through the Usdan University Center, spilling coffee, scarfing down a croissant, and waving to other tired souls also awake at this hour. In my haste, something yanked me back and I embarrassingly had to unlatch my sweater from the door hinge and hurriedly tumble out onto the steps leading to the CFA. That morning I was not playing the role of the average college student, but putting on my hat as the Documentation Intern for Muslim Women’s Voices at Wesleyan.

Muslim Women’s Voices at Wesleyan is a year-long program at the Center for that Arts that is designed to expand awareness, knowledge, and understanding of Muslim cultures through the lens of performance. As the student intern with Muslim Women’s Voices (MWV), my job is to oversee the documentation of the performances, lectures, and residencies of the artists who have been chosen to be a part of the program. In the effort to create a series of mini-documentaries for each individual performer and a larger film that features all of the events included in the program, interviews are a prime resource for personal background information and greater context. In this particular morning’s rush, I was heading over to Crowell Concert Hall where the women who would perform later that night in Beckham Hall as part of the Planet Hip Hop Festival Concert were waiting to be directed towards their one-on-ones with the MWV program manager and journalists from the Islamic Monthly magazine.

Interviews can be awkward – do I look at the camera or at the interviewer? Is there something in my teeth? What happens if I can’t think of anything to say? These are the kinds of uncertainties that we as program leaders have to address to make sure our interviewees are comfortable and can focus on the questions that we ask. Usually, that means starting with easily answerable questions which can guide the interviewees to harder or more personal questions as the interview progresses.

Before we could begin, the camera needed to be set up in a favorable position and adjusted for changes in light and sound levels. Our videographer kindly asked me to sit in the interviewee chair so he could make the necessary arrangements and although I knew the camera was not rolling and questions about my childhood and my faith were not being aimed in my direction, I still felt a bit of unease. I was happy to hand the seat over to each performer when the time came and marveled at the confidence with which they carried themselves, something I had internally lacked while I was being put on the spot.

While the interviews were taking place, I was quietly seated off to the side listening to what each performer had to say – heard their stories, their triumphs and their failures, their histories – and I was inspired by their words. The ease with which these women were able to convey some of their most innate beliefs and intimate personal memories allowed me too see past their performance persona and into their lives. And although I knew that they were being taped for documentary purposes and I was specifically seeking out sound bytes that would be appropriate for our videos, I was also able to listen to the back-and-forth conversation between my program manager and the performer as if it were just that, a conversation.

I considered this idea – that how one presents oneself in a conversation could be drastically different from how one presents oneself knowing that whatever is said will be recorded – and realized that this must be how these women feel when they are performing. One woman was wearing neon trainers to her interview that morning then came out on stage later in the night in the most amazing zebra-print platform heels I have ever seen. Maybe we all do this, dichotomize our life in the form of multiple identities – our life in our trainers and our life in our stilettos.

Once the interviews were finished, the videographer prompted each performer to convey a series of emotions towards or away from the camera. “It feels really awkward but it comes out really beautiful” we all promised. And it did – in the final video, the emotion and sass and personality of these women seemed so effortlessly captured. Perhaps with a camera staring them in the face, the only thing that they could do was stare back, and in an infinite moment, something real was captured. It seemed amazing how an interaction with the vast darkness of a lens felt more invasive and scrutinizing than the gaze of hundreds of students at the final concert.

Our videographer calls these shots “moving portraits” and I would like to think that it is not the slow panning of the camera that he is referring to, but the reaction from an audience that views such an intimate and personal image. Somehow, the seconds of awkwardness and insecurity that inevitably arise as a consequence of this type of videography creates something only reserved for the world of fine art, a portrait.

As I considered the emotional intensity of the interviews and the off-camera personalities of these women I wondered, is identity a performance or a conversation? Maybe the performers, lecturers, and participants of Muslim Women’s Voices at Wesleyan can help us figure that out.

Muslim Women’s Voices at Wesleyan: Meryem Saci’s Hip Hop Residency

September 23, 2014 by eroosbrown

Erinn Roos-Brown, the CFA’s Campus and Community Engagement Manager, discusses hip hop artist Meryem Saci’s residency as part of the opening week of the Muslim Women’s Voices at Wesleyan program.

Last week, the Center for the Arts at Wesleyan University hosted the opening events for the Muslim Women’s Voices at Wesleyan program. There was an fantastic Islamophobia panel discussion on September 18 as well as hip hop workshops and a performance with three women who either identify as Muslim or are of Muslim heritage. One of those women, Algerian-born/Montreal-based Meryem Saci, was in residency at Wesleyan for the entire week. I had the great pleasure of getting to know her when I escorted her to her class visits, lunches and dinners with students and faculty, and interviewed her for the documentary we are creating around the project.

Meryem had a busy week. She visited two Arabic language classes and a French literature course, “Negotiating Gender in the Maghreb.” She watched and discussed the film Battle of Algiers in religion course, “Muslim/Western Engagements in Film and Performance,” and shared her story in “World Music”. She had dinner with students at the Turath House, Wesleyan’s program house for students who identify as Muslim or are of Arab descent, and she was invited by the students in Wesleyan’s RAP Assembly to be part of their weekly freestyle rap cipher.

Meryem Saci with students in Intermediate Arabic I with Arabic instructor Abderrahman Aissa.

Why do we ask artists to do such extensive residencies? At the CFA we believe in giving our campus community more opportunities to engage with artists and in turn giving artists opportunities to connect with new audiences. This is particularly important for the Muslim Women’s Voices program because we want to give people an opportunity to question what they really know and their stereotypes on Muslim women.

This is something that Meryem definitely did.

She speaks three languages. She writes her own songs. She was raised by a single mother in Algeria. She is working on releasing her first solo album. She’s a relator. She grew up during her country’s civil war. She can walk for blocks in three-inch wedges. Her high school in Montreal had over 80 ethnic groups in attendance. She sang Whitney Houston and Maria Carey songs as a teenager. She tried to write love songs in English as a child before she even knew the language.

This project also gave Meryem an opportunity to question her own stereotypes of college students in America. She was surprised to learn that American students are studying the Meghreb and told us that she never would have thought that Americans would ever be studying the part of the world where she grew up. At Wesleyan she found students who shared her interest in languages, hip hop and just learning itself. She asked them as many questions as they asked her and never hesitated to be her most authentic self.

By the time she took the stage on Saturday night in Beckham Hall she had a loyal following of Wesleyan students whom she had met throughout the week. In their excitement to see her they closed the gap in front of the stage and danced away. And I was right there with them. I think many of them, like me, no longer saw a woman who grew up in an Islamic state in North Africa, but instead saw an amazingly cool, talented and funny twenty-something sharing with us her creativity and contagious enthusiasm.

Sewon Kang ’14 on the “Blood, Muscle, Bone” intensives and performative teach-in (Nov. 11)

November 8, 2013 by Andrew Chatfield

Creative Campus Intern Sewon Kang ’14 discusses the intensives that have been part of the Creative Campus course “Blood, Muscle, Bone: The Anatomy of Wealth and Poverty,” as well as the free “Blood, Muscle, Bone” Performative Teach-In which will be held on Monday, November 11, 2013 from 7pm to 11pm in Fayerweather Beckham Hall. (The doors will open every 30 minutes—come and stay as long as you like.)

2012 residency of "Blood, Muscle, Bone" in Tallahassee. Photo by Aubrie Rodriguez. — 2012 residency of “Blood, Muscle, Bone” in Tallahassee. Photo by Aubrie Rodriguez.

Having recently emerged from the “Blood, Muscle, Bone” intensives, adjusting to the rhythm of school again is almost like switching brains. For five days, I employed a radically different mode of thinking and processing than I ever have before. I moved, thought, and felt about many different issues surrounding wealth, poverty, and the body, and collaborated with my instructors and fellow students in surprising and new ways.

Our first few intensives were committed to the creation of a collective toolbox. Our guest instructors, Professors William Arsenio, Wendy Rayack, and Lois Brown, gave lectures related to wealth and poverty through the lens of their particular fields. From recent fiscal and experimental data, to the days of early American slave trading, the range of information presented to us walked us through an issue that transcends time and place, and affects all humans.

While listening to these lectures, Liz, Jawole, and their associates Vincent Thomas and Keith Thompson encouraged us to take on the role of the artist in addition to the role of the student. While listening, we posed questions and problematized the information, but we were also challenged to explore the information in ways that we would not necessarily have the freedom to do in other classrooms. We paid attention and took note of the visualizations and soundtracks floating through our heads, and responded to the lecturer’s body language and cues with our own bodies. Such prompts helped me realize that there are hundreds of angles from which this issue could be addressed which got me excited to further develop some of them with my classmates.

The lectures were punctuated by creative exercises and movement studies designed to give us more tools for our arsenal. The artists devised activities that allowed us to explore deeper and respond to what we learned with our thoughts and emotions. I was able to use my intellect and my body in combination to process the weight of the information. Wealth disparity in the U.S. is at an all time high; the richest 400 individuals are worth $2.02 trillion dollars, more than the net worth of the bottom 50% of the population. The immediacy of creative opportunities to process and react to such information was incredibly beneficial for me, as it’s sometimes difficult to take in facts, figures, and histories without taking into consideration their humanity and reality. There was an amazing collaboration between the artists and guests lecturers, allowing us to experiment and process with total freedom and comfort that I deeply appreciated.

I find the prospect of communicating and translating my ideas into movement a bit daunting, but mostly thrilling. Throughout the remainder of the intensive, Jawole, Liz, Vincent, and Keith had us create in small groups within limited timeframes. Working like this helped me get more comfortable with the act of communicating my ideas in an artistic way. I also got a taste for how creative and talented my peers are, and am excited to see what I can learn from working closely with them.

At one point, we all sat around in a circle and conducted an “asset inventory.” Everyone in the room shared a skill or an aspect about themselves that makes a contribution to the community, and the diversity of responses and experiences in the class opened up so many possibilities. I shared that I love to backpack and that I enjoy the challenge of carrying everything I need to survive on the strength of my own back. Using this idea as a metaphor, a small group of students and I got together to figure out how to create a backpack for change and reported back to the group. We created a movement piece that reflects on the meaning of carrying and sharing weight, and the necessity of being prepared for the tough times ahead. Since then, we’ve been workshopping the piece with Keith and other students who have joined in on the process. I’m really looking forward to where it will all go from here.

My fellow students and I have explored a lot of difficult problems and ideas in this course, some of which really hit home. We’re continuing to process the material creatively through songwriting, photography, and movement among other things. We’re currently honing in on ways to articulate what we’ve learned to a wider audience. As concerned citizens who are deeply disturbed by these inequities, we’re finding ways to express how to respond both personally and intellectually to the fact that there is something seriously wrong here. We’ve become witness to these problems in our country and are determined to do something about it. We’re carrying this heavy reality on our backs. We’re trying to deal with the weight of what it all means.

Our efforts will culminate in a special performance-based teach-in that will take place on Monday, November 11, 2013 from 7pm to 11pm every half hour in Fayerweather Beckham Hall. This teach-in is inspired by the activist movements that came before us, which emphasized the importance and need for knowledge first. This experiential event is going to be multifaceted, with elements that enlighten, shock, and ask the audience to participate and think with us. We’re going to use our bodies and various art forms to demonstrate the physicality of these issues to make issues of disparity tangible. We’ll invite participants to move, feel, explore and engage in dialogue with us, because the only way we can address these issues is to do it together.

Sewon Kang ’14 on the course “Blood, Muscle, Bone: The Anatomy of Wealth and Poverty”

November 8, 2013 by Andrew Chatfield

Creative Campus Intern Sewon Kang ’14 discusses her experience in the Creative Campus course “Blood, Muscle, Bone: The Anatomy of Wealth and Poverty.”

Jawole Willa Jo Zollar and Liz Lerman. Photo by Bess Paupeck.

This semester I’m taking “Blood, Muscle, Bone: The Anatomy of Wealth and Poverty,” a Creative Campus course taught by Liz Lerman and Jawole Willa Jo Zollar. In my time at Wesleyan, I’ve had the privilege of interning for Creative Campus, an initiative that unites ideas and gets people thinking outside of their comfort zones. Creative Campus hosts a wide variety of artists on campus, inviting them to employ their creative processes within the university setting for the mutual benefit of the artist and the Wesleyan community. Artists can participate by co-teaching courses with professors, experimenting with students in the classroom, creating commissions, and collaborating in community-based projects. Liz and Jawole are choreographers, both heavily engaged in interdisciplinary work and community/cultural organizing. In the spirit of Creative Campus, they are also teaching with professors from the fields of African American Studies, Economics, English and Psychology. “Blood, Muscle, Bone” is designed to train and support students interested in discovering the bridge between academic and artistic research through the vehicle of a new performance work of the same name. The course and the work explore the human price of socioeconomic inequalities, with particular emphasis on how to unveil and address hidden inequities through artmaking and various forms of activism. Such collaborative Creative Campus projects allow artists to utilize resources that are unique to the university setting throughout the critical period of conceptual research that informs and drives their work. The artist-university partnership is also designed to engage students and faculty members from diverse academic areas, bringing their different ways of knowing in communication with the arts. The other students enrolled in “Blood, Muscle, Bone” have backgrounds in chemistry, music, and American studies, while my background is in Art History and History. The goal of the course is to open up traditional academic boundaries and encourage the exploration of a profoundly complex issue from multiple and varied perspectives.

I’ve found that the professors, artists, and students who tend to participate in Creative Campus projects are interested in exploring topics that are deeply multifaceted, so much so that it is virtually impossible to study these issues from one perspective alone. I enrolled in “Blood, Muscle, Bone” because it addresses subject matter that is, in my opinion, impossible to study without taking the body into consideration. Socioeconomic conditions/realities take place within the individual and collective body and should be explored within the context of the body and its social environment. The ideas that are compelling and asking to be probed require collaboration that is open to questioning from all possible angles and areas of expertise. Creative Campus gives people a safe space in which to ask these questions and bring seemingly disparate ideas in communion with one another. This method has been so liberating that participants of Creative Campus have found themselves completely changed upon being encouraged to think and do in this way. Because of my work in this program, I’ve been witness to these very real transformations. I read one student assert that the artistic element of a course “helped [her] to embody and reflect on our more traditionally academic material, and incorporate motion and emotion into a realm that is all too often static and emotionless.” Another student said that the opportunity to consider something as complex as climate change through both artistic and academic impulses “has completely altered [her] understanding of the world.” These are the kinds of intense impacts that Creative Campus has been able to instill in Wesleyan students, and I’m very much looking forward to experiencing it for myself.

“Blood, Muscle, Bone” was also appealing to me because of its emphasis on activism and the utilization of various activist tools to explore topics. When it comes to academic pursuits, Wesleyan has always encouraged me to think about the whole picture, giving me the tools to consider all facets of an issue. There are whole fields of study on campus dedicated to this idea that learning can only truly be achieved through input from multiple channels. Creative Campus projects have taken this approach one step further by allowing me to embrace this way of thinking in my personal life, in addition to my pedagogical outlook. Since I’ve been here, I’ve been lucky to meet and talk to many interesting artists like Eiko Otake, of Eiko + Koma, and Lucy Orta, of Studio Orta, who have generously taken the time to show students how to create with intention. Artists employ research methods and ask questions that are challenging in ways that thrill and excite students who are in the process of discovering their own interests and passions, which is a major reason why I decided to take this course.

The issues that I’ve been challenged to think about and feel in my body at Wesleyan have forever changed me as a thinker and as a human being who aims to make an impact. Since getting involved, I’ve been inspired to find my own form of political activism. “Blood, Muscle, Bone” deals with the realities of wealth inequality, a topic that has always been on my mind. Growing up in New York City, I’ve been exposed to both ends of the socioeconomic spectrum and have been amazed by how polarized the experiences of the rich and the poor can be. Oftentimes I find this issue intimidating to talk about because of how pervasive and global the problem seems to be. How does one begin to approach being proactive about poverty and how it affects the human mind/body? How can one person, or a small group of people create something that speaks to these issues and affects communities in a positive way? These are the questions I bring to the table before our first class intensive and I look forward to being able to explore these issues with my instructors and peers. I know that the knowledge and experience gained from this course are going to give me the courage and motivation to tackle issues in ways that extend way beyond the scope of the classroom and long after I graduate in May.

Not An Exploration of “Hunger,” But of “Who”

September 27, 2013 by Andrew Chatfield

Aileen Lambert ’16 attends a puppetry workshop with performance artist Dan Froot. Dan Froot and Dan Hurlin’s “Who’s Hungry” will receive its Connecticut premiere at Wesleyan on Friday, September 27 and Saturday, September 28, 2013 at 8pm in World Music Hall.

Aileen Lambert '16 at a puppetry workshop by performance artist Dan Froot. Photo by Erinn Roos-Brown. — Aileen Lambert ’16 at a puppetry workshop by performance artist Dan Froot. Photo by Erinn Roos-Brown.

“I’m not a puppet artist, but I really like puppet artists. I aspire to be a puppet artist.”

This is how Dan Froot, a performance artist who, in collaboration with puppet artist Dan Hurlin, presents the Connecticut premiere of “Who’s Hungry” in World Music Hall on September 27 and 28, introduced himself. At the time, I was attending his “Oral History Through Puppetry” workshop this past Monday, September 23. After that experience, I can now personally say that while my career goals have not changed to “puppet artist,” I do have a newfound appreciation for the craft.

Mr. Froot is a performance artist with a long history of work with international theater and dance companies, including the avant-garde theater group Mabou Mines (who Wesleyan presented on the Outside the Box Theater Series in February 2013). In 2008, after previously having worked mainly in theater and dance, Mr. Froot turned to puppet artist Dan Hurlin to create a puppet theater piece about food insecurity in America called “Who’s Hungry.”

The words “food insecurity” are carefully chosen. Despite the title of the piece being “Who’s Hungry,” Mr. Froot is explicit that his piece focuses on a more complicated concept than hunger. While “hunger” is defined as the chronic inability to eat the basic three meals a day, “food insecurity” is the chronic inability to be properly fed. It can mean malnutrition, lack of access to proper food, an inability to pay for both food and rent, or an inability to afford food for all family members. Food insecurity intersects with plethora of social issues such as poverty, homelessness, drug addiction, and mental illness. Usually, it is the people who are marginalized from our society who suffer.

When “Who’s Hungry” was created, Mr. Froot’s goal “was to bring these stories from the margins into the center of society and art.” To gather material, Mr. Froot spent months volunteering in homeless/hungry sectors of cities, building relationships with people and their environments. He then found five individuals and conducted ten one-hour interviews with each of them about their experiences. Each interviewee gave him about 250 pages of usable transcript. The 55 minutes of “Who’s Hungry” was collected from this research.

Ironically, the concept of food insecurity is hardly mentioned in the piece.

As Mr. Froot says, “The title tells you these people are food insecure, their stories do not.”

Food insecurity serves only as a common thread connecting these people, not a central focus of the piece. This is because Mr. Froot wanted to use each person’s story to help others see the humanity in these people who are often pitied, dismissed and ignored. His main goal is to reduce stigma—eliminate the “us versus them” feeling and allow the audience to empathize and identify with a score of different people who all are facing issues with being able to consistently obtain enough food.

The use of puppets is targeted to elicit this empathy. Puppets are small and intimate. They are also handcrafted and imperfect. There is no illusion of trying to create something realistically human or the distraction of having a monologue filtered through an actor; the focus can stay on the stories. Most importantly, puppets, as they are obviously representations, require an active audience imagination. In order to be moved by the stories, the audience must be willing to forgo some reality and project some of their own emotions onto the puppet. In this identification with the puppet, the audience can empathize with the main character of each story and will hopefully leave the theater with a greater understanding for the traditionally looked-down-upon people depicted.

Sitting on the floor of the Zilkha Gallery classroom, at Mr. Froot’s workshop we transitioned from listening to him explain his process into sharing our own stories about one memorable meal. Students told stories about sharing a “wheat dessert” in Serbia, sushi with fathers before freshman year at Wesleyan, and impeccably planned bargain lobster dinners. Mr. Froot shared his first experience with raw oysters. If any of us felt awkward discussing food after just hearing about people who struggled to feed themselves, Mr. Froot put an end to our discomfort before we even started.

“I am not food insecure,” he stated. “Having the ability to adequately feed yourself is not something to feel bad about at all.”

Instead, he encouraged us to use the privilege of our food security as a platform to help those who are not. Our casual conversation about food turned into a mini-creative process of our own. After sharing our quick stories, Mr. Froot broke us up into two smaller groups, where we could interview each other further.

The puppets we made in the workshop were a “down and dirty” version of Japanese Bunraku puppets, which are jointed puppets controlled by three puppeteers. Traditional Bunraku puppets are engineered with exquisite detail; ours were made lovingly out of newspaper. A puppet built from newspaper may sound a little “summer camp arts and crafts,” but when stood on a table with three puppeteers working all of its parts to maneuver the body, the paper doll came to life before our eyes. These puppets were able to move in surprisingly realistic ways, and I was surprised to see they could even portray emotions in their physicality.

Do not get me wrong—puppeteering is extraordinarily difficult. If one person is out of sync with the other two, the puppet’s movement shatters into awkward inhuman contortions. The illusion is only one misstep, one inept readjustment of the puppeteer’s hand, from breaking. It’s quite a bit of pressure on those people in black behind the dolls!

If I learned anything from Mr. Froot and his work, it is the feeling of fulfillment one gets when their puppet is able to crouch down from standing, lie down, sleep, and then be woken up, all without losing that tiny flame of life present inside the newspaper. It is wonderfully satisfying to be able to push your own life into an inanimate object and to express a character through something as simple as the Tuesday edition of The New York Times.

Aletta Brady ’15 talks to Kelsey Siegel ’13 about MiddletownRemix Festival (May 11)

May 6, 2013 by abrady

Music & Public Life Intern Aletta Brady ’15 talks to Kelsey Siegel ’13 about MiddletownRemix: Hear More, See More – A Festival of Art and Sound, taking place on Saturday, May 11, 2013 from 2pm to 5pm. The festival will feature a commissioned flash mob dance choreographed by Kelsey Siegel to a hip-hop soundtrack created by DJ Arun Ranganathan, incorporating sounds from MiddletownRemix, at 2:30pm on Main Street between Liberty and Ferry Street. The flash mob dance is open to all levels of dancers. Learn the dance on YouTube here: www.youtube.com/wescfa and perform it as part of the flash mob on May 11 (participants should plan to arrive at the Festival Information Center, located at 575 Main Street in front of It’s Only Natural Market, at 2pm, and then perform the dance at 2:30pm).

Kelsey Siegel '13 (center) teaches her flash mob dance to Wesleyan University students outside of Fayerweather Beckham Hall. — Kelsey Siegel ’13 (center) teaches her flash mob dance to Wesleyan University students outside of Fayerweather Beckham Hall.

Kelsey Siegel ‘13 is choreographing the flash mob dance for the MiddletownRemix festival. She’s enthusiastic about the dance and excited to see members of the Wesleyan University community as well as greater Middletown residents dance together. I asked Kelsey a few questions about her participation with the MiddletownRemix festival, and here is what I learned:

Aletta Brady ’15: Tell me a little bit about yourself.

Kelsey Siegel ’13: My name is Kelsey Siegel. I’m from Port Washington, New York. I am a Mathematics and Dance double major at Wesleyan. I am currently the director of FUSION Dance Crew, and serve as the Dance Production Coordinator for the Dance Department at Wesleyan. I have always loved dancing, and being active in general. Hip hop has been my favorite form of dance for a while, but Wesleyan recently opened me up to other forms. I have also begun to see dance as somewhat formless and rather more of a way of communicating my own, unique style with movement.

Why did you decide to get involved with the MiddletownRemix project?

I was interested in getting involved with the MiddletownRemix project for several reasons. For one, I really enjoy working with students from Middletown, especially dancing with them. During my freshman year at Wesleyan, my dance crew would go to MacDonough Elementary School a few times a semester to dance with students in the afterschool program. Due to scheduling conflicts, however, we were unable to go after those few times. Reflecting back on it, I realized what a great time we had with the kids, and saw what a great time they had with us, and I knew we needed to find a way back into the community. I saw the opportunity to dance with students in the community again through the MiddletownRemix project, and immediately wanted in. Additionally, as an AmeriCorps volunteer at MacDonough Elementary School for two years, I spent a lot of time working with students in class and on their academic work. I realized that this project offered Wesleyan students a way of connecting with Middletown residents/students on a level that was beyond academics. I was excited to dance with students again, and to help show them how to be creative and expressive with both their bodies and their minds. I was excited to find a way for the Wesleyan and Middletown communities to connect through dance while also having fun.

Can you tell me about the dance that you choreographed?

The dance I choreographed is to the hip hop soundtrack of DJ N.E.B [Arun Ranganathan]. It has more of an old-school hip hop vibe to it, but also takes on a lot of my own style. I tried to keep the movements fairly simple and repetitive, so that anyone could learn the dance. I also wanted the movements to be simple enough for anyone to add their own style to it. I’m all about individual style, and wanted to showcase everyone’s personality through this dance, especially since most of the sounds featured in the track came from the MiddletownRemix website, where anyone could upload their own sound. This dance is all about getting funky and having fun!

https://www.youtube.com/watch?v=0P22nw3II7U

What are you most looking forward to about the day of the MiddletownRemix festival?

I’m looking forward to the entire day of the festival, but especially the flash mob dance! I can’t wait to see all the kids out there who put so much work into learning the dance. I’m excited to see them own the dance and have fun dancing on the sidewalk together. It’s going to be awesome.

Is there anything else that you’d like to add?

Everyone should come to the MiddletownRemix festival this Saturday May 11 from 2pm to 5pm! It has something for everyone and isn’t something you can find anywhere else. I feel very lucky to have been a part of this project, and cannot wait for the festival. It’s going to be an incredible day.

For the complete MiddletownRemix festival schedule, and to capture, contribute and remix sounds from Wesleyan and Middletown using the free UrbanRemix app for iPhone/iOS and Android devices, visit http://www.middletownremix.org

Michelle Agresti ’14 talks to Marc Pettersen about MiddletownRemix Festival (May 11)

May 6, 2013 by magresti

Michelle Agresti ’14 talks to Middletown resident Marc Pettersen about MiddletownRemix: Hear More, See More – A Festival of Art and Sound, taking place on Saturday, May 11, 2013 from 2pm to 5pm. “Projected World Experience,” a temporary, site-specific art/sound installation commissioned for the festival, will be created in the alleyway between 484 and 500 Main Street by Mr. Pettersen in conjunction with animation artist Cheryl Elliott, and DJ and video artist Matt Weston.

Marc Pettersen outside of MAC 650 Gallery.

During the MiddletownRemix festival this Saturday, May 11 from 2pm to 5pm, you will have the opportunity to walk through another world: “Projected World Experience,” created by Marc Pettersen, in collaboration with Cheryl Eliot and Matt Weston. In the alleyway between 484 and 500 Main Street, images will be projected on all sides, accompanied by sounds from the MiddletownRemix project. The viewer/listener will be surrounded by this small, alternate universe.

“I want you to be immersed in a video and sound world, “ says Mr. Pettersen, who is responsible for the concept of the piece. To complete the project, he received a grant from the Arts Catalyze Placemaking Program of the Connecticut Office of the Arts. With an additional grant from UrbanRemix, Mr. Pettersen was able to realize his vision for the festival. To make “Projected World Experience” possible, the alleyway will be covered with white screens, and the opening into a parking lot behind Main Street will be closed off to allow for true immersion.

Several things will happen in this world: there will be a portion where the viewers feel like they are walking on a bridge, and scenes from the bridge will be playing on either side of them. Images and actions paired with sounds will repeat. For example, when Mr. Pettersen showed me a sample of this section of the experience, a woman repeatedly ran across the screen, while another woman came on, played the guitar, and then walked off. All of the sounds are the sounds of Middletown, which Mr. Pettersen has collected through MiddletownRemix (you can read more about the MiddletownRemix project here).

“You just get this huge mix of the Middletown sounds, and then these things keep repeating,” Mr. Pettersen explains. “It’s a repetition of sounds, creating a symphony of sounds—layering on top of layering of things.”

Mr. Pettersen, who has a B.F.A. in Animation, designed the images as a mixture between real people filmed against a green screen (which Ms. Elliot assisted with), and animated images. This will also change depending on what section of the experience is playing—Mr. Pettersen also has plans for a jungle scene.

“They’ll be like, you know, the banging sound—there might be a bird trying to crack open a nut. A saw might be a monkey scratching itself. Make it kind of fun,” explains Mr. Pettersen.

The whole thing is made possible by two projectors that are controlled by one computer, built by Mr. Weston. The single computer is used so that the projectors are completely synchronized, necessary to make the project work correctly. The projected images will be 16 to 20 feet long, meaning that the audience will really feel like they are walking in a different world.

Mr. Pettersen describes the project as “taking the sounds of Middletown and changing the way you think about them.”

Mr. Pettersen is an active member of the Middletown community. Aside from teaching animation classes at Green Street Arts Center, he is a member of the Middletown artist cooperative known as MAC 650. There are eight other members, and they live at 650 Main Street. There is a gallery where they have art on display nearly every day of the year, showcasing their own work. Did this artistic community, which has a mandatory 30 hours of art service to Middletown requirement for all members, have a hand in “Projected World Experience?” Well, Mr. Pettersen found both of his collaborators, Ms. Elliot and Mr. Weston, through the collective. Also, he says that the collective provided “the freedom to be able to create,” thus inspiring this project.*

“Projected World Experience” will be on display during the festival. Walking through that alleyway this Saturday May 11 between 2pm and 5pm, the audience will be able to experience another world, with the “everyday” sounds of Middletown filtered through (literally) another lense.

For the complete MiddletownRemix festival schedule, and to capture, contribute and remix sounds from Wesleyan and Middletown using the free UrbanRemix app for iPhone/iOS and Android devices, visit http://www.middletownremix.org

*[Also during the MiddletownRemix festival this Saturday, there will be a special North End Gallery Walk, with participating exhibitions at MAC 650 Gallery, as well as the Green Street Arts Center, the Buttonwood Tree Performing Arts & Cultural Center, and Middletown Framing. Each location will display artworks related to the themes of Middletown and sound. Stop by the MAC 650 Gallery (located at 650 Main Street) to see the “Hear More, See More Photography Exhibition,” curated by Carolyn Reeves, President of the MAC 650 Artist Co-op. The photographic tribute to Middletown features images from novices to professionals, and shows a variety of shots of the city.]

[There are also regular, monthly gallery walks that typically take place on the first Friday of each month (upcoming walks will take place on June 7, July 12, August 2, September 6, October 4, and November 29, 2013). During those gallery walks, participating businesses and galleries are open from 5pm to 8pm for people to peruse the art and enjoy some entertainment and snacks. For more information about those gallery walks: http://www.facebook.com/MiddletownNorthEndGalleryWalk ]

Michelle Agresti ’14 talks to Jason Freeman about MiddletownRemix Festival (May 11)

May 3, 2013 by magresti

Michelle Agresti ’14 talks to composer and computer musician Jason Freeman of UrbanRemix about MiddletownRemix: Hear More, See More – A Festival of Art and Sound, taking place on Saturday, May 11, 2013 from 2pm to 5pm. Wesleyan University’s Toneburst Laptop & Electronic Arts Ensemble, directed by Assistant Professor of Music Paula Matthusen, will perform the world premiere of “MTRX” (2012) by Jason Freeman on May 11 at 2pm, 3pm and 4pm at the Green Street Arts Center at 51 Green Street.

MiddletownRemix: Hear More, See More – A Festival of Art and Sound may be a one-day event on Saturday, May 11, 2013, but it is in fact the culmination of a project that has been going on since September 2012, fittingly titled MiddletownRemix. This project has had people all over the greater Middletown area recording sounds of the environment on their phone and remixing them into soundscape compositions. These compositions can then be shared, and the project can be joined by anyone here. Each month, there are certain themes: April’s theme was “Forgotten/Lost,” and this month’s theme is “Natural.” And you can listen to featured remixes and sounds here. Since this past fall, people have been creating these unique sound pieces, making what seems to be ordinary Middletown background noise into moving compilations of found sound art. In a way, it could be akin to found poetry—only using your ears, not your eyes. During the day of the festival (May 11 from 2pm to 5pm), Middletown DJ Arun Ranganathan, along with Wesleyan University student DJs Coral Foxworth ‘15 and William Brewster Lee ’13, will remix the sounds of MiddletownRemix on the Remix Sound Stage outside It’s Only Natural Market at 575 Main Street.

MiddletownRemix is made possible with software from UrbanRemix, a program with a mobile phone recording component and an internet platform for recording, remixing, and sharing final products. Its goal, according to their website, is to “design a platform and series of public workshops that would enable participants to develop and express the acoustic identity of their communities, and enable users of the website to explore and experience the soundscapes of the city in a novel fashion.” It’s the brainchild of Jason Freeman, Michael Nitsche, and Carl DiSalvo, all professors at Georgia Tech. I spoke with Jason Freeman, an Associate Professor of Music in the College of Architecture at Georgia Tech, who was instrumental in bringing UrbanRemix to Middletown, and whose piece commissioned for the festival, “MTRX” (2012), premieres at 2pm, 3pm, and 4pm on May 11 at the Green Street Arts Center, located at 51 Green Street. The work will be performed by Wesleyan’s Toneburst Laptop & Electronic Arts Ensemble under direction of Assistant Professor of Music Paula Matthusen.

Mr. Freeman and his colleagues created UrbanRemix out of a desire to get people to pay more attention to the world around them. They wanted people to be able to rediscover and reaffirm appreciation for their hometowns and cities. Being musicians, they chose sound as the means to do this.

“We were really trying to come up with a way to help people become more aware of the sounds around them, to be able to listen to the sounds they might normally ignore and sort of block, and to actually take a moment to search for them and reflect about them—to share them,” explains Mr. Freeman.

But taking “ordinary” sounds from the environment and using them to create a piece is not an entirely new idea. UrbanRemix has its basis in the “fairly old,” according to Mr. Freeman, study of acoustic ecology. This art form began in the 1960s with R. Murray Schafer’s work on the “World Soundscape Project,” where he and others recorded the sounds of different environments and cities by just taking a recorder and listening.

Mr. Freeman and his colleagues, however, did not want to stop here.

“We really wanted to use technology to take this a step further,” he says. “We really wanted to do something more active to put people directly into the sound environment and ask them to identify sound.”

Well, there’s an app for that. They looked to cell phones, and made a program that would turn a mobile device into a recorder. Then, once sounds were recorded, they created a web interface that made the sounds easy to not only remix, but also to share. By using phones, Mr. Freeman and his colleagues made this technology, and therefore this art form, accessible to a very wide number of people. Thus, UrbanRemix was born.

But how did it make it to Middletown? Last year, Assistant Professor of Music Paula Matthusen invited her old friend and colleague Mr. Freeman to give a colloquium to her students at Wesleyan. While here, Mr. Freeman started talking to people in the Wesleyan Music Department, and they discovered that his work with UrbanRemix really fit in with “Music & Public Life,” a year-long campus and community-wide exploration that has included concerts, workshops, gatherings, and courses, all designed to cross disciplines. MiddletownRemix and Mr. Freeman’s involvement in the festival grew out of that collaboration.

The reason that Mr. Freeman’s work and “Music & Public Life” meshed so well together is because the “Music & Public Life” project examines how music interacts with public spheres, such as with public policy, or the digital realm, or even the community at Wesleyan and Middletown as a whole. The project is “celebrating and studying the sounds, words, and spirit of music in public at the local, national, and transnational levels.” The main goal of MiddletownRemix, aside from getting residents to hear their city in a whole new way, is to let them know and explore their community through sound. The idea is that the project will bring people closer together, and give them insight into the communal, and public, character of Middletown.

“I think it’s a fun way to explore and discover the city in a way they haven’t really experienced it before, and to use that as a basis for connecting with other people,” says Mr. Freeman.

While MiddletownRemix itself is an on-going project that anyone can participate in at any time at www.middletownremix.org, the public presentation of remixes by DJ Ranganathan, Coral Foxworth ’15, William Brewster Lee ’13, and others at the MiddletownRemix festival will expose you to a Middletown you may have overlooked. Come check them out at the festival on Saturday, May 11 from 2pm to 5pm, but in the meantime, you could take MiddletownRemix for a spin yourself—see what sounds you can find!

Aletta Brady ’15 talks to Joe McCarthy and Peter Albano about MiddletownRemix Festival (May 11)

May 3, 2013April 29, 2013 by abrady

Music & Public Life Intern Aletta Brady ’15 talks to photographer and filmmaker Joe McCarthy and woodcut artist, bookbinder, papermaker, and muralist Peter Albano about MiddletownRemix: Hear More, See More – A Festival of Art and Sound, taking place on Saturday, May 11, 2013 from 2pm to 5pm. The art/sound installation “Camera Obscura,” a temporary 16′ X 8′ “camera” commissioned for the festival, will be installed on the corner of Main Street and Grand Street by Mr. McCarthy and Mr. Albano. The installation will also be featured outside of the Usdan University Center at 45 Wyllys Avenue the week leading up to the festival, from Monday May 6 through Thursday, May 9, 2013.

Photographer and filmmaker Joe McCarthy (left) and woodcut artist, bookbinder, papermaker, and muralist Peter Albano (right), working on their art/sound installation “Camera Obscura,” commissioned for the MiddletownRemix Festival, taking place on Saturday, May 11 from 2pm to 5pm.

In mid-April, I biked over to Peter and Joe’s house after I got off of work at the Center for the Arts. When I arrived, they were out in their backyard working on building their art installation that will be featured at MiddletownRemix: Hear More, See More – A Festival of Art and Sound on Saturday, May 11 from 2pm to 5pm. The installation is titled “Camera Obscura.” They happily showed me around the frame of the piece that they were working on, and invited me to join them around their coy pond for our interview.

Peter Albano is a graduate of the University of Hartford Art School where he studied printmaking, and Joe McCarthy studied photography and film in Boston and Los Angeles, before the two of them met in Middletown, and collaborated as artists on the Hog River Revival Project in Hartford. They described their project for the MiddletownRemix festival as “pinhole photography, just on a much larger scale—a pinhole camera that you can walk inside of. The sound element going on will [make it] a full sensory experience inside the camera”.

They had a lot of great things to say about the MiddletownRemix festival, and their role in it. Here are some highlights from our conversation:

Aletta Brady ‘15: Tell me about your art/sound installation “Camera Obscura” that will be displayed at the MiddletownRemix festival.

Joe McCarthy: We started thinking about the idea of creating this soundscape that was basically just taken, much like the [MiddletownRemix] project, from the streets. Nothing really created, more just arranged. And then we thought, “well, what kind of visual can match that sound element?” And, you know, the most bare bones, un-augmented camera is just a simple pinhole lens. There’s nothing to focus it, it is what it is, it’s just light. It use[s] the visuals from the streets of Middletown that are literally just what’s in front of your eyes. Its kind of like removing people from Main Street in order for them to more clearly view Main Street, or more clearly experience Main Street.

Peter Albano: One of the issues that we encountered was incorporating a sound element that highlighted the visual elements, because those are two completely different senses, and we landed on the idea of creating and taking one out of the environment, and that’s what the structure to walk into was, rather than any structure you just observe.

Aletta Brady ‘15: Why were you interested in creating an installation for the MiddletownRemix festival in particular?

Joe McCarthy: I think that we were both really excited that [the festival] is all about Middletown, like two blocks from where we make work, you know? ‘Cause the area that you choose to be in definitely has an influence on your work, and this sort of opportunity has allowed that influence to come to the front, which is healthy sometimes.

Conceptual drawing of “Camera Obscura,” a temporary 16′ X 8′ “camera,” which will be installed on the corner of Main Street and Grand Street during the MiddletownRemix Festival on Saturday, May 11 from 2pm to 5pm.

Aletta Brady ‘15: Tell me about yourselves as artists and your own personal journeys.

Peter Albano: I come from a much different background technique-wise than Joe. I’m much more of a drawer. I studied printmaking in college. I never dabbled in photography until the Hog River project. What drew me to this project was the scale of it, and the idea of getting it to work, making it work. It’s an endeavor. On a more broad scheme, I think most of our work revolves around the idea of highlighting the citizen that passes [and] community involvement. The Hog River project was a Hartford-centric project, and it revolved around the gathering of people and the sharing of information, and I think this project is a nice step up from there.

Joe McCarthy: All of my work, it just is a kind of way for me to break down something that I’m curious about. The subject matter is always on a personal level derived from me trying to reconcile my thoughts about one thing or another. Technically, the work I do has a lot to do with light, and in the Hog River project, that was all about [light], because there wasn’t any of it. That kind of became [the “Camera Obscura” project], where you have all the light in the world, and it’s all about limiting it and blocking it out and controlling the light.

Aletta Brady ‘15: What are you most excited about for Saturday May 11, the day of the MiddletownRemix festival?

Peter Albano: The flash mob dance [at 2:30pm in front of It’s Only Natural Market at 575 Main Street].

Joe McCarthy: I always get a kick out of being able to stand away from my work and watching how people interact with it, its always fun. Its cool to make something and there’s nothing you can do, it’s out there now, so all you have to do is just stand back and no one knows like, “oh those are the guys that made it.” So you can just stand there and watch someone, or go into the camera with someone, and really just pay attention to how that stranger interacts with this completely new thing to them. Its impossible to be objective. By the end of this camera, neither one of us will be able to say its good or bad, or if it worked or it didn’t, ‘cause we’re way too close to it, so I’m always curious about what the reveal on a finished piece of work is to a clean set of eyes.