How Are the Arts at the Core of Educational Change?

University academic departments tend to work in silos. Center for the Arts Program Manager Erinn Roos-Brown explores how the arts bridge new collaborations across disciplines and inspire educational change in this entry from the ArtsFwd blog.

Feet to the Fire, an environmental studies and arts program

I recently attended the Innovations: Intersection of Art and Science symposium hosted by Wesleyan University, which explored collaborations between artists and scientists and the effects on scientific research, teaching and artmaking practices. The collaboration topics ranged from dance and biology to aesthetic choices in the evolution of bird species, and speakers came from MIT, Virginia Tech, University of Colorado, Yale University and Wesleyan, among others.While the symposium focused primarily on specific examples of collaborations, the larger question I found myself asking was: At a time when science and math education scores are staggeringly low and the goal and expense of higher education is openly questioned, how can the arts be at the core of educational change? It seems that creating deep connections between the arts and sciences at universities may be the answer.

Why should universities support these collaborations?

Alan Brown and Steven Tepper stated that interdisciplinary collaboration on college campuses “tends to be more open-ended – goals are often unclear, ambiguity is high, outcomes are unknown, and participants must develop shared language and ways of working together. Collaboration requires time, patience, openness and flexibility.”[1] So why, if these collaborations are so challenging and time consuming, is it important for a scientist to develop a dance that demonstrates genetic sequence? My takeaway from this symposium answers it in this way – our most complex global problems require multiple intelligences and can’t be solved without engaging artists, scientists, engineers and others.

Science Choreography

Where universities have an edge is that they employ experts from so many fields and could reward the development of cross-disciplinary teams that engage research questions through exploration, experimentation and collaboration. But this isn’t the case, according to the majority of the symposium presenters. They noted that instead of focusing on collaborative research, universities have trended to be siloed – the humanities, the arts and the sciences typically stay within their own cliques. Faculty without tenure regularly decline from participating in such collaborations for fear it may affect their tenure case. Collaborations at these institutions typically only happen on the individual level and are considered “extracurricular” by the university.

Two of the presenters, MIT and Virginia Tech, had a different story. These universities have already embraced arts-centered collaborations at an institutional level. MIT recently founded the Center for Art, Science & Technology (CAST) and Virginia Tech is in the process of building a multi-million dollar art center. These technological-driven universities seem to understand the value of integrating arts into the core of their science-based curriculum. I found it particularly interesting that it was the technology schools, not the liberal arts ones, that have so quickly embraced the arts. It seemed clear to me that these schools, which benefit from new patents and products, understand that the arts serve a critical role – from promoting creative thinking to aesthetic design.

What is the role of the arts on campuses?

While there are arguably many reasons that the arts should be at the center of collaborations at universities, two points caught my attention at the symposium – the nature of the creative process in the arts and the way the arts communicate concepts.

Artists ask for the unexpected, which pushes scientific thinking during the research process. They are interested in creation, whether conceptually or via physical products, and this knowledge aids the principles of understanding for scientists. Artists are trained to take multiple ideas and perspectives, turn them into actions, evaluate failures and try again.

A rendering of the Center for the Arts at Virginia Tech

Artists are also skilled at communicating with audiences, an area where science is sometimes lacking. The arts express knowledge in a more universal way that connects with values, emotions and beliefs. By using these connective processes to communicate scientific knowledge, the arts can spread complex ideas to a wider audience.

How are universities uniquely positioned to foster collaborations?

These collaborations aren’t for everyone, but they would have value at every university. Universities would benefit from new ideas that challenged the current research and education models and used the faculty on campuses as resources for these collaborations. Art and science collaborations should be considered a first step, an experiment of sorts, to rethinking how we teach future generations and how we work towards solving the world’s major issues. By participating in cross-disciplinary collaborations alongside faculty, university students can be better prepared for the future. And, at the end of it all, it seems like the criticism of test scores and university education is really just about that: making sure the next generation is prepared in a way we are not.


[1] Alan S. Brown and Steven J. Tepper, Placing the Arts at the Heart of the Creative Campus: A White Paper taking stock of the Creative Campus Innovations Grant Program. December 2012.

Rebecca Seidel ’15 reviews Paula Matthusen’s “work divided by time” (May 2-13)

Rebecca Seidel ’15 reflects on her visit to “work divided by time,” a sound installation by Assistant Professor of Music Paula Matthusen, on display in Van Vleck Observatory through Sunday, May 13, 2012.

Energy. Power. Work. Time. We use these words rather casually in everyday conversation.  But when we delve deeper into these theoretically simple terms, we begin to realize the depth of their meaning.  The concepts of work and time carry an endless variety of historical and cultural contexts; they mark a place where science and culture merge.

work divided by time, Assistant Professor of Music Paula Matthusen’s new sound installation at the Van Vleck Observatory, reflects and renews these ideas.  The installation quite literally echoes a historical conception of time in a way that is simple yet evocative.

Dr. Matthusen’s work on this piece was inspired by a visit to the small town of Spillville, Iowa, where Frank and Joseph Bily spent all their lives constructing huge mechanical clocks.  The clocks, now on display at the Bily Clocks Museum in Spillville, feature intricate visual designs and moving figurines – as well as the captivating sounds of chimes and music boxes.  work divided by time takes sonic recordings of the Westminster Clock, one of the Bily Brothers’ first clocks, and manifests them using simple electric circuits.

A visit to the installation will bring you to a tiny room, surrounded by faint tones and snippets of static, bathed in the meditative heat and glow of candles.  The candles sit atop small handmade wooden boxes embellished with rosette patterns, from which the tones of the clock emerge.  Above each box and set of candles is a rotating propeller, powered by the heat of the candles.  If you lean in close, you’ll see that each setup forms its own little circuit – its own microcosm of energy.

“As the propellers turn on the modules, certain blades dip lower than others, at times intersecting with a wire that closes a circuit, allowing an audible tone to emerge, as well as a grit of noise as the connection is made and then re-broken,” Dr. Matthusen explained.  “Small rhythms emerge as the blades move at different rates, and gradually slow down and/or stop alltogether.”

Certain propellers do indeed slow to a halt occasionally, though a light tap will get them moving again.  You never know what patterns of sound will result – a factor which adds an intriguing layer of unpredictability to a space that is visually balanced and uniform.  The simplicity of the installation’s design makes all the small nuances of sound spring to life.

The mechanisms of work divided by time were constructed mostly by hand, recalling the innovation and technical skill with which the Bily Brothers fashioned their clocks in the early 20th century.   The brothers never once strayed further than 13 miles from their hometown – yet their clocks display an incredible level of worldliness and a boundless spirit for adventure.  The clocks are huge and majestic, some reaching over nine feet in height.  The setup of work divided by time is nowhere near as grandiose – quite to the contrary, its beauty arises from its conceptual simplicity and the subtlety of the sounds it produces.  The installation evokes the time and energy put into Frank and Joseph’s creations, while also transforming their legacy into something entirely new.

In a speech at the installation’s opening reception, Dr. Matthusen talked about her experience at the Bily Clocks Museum, and how it shaped her ideas for work divided by time:

“When I was first there, I heard the audience gasp as the music box gears engaged, and figurines began to rotate through the intricate mechanisms of the clocks.  I heard expressions – and certainly thought them myself – ‘I can’t believe the amount of work that went into that’ or ‘I can’t imagine the amount of time it would take to build that.’  Part of what is intriguing about these reactions are the very general concepts we’re accustomed to throwing around – ‘work’ and ‘time’ (perhaps in having too much of the former and not enough of the latter) – and in the work of the Bily Brothers, we encounter a world that has a radically different relationship to both.”

The installation stands alone as an immersive soundscape and physical space, but having this sense of its background makes the experience more meaningful. Because of the room’s small size, only a few people can step inside at a time.  This ends up enhancing the experience, allowing visitors to really settle into the space and the sounds – as well as the occasional lapse of silence.

work divided by time was commissioned by the Center for the Arts as a part of the ongoing project Feet to the Fire: Fueling the Future.  As Dr. Matthusen pointed out, this installation has “the unique status of being the first Feet to the Fire commission to use actual fire.”  It’s also the first sound installation of its kind to ever be set up in the Van Vleck Observatory.

But work divided by time is memorable beyond these standout details.  It infuses meaning into simple circuitry, in a way that is quietly powerful (no pun intended).

The installation is open every afternoon through Sunday, May 13, 2012.  You can see the exact hours here.

Feet to the Fire Commissions by Sam Long ’12 (Mar. 31) & Ethan Cohen ’13 (Apr. 14-22)

Sewon Kang ’14 talks about student commissioned works by Sam Long ’12 (March 31) and Ethan Cohen ’13 (April 14-22).   

The Center for the Arts Creative Campus Initiative is proud to present two student commissioned works that address the ever-growing challenge of environmentalism in exciting new blends of art and science. These student commissions are part of Feet to the Fire programming, a major undertaking on Wesleyan’s campus to examine critical environmental issues through art and science.

At 2pm on Saturday, March 31, 2012 in Memorial Chapel, Sam Long ’12 will perform his senior thesis project, which combines environmental studies and music in a special collaborative performance inspired by the Connecticut River, one of Middletown’s most spectacular local resources. The performers call themselves The Honey and the Sting and will play all original music on a stage powered by students on bicycle energy generators. Celebrating what the earth provides without contributing negatively to the problem, such a performance has never been attempted at Wesleyan before.

Scoreboard is an installation by Ethan Cohen ’13 that brings together the romanticized American image and the aesthetic of energy efficiency. It replicates the “home” score, an isolated section of the standard football scoreboard, first using traditional incandescent light bulbs. This ideal is then contrasted with a version of the same board that utilizes more energy-efficient fluorescent light bulbs. The comparison of the two nearly identical boards side by side challenges viewers to decide for themselves whether or not the soul of an object can be retained in energy efficient form. Scoreboard will be installed in the Science Library during Wesleyan’s Earth Week Celebration – Saturday, April 14 through Sunday, April 22, 2012.

Request for Proposals: Student Commission 2011-2012

The Center for the Arts is accepting proposals from Wesleyan students for the creation of a visual art work/performance connected to the Feet to the Fire: Fueling the Future theme. The proposal should consist of a project idea and timetable for a project to be created and executed by the end of each semester. One project will be awarded each semester. The Wesleyan University Creative Campus Committee will evaluate the proposals and the selection process will be based on the creativity of the submission, the connection to the Feet to the Fire theme, evidence of cross-disciplinary thinking and the feasibility of the project. Selectees will be awarded up to $250. The Center for the Arts will provide assistance in the realization of the selected projects.

Proposals should include:

  • 1-2 page written description
  • Timetable
  • Visual work should also include a visual representation of the proposed project such as a photograph or sketch (jpeg or pdf preferred)

Proposals for the fall semester are due by midnight on September 25, 2011.

Submit proposals to Program Manager Erinn Roos-Brown by email to eroosbrown@wesleyan.edu or delivered to the Center for the Arts office (located above Zilkha Gallery).

Asphalt Orchestra’s Stephanie Richards on “Trading Futures”

A statement from composer Stephanie Richards of Asphalt Orchestra for the performers and witnesses about her work for the Common Moment, Trading Futures:

Essentially, futures trading can be defined as such: investing in or against the future success of a given commodity.  Last Friday, as a community, we embraced the present moment and began the mission of investing in the success of our futures. We embraced alternative and creative ways to appreciate the very things that fuel our daily lives. A tin can became a musical instrument, a dance partner, an artifact of industrial design: a collective heartbeat.  We examined the place newspapers and the media have in our society and questioned their intentions and reach of power. Embracing the importance of education, statistics, and questioning our sources for information. Becoming a vessel for theatrical emotional expression, we literally roared in frustration from the overwhelming mass of media disinformation, ripping our newspapers in half and in the end moving collectively as a community toward one, same, unified goal: the success of our future.

Earlier that day, you discussed the determinacy of oil, and its limited future.  That we are dependant on a commodity with a limited lifespan foretells a future we very well need to trade. In embracing creative alternatives (through art, education, science), we will find a solution. You discussed the disappearance of wetlands of Southern Louisiana and their inherent loss of culture as a result. And yet we performed a piece of music last Friday with rhythms and homage to the Zydeco musical tradition, encouraging the longevity of a vibrant part of American tradition.

It was important to me that we challenged our ideals of what constitutes a musical instrument and challenged preconceived notions of what could be considered art.  It was also a priority to use recycled and highly recycle-able materials in consideration for the future we owe ourselves and future generations to come.  Tin cans, fabric and newspapers were donated from both the Wesleyan community and Materials For the Arts in New York City.

Each instrument and choreography that you all performed has meaning to me conceptually and compositionally. But I will wrestle my urge to explain the abundant literal and abstract meanings I have envisioned and encourage you to find your own message in each movement and instrument. Ultimately, its significance and beauty exists only in your consideration and embrace.

Lastly, I’d like to thank Pamela Tatge, Barbara Ally and Erinn Roos-Brown at Wesleyan’s Center for the Arts for making the event possible.  I’d like to thank Mark DeChiazza for his creative insight and collaboration in choreographing the event.  And lastly, thank you to Asphalt Orchestra and Wesleyan’s class of 2015 for the privilege of composing for you and performing with you.

A full score complete with aerial images of choreography and directions are posted on my website for you all.

Freshman Writing Contest: First Year Matters – Fueling the Future

To all writing-enthusiasts in the Class of 2015: the Wesleyan Writing Workshop wants to hear from you – they are eager to shine a spotlight on the talented writers of this year’s freshman class! If you are interested in the Writing Certificate, write frequently in your spare time, are hoping to break into a writing-intensive field or simply want to prove yourself as a promising writer at Wesleyan, please submit your work to the Freshman Writing Contest.

Your challenge is to respond creatively or critically in roughly 1,000 words to some aspect of this year’s First Year Matters theme, fueling the future. In your entry, make sure to respond to at least one of the FYM readings, citing where appropriate. If your reference is not explicit (for instance, if you chose to write a creative piece about a future America completely overpowered by nuclear plants), note which article(s) you are responding to in a footnote.

Consider the following questions as you begin to formulate your response:

  • How do you define “American power”?
  • What can we – as students, artists, scientists, poets, journalists, activists, etc. – do about “fueling the future”?
  • What must we do to ensure our future is sufficiently “fueled”? With so many different problems in need of solutions, where do we even begin?
  • Where should we draw the line between idealism and practicality when seeking solutions for these problems?
  • How is your daily life impacted by energy politics?
  • How can art be an effective medium for discussing broader political issues?
  • Check out Mitch Epstein’s website, www.whatisamericanpower.com, for ideas and inspiration. Which featured definitions of “American power” do you agree with? Disagree with? Do any of the pictures strike a chord with you?

The Wesleyan Writing Workshop will accept all types of submissions: opinion pieces, research papers, investigative journalism, short stories, the sky’s the limit! They will limit submissions to one entry per student. The winning entries will receive a twenty dollar Amazon.com gift certificate and be published on the Wesleyan Writing Blog. This is a fantastic opportunity to establish yourself as one of the most promising writers of your class.

Please send your submission in an email attachment to writingworks@wesleyan.edu by noon on Saturday, September 24. To complete your submission, you must also fill out the Contest Submission Sheet which you can find on the sidebar of the Wesleyan Writing Blog.

For additional information, please contact this year’s Ford Fellows Anya Backlund and Katherine Mechling at writingworks@wesleyan.edu.

Summer in the City

Shira Engel ‘14 checks in from New York City.

So where do Wesleyan students go once school lets out? To Kenya to work at Shining Hope for Communities? To New Orleans to research the Gulf Coast oil spill? To work at their summer camps? To Russia/the South of France/Sweden? Yes, Wesleyan students will go to all of those places this summer, but first, they go to New York City, the home of a plethora of students and the future home of many more.

This summer, as I return home to the city, I find myself reuniting with friends from school. Last week, Emily Klein ’14 and I went to explore the latest installment of the High Line, which goes from West 20th to West 30th Streets. Originally constructed in the 1930’s for the elevation of freight trains, it was resurrected in 2009 with the opening of Section 1, which goes from Gansevoort to West 20th Street. It is an elevated park that features public art and an aerial view of the city.

The High Line is known as one of the rare places where New Yorkers go to do nothing. For two Wesleyan students, it is the equivalent of Foss Hill during finals week, an oasis in the midst of chaos. And it even looks like a campus in the sky, green and fresh plants balancing out the concrete we walk on. As we crossed the newest section of the High Line, we talked about the year to come and how we didn’t know why, but the experience of how being in the relaxation epicenter of New York reminded us of being at Wesleyan, surrounded by interesting people who spend their time in some of the most creative ways possible. What a great segue from a first year on campus to a summer in the city!

Abigail Horton ’11 on Gulf Coast Experience

Abigail Horton ’11, Wesleyan Summer Session Teaching Assistant, describes her experiences in Louisiana.

The students will present an open rehearsal of their works in progress, which have developed out of their research in the Gulf, on Friday, July 1, 2011, from 1pm to 3pm in Woodhead Lounge (Exley Science Center).

Samuel Sontag '14 and Eli Timm '13
Samuel Sontag '14 and Eli Timm '13

Seven students of the class The Deepwater Horizon Tragedy: A Scientific and Artistic Inquiry traveled to the Gulf Coast of Louisiana to explore the Deepwater Horizon oil spill almost a year after the spill occurred. The class was structured as an investigation – a scientific, artistic, and human investigation into Louisiana’s relationship with the oil industry, how it led up to the Deepwater Horizon tragedy, and how the people of Louisiana deal with it a year after.

The students interviewed over twenty people who were involved with the oil spill: An oysterman whose ninety-year-old family business was wiped out by the governor’s actions during the oil spill. A woman who would abandon her beloved Louisiana in order to save it. One biologist who concludes that we have turned the page since the spill, and a different biologist whose experiments conclude that there are lasting effects from the oil spill. The politician who dealt directly with President Obama during the spill. The first female oilrig worker in Louisiana, and many more passionate, interesting and conflicting voices of the story that is Louisiana, the oil industry, and the oil spill.

The class explored the southern-most rural areas of Louisiana and went to the coastline that was first affected by the spill. We talked to professors and experts at Nicholls State College and Louisiana State University. In boats, the students went out to the wetlands where oil is still caked on the coastal sands, witnessing first-hand the power of the substance to destroy land. Out in the Gulf, we saw the clean-up crews still slowly working to clean the wetlands. The class got into the Gulf and helped professors from the University of New Orleans troll for shrimp and fish to take data on the ecosystem. The class explored New Orleans, and enjoyed the Gulf seafood that Louisianans are so passionate about. Through all of out explorations, we learned how deeply embedded the oil industry is with Louisiana’s history and culture and the complexity of the story.

Perhaps one of the most powerful moments for the class was when we met with a New Orleans-based artist and activist.  Her art has examined the environment, the oil spill, and how nature is trying to recover. She looks at the fragility of the landscape and humans’ role in shaping that. She told the students, “make art about what pisses you off and what blisses you out.” This artist demonstrated to the students how powerfully art can communicate the environmental issues taking place along the Gulf coast, exactly what this class is striving for.

As the teaching assistant for this course, I was able to watch the students delve into this subject with curiosity and sensitivity. As the trip went on, the students became more involved and invested and came to understand the intricacies of the science, human, and political sides of the story. It was an incredible experience for all involved and it is clear to me the students’ dedication to telling the story of the oil spill with accuracy and thoughtfulness.

Wesleyan Students Research Gulf Coast Oil Spill and Create Artistic Works

Submitted by Erinn Roos-Brown, CFA Program Manager

On June 5th, seven Wesleyan students arrived in New Orleans for a 10-day trip that will include interviews with local scientists, fishermen and rig workers. The goal is to learn from these perspectives about the effects of the Deepwater Horizon oil spill, which flowed for three months in the summer of 2010. They also plan to take a boat into the bayou to see the lingering effects of the oil spill, including a location where dolphins and other wildlife were reported dead from the toxic exposure. This trip is part of a Summer Session course The Deepwater Horizon Tragedy: A Scientific and Artistic Inquiry. It’s designed to provide the students with a toolbox for exploration of the science behind the oil spill in the Gulf of Mexico and began that process prior to leaving by spending four days on campus learning artistic and scientific tools.

By asking the questions: what is oil? How is it processed into energy? Why is it still the leading energy source? The students will hunt for answers that will enable them to understand the science at a deeper level, and make their research more visible to an audience through their art, which will be produced at the end of the course as final projects.

The class is co-taught by the chair of the College of the Environment Barry Chernoff and playwright and director Leigh Fondakowski. Leigh was the Head Writer of The Laramie Project and has been a member of Tectonic Theatre Project since 1995. She is an Emmy nominated co-screenwriter for the adaptation of The Laramie Project for HBO. Her latest work, The People’s Temple, has been performed under her direction at Berkeley Repertory Theatre, Perseverance Theater, and The Guthrie Theater, and received the Glickman Award for best new play in 2005.

This course is made possible by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

Come back later to read more about the final projects and hear from the students about their experience!

 

Celebrating the Earth This Weekend

An interview with composer Glen McClure, and footage from a rehearsal of “Fascinating! Her Resilience”, by Elizabeth Holden ’11.

Celebrate the Earth this Friday and Saturday night at Wesleyan! Two free events will bring science and art together through multi-dimensional live performances that tackle questions about global environmental issues.

As a poet/performance/multimedia artist, Professor of Anthropology Gina Ulysse is dedicated to performing anthropology through spoken word. As a member of the College of the Environment think-tank, she will be performing as part of the Earth Day Celebration on Friday, April 22 at 8pm in Crowell Concert Hall. The multimedia performance project Fascinating! Her Resilience will explore the multiple significations in the word “resilience”, and how it has been used in different narratives about Haiti, especially since the earthquake of January 12, 2010. In collaboration with Val Jeanty, percussionist and sound engineer, the project will be expressed through both a live and electronic remix (using DJ techniques) of different theories of resilience from a range of disciplines. There will be bits of history, personal narratives, theory and statistics in spoken word, with Vodou chants interwoven with quotations from subjects interviewed in Haiti and other experts in this country. Moreover, it will explore how in dominant narratives, such meanings keep Haiti in a liminal state somewhere on the border between dehumanization and superhuman.

Click here to view a rehearsal of Fascinating! Her Resilience on Vimeo.

The next night, in collaboration with the inaugural year of the College of the Environment, the Center for the Arts will present the world premiere of Dear Mother Earth: An Environmental Oratorio by composer Glenn McClure on Saturday, April 23 at 7pm in Crowell Concert Hall.  I sat down with Glenn McClure to discuss his commissioned piece for Wesleyan’s Feet to the Fire initiative.

Glenn McClure
Glenn McClure

As part of Feet to the Fire, which seeks to explore the topics of global climate change, Dear Mother Earth began as an extracurricular art activity with school children across the world, including Middletown’s MacDonough Elementary.  Mr. McClure, composer of the oratorio and an arts integration specialist, asked school children in Ghana, Nicaragua and Middletown to write letters to the Earth. “While each letter is unique, they all share the central themes of celebrating beauty, thankfulness, compassion and a call to action,” said McClure.  “Just as a flock of individual birds turn together in the wind without any discernable leader, these children have expressed these themes in their letters and illustrations.” Mr. McClure then integrated the themes of the letters with a musical model of the bio-mathematics concept of “emerging complexity” to create a series of musical movements centered around the common environmental hopes of the children.

The resulting piece uses sections of the children’s letters along with a mixing of musical forms, such as a traditional string orchestra with the dynamic percussion of Ghana.  McClure states that “by bridging gaps between the different dimensions of music, we are establishing a creative process that brings people together.” McClure fuses the Wesleyan University Orchestra, the Middletown All-City Grade 4 and 5 Chorus, and Caribbean steel drummers together in the first movement to open the overall themes that emerged from the letters.

Barry Chernoff, Professor of Biology and Director of the College of the Environment, believes that Wesleyan will be the place for students to solve climate change issues.  Designed to seek solutions to the greatest environmental challenges of our time, Dr. Chernoff stated “we are not afraid of failure, we only fear no one will try.” By thinking creatively and collaboratively, we are one step closer to finding solutions to these complex issues.  The remaining movements of McClure’s work range from woodwind quartets and Ghanaian drummers to the full orchestra, painting a soundscape through the flowing stream of data collected by Chernoff’s student lab since 2006.

The message of this performance is universal in its approach towards understanding the complex layers of climate change.  Through its practical idealism, Dear Mother Earth is intended to spark a conversation about what we can do about the environmental issues that we face. The project will continue after the world premiere on April 23 through the website www.letterstomotherearth.com, encouraging other classrooms to engage with the project and to continue the process of submitting letters addressed to the Earth.

Because of Mr. McClure’s combination of childrens choir and orchestra in his composition, the sound of the music is approachable in terms of being a traditional oratorio, but he also adds into the piece a diverse layer of unexpected ensemble sounds, such as Taiko and Ghanaian drumming.  I am excited to see the full composition performed because of its consciousness of Wesleyan’s power as an innovative engine for creative solutions. I am sure Dear Mother Earth will foster a sense of communal experience between the performers and the audience.

Wesleyan Earth Day Celebration
Including the performance of “Fascinating! Her Resilience”
Friday, April 22, 8pm
Crowell Concert Hall
Free admission

Wesleyan University Orchestra and 
Wesleyan Ensemble Singers Concert
Featuring the world premiere of “Dear Mother Earth: An Environmental Oratorio”
Saturday, April 23, 7pm
Crowell Concert Hall
Free admission