The Kitchen Sink

Arabesque: Instruments and Rhythms of the Arab World

Tue, 11 Aug 2009 15:14:52 -0400

To western ears and eyes, musical instruments and of the Arab World may seem exotic. Host Georges Collinet (NPR’s Afropop Worldwide) is joined by scholars and musicians to explore the sounds and history of Arab musical instruments, such as the qanun, the oud, the rebab and the nay. The rhythms and musical tonality that help define the rich sound of Arabic music are explored in this informative podcast.

Arabesque: What Makes Arabic Music Unique?

Wed, 12 Aug 2009 15:16:00 -0400

Much of what defines the music of the Arab World is the experience, not only for the musician, but also for the listener. In the Arab World, the audience is an active participant, responding to the ornamental and improvisatory offerings of the players, giving vocal feedback while in a state of “musical ecstacy.” Joined by Arabic music scholars and musicians, host Georges Collinet (NPR’s Afropop Worldwide) explores this important bond between musician and audience, and how it creates a unique musical relationship.

Arabesque: Styles of Music of the Arab World

Thu, 13 Aug 2009 15:18:44 -0400

The Arab World spans the width of North African Maghreb, across the Arabian Peninsula and into the Levant. Centuries of indigenous and nomadic traditions have created a musical cultural tapestry of unique regional styles bound by common themes and ideas. In the 21st Century, Arabic folk music traditions have been confronted with increased globalization, from Egyptian mega-star Umm Kulthum, to the worldwide influence of Western media. Host Georges Collinet (NPR’s Afropop Worldwide) is joined by Arabic musicians to discuss the many styles and future of music of the Arab World.

Nobody's Perfect: The Story So far...Doug Cooney

Mon, 04 May 2009 12:17:44 -0400

Based on the book by Marlee Matlin and Doug Cooney, explore the creation of the Kennedy Center's Theater for Young Audiences and VSA Arts production of Nobody's Perfect. This podcast series goes behind the scenes to look at how the book was brought to the stage, including how American Sign Language was incorporated into a lively musical (ASL captioning is included in every episode in this series).  

ARTSEDGE, the Kennedy Center’s arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

Nobody's Perfect: Read-Through, Rehearsal & Performance

Mon, 04 May 2009 12:26:03 -0400

Nobody's Perfect: The Story So far...Tami Lee Santimyer

Mon, 04 May 2009 12:16:27 -0400

Nobody's Perfect: Creating the Characters

Mon, 04 May 2009 12:26:17 -0400

Nobody's Perfect: Communication

Mon, 04 May 2009 12:26:27 -0400

Nobody's Perfect: Staging the Play

Mon, 04 May 2009 12:26:35 -0400

Nobody's Perfect: Meeting Megan

Mon, 04 May 2009 12:26:46 -0400

Nobody's Perfect: Excerpt by Marlee Matlin

Mon, 04 May 2009 12:28:42 -0400

Culture Connect: Program Overview

Mon, 04 May 2009 12:19:57 -0400

As a part of the Global Cultural Initiative, the United States Department of State and the John F. Kennedy Center for the Performing Arts offer professional development opportunities to energize the work of emerging international artists in their own countries by bringing them to the United States and providing them with instructive and informative experiences in their arts discipline, exposure to the creation and performance of world-class art, and opportunities to develop relationships with U.S. arts professionals. In this podcast, learn about the Cultural Visitors program through an overview of the visit by Venezuela's Flying Legs Crew. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Dan-One, Alphabetical Engineer

Fri, 01 May 2009 15:48:36 -0400

Like breaking, graffiti art (or tagging) is one of the five elements of hip-hop culture. Graffiti artist Danny ‘Dan One’ Polonco, a self-described “Alphabetical Engineer,” meets with Venezuela's Flying Legs Crew to teach them about graffiti art form as a means for self-expression. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: The Flying Legs Crew in NY

Fri, 01 May 2009 15:49:43 -0400

Proving that hip-hop is where you find it, The Flying Legs Crew passes the time on the New York City subway posing for photos - which is harder than it sounds. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Kwikstep

Fri, 01 May 2009 15:54:09 -0400

The Flying Legs Crew dives right into the New York City hip-hop scene with a master class at Full Circle Productions, the groundbreaking, non-profit hip-hop dance company founded by b-boy Kwikstep and b-girl Rokafella. The two dance veterans partnered up in 1996, sharing a dedication to the fundamentals and education of hip-hop, as well as a welcoming attitude to performers of all cultures and genders. Since then, Full Circle Productions has grown in size and recognition, bringing hip-hop to stages all around the world. While teaching The Flying Legs Crew some new moves and important fundamentals, Kwikstep demonstrates he is the undisputed master of the head spin. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Rokafella

Fri, 01 May 2009 15:58:48 -0400

The Flying Legs Crew dives right into the New York City hip-hop scene with a master class at Full Circle Productions, the groundbreaking, non-profit hip-hop dance company founded by b-boy Kwikstep and b-girl Rokafella. The two dance veterans partnered up in 1996, sharing a dedication to the fundamentals and education of hip-hop, as well as a welcoming attitude to performers of all cultures and genders. Since then, Full Circle Productions has grown in size and recognition, bringing hip-hop to stages all around the world. The Flying Legs Crew stopped by Full Circle Productions for a master class, taught by co-founder b-girl Rokafella. Afterwards, she takes a moment to discuss teacher/student attitudes, language barriers, effort vs. authenticity, and the challenges facing b-girls today. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Gonna Fly, Yo!

Fri, 01 May 2009 16:03:32 -0400

Here’s a new twist on a Philadelphia tradition: in true The Flying Legs Crew-style, the spirited group expresses their enthusiasm on the steps of the Philadelphia Museum of Art, where Philly film icon Rocky Balboa trained for his shot at the title. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: In the Club

Fri, 01 May 2009 16:05:19 -0400

The Gathering is Philadelphia’s longest running hip-hop event, featuring a different performing artist or group every month, as well as anyone else who has the guts to step into the cypher, or breaking circle. The show is loud and crowded, but Lil Rays and his crew don’t shy easily, taking the stage to show The Gathering what The Flying Legs Crew is all about. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Kings of New York

Fri, 01 May 2009 16:09:15 -0400

Battles or dance-offs are head-to-head confrontations between individuals or groups of dancers in order to see who can out-dance the other. There are two types of battles, the cypher and the organized, both of which are an integral part of the hip hop culture. A cypher battle occurs when a group of b-boys or b-girls form a circle, and individuals take turns showing their moves in the middle to the cheers and jeers of those around them. Often times these battles are unplanned, friendly and social. Organized battles differ in that they are planned, often publicized events, with set rules and judges. Lil Rays takes his shot at the title of an organized battle, challenging the reigning King of NY, Assassin. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Modern Dance Class

Fri, 01 May 2009 16:13:13 -0400

What happens when Turkish hip-hop dancers travel to the United States on a modern dance exchange program? Sanem and fellow hip-hop dancer, Bahadir Efe, discover the transition to modern dance is not an easy one, since the two forms are based on very different styles. Nevertheless, they rise to the challenge, knowing that the exposure to new forms and skills will help them develop their range as hip-hop dancers. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: From El Alto to DC

Fri, 01 May 2009 16:20:14 -0400

The Bolivian musicians may practice Bach and other classical music at home, but they were eager to share their interpretation of traditional Bolivian music during their performance at the Kennedy Center. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Chicago Theater

Fri, 01 May 2009 16:22:42 -0400

After an original performance by the experimental production company The Civilians, the Indonesian visitors sit down with members of the cast and crew. The group discusses The Civilians’ mission and multidisciplinary approach to theater, which in many ways parallels Teater Garasi’s productions that often combine drama and dance. Then, the actors take a break from American theater, and embrace the opportunity to tour the Silk Road Theatre Project, a production company that showcases culturally-themed works from playwrights of Asian, Middle Eastern, and Mediterranean backgrounds. The Indonesian actors are able to gain some insight into a few other cultures, as well as learn how works from their home country are received in the US. Finally, the group stops by Redmoon Theatre, a non-profit theatre company with a unique approach to making theatre more publicly accessible. The company is known for its original utilization of public spaces for performances, often setting up stages in streets and parks. A company member shares photos from past productions to better explain Redmoon’s performance space choices and how they affect productions. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Indonesian Dance

Fri, 01 May 2009 16:33:59 -0400

In appreciation for their three days of intense study and practice at the Hubbard Street Dance Center, the visitors are happy to share their country’s traditional Javanese dancing with members of the Chicago dance company. Boby leads a workshop in the fundamentals of Javanese, and Retno demonstrates a routine in traditional costume. More: artsedge.kennedy-center.org/cultureconnect

Culture Connect: Palestinian Jazz

Fri, 01 May 2009 16:36:01 -0400

The Palestinian and Moroccan musicians performed on the Kennedy Center’s Millennium Stage, which offers free shows 365 days a year as part of the Performing Arts for Everyone Initiative. See how the musicians go from a sound check to actual performance. More: artsedge.kennedy-center.org/cultureconnect

Artfully Speaking: Dick Deasy: Why Arts Education Part 1

Fri, 22 Jun 2007 20:26:16 -0400

We are kicking off this podcast with a four part lecture presentation by Dick Deasy. In this first episode we join Mr. Deasy, director of the Arts Education Partnership for the first part of his lecture, "Why Arts Education?" where he discusses why the arts aren't in schools.

Artfully Speaking: Dick Deasy: Why Arts Education Part 2

Fri, 22 Jun 2007 20:25:41 -0400

In this episode we rejoin Dick Deasy, director of the Arts Education Partnership, for the second of four parts of his lecture, "Why Arts Education?" where he summarizes the research in Critical Links

Artfully Speaking: Dick Deasy: Why Arts Education Part 3

Tue, 10 Jul 2007 20:28:20 -0400
In this episode we rejoin Dick Deasy, director of the Arts Education Partnership, for the third of four parts of his lecture, "Why Arts Education?" where he summarizes the findings in Third Space.

Artfully Speaking: Dick Deasy: Why Arts Education Part 4

Fri, 13 Jul 2007 20:33:24 -0400
In this episode we rejoin Dick Deasy, director of the Arts Education Partnership, for the final part of his lecture, "Why Arts Education?" where he answers questions from the audience.

Artfully Speaking: Rob Horowitz: Learning In and Through the Arts, slides

Thu, 19 Jul 2007 20:35:58 -0400
These are the slides that accompany Rob Horowitz's lecture in episodes 5 and 6. He frequently refers to the data, quotes, and other information included here.

Artfully Speaking: Rob Horowitz: Arts Education Research Part 1

Wed, 25 Jul 2007 20:40:40 -0400
In this episode we join Rob Horowitz, of the Center for Arts Education Research, for the first part of his lecture on Arts Education Research.

Artfully Speaking: Rob Horowitz: Arts Education Research Part 2

Tue, 14 Aug 2007 20:45:14 -0400
In this episode we rejoin Rob Horowitz, of the Center for Arts Education Research, for the final part of his lecture on Arts Education Research.

Artfully Speaking: Roger Tomhave: A Whole New Education, slides

Wed, 30 Jan 2008 20:50:03 -0500
These are the slides that accompany Roger Tomhave's lecture in episode 9. He frequently refers to the images, quotes, and other information included here.

Artfully Speaking: Roger Tomhave: A Whole New Education

Thu, 31 Jan 2008 21:18:29 -0500
In this episode we join Dr. Roger Tomhave, Fine Arts Coordinator for Fairfax County Public Schools in Virginia, for his lecture A Whole New Education.

Artfully Speaking: Daniel Pink: A Whole New Mind

Tue, 11 Mar 2008 21:32:36 -0400
In this episode we join Daniel Pink, author of A Whole New Mind, for his plenary speach at the Annual Meeting for the Kennedy Center's Partners in Education.

Art/Space: Music and Space: The Composers

Mon, 22 Oct 2007 15:27:54 -0400

What does space sound like—and who decided that? Composers have toyed with themes of space, stars and discovery in music—describing through music the ideas of open space, travel, mystery and majesty, as well as imagining what "outer space" might sound like if you could hear it.

Narrated by Roger Launius of the Space History Division of the National Air and Space Museum, this piece features Miles Hoffman, commentator for NPR's Morning Edition, John Dennis, who created the music for Disneyland's Space Mountain, and Jonn Serrie, the nation's leading composer of music for planetarium shows.

Art/Space: Music and Space: The Performers

Tue, 23 Oct 2007 15:24:02 -0400
Astronaut Carl Walz summed it up: "Taking musical instruments on a ship for an expedition is a tradition, if you will. It’s what makes us human is because we bring some of our home with us." Listen as we explore the intersection between the human drive to explore and the ability to create.

Art/Space: Music and Space: Sputnik

Tue, 17 Feb 2009 11:23:13 -0500

The space age began on October 4, 1957, when the Soviet Union launched Sputnik-the first artificial satellite. Around the world, millions of people tuned their radios to hear it beeping or waited outside to watch it pass overhead.

Narrated by Roger Launius of the Space History Division of the National Air and Space Museum, this piece examines the world's reaction to Sputnik. From popular music to visual design; from politics to technology, the space race seemed to define much of the culture of the late 1950s and the 1960s.

Blues Journey: Got Them Blues: A History

Wed, 07 Mar 2007 16:30:36 -0500

As black slaves toiled in the fields, they often sang to communicate with each other and pass the time. These work songs, spirituals, and field hollers formed the basis of blues music as it became an important sound of the American South in the early 20th century. In the 1930s, faced with extreme poverty and laws that discriminated against and segregated them, thousands of African Americans migrated to northern cities, taking the blues with them— where both the songs and the singers adapted to their new urban environment.

ArtsEdge, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ArtsEdge at artsedge.kennedy-center.org.

Blues Journey: A Blue Melody, a Shufflin' Beat

Sat, 10 Mar 2007 17:00:42 -0500
Blues is a vocal and instrumental form of music based on the use of blue notes—a note that is sung or played at a lower pitch than the rest of the song that gives the blues its characteristic, often sad sound. The lyrics usually have a predictable rhyme, and the music also has a repetitive pattern that typically follows a twelve-bar structure. While the blues may tackle serious subjects, it also brings joy to the singer and audience.

Blues Journey: Spreading the Joy

Wed, 14 Mar 2007 16:30:47 -0400
The blues sound was captured by Alan Lomax, who was among the first to record folk songs in the 1930s. Because of Lomax's recordings, people across the country could hear the unique music of blues artists like Huddie Ledbetter ("Leadbelly") and Muddy Waters for the first time. In addition to Lomax's work, the rise of the commercial recording industry (particularly Chess Records) and advances in recording technologies allowed blues to have a wider distribution and as a result, gain a larger audience.

Blues Journey: A Lasting Legacy

Tue, 27 Mar 2007 16:30:52 -0400
Blues musicians who moved north tailored their music to reflect their new urban surroundings. Acoustic guitars gave way to electric; drums and standup bass rounded out the sound. This "new" blues had a huge impact on modern music - influencing early rock and roll artists like Elvis Presley and 60s British artists like the Rolling Stones. Today, the innovative adaptations of the blues can be heard in the music of artists as diverse as Cat Power and Gnarls Barkley.

The Festival of China: Yunnan Singers, Dancers, and Musicians

Fri, 25 Aug 2006 16:10:29 -0400

Artists of the Yi and Wa ethnic groups from Yunnan Province-the most ethnically diverse in China-demonstrate their unique folk traditions in this excerpt from the Kennedy Center's free Millennium Stage show.

For more about the traditional arts of the Yunnan people, check out our Sounds of China PodPage http://www.artsedge.kennedy-center.org/content/3899/podcast.html.

To watch the entire sixty minute show visit the Millennium Stage archives http://www.kennedy-center.org/programs/millennium/artist_detail.cfm?artist_id=yunnan.

The Festival of China: Beijing Traditional Music Ensemble

Fri, 01 Sep 2006 16:12:52 -0400

Beijing Traditional Music Ensemble's extensive repertoire and virtuoso musicians demonstrate the range of distinctive styles that developed in each region for erhu (fiddle), pipa (lute), and other instruments.

To watch the entire sixty minute show visit the Millennium Stage archives http://www.kennedy-center.org/programs/millennium/artist_detail.cfm?artist_id=CHINTRADMU

The Festival of China: Hong Kong Chinese Orchestra

Fri, 08 Sep 2006 16:17:23 -0400
Join the Hong Kong Chinese Orchestra for a lecture and demonstration explaining each of the four sections of the Chinese orchestra as well as some of the individual instruments.

The Festival of China: Terra Cotta Warriors

Fri, 15 Sep 2006 16:22:40 -0400

Collections Manager Christa Deacy-Quinn of the Spurlock Museum at the University of Illinois Champaign-Urbana explains the steps that must be taken when handling valuable artifacts.

The Terra Cotta Warriors are a collection of 8,000 statues that were buried over 2,000 years ago in the tomb of China‚Äôs first emperor Qin Shi Huang. Three of the statues - two soldiers and a horse - were sent to the Kennedy Center for display during the Festival of China.

To learn more about the Spurlock Museum visit their web site http://www.spurlock.uiuc.edu/

The Festival of China: Shaanxi Folk Art Theater

Fri, 22 Sep 2006 16:24:46 -0400

This side by side video shows the story of the turtle and the crane as seen by the audience and behind the screen as the puppeteers bring the story to life.

To learn more about the art of shadow puppets, visit Playing with Shadows at http://www.artsedge.kennedy-center.org/shadowpuppets/artsedge.html.

The Festival of China: Cai Guo-Qiang

Sun, 01 Oct 2006 16:29:09 -0400

This excerpt from Cai's Tornado: Explosion Project for the Kennedy Center includes both the dancing boats and the tornado itself.

To get a behind the scenes look at the creation of this event visit The Art of the Explosion at http://www.artsedge.kennedy-center.org/fireworks/index.html

Classical Music in America, part 1: Where American Classical Music Started

Sun, 21 Dec 2008 16:26:57 -0500
While Europe was alive with new, sophisticated works by Vivaldi, Bach, and Handel, America was a backwater. If you looked for classical music in the early days of America, you'd be hard-pressed to find it, even in the big cities and the centers of wealth, commerce, and social sophistication. But it *was* there; in far-flung locations including the backwoods of North Carolina and the Port of New Orleans. Miles Hoffman, NPR Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina takes us on a tour of classical music in early America.

Classical Music in America, part 2: American Classical Music in the 19th Century

Sun, 21 Dec 2008 16:49:20 -0500
This segment looks at some little-known stories about American Classical music like the role of Cuba in Classical Music and the American who made "Carmen" a hit. NPR's Miles Hoffman continues to lead us through the development of a uniquely American take on traditional European music.

Classical Music in America, part 3: American Classical Music in the 20th Century

Sun, 21 Dec 2008 17:07:47 -0500
Continuing our musical journey into the through the 20th Century, this segment explores how America took its place as force in the world of classical music; not so much through its experimental work but through the music of Hollywood movies. Miles Hoffman, Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina, takes us through the early years of the last century and discusses where we can, sometimes unexpectedly, find new classical compositions today.

Culture of Greece: Fill in the Blanks: Ancient Melodies

Fri, 12 Sep 2008 22:31:29 -0400
There are only a handful of pieces of music remaining from ancient Greece. And we do mean pieces; tiny scraps of papyrus and bits of stone with musical notes that are thousands of years old. Come with John Franklin, professor in the Department of Classics at the University of Vermont to meet the people who bring this ancient music back from the dead. Learn how they come to understand the slashes and squiggles that they see and translate them into music. And find out what they do when they learn that he music they're playing was torn in half a thousand years ago and the other half is gone forever.

Culture of Greece: Influence of Greece

Fri, 12 Sep 2008 22:34:23 -0400
Though the ancient Greek culture was destroyed thousands of years ago, Greek ideas continue to influence us today. That's particularly true in music. Join John Franklin, professor in the Department of Classics at the University of Vermont to hear the impact that the ancient Greeks had on the creation and development of Opera, Classical music and Jazz.

Culture of Greece: Music of Contemporary Greece

Fri, 12 Sep 2008 22:38:38 -0400
Though Socrates and Plato died 2,500 years ago there is, of course still a country called Greece. And many modern Greek musicians will tell you that their art is influenced by the ideas of the ancients. Join us as we explore whether or not this is true. Two modern Greek musicians and scholars of ancient Greece talk about the twisting road Greek culture has taken to bring us to the music of Greece today. The podcast is narrated by John Franklin, professor in the Department of Classics at the University of Vermont.

Gulf Coast Highway: Border Music: Grupo Fantasma

Fri, 18 Aug 2006 17:10:01 -0400

Along the Texas-Mexican border in the 19th century, Mexicans, Native Americans, and Anglo-Americans living in the region intermingled with European immigrants looking for new opportunities. The clash and fusion of multiple languages and traditions resulted in a distinct "Tejano" culture.

Tejano music is influenced by Mexican storytelling ballads called corridos, accordion-based polkas of norte√±o music, Anglo-American fiddle music, mariachi bands, Colombian cumbia, and the lively brass section of small, local bands called orquestas‚Äînot to mention salsa, rock, jazz, blues, funk, and country.

Border music also owes its sound to German immigrants who filled dance halls with waltzes, polkas, and the distinctive tones of the accordion. Narciso Mart√≠nez was one of the first and most influential accordion players in the border region due to his virtuosic, fast-paced playing. When he brought together the accordion with the bajo sexto (12-string bass guitar) in the 1930s, conjunto music was born.

Gulf Coast Highway: Texas Troubadour: Nanci Griffith

Fri, 25 Aug 2006 17:12:01 -0400

Texas has a rich tradition of troubadours‚Äîsinger-songwriters who write, compose, and sing original songs. Grounded in the folk music tradition, singer-songwriters are recognized for their meaningful lyrics about real-life subjects as varied as social justice and family, war and love. Fueled by a strong sense of Texan identity and tried-and-true imagination, Texas songwriters tend to have a keen sense of place, revealed in the visual details of their lyrics.

Texas troubadours Townes Van Zandt and Guy Clarke ushered in the Texas singer-songwriter movement of the 1970s with poetic, emotional lyrics and music shaped by country, blues, folk, and tex-mex. Today's troubadours are also greatly influenced by Willie Nelson's outlaw country music, a grittier version of the popular country music that was coming out of Nashville at the time.

Backed by a tradition of independent spirit and grounded in multicultural roots, Texas singer-songwriters continue to imbue classic musical genres with new experiences and sounds.

Gulf Coast Highway: Texas Blues: Marcia Ball

Fri, 01 Sep 2006 17:15:23 -0400

Texas blues originated in the early 1900s alongside the sweat and tears of Blacks working on oilfields, lumber camps, and ranches. After a day of back-breaking labor, workers could unwind in nearby bars or on their own porches and listen to blues musicians who spoke to their own experiences.

The Texas sound is known for being more relaxed than other blues styles, with breathier vocals and a swinging feel. Bluesman Blind Lemon Jefferson put Texas on the blues map with his jazzy improvisation and percussive way of playing the guitar. Jefferson's technique of picking along a single string and hammering out repetitive figures in the lower register influenced generations of musicians.

After World War II, blues went electric. With the advent of the electric guitar came increased volume and resonance‚Äîa sought-after sound among recording studios in northern U.S. cities. Although many musicians migrated north to join the booming recording industry, the blues still thrives in Texas today.

Gulf Coast Highway: Zydeco: Geno Delafose

Fri, 08 Sep 2006 17:17:16 -0400

In 1920s rural Louisiana, ten cents granted admission to hours of rollicking music at a "La La" house party. La La party music‚Äîcharacterized by the use of accordions, fiddles, triangles, and washboards or rub-boards called frottoirs‚Äîformed the basis of zydeco. The French-speaking Creoles of southwest Louisiana added elements of blues and jazz to the party mix. The result was zydeco, a musical style dominated by the accordion, frottoir, and heavy syncopation (a rhythmic technique of shifting accents to weak beats).

Accordion player and singer Clifton Chenier was credited with naming this musical genre. After a long history of hits like "Zydeco Sont pas Sale," Chenier was dubbed the "King of Zydeco."

Zydeco is often linked with Cajun music, but it has a harder, faster sound and employs more electric instruments. In dance halls today, elements of soul, disco, rap, and reggae can be heard among the rhythms of the frottoir.

Gulf Coast Highway: Brass Band: The Tremé Brass Band

Fri, 15 Sep 2006 17:23:42 -0400

Follow behind a parade in New Orleans and you'll still be a part of the show. Whether a parade was organized for a celebration or funeral, honorees and others in the main procession would be followed by a "second line" of participants hoping to get closer to the rhythms of the brass bands. The term "second line" would come to be associated with brass band music and the fancy footwork that accompanies it.

New Orleans has a long tradition of brass bands, dating back to the early 20th century. Consisting mostly of brass instruments like trumpets and trombones and percussion, brass bands played a blend of European military band music, African folk music, and jazz.

The brass band tradition experienced a revival in the 1970s and 1980s when bands like the Rebirth Brass Band and the Dirty Dozen Brass Band laced traditional sounds with funk, hip hop, bebop, and R and B.

Gulf Coast Highway: Cajun: Michael Doucet

Fri, 22 Sep 2006 17:26:10 -0400

Louisiana-based Cajun music has roots in unaccompanied, narrative ballads brought by European settlers. Sung at weddings and funerals as well as informal parties, these ballads told stories of love and death, humor and nostalgia. Cajun songs, traditionally sung in French, fused narrative balladry, Irish and Anglo-American reels and jigs, and Black and Native American folk traditions.

The earliest instrument that typified Cajun music was the fiddle. In dance halls and house parties called fais-do-dos, two fiddlers performed together-the lead playing melody, the other playing back-up. The powerful accordion sound soon joined the twin fiddles along with percussion inspired by Creole music.

In the 1930s and 1940s, steel guitars, mandolins, and banjos entered the scene, bringing a country-western swing to Cajun music. (This strong country influence differentiates Cajun music from the closely aligned zydeco music.) The Cajun bands of today are incorporating electric guitars and amplified instruments, proving that the Cajun sound is continuing to evolve.

Gulf Coast Highway: Delta Blues: James "Super Chikan" Johnson

Fri, 29 Sep 2006 17:28:18 -0400

In the early 19th century, the fertile delta of northwest Mississippi gave rise to a thriving cotton industry. As White cotton planters turned profits, Blacks toiling in their fields turned to singing and hollering to lighten their load, pass the time, and communicate with each other. Early Mississippi Delta blues songs reflect Southern Blacks' struggle to cope with racial oppression, illiteracy, and poverty.

As worksongs grew in length and complexity, blues music moved from the fields to juke joints. Musicians like Charley Patton, Son House, and Robert Johnson accompanied their harsh, raspy vocals (sometimes spoken rather than sung) with powerful, driving rhythms on the guitar or harmonica.

The Delta blues style continues to be characterized by raw vocalizing and rhythmic intensity. In addition, Delta blues musicians often employ slide techniques, meaning they move a glass or metal tube called a slide along a guitar's strings to change the notes.

Gulf Coast Highway: Gospel Quartet: Blind Boys of Alabama

Tue, 10 Oct 2006 17:30:43 -0400

Composer Thomas A. Dorsey and other pioneers of gospel music helped open the church doors to music considered sinful by conservative churchgoers. In the 1930s, Dorsey livened up the hymnal by incorporating elements of blues and jazz. Early "Sanctified" churches also influenced the restrained environment of mainline churches. Sanctified preachers encouraged the congregation to spontaneously burst into improvised musical lines to express their faith.

Following in the footsteps of this stylistic freedom, groups such as the Golden Gate Quartet and the Five Blind Boys of Mississippi began ad-libbing in their jubilee style of gospel music. Jubilee is characterized by a strong, pumping bass, and lead vocals that ride the line between spoken and sung.

The Golden Gate Quartet and other four-part choral groups showcased stunning solos and intricate harmonies. The tradition of gospel quartets continues to lift the spirits of both its listeners and participants in concert halls and churches alike.

Gulf Coast Highway: Black Choral Music: Boys Choir of Tallahassee

Tue, 17 Oct 2006 17:31:57 -0400

In the 1600s, African-born slaves in the United States were prohibited from playing-or even possessing-musical instruments. Regardless, the plantation fields still swayed with music as Blacks sung a capella (without instruments) to the rhythms of work.

Slaveowners strove to Christianize their slaves, and many Blacks sympathized with the struggle of Jesus and found comfort in the hope of heaven. Slaves were forbidden from gathering, but conducted religious services in secret. At these meetings, informal worksongs evolved into intricate songs of redemption, struggle, and Christian faith that came to be known as "spirituals."

The multi-part harmonies of these spirituals set in motion a long tradition of Black choral music.

In the late 19th century, Harry Burleigh-a protege of Antonin Dvorak-took the musical style to new heights with choral arrangements informed by his classical training. Modern choral music takes on many different forms, and is often accompanied by the piano, percussion, and bass.

The Festival of Japan: Tadao Ando

Sun, 21 Dec 2008 15:41:17 -0500

With his buildings sprawling all corners of the globe, world-renowned architect Tadao Ando has won virtually every award Japan can bestow for architecture and the arts, as well as major international prizes, including the 1995 Pritzker Prize and the Gold Medal of Architecture from the French Academy of Architecture. He works primarily in reinforced concrete, but he also utilizes steel and glass. His projects define spaces in unique ways that allow for constantly changing patterns of light and wind. Constructed on-site specifically for the festival, Tadao Ando presents this world-premiere glass installation, which explores sustainability and the environment.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Koji Kakinuma 1

Sun, 21 Dec 2008 15:41:27 -0500

JAPAN! culture + hyperculture was marked by a festive Otsukimi (Japanese moon-viewing) evening featuring a special Millennium Stage performance of “Trancework” and “Eternal Now” by shodo performing artist Koji Kakinuma, accompanied by the taiko group AUN. The event took place outside under the full moon on the Kennedy Center's South Plaza.

Koji Kakinuma is an artist. He began studying traditional Japanese monochrome brushwork at the age of five. Kakinuma’s rise through the Japanese art world has been meteoric, winning one prestigious competition after another, having his life and paintings featured in several televised documentaries, and being invited to demonstrate and show his work at the Metropolitan Museum of Art in New York. Kakinuma has constantly sought to break free from the strictures of his classical training and to express himself in innovative, experimental ways. His most recent work, The Warrior Ideal was selected as the title artwork for the 2007 season of Japan’s most popular long-running television show, The Taiga Drama Series.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Koji Kakinuma 2

Sun, 21 Dec 2008 15:41:39 -0500

Calligraphy artist Koji Kakinuma began studying traditional Japanese monochrome brushwork at the age of five. In 1989, Kakinuma arrived on the national stage when he became the youngest person to win the coveted Dokuritsu Shojindan Foundation prize. His rise through the Japanese art world has since been meteoric. For the festival, Kakinuma presented one of his trademark innovations, Trancework, in which he paints countless repetitions of a simple, powerful phrase, producing a giant calligraphic work. Japanese fue player Kaoru Watanabe and contemporary percussionist Tatsuya Nakatani accompanied the performance.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Shigeo Kawashima

Sun, 21 Dec 2008 15:41:48 -0500

The Japanese have a long and deep relationship with bamboo, and their culture has produced the most beautiful art in this medium. Shigeo Kawashima's sculptures take bamboo as an artistic medium to a new level. His work WA ("Ring") was commissioned for the festival and constructed on site.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Shin Tanaka

Sun, 21 Dec 2008 15:41:57 -0500

Shin Tanaka is a Japanese artist, graffiti writer, paper toy creator, designer who has worked with some of the biggest names in street fashion and designer toys. Born in Fukuoka, Japan in 1980, Tanaka’s claim to fame is a vast range of elaborate paper constructions ranging from adorably hip and colorful toy monsters, to spot-on replicas of cutting edge footwear. His work has led to collaborations with Nike, Adidas and Reebok, for specially commissioned shoes, and scores of gallery showcases throughout the world. Many of his original creations are posted on his website and made available for viewers to download and cut out into their very own paper toys. Shin Tanaka’s playful and fun designs are appealing for creative youngsters as much as they are for the most hardened and cynical hipster. At the Kennedy Center, Tanaka will present the art of paper toy making—Paper Toy Live!

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Maywa Denki

Sun, 21 Dec 2008 15:45:13 -0500

Founded in 1993 by two brothers, Maywa Denki is a performance art troupe with a unique style. Each piece of their work is called a "product" and a live performance or exhibition is held as a "product demonstration." Although they're known and appreciated as artists, their promotion strategies are full of variety - besides exhibitions and live stage performances, they produce music, videos, writing, toys, stationery, and electronic devices.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Oki Dub

Sun, 21 Dec 2008 15:45:23 -0500

In this free concert by Oki, the most prominent tonkori performer in the world, his band and female singers of Marewrew, Kennedy Center audiences heard music that fused Reggae, African and Electronica with Ainu folk melodies. During the concert a video screen displayed beautiful images from the Ainu tradition. The tonkori is a long, flat instrument that produces its own distinct sound and is the only stringed instrument in the Karafuto Ainu musical tradition. Oki’s contemporary approach has won him praise in Japan and around the world.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Jumbo Machinders 1

Sun, 21 Dec 2008 15:45:33 -0500

Matt Alt walks you through his extensive collection of Japanese jumbo machinder toys, which were on display in the Kennedy Center's South Gallery. Matt Alt's childhood obsession with the Japanese giant robot led him to major in Japanese and International Relations at the University of Wisconsin, Madison. He lives near Tokyo, where he and his wife run a translation agency.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Jumbo Machinders 2

Sun, 21 Dec 2008 15:45:42 -0500

Matt Alt walks you through his extensive collection of Japanese jumbo machinder toys, which were on display in the Kennedy Center's South Gallery. Matt Alt's childhood obsession with the Japanese giant robot led him to major in Japanese and International Relations at the University of Wisconsin, Madison. He lives near Tokyo, where he and his wife run a translation agency.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

The Festival of Japan: Robotopia Rising

Sun, 21 Dec 2008 15:45:59 -0500

At the forefront of hyperculture, Japan's robots are at once amazing works of art and fantastic feats of engineering. Japan has been at the vanguard of global robot development and technology since the 1970s and continues to invent new ways these machines can aid, entertain, and inspire mankind.

Robotopia Rising was a robot extravaganza that highlighted the science and culture of Japanese robotics. This groundbreaking celebration was a tribute to Japanese craftsmanship and technology as well as a preview of the future. The most sophisticated robots in the world were present, and daily shows will provided a fascinating showcase for all of their amazing talents.

Kokoro's Actroid DER2 greeted visitors throughout the festival, talking to them and even answering their questions. Developed with cuttingedge technology, including Advanced Media, Inc.'s voice recognition " AmiVoice" support, the Actroid DER2 has an astonishingly human-like appearance and a great range of gestures and facial expressions.

Mitsubishi Heavy Industries Ltd's Wakamaru can converse with people via voice and facial recognition with a vocabulary of up to 10,000 Japanese words and will be shaking visitors' hands.

Honda's Asimo was designed to operate freely in the human living space and be people-friendly. It can walk smoothly, climb stairs, communicate, and recognize people's voices and faces.

Toyota Partner Robot was developed with artificial lips that move with the same finesse as human ones, enabling it to play the trumpet.

ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.

Jazz in DC: Beginnings

Wed, 07 Feb 2007 15:42:25 -0500
Billy Taylor and Frank Wess share memories of Dunbar High School, long-gone DC clubs... and jazz legends Jelly Roll Morton and Lester Young.

Jazz in DC: Incubating Jazz

Fri, 16 Feb 2007 15:44:09 -0500
Dr. Billy Taylor and Frank Wess share memories of growing up in music clubs around the region and reflect on the role DC had in the development of jazz.

Jazz in DC: Jazz Teachers, Jazz Masters

Fri, 23 Feb 2007 15:48:40 -0500
Henry Grant was a music teacher who taught in Washington DC's black public high schools. Among his students count luminaries of Jazz history, including Duke Ellington‚ Billy Taylor and Frank Wess, who remember him here.

Jazz in DC: Life in Segregated Washington, DC

Fri, 23 Feb 2007 15:54:48 -0500
Jazz legends Billy Taylor and Frank Wess talk about the upsides and down-sides of being African-American in the segregated Washington, DC of their childhood. Segregated theatres and restaurants, racist neighbors, and predujiced law-enforcement made life in Shaw difficult. Despite this, African American-owned establishments in DC afforded a respite from some of these hardships‚Äî one of these havens being the prestigious Dunbar High School.

Jazz in DC: Bringing Jazz to Europe

Fri, 23 Feb 2007 15:57:28 -0500
Teacher Mary Reese Europe was the sister of James Reese Europe, who brought jazz to France in WWI. In this episode, jazz legends Billy Taylor and Frank Wess expound upon the influence of the two siblings, and Mary Reese Europe's teachings about singer Roland Hayes in prejudiced Germany prove an inspiration to her students.

Jazz in DC: Neighborhoods

Fri, 23 Feb 2007 15:59:45 -0500
The Crystal Caverns, the Howard Theatre, and other venues in Washington, DC allowed the teenage Wess and Taylor opportunities to see their idols in concert. In this episode, they discuss the great musicians who frequented these monuments of jazz history.

Jazz in DC: Unsung Heroes

Fri, 23 Feb 2007 16:03:51 -0500
Washington, DC saw an influx and outflux of some of Jazz's greatest talent. In the final episode the series, Taylor and Wess talk about the relative anonymity of some originators, including Billy Eckstine and others who enjoyed only a short-lived celebrity.

Meet the Kennedy Center Education Department: Kennedy Center American College Theater Festival

Thu, 21 May 2009 11:56:17 -0400
Started in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Center American College Theater Festival (KCACTF) is a national theater program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quality of college theater in the United States. The KCACTF has grown into a network of more than 600 academic institutions throughout the country, where theater departments and student artists showcase their work and receive outside assessment by KCACTF respondents. Each year 8 regional festivals are presented in varying locations throughout the country. The festival culminates each year in a national springtime festival at the Kennedy Center which showcases selected productions, provides student and faculty artists with training opportunities with theater’s finest practitioners, and rewards selected student artists with second step opportunities through fellowships, scholarships, and residencies. http://www.kennedy-center.org/education/actf/

Meet the Kennedy Center Education Department: The Performing Arts Series

Thu, 21 May 2009 11:56:17 -0400
The Performing Arts Series is an arts-based distance learning program that utilizes live, interactive capabilities of satellite broadcasting and the Web to share the artistic resources of the Kennedy Center with teachers and students from across the country. These educational programs are free and feature artists and companies who perform at the Kennedy Center and explore the areas of music, dance, theater, and literature. http://www.kennedy-center.org/education/pwtv/

Meet the Kennedy Center Education Department: Overview of the Education Department

Sun, 07 Jan 2007 16:09:53 -0500
As America's national center for the performing arts, the Kennedy Center is committed to arts education. For more than 30 years, our Education Department has provided quality arts experiences for students, teachers, families, and the general public in the Washington, D.C. metropolitan community and throughout the nation. Each year, the Kennedy Center Education Department directly serves more than 11 million people, with a focus on Performances and Events for Young People, Families, and Lifelong Learners; Arts and Schools; and Career Development for Teachers, Aspiring Artists and Arts Managers.

Meet the Kennedy Center Education Department: Cuesheets

Fri, 26 Jan 2007 16:11:39 -0500
Cuesheets, our free print performance guides, help kids and teenagers prepare for attending events at the Center (and on the road.) This informational piece, created by Fairfax County Public Schools, illustrates the ways Cuesheets help young people make closer connections to performances and events.

The Power of Theater: The Stronger Political Act: August Wilson and embracing the content of life

Tue, 06 Feb 2007 16:29:50 -0500

When asked to describe the work of August Wilson, actor James Earl Jones said, "...when he writes he leaves some blood on the page. You can't get that stuff out of yourself without hurt. It's not therapy; it's more like revelation." August Wilson was one of America's most significant and successful playwrights. Less than 20 years ago, he began an ambitious playwriting project: to chronicle the central issues African-Americans have faced by writing one play for each decade of the 20th century.

Wilson's work accurately portrays the black experience in America-addressing themes of struggle (violence, economic injustices, unemployment, poverty and neglect, racism, civil rights, unlawful imprisonment, the legacy of slavery) as well as themes of triumph (the strength of family ties and loyalties, the uniqueness of black culture and the fight to preserve and value it).

The Power of Theater: It’s All in the Words: Alan Stanford and the cast of Samuel Beckett’s Waiting for Godot

Wed, 07 Feb 2007 13:19:35 -0500

"Come to this play with an open and pure sense of imagination, and it will embrace you."

Since its first performance in 1953, Samuel Beckett's Waiting for Godot has generated controversy with its unconventional plot and disturbing themes. Audiences have reacted strongly, with many embracing the play, others rejecting it, but all debating its meaning. The play, which interweaves a tragic sense with circus-like elements, remains popular and influential decades later as a piece of puzzling literature, an example of unusual staging, and also an expression of the thinking of its time.

This in-depth discussion, recorded during the run of The Gate Theatre's production of Waiting for Godot at the Kennedy Center in Washington, DC, features the four adult actors (Alan Stanford, Barry McGovern, Johnny Murphy and Stephen Brennan) and the director of the production, Walter D. Asmus. This podcast features excerpts from the complete discussion program, which will be made available by the Kennedy Center Education Department in the future.

ArtsEdge, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ArtsEdge at artsedge.kennedy-center.org.

The Power of Theater: Our Shared Humanity: Richard Thomas and Randle Mell from Twelve Angry Men

Tue, 27 Feb 2007 13:24:52 -0500

"Theater at its best is always a mirror. It's a reflection of who we are."

Twelve Angry Men deals with issues of prejudice and fear of "the other" but also promotes the ideas of debate and reasonable doubt. The characters in the play argue opposing positions with plausible conviction, and the audience members are left to decide their interpretation of truth and fact, despite what others may believe.

In this podcast, part of the Power of Theater series, actors Richard Thomas (The Waltons) and Randle Mell (24) discuss performing in the stage version of Twelve Angry Men and how the play illustrates the power of one voice in a system designed to reward the collective majority. To view this 60 minute program in its entirety, visit kennedy-center.org/pwtv.

The Power of Theater: Greater than the Individual: Kathleen Turner from Who’s Afraid of Virginia Woolf?

Wed, 21 Mar 2007 13:28:00 -0400

"When you sit in a theater, you're sitting closer to a complete stranger that you ever would in your own living room. You haven't just seen a show, you've been part of something."

Edward Albee's Who's Afraid of Virginia Woolf? is the story of George and Martha, two of the most famous roles ever written for the stage. Over the course of one wickedly hilarious evening, the cocktails come out and the gloves come off as this riveting duo takes their two young guests on the ride of their lives. Direct from Broadway and London's West End, the production at the Kennedy Center featured its acclaimed original stars-- Kathleen Turner (2006 London Evening Standard Theatre Award, Best Actress) and the dazzling Bill Irwin (2005 Tony Award, Best Actor).

In this Power of Theater podcast, part of the Kennedy Center Education Department's Performance Plus program, actress Kathleen Turner (Serial Mom) discusses the importance of theater as a means of creating a shared experience among strangers and her need to touch the lives of her audience. For more information on Performance Plus, visit kennedy-center.org/plus.

The Power of Theater: Someone Who Compels: Lee Blesssing on the role of the playwright

Sun, 25 Mar 2007 13:31:54 -0400

"A playwright...first and foremost has to compel people."

In this Power of Theater podcast, part of the Kennedy Center Education Department's American College Theater Festival's summer intensive for playwrights, playwright Lee Blessing discusses the difference between writing for the theater and writing for television and film. For more information on the American College Theater Festival, visit http://www.kennedy-center.org/education/actf/.

ArtsEdge, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ArtsEdge at artsedge.kennedy-center.org.

The Power of Theater: What Only the Theatre Can Do: Marcia Norman on the unique tools of the playwright

Sat, 28 Apr 2007 13:34:31 -0400

"When you're in a piece of wonderful theater your whole body responds to what's on the stage."

In this Power of Theater podcast, part of the Kennedy Center Education Department's American College Theater Festival's summer intensive for playwrights, playwright Marcia Norman discusses the different forms and forums for storytelling, and what is thrilling about working for the stage. For more information on the American College Theater Festival, visit http://www.kennedy-center.org/education/actf/.

An Evening with Stephen Schwartz: The Early Years

Mon, 21 Aug 2006 16:46:43 -0400
Get to know the musical beginnings of the aspiring composer.

An Evening with Stephen Schwartz: The College Years

Mon, 28 Aug 2006 16:48:08 -0400
Stephen Schwartz's college experience.

An Evening with Stephen Schwartz: The Development of Pippin

Tue, 05 Sep 2006 16:49:47 -0400
Stephen shares the development of Pippin and advice from the legendary Hal Prince.

An Evening with Stephen Schwartz: Corner of the Sky: Pippin in Performance

Mon, 11 Sep 2006 16:51:35 -0400
Stephen Schwartz discusses and performs "Corner of the Sky" from Pippin.

An Evening with Stephen Schwartz: Chanson

Mon, 18 Sep 2006 16:53:11 -0400
Stephen Schwartz discusses and performs Chanson, from The Baker's Wife.

An Evening with Stephen Schwartz: Wicked in Hawaii: The creation of the musical, Wicked

Mon, 25 Sep 2006 16:56:07 -0400
Stephen explains how he learned of the book, Wicked by Gregory Maguire, his quest to convert it to a musical and collaboration with librettist, Winne Holzman.

An Evening with Stephen Schwartz: Stephen Schwartz discusses and performs evolution of "The Wizard and I"

Mon, 02 Oct 2006 16:57:17 -0400
In this insightful selection, Schwartz takes you through the genesis, adaptations, and final version of this Wicked hit song.

An Evening with Stephen Schwartz: Stephen Schwartz collaborates with Leonard Bernstein

Tue, 10 Oct 2006 16:59:13 -0400
In this selection, Schwartz discusses the influences that Leonard Bernstein had on him, beginning with their collaboration in 1971 on the Mass that opened the Kennedy Center.

An Evening with Stephen Schwartz: Pocahontas and working in the world of animation

Mon, 16 Oct 2006 17:01:18 -0400
Stephen Schwartz discusses how he bagan working with Disney and elaborates on the differences between writing for the theater and writing for the movies.

Welcome to the Kennedy Center: The Concert Hall

Tue, 08 Aug 2006 15:31:55 -0400
National Symphony Orchestra Associate Conductor Emil de Cou leads an expedition to the Kennedy Center‚Äôs grand Concert Hall. From the plaza outside and through the Hall of Nations, you‚Äôll get a "private" tour to see where the musicians of the NSO go to work (and learn about what makes the Concert Hall a special place to hear music.)

Sounds of China: Endangered Music

Wed, 25 Jan 2006 16:47:28 -0500

Living in a remote, mountainous region of China’s “Land of Clouds” has buffered the Yunnan people from the outside influences of non-native cultures for centuries. With a wide range of voice techniques and instruments as unusual and diverse as the tree leaf, the moon guitar and the spirit drum, the musicians of the minority ethnic groups of the Yunnan province now perform their traditional songs and dances before world audiences, sharing their native arts and way of life.

In this first of a series on Chinese music designed for use in the K-12 classroom, Professor Lan Lan Wang discusses the art and culture of the Yunnan people and the pressures of globalization that threaten their ancient cultural expressions.

Sounds of China: Traditional Music

Wed, 25 Jan 2006 16:54:12 -0500

Despite China’s long musical history, Chinese orchestras are relatively new. The push for developing a distinctly Chinese performing arts repertoire came with the establishment of the People’s Republic of China in 1949. In the years after, Chinese orchestras mirroring the operational style of Western orchestras, such as having a baton-waving conductor and divisions of instrument families, began to form.

Chinese orchestras initially focused on indigenous folk music, but in the last twenty years, they have developed and performed new works, and their four sections-- bowed-strings, plucked-strings, wind and percussion—have been augmented with new instruments with lower pitch ranges to balance the high pitches of the more traditional instruments. Join scholar Joanna Lee as she guides classroom audiences through the sounds and structures of the traditional Chinese orchestra.

Sounds of China: Creative Crossroads

Mon, 09 Feb 2009 17:09:57 -0500

Composer and self-described “musical anthropologist” Tan Dun (perhaps best familiar for his Oscar-winning score to Crouching Tiger, Hidden Dragon) creates works that bridge time, place and culture through the fusion of ancient and avant-garde sounds

Celebrating the vocal, instrumental, and environmental sounds of the remote Chinese countryside, Tan explores the minority cultures of Hunan Province, where he was born, and brings it into play with modern instruments and orchestrations.

Expanding on the video and audio field recordings gathered for his multimedia concerto The Map, a Concerto for Cello, Video, and Orchestra, Tan and scholar Joanna Lee discuss the vanishing musical cultures of ethnic minorities in western Hunan and reflect on the creative challenges of preserving cultural legacies while creating new music fusing traditional, indigenous and contemporary sounds.

Theater Conversations: Lee Blessing

Sun, 21 Dec 2008 16:03:58 -0500
Lee Blessing (born October 4, 1949) is an American playwright. His best-known play is A Walk in the Woods, which depicts the developing relationship between two arms limitation negotiators, one Russian and one American, over years of negotiation. The play was nominated for both a Tony award and a Pulitzer Prize. His recent plays include A Body of Water, Whores, The Scottish Play, Black Sheep, Fortinbras and many others. He has also written one act plays including, The Roads That Lead Here and Eleemosynary. He currently heads the graduate playwriting program at Mason Gross School of the Arts, Rutgers University. He is married to fellow playwright Melanie Marnich.

Theater Conversations: Marcia Norman

Sun, 21 Dec 2008 16:07:05 -0500
Marsha Norman was awarded the 1983 Pulitzer Prize, Susan Smith Blackburn Prize, Hull-Warriner, and Drama Desk Awards for 'Night Mother, which received its world premiere at the A.R.T. in 1982. Her play Traveller in the Dark also premiered at the A.R.T. in 1984. Ms. Norman won the 1992 Tony Award and Drama Desk awards for The Secret Garden; and the John Gassner Medallion, Newsday Oppenheimer award, and the American Theatre Critics Association Citation for Getting Out. Other plays include Third and Oak, The Laundromat, The Poolhall, The Holdup, Traveler in the Dark, Sarah and Abraham, Loving Daniel Boone, and Trudy Blue. Published work includes Four Plays and a novel, The Fortune Teller. Television and film credits include Face of a Stranger, starring Gena Rowlands and Tyne Daley. Grants and awards include National Endowment for the Arts, the Rockefeller Foundation, and the American Academy and Institute of Arts and Letters; Ms. Norman also serves on the council of the Dramatists Guild. Ms. Norman was born in Louisville, Kentucky; received her B.A. from Agnes Scott College; and her M.A. from the University of Louisville. Since 1994 she has served on the faculty of The Juilliard School.

Theater Conversations: Dael Orlandersmith

Sun, 21 Dec 2008 16:09:39 -0500
Dael Orlandersmith is an actress, poet and playwright that is best known for her Obie Award winning Beauty's Daughter and the 2002 Pulitzer Prize Finalist in Drama,Yellowman. Part of her work from the award winning "Beauty's Daughter's" program can be heard as a segment of a September 1996 taping of radio show "This American Life" where Orlandersmith performs "When You Talk About Music" in which she portrays a 31 year old Italian male who meets a black woman at a mutual friends wedding and finds how much he misses musical expression.

Theater Conversations: Carlos Murillo

Sun, 21 Dec 2008 16:30:10 -0500
Carlos Murillo is a Chicago-based playwright, director and teacher. He is a Visiting Professor at the Theatre School of DePaul University. His play Mimesophobia (or before and after) was produced at Arielle Tepper’s 2005 NYC Summer Play Festival after previous workshops at J.A.W. West Festival at Portland Center Stage (2004), South Coast Rep’s Hispanic Playwrights Project (2003), the Chautauqua Institution Theatre Conservatory (2002) and A.S.K. Theatre Project in Los Angeles (2002). In NY Carlos’ plays have been seen at the Public Theater, New York Theatre Workshop, En Garde Arts, Lincoln Center, Soho Rep, the Hangar Theatre, the Chautauqua Institute Conservatory, the Flea,INTAR and Nada, Inc. Regionally his work has been seen at South Coast Rep, Theatre at Boston Court, Circle X Theatre, Son of Semele Ensemble and A.S.K.Theatre Projects all in southern California, Red Eye Collaboration and the Playwrights’ Center in Minneapolis, The Group Theatre and Annex Theater in Seattle, Portland Center Stage, Madison Repertory Theatre, the Sundance Institute, the Bay Area Playwrights Festival, Boston Theatre Works, Salvage Vanguard and the dirigo group in Austin, and others. In Chicago his plays have been produced at Walkabout Theatre and Barat College of DePaul University. Recently, dark play was presented in the 2006 Latino Theatre Festival at the Goodman Theatre.

Theater Conversations: David Ives

Sun, 21 Dec 2008 16:34:37 -0500
David Ives (b. 1950) attended Northwestern University where he began writing plays. He produced his first play, Canvas, in New York City with the Circle Repertory Company. He later took on a job as an editor of Foreign Affairs and eventually studied drama at Yale University's School of Drama, where he received his MFA. He is known for many successful plays including, All in the Timing, Words, Words, Words, Sure Thing, and Philip Glass Buys a Loaf of Bread. His latest play, Don Juan in Chicago, received the Outer Critic's Circle's John Gassner Playwriting Award and a Drama Desk nomination for outstanding play. Ives also received the 1994 George and Elizabeth Martin Playwrighting Award from Young Playwrights Inc. Ives lives in New York and teaches at Columbia University.

Theater Conversations: Howard Shalwitz

Sun, 21 Dec 2008 16:36:16 -0500
Howard Shalwitz, the longtime artistic director of the Woolly Mammoth Theatre Company, co-founded the theatre back in 1980--at a time when the repertory of American plays was limited to academic classics and NYC vogue. With a commitment to new approaches to theatre and a devotion to bringing new playwriting voices into the limelight, Woolly has had not just a tremendous national impact, but has been an important local influence as well as a partner in community development and a force for bringing new audiences to the theatre.