ARTSEDGE: The Kitchen Sink: Recent Episodes
ARTSEDGE: The Kennedy Center's Arts Education Network
People write songs about a lot of things, mostly things that mean a lot to us. We write songs about desire, songs about loneliness, about heartbreak, love, and for some reason, we also write lots and lots of songs about cars.
Today if you want to talk about a tragedy, there are plenty of ways to do it. But in the past, one way people would pass along news was through songs.
Over the years, they’ve been some of the most popular songs in the country. They are TV Theme songs, something as old as TV.
The Baylor University’s Black Gospel Music Restoration Project has a massive collection of phonograph records made by African Americans in the '40s, '50s and '60s. The curator, Dr. Robert Darden, found that on the flip side of many of these 45 RPM records, there are Civil Rights songs that no one has ever heard.
The lynching of black men in the American South was an all-too-familiar occurrence in the 1930s, even though it rarely made news. So when Billie Holiday had a hit record with the song Strange Fruit, it brought attention to this important issue in unusual ways.
On Sunday, April 9th, 1939, a huge, mixed race crowd gathered at the Lincoln Memorial to witness an extraordinary event. At a time when African-Americans were not allowed vote, go to school or use the same toilet as white people, black contralto Marian Anderson stood in front of 75,000 people and sang classical music – a sign of Civil Rights victories to come.
A step-by-step guide for turning you and your friends into the living dead. All you need is some cheap black and white makeup from your local drugstore. (Brains are optional.)
Make scary-real innards through the magic of kitchen chemistry. This tutorial shows you how to make ballistics gel (for organs).
Make scary-real innards through the magic of kitchen chemistry. This tutorial shows you how to make ballistics gel (for organs).
This special effect is easy to create with makeup and scar wax. And the gashes look so real, your friends will want to drag you to the emergency room.
Here are ways to create the special effect of bursting blood. You'll be amazed at the mess you can make with a simple sandwich bag!
Create the look of a mixed martial arts fighter without stepping into the octagon. No punches, pain, or swelling required.
When you don’t have time to mix it yourself! Many styles and colors of fake blood are available online and in some theatrical supply stores.
More chemistry fun with the non-Newtonian fluid called Oobleck (gooey guts). This gross, gooey substance makes pulling guts easy and fun.
Students review all four of the musical extremes featured on this CD through John Philip Sousa’s Stars and Stripes Forever March.
Students learn that composers use musical dynamics or extremes in volume to create music. By listening to Gustav Mahler’s Symphonies No. 2 and No. 5, students also experience the role extreme dynamics plays in expressing big emotions and ideas.
Students will learn about the third extreme composers consider—size—referring to both an instrument’s size and that of an orchestra. Students will also be introduced to the four families or sections of an orchestra. Students focus on Richard Strauss’ An Alpine Symphony.
Students are introduced to two pairs of musical extremes that a composer chooses from his toolbox to create music—tempo and pitch—through the music of Aram Khachaturian’s wild "Sabre Dance."
Students are introduced to the concept of musical extremes and opposites, and how a composer uses these special tools to make their music sound dramatic and powerful. Specifically, students will learn about tempo, pitch, size, and musical dynamics.
Dish soap and food-coloring—that’s all it takes. And this stage blood is a snap to clean up—the soap is built right in.
This easy recipe for making realistic blood is a delicious blend of sweet syrups and food coloring. Maybe that's why Dracula drinks the stuff.
In this episode, narrator Susan Stamberg connects Jazz and Hip Hop through the lens of Blue Note Records.
Explore the impact of the work Blue Note designer Reid Miles had on album cover design, in Jazz and beyond.
Discover the work of Frank Wolff, who set the tone for Jazz photography with this work for Blue Note records.
In this episode, narrator Susan Stamberg talks about finding jazz in the oddest places.
This episode, narrated by Susan Stamberg, takes us from Big Band to the birth of Bebop and beyond.
As rappers became featured artists, it was the DJ’s job to keep the beat (or the break) steady, so that the rappers could rap to the beat, do their routines, or recite full verses without interruption.
Kandi introduces “the scratch,” a move where you pull the record back and forth while the needle is on the record. But scratching is as much about rhythm and style as it is about technique.
So, we’ve talked about what happens on stage and how it all sounds, but what about how it looks? That’s important, too, and the scenic designer, costume designer, lighting designer, and choreographer all help create the look and feel of a show.
High quality equipment may help you become a better DJ, but nothing beats having the right “touch.”
In a musical, songs and music play an important role in telling the story—helping audiences understand what is happening, what the characters are feeling, and even how characters are changing.
The story of Elephant and Piggie’s We Are in a Play! began as a book (well, six books to be exact). But to tell the stories on stage, the playwright Mo Willems had to adapt, or change, them so they would work together as one story.
The Navy was once the most integrated of the US military services. There was a time when African-Americans could serve in the Navy and nowhere else. But over time, when society changed, the Navy became the branch of service where racism and discrimination were most deeply engrained. Each time that the Navy moved to change its racial discrimination, it turned to musicians to be the pioneers. African-American musicians have stood by their fellow Sailors in the cause of freedom and liberty around the world. These Sailors not only served their country, but also fought for social justice. This podcast explores their story, a rich narrative of the spirit of our nation’s complex history.
Students are introduced to musical scoring for films—music specifically composed to assist storytelling, underscore emotions, and stir ideas. Students are introduced to composer Erich Wolfgang Korngold and his music for the movie The Sea Hawk.
Students learn composers often write music to inspire listeners to think or meditate. They are introduced to different types of listening through Jules Massenet’s Meditation for the opera Thaïs.
Students learn that composers sometimes use music to “paint” or depict the action, characters, and setting of a story by listening to Mikhail Glinka’s opera, Ruslan and Ludmila. Students also experience how the music inspires creativity when designing their settings and costumes.
¿Se acuerdan de la postura de los brazos cerrados y la de brazos abiertos del nivel uno de Baile Latino? Las van a usar otra vez en esta lección de cha cha cha.
Do you remember the closed and open arm holds from Latin Dance, Level 1? You’ll think about them again in this Cha Cha Cha lesson.
Students learn about the history of the violin, its distinct role in the orchestra, and its ability to resemble human “singing.” Students will also be introduced to “pizzicato,” the quick, light rhythmic technique created by plucking the strings. Students listen to Peter Ilyich Tchaikovsky’s Violin Concerto.
En esta lección se aprenderá hacer el paso básico o balanceado – un paso para adelante o para atras que lleva su peso ligeramente, balanceandose hacia donde empezó. Es rápido, asi que use pasos ligeros y transfiere unicamente el peso necesario para que se levante el otro pie. Entre los pasos de balanceado, muevese rapidamente los pies para completar el triple paso. Se puede contar 1, 2 (para el paso básico), despues cha- cha- cha (para el triple paso).
In this lesson you will do a rock step—a forward or backward step that takes your weight just slightly, rocking you back where you started. It is fast, so stay light on your feet and transfer only enough weight to enable lifting the opposite foot. In between rock steps, get those feet moving quickly to complete the triple step. You can count 1, 2 (for the rock step) then cha- cha- cha (for the triple step).
Students learn about the composer’s selection of the right “voice” or instrumentation from the four sections of the orchestra: string, woodwind, brass, and percussion. Students are introduced to music by Erich Wolfgang Korngold, Peter Ilyich Tchaikovsky, and Leonard Bernstein.
Need a reminder of Bachata basics? Just remember 1, 2, 3, tap and 1, 2, 3, tap. The tap on beat 4 and 8 gives a rhythmic accent to the dance steps.
Students are introduced to the concept of music as a language and how music is able to tell stories, convey emotions, and invoke thoughts. Students also learn how stories, thoughts, and emotions can be communicated without words.
This lesson incorporates the basic Salsa steps we learned before—forward/back, side step, and cumbia (or ½ swing)—but adds a new sequence of three steps that combine to form the cross-body lead with a follower’s turn, ending with a leader’s turn.
Meet Nick Kendall, violin soloist and host, and Ankush Kumar Bahl, conductor, as they welcome you to The Kennedy Center and the National Symphony Orchestra's Young People's Concert.
Ricardo and Elba introduce three new moves that will make you feel like a dancing pro—just as long as you keep bending your knees to the beat.
Jason explains what jazz “standards” are, and how musicians all over the globe know how to play these pieces.
Jason explains how jazz musicians and baseball players are more alike than you would think, and helps you understand how musicians communicate during a performance.
What are your musical “tastes?” Jason talks about what the responsibility of the audience is, and gives some tips about how to enjoy a jazz performance.
Jason and the band improvise and vamp using the classic “Ain’t Misbehavin’” by Fats Waller. Make sure to pay attention to Jason’s new headwear.
How is Jazz like a football play? Jason explains “hits” in jazz—and how players know how to navigate the music. The band then plays “Evidence” by Thelonious Monk to illustrate the point.
Using the metaphor of “Harold and the Purple Crayon,” Jason explains what jazz means and how it works.
While listening to a recording of a financial report, Jason creates a new composition using the sound of the reporter’s voice as his inspiration
Jason talks about the musicality of language, and then plays his original composition, "Ringing My Phone."
The Kennedy Center’s Artistic Advisor for Jazz Jason Moran introduces himself and shares his thoughts on innovation and creativity—through the lens of skateboarding and Jazz.
Now it’s time to really kick it into high gear on the dance floor. The Bachata takes some of its cues from other Latin dances, but it’s a unique dance unto itself. Remember, much of Latin dance is connected to “feeling the rhythm.” So listen to the music, and let it move you across the floor.
Ricardo and Elba, along with the dancers from the After School Dance Fund , walk you through the basic steps of the Salsa, one of the most common Latin Dances. The name for the dance was inspired by the food, the dance representing many different styles all being mixed together and re-interpreted on the dance floor. After learning the steps by yourself, grab your partner and dance together.
Ricardo and Elba are going to show you how, with just a few simple moves, you can impress on the floor in no time. The Merengue is the official dance of the Dominican Republic. Remember that when you’re dancing the Merengue, your feet don’t leave the floor.
In this bonus episode, learn how a composer chooses specific tools to combine an American hero’s actual words with music. Aaron Copland composed a musical tribute to President Abraham Lincoln. Why does Copland’s A Lincoln Portrait sound more stately and dignified than John Williams’ music for Superman?
This episode recaps what you learned from this series. You’ll re-listen to excerpts from Williams, Copland, Beethoven, and Elgar and match the work with each composer’s “hero.”
In this episode, you are introduced to the orchestra’s string section and the ability to use major and minor keys through the work of composer George Theophilus Walker.
Composers are sometimes inspired by other composers, making it possible to hear similarities between musical works. In this episode, you will also hear distinct differences between pieces as you are introduced to American composer John Williams’ Summon the Heroes.
In this episode, learn about the four sections of the orchestra; why a composer chooses specific instruments; and about German composer Ludwig van Beethoven and American composer Aaron Copland. Why did Beethoven choose the strings section to express the humanity in Symphony No. 7? What drew Copland to choose the brass and percussion sections for his Fanfare for the Common Man?
Everyday heroes come from the real world. A hero can be an ordinary person who does something great and who is admired for brave deeds or remarkable ability. Sometimes, a nation comes together to honor its heroes. Other times, you choose a personal hero all for yourself. While you listen, think about different types of heroes including those from pop culture, history, myths, everyday experience, and your personal life. In this episode, hear how heroes are celebrated with music, whether by a triumphant march or a thoughtful theme. Discover the basic musical tools used by composers, like John Williams and his use of pitch and rhythm.
Questlove of The Roots and Motown historian Harry Weinger explore “You Can’t Hurry Love,” recorded by The Supremes. They break down the typical “Motown sound,” demonstrating just how different the recording process was for Marvin Gaye’s “What’s Going On.” More at whatsgoingonnow.org.
Questlove of The Roots and Motown historian Harry Weinger continue to unpack Marvin Gaye’s “What’s Going On.” They explore differences between the single and the album versions of the title track, and discover a surprise appearance by the Detroit Lions! More at whatsgoingonnow.org.
Motown historian Harry Weinger and Questlove of The Roots dig deeper into Marvin Gaye’s “What’s Going On.” They talk about synesthesia, raw harmonies, and avoiding the "perfect" Motown fade. More at whatsgoingonnow.org.
Sit at the mixing console with Motown historian Harry Weinger and Questlove of The Roots as they unpack Marvin Gaye’s chart-topping hit, “What’s Going On.” They explore how the instruments were combined to form the song’s unique sound, and even discover a few surprises in the mix. More at whatsgoingonnow.org.
Garry looks ahead to the future of how we will interact with technology using natural user interfaces, like Microsoft's Kinect, Apple's Siri, and IBM's Watson. He talks about how movement-based interfaces like Kinect are rapidly finding their way into arts education, and how conversation-based personal assistants like Watson are already having an impact in the workplace (and the future they offer for educators).
Garry discusses the challenge of effecting change, reviews the current state of self-directed learning, and suggests a future that includes learning management systems. He talks about the importance of the opportunities created by placing a higher value on sentiment analysis, predictive vs. prescriptive data, creating curriculum in a digital environment, and the impact of software on the role of teachers.
Garry discusses arts-influenced changes in the workplace, the opportunities created by social networks and open source engineering, the importance of critical thinking, and the value of both left and right-brain experiences. He talks about the need for students to develop an online portfolio, along with the challenge of managing a balance between transparency and privacy. He then shares a personal experience about a young artist using digital tools and self-directed learning to create music.
Garry outlines the evolving role of the teacher in a dynamic arts education landscape, including the challenge of the widening knowledge gap around student-accessible digital tools. He stresses the importance of educator involvement in online peer-to-peer social networks, following leading-edge thinkers, and professional development through exploring beyond one's own discipline.
Garry speaks about his personal experiences with arts education and his work in the field of millennial studies. Building upon the accepted value of arts experiences in schools, he talks about the importance of the “third-place” as an opportunity for arts experiences and life-long learning.
You probably know about Francis Scott Key’s inspired poetry, drafted during the bombing of Fort McHenry in Baltimore, but where did the music come from? Is there a really a law that requires Americans to stand when it is played? Can it be sung in other languages?
In the final part of this interview, Diane talks about the role of teachers and families in education, as well as her personal experiences with the arts.
Farai takes the bass, tone and slap from the first lesson and teaches the West African fanga rhythm. For more on world music, visit artsedge.kennedy-center.org.
Questlove of The Roots and Motown historian Harry Weinger continue to unpack Marvin Gaye’s “What’s Going On.” They explore differences between the single and the album versions of the title track, and discover a surprise appearance by the Detroit Lions! More at whatsgoingonnow.org.
In part two, Diane talks about the arts in the current testing environment, and the difference between conformists and rebels.
Motown historian Harry Weinger and Questlove of The Roots dig deeper into Marvin Gaye’s “What’s Going On.” They talk about synesthesia, raw harmonies, and avoiding the "perfect" Motown fade. More at whatsgoingonnow.org.
Farai introduces you to the djembe and talks about its historical importance to the Mali Empire. For more on music and dancing, visit artsedge.kennedy-center.org.
Sit at the mixing console with Motown historian Harry Weinger and Questlove of The Roots as they unpack Marvin Gaye’s chart-topping hit, “What’s Going On." They explore how the instruments were combined to form the song’s unique sound, and even discover a few surprises in the mix. More at whatsgoingonnow.org.
In part one of this interview, education historian Diane Ravitch talks about how a complete education begins with the arts, what makes art powerful, what is uniquely valuable to the arts, how the arts are experience, and how they provide the opportunity to become a full and complete human being.
John Legend and students from Duke Ellington School of the Arts perform "What's Going On." More at whatsgoingonnow.org
John Legend talks about how having a stake in your community can help people engage. More at whatsgoingonnow.org
In this lesson, Rujeko teaches how to use a clock to practice dance steps. You'll get a real work-out when she moves into double-double time! For more on music and dancing, visit artsedge.kennedy-center.org.
John Legend talks about how adults, especially teachers, can empower kids for success. More at whatsgoingonnow.org
John Legend talks about working hard and making the most of opportunities. More at whatsgoingonnow.org
In this lesson, Rujeko teaches pelvic isolation and limb throws. Try to keep up when she moves into double time! For more on music and dancing, visit artsedge.kennedy-center.org.
John Legend talks about the background of Marvin Gaye's album, What's Going On. More at whatsgoingonnow.org
John Legend talks about aspiring artists and artistic barriers. More at whatsgoingonnow.org
Rujeko teaches you how to do the “Dinhe," an African dance about celebrating the harvest. For more on music and dancing, visit artsedge.kennedy-center.org.
John Legend talks about how it's an artist's duty to reflect the times they live in. More at whatsgoingonnow.org
Poet Sonia Sanchez discusses how Marvin Gaye's "love song to America" helped a country face its issues. More at whatsgoingonnow.org
Common discusses the obstacles Marvin Gaye faced when creating "God is Love." More at whatsgoingonnow.org
John Legend talks about how writing music that asks questions about faith can help bring people together. More at whatsgoingonnow.org
Poet Sonia Sanchez discusses how Marvin Gaye's "love song to America" helped a country face its issues. More at whatsgoingonnow.org
Common discusses themes in his song, "The Corner" and Marvin Gaye's "Inner City Blues." More at whatsgoingonnow.org
John Legend kicked off the launch of www.whatsgoingonnow.org surprising dozens of Duke Ellington High School of the Arts students rehearsing Marvin Gaye's song at the Kennedy Center on Tuesday, January 31.
This is the big one! The Lindy Hop is the hardest dance to learn, and your feet will definitely be moving. But you'll be able to put everything you've learned in lessons one and two to good use. Once you learn the Lindy Hop, you'll be all set for your first swing dance!
Nina and Bobby take it to the next level with a different kind of swing dance,the Charleston. You'll learn how to move your legs, turn it out, and master "The Big Kick." It's a little harder, so make sure that you've gone through the first lesson before taking this on.
Jazz is a purely American form of music. With one exception. In the 1930s, Hungarian guitarist Django Reinhardt created a unique form of jazz – Gypsy Swing – that mixed traditional Eastern European music with an American beat. In this episode, Gypsy Jazz violinist Tony Ballog introduces us to the music of Django Reinhardt and Gypsy Swing.
In the 1930s, two types of American music, the rural Country/Western and the urban Swing Jazz, were combined to create Western Swing, a popular type of music that crossed racial boundaries. In this episode we’ll learn about the roots of Western Swing, and hear the music of its most famous performer, Bob Wills.
Nina, Bobby, and their friends are going to coach you through the basics of swing dance. Learn how to get your bodies moving, and then how to incorporate some simple moves to make your dance look great. Remember that East Coast Swing is based on triple-step moves (a 6-count beat). And the "Rock Step" you'll learn will also be used in lessons two and three.
“Swing” took over the jazz world in the 1930s and became the music your great-grandparents danced to during World War II. In this episode, modern day Swing performers explain and demonstrate where Swing Jazz came from, why it was so popular, and where you can find it today.
OK Go returns to the stage in the Concert Hall at the Kennedy Center to perform “Here It Goes Again.” But this time, audience participation isn’t limited to the camera crew. This time, Damian brings an audience member onstage to play guitar with the band! In SD.
There’s a question every good jazz musician can answer just by listening to a song: “Does it Swing?” In this episode, we introduce several kinds of vintage and modern swing music: Swing Jazz, Western Swing, Gypsy Swing, and New Jack Swing and learn what music needs to have in order to “Swing.”
In the third part of our interview with OK Go, frontman Damian Kulash talks about how the accessibility of his musical idols influenced how OK Go interacts with their fans.
In the second part of our interview with OK Go, frontman Damian Kulash talks about how experiencing a New Orleans second line parade helped him rethink his place in the music industry.
Arriving at the final stop on our tour, let’s look back at all the composers we’ve met and recall the music we’ve heard. In this episode, we’ll listen to excerpts from the concert program, and you will use what you learned about pitch, rhythm, mood and dynamics to tell us what you think each composer was trying to say. If you’ve enjoyed this podcast, please be sure to let us know, and try our other classical music podcasts, like Classical Music in America, or Beethoven Rocks!
In the first part of our interview with OK Go, frontman Damian Kulash discusses the importance of arts education.
Kitchen cabinets? A plastic bag? A baking sheet? Using everyday objects found around your house, learn how to make spooky sound effects for your very own Halloween radio show!
In the furthest destination in our journey, we travel to Russia. Dmitri Shostakovich used his music to paint a picture of his war-torn homeland. His Symphony No. 10 recalls his memories of the tanks and soldiers, and he composed music that sounded as if you were living through a war. Examine what happens when sound changes its dynamic (from soft to loud--and from loud to louder) while listening to Shostakovich's Symphony No. 10. Our journey's not over yet!
Everyone knows what it feels like to be sad, but what if you wanted to write music that expressed emotions without using words? On this stop in our tour, we’ll listen how Benjamin Britten used melodies sketched in his childhood notebooks to capture emotion in the “Sentimental Saraband” from his Simple Symphony. The final stop on out tour is Russia. Better bring a jacket!
You walk down the red carpet; an usher shows you to your seat under the sparkling chandeliers. Just what you’d expect when attending a performance in the Concert Hall at the Kennedy Center. But this isn’t a typical performance in the Concert Hall. This is OK Go performing for a packed house being filmed by almost two dozen professional and amateur videographers. The confetti cannons burst into the air, and in a frenzy of sight and sound, the band takes the stage with their hit, “Do What You Want” in SD.
From old-time radio to movies and video games, sound, and the use of sound effects, can play a huge role in helping bring stories to life. In this episode, we’ll examine how sound is used to tell stories, and create our own old-time radio show, without ever leaving the house.
Moving on to Norway in our tour, we meet composer Edvard Grieg. Grieg’s challenge was to write music that told a clear story without using any words. Listen as he uses music to help the hero of his story, Peer Gynt, escape from mountain trolls. Next stop, England.
In this episode, meet award-winning Documentary Composer Lenny Williams, a classically trained musician who is as at home in the pit orchastra of the Kennedy Center as he is in a jazz club with DC go-go legend Chuck Brown. Listen as Lenny scores two documentary television scenes, and learn the musical difference between a lion chase and a jellyfish attack!
For such a small country, Austria has had a huge impact on European culture and on classical music. On this stop of our tour, we'll hear how Wolfgang Amadeus Mozart used pitch in his Symphony no. 29. In the next episode, we'll be off to Norway!
In this episode, meet Sound Designer and Producer Cheryl Ottenritter, and listen as she builds compelling promos for Shark Week and the Military Channel, sound by sound. Cheryl also discusses how her background as a musician helps her collaborations with soundtrack composers, and explains what does a sound designer does when what is on screen makes no sound of its own.
Hundreds of years ago, the world was introduced to the orchestra. It was love at first sound. Everyone was captivated by the never-before-heard sounds of some 20 to 100 musicians playing together. Before the orchestra, classical music was for groups of three (trios) or four (quartets)—tops! The invention of this much bigger musical group meant bigger musical possibilities, and the world’s imagination went wild. Composers all across Europe were inspired to try their hand at creating symphonies for the orchestra and pushing classical music to new limits. Next stop: Austria!
Meet Ben Burtt, Sound Designer for films like Star Wars, Raiders of the Lost Ark and WALL-E. Learn how he comes up with sounds that complement the amazing things seen on the silver screen – from laser blasts to whirring, buzzing lightsabers. Find out the story behind some of his signature effects and how he first got interested in sound design.
Indian music typically contains no harmony, can be completely improvised, and is rarely written down. So how do Indian musicians manage to play together? In this segment, we’ll learn about rhythmic patterns called taal, music unique to certain communities and even times of the year, and if deep-rooted musical traditions can continue as India undergoes fast-paced growth and modernization.
The geographic, language, and cultural diversity of India contributes to a broad range of musical styles within Indian music. Certain folk styles and traditions of music important to one region may be virtually unknown in others. In this segment, we’ll learn about many common elements of Indian music—ragas, drones, improvisation, and the celebrity of being a Bollywood playback singer.
Do you know which drum can speak? Or what instrument is made from a pumpkin? In this segment, we’ll learn about the many instruments that define the sounds of Indian music, and how they are played: the tabla, sitar, tanpura, sarangi, mizhavu, naal, dhol, pung… and the double-flute sitara, whose players can perform without stopping to breathe!
Meet the star of the Kennedy Center’s production of Knuffle Bunny: A Cautionary Musical: Knuffle Bunny! Learn how the production brought Trixie’s best pal to life in this look behind the scenes. For more, visit artsedge.kennedy-center.org.
Puppeteers Matt and Gia from the Kennedy Center’s production of Knuffle Bunny: A Cautionary Musical show you the simple ways you bring a pigeon puppet to life. Just don’t let it drive the bus! For more, visit artsedge.kennedy-center.org.
Matt and Gia, puppeteers for the Kennedy Center’s production of Knuffle Bunny: A Cautionary Musical, give you a peek at the different forms of puppetry used in the show. For more, visit artsedge.kennedy-center.org.
The actors in the Kennedy Center’s production of Knuffle Bunny: A Cautionary Musical needed to do more than act! From juggling to gymnastics, find out the special skills required to bring this story to life. For more, visit artsedge.kennedy-center.org.
Rosemary Newcott, director of the Kennedy Center’s production of Knuffle Bunny: A Cautionary Musical, introduces you to the process of bringing a beloved children’s book to the stage. For more, visit artsedge.kennedy-center.org.
The Ninth Symphony is as big as Beethoven gets. By the time he wrote this symphony, he was near the end of his career—and he was also completely deaf. Visit artsedge.kennedy-center.org for even more, including an “Ode to Joy” sing-along!
Beethoven painted pictures with music in his Sixth Symphony, which is often called thePastoral Symphony. In this episode, we learn about another scene, “Storm,” in which Beethoven paints a musical picture of a storm that brews in the distance, coming closer until it is right overhead. Visit artsedge.kennedy-center.org for even more!
Beethoven painted pictures with music in his Sixth Symphony, which is often called the Pastoral Symphony. In this episode, we take a closer look at a happy scene called “Peasants’ Merrymaking,” when the farmers gather in a field for an afternoon of eating, dancing and relaxing. Visit artsedge.kennedy-center.org for even more!
Beethoven’s 5th Symphony is so famous, it even got sent into outer space, so that aliens can find it (seriously, check out our Art/Space podcast). In this episode, you will learn about the famous “da-da-da-DUM” motif in Symphony No. 5. Visit artsedge.kennedy-center.org for even more!
Beethoven’s 5th Symphony is so famous, it even got sent into outer space, so that aliens can find it (seriously, check out our Art/Space podcast). In this episode, you learn about Symphony No. 5 and get to know the composer’s basic tools including beat, rhythm, and pitch. Visit artsedge.kennedy-center.org for even more!
We know President Kennedy for the Cuba Missile Crisis and the Peace Corps. But why is there a performing arts center named after him? Well it turns out President Kennedy made the arts a special cause: He opened the White House to the greatest international and American artists and to ordinary citizens alike. Initiatives led by the Kennedy family brought the Mona Lisa came to America for the first and only time; the White House went through a renovation that revolutionized the way Americans thought about art history. Join actor Richard Dreyfuss to learn all President Kennedy did for the arts in America.
Today we consider big-name celebrity concerts broadcast from the White House to be routine. But that wasn't the case before the Kennedy Administration. More concerts, ballets and operas were staged inside the White House for President and Mrs. Kennedy than ever had been before or ever have been since. Actor Richard Dreyfuss takes us through the roster of singers, dancers and musicians both young and old who performed in the Kennedy years.
We think of music and art as bringing us pleasure or entertainment. But it can also help in -- of all things -- foreign policy. The State Department has said that hearts and minds can be won through culture just as effectively as through guns of the field. In this segment, Chief Musician Mike Bayes of the United States Navy Band talks about how music and culture were used during the Kennedy Administration to bring the world a positive view of America -- from Jazz Ambassadors to the creation of elaborate arrival ceremonies at the White House.
Beethoven’s greatest hits include Moonlight Sonata, Für Elise, “Ode to Joy,” and his famous Fifth Symphony. You might not recognize these titles, but you’re sure to know the melodies. You hear them today in movies, television, ring tones—and orchestral concert halls.
Follow the process of bringing Mo Willems’s beloved children's book to the stage. Commissioned by The John F. Kennedy Center for the Performing Arts, this world-premiere musical tells the story of Trixie, her parents, and Trixie's favorite stuffed animal, Knuffle Bunny. This fun musical features an up-beat score by Michael Silversher with lyrics by Mo Willems.
For almost 50 years, NFL Films has defined the way we see and think about football. One reason they have had such an impact is their unique music; music that can make you feel the action. Tom Hedden wrote many of those songs during 19 years at NFL Films. He narrates and — along with two other legendary NFL Films composers — tells us what it takes to write music that, when you hear it you think "Football." Plus, you'll hear the story behind one of the most iconic sports songs of our times, the theme music for The NFL on Fox.
Even though it's nothing more than a chance for football teams to go an rest, Halftime has become an American institution— where fans cheer, dance and get up and shout. It's also brought us multiple styles of marching band music that are uniquely American. Join the ArtsEdge Half Time Report, hosted by Tom Hedden, who composed songs for 19 years at NFL Films, and learn everything there is to know about the music that comes between the action.
There's nothing to make you feel team spirit or school spirit like a fight song. In this installment, Tom Hedden (who composed songs for 19 years at NFL Films) tells us about some of the famous people who've written fight songs, why most of them were written with in just a few years of each other and why they're called "Fight Songs" in the first place.
The Kennedy Center opens its doors to thousands of children each year – and hundreds of thousands more step in through ARTSEDGE, our K-12 arts education network. Visit us at artsedge.kennedy-center.org.The Kennedy Center opens its doors to thousands of children each year – and hundreds of thousands more step in through ARTSEDGE, our K-12 arts education network.
There's music floating in Outer Space. And we're not just being fancy or poetic. There are actually two disks filled with songs that are floating out beyond the planets that are most distant to Earth. The disks are strapped to the sides of the Voyager probes which were launched to explore the outer edges of our galaxy and whatever lies beyond them. In this podcast, we hear from two of the three people who decided what music would go on the disks, to learn why they thought it was important to let whatever extraterrestrial life may exist in the universe know that human being make music.
The podcast is hosted by Roger Launius, a curator in the Space History Division of the Smithsonian National Air and Space Museum.
Master Sgt. Jari Villanueva, a musician with the United States Air Force Ceremonial Brass, reviews ceremonial music in military, including the historic 1963 funeral for President John F. Kennedy at Arlington National Cemetery. Sgt. Villanueva discusses the role of musicians in the military, demonstrates battlefield bugle calls and talks about why the 24 notes of “Taps” are the toughest notes a military bugler has to play.
Join playwright Jerome Hairson and director Scot Reese as they bring the story of Blues Journey from page to stage, developing the original book of blues lyrics into a fully realized play, rich with musical performances. Blues Journey follows the life of a blues performer as he learns to play, finds fame, and witnesses the blues evolve into rock-and-roll in this world premiere Kennedy Center original production based on the children's book by Walter Dean Myers.
Follow the process of bringing Norton Juster’s beloved book from the golden age of children’s literature to the stage. Commissioned by The John F. Kennedy Center for the Performing Arts, this world-premiere musical tells the story of Milo, who comes to realize that life is more exciting than his wildest dreams. This inventive musical features a melodious score by Arnold Black and witty lyrics full of wordplay by Pulitzer Prize and three-time Tony winner Sheldon Harnick (Fiddler on the Roof, She Loves Me).
Lincoln attended the theater frequently—opera being a particular favorite. In this final episode in the series, we look at the small plays and full-scale spectacles that caught his imagination and interest.
In this second episode, we focus on the political music of Abraham Lincoln’s time—both music created to support the presidential candidates and the music in support—or in protest—of the Civil War.
Abe Lincoln heard and sang much of the music of his time— popular music like the songs of Stephen Foster, as well as concert music and opera. In this first of three episodes, we explore the President's love of, and reliance upon, the popular and folk music of the time.
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.
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.
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.
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/
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/
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.
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.
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.
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.
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.
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.
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
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.
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.
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
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
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
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
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
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
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
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
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
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
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
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
"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/.
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.
"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.
"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 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 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.
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.
"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.
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.
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.
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 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— one of these havens being the prestigious Dunbar High School.
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.
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.
Billy Taylor and Frank Wess share memories of Dunbar High School, long-gone DC clubs... and jazz legends Jelly Roll Morton and Lester Young.
"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.
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).
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.
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.
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.
Stephen Schwartz discusses how he bagan working with Disney and elaborates on the differences between writing for the theater and writing for the movies.
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.
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.
In this insightful selection, Schwartz takes you through the genesis, adaptations, and final version of this Wicked hit song.
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
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.
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.
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.
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.
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.
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’s 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/
In 1920s rural Louisiana, ten cents granted admission to hours of rollicking music at a "La La" house party. La La party music—characterized by the use of accordions, fiddles, triangles, and washboards or rub-boards called frottoirs—formed 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.
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.
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—a 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.
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
Texas has a rich tradition of troubadours—singer-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.
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.
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 norteño music, Anglo-American fiddle music, mariachi bands, Colombian cumbia, and the lively brass section of small, local bands called orquestas—not 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 Martínez 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.
National Symphony Orchestra Associate Conductor Emil de Cou leads an expedition to the Kennedy Center’s grand Concert Hall. From the plaza outside and through the Hall of Nations, you’ll 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.)
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.
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.