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DTSTART;TZID=America/Los_Angeles:20240413T143000
DTEND;TZID=America/Los_Angeles:20240413T160000
DTSTAMP:20260526T115310
CREATED:20240326T172519Z
LAST-MODIFIED:20250213T230338Z
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SUMMARY:Zombaria Practices: exercises with the body and radical imagination.
DESCRIPTION:Join us for “Zombaria Practices: exercises with the body and radical imagination.\,” a special artist-led workshop with Rio de Janeiro-based actress\, dancer\, choreographer\, and educator Vanessa Soares as part of the multi-sited exhibition Seeing through Stone on view at the Institute of the Arts and Sciences. During this dance-related workshop\, Soares will guide participants through the concept of Zombaria\, which she has developed through her practice as an educator in Brazil.  \n\n\n\nSoares’ Zombaria (a Portuguese term that can be translated as “mockery”) are bodily practices that\, through errors\, laughter\, mockery\, and loss of control\, envision dance as an exercise of disobedience: a practice that can generate cracks in the imaginary walls that enclose both educational institutions and bodies. Zombaria sustains a space for freedom and experimentation as dance becomes survival and a tool for restructuring one’s living\, teaching\, and learning experiences.  \n\n\n\nDuring this workshop\, participants will also learn about Vanessa Soares’ collaboration with O grupo inteiro and Lorran Dias\, part of the work Liberdade Zero/Zero Freedom\, featured at the Seeing through Stone exhibition at the IAS. Over three months\, Soares worked with children who live in the Complexo de Favelas da Maré (Maré Favela Complex)\, in Rio de Janeiro\, and study at the Centro de Estudos e Ações Solidárias da Maré (Center for Studies and Solidarity Actions of Maré\, or CEASM). In a series of imaginative exercises\, which included a fantastical trip to the moon\, Soares brought the children into contact with contexts that inhabit their imaginations but are outside their immediate surroundings. \n\n\n\nThis event is open to the public but RSVP is required to guarantee your spot. RSVP here.  \n\n\n\nLocated on the 3rd floor of the Institute of the Arts and Sciences\, 100 Panetta Ave\, Santa Cruz\, CA.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVanessa Soares is an actress\, dancer\, and educator who lives and works between Sao Paulo and Rio de Janeiro\, Brazil. She holds a degree in Dance from (UFRJ Federal University of Rio de Janeiro). Soares has created her dance method\, Zombaria\, in which she explores possibilities of fugitivity and radical imagination through fiction and body experiments.
URL:https://ias.ucsc.edu/event/zombaria-practices-exercises-with-the-body-and-radical-imagination/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Music & Performances,Special Programs
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2024/03/still_liberdade_zero_01.jpg
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DTSTART;TZID=America/Los_Angeles:20240206T190000
DTEND;TZID=America/Los_Angeles:20240206T190000
DTSTAMP:20260526T115310
CREATED:20231215T203056Z
LAST-MODIFIED:20240123T222254Z
UID:8215-1707246000-1707246000@ias.ucsc.edu
SUMMARY:Samora Pinderhughes & Elena Ayodele Pinderhughes Performance - Maria Gaspar's Compositions' "We Lit the Fire and Trusted the Heat"
DESCRIPTION:In conjunction with Compositions\, on view at the IAS\, Maria Gaspar’s sculptural renderings of the jail’s fragments have been sonically and visually activated through performances over the course of the exhibition as part of Gaspar’s work We Lit the Fire and Trusted the Heat. These events make present the histories of people so often occluded by carceral structures and suggest new modes of transforming the wreckage of the present through art. This event is by invitation only.  \n\n\n\nThis February 6th 2024\, join us for a live performance by acclaimed musicians Elena and Samora Pinderhughes who will perform an improvised musical piece using sculptures made from the fragments of the Cook County Jail. This sprawling space of imprisonment covers ninety-six acres on Chicago’s West Side and is one of the largest concentrations of incarcerated people in the country. Long a subject of Gaspar’s work\, it was the site of a series of community-engaged art projects from 2012-2016. Learn more here.  \n\n\n\n\n\n  \n\n\n\n\n\n\n\nElena Ayodele Pinderhughes is an award winning flutist\, vocalist\, composer\, and songwriter. Pinderhughes’s style seamlessly blends jazz\, hip-hop\, and R&B influences\, reflecting her diverse musical upbringing and open-minded approach to music. She began her musical journey at a young age and has since established herself as a prominent figure in the contemporary jazz and R&B music scenes\, performing and touring in venues and festivals throughout the United States\, Europe\, Japan\, and South America. Described by The Guardian as the “most exciting and creatively assured jazz flutist to have emerged in years”\, Elena has performed in venues and festivals including: Carnegie Hall\, the White House\, the Kennedy Center\, Coachella Music Festival\, Monterey Jazz Festival\, Marciac Festival\, Montreux Jazz Festival\, North Sea Jazz Festival and Newport Jazz Festival. Elena was raised in the Bay Area\, CA and moved to New York City to study flute and voice at The Manhattan School of Music. In New York\, she began recording\, touring and performing with artists in multiple genres including Common\, Herbie Hancock\, Christian Scott aTunde Adjuah\, Terrace Martin\, Robert Glasper\, Hubert Laws\, Kenny Barron\, Stefon Harris\, Lionel Loueke\, Terri Lyne Carrington\, Josh Groban\, Vijay Iyer\, Future and others. Most recently\, Elena is featured on Terrace Martins album\, “Fine Tune”\, Herbie Hancock’s upcoming album\, Common’s album\, ”Black America Again”\, Lupe Fiasco’s “Drogas Wave\,” Christian Scott aTunde Adjuah’s albums “Stretch Music: Introducing Elena Pinderhughes” and “Diaspora”\, Ambrose Akinmusire’s Blue Note album\, “The Imagined Savior is Far Easier to Paint\,” Terri Lyne Carrington’s Grammy Winning album “New Standards” as well as many others. Performing with a range of musicians\, as well as with her own group\, Elena tours internationally with Herbie Hancock\, Terrace Martin\, Christian Scott aTunde Adjuah and Common. Her unique voice\, flute playing\, and writing style bring her musicality\, harmony\, rhythm\, and culture to create a very specific sound all her own. \n\n\n\nSamora Pinderhughes is a composer\, pianist\, vocalist\, filmmaker\, and multidisciplinary artist known for striking intimacy and carefully crafted\, radically honest lyrics alongside high-level musicianship. The New York Times describes Pinderhughes as “one of the most affecting singer-songwriters today\, in any genre” that “turn(s) the experience of living in community inside-out\, revealing all its personal detail and tension\, and giving voice to registers of pain that are commonly shared but not often articulated.” He has collaborated with many artists across boundaries and scenes including Common\, Herbie Hancock\, Glenn Ligon\, Sara Bareilles\, Robert Glasper\, Simone Leigh\, Daveed Diggs\, Kyle Abraham\, Titus Kaphar\, and Lalah Hathaway; and has been mentored by Anna Deavere Smith\, Vijay Iyer\, Jason Moran\, and others. Pinderhughes is the first-ever Art for Justice + Soros Justice Fellow\, a recipient of Chamber Music America’s Visionary Award\, and has received awards from Creative Capital\, the Kennedy Center\, and Sundance. He is a graduate of The Juilliard School and is currently getting his Ph.D. at Harvard University. Pinderhughes has released the musical projects The Transformations Suite\, Black Spring EP\, and GRIEF. He is also the creator of The Healing Project\, a massive multidisciplinary project which was recently awarded a $1 million grant from The Mellon Foundation to expand its work. \n\n\n\nMaria Gaspar is a Chicago-born interdisciplinary artist whose practice addresses issues of spatial justice to amplify\, mediate\, or divert structures of power through individual and collective gestures. Gaspar is the recipient of Guggenheim Fellowship for the Creative Arts\, Latinx Artist Fellowship\, United States Artists Fellowship\, Frieze Impact Prize\, Art Matters Award\, Imagining Justice Art Grant\, Robert Rauschenberg Artist as Activist Fellowship\, Joan Mitchell Emerging Artist Grant\, and Creative Capital Award. Gaspar has exhibited at venues including MoMA PS1\, New York\, NY; the Contemporary Arts Museum\, Houston\, TX; and the Abroms-Engle Institute for the Visual Arts\, Birmingham\, AL. She is an Associate Professor at the School of the Art Institute of Chicago\, holds an MFA in Studio Arts from the University of Illinois at Chicago\, and a BFA from Pratt Institute in Brooklyn\, NY. \n\n\n\n \n\n\n\nThis event is part Compositions\, Gaspar’s solo exhibition on view until March\, 2\, 2024 at the Institute of the Arts and Sciences. \n\n\n\nImage: Elena and Samora Pinderhughes
URL:https://ias.ucsc.edu/event/elena-samora-pinderhughes-performance-maria-gaspars-compositions-we-lit-the-fire-and-trusted-the-heat/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Music & Performances,Visualizing Abolition
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2023/12/SamoraElena_Marketing-Cloud-Emails-1200x762-1.png
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231201T190000
DTEND;TZID=America/Los_Angeles:20231201T200000
DTSTAMP:20260526T115310
CREATED:20231016T210628Z
LAST-MODIFIED:20231128T184024Z
UID:7941-1701457200-1701460800@ias.ucsc.edu
SUMMARY:Anthony Michael Jefferson ("AJ") Presents: The Bumpy Road Less Traveled
DESCRIPTION:Join us December 1\, 7:00 p.m. for The Bumpy Road Less Traveled\,  a one-person theatre performance by actor and playwright Anthony Michael Jefferson (“AJ”). The powerful performance is drawn from AJ’s experiences over the 23 years he was incarcerated in Soledad State Prison (officially known as “Correctional Training Facility”)\, and the road he traveled to and from that prison cell. The performance will be followed by Q&A. \n\n\n\n\nRSVP\n\n\n\n\nAnthony Michael Jefferson (“AJ”) is a returned citizen\, paroled from Soledad in 2015 after 23 years inside the California State Prison. An actor and writer\, AJ has participated in TheatreWorkers Project (TWP) programs since 2021. He was a featured lead actor in TWP’s Further Shores\, a filmed performance collage created during the Covid pandemic\, which was inspired by a poem he wrote. AJ was also a lead actor in The Box\, a dynamic traveling legislative theatre production about solitary confinement\, which toured the United States in 2022. Beyond his work as an actor and a writer\, while inside\, AJ assisted ESL students with forms\, facilitated NA and AA\, supported pre-parole groups\, and taught creative writing workshops. Upon his parole\, AJ enrolled in the prestigious Le Cordon Bleu\, where he graduated with honors. 
URL:https://ias.ucsc.edu/event/anthony-michael-jefferson-aj-presents-the-bumpy-road-less-traveled/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Music & Performances,Visualizing Abolition
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2023/10/AJPerformance_Marketing-Cloud-Emails-1200x762-1.png
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231007T160000
DTEND;TZID=America/Los_Angeles:20231007T173000
DTSTAMP:20260526T115310
CREATED:20230724T234617Z
LAST-MODIFIED:20260123T002934Z
UID:7755-1696694400-1696699800@ias.ucsc.edu
SUMMARY:Maria Gaspar Artist Talk and Performance with Special Guest James Gordon Williams
DESCRIPTION:In conjunction with Compositions\, on view at the IAS\, Maria Gaspar’s sculptural renderings of the jail’s fragments will be sonically and visually activated through performances over the course of the exhibition. These events will periodically make present the histories of people so often occluded by carceral structures and suggest new modes of transforming the wreckage of the present through art.  \n\n\n\nJoin us on October 7 for a talk in which Gaspar will present her artistic practice as well as a live performance from the acclaimed composer and theorist James Gordon Williams\, assistant professor of music at UC Santa Cruz. Williams will perform an improvised musical piece using sculptures made from the fragments of the Cook County Jail. This sprawling space of imprisonment covers ninety-six acres on Chicago’s West Side and is one of the largest concentrations of incarcerated people in the country. Long a subject of Gaspar’s work\, it was the site of a series of community-engaged art projects from 2012-2016. Learn more here.  \n\n\n\n\n\nAbout Maria Gaspar\n\n\n\nMaria Gaspar is a Chicago-born interdisciplinary artist whose practice addresses issues of spatial justice to amplify\, mediate\, or divert structures of power through individual and collective gestures. Gaspar is the recipient of Guggenheim Fellowship for the Creative Arts\, Latinx Artist Fellowship\, United States Artists Fellowship\, Frieze Impact Prize\, Art Matters Award\, Imagining Justice Art Grant\, Robert Rauschenberg Artist as Activist Fellowship\, Joan Mitchell Emerging Artist Grant\, and Creative Capital Award. Gaspar has exhibited at venues including MoMA PS1\, New York\, NY; the Contemporary Arts Museum\, Houston\, TX; and the Abroms-Engle Institute for the Visual Arts\, Birmingham\, AL. She is an Associate Professor at the School of the Art Institute of Chicago\, holds an MFA in Studio Arts from the University of Illinois at Chicago\, and a BFA from Pratt Institute in Brooklyn\, NY. \n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout James Gordon Williams\n\n\n\nJames Gordon Williams is a composer\, pianist\, improviser\, and cultural theorist. He has worked with artists Crystal Z. Campbell\, Cauleen Smith\, Suné Woods\, and poet and MacArthur Fellow Fred Moten. As pianist and improviser\, he has performed with Pulitzer Prize-winning composer Anthony Davis\, bassist Mark Dresser\, Miles Griffith and Gregory Porter\, MacArthur Fellow George E. Lewis\, Mark Dresser\, Greg Osby\, and the late Charli Persips’ Supersound band\, as well as other music luminaries. He has played music in such storied venues as Birdland\, Lenox Lounge\, Symphony Space\, Village Vanguard\, and music festivals around the world. As a scholar\, he writes on how African American composers and improvisers express political thought through creative practices that often connect to contemporary U.S. social movements. He is the author of Crossing Bar Lines: The Politics and Practices of Black Musical Space (2021). Williams is an Assistant Professor of Composition in African American/Global-African Traditions in the Department of Music at the University of California\, Santa Cruz where he is also affiliate faculty in the Department of History of Consciousness and Visualizing Abolition Studies program. \n\n\n\n\n\n\n\n\n\n\n\nWe are pleased to be part of National Arts & Humanities Month in October.
URL:https://ias.ucsc.edu/event/maria-gaspar-artist-talk-and-performance-with-special-guest-james-gordon-williams/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Music & Performances,Visualizing Abolition,Watch Now
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2024/04/edit01d.00_52_09_18.Still002.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230924T161500
DTEND;TZID=America/Los_Angeles:20230924T173000
DTSTAMP:20260526T115310
CREATED:20230419T191342Z
LAST-MODIFIED:20230530T160748Z
UID:7383-1695572100-1695576600@ias.ucsc.edu
SUMMARY:Terri Lyne Carrington Presents Visualizing Abolition
DESCRIPTION:Created as part of Visualizing Abolition\, a public scholarship initiative housed at the Institute of the Arts and Sciences at the University of California\, Santa Cruz\, Music for Abolition provides a soundtrack for–and heartbeat to–the shared struggle for a future in which prisons\, policing\, and racial violence are things of the past. Directed and curated by Terri Lyne Carrington\, the project brings together artists\, dancers\, and musicians from a variety of genres to craft a multimedia call for reflection and freedom. In this event featuring the video performances produced as part of Music for Abolition\, Terri Lyne Carrington\, Angela Davis\, and Gina Dent will discuss the vital role jazz can play in expressing grief\, rage\, and exhaustion as part of the drive for freedom amidst historic and contemporary conditions of oppression. Collaborators include Chief Christian Scott aTunde Adjuah\, Nicole Mitchell Grant\, Nicholas Payton\, Samora and Elena Pinderhughes\, and more.  \n\n\n\nNEA Jazz Master and four-time GRAMMY® award-winning drummer\, producer and educator\, Terri Lyne Carrington has long collaborated with visual artists from Mickalene Thomas to Carrie Mae Weems. She has also maintained a steady activist practice\, fighting for gender and racial justice as well as greater inclusivity within the music world itself.  \n\n\n\nAngela Davis is known internationally for her ongoing work to combat all forms of oppression in the U.S. and abroad. Over the years she has been active as a student\, teacher\, writer\, scholar\, and activist/organizer. She is a living witness to the historical struggles of the contemporary era. Former California Governor Ronald Reagan once vowed that Angela Davis would never again teach in the University of California system; today she is Distinguished Professor Emerita in the History of Consciousness and Feminist Studies Departments at the University of California\, Santa Cruz. \n\n\n\nGina Dent is Associate Professor Feminist Studies\, History of Consciousness\, and Legal Studies at the University of California\, Santa Cruz. A committed activist\, scholar\, and educator\, she directs the Mellon-funded Visualizing Abolition project\, an initiative that aims to shift our social attachment to prison through art exhibitions\, curricular initiatives\, and public programs. Together with Angela Davis\, Erica Meiners\, and Beth Richie\, she is the author of Abolition. Feminism. Now. (Haymarket\, 2022). \n\n\n\nMusic for Abolition will be featured as part of the Monterey Jazz Festival 66. The performance will take place at the Pacific Jazz Café in Monterey on Sunday\, September 24 from 4:15 to 5:30 PM. For full details\, including a link to purchase tickets\, see here.
URL:https://ias.ucsc.edu/event/terri-lyne-carrington-presents-visualizing-abolition/
LOCATION:Pacific Jazz Café\, Monterey County Fairgrounds\, 2004 Fairground Road\, Monterey\, California\, 93940\, United States
CATEGORIES:Music & Performances,Music for Abolition
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2023/04/Us-n-We_-Terri-Lyne-Carrington-and-Lisa-Fischer.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230608T183000
DTEND;TZID=America/Los_Angeles:20230608T200000
DTSTAMP:20260526T115310
CREATED:20230510T215651Z
LAST-MODIFIED:20230516T165752Z
UID:7603-1686249000-1686254400@ias.ucsc.edu
SUMMARY:Terri Lyne Carrington Presents Music for Abolition
DESCRIPTION:Created as part of Visualizing Abolition\, Music for Abolition provides a soundtrack for–and heartbeat to–the shared struggle for a future in which prisons\, policing\, and racial violence are things of the past. Directed and curated by Terri Lyne Carrington\, the project brings together artists\, dancers\, and musicians from a variety of genres to craft a multimedia call for reflection and freedom. In this special event\, Carrington and her musical collaborators will take over the IAS galleries for an evening of music and liberation. Attendance is by invitation only. \n\n\n\nPlease note: Music for Abolition will also be featured as part of the Monterey Jazz Festival 66 in the form of a film screening and conversation with Terri Lyne Carrington\, Angela Davis\, and Gina Dent at the Pacific Jazz Café in Monterey on Sunday\, September 24 from 4:15 to 5:30 PM. For full details\, including a link to purchase tickets to the September event\, see here. \n\n\n\n  \n\n\n\nNEA Jazz Master and four-time GRAMMY® award-winning drummer\, producer and educator\, Terri Lyne Carrington has long collaborated with visual artists from Mickalene Thomas to Carrie Mae Weems. She has also maintained a steady activist practice\, fighting for gender and racial justice as well as greater inclusivity within the music world itself. \n\n\n\nParticipating musicians include: \n\n\n\n\nSarah Elizabeth Charles\n\n\n\nCamila Cortina Bello\n\n\n\nMorgan Guerin\n\n\n\nNicole Mitchell\n\n\n\nNicholas Payton\n\n\n\nElena Pinderhughes\n\n\n\nDianne Reeves\n\n\n\nMatthew Stevens\n\n\n\nCarl “Kokayi” Walker
URL:https://ias.ucsc.edu/event/terri-lyne-carrington-presents-music-for-abolition/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Music & Performances,Music for Abolition
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2023/05/Music-for-Abolition-banner.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221031T000000
DTEND;TZID=America/New_York:20221031T235959
DTSTAMP:20260526T115310
CREATED:20221023T014003Z
LAST-MODIFIED:20221130T093753Z
UID:2404-1667174400-1667260799@ias.ucsc.edu
SUMMARY:Music for Abolition
DESCRIPTION:(Tab to skip section.)\n\n	\n	\n\n		\n\n		\n		\n\n						\n				\n			\n			\n			\n\n				\n					About this event 					A collection of music videos dedicated to abolition										Visualizing Abolition is organized by Professor Gina Dent\, Feminist Studies and Dr. Rachel Nelson\, Director\, Institute of the Arts and Sciences in collaboration with San José Museum of Art and Mary Porter Sesnon Art Gallery. The series has been generously funded by the Nion McEvoy Family Trust\, Ford Foundation\, Future Justice Fund\, Wanda Kownacki\, Peter Coha\, James L. Gunderson\, Rowland and Pat Rebele\, Porter College\, UCSC Foundation\, and annual donors to the Institute of the Arts and Sciences. 														\n\n			\n\n		\n\n		\n		\n\n	\n\n	\n\n\n\nPartners include: Howard University School of Law\, McEvoy Foundation for the Arts\, Jessica Silverman Gallery\, Indexical\, The Humanities Institute\, University Library\, University Relations\, Institute for Social Transformation\, Eloise Pickard Smith Gallery\, Porter College\, the Center for Cultural Studies\, the Center for Creative Ecologies\, and Media and Society\, Kresge College. \n\n\n\n\n\n\n\nUs n’ We\n\n\n\nTerri Lyne Carrington and Lisa Fischer\n\n\n\n“Us n’ We” examines the issues of isolation\, mental illness\, grieving\, profiling\, spiritual well being\, love\, freedom… and their relationship to incarceration. \n\n\n\n\n\n	Full Bleed Media (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/508933956\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nComposed\, performed and filmed by Terri Lyne Carrington and Lisa Fischer \n\n\n\n\n\nEdited by “Yo V” (Vilho Louhivuori) \n\n\n\n\n\n\n\n\n\nSleepwalkers\n\n\n\nKris Davis\, Val Jeanty\, and Lily Finnegan\n\n\n\nSleepwalkers act in mindlessness\, prison guards enforce. How do we imagine a society that breaks away from what we are told is possible? Free of sleepwalkers and prison guards? Imagination is a key element of abolition. This piece was inspired by the words of Robin D.G. Kelley and Jackie Wang\, both of whom are quoted. \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/548616820\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nComposed by Kris DavisPerformed by Kris Davis\, piano \n\n\n\n\n\nElectronic percussion Val JeantySpoken narration Lily Finnegan \n\n\n\n\n\nSound design/production Terri Lyne CarringtonVideo editing “Yo V” (Vilho Louhivuori)\,  \n\n\n\n\n\n\n\n\n\nCan You Imagine\n\n\n\nMaimouna Yousef aka “Mumu Fresh” and Queen Cora Coleman\n\n\n\n“Can You Imagine” is a collaborative work between Mumu Fresh and Queen Cora that shares the in-depth journey of a young boy who fell victim to the highest expression of insecurity through White Supremacy. This young man later becomes the father of Mumu Fresh. “Can You Imagine” shares the hope of new perspective. The song encapsulates a vision of life without the need for bondage and incarceration and where LOVE and IMAGINATION serve as the primary expression of human engagement.  \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/508692500\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nLyrics by: Maimouna Yousef aka “Mumu Fresh”Mastered by: Carlos Garza \n\n\n\n\n\nPoetry and Music Production: Queen Cora Coleman \n\n\n\n\n\nMumu Fresh is filmed by Anshia CroomsQueen Cora is filmed by Sudari Scott \n\n\n\n\n\n\n\n\n\nFreedom Is No Fear\n\n\n\nNicholas Payton\n\n\n\nAs a Black American\, when I think about abolition\, my mind immediately goes to music as being the first means of crafting our liberation\, post-colonization. When we were not allowed to speak our native tongues\, we created a new language in the Blues. In this piece\, we use sound and visuals as a means of recalling a lineage in which our traumas are not commodified for entertainment or media fodder. We use repetition to help break through the mental fog of false constructs like racism and sexism. Throughout the composition\, our ancestor Nina Simone is heard reminding us that freedom is no fear. To me\, abolition is more than just visualizing a future in which we are free\, but that freedom is now and it starts in the mind. \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/509907196\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nVideo directing\, video editing\, trumpet\, keyboards\, bass: Nicholas Payton \n\n\n\n\n\nLooper\, drum machine: Sasha MasakowskiLive music video director: Rob Davis \n\n\n\n\n\nLive music camera: Sarah RochisVisual effects: Antoine StaibSound Engineer: Andrew Block \n\n\n\n\n\n\n\n\n\nONLY THE SHADOW KNOWS (HONEY) / RIOT\n\n\n\nJason Moran and Kyle Abraham\n\n\n\nThis piece aims to highlight the pace at which abolition occurs. It lasts longer than a moment\, more than a lifetime\, spanning generations of seekers. The choreographer Kyle Abraham puts the moving body in front of  us\, because it is the most important part of actualizing our vision of abolition. The body changes shape\, struggling to set a tempo for a “movement.” Frederick Douglass does this by also frequently posing in front of a camera. These images become chapters. By documenting his existence\, he becomes the most photographed man of his time\, verifying his body and mind. The dance verifies the body in the moment\, responding to the sound. When we feel we are static\, much energy is stirring for the next gesture\, to give the smoke a shadow.   \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n	\n\n\n\n\n\nPianist/Composer: Jason MoranChoreographer: Kyle AbrahamDancer: Claude “CJ” Johnson \n\n\n\n\n\nCamera: Ashli BickfordAdditional Film Editing: Dan Scully \n\n\n\n\n\nFilmed at Kaatsbaan Cultural ParkArchival Footage of Newark Riots of 1967 \n\n\n\n\n\n\n\n\n\nComfort Food\n\n\n\nMalcolm-Jamal Warner\n\n\n\nAs a society we have been conditioned to be creatures of comfort. We artificially sweeten inconvenient truths to make us feel good. We hold onto lies to make us feel right. Imagine a society where we all feast on love and nurture each other in a way that uplifts every individual’s inner light. \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/508692520\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nComposed\, recorded\, & shot by: Malcolm-Jamal Warner \n\n\n\n\n\nEdited by: Nathan Anderson \n\n\n\n\n\n\n\n\n\nYou Ought To Be Ashamed/Expanse\n\n\n\nCécile McLorin Salvant\n\n\n\nSome of us have been dreaming ofExpanseSome of us have been slowly making plansExpanseA place where we can stretch our toesExpanseThe kind of vastness where a body doesn’t knowWhich way to go \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/508929390\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nYou Ought To Be Ashamed – music and lyrics by: Porter Grainger \n\n\n\n\n\nExpanse – music and lyrics by: Cécile McLorin Salvant \n\n\n\n\n\nVoice\, piano\, animation\, editing by: Cécile McLorin SalvantPhotographs courtesy of Library of Congress free to use and reuse sets \n\n\n\n\n\n\n\n\n\nAbolition Think Tank\n\n\n\nNicole Mitchell\n\n\n\n“Abolition Think Tank” is a shared exploration of concrete steps needed to move past our present punitive culture\, led by three incarceration veterans\, Sadiq Davis\, Richard Garland and James Badue-El\, who actively work to facilitate positive societal re-entry for others.  \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/511274741\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nFilm\, Music and Editing by: Nicole Mitchell Gantt \n\n\n\n\n\nSpoken Word by: Sadiq Davis\, Richard Garland and James Badue-El \n\n\n\n\n\nPhotographs by: Chris Benson\, Library of Congress\, Eye for Ebony\, Nicole Mitchell Gantt\, Unseen Histories\, Trust Tru Katsan\, Kayle Kaupange\, Glodi Miessi\, Humphrey Mule\, Andrae Ricketts\, Jon Tyson \n\n\n\n\n\n\n\n\n\nBlind Emotions\n\n\n\nSarah Elizabeth Charles\n\n\n\n“Blind Emotions” is an original composition inspired by my teaching artist work at Sing Sing Correctional Facility in Ossining\, NY. Through this work I have learned more about myself and the creative process than ever before\, and have also clearly seen the way in which music can humanize any and every experience\, even in those settings that attempt to dehumanize the most. Blind Emotions is dedicated to all the artists on the inside who I have learned from and grown with. It is a testament to the possibilities in each of us to look beyond our own inherent bias\, to see all human beings as deserving of true restorative justice and to consider all of the intersectional societal factors at play in any given situation. It is a call for us to reimagine our carceral spaces and expand our imaginations. \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/514409942\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nWritten\, performed and edited by: Sarah Elizabeth Charles \n\n\n\n\n\nFilmed by: Sarah Elizabeth Charles & Inner World Films \n\n\n\n\n\n\n\n\n\nPiggly Wiggly\n\n\n\nOrrin Evans and Eric Revis\n\n\n\nA song authorities said was taught to children during Black Panther breakfast programs\, including the verse\, “Oink oink\, bang bang\, dead pig\,” was released yesterday by police. Sgt. Dan Cook said the song was sung to officers by five children who were sprayed with a tear gas grenade they found at a Black Panther building and accidentally triggered. Cook said the reference to officers as “pigs” in the song was understood by the children. Part of the song\, according to Cook\, was: “No more sisters in jail\, “Off the pig. “No more brothers in jail\, “Off the pig. “The revolution has come\, “Off the pig. “Time to pick up your gun\, “Off the pig. “And put the pigs on the run\, “Off the pig.” Cook said the children were taught to march to another verse: “Piggly Wiggly\, you gotta go now. “Oink oink\, bang bang\, dead Pig”. A cannister was found in a box of clothes in a garage where the panthers conduct a “free breakfast’’ program for children. The boy accidentally pulled the pin on the grenade and sprayed himself\, his two brothers and two sisters. They were treated at Central Receiving Hospital for minor eye irritations and released. Cook said no arrests were made in the tear gas incident but an investigation was being conducted. \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/521064678\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nLyrics by: Black Panther Chant  \n\n\n\n\n\nMusic by: Eric Revis & Orrin Evans inspired by Black Panther Chant  \n\n\n\n\n\nVideo/Audio Production by: Matthew Parrish for Bump Jazz Productions \n\n\n\n\n\n\n\n\n\nIncarnation\n\n\n\nChief Christian Scott aTunde Adjuah\n\n\n\nI first learned of abolitionism and activism through my grandfather\, the late Big Chief Donald Harrison Sr. The only man to lead four nations of the Black Tribes of New Orleans\, Louisiana (regionally referred to as Black Indians). These maroon clans have stood in open opposition to the injustices of this land since the first decade of the 1700s. I often find myself looking to the lessons of my childhood for guidance\, and deeper understanding of what has happened before. As chief carrying on this fight\, our fight\, his fight\, their fight\, is a mandate that cannot be ignored. He taught us that the ire of the fight for liberty in this land was rooted in those unwilling to yield to the shadow of injustice. That this fight is also the fight of all those within you\, and most importantly\, those who would become. Those whom your actions will inspire. “Incarnation” was written to offer reverence to those who waged this fight before us. The countless volumes of liberators who now speak through you and I. As we continue to endeavor this country into light\, it is paramount that we do so tethered to the force and energy of their lifetimes and sacrifices\, pulling every fathomable resource rooted in light to our cause in ending the campaigns of hate and fear once and for all. With gratitude\,Xian Adjuah \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/521064880\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nChief Christian Scott aTunde Adjuah: Adjuah Trumpet\, Sonic Architecture – All Parts  \n\n\n\n\n\nSogo\, Atsimevu\, Kaganu\, Kroboto\, Kidi\, Gankogui\,Fontomfrom Antunpan\, Apentemma\, Petia\, Donno\,Kenkeni\, Sangban\, Doundoun – All Parts \n\n\n\n\n\n \n\n\n\n\n\n\n\nHolding Cell\n\n\n\nElena Ayodele Pinderhugthes & Samora Abayomi Pinderhughes  \n\n\n\nCages are no place for any being. Abolish prisons. Abolish ICE. Abolish Borders  \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/534065981\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nFilming of Samora by: Christian Padron & Sammy SuhFilming of Elena by: Akintunde AhmadSong by: Samora Pinderhughes \n\n\n\n\n\nEdited by: Samora PinderhughesVocals: Samora & Elena PinderhughesWurlitzer: Samora PinderhughesFlute: Elena Pinderhughes \n\n\n\n\n\nStrings: Argus QuartetGuitar: Brad Allen WilliamsElectric Bass: Boom BishopAlto Saxophone: Immanuel WilkinsTenor Saxophone: Lucas Pino \n\n\n\n\n\n\n\n\n\nFor Trayvon\n\n\n\nJosé James\n\n\n\nTake my loveTake my handTake my bloodTake my land \n\n\n\nTake my mindTake my beliefTake my voiceTake my grief \n\n\n\nWe’re only humanWe’re walking woundedWith God abundantWe’ll travel through this \n\n\n\n“For Trayvon” examines the intersections between freedom and death\, international fame and Black anonymity. Following in the footsteps of spiritual/artistic ancestors and expatriates James Baldwin\, Nina Simone\, Dexter Gordon and Marvin Gaye\, James documents his mental and emotional anxieties while healing in Amsterdam from the realities of racism and oppression against the Black community in America. “Freeing yourself was one thing\, claiming ownership of that freed self was another.” \n\n\n\n– Toni Morrison\, Beloved \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/536434116\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nPerformed by: José James – voiceGideon van Gelder – pianoProducer: Lyon PolDoP: David van der Drift \n\n\n\n\n\nGaffer: Dirk Zijlstra1st AC: Noa Kosanović2nd AC: Iri PauwelsProduction Assistant: Sam Luitwieler \n\n\n\n\n\nEditor: Lyon PolColorist: Luke OsborneMixed and recorded by Vincent Helbers at Flowrider Studio AmsterdamAssistant engineers: Tjerk Lammers\, Anis Oopkes \n\n\n\n\n\n\n\n\n\nUnspoken Voices\n\n\n\nDianne Reeves and Camila Cortina Bello\n\n\n\n“Unspoken Voices” is a call to reimagine a reality that needs a change. With an intimate and introspective tone\, these voices unfold a powerful inviting message to openness\, dialogue\, and a much needed change in order to build a better future. Unspoken Voices is a hymn of love\, a chant for unification\, and a prayer for justice\, as we believe this is the most powerful way to create the opportunities and the necessary social transformation that we dream to be accountable for. – Camila Cortina Bello  \n\n\n\nThis winter season\, covered in massive drifts of white and a sky of endless grey\, represents the construct that White supremacy is held in unrelentingly.While the extreme cold is absent of forgiveness and redemption it holds a palpable reflection of the prison industrial complex.Yet\, above the clouds and below the surface\, there is a bold collective conscienceless of humanity – in all its color.Unity power and urgency reimagines the energy needed in the dismantling of this brutal seasons system with diligence and directed clarity.The wordless music of the powerful and moving composition ‘UNSPOKEN VOICES’\, written by Camila Cortina Bello\, in spirit is reminiscent of the hymns of our ancestors\, which gave us strength\, endurance\, and affirmations for the movement forward. – Dianne Reeves \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/539256106\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nVocal: Dianne ReevesComposer\, Piano: Camila Cortina Bello \n\n\n\n\n\nBass\, Audio mix: Gerson Lazo-QuirogaVideo edit: Vilho Louhivuori \n\n\n\n\n\n\n\n\n\nAbolition Song\n\n\n\nTerri Lyne Carrington + Social Science\n\n\n\nMatthew Stevens – guitar\, Aaron Parks – keyboards\, Morgan Guerin – bass\, synths\, Kassa Overall – MC\, DJ\, Terri Lyne Carrington – drums \n\n\n\nWhere is the love?Open your heart.Where is the love?Open your heart.Where is the love? Please believe\, capacity lives within us to imagine something differentWhere everyone\, has what they need\, and is cared for\, love’s the answer\, hold the questionCan you imagine turning the dreams\, of our brethren into our own. Imagine… Let’s open our minds toA place with no timeOpen our mindsTo love that we’ll findTreated in kind Where is the regard for all of humanity? It’s hiding in the trenchesWith all of\, the progress we’ve navigated\, how have we not seen the most basicTruth that we’re all connected and no one is free until all of us\, are free    Where is the love?Open our hearts.Where is the love?Open our hearts.  \n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/548076796\n				\n				\n					Close\n				\n			\n		\n	\n	\n\n\n\n\n\nWritten by: Morgan Guerin and Terri Lyne Carrington \n\n\n\n\n\nMixed by: Dean Albak \n\n\n\n\n\nVideo edited by: Vilho Louhivuori
URL:https://ias.ucsc.edu/event/music-for-abolition/
LOCATION:Murphy\, Pouros and Bartoletti\, 1802 Sunset Blvd\, Los Angeles\, California\, United States
CATEGORIES:Music & Performances,Visualizing Abolition
ORGANIZER;CN="Gabrielle Barton":MAILTO:gabrielle@barton-qa.evnt.is
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220528T190000
DTEND;TZID=America/New_York:20220528T210000
DTSTAMP:20260526T115312
CREATED:20221024T232136Z
LAST-MODIFIED:20221026T052727Z
UID:2684-1653764400-1653771600@ias.ucsc.edu
SUMMARY:Surge Afrofuturism: Multimedia Dance Performance with Oysterknife: Gabriele Christian and Chibueze Crouch
DESCRIPTION:This event is free and open to the public. Registration is encouraged\, but not required for entry.Parking is available in the Arts Lot #126. Purchase a permit or use ParkMobile.  \nOYSTERKNIFE will perform the final work in their triptych\, m | ou | f.  The performative work aims to reclaim Black iconicity from the maw of consumer celebrity culture. Having explored the legacies of shame\, violence and faith for blaQ communities in their prior projects mouth full of sea and mouth//full\, their latest collaboration is a meditation on hypervisibility\, opacity\, sexuality\, and the desire of & for queer(ed) Black stars. Using drag\, ritual masquerade\, original music\, video and choreography\, OYSTERKNIFE opens a portal to an era of voices which carved a route for their queer Afro-now and beyond.  \nThis event is part of Surge: Explorations in Afrofuturism\, a multidimensional and transcultural month-long festival on Afrofuturism spearheaded by composer/performer Karlton Hester\, choreographer Gerald Casel\, and artist Aaron Samuel Mulenga. Afrofuturism is a global artistic and social movement\, intent on imagining a world where African-descended peoples and cultures can live and flourish. For Surge\, an extended program of music and dance performances\, film screenings\, and discussions will bring together artists and thinkers to creatively engage Afrofuturist strategies for liberation and the restructuring of society free of racism. \nSurge is made possible by generous support from the Nion McEvoy Family Trust\, the National Endowment from the Arts\, UCHRI\, UCSC Academic Senate\, Rowland and Pat Rebele\, Porter College\, and annual donors to the Institute of the Arts and Sciences. \n\n\nAbout the speakers\n\n\n\n\n\nOYSTERKNIFE\n\n\n\nOYSTERKNIFE—derived from a line from Zora Neale Hurston’s essay “How It Feels to Be A Colored Me” —was born out of a longtime creative friendship between Chibueze Crouch and Gabriele Christian. Drawing from our shared desire to subvert our theatrical upbringings that often neglected our complex Black + Queer (BlaQ) experiences\, we’ve forged an interdisciplinary artistic approach that reinserts our narratives into American and Afro-Diasporic cultural movements.  \n\n\n\n\n\nChibueze Crouch\n\n\n\nChibueze Crouch is a Nigerian-American interdisciplinary artist & curator based on Huichin\, Chochenyo-speaking Ohlone territory (Oakland\, CA). She works across ritual theater\, text\, song\, movement and video to create participatory\, experimental\, intimate performances in collaboration with her chi and communities. Chibueze’s work explores themes of ancestral longing\, Igbo cosmology\, Afro-Diasporic masquerade and queer identity.  \n\n\n\n\n\nGabriele Christian\n\n\n\nGabriele Christian\, born in Harlem (Wappinger Lenape land) and based in Oakland (Chochenyo Ohlone land) is a conceptual artist and descendent of stolen folks experimenting with somatic practices\, language\, performance composition\, and community arts facilitation to locate and center BlaQ (Black and Queer) experience\, vernaculars\, and aesthetics as wellsprings for radical futurity.  \n\n\n\n\n\nCostume Designer: Pamela Rodríguez-MonteroAssociate Costume Designer: Ella Schultz \n\n\n\nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission. 
URL:https://ias.ucsc.edu/event/surge-afrofuturism-multimedia-dance-performance-with-oysterknife-gabriele-christian-and-chibueze-crouch/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2022/10/Spring-2022-Events-Web-Listings-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220509T190000
DTEND;TZID=America/New_York:20220509T210000
DTSTAMP:20260526T115312
CREATED:20221025T000059Z
LAST-MODIFIED:20221026T053147Z
UID:2722-1652122800-1652130000@ias.ucsc.edu
SUMMARY:Surge Afrofuturism: Nishat Khan\, David Murray\, and Hamid Drake in Concert
DESCRIPTION:This event is free for UC Santa Cruz students and $40 for the public.Tickets and admission details to be announced.  \nThis event is part of Surge: Explorations in Afrofuturism\, a multidimensional and transcultural month-long festival on Afrofuturism spearheaded by composer/performer Karlton Hester\, choreographer Gerald Casel\, and artist Aaron Samuel Mulenga. Afrofuturism is a global artistic and social movement\, intent on imagining a world where African-descended peoples and cultures can live and flourish. For Surge\, an extended program of music and dance performances\, film screenings\, and discussions will bring together artists and thinkers to creatively engage Afrofuturist strategies for liberation and the restructuring of society free of racism. \nSurge is made possible by generous support from the Nion McEvoy Family Trust\, the National Endowment from the Arts\, UCHRI\, UCSC Academic Senate\, Rowland and Pat Rebele\, Porter College\, the Ali Akbar Khan Classical Indian Music Endowment\, the UCSC Music Department\, the Center of South Asian Studies\, and annual donors to the Institute of the Arts and Sciences.  \n\n\nAbout the performers\n\n\n\n\n\nNishat Khan\n\n\n\nNishat Khan is an Indian sitar player from an illustrious musical family and the foremost sitar virtuoso of his generation. With the strike of a single\, unmistakable note\, the sound of Nishat Khan’s sitar instantly captivates and transforms one’s mood. Listeners are transported to another realm by sight and sound unlike any other. As the current torchbearer of the most recorded musical family in the world\, seven generations of wisdom reside in his fingertips. While grounded in centuries of tradition\, Nishat forges his own signature sound\, unfolding with emotional contrasts and surprises at every turn. Nishat gave his first public concert at age 7 and has lived and toured all over the world continuously since age 13. His unique cosmopolitan perspective has inspired a great sensitivity and connection to musical philosophies of the world.  As a composer and music producer he has collaborated with some of the world’s leading musicians such as Larry Coryell\, Paco Peña\, John McLaughlin\, and Gregorian choir Vox Clamantis. In 2021 he premiered his composition for members of the Royal family\, a sitar-cello duet with one of the world’s leading artists\, Sheku Kanneh-Mason.  \n\n\n\n\n\nDavid Murray\n\n\n\nDavid Murray is an American jazz saxophonist and composer who performs mostly on tenor and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s. He was initially influenced by free jazz musicians such as Albert Ayler and Archie Shepp. He gradually evolved a more diverse style in his playing and compositions. Murray set himself apart from most tenor players of his generation by not taking John Coltrane as his model\, choosing instead to incorporate elements of mainstream players Coleman Hawkins\, Ben Webster and Paul Gonsalves into his mature style. Despite this\, he recorded a tribute to Coltrane\, Octet Plays Trane\, in 1999. He played a set with the Grateful Dead at a show on September 22\, 1993\, at Madison Square Garden in New York City. His 1996 tribute to the Grateful Dead\, Dark Star\, was also critically well received. Murray was a founding member of the World Saxophone Quartet with Oliver Lake\, Julius Hemphill and Hamiet Bluiett. He has recorded and performed with musicians such as Henry Threadgill\, James Blood Ulmer\, Olu Dara\, Tani Tabbal\, Butch Morris\, Donal Fox\, McCoy Tyner\, Elvin Jones\, Sunny Murray (no relation)\, Ed Blackwell\, Johnny Dyani\, Fred Hopkins\, and Steve McCall.  \n\n\n\n\n\nHamid Drake\n\n\n\nHamid Drake is a drummer/ percussionist whose rhythmic expressions and interest in the roots of the music has led him to working with a wide roster of musicians and collaborators. Touring and recording all over the world\, Hamid has played and /or recorded with Fred Anderson\, Peter Brotzmann\, Don Cherry\, Marilyn Crispell\, Pierre Dorge\, Johnny Dyani\, Hassan Hakmoun\, Herbie Hancock\, Joseph Jarman\, George Lewis\, bassist William Parker (in a large number of lineups)\, Michael Zerang\, David Murray\, Bill Laswell\, Jamie Saft\, Sabir Mateen\, Joe McPhee\, Jim Pepper\, Dewey Redman\, Adam Rudolph\, Pharoah Sanders\, Foday Musa Suso\, John Tchicai\, Dave Leibman\, Irene Schweizer\, Michel Portal\, Iva Bittova\, Nicole Mitchell\, Zahra Glenda Baker\, Amina Claudine Meyers\, Josh Abrams\, among others. Hamid won the Jazz Journalist Awaard in 2009 and the Downbeat Critics Poll in 2006\, 2010\, 2017\, 2018\, 2019 as best percussionist. In 2017 he was awarded the title of Chevalier Des Arts et des lettres. \n\n\n\n\n\nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission.
URL:https://ias.ucsc.edu/event/surge-afrofuturism-nishat-khan-david-murray-and-hamid-drake-in-concert/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2022/10/May-9-Nishat-Khan-David-Murray.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220508T190000
DTEND;TZID=America/New_York:20220508T210000
DTSTAMP:20260526T115312
CREATED:20221025T000519Z
LAST-MODIFIED:20221026T053234Z
UID:2726-1652036400-1652043600@ias.ucsc.edu
SUMMARY:Surge Afrofuturism: "Not About Race Dance" Performance by GeraldCaselDance
DESCRIPTION:This event is free and open to the public. Registration is encouraged\, but not required for entry.Parking is available in the Arts Lot #126. Purchase a permit or use ParkMobile.  \nDance artist and equity activator Gerald Casel will present Not About Race Dance\, a collaborative\, choreographic response to the racial politics of U.S. postmodern dance. Despite postmodernism’s popularity\, its racial dynamics have gone largely unacknowledged. In Not About Race Dance\, Casel and his collaborators occupy a space that has been historically defined by white artists to present a contrasting vision of where Black and Brown bodies belong. When the work premiered this past December\, the Fjord Review said that the dancers were “intensely present and riveting…reclaiming the literal and sociological ‘white space’ of postmodern dancing in episodes that are vulnerable\, cathartic\, clever\, and delivered with compelling rigor. Not About Race Dance features an all-BIPOC ensemble of five dancers that includes Styles Alexander\, Gerald Casel\, Audrey Johnson\, Karla Quintero\, and Cauveri Suresh\, with an original score performed live by sound designer Tim Russell. Additional collaborators include Aron Altmark (lighting and media design) and Rebecca Chaleff (dramaturgy). \nThis event is part of Surge: Explorations in Afrofuturism\, a multidimensional and transcultural month-long festival on Afrofuturism spearheaded by composer/performer Karlton Hester\, choreographer Gerald Casel\, and artist Aaron Samuel Mulenga. Afrofuturism is a global artistic and social movement\, intent on imagining a world where African-descended peoples and cultures can live and flourish. For Surge\, an extended program of music and dance performances\, film screenings\, and discussions will bring together artists and thinkers to creatively engage Afrofuturist strategies for liberation and the restructuring of society free of racism. \nSurge is made possible by generous support from the Nion McEvoy Family Trust\, the National Endowment from the Arts\, UCHRI\, UCSC Academic Senate\, Rowland and Pat Rebele\, Porter College\, and annual donors to the Institute of the Arts and Sciences. \nAbout GERALDCASELDANCE \nSince 1998\, GERALDCASELDANCE has been creating and presenting experimental dance that combines social practice with creative and collaborative explorations. Each dance provokes reflection and implants its imagery into the viewer’s psyche by combining movement and spatial composition with metaphor. Dropping hints of narrative while inviting space for contemplation\, the dances deliver multiple levels of interpretation and meaning. GERALDCASELDANCE has been presented at KuanDu Arts Festival Taiwan\, Danspace Project at St. Mark’s Church\, Movement Research at Judson Church\, Dance New Amsterdam\, Dance Theater Workshop (Fresh Tracks and SplitStream)\, Joyce SoHo\, Dixon Place\, Dancenow NYC\, Aaron Davis Hall\, 92nd Street Y\, The Yard\, Jacob’s Pillow (Inside/Out)\, Danceworks Milwaukee\, ODC Theater and throughout Scotland following a company residency at Dancebase Edinburgh. Casel has been an artist in residence at ODC Theater\, Movement Research\, and has been awarded fellowships through the Hellman Foundation\, Yerba Buena Center for the Arts (Freedom Fellow)\, National Center for Choreography Akron\, Maggie Allesee National Center for Choreography\, and The Bogliasco Foundation. For more information about GERALDCASELDANCE visit geraldcasel.com. \nCostume Consultant: Pamela Rodríguez-Montero \nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission.  \n\n\nAbout geraldcaseldance\n\n\n\nSince 1998\, GERALDCASELDANCE has been creating and presenting experimental dance that combines social practice with creative and collaborative explorations. Each dance provokes reflection and implants its imagery into the viewer’s psyche by combining movement and spatial composition with metaphor. Dropping hints of narrative while inviting space for contemplation\, the dances deliver multiple levels of interpretation and meaning. GERALDCASELDANCE has been presented at KuanDu Arts Festival Taiwan\, Danspace Project at St. Mark’s Church\, Movement Research at Judson Church\, Dance New Amsterdam\, Dance Theater Workshop (Fresh Tracks and SplitStream)\, Joyce SoHo\, Dixon Place\, Dancenow NYC\, Aaron Davis Hall\, 92nd Street Y\, The Yard\, Jacob’s Pillow (Inside/Out)\, Danceworks Milwaukee\, ODC Theater and throughout Scotland following a company residency at Dancebase Edinburgh. Casel has been an artist in residence at ODC Theater\, Movement Research\, and has been awarded fellowships through the Hellman Foundation\, Yerba Buena Center for the Arts (Freedom Fellow)\, National Center for Choreography Akron\, Maggie Allesee National Center for Choreography\, and The Bogliasco Foundation. For more information about GERALDCASELDANCE visit geraldcasel.com. \n\n\n\nCostume Consultant: Pamela Rodríguez-Montero \n\n\n\nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission.  \n\n\n\nCostume Designer: Pamela Rodríguez-MonteroAssociate Costume Designer: Ella Schultz \n\n\n\nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission. 
URL:https://ias.ucsc.edu/event/surge-afrofuturism-not-about-race-dance-performance-by-geraldcaseldance/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2022/10/May-8-Not-About-Race-2-.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220506T190000
DTEND;TZID=America/New_York:20220506T210000
DTSTAMP:20260526T115312
CREATED:20221025T001109Z
LAST-MODIFIED:20230628T172432Z
UID:2730-1651863600-1651870800@ias.ucsc.edu
SUMMARY:Surge Afrofuturism: Multimedia Music Performance with Hesterian Musicism
DESCRIPTION:https://vimeo.com/840532889?share=copy\n\n\n\n\nThis event is free and open to the public. Registration is encouraged\, but not required for entry.Parking is available in the Arts Lot #126. Purchase a permit or use ParkMobile.  \n\n\n\nHesterian Musicism is the creative process through which Karlton Hester\, composer\, flautist and saxophonist\, brings together musicians\, visual artists and poets in collaborative synergy to create a sonically riveting and visually compelling immersive mulitdisciplinary arts experience. With participating musicians\, poets\, and artists drawing on past traditions to create stepping-stones to future creations\, Hesterian Musicism provides an aesthetic environments in which new art forms can emerge through imaginative effort. Its philosophical basis involves an intrinsic freedom of expression\, focused and disciplined spontaneity\, and a structural basis that explores the creative components of diverse sources from the whole earth. Performances have taken in New York\, California\, South America\, and Asia.   \n\n\n\nThis event is part of Surge: Explorations in Afrofuturism\, a multidimensional and transcultural month-long festival on Afrofuturism spearheaded by composer/performer Karlton Hester\, choreographer Gerald Casel\, and artist Aaron Samuel Mulenga. Afrofuturism is a global artistic and social movement\, intent on imagining a world where African-descended peoples and cultures can live and flourish. For Surge\, an extended program of music and dance performances\, film screenings\, and discussions will bring together artists and thinkers to creatively engage Afrofuturist strategies for liberation and the restructuring of society free of racism. \n\n\n\nSurge is made possible by generous support from the Nion McEvoy Family Trust\, the National Endowment from the Arts\, UCHRI\, UCSC Academic Senate\, Rowland and Pat Rebele\, Porter College\, the Ali Akbar Khan Classical Indian Music Endowment\, the UCSC Music Department\, the Center of South Asian Studies\, and annual donors to the Institute of the Arts and Sciences.  \n\n\n\nAbout the Performers\n\n\n\n\n\nKarlton E. Hester\, Ph.D.\n\n\n\nKarlton E. Hester\, Ph.D. (composer/flutist/saxophonist)\, began his career as a composer and recording artist in Los Angeles where he worked as a studio musician and music educator. He received his Ph.D. in composition from the City University of New York Graduate Center and is currently Director of “Jazz” Studies (and member of the Digital Arts and New Media faculty) at the University of California in Santa Cruz. As performer on both flute and saxophone\, he is founding music director of the Fillmore Jazz Preservation Big Band (in San Francisco)\, director of Hesterian Musicism\, and served as the Herbert Gussman Director of Jazz Studies at Cornell University from 1991-2001. Hester specializes in premeditated\, spontaneous and electro-acoustic composition. His compositions span a wide range; from numerous solo cycles for various woodwinds to chamber configurations\, music videos and electro-acoustic symphonic works written in an eclectic array of styles. \n\n\n\n\n\nYunxiang Gao\n\n\n\nYunxiang Gao is a composer\, pianist\, and pipa player from China. She graduated from Central Conservatory of Music in Beijing with a Bachelor of Arts degree in Composition. In 2005\, her multimedia piece “Yin” won second prize in the MUSICACOUSTICA festival\, and in 2009\, her pipa concerto “Qin Yong” was awarded third prize in Beijing International Music Festival and Academy. In 2012\, she performed a pipa concerto for the“Pan-Asia” Festival at Stanford University. Her symphonic works “Picture of Borderland” and “Beijing Opera – Sheng\, Dan\, Jing\, Chou” were performed by the UC Irvine orchestra and conducted by Professor Christopher Dobrian. She is currently pursuing her Doctor of Musical Arts with an emphasis in World Music Composition at the University of California at Santa Cruz. \n\n\n\n\n\n\n\nBill Johnson\n\n\n\nBill Johnson has been a trumpet player for over 40 years and spends his days (any many evenings) as the general manager of WRTI\, Philadelphia’s classical music and jazz public radio station.  He believes music is a powerful model for social change and that we all have an obligation to support music education as a means of teaching collaboration\, listening\, respect\, concentration\, and appreciation for the power of what working together can achieve. He serves on the board of Interdisciplinary Artists Aggregation and the leadership team for Jazz Philadelphia\, a new project to create a sustainable jazz ecosystem.  \n\n\n\n\n\nMandjou Kone\n\n\n\nMandjou Kone (griot/storyteller\, kora\, dancer\, choreographer) was born and raised in West Africa in the countries of Mali and Burkina Faso. She was born into the Koné family\, a well-known Griot Family. The Griots people of West Africa are world renown for their unique ability to record events carefully and accurately\, passing history from one generation to the other. As a young girl Mandjou assisted her Griot father in keeping his band alive by singing\, dancing and playing instruments like the Djembe\, Bala\, Dundun\, Kora and Tama. She also danced and performed with the National Ballet of Burkina Faso. With her brother’s group ‘Surutukunu’ Mandjou toured Europe extensively as lead singer. Mandjou is a very popular dance educator and has been teaching and performing over the past eleven years throughout the US. In March 2003 in Santa Cruz\, CA she was honored with the ‘Calabash Award’ for her excellence in the ethnic arts. \n\n\n\n\n\n\n\nEki’Shola\n\n\n\nEki’Shola is vocalist\, multi-instrumentalist\, and board-certified internal medicine and lifestyle medicine physician\,whose music has been called  “half-time electronic soul for the mind” – Featured in PBS\, NPR Tiny Desk Contest\, KQED and Best of the Bay Editors’ Pick\, Eki’Shola’s music transcends genre\, as she seamlessly draws from jazz\, electronica\, and soul music to create a sonic landscape all her own. Her debut album\, Final Beginning\, was released in 2016. Her most recent release\,  Essential\, 2020\, features instrumentals\, spoken word\, and lyrics that share hope\, inspired by periods of contemplation among movements of climate change\, coronavirus pandemic\, and Black Lives Matter advocacy. \n\n\n\n\n\nDavid Smith\n\n\n\nDavid Smith is a performer\, composer and educator. Mr. Smith has earned both Bachelors and Masters degrees in Music. He has developed a unique fifths tuning with five strings for his primary instruments\, the Double Bass and Electric Bass. Through technique and a penchant for elegant solutions\, Mr. Smith aims to pattern music that moves our experience towards freedom. \n\n\n\n\n\nSiwen Zhao\n\n\n\nSiwen Zhao is a well-known Chinese dancer\, actress and singer. She holds a B.A degree from Minzu University of China\, majoring in dance performance. She caught attention through her solo dance in the closing ceremony of Athens Olympiad in 2004 and her solo dance “dream” in National Centre for the Performing Arts in 2005. She gained her fame through Expo 2010 Shanghai China and other commercial occasions. From 2008-2015\, she starred in the movie remake of “White Snake” with Jack Li\, then successfully entered the Chinese television field. From 2015 until now\, she teaches at Mei Dao Art Education Center as a dance instructor with focuses on Chinese folk dances. \n\n\n\n\n\nPlease familiarize yourself in advance with the full COVID-19 protocols required for admission. If you have a disability-related need\, please contact the Arts Events Office at artsevents@ucsc.edu as soon as possible.
URL:https://ias.ucsc.edu/event/surge-afrofuturism-multimedia-dance-performance-with-oysterknife-gabriele-christian-and-chibuezecrouch/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2022/10/May-6-Hesterian-Musicism.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220331T140000
DTEND;TZID=America/New_York:20220331T150000
DTSTAMP:20260526T115312
CREATED:20221025T003057Z
LAST-MODIFIED:20221026T053652Z
UID:2746-1648735200-1648738800@ias.ucsc.edu
SUMMARY:I Agree to the Terms
DESCRIPTION:The discussion will focus on I Agree to the Terms\, a new interactive cross-media performance presented by The Builders Association— live streaming online by NYU Skirball March 25-April 3.  \nI Agree To The Terms is a new virtual performance developed by the OBIE Award-winning ensemble The Builders Association and presented by NYU Skirball. The interactive 30- minute online event is developed in collaboration with a community of Amazon “microworkers” who discretely train the algorithms that influence our online e-commerce experiences. Microworkers earn from $1 to $100 a day in a vast\, unregulated industry. Their assignments are repetitive\, boring\, maddening\, and sometimes disturbing. For I Agree to the Terms\, audiences enter the Builders Marketplace\, train with actual microworkers and compete for paying jobs\, connecting with the invisible online labor force that shapes our everyday virtual lives. \nLearn more about the performance and how to attend.  \n\n\nAbout the speakers\n\n\n\n\n\nMarianne Weems\n\n\n\nMarianne Weems is Professor of Performance Play and Design at UC Santa Cruz and a theater and opera director. She is founder of the award-winning New York-based theater company The Builders Association\, an influential ensemble working at the forefront of integrating media with live performance. With the company\, Weems has created and directed 17 original large-scale productions and worked with unexpected collaborators including the architects Diller + Scofidio\, The National Center for Super Computing Applications\, and the South Asian arts collective motiroti. Her work has toured domestically and internationally including to the RomaEuropa Festival\, the Festival Iberoamericano de Bogota\, the Seoul Festival\, the Melbourne Theater Festival\, Lincoln Center for the Performing Arts\, the Whitney Museum of American Art\, the Guggenheim Museum\, and The Brooklyn Academy of Music. Weems has also worked in various creative roles with The Wooster Group\, David Byrne\, Taryn Simon\, Susan Sontag\, The V-Girls\, and many others.  \n\n\n\n\n\nShannon Jackson\n\n\n\nShannon Jackson is the Cyrus and Michelle Hadidi Professor of Rhetoric and of Theater\, Dance\, and Performance Studies\, UC Berkeley. She is author of numerous books including The Builders Association: Performance and Media in Contemporary Theater (M.I.T. Press\, 2015); Public Servants: Art and the Crisis of the Common Good\, co-edited with Johanna Burton and Dominic Willsdon (M.I.T. Press 2016); and Social Works: Performing Art\, Supporting Publics (Routledge 2011). Jackson’s writing has also appeared in dozens of museum catalogues\, journals\, blogs\, and edited collections. She has received numerous awards\, including a 2015 John Simon Guggenheim Fellowship\, the Lilla Heston Award for Outstanding Scholarship in Performance Studies (NCA)\, the ATHE Best Book Award\, Honorable Mention for the John Hope Franklin Prize\, the Kahan Scholar’s Prize in Theatre History (ASTR)\, and the Arts and Humanities Outstanding Service Award.  She has received fellowships from the Spencer Foundation and the National Endowment for the Humanities\, as well as several collaborative project grants from the Walter and Elise Haas Fund\, UCIRA\, the Creative Work Fund\, the San Francisco Foundation\, and the LEF Foundation. \n\n\n\n\n\n\n\nLarry Shea\n\n\n\nLarry Shea is an artist and educator working with a wide variety of digital and analog media\, creating visuals and interactivity for theatrical productions and fine artworks around the world. Some highlights include Julia Scher’s surveillance-art installations in the late 90’s; “Securityworld” (Galerie Hussenot\, Paris); “Wonderland” (Andrea Rosen Gallery\, NY); and “Predictive Engineering 2” (SFMOMA). He was the media/technical designer for Mary Ellen Strom and Ann Carlson’s large-scale outdoor\, train-based performance & projection extravaganza “Geyserland\,” (2003\, Montana). He led the team that created an Augmented Reality “app” for smartphones used throughout “The Elements of Oz” for the acclaimed media-theater company\, The Builders Association (2015-17) and continues to work with them on several projects in development. Larry holds an MFA from The Massachusetts College of Art and a BA from the University of Virginia. He dedicated 8 years to the internationally acclaimed MIX: New York Lesbian and Gay Experimental Film/Video Festival\, serving on the Programming Committee from 1997-2002 and as Executive Director from 2003-2005. He has taught at The New School & Pratt Institute in NY\, & The Museum School\, Boston. Currently he’s an Associate Professor at Carnegie Mellon University in Pittsburgh\, where he founded and runs the Video & Media Design MFA & BFA programs in the School of Drama. \n\n\n\n\n\nNoah Wardrip-Fruin\n\n\n\nNoah Wardrip-Fruin is a Professor of Computational Media at UC Santa Cruz. He co-directs the Expressive Intelligence Studio\, a technical and cultural research group\, with Michael Mateas. Noah has authored or co-edited six books on games and digital media for the MIT Press\, including The New Media Reader (2003)\, a book influential in the development of interdisciplinary digital media curricula. His most recent book\, How Pac-Man Eats\, was published by MIT in 2020. His work has been supported by the National Science Foundation\, National Endowment for the Humanities\, National Endowment for the Arts\, Institute of Museum and Library Services\, Google\, Microsoft\, and others. Noah’s collaborative playable media projects\, including Screen and Talking Cure\, have been presented by the Guggenheim Museum\, Whitney Museum of American Art\, New Museum of Contemporary Art\, Krannert Art Museum\, Hammer Museum\, and a wide variety of festivals and conferences. \n\n\n\n\n\n\n\n	 (Tab to skip section.)\n\n	\n		\n			\n			\n								 Play\n			\n		\n	\n\n		\n		\n			\n				\n				\n					https://vimeo.com/695776761\n				\n				\n					Close
URL:https://ias.ucsc.edu/event/i-agree-to-the-terms/
LOCATION:Santa Cruz Museum of Art & History\, 705 Front St\, Santa Cruz\, CA\, United States
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2022/10/Spring-2022-Events2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200515T180000
DTEND;TZID=America/New_York:20200515T200000
DTSTAMP:20260526T115312
CREATED:20221025T090407Z
LAST-MODIFIED:20221026T060154Z
UID:3255-1589565600-1589572800@ias.ucsc.edu
SUMMARY:Postponed: Moor Mother at Kuumbwa Jazz
DESCRIPTION:Social activism fused with Afrofuturism – riotgrrrl lyrics melded with Afro-Caribbean rhythms. \nMoor Mother & Las SuciasMay 25\, 7:30 p.m.Kuumbwa JazzADVANCE TICKET PRICE:$26.25DOOR TICKET PRICE: $31.50The first 50 UC Santa Cruz students who email ias@ucsc.edu will receive FREE tickets. 1/2 price student tickets are available at the door.  \nCamae Ayewa (Moor Mother) is a nationally- and internationally-touring musician\, poet\, visual artist\, and workshop facilitator\, and has performed at numerous festivals\, colleges\, galleries\, and museums around the world\, sharing the stage with King Britt\, Roscoe Mitchell\, Claudia Rankine\, bell hooks\, and more. Her most recent album\, Analog Fluids of Sonic Black Holes\, is the culmination of all of her earthly experiences merged with all of her cosmic ones. On Analog Fluids\, haunting slave narratives are presented as dystopian allegory and negro spirituals are flipped\, remixed\, and recaptured\, only to be digitized into a symbiotic bio-morph program for the post-thumb drive age. It’s a record rich with the noise and chaos that affirm Moor Mother’s punk roots\, yet it is also anchored in earthiness via the constant injection of Black ritual\, poetry\, and drums programmed to vibrate through the listener’s mitochondria. \nLas Sucias is a duo formed by Danishta Rivero and Alexandra Buschman\, mixing anti-patriarchal riotgrrrl lyrics\, Afro-Caribbean rhythms\, brujería noise and possessed vocals. Each performance is a ritual that combines all of the senses and elevates into a higher realm\, inspiring the listener to dance\, speak in tongues\, laugh hysterically\, and get possessed by the spirits awoken. \nThe event will start with a discussion with Ayewa about Black Quantum Futurism\, her collaborative Afrofuturist project with author Rasheedah Phillips of Afrofuturist Affair. \nMoor Mother is supported in part by the Center for Creative Ecologies\, The Humanities Institute\, and the Beyond the End of the World symposium at UC Santa Cruz
URL:https://ias.ucsc.edu/event/postponed-moor-mother-at-kuumbwa-jazz/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/png:https://ias.ucsc.edu/wp-content/uploads/2022/10/Screen-Shot-2020-02-24-at-2.22.39-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190122T170000
DTEND;TZID=America/New_York:20190122T190000
DTSTAMP:20260526T115312
CREATED:20221025T081802Z
LAST-MODIFIED:20221025T234534Z
UID:3183-1548176400-1548183600@ias.ucsc.edu
SUMMARY:Wandering Residency Pop Up Event with Futurefarmers
DESCRIPTION:Currently artists-in-residence with the Institute of the Arts and Sciences\, the Futurefarmers will present a pop-up exhibition and performative event Tuesday\, January 22\, 5-7 p.m. at the Porter Faculty Gallery (adjacent to the Mary Porter Sesnon Gallery at Porter College). \nFuturefarmers Pop-up Exhibition and Performative Eventwith Special Guest from the Far North\, Karolin Tampere\, Co-Curator LIAF 2019\, Lofoten NorwayJanuary 22\, 5-7 pm.Performance at 5:30Porter Faculty GalleyThis event is FREE and open to the public. Pay parking is available in the Porter College lot. \nThis event is a public component of the Futurefarmers “Wandering Residency” at UC Santa Cruz\, the first phase of a two-year\, project titled “Fog Inquiry.” In collaboration with faculty and students across campus\, the artists will investigate “the atmospheric phenomenon of fog as a conceptual framework to engage various fields of inquiry within the university setting.” Futurefarmers sees fog as “a state of being whereby hierarchies get troubled\, perspectives shift\, and new modes of thinking (and making) can emerge.” Their January residency will lay the groundwork for frameworks of exchange that catalyze meaningful moments of “not knowing\,” leading to two future phases of campus engagement. Futurefarmers work and public projects have been presented across Europe and the United States\, including at the Whitney Museum of American Art\, the New York Museum of Modern Art\, Solomon R. Guggenheim\, MAXXI in Rome\, Italy\, New York Hall of Sciences and the Walker Art Center. \nFuturefarmers’ Fog Inquiry for the IAS and UC Santa Cruz is supported by the Nion McEvoy Family Fund of the San Francisco Community Foundation\, the Gurdon Woods Visiting Artist Fund established by Jock Reynolds\, and annual donors to the Institute of the Arts and Sciences. Thanks also to the support of Office for Contemporary Art Norway as well as Ray and Robin Yeh-Green\, patrons of domestic wellbring for the Wandering Residency.
URL:https://ias.ucsc.edu/event/wandering-residency-pop-up-event-with-futurefarmers/
LOCATION:Digital Arts Research Center (DARC)\, 407 McHenry Rd\, Santa Cruz\, California\, 95064
CATEGORIES:Music & Performances,Past Events
ATTACH;FMTTYPE=image/jpeg:https://ias.ucsc.edu/wp-content/uploads/2022/10/process.jpg
END:VEVENT
END:VCALENDAR