12 items found for your search. If no results were found please broaden your search.
(12/16/02 4:36pm)
It wasn't Radio City, and it wasn't Carnegie Hall. But it was Christmas.\nChristmas With the Pops Saturday night rang full of the traditional music and magic of the holidays, as the warmth of Christmas carols resonated through the IU Auditorium, sheltered from the snow and icy winds outside.\nPoinsettias and elegant white lights set the stage for the Bloomington POPS Orchestra and Yuletide Singers. The mood was set with the "Many Moods of Christmas," a diverse compilation of timeless carols ranging from the sweet strings of "Silent Night" to the bold and compulsive timpani of "Patapan." The arrangement concluded with an angelic chorale and organ finale of "O' Come, All Ye Faithful."\nWhat began as a peaceful and refined atmosphere was interrupted with a bizarre and almost humorous rendition of "The Twelve Days of Christmas." With each verse came a new musical style dating from sixth century Rome to 19th century American influence. The seven swans swam to the romanticism of 19th century France, and the eight maids a-milked to what sounded no different than a Listerine commercial claiming the musical styling of 19th century Germany.\nThe bell choir of Bloomington First United Methodist Church performed with the orchestra to "Carol of the Bells," an intense and almost spooky ensemble that seems holy in its magnitude. Though a holiday classic, the complex musical arrangement was not achieved, as simultaneous timing was noticeably off.\nThe best performance of the night lay in the hands of Sulaiman Zai, guitar-sensation, in "Coventry Carol." With Santanic talent, Zai manipulated the strings, playing it like a harp at some times and a banjo at others. The lonesome and defined melody of the guitar had a Latin undertone, complimented by the classy whine of the strings.\n"Santa Clause is Comin' to Town" was the most lighthearted piece of the night, carrying a Frank Sinatra-esque, jazzy and muffled trumpet melody.\nTowards the end of the performance, Clement Clark Moore, an impressionist, read his translation of "'Twas the Night Before Christmas." From the mouths of Johnny Carson, John Wayne and Bill Cosby, the Christmas Eve-staple was witty and fun, hitting home with Bob Knight's final words, "Merry Christmas to all, especially Bob Knight."\nAfter a visit from Santa, the audience, in all its Christmas-sweater glory, participated in a carol sing-a-long to wrap up a night of song, tradition and merriment.
(07/25/02 8:23pm)
IU student-based bands provide numerous entertainment and nightlife options. However, these bands tend to remain notably similar in content and style. Laborius Clef, an up and coming local band, challenges this commonality with a diverse sound and variety of instruments and influences.\nLaborius Clef began playing together last fall. Senior Darren Lipper, who plays bass, loops, clarinet and performs background vocals, has been playing in various bands with Sandhage since their freshman year at IU. It was through a network of fliers that they were introduced to senior Jason Allen - lead vocalist, guitarist, and saxophonist - with whom they instantly clicked. Junior Ian Aliman makes guest appearances with the band, during which he freestyles and provides graffiti artwork for the performances.\nThough still in the early stages, Laborius Clef has received a profound response. Four practices a week have landed the band multiple house party gigs, a demo CD and upcoming gigs at Bluebird Jan. 28 and Uncle Fester's Feb. 6.\nThe classically-trained trio cites a broad set of musical influences that include jazz, funk, rap, hip-hop, reggae and even sounds that resemble those of Latin music and punk rock. Jazz serves as a large influence in the improvisation aspect of the band.\nA structured simplicity is prevalent in the band's music, as each instrument is "distinguished and isolated in itself," Allen said. "The audience can hear the expression in each person's playing and in each instrument."\nLipper is responsible the edgy technology called looping, a type of on-the-spot recording that allows proficient solos and the capability for the bass to be both the melody and the background at the same time. Looping creates the sound of five musicians as opposed to the three of Laborius Clef. It also allows the band to interact and "jam" with the audience.\nThe band's honest lyrics speak about the "interaction of energy between people and the world and what brings them together," Allen said. They all agree that their music combines the intensity of the Red Hot Chili Peppers with the quirky vibe of Primus and the grass roots concentration of moe.\n"(Laborius Clef) incorporates a lot more into sound and performance than most do in trying to always keep things interesting," said Sandhage. \nThe band views themselves as different from the typical jam and cover bands and focus on diversity, energy and their love of music.\n"There is an insane hunger for every kind of music and sound," Lipper said. \nThe band members feel their music has a spiritual intensity that is both sincere and raw.\nLaborius Clef is about creating the show. "If people don't like our music or dig the style, they inevitably leave liking something," Sandhage said. \nThe diversity lies in the nature of the trio, an entirely different dynamic of how people work, as the band aims to break down certain barriers between the audience and themselves with interaction and surprise performance. \n"You'll be watching and all of a sudden, you're in the middle of a one- act play," Sandhage said. \nThe band compares its combination of music and theatrics to the likes of Frank Zappa.\nLaborius Clef hopes its performances will be seen around Bloomington both in the bars and at private parties in the upcoming months. The members look to create a class of their own in the music industry that connects with virtually any fan and connoisseur of music.
(07/25/02 8:23pm)
The new Theatre/Neal-Marshall Education Center provides a long overdue home for the African American Dance Company by providing a modern and innovative new studio for the program.\nFor a long time, the company persevered through the poor conditions that "placed many limitations on the program and on the students," Iris Rosa, the dance company's director and associate professor in the department of African American Studies, said. "But we danced anyway. That's what we had to begin with, and that's what we dealt with," she said. \nThe company's new home provides greater rehearsal and project options as well as the opportunity to expand programming in the dance discipline.\nThe African American Dance Company is comprised of up to 25 culturally diverse students. They take part in performances and choreography that are influenced by the cultures, experiences and traditions from Africa and the African diaspora.\nThe African diaspora refers to "what's in the mainland and off the mainland, as African-American slaves impacted the entire world," Rosa said. "(The company) gives a worldly view of dance from an African perspective."\nMembers of the company audition each semester for the class, which rehearses twice a week for three hours. Students learn warm up and movement techniques and learn history in the process.\nBoth the dancers and Rosa are energetic and artistically expressive. Enthusiasm at rehearsals is both praised and inspired by Rosa's intense grasp for dance and instructions, such as, "I want you to feel like the floor is earth!" and "Your thighs are screaming!"\nKathy Allender, a senior who has been in the company for four years, feels that diversity is not only present due to ethnicity, but also due to a wide range of experience, as members come from various backgrounds and levels of dance training. Allender also puts an emphasis on the aesthetic value of the company and the high performance quality it strives for.\n"(The company is) trying to educate through history and African-American tradition," Allender said.\nThe company hosts an annual workshop and a spring concert. The concert will be held April 6 at the Buskirk-Chumley Theatre on Kirkwood Ave. The workshop features guest performers and choreographers.\n"(It) gives students the opportunity to experience dance from an African-American, African and contemporary pop-culture perspective," Rosa said.\nIn concerts, the company combines influences from modern dance, jazz and ethnic dance.\nCharles E. Sykes, administrative director of the African American Arts Institute since 1991, praises the diversity that the dance company promotes.\n"The Dance Company performs not only for ethnically diverse audiences, but also for socially diverse audiences, different backgrounds and ways people live," Sykes said.\nSykes said the students have a diverse following. He recalled sitting in on the company's spring concert, at which he received praise from a professor who said the audience was more diverse than any other on campus.\nThe ensemble also performs annually at the Stonebelt Center for the mentally and physically challenged. The members take pride in their ability to share their culture and experiences with the larger community and public, as well as with the IU community.\nSykes expects that the new building will play a complementary role in promoting events associated with the culture center because of its novelty.\n"The building will bring recognition and will draw attention to the programs within because of its newness," he said.
(07/25/02 8:23pm)
Talks regarding a lift of a ban on showing movies at the Buskirk-Chumley Theatre on Kirkwood Avenue look optimistic, State Senator Vi Simpson said. \nWhat was once the Indiana Theatre was closed down in 1995 by Kerasotes Theatres and donated to the Bloomington Area Arts Council. However, with the acceptance of the venue, a restriction in the deed on showing movies was also agreed upon. \nThe building was restored at a great effort and cost by the BAAC as well as community involvement, Director of BCT management Danielle McClelland said. \nWith generous donations from the Buskirk and Chumley families, the theatre was re-opened in 1999 under BCT management, a non-profit organization. McClelland said the Buskirk-Chumley's main mission is to provide a multi-media performance venue to the Bloomington community.\n"It is a premiere venue for live performance in Bloomington," she said. However, with live performance comes built-in days for rehearsals, when the theatre is not being used. \n"The opportunity to show movies would stimulate the use of the theatre," McClelland said. "Business-wise, it's a very smart move. Movies have become such a huge industry; you can show movies at much less of a cost than producing live shows." \nThe Buskirk-Chumley has had financial difficulty in the past, and the lift of the ban on movies would undoubtedly help their business. Efforts to enhance the theatre are consistently being made. The former Indiana Sweet Shop, located next to the theatre, is being made into a theatre café and concession stand. BCT also recently changed their terms-of-use to allow food and drinks in the auditorium.\n"It is one of the best auditoriums, of intimate scale, in the country, I believe. We're just realizing how fully it can be used," McClelland said. \nMike Wilkerson, president of the BCT board, said film would not be the dominant medium at the Buskirk-Chumley if the ban were lifted. "It is a multidisciplinary performing arts venue, never exclusively a movie theatre," he said.\nThough the emphasis is, and will remain, on live performance at the theatre, the opportunity to show movies may result in film festivals or the showing of classic films and traveling shows.\n"Along the way, it'll help us pay our bills, but more so our mission is to help the community," Wilkerson said.\nThe Buskirk-Chumley aims to project a diverse showing of the arts and appeal to diverse audiences. Wilkerson summarizes the theatre's diversity by volunteering their schedule for a typical night: "The Vagina Monologues" followed by "Annie." \n"It is in our mission to present all the arts that we can at the Buskirk-Chumley," said Wilkerson. "We appreciate Kerasotes' willingness to negotiate." \nSome Bloomington residents perceive Kerasotes Theatres as monopolizing the film business in Bloomington as they operate the Showplace Cinemas and operate 533 movie screens at 82 theatres in the Midwest.\nSimpson said she has been talking with the owners of Kerasotes to discuss the lifting of the ban for more than six months. She said they have been very cooperative. \n"They're very interested in seeing to it that the Buskirk-Chumley is successful in the community," she said.
(07/25/02 8:23pm)
The Bluebird Nightclub misspelled "Orpheum" on its gig schedule and thus emerged the band's namesake. The newly formed quintet now known as Orpheium debuted only a few months ago at a house party and has since made appearances at Uncle Fester's, the Bluebird Nightclub and Vertigo, to name a few.\nDavid Poe, a senior and lead guitarist, Ben Domhoff and Travis Moore, both juniors and percussionists, jammed together last year in a less organized setting that they hesitate to call a band. "We had good musical chemistry," Poe says. It was this fall that they were introduced to Matt Brousseau, sophomore and lead singer, through mutual friends and to David Fuchs their bassist, also a sophomore.\nChance brought them together and gave them a name, but it was fate that has brought them success so early in their calling. Since they met, the musicians have added 15 original songs to their repertoire, recorded a demo CD and had their first gig at the Bluebird for exposure and practice. \nThe band is young and just starting out -- taking gigs and having a good time. Orpheium played a notable performance at Uncle Fester's on Feb 15, where it won 2nd place in the Battle of the Bands. \nOrpheium has also played at the fraternity Alpha Epsilon Pi, of which Fuchs is a member, to help promote the IUSA candidate and campaign for Kirkwood. \nPoe handles a bigger portion of the managerial responsibilities, but notes the band members' efforts are collaborative. The song writing efforts are also collective, he says. The music and the lyrics represent "whatever comes our way and whatever we feel," Poe says. "We don't really have a set thing, but we connect." He says they do "improvisational jamming in a rock setting" with whatever their environment gives them.\nThe laid back and open atmosphere that the band subconsciously promotes is based on fun.\n"We're out to have a good time, get people groovin' and give some energy to the audience," says Poe, who also attributes part of his enjoyment to his standing as a second semester senior.\nThe band's emphasis strays from a material focus and financial success. The musicians are not trying to be like any other band and therefore play few covers. Orpheium has been recently and informally talking to a potential manager, who has done some promotion work for the band so far.\nOrpheium notes its off-tier dynamics, in that the band strays from the typical student-based band in Bloomington that does a lot of covers. "You won't see us playing the top 10 without interpretation, originality and funk," Fuchs says. \nDan Duncan, co-owner of Vertigo, notes the recent influx of the indie rock scene in Bloomington; the more abstract sound that differs from the typical jam-band style. He says he really enjoys Orpheium and its originality. "They are good musically, good ability," Duncan says. "As an upstart band, they've got their foot going in the right direction."\nDuncan is hesitant to define the band's style or sound since he is assured that every band has very specific ways in which it chooses to describe its music. Simplistically speaking, "I liked the demo… I need the bands and they need me," he says. \nOrpheium's influences and musical preferences come from many diverse parts of the musical spectrum, which may contribute to the originality Duncan sees in the band. \n"We all have such different influences and music likes," Fuchs says.\nInspirations include the structured sounds of Blind Melon or the Red Hot Chili Peppers and more improvisational jam bands like the Grateful Dead and The String Cheese Incident.\nAs the lead guitarist and backup vocalist, Poe cites some of his influences as Jimi Hendrix and Eric Clapton. He notes that Domhoff and Moore are more influenced by jam (for lack of a better word) bands as percussionists and that the Dave Matthews Band and Blind Melon are interests of Brousseau. Fuchs, as the bassist and backup vocalist, is more inclined towards bass-focused bands in hard rock, like the Chili Peppers. \nBrousseau adds sound to the band with rhythm guitar and what Fuchs describes as a great voice, and Moore integrates bongos and the bells into the music. Orpheium also incorporates an array of sounds into its jams that include orchestral lute playing, bagpipe ballads and Gregorian polka, Fuchs says.\nOrpheium promotes the basics -- music and having a good time, Fuchs says. "We're just about music, just about being on stage and playing"
(07/25/02 8:23pm)
Spring weather blessed Bloomington just in time for the annually anticipated Little 500 week of festivities. With the rising temperature comes Guster, the Little 500 kickoff band which opens at the IU Auditorium at 7:30 p.m. tomorrow.\nGuster is followed by a much smaller audience and less publicity than the chart-topping performer Nelly, who opened the week last April. The college-age audience has created a reliable and intimate following for the band, whose spring tour consists almost entirely of college performances.\n"It's more in the spirit of fun," said Adam Gardner, singer and guitarist for Guster. "We're excited and nervous to open (for Little 500). Yes, we've played in Bloomington before, but not on this level. The Midwest in general has been pretty good to us."\nGuster performed about seven years ago at a fraternity on campus and at "some coffeehouse that probably doesn't exist anymore," Gardner said.\nJeff Klein, the Assistant House Director at the IU Auditorium, said tickets for Tuesday night's performance have sold pretty quickly. IU, in conjunction with Ticketmaster, has sold between 1,200 and 1,300 tickets so far, Klein said, who estimates that the final turnout will total about 1,800 people. "(This) is great. It's a rarity to sell out, even with Broadway shows -- it gives everyone who wants to go a chance to get great seats," he said.\nThe show Tuesday night will be "a good combination of old and new," Gardner said. In all of Guster's records the sound differs greatly, he said, and that includes the band's new songs as well.\n"In previous records we tried to capture what we were doing live and add to it. Now we are going to make these songs speak as songs and not limit each other to what three people can play with a few acoustic guitars," Gardner said.\nA band known for their relentless touring schedule, Guster hasn't toured for the past year. Instead, the band has undergone a rigorous writing and recording schedule dedicated to their fourth studio-produced album that will hit the record stores at the end of the summer.\n"Our writing has improved and matured," Gardner said. "The arrangements are more complex. If it's getting worse, then what's the point? We're always psyched about our new songs…It's tough for people to hear new songs if they don't have the record. I hear that."\nGuster plans to play four or five songs from the band's unreleased album in tomorrow night's show. At the band's first rehearsal before their tour started Thursday, Gardner jokingly admitted, "We were a little rusty. We couldn't remember how to play anything old," he laughed after a day in the recording studio and a week without sleep. "It's just been crazy. We'll be ready (for Bloomington)," he said.\nDespite Guster's seemingly anonymous reputation on MTV and the like, the band's repertoire is quite impressive. In addition to playing in shows with Bob Dylan, George Clinton and Ziggy Marley, Guster has also worked with producer Steve Lillywhite, who has worked with the Dave Matthews Band and U2.\n"Guster obviously appeals to a different type of crowd than Nelly," Klein said. "People who know Guster and the music have shown lots of interest. The excitement they (Guster) bring to the stage is like none other."\nSarah Askin, a sophomore who has tickets to the Guster show, is excited to see the band.\n"I've never seen them before," she said. "Nelly's cool, but I'm much more excited about Guster coming. They're not as well known, but more chill."\nGuster will be performing Tuesday at 7:30 p.m. in the IU Auditorium, 1211 E. 7th Street, with Flickerstick opening. Tickets are $25 and are available through the IU Auditorium box office, 855-1103.
(04/18/02 4:52am)
Apparently Nattie Light is IU's beer of choice, according to the audience at the Guster show on Tuesday night. Sweet.\nWhile not my personal favorite, "a hot Nattie Light if you want to have a good time" made for a quite witty and entertaining interaction between the band and the audience.\nGuster exposed a recent administrative impulse -- they think their song "Bury Me" should instead be called "Beery Me" because it indefinitely reminds them of a beer commercial. Thus started the Nattie Light banter, during which lead singer Ryan Miller asked the crowd what the IU beer of choice was. He then continued to sing, changing the original lyrics to praises of Nattie Light.\nSong transitions during the show consisted entirely of audience interaction, humorous chants and quirky rambling that the trio is notorious for.\nThe band's relaxed and hospitable poise on stage set the scene for an incredible performance and well-chosen set list. As a smaller, indoor venue, the IU Auditorium provided for an intimate atmosphere.\nThe opening song, "What You Wish For," positively livened up an oddly somber audience that was a result of opening bands. Ruby Horse and Flickerstick opened the show and both were unsuccessful in obtaining sufficient audience interest or response. The crowd was undoubtedly at the Auditorium to see Guster.\nGuster's incorporation of its recently recorded and currently unreleased songs created a diverse and peaceful balance, as their upcoming album differs from their traditional and posed harmony. They played three new songs -- whose titles remain ambiguous -- all of which varied considerably in both sound and substance. One showcased the band's unique harmonic talent, and another took an alternative groove with a Weezer-like guitar undertone.\nLong-time fans left the show with a nostalgic disposition, stigmatized by Guster's genuine lyrics and stunning voices. The atmosphere remained delightfully laid-back throughout, reflecting the emotional mysticism of the folk rock trio. Miller's higher, melodic voice, combined with guitarist Adam Gardner's low and sexy baritone, resonated through the auditorium when they played "Demons" and "Either Way," their vocal high points during the show. The experience was nothing short of breathtaking.\nAfter announcing their planned encore (definite artist faux pas) before the end of the show, the band redeemed themselves and pleased the crowd with the title track of their first studio-produced album, Parachute, during which an elite few paid homage with lit lighters.
(03/21/02 5:00am)
The Bluebird Nightclub misspelled "Orpheum" on its gig schedule and thus emerged the band's namesake. The newly formed quintet now known as Orpheium debuted only a few months ago at a house party and has since made appearances at Uncle Fester's, the Bluebird Nightclub and Vertigo, to name a few.\nDavid Poe, a senior and lead guitarist, Ben Domhoff and Travis Moore, both juniors and percussionists, jammed together last year in a less organized setting that they hesitate to call a band. "We had good musical chemistry," Poe says. It was this fall that they were introduced to Matt Brousseau, sophomore and lead singer, through mutual friends and to David Fuchs their bassist, also a sophomore.\nChance brought them together and gave them a name, but it was fate that has brought them success so early in their calling. Since they met, the musicians have added 15 original songs to their repertoire, recorded a demo CD and had their first gig at the Bluebird for exposure and practice. \nThe band is young and just starting out -- taking gigs and having a good time. Orpheium played a notable performance at Uncle Fester's on Feb 15, where it won 2nd place in the Battle of the Bands. \nOrpheium has also played at the fraternity Alpha Epsilon Pi, of which Fuchs is a member, to help promote the IUSA candidate and campaign for Kirkwood. \nPoe handles a bigger portion of the managerial responsibilities, but notes the band members' efforts are collaborative. The song writing efforts are also collective, he says. The music and the lyrics represent "whatever comes our way and whatever we feel," Poe says. "We don't really have a set thing, but we connect." He says they do "improvisational jamming in a rock setting" with whatever their environment gives them.\nThe laid back and open atmosphere that the band subconsciously promotes is based on fun.\n"We're out to have a good time, get people groovin' and give some energy to the audience," says Poe, who also attributes part of his enjoyment to his standing as a second semester senior.\nThe band's emphasis strays from a material focus and financial success. The musicians are not trying to be like any other band and therefore play few covers. Orpheium has been recently and informally talking to a potential manager, who has done some promotion work for the band so far.\nOrpheium notes its off-tier dynamics, in that the band strays from the typical student-based band in Bloomington that does a lot of covers. "You won't see us playing the top 10 without interpretation, originality and funk," Fuchs says. \nDan Duncan, co-owner of Vertigo, notes the recent influx of the indie rock scene in Bloomington; the more abstract sound that differs from the typical jam-band style. He says he really enjoys Orpheium and its originality. "They are good musically, good ability," Duncan says. "As an upstart band, they've got their foot going in the right direction."\nDuncan is hesitant to define the band's style or sound since he is assured that every band has very specific ways in which it chooses to describe its music. Simplistically speaking, "I liked the demo… I need the bands and they need me," he says. \nOrpheium's influences and musical preferences come from many diverse parts of the musical spectrum, which may contribute to the originality Duncan sees in the band. \n"We all have such different influences and music likes," Fuchs says.\nInspirations include the structured sounds of Blind Melon or the Red Hot Chili Peppers and more improvisational jam bands like the Grateful Dead and The String Cheese Incident.\nAs the lead guitarist and backup vocalist, Poe cites some of his influences as Jimi Hendrix and Eric Clapton. He notes that Domhoff and Moore are more influenced by jam (for lack of a better word) bands as percussionists and that the Dave Matthews Band and Blind Melon are interests of Brousseau. Fuchs, as the bassist and backup vocalist, is more inclined towards bass-focused bands in hard rock, like the Chili Peppers. \nBrousseau adds sound to the band with rhythm guitar and what Fuchs describes as a great voice, and Moore integrates bongos and the bells into the music. Orpheium also incorporates an array of sounds into its jams that include orchestral lute playing, bagpipe ballads and Gregorian polka, Fuchs says.\nOrpheium promotes the basics -- music and having a good time, Fuchs says. "We're just about music, just about being on stage and playing"
(03/07/02 5:16am)
The local impact that Sept. 11 has had on the arts in Bloomington is less evident than the national effect but is just as noticeable and important. Many arts organizations report a decline in financial contributions and attribute their losses to the local community's enhanced interest in donating to emergency support agencies for the tragedy. \n"People have been taking a greater influence in the arts and the local community…the increased interest in patriotism influences people to remember that we must remain supporters of the arts," IU Auditorium Interim General Manager Doug Booher said.\nTicket sales, Booher said, were definitely down for the auditorium's first show after Sept. 11, but for all the others thereafter, original attendance projections are being met.\nSept. 11 changed it all. American security lost its credibility, our economy slid further into recession and patriotism flourished.\nPart of the glory in our country's freedom is the right to expression and the leisure of entertainment. Sept. 11 had a significant effect on entertainment and the arts in America on both national and local levels. All of the sudden, the right to expression was limited.\nFollowing the attacks, Broadway theater underwent detrimental financial distress. Movies pending release in September and the following months were retracted on the basis of violent and possibly offensive content. "Spiderman" was sent back to the editing room to sensitize its application of the Twin Towers. And "The Real World: New York" aired a tribute to the city before every episode.\nMany patrons argued that this was necessary.\nThough entertainment, primarily performing arts and theater, has resumed normal business six months after the attacks, the content of the arts now seems to reflect an increased awareness and fondness of freedom, patriotism and the American people as one.\n"Traditionally, artists are charged with the responsibility to speak out to their communities in times of social unrest," read the guidelines for a Bloomington Area Arts Council-sponsored art exhibit with a Sept. 11 theme. "Generations to come will look at the art created out of this tragedy as beacons of hope, intelligence and sensitivity by artists searching and sorting through the 'rubble' of September 11."\nMimi Zweig, director of the IU Summer String Academy, became engaged with her students in a fundraiser that acknowledges depleting funds for the arts. She scheduled a benefit concert for June 18 at Carnegie Recital Hall and will donate the funds raised to a financially suffering arts academy in Harlem, N.Y. Opus 118, the Harlem School of the Arts School for Strings, lost all of its government funding after Sept. 11. Zweig and her students have already raised about $1,500 for Opus 118.\n"The effect (of Sept. 11) has not been good on the arts," Zweig said. "All professional organizations are suffering; they're all scrambling for funds that were diverted to emergency causes. As a donor myself, the question arises: Where am I going to put my resources?"\nZweig remains optimistic regarding the prospects for Bloomington arts in the future.\n"Culture is what defines who we are as people," she said. "We know and understand ancient civilizations through their culture, artifacts and art."\nCharles Railsback, undergraduate advisor of IU's Department of Theatre and Drama, is unsure whether the ripple effect of Sept. 11 can be felt on the arts in Bloomington. He said the emphasis on the economy and its correlation to theater is an important one.\n"Theater is very economically oriented, and this is important to understand," Railsback said. "…The economic effect is always a changing one, and who knows how long this will remain in people's conscious? Concerns about terrorism will continue to affect our art for a long time."\nThe Bloomington Area Arts Council also acknowledges the long-term effects that Sept. 11 will have on the arts in Bloomington. The tragically inspired art exhibition scheduled for this September, "One World View," will allow artists to express feelings of patriotism and nationalism, in addition to pain, grief and recovery from the tragedy.\nThe BAAC is also very involved in a campaign called "One Book, One Bloomington." In correlation with Bloomington's libraries and various city and IU departments, the BAAC is promoting a book that they anticipate all of Bloomington will read.\n"A Lesson Before Dying," by Ernest Gains, is the book. "The goal is to cause people to talk about the book as a means of pulling together the community after 9-11," said Janice Skinner, BAAC Development and Marketing Director.\nThe book discusses diversity, which Skinner said will bring people together. Skinner noted the slight decline in contributions to the arts because of the diversion toward New York. \n"Subsequently, people are realizing that the arts can help people understand what happened. This has made them more cognizant of the arts through local support"
(02/14/02 7:44am)
IU Sing's 70th annual competition debuts Friday night when "IU Sing 2002: A Night at the Movies" opens at 7:30 p.m. Each year 2,000 to 3,000 students take part in this event and devote months of practice to entertainment and competition. \nRun by the IU Student Foundation, IU Sing donates all proceeds to scholarships for students putting themselves through school. This year's performance is a landmark in IU Sing's history, as it will yield the millionth dollar committed to scholarships.\nIU Sing began in the 1920s as a final send-off for graduating seniors when Hoagy Carmichael led "Showdown," the first theatrical competition at IU. This evolved into "University Sing," produced in 1928 by Professor George E. Schlafer, who is now considered the father of IU Sing. \nThe first official IU Sing was sponsored by the YMCA and unveiled on the steps of the Student Building in 1932. The production continued to develop and in 1979, the IU Student Foundation took responsibility for IU Sing. It was then that IU Sing began generating scholarships for financially independent students.\nMegan Quigley, IU sing advisor, participated in the event with Chi Omega in 1997. She praised the opportunities that IU Sing provides to students for leadership, involvement and philanthropy.\n"With tradition comes a great deal of IU spirit and energy that we love to harness. IU Sing leans sights towards a philanthropic edge -- a fundamental thrill of being an American," Quigley said. "(IU Sing) gives and gives and gives all around. People can become leaders, get to know each other and thrive as students of higher education."\nEach year a theme for the event is chosen by the Steering Committee, who selected "A Night at the Movies" to be 2002's dramatic inspiration. This year's performance aims to extensively incorporate the theme into everything that has to do with the show. The awards ceremony this year, named the "Hoagies" after Carmichael, will further Hollywood influence in the show and compare to the Emmy's or the Grammy's respectively.\nSenior Marisa Lamkin is a member of IU Sing's Judges and Awards Committee and has never been involved with IU Sing before this year.\n"Being involved in the process is amazing and so much fun," Lamkin said. "New people bring fresh minds and new ideas."\nLamkin is just one of many participants behind the scenes who have not been involved with the event before. Ample opportunities for leadership and involvement are available for students not involved in greek life, residence halls or organizations -- all of whom participate directly in the IU Sing performance.\nAwards are given for a large number of technical and entertaining aspects in the show in categories including vocal, music, choreography and overall effect. The overall trophy, awarded to the winning act, was earned by Delta Gamma and Kappa Sigma in 2001. Excellence awards include the "George E. Schlafer Award" that commemorates IU Sing's founding father. It is awarded to the act that best represents the spirit of IU Sing. The IU Auditorium presents the "That's Entertainment Award" to the act it recognizes as the most entertaining.\nSophomore Beth Tonk, a member of the Gamma Phi Beta pledge class, is involved in the performance aspect of IU Sing and speaks for many as she reflects on her role in the event.\n"I think it's great that I can be involved in an effort that serves two purposes -- helping to provide scholarships and continuing tradition," she said. "Everyone involved has worked extremely hard and put in a great deal of effort, especially our song leaders"
(11/14/01 4:21am)
Associate Professor Tim Mather bestows aesthetic beauty upon abstract "stuff," as he calls it -- objects common in our daily lives, sometimes referred to as "junk." In the School of Fine Arts Gallery, Mather's exhibition "Precarious Moments" will let visitors look at that "junk" in a new light.\nThe exhibit's title is a take-off on the popular ceramics line "Precious Moments." \nUsing "stuff" ranging from pepper shakers to plastic dinosaurs, Mather illustrates his "broad, interesting, grand idea of beauty," said Ben Pond, SoFA Gallery director.\n"His art is an investigation of this single idea -- it has an organic asymmetry." \nEach piece leads to the next as they are constructed in a certain way to hold interest.\nPond said Mather's work is inspired by "an influence on aesthetics."\n"Meaning is something he sort of discovers. \nHe has an interest and excitement in the fine line of what the objects existed as before and in trying to transform them into something else," Pond said. \nMather constructs his sculptures using parts derived from slip castings made from the objects that he finds in order to "provoke a consideration of the extended possibilities of meaning and metaphor found in the stuff that surrounds us daily," according to the gallery's Web site. \nMather puts common objects in situations that cause different meanings to each spectator. He said his series serves as "springboards for everyone's imagination… therefore creating your own scenario and speculating."\nThough "Precarious Moments" is a divergence from Mather's previous work, his influences, which include the chimera, Chinese tomb figures, Surrealism and "yet-to-be-created myths," remain virtually the same. \nHe defines his sculpture in the current exhibition as "Mechanochimerestic" work, which combines mechanical impression with the chimera, a composite animal often referred to in myths.\n"Some building or particular action always causes speculation," Mather said. "What caused this? What's happening? What will the aftermath be? It's a kind of a wild, free association."\nMather has his own ideas about the meaning behind his art, but emphasizes the importance of every individual's opinions and speculation. He said he hopes his sculpture will get people to think, to create their own myths. \nHe said his favorite piece changes daily.\n"I'll go in (the gallery) and look today, and change my mind," he said.\nThere is a projection of common objects in Mather's work, assisted and defined by his choice of colors. While the majority of his sculpture assumes the characteristic white of cast plaster, Mather adds random and bold splashes of color to appendages, which creates a subtle but inquisitive life in the exhibition.\nHe relates his choice of the color white to the white marble sculptures of Roman and Greek antiquity. But there are some striking differences, Mather said.\n"Instead of depicting a heroic figure… it's Duck Boy or Tyrannosaurus Rex," Mather said. \nPond said Mather was allowed to "create the space" in which his work is being displayed. Pond said that is commendable in the quality of the work. Pond said he doubted that there is much intention in Mather's choice of layout, but noted that there is a balance and even flow to the display.\nUltimately, Mather said he hopes people will stop in and enjoy the art.\n"We're all so busy that we never really have time to look at what's around us. There are things that are beautiful out there that we miss," Mather said.
(10/25/01 4:08am)
Soul music will meet Broadway showtunes in the hallways of the new $26 million dollar venue on Jordan Avenue. The 117,000 square-foot theatre and culture building will usher in a new era of performing arts and cultural programming for IU and the Bloomington community. \nThe Theatre & Drama Center and Marcellus Neal and Frances Marshall Black Culture Center include the Wells-Metz Theatre, the Ruth N. Halls Theatre and the Neal-Marshall Black Culture Center, which feature innovative amenities to showcase IU and outside performers and lecturers.\nThough the two departments will have little affiliation with each other despite sharing the building, they will come together for the opening ceremonies to celebrate the new building. The robed ceremony will take place in the Ruth N. Halls Theatre on Jan. 18. \nAll IU students are encouraged to take advantage of the multitude of new services available through the theatres and culture center that are aimed to promote education through culture and the arts.\nGeorge Sullivan, director of Audience Development for the theater department, said the addition to the department is the "most advanced and magnificent theatre facility for universities in the country or the world." \nModern theatre technology features in lighting, costumes and set design have been produced at a "top-shelf, professional level," Sullivan said. \nDespite their shared venue, the two new theatres vary in style and composition. The Wells-Metz Theatre has a high-tech appearance and a flexible performance space that will seat from 150 to 250 audience members. It incorporates a movable stage and chairs so the theatre can be customized to each performance. \nThe Ruth N. Halls Theatre was constructed with limestone and cherry maple native to the state of Indiana. The style is traditional, and the theatre will seat 450 people.\n"The general notion (of the new drama facility) is to reinforce Indiana University's status as one of the most preeminent theatre programs in the nation, and this is physical evidence of the stature that will be established with a top level performing arts program," said Sullivan. \nUpcoming performances in the new theaters include Shakespeare's "Much Ado About Nothing," Arthur Miller's "Death of a Salesman" and the 1999 Tony Award winner for Best Musical, "Parade!" Students will be charged $15 per ticket.\nThe Neal-Marshall Black Culture Center will provide a new venue for the African American Culture Center, the Diversity Education Office, the African American Arts Institute and the African American Culture Center Library. The culture center is a tribute to Marcellus Neal and Frances Marshall, the first African American man and woman to graduate from IU in 1895 and 1919, respectively. \nThe objective of the Neal-Marshall Black Culture Center is to attract "students of all ethnic backgrounds to come together and promote cultural diversity," said Associate Vice Chancellor for Multicultural Affairs Gloria Gibson. "It will give African American students a place where they can feel comfortable working on their studies and on projects on a predominantly white campus." \nThe social goals are to provide a place where students can come together and relax at a "home away from home," Gibson said. It will also provide cultural education in the classrooms provided in the Neal-Marshall Black Culture Center.\nThe African American Arts Institute will contribute to the promotion of black culture, as it seeks to "preserve and promote African American culture though research, creative activity, education, performance and outreach," according to the IU Multicultural Affairs Web site. \nThe institute houses three performing ensembles that include the Afro-American Choral Ensemble, the Afro-American Dance Company and the IU Soul Revue -- all of which are offered as classes through Afro-American Studies. Activities will include cultural performances and recitals put on by these groups in addition to the appearances of guest lecturers.