Building Good Habits of Body, Mind and Spirit: Essentials for Creative Dance, is intended for parents and educators and discusses the important attributes that should be a conspicuous part of every creative movement experience. These essential attributes are necessary to cultivate habits in the young child through movement that empower them towards a holistic integration of thinking, doing, and valuing that will support them throughout their subsequent growth and development to adulthood. The author provides four steps that parents can take to select a high quality creative movement program for their youngsters.
From his newest work, Witness, Vincent E. Thomas contemplates acts of humanity in a deeply moving, multi-layered work. “iWitness” explores simple truths in human behaviors and implied truths in human documents from the Pledge of Allegiance to the Universal Declaration of Human Rights. “iWitness” studies and challenges the ideals we seek and attempt to follow. "Render and Proceed" investigates the convolution of media and its effect on the human condition and society; “Come Change” shuffles stories from the past and present for a hopeful tomorrow.
Witness was commissioned by the John F. Kennedy Center for the Performing Arts as part of 2008 Performing Arts for Everyone and the Millennium Stage.
Lecture-Performance - “Balkan Accordion Styles”
Kalin Kirilov, Assistant Professor, Department of Music
This lecture-performance examines several music styles found in South Eastern Europe and more specifically their interpretation on a modern accordion. Characteristic features of Balkan music, such as asymmetrical meters, modality, and improvisation frameworks, are discussed as well. Last but not least, this lecture-performance demonstrates that on deeper levels of structure the music of several Balkan countries shares essential traits often veiled by foreground elements, such as ornamentation, rhythms, modal gestures, and region-specific harmonic vocabularies.
I had set myself the challenge of choreographing a piece that explored the range of movement I now have as an older performer as well as my feelings surrounding this. My Methods of Teaching Dance Class has been teaching the scientific method though dance and comparing it to the creative process. As I worked on the piece I began thinking via this lens. As I began to work and finish the piece for production I realized I was not ready to finish and was really only at step one of both processes, Gathering Data. Therefore this piece Sketches on Level Changes is a work in progress. I have asked one group of audience members to enter into the process with me and I collected their responses from their first viewing. The data gathering process will allow me to create a hypothesis about the piece. I will share my work with the faculty of COFAC and will enjoy hearing their feedback on the work thus far. I will apply their feedback as I continue my creative process.
College of Fine Arts and Communication
Center for the Arts, Room 3001 (map)
Hours: Monday - Friday, 8 a.m. - 5 p.m.
• COFAC faculty and professional staff members submit your proposal for the next COFAC Colloquium. The deadline is Jan. 22 2010.