University of the Arts
Advancing Human Creativity
University of the Arts’ mission is simple: to advance human creativity. UArts believes creativity is the most essential skill for success in today’s society and has educated generations of groundbreaking artists, performers, designers and creative leaders for more than 141 years.
After being granted university status in 1987, University of the Arts became the largest institution of its kind in the nation, offering programs in design, fine arts, media arts, crafts, music, dance, theater and writing. It now features 30 undergraduate arts majors, 15 graduate programs and the nation’s first PhD program in Creativity.
Sheryl Oring, a renowned artist, educator, activist and advocate for the arts, has been named dean of University of the Arts’ School of Art. Oring joins UArts from Detroit’s Wayne State University, where since 2019 she has served as professor and chair of the James Pearson Duffy Department of Art and Art History. She will assume her new role at UArts on January 30.
Through her inclusive and collaborative brand of leadership, Oring will advance the university’s mission while strengthening its international profile as a leading visual and performing arts school and creating new opportunities for UArts’ students and faculty. Additionally, Oring is deeply committed to elevating the profile of the university’s many BIPOC artists and reinforcing a supportive and cross-disciplinary environment that fosters innovative art-making and creative thinking.
“UArts has an extraordinary creative legacy and an ambitious mission, so I could not be more thrilled to join this university community,” Oring said. “As a leader in visual arts education, I draw inspiration from amplifying others’ work and vision, something I am eager to continue at UArts and throughout Philadelphia. I look forward to engaging and collaborating with the many students, faculty and staff who make the university such a diverse hub of creativity and innovation.”
Oring holds an MFA in Visual Art from University of California, San Diego, and a BS in Journalism from University of Colorado, Boulder. At Wayne State, Oring was instrumental in transforming its art instruction by weaving it into the university and the surrounding community’s cultural fabric. Among her many projects, she oversaw the formation of an art and medicine working group that gathered community members, doctors and artists in pursuit of a common goal. What emerged was a mural that celebrates African American contributions to the field of medicine in Detroit. The mural, which was unveiled this fall, was supported by Michigan Humanities.
As an artist, Oring investigates social issues through projects that blend old and new media as a way to tell stories, explore public opinion and invite an open exchange of ideas. Her work has been shown at Bryant Park in New York City, the Berlin Wall Memorial, the Jewish Museum Berlin, the 01SJ Biennial in San Jose and the San Diego Museum of Art, as well as in major festivals such as Encuentro in São Paulo and the Art Prospect Festival in St. Petersburg. Her artist books are in collections, including the Library of Congress, Tate Modern and the Bibliothèque Nationale de Luxembourg. Oring is a Creative Capital grantee and has received support from Franklin Furnace, the New York Foundation for the Arts, the North Carolina Arts Council, the American Council on Germany and numerous additional organizations.
In 2004, Oring began I Wish to Say, through which she has typed nearly 4,300 postcards at dozens of locations across the country and has sent them to four different United States presidents. Across the project’s more than 100 performances, Oring dons 1960s secretary attire and establishes a makeshift office—complete with a vintage manual typewriter—in a public place. Passersby are invited to dictate postcards to the sitting president. After typing them verbatim, Oring sends the original postcards to the White House and keeps a copy for her project archive, hosted by the University of North Carolina at Greensboro Library. Oring maintained a virtual iteration of the project during the COVID-19 pandemic, and in 2016, she was joined by 60 of her students to present a large-scale version in New York’s Bryant Park.
I Wish to Say and Oring’s other work, which is intrinsically connected to writing and the ideals of democracy, will be particularly resonant in Philadelphia, a historic city with a lengthy and impressive artistic legacy. In Philadelphia, Oring will leverage her uncanny ability to uplift unheralded voices through the transformative power of art to forge potent new relationships and ensure student success.
Pictured above, "I Wish to Say" by Sheryl Oring. Portrait of Oring by Dhanraj Emanuel.
James Brandon Lewis, a critically acclaimed composer, saxophonist and writer, has been named the inaugural recipient of The Balvenie Fellowship in University of the Arts’ PhD in Creativity program. The scholarship opportunity is supported by The Balvenie and informed by drummer, DJ, Academy Award-winning director, New York Times bestselling author and founding member of The Roots, Ahmir “Questlove” Thompson.
The first-of-its-kind PhD program at UArts supports creative minds from anywhere in the world while removing the constraints typically found in higher education programs, allowing students to explore new ideas in innovative ways. The low-residency degree advances interdisciplinary research in the arts, humanities and sciences through intensive immersion in creative thinking. Lewis will join the program in June 2022, embarking on a fully funded, three-year journey that will bolster his studies at the intersection of molecular biology and music through the lens of art, life and philosophy.
In 2011, Lewis created Molecular Systematic Music, a twofold approach to music that braids the fundamentals of music theory with the ideas of molecular biology through the context of DNA. While Lewis is not a molecular biologist, the ideas he expresses deploy the vocabulary of molecular biology as useful metaphors while exploring new possibilities and relationships across disciplines. These previous explorations will form the foundation of his studies at UArts.
“University of the Arts seeks students who have achieved proficiency in an intellectual pursuit in any field and, in many cases, this pursuit has not been able to fit easily into existing PhD programs. The work James has already done, alongside the complexity of his studies, is inspiring, and we’re thrilled to have The Balvenie and Questlove by our side as he excels in this program,” said Dr. Jonathan Fineberg, program director for the PhD in Creativity.
The scholarship runs parallel with the online Quest for Craft series, which represents The Balvenie and Questlove’s commitment to expanding and showcasing the convergence of craft in creativity. The partnership was launched in late 2020 and intends to unpack the uniquely human elements that elevate the great to the exceptional.
Lewis attended Howard University and received his MFA from California Institute of the Arts. He has received accolades from NPR, The ASCAP Foundation, MacDowell and the Robert Rauschenberg Foundation and has been heralded as “a saxophonist who embodies and transcends tradition” by The New York Times. Rolling Stone described his music as “deep, gospel-informed spirituality with Free Jazz abandon and hard-hitting funk-meets-hip-hop underpinning.”
Lewis has released several critically acclaimed albums, most recently, 2021’s Jesup Wagon. In addition, Lewis leads numerous ensembles that tour internationally and is a member and co-founder of the American Book Award–winning ensemble Heroes Are Gang Leaders. In 2020, he was voted the rising star tenor saxophonist in Downbeat magazine’s international critics poll.
On Aug. 26, University of the Arts will welcome the inaugural cohort of Inspiration Lab (iLAB) artists in residence. This new program, which will occupy the renovated third floor of Anderson Hall on South Broad Street, gathers emerging and midcareer interdisciplinary artists and provides the critical support needed to accelerate their contributions to contemporary art. The residencies range from three months to one year, with additional artists set to join the university in January.
In addition to dedicated studio and communal spaces, the cohort has the potential to access the university’s advanced workshops and labs, including fabrication studios, the cutting-edge Albert M. Greenfield Makerspace and Laurie Wagman Recording Studios, and the Center for Immersive Media, which houses one of the largest motion-capture stages on the East Coast. Additionally, as a means to elevate and sustain relationships with the UArts and the greater Philadelphia community, all artists in residence will explore connections with ongoing UArts courses and provide public presentations of their work.
This program has been supported by UArts donors and an active committee that helped UArts envision and shape the concept of these residencies while supporting the artists’ selection. The committee members for this first cycle of residencies are Nicole Pollard, curator of lived culture at Philadelphia Contemporary; Phong Bui, artist, writer, curator, and publisher and artistic director of Brooklyn Rail; and Jenn Joy, scholar, performance artist and author of The Choreographic.
About the artists:
Raven Chacon is a Pulitzer Prize-winning Diné artist known for his chamber music compositions and noise music performances. Chacon’s residency is supported by a partnership with the Pew Center for Arts & Heritage.
In residency through July 31
Cultural organizer and music director Sweet Corey-Bey is recognized for creating works that shift cultural narratives through immersive storytelling and uplift identity formation.
In residency through Dec. 2
Philadelphia-based artist Lucia Garzón works in a range of media including, but not limited to, wood, textiles, print and video. The main themes in Garzón’s work focus on the intersection between the immigrant values and histories passed on through her family.
In residency through Dec. 2
Naomieh Jovin is a Philadelphia-based artist. Her work utilizes appropriated photos from old family albums and incorporates her own photographs to illustrate resistance and intergenerational trauma, and how we carry the experiences of our past and our family’s past in our bodies.
In residency through July 31
Mia Kang is an art historian, poet, performance artist and interim director of the Museo del Westside, a new community participatory museum focused on the history and culture of San Antonio’s Westside barrio. Her dissertation, Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts, examines the contested rise of U.S. multiculturalism and its unresolved legacies.
In residency through July 31
UArts alum Breyanna Maples BFA ’18 (Dance) is a Philadelphia-based artist who recently collaborated with Tommie-Waheed Evans on softly, as I leave you. In addition, Maples has worked with Solange, Okwui Okpokwasili, Peter Born, Gerard and Kelly, and numerous other interdisciplinary artists.
In residency through July 31
The work of Philadelphia-based artist Ana Mosquera revolves around digital data collection and creating methods of analysis that interrogate our daily use of technology. A combination of multidisciplinary processes allows her to organize and make sense of digital experiences, while exploring the relationship between physical and digital places.
In residency through Dec. 2
Through means of mimesis, Philadelphia-based artist Jonathan Santoro utilizes fractured narratives borrowed from mass culture, existential theater and pop psychology to create paradoxical images, where nothing is what it initially appears to be.
In residency through July 31
Orlando Thompson is a St. Louis-based artist and movie maker. Regarding his work, Thompson says, “I am black… I am American. This is how America defines me. What I make explores being black, American and the space in-between.”
In residency through Dec. 2
Based in Philadelphia and Brooklyn, Wilmer Wilson IV investigates the marginalization and care of Black bodies in contemporary life through his work. Wilson is concerned with “the way that blackness is shaped in and by city space” and interested in “producing possibilities for representation that exist apart from global advertising strategies.”
In residency through May 31
News & Events
University of the Arts President and CEO David Yager announced to the university’s Board of Trustees that he intends to step down from the presidency and ultimately retire on June 30, 2023. President Yager will remain in his position for the next year to provide support during this transitional period as the university launches the search for his successor.
“Leading this incredible creative community has been the highlight of my career, and it has been a true honor and privilege to serve our university and its inspiring students,” Yager remarked. “Since I arrived at UArts in 2016, my singular intention has been to leave our university in a stronger position than I found it. I sincerely believe that by working collaboratively with our students, staff, faculty and trustees, we have done just that. Together, we have placed the university on a new and visionary trajectory.
“Though I will be stepping away from UArts at the conclusion of the next academic year, it will be impossible to completely separate myself from this extraordinary institution. UArts has simply become an integral part of my DNA.”
Judson A. Aaron BM ’81 (Saxophone), chair of the Board of Trustees and a UArts alum, said, “David’s leadership during his time at UArts has been nothing short of transformational. Because of his thoughtful guidance and visionary ideas, I am confident that our university is poised for a new chapter of continued success. I know that I speak for the entire board when I express my deepest gratitude that David will serve for an additional year as we begin the challenging task of finding his successor.”
Since being named just the university’s fourth president in 2016, Yager’s presidency has been marked with success. In 2018, he led the initiative to articulate the university’s mission, Advancing Human Creativity, to better reflect UArts’ focus on cross-disciplinary artistic excellence and innovation. Yager also implemented and oversaw Uniquely UArts, the university’s first-ever capital campaign, which concluded last month. The immensely successful $67 million campaign grew the university’s endowment by more than $24 million, funded several major campus capital projects, provided more than $5 million in student scholarships and offered students critical support throughout the COVID-19 pandemic.
The campaign allowed UArts to radically transform its historic campus, delivering compelling and state-of-the-art new learning spaces for students, such as the Center for Immersive Media, the Albert M. Greenfield Makerspace and the Laurie Wagman Recording Studios. Additionally, the construction of a new student center in Gershman Hall, supported in part by $3.5 million in grants from Pennsylvania’s Redevelopment Assistance Capital Program, will begin this summer. During Yager’s tenure, the university also acquired the Philadelphia Art Alliance and restored the Italian Renaissance–style building to its position as a “living room for the arts” for the city of Philadelphia.
Yager’s vision has been responsible for numerous programmatic advances, including UArts’ international MFA in Dance and the PhD in Creativity, the first program of its kind in the nation, which graduated its inaugural class last week. The university recently announced a fellowship opportunity for the program, supported by Questlove and The Balvenie. Through the fellowship, one creative individual received a fully funded three-year journey to bolster their research through immersion in creative thinking. The inaugural fellow, acclaimed saxophonist and composer James Brandon Lewis, will join the program this summer.
When University of the Arts celebrates the accomplishments of the Class of 2022 during Commencement on May 19, it will also recognize two influential and multitalented artists with honorary degrees: Ahmir “Questlove” Thompson and Aaron Dessner.
May 19 will mark the university’s first in-person Commencement ceremony since 2019, and it will be held at Philadelphia’s Academy of Music. The event will also be livestreamed for the public and those outside the university community at commencement.uarts.edu.
Questlove is an Academy Award–winning filmmaker, drummer, DJ, producer, director, culinary entrepreneur, New York Times best-selling author and the unmistakable heartbeat of Philadelphia’s most influential hip-hop group, The Roots. He is the musical director of The Tonight Show Starring Jimmy Fallon, where his beloved Roots crew serves as the house band. Moreover, this six-time Grammy Award–winning musician’s indisputable reputation has landed him musical directing positions with everyone from D’Angelo to Jay-Z.
In 2021, Questlove made his directorial debut with the Academy Award–winning feature documentary Summer of Soul, which explores the legendary 1969 Harlem Cultural Festival. The film premiered on the opening night of the 2021 Sundance Film Festival, where it was awarded the Grand Jury Prize and the Audience Award for Best U.S. Documentary. The movie broke the record for the highest-selling documentary to come out of Sundance when it was acquired by Searchlight/Hulu, and it has since gone on to win Best Feature Documentary at the 2022 Academy Awards, Best Documentary at the 2022 British Academy Film Awards and Best Music Film at the 2022 Grammy Awards. In addition, former President Barack Obama named Summer of Soul one of his favorite movies of the year.
Questlove has also written multiple books including the New York Times bestsellers Mo’ Meta Blues and Creative Quest; the Grammy-nominated audiobook Creative Quest; Soul Train: The Music, Dance and Style of a Generation; the James Beard–nominated somethingtofoodabout; Mixtape Potluck; and the newly released Music Is History.
Aaron Dessner is a New York–based musician, composer and producer, best known for his work with Taylor Swift (including the 2020 Grammy Awards’ Album of the Year winner, folklore, and its sister album, evermore) and with Grammy Award–winning alternative band The National, whose albums he has co-written and co-produced since the group’s inception in 1999. Dessner began producing additional projects almost a decade ago, developing his own distinctive sound and approach, and an ability to connect with artists from disparate genres, including Sharon Van Etten and her breakthrough album, Tramp; the craftsmanship of Irish artist Lisa Hannigan; or the gothic blues of singer-songwriter Adia Victoria.
Dessner also collaborates with Bon Iver’s Justin Vernon on their collaborative project Big Red Machine and has co-founded international music festivals including the Eaux Claires Music & Arts Festival in Wisconsin, Boston Calling and the National’s own Homecoming festival in Cincinnati. Along with his twin brother, Bryce, Vernon and a community of musicians and creatives, he launched the 37d03d (PEOPLE) collective in 2016. 37d03d produces multi-artist events and operates an independent record label, all with the goal of supporting and encouraging spontaneous collaboration.
University of the Arts has announced the recipients of the inaugural round of the Grants for Creative Research & Innovation program, providing funding to 11 innovative projects led by UArts faculty and staff.
Through funding provided by the President’s Fund for Excellence, the Grants for Creative Research & Innovation program is able to disburse $53,000 to realize the 11 projects that comprise staff and faculty members’ imaginative, innovative ideas and advance the creativity of the UArts community.
The inaugural round of grants will allow UArts staff and faculty members to pursue research in dance and motion, explore the history of wood engraving, prototype augmented reality devices, develop theatrical and dance performances and curricula, give voice to Syrian refugees through podcasting, and more.
The grant recipients will conduct research, travel and execute their projects in the coming months, with the intent of sharing or reporting on their projects and discoveries in the fall. Below is the staff and faculty work that has received funding from the President’s Fund for Excellence.
Adjunct Assistant Professor of Dance Lauren Bakst will travel to Kassel, Germany, in order to attend Documenta Fifteen, a summer-long exhibition curated by ruangrupa, an artist collective based in Jakarta, Indonesia. Ruangrupa’s curation for this edition of Documenta centers the practice of lumbung, an Indonesian word literally meaning “rice barn,” but broadly conveying collaboration, friendship, sharing and caring for everyone in a group. In artistic and curatorial practice, ruangrupa’s approach offers a model for the curation of contemporary art that privileges “sustainability in ecological, social, and economic terms, in which resources, ideas or knowledge are shared.”
During Bakst’s five-day visit to Kassel, she will engage with the collective about their practices while experiencing this curatorial model firsthand, so that it can inform her scholarly research and teaching. “What are the affordances and limitations of sustainable models for contemporary art and how do they transform not only the nature of how we come to art itself, but also what we understand living life to look and feel like? How do the theories and histories of performance contribute to our sense of what durational and temporary collectivities make possible?”
Rebecca Gilbert MFA ’02 (Printmaking and Book Arts) will dive deep into the world of wood engraving through a trip to England, exploring the history, techniques, equipment and evolution of printmaking practice.
In England, Gilbert will attend a WEN Con, a workshop organized by The Engravers’ Network (WEN), and will join the Society of Wood Engravers for additional research.
“Making these international connections will open doors for me in many ways, from having more people to contact in the thick of a problem in … studio troubleshooting, to getting publicity, possible opportunities to be included in publications and international exhibitions, gaining historical insight, teaching tips, and information to include in my teaching,” Gilbert says. “Without a doubt, I will learn subtle, yet game-changing, tricks of the trade … I truly believe all of these different types of connections and interactions will help to continue to propel my own work even further.”
Gilbert, a graduate of UArts, emphasizes that personal growth as an artist is just a step to being an effective teacher. Ultimately, the experience developed and skills gained on the trip abroad will translate into a greater pool of wealth to share with students. This is particularly important to Gilbert, who states that she is “the only person that really practices and teaches the art and process of wood engraving in the region.”
Photography Program Director Jennifer Greenburg will use her grant to expand her photographic-based project Revising History, an ongoing series that incorporates costuming, performance and stagecraft to analyze socio-historical narrative. In the works produced for the series, Greenburg replaces people in recreated historical photographs, creating new context and insight into an idealized and obfuscated version of the American past.
“My images identify the influence historical imagery has on the biases and prejudices that remain in our culture today,” she says. “I replace the person who used to be in the image in order to comment on the narrative of gender imbalance promoted by vintage photographs.”
In late 2021, Greenburg conducted research for the Revising History project as a fellow at the Museum of Fine Arts Houston, where she identified narrative elements that are missing from the series.
The works in Revising History only reach completion when Greenburg is able to exactly mimic the photographic angles, lighting, depth, density and range of view as the original source material, requiring large-format camera lenses and a large studio space. Her Creative Research & Innovation grant will allow Greenburg to make progress by covering the costs of production consumables needed to create the series’ large-scale test prints and to secure new equipment and studio space—all necessary to be able to transform into and perform as the historical character she represents, says Greenburg.
School of Dance Artist-in-Residence Courtney Henry will utilize the Creative Research & Innovation grant to deepen her personal dance practice and develop a radical ballet syllabus by undertaking an experiential collaboration with interdisciplinary artist Jaamil Kosoko.
Henry’s Spiral as Code: Unlocking Indigenous Wisdom Through the Ballet Technique is not intended to yield a choreographed piece, but rather to develop new means of understanding movement. Henry will build dance phrases and conduct movement research through the lens of contemporary ballet, along with a traditional instrument from West Africa.
Henry’s intentions are ultimately pedagogical. “Blurring of the line between student and teacher in process is what I’m most interested in. How can the deepening and self-actualizing of my own practice and curiosities then give students the permission to do the same?”
This deeper degree of self-understanding will be achieved with consistent video and process journaling throughout the collaborative process.
Adjunct Associate Professor of Dance Jungeum Kim’s artistic research has been focused on how choreographic practice relates to other art forms, particularly moving images and shapes. Kim will use her Creative Research & Innovation grant to explore this intersection of media and inspirations, pursuing a two-month-long project to create a short experimental video work that synthesizes dance and animation, while acting as choreographer, performer and animator in collaboration with a guest composer.
“In the beginning of the pandemic in 2020, I learned a new skill: how to manipulate visual effects motion graphic software, and I created my first animated dance video. In this piece, I integrated a filmed live performance with paper cutouts that I animated,” Kim explains. “During the creation, I was able to deepen my knowledge and innovate my creative practice. I am eager to continue my practice and keep expanding my expertise. I strongly believe this project will enhance my creativity and capacity as an artist.”
Kim has previously developed two courses that focus on generating choreographic ideas that relate to digital media, including Expanded Field in Dance and Performance and Choreography and Alternative Media.
Kim also received the Faculty Transformation Fund grant in 2019.
Instrumentalist and part-time faculty at the School of Dance Julius Masri is leveraging the Creative Research & Innovation grant to take a deep dive into the expressive potential of music and motion by creating a series of compositions and performance methodologies based on the exploration of somatic principles of movement. Masri will be writing musical pieces to be implemented on various instruments, using established musical idiomatic forms, including Arabic, jazz and other contemporary musical systems.
“I am currently exploring the possibilities of new musical languages by developing my own glossary ofmovement systems that I can then proceed to interpret sonically,” Masri says of the overall approach, adding that the resulting performance of this research would require the development of new forms of live conducting or semaphore in order to be brought to life.
The eventual culmination of Masri’s research will be an ensemble recording. The grant will assist Masri in securing rehearsal rooms and booking professional recording studio space that would be large enough to account for health and safety concerns during the pandemic.
Adjunct Professor of Photography B. Proud launched the photographic series Transcending Love in 2017 to center LGBTQIA+ couples in an extension of her 2009 First Comes Love Project, partially funded by UArts. The series comprises portraiture of LGBTQIA+ couples, with the goal of “opening hearts and minds to couples in the transgender community and confronting the threats to their human rights,” Proud says. She will use support from the grant to expand the current series and produce a limited-edition portfolio to be shared with universities, museums and teaching institutions.
Proud intends to expand the printed exhibition from 18 to 25 images, to include a greater diversity of subjects who were added to the project since its first exhibition in 2020. Proud took a two-week trip to the south in summer 2021, producing portraits and conducting interviews with seven couples. She underscores that “showcasing more couples of color from conservative southern states is a key aspect of this project.” She also noted that this goal was a key motivating factor for applying for the Creative Research & Innovation grant.
Two of the recently produced images have already been accepted into exhibitions and need to be printed and framed. But a more involved next step for Transcending Love is the production of a special edition portfolio of 12 portraits and stories. The grant will allow Proud to create a 16” x 20” portfolio housed in a custom-designed clamshell box, produced in an edition of 10. It will be made available to universities, colleges, museums and teaching institutions for the purpose of education.
Adjunct Professor of Music Technology Ellis Rovin sees augmented reality (AR) as an important alternative for engaging with digital art without leaving our own reality and will use the Creative Research & Innovation grant to develop new technology for an AR art exhibition.
Rovin explains that the key tool of AR has historically been the projector, and that while projector technology has made incredible advances, “a projector can never display an image brighter than the surface it is projecting onto, nor can it display an image darker than the room it is in,” Rovin says. “This creates a situation where the dynamic range of our art is directly tied to the environment we are in, limiting our ability to have digital media coexist with our corporeal lives.” Rovin argues that the solution to this problem lies not in future technology, but rather that from a recent past: the LCD screen.
Rovin and colleagues are developing a new form of high-definition (HD) display that can shift from total transparency to complete opacity. Through research, tinkering and methodical experimentation, they have developed a remarkable prototype screen. Through the disassembly, modification and reassembly of an LCD screen, they have produced a slab of fully transparent glass that can change color, display video in full HD and turn completely opaque.
Funding will allow Rovin and collaborators to refine the prototype display and address several challenges they encountered during the earlier stages of development. Additional resources will allow them to create a less opaque screen, build a less cumbersome enclosure, make the power-hungry screen more efficient and incorporate industry-standard playback capabilities.
With further research, some elbow grease, and resources from the Creative Research & Innovation grant, Rovin aims to have three operational displays ready for installation by June.
Over the past two years, Savannah Reich, adjunct associate professor of Screenwriting, had to reimagine how to make theater.
“As a playwright, I’m inspired by being in the room with actors, and I often write for specific performers or venues, with a specific dream of how the audience will interact with the piece.” she says. “During the early pandemic, I spent much of my time in an apartment with my boyfriend, a musician and sound designer.”
Naturally, Reich ended up writing a piece that requires only a playwright and a sound designer. The result, Oedipus in Seattle, is an experimental mashup of Oedipus Rex and Sleepless in Seattle, to be performed by two actors who have never rehearsed it.
“When the show begins, the actors enter the stage in front of a live audience, put on headphones and move through the play following … in-ear instructions,” she explains.
The audience can hear some, but not all, of the instructions, sometimes being forced to guess what sort of directions the actors are responding to. The actors will perform tasks; ask each other questions; and occasionally act out the roles of Oedipus, Jocasta, Tom Hanks and Meg Ryan from the respective source material. The casting is also experimental, decided by a game of rock-paper-scissors played in front of the audience.
With the piece already written and the audio recorded, the crucial next step for Reich is to playtest Oedipus in Seattle with real actors. With such a minimal and experimental approach to production, she states, it’s important to test the play thoroughly, have constructive conversations and reflect before asking actors to be so vulnerable in front of a live audience.
The Creative Research & Innovation grant will allow Reich to undertake the thorough playtesting of Oedipus in Seattle needed to realize it publicly.
The idea for Rebecca Sack’s project, Shadow Fliers, emerged from conversations with bat researchers; site visits; site-specific exhibitions in the New Jersey Pine Barrens; and a genuine, earnest passion for bats—from their misunderstood nature, to their critical role in ecosystems worldwide and their plight in the face of growing environmental threats like habitat loss and the highly fatal, bat-specific disease white nose syndrome.
Sack, who is program director of Fine Arts and Painting coordinator, as well as assistant professor, has a clear idea for Shadow Fliers: a series of double-sided, hanging acrylic on muslin paintings installed in the historic water mill at the Nautelankoski Museum (Lieto Museum) in Finland. The paintings will depict the bats that live in the space and in the local environment, with the intention of bringing positive awareness of and appreciation for the presence of bats—at this specific site in Finland, in the wider ecosystem and in the wider world.
Sack notes that the content and site-specific nature of Shadow Fliers will be personally beneficial, too, as it will challenge and expand her practice to engage a broader pedological vision that addresses a larger public, and in turn will allow Sack to bring new insights and methodologies into the classroom. In addition to the final installed work, Sack will present a lecture and discussion about the work and corresponding research.
Three years ago, Associate Professor of Directing, Playwriting and Production Fadi Skeiker was awarded the President’s Fund for Excellence grant, which allowed him to workshop his play SY-Aspora in Austin. With his Create Research & Innovation grant, Skeiker will continue the journey that started before the pandemic in Austin and will rework some of the compelling firsthand stories he has heard from Syrian refugees as audio stories.
The play SY-Aspora was a series of monologues, narratives and stories about Syrian refugees. Each of the play’s monologues are based on stories that Skeiker heard while previously leading applied theater workshops with and for Syrian refugees.
Skeiker will use a combination of directing, acting and audio performance to create 10 five-minute radio-drama episodes, each one presenting the monologue of a Syrian refugee, which will then be distributed as a podcast.
The production of the project will be a collaborative undertaking: Skeiker will write and curate the project, while employing former students to join the project as producers, directors and performers. He emphasizes the pedagogical benefit of working with students, noting that it will offer paid, professional experience and novel opportunities to develop skills.
Skeiker aims to publish the series in May; distribute the resulting podcast through key streaming platforms; and host the 10 episodes on iTunes, Spotify and YouTube.
About UArts’ Creative Research & Innovation Grant
The Creative Research & Innovation grants are made possible through the President’s Fund for Excellence, which continues to grow through the generous support from the university’s private donors.
The 2022 round of grants was evaluated and awarded by a committee of UArts faculty and staff comprising Film Program Director Mike Attie, Creative Writing Program Director Steven Kleinman, Associate Professor of Music Business, Entrepreneurship and Technology Paul Schuette, Associate Professor of Fine Arts in Painting Marcelino Stuhmer and Associate Professor of Dance Katie Swords Thurman. Additionally, Director for Special Projects Raúl Romero served as the committee’s facilitator.
Laurie Wagman Recording Studios
The newly opened facilities are dedicated to exploring all facets of music production including composition, sound design, digital and analog recording, mixing and mastering.
UArts is reimagining the arts university experience. In addition to the distinct opportunity to study outside your major and in Philadelphia’s vibrant cultural center, we’re breaking new ground for creative exploration, expression and learning, year after year.
#UArtist is a celebration of the boundless creativity of the UArts community. Students, faculty, staff and alumni are welcome to share their work with us via Instagram by including #uartist.
Equal Opportunities and Nondiscrimination at UArts
In order to create the conditions necessary for human creativity to flourish, University of the Arts is committed to fostering individual and artistic integrity and inclusion by promoting and respecting self-expression, a wide range of ideas, and diversity in all of its forms. UArts does not discriminate on the basis of age, color, disability, gender identity, marital status, national or ethnic origin, political affiliation, race, religion, sex (including pregnancy), sexual orientation, veteran status, and family medical or genetic information, in any of its programs, activities or employment and admission practices.
Questions and complaints pertaining to UArts’ commitment to its non-discrimination policies and its Diversity, Equity, Inclusion and Accessibility initiatives can be directed to the director for Title IX, equity and compliance at 215-717-6362 or firstname.lastname@example.org.