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<channel>
	<title>WFIU Arts</title>
	
	<link>http://indianapublicmedia.org/arts</link>
	<description>Arts interviews, reviews, and features from WFIU Public Media from Indiana University. More arts podcasts at wfiu.org/arts.</description>
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		<copyright>1999-2009 </copyright>
		<managingEditor>aschweig@indiana.edu (WFIU Public Media (wfiu.org))</managingEditor>
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		<ttl>1440</ttl>
		<itunes:keywords>arts, performing arts, music, literature, movies, theater, wfiu, indiana, bloomington</itunes:keywords>
		<itunes:subtitle>Arts interviews, reviews, and features from WFIU Public Media from Indiana University. More arts and culture podcasts at wfiu.org/arts.</itunes:subtitle>
		<itunes:summary>Arts interviews, reviews, and features from WFIU Public Media from Indiana University. More arts and culture podcasts at wfiu.org/arts.</itunes:summary>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:category text="Arts" />
<itunes:category text="Music" />
<itunes:category text="Society &amp; Culture" />
		<itunes:owner>
			<itunes:name>WFIU Public Media (wfiu.org)</itunes:name>
			<itunes:email>aschweig@indiana.edu</itunes:email>
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		<itunes:block>No</itunes:block>
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		<image><link>http://wfiu.org/arts/</link><url>http://wfiu.org/podcasts/images/arts/category-graphic-arts_sm.jpg</url><title>WFIU Arts</title></image>
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		<title>Still Wearing Sneakers: The Canadian Brass Celebrate Forty Years</title>
		<link>http://indianapublicmedia.org/arts/wearing-sneakers-canadian-brass-celebrate-forty-years/</link>
		<comments>http://indianapublicmedia.org/arts/wearing-sneakers-canadian-brass-celebrate-forty-years/#comments</comments>
		<pubDate>Tue, 16 Mar 2010 13:00:17 +0000</pubDate>
		<dc:creator>Annie Corrigan</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
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		<category><![CDATA[WFIU.org Homepage Featured Story]]></category>
		<category><![CDATA[Brandon Ridenour]]></category>
		<category><![CDATA[brass]]></category>
		<category><![CDATA[canadian brass]]></category>
		<category><![CDATA[Chris Coletti]]></category>
		<category><![CDATA[Chris Dedrick]]></category>
		<category><![CDATA[Chuck Daellenbach]]></category>
		<category><![CDATA[Gene Watts]]></category>
		<category><![CDATA[horn]]></category>
		<category><![CDATA[Jeff Nelsen]]></category>
		<category><![CDATA[Music Academy of the West]]></category>
		<category><![CDATA[penny lane]]></category>
		<category><![CDATA[trombone]]></category>
		<category><![CDATA[trumpet]]></category>
		<category><![CDATA[tuba]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5633</guid>
		<description>Few chamber groups can boast the accomplishments of the Canadian Brass.  And even after forty years, the group isn't showing any signs of stopping now.
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&lt;/div&gt;</description>
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<itunes:duration>9:13</itunes:duration>
		<itunes:subtitle>Forty Years and Counting

Few chamber groups can boast the accomplishments of Thenbsp;Canadian Brass. nbsp;They have released over 90 CDs. nbsp;Some 80 compositions have been written ...</itunes:subtitle>
		<itunes:summary>Forty Years and Counting

Few chamber groups can boast the accomplishments of Thenbsp;Canadian Brass. nbsp;They have released over 90 CDs. nbsp;Some 80 compositions have been written for the group. nbsp;And, they've been performing music all over the world for nearly a half century. nbsp;With three young musicians joining the ranks with two original members, the group certainly is not showing any signs of stopping now.

Theyrsquo;re currently in the middle of a nationwide tour that brought them to Bloomington, Indiana.  While here, they stopped by the WFIU studios to talk about their history, share some laughs, and play some music.

ldquo;Your performance is one thing.nbsp; Getting people to come a second timehellip; thatrsquo;s what really really matters,rdquo; said Chuck Daellenbach, tuba player for the group. nbsp;He was sitting with his brass-playing colleagues: Brandon Ridenour, trumpet; Chris Coletti, trumpet; Jeff Nelsen, horn; and Gene Watts, trombone.

Old and New Making Music Together

Daellenbach and Watts were two of the founding members back in 1970, and they see the group moving forward from here. nbsp;Daellenbach said they have passed a critical point. nbsp;"With the legendary status of the group and the youth of our new members, we have an opportunity now to really make significant contributions to the future of live performance and the musical world in general."

The group has seen eight to ten members come and go over the years, and Watts commented that it's not easy finding the right musicians to join the group. nbsp;It takes more than just being a talented musician. nbsp;He said it takes a certain person who is willing to dedicate themselves to everything that comes with being in the Canadian Brass. nbsp;"You can look at it on one side, that you give up a lot. nbsp;But you also gain a lot, and it's well worth it."

A Dream Come True

The two newest members also happen to be the two trumpet players. nbsp;They both met the Canadian Brass at The Music Academy of the West, a summer music festival in Santa Barbara, California. Coletti commented that he's still in awe at playing in this legendary group. nbsp;"I never thought I'd meet them in person let alone play with them." nbsp;The group shared a chuckle at Coletti's admission.

While Ridenour is the youngest member of the group at 24 years old, he has taken on the task of playing piccolo trumpet on Penny Lane, a piece made famous by the Beatles and arranged for brass quintet by Chris Dedrick. He said the solo was not easy to learn, joking, "It took many nights without sleep (to learn the solo) and only taking about two or three breaths per hour."

Expanding the Repertoire

Over its history, the group has not only commissioned a number of new works, they have also arranged a number of pieces. nbsp;Expanding the repertoire for brass quintet has been one of the group's missions from day one. nbsp;"We get to be the groundbreakers in creating new repertoire," Nelsen said. nbsp;They take care to ensure that only the highest quality arrangements make it into their performances and onto their CDs. nbsp;"One of the great things about a forty-year history of a group is the way we select that repertoire and how many filters it goes through before it gets to a stage."

Daellenbach agreed, adding that the relatively short history of the brass quintet as an ensemble is the reason they have worked to expand the repertoire. nbsp;"Wouldn't it be great it we had Beethoven?" he said. nbsp;"Yes, and it will happen. nbsp;But it takes time and energy."

And in the meantime, they'll continue to put smiles on the faces of music lovers the world over.</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<item>
		<title>The Musical Arts Youth Orchestra and the Art of Practice</title>
		<link>http://indianapublicmedia.org/arts/mayo-art-practice/</link>
		<comments>http://indianapublicmedia.org/arts/mayo-art-practice/#comments</comments>
		<pubDate>Tue, 09 Mar 2010 17:54:00 +0000</pubDate>
		<dc:creator>Megan Meyer</dc:creator>
				<category><![CDATA[Bloomington]]></category>
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		<category><![CDATA[arts]]></category>
		<category><![CDATA[arts education]]></category>
		<category><![CDATA[Brent Talbot]]></category>
		<category><![CDATA[Daisy Day]]></category>
		<category><![CDATA[eduction]]></category>
		<category><![CDATA[indiana]]></category>
		<category><![CDATA[jose valencia]]></category>
		<category><![CDATA[Josh Clampitt]]></category>
		<category><![CDATA[mayo]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[music education]]></category>
		<category><![CDATA[Musical Arts Youth Orchestra]]></category>
		<category><![CDATA[Sam Pilgrim]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5605</guid>
		<description>The Musical Arts Youth Orchestra, or MAYO, is an inter-school orchestra where kids of all ages come together to play a wide range of musical styles. For many of its members, MAYO is their first experience playing in a full orchestra.
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&lt;/div&gt;</description>
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<itunes:duration>4:53</itunes:duration>
		<itunes:subtitle>It's early evening and members of the Musical Arts Youth Orchestra trickle in to the high school band room and start putting their instruments together.

Musical ...</itunes:subtitle>
		<itunes:summary>It's early evening and members of the Musical Arts Youth Orchestra trickle in to the high school band room and start putting their instruments together.

Musical director Jose Valencia talks in a practice room amid bellows from a nearby tuba. For two years he has been with MAYO ndash;- as they prefer to be called -- and one of the things that strikes him most about working with young musicians is their enthusiasm.

"It makes me feel proud and honored to be able to work with people like them," he says. "Itrsquo;s challenging to me as well because theyrsquo;re on this upward quest and Irsquo;m running along to keep ahead of them, if I can."

Valencia remarks that, in comparison to his experience with adult orchestras, young musicians exhibit a stylistic flexibility. He says watching them play with new musical ideas and develop as musicians is very rewarding.

"Itrsquo;s definitely good because you can see people of the various social development[s] all coming together and producing the same type of a product, an event, an emotional event," Valencia says. "A performance is a culminating activity for all the hard work they put in."
Music And Academic Achievement
Brent Talbot is a visiting instructor in music education at the University of Illinois Urbana-Champaign. His research and experience in teaching music to marginalized demographics has given him some insights into how kids learn music, and how it affects their social and mental development.

"Music is positively associated with academic achievement," Talbot says, "and especially that happens, or is found during the high school years."

He points to studies showing a strong correlation between high test scores in reading and math and a childrsquo;s study of music. Read the Science Daily articles from 2010, 2009, and 2006.

Statistics can be tricky, though. Talbot says that music participation and good grades are also associated with income ndash; childrenrsquo;s parents who can afford music lessons are more able to shell out for math tutors.
Social Development
The benefits of playing music go beyond academics.

"Also, just being a member of a group. I think there are a lot of social advantages in music. Being a member of a group, you know, develops these inter-personal skills."

Talbot says the habit of listening to the many parts of an orchestral piece and responding appropriately is a defining talent that is crucial in any profession ndash;- musical or not.

MAYO flute player Josh Clampitt explains this phenomenon in more detail.

"When you play in an ensemble you learn to communicate with others nonverbally," he says. "You donrsquo;t have to talk with someone to know when to be together at the same time. You build teamwork just like you do in a sports team."

And like a sports team, an orchestra cultivates a sense of camaraderie and communal achievement. Viola player Sam Pilgrim, a first year MAYO member, describes one reason why he carves time out of his busy schedule for orchestra practice.

"I think some of it is that just sort of a sense when you play in an orchestra of being a part of something that is something that people really like and ... seeing a very obvious sense of progression," Pilgrim says.
The Art of Practice
But there are a lot of kids who become frustrated with music and stop playing altogether. Violinist Daisy Day illustrates what goes through her head during those frustrating moments.

"Therersquo;s definitely a lot of times when you improve, improve and then therersquo;s a certain point where you just stop. But I always think that after I just go past this point, then Irsquo;ll be able to improve even more," she says.

Not only do some young musicians have difficulty working with their instruments, but as Talbot points out, a lack of perseverance can come from peer pressure, or arguments in the home.

"Those who can really move through those types of pressures and those tensions and generally enjoy the experie...</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100309-mayo.mp3" fileSize="2342477" type="audio/mpeg" /></item>
		<item>
		<title>Food Rules: A Conversation With Author Michael Pollan</title>
		<link>http://indianapublicmedia.org/arts/food-rules-conversation-author-michael-pollan/</link>
		<comments>http://indianapublicmedia.org/arts/food-rules-conversation-author-michael-pollan/#comments</comments>
		<pubDate>Tue, 09 Mar 2010 17:50:16 +0000</pubDate>
		<dc:creator>Annie Corrigan</dc:creator>
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		<category><![CDATA[American diet]]></category>
		<category><![CDATA[cooking]]></category>
		<category><![CDATA[farm]]></category>
		<category><![CDATA[farmers market]]></category>
		<category><![CDATA[fast food]]></category>
		<category><![CDATA[Food Rules]]></category>
		<category><![CDATA[In Defense of Food]]></category>
		<category><![CDATA[local food]]></category>
		<category><![CDATA[Michael Pollan]]></category>
		<category><![CDATA[The Omnivore's Dilemma]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5584</guid>
		<description>Author Michael Pollan knows a thing or two about food.  He hopes his new book "Food Rules" will to give you some rules of thumb when shopping for groceries.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100309-michael-pollan.mp3" length="2560652" type="audio/mpeg" />
<itunes:duration>5:20</itunes:duration>
		<itunes:subtitle>Getting Down and Dirty With Food

Author Michael Pollan finds it useful to have direct experience of what hersquo;s writing about.  So, that idea has ...</itunes:subtitle>
		<itunes:summary>Getting Down and Dirty With Food

Author Michael Pollan finds it useful to have direct experience of what hersquo;s writing about.  So, that idea has found him hunting wild boar, protecting his garden from a wily groundhog, and getting down and dirty with all things corn. His books about the food system have started conversation and changed shopping habits, all with the underlying ideahellip; ldquo;Eat food.  Not too much.  Mostly Plants.rdquo;

His new book Food Rules has a concise message that he hopes will reach a broader audience.  ldquo;This book is kind of a distillation of everything Irsquo;ve learned, both about how our food is produced and how our bodies make use of it, all that reduced to some handy rules of thumb.rdquo;

His other books have received numerous awards. In Defense of Food garnered him a James Beard Award, and The Omnivorersquo;s Dilemma was called one of the ten best books of 2006 by the New York Times and the Washington Post.  It was also published in a version for young readers.

Reaching the Masses

But a criticism often leveled at Pollan is that hersquo;s preaching to the choir.  People who read his books already shop at farmers markets, theyrsquo;re already concerned with food issues.  Food Rules is his attempt to broaden his audience.  ldquo;This is an attempt to reach people who might not read a big book about the food system but are very concerned about their health.rdquo;

ldquo;In terms of the young readerrsquo;s editionhellip; I realized that at a certain point, if wersquo;re going to change our food system, itrsquo;s the next generation thatrsquo;s going to be critical.rdquo;  Pollan says the younger generation is very concerned with issues relating to food, the environment, and animal welfare, which isnrsquo;t surprising because, ldquo;food choices are one of the few powers a child has.rdquo;

He went on to say, ldquo;Once you introduce the issue to young people, and suggest to them that they have the ability to vote with their forks, they realize that this is a responsibility and an opportunity.rdquo;

A Deadly Diet

But with food issues on the radars of so many people, why are Americans still so infatuated with fast food?  Hersquo;s come to some conclusions about that, one being that we want to outsource our cooking to corporations, which would be fine, he said, if we could count on them to cook well.  ldquo;The fact is, though, they donrsquo;t cook very well.  They tend to cook with far too much salt, fat, and sugar... three things wersquo;re eating way too much of.rdquo;

He explained that this so-called ldquo;American Dietrdquo; is the culprit for the high incidences of chronic diseases such as type-2 diabetes, heart disease, and some cancers.  For all those people who have managed to wean themselves off these highly processed foods, Pollan says the next step is to get behind a stove and cultivate cooking.  Itrsquo;s not only better for your health, it helps farmers capture more of your food dollar.

Making a Change

While his book doesnrsquo;t offer a cure-all for your personal food crisis, Pollan says Food Rules is certainly a good place to get started learning about these issues.  He certainly doesnrsquo;t expect people to follow all 64 rules found in his new book , ldquo;but Irsquo;m expecting people to adapt the ones that sound right, appeal to their common sense, and they can remember.rdquo;

If you can get a couple rules from each of the three sections, he says, it could make a big difference ldquo;without having to revolutionize your life.rdquo;

Hear More

You can listen to my complete conversation with Michael Pollan on the Earth Eats website.  Hear his thoughts on health care reform and even find out what he keeps in his fridge.</itunes:summary>
		<itunes:keywords>Books,and,Literature,,Content,Type,,Culture,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100309-michael-pollan.mp3" fileSize="2560652" type="audio/mpeg" /></item>
		<item>
		<title>IU President McRobbie Rocks Public Radio</title>
		<link>http://indianapublicmedia.org/arts/iu-president-mcrobbie-rocks-public-radio/</link>
		<comments>http://indianapublicmedia.org/arts/iu-president-mcrobbie-rocks-public-radio/#comments</comments>
		<pubDate>Fri, 05 Mar 2010 22:47:48 +0000</pubDate>
		<dc:creator>Joe Bourne</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Popular Music]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[WFIU.org Homepage Featured Story]]></category>
		<category><![CDATA[cultural programming]]></category>
		<category><![CDATA[Indiana University]]></category>
		<category><![CDATA[live music]]></category>
		<category><![CDATA[michael mcrobbie]]></category>
		<category><![CDATA[public radio]]></category>
		<category><![CDATA[rock music]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5590</guid>
		<description>Indiana University president Michael McRobbie guest hosted the WFIU radio program “Just You and Me with Joe Bourne” March 5, from 3:30 p.m. to 5 p.m.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/VQIT2KedvR6yJGEqGwevl68f01I/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/VQIT2KedvR6yJGEqGwevl68f01I/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100305-mcrobbie-dj.mp3" length="42223557" type="audio/mpeg" />
<itunes:duration>87:58</itunes:duration>
		<itunes:subtitle>Indiana University President Michael McRobbie guest hosted the WFIU radio program Just You and Me with Joe Bourne on March 5, from 3:30 p.m. to ...</itunes:subtitle>
		<itunes:summary>Indiana University President Michael McRobbie guest hosted the WFIU radio program Just You and Me with Joe Bourne on March 5, from 3:30 p.m. to 5 p.m.

The president played his favorite rock songs from his days as a college student, including tracks by the Beatles, the Rolling Stones, Led Zeppelin, Pink Floyd, Jethro Tull, the Who, Cream, Jefferson Airplane, the Doors, Janis Joplin and Neil Young.

All of McRobbie's choices came from live recordings, ldquo;to give listeners a sense of the energy, power and musicianship of all these great groups and artists at their peak," said McRobbie.

ldquo;At a time when the arts are facing cuts, itrsquo;s particularly encouraging to hear Indiana University President McRobbie on-air promoting cultural programming on WFIU,rdquo; said WFIU Station Manager Christina Kuzmych.

ldquo;Itrsquo;s a testament to the WFIU/Indiana University partnership, and to President McRobbiersquo;s personal enjoyment of music and radio."</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Features,,Popular,Music,,Special,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100305-mcrobbie-dj.mp3" fileSize="42223557" type="audio/mpeg" /></item>
		<item>
		<title>Cinderella by Rodgers and Hammerstein</title>
		<link>http://indianapublicmedia.org/arts/cinderella-rodgers-hammerstein/</link>
		<comments>http://indianapublicmedia.org/arts/cinderella-rodgers-hammerstein/#comments</comments>
		<pubDate>Thu, 04 Mar 2010 21:50:55 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Brian Samarzea]]></category>
		<category><![CDATA[cinderella]]></category>
		<category><![CDATA[fairy god mother]]></category>
		<category><![CDATA[glass slipper]]></category>
		<category><![CDATA[Madeleine Samarzea]]></category>
		<category><![CDATA[Rodgers and Hammerstein]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5574</guid>
		<description>Bedford North Lawrence High School Choral Director Brian Samarzea's latest production is Cinderella - with his daughter as the lady with the glass slipper.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100304-cinderella.mp3" length="2439296" type="audio/mpeg" />
<itunes:duration>5:05</itunes:duration>
		<itunes:subtitle>Indiana School of Music graduate, former postal worker and independent music producer Brian Samarzea is now the director of choral activities at Bedford North Lawrence ...</itunes:subtitle>
		<itunes:summary>Indiana School of Music graduate, former postal worker and independent music producer Brian Samarzea is now the director of choral activities at Bedford North Lawrence High School.

His latest project is a production of Rodgers and Hammersteinrsquo;s Cinderella with his daughter as the lady with the glass slipper.
ldquo;Cinderella is just a great piece of classic musical theatre, so that was its main attraction. But, I have to admit that the fact that I have a strong group of young women in my chorus was also part of the decision to put on the show. Now, I donrsquo;t mean to slight the young men that will be performing. You do need a handsome prince, whom we have and an actor who come through solidly in the role of the king.rdquo;
Samarzea went on to talk about other aspects of putting on Cinderella.
ldquo;I would have to say that the dancing was quite a challenge. Our students really are not used to close couple dancing. That was the first thing that they had to get used to. And then, the formal carriage for the waltzes was a further problem. But, getting to and through these kinds of challenges are just great for them.rdquo;
It happens that Brianrsquo;s daughter, Madeleine plays the part of Cinderella. Shersquo;s a seasoned actor with a number of musical roles at BNL and in other productions as well.
ldquo;Irsquo;ve been in Annie, Gypsy, Into the Woods and a number of shows that my Dad put on. Part of the reason that I wanted to play this part was Julie Andrews. I just think that shersquo;s a great performer and a real role model. ldquo;
Madeleine Samarzea went on to describe her real enjoyment of the whole high school experience with academics, music and even sports.
ldquo;Irsquo;m really pretty down to earth; I guess thatrsquo;s one of the things that I really enjoy about playing in a romantic magical fantasy.rdquo;
Speaking of being down to earth, we were planning to talk with the student playing the part of the prince for this piece, but he was busy taking an important AP Biology exam.

Cinderella by Rodgers and Hammerstein
Directed by Brian Samarzea
Bedford North Lawrence High School
March 5, 6, 7 and 12, 13, 14, 2010</itunes:summary>
		<itunes:keywords>Content,Type,,Dance,,Featured,in,category,,Interviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100304-cinderella.mp3" fileSize="2439296" type="audio/mpeg" /></item>
		<item>
		<title>Fleet Irish Feet Grace the Auditorium Stage in “Lord of the Dance”</title>
		<link>http://indianapublicmedia.org/arts/fleet-irish-feet-grace-auditorium-stage-lord-dance/</link>
		<comments>http://indianapublicmedia.org/arts/fleet-irish-feet-grace-auditorium-stage-lord-dance/#comments</comments>
		<pubDate>Thu, 04 Mar 2010 21:35:12 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
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		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Popular Music]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[WFIU.org Homepage Featured Story]]></category>
		<category><![CDATA[Irish Dance]]></category>
		<category><![CDATA[Jason Gorman]]></category>
		<category><![CDATA[Lord of Darkness]]></category>
		<category><![CDATA[Lord of LIght]]></category>
		<category><![CDATA[Lord of the Dance]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5555</guid>
		<description>Lord of the Dance featuring 2009 World Irish Dance champions Scott Doherty and Michael McHugh comes to the IU Auditorium for a single performance March 7.
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=G4nSvUjF92k:ILrVc1Gj7zY:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=G4nSvUjF92k:ILrVc1Gj7zY:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=G4nSvUjF92k:ILrVc1Gj7zY:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=G4nSvUjF92k:ILrVc1Gj7zY:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=G4nSvUjF92k:ILrVc1Gj7zY:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/fleet-irish-feet-grace-auditorium-stage-lord-dance/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100304-lord-of-the-dance.mp3" length="2387617" type="audio/mpeg" />
<itunes:duration>4:58</itunes:duration>
		<itunes:subtitle>Lord of the Dance featuring 2009 World Irish Dance champions Scott Doherty and Michael McHugh comes to the IU Auditorium for a single performance ...</itunes:subtitle>
		<itunes:summary>Lord of the Dance featuring 2009 World Irish Dance champions Scott Doherty and Michael McHugh comes to the IU Auditorium for a single performance March 7, 2010 at 3 pm.

We had a chance to talk with one of the dancers Jason Gorman .

ldquo;Irsquo;m from California and I got started with Irish dancing when I was eleven," said Gorman.
"I went to a class with my cousin. After a couple of invitations from the teacher, I did join the class. Incidentally, my cousin dropped out.nbsp; I really go into it and in fact was only sixteen when I was asked to join the cast of Lord of the Dance in Las Vegas. I didnrsquo;t get to graduate with my class or go to the prom. I did graduate and Irsquo;ve got my diploma, but it was just too good an opportunity to miss."
Jason also is a very active outdoorsman. ldquo;Irsquo;m from California and I love hiking and getting out into the country. I also like other forms of dance like ballet and even hip hop.rdquo;
ldquo;In the current production, Irsquo;m actually the lsquo;ethereal lord of light, the Lord of the Dance. Itrsquo;s a basic story thatrsquo;s sort of based on Irish folklore. Therersquo;s conflict with my opponent The Lord of Darkness. And therersquo;s a bit of romance with a good woman and an evil one as well.rdquo;
"Lord of the Dance is really a joy to be a part of. Audiences really get into it. We have people from five to eighty-five who are able to follow the story and to connect with the rhythm and the drama. Irsquo;ve had nearly a decade of the story and its still fresh and new for me each time.rdquo;
Lord of the Dance

Indiana University Auditorium

March 7, 2010 at 3 pm</itunes:summary>
		<itunes:keywords>Content,Type,,Dance,,Featured,in,category,,Interviews,,Popular,Music,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100304-lord-of-the-dance.mp3" fileSize="2387617" type="audio/mpeg" /></item>
		<item>
		<title>Beauty and the Beast Comes To The IU Auditorium</title>
		<link>http://indianapublicmedia.org/arts/beauty-beast-iu-auditorium/</link>
		<comments>http://indianapublicmedia.org/arts/beauty-beast-iu-auditorium/#comments</comments>
		<pubDate>Wed, 03 Mar 2010 20:26:05 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Popular Music]]></category>
		<category><![CDATA[Reviews]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Alan Menken]]></category>
		<category><![CDATA[Beauty and the Beast]]></category>
		<category><![CDATA[Disney]]></category>
		<category><![CDATA[fairy tale]]></category>
		<category><![CDATA[Howard Ashman]]></category>
		<category><![CDATA[Linda Woolverton]]></category>
		<category><![CDATA[tim rice]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5538</guid>
		<description>Beauty and the Beast opened Tuesday night, with seven additional songs and real actors playing all those cartoon characters from the film.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100303-beauty-and-the-beast.mp3" length="1210496" type="audio/mpeg" />
<itunes:duration>2:31</itunes:duration>
		<itunes:subtitle>Beauty and the Beast opened Tuesday night for the start of a three evening run in the IU Auditorium. Itrsquo;s the Broadway version based on ...</itunes:subtitle>
		<itunes:summary>Beauty and the Beast opened Tuesday night for the start of a three evening run in the IU Auditorium. Itrsquo;s the Broadway version based on the Disney movie with seven additional songs and real actors playing all those cartoon characters.

The show has plenty of special effects, lots of clever scene changes and sets that range from the whimsical home of the villagers to the scary depths of the forest and even to the magic within the beastrsquo;s castle.

Beauty and the Beast has plenty of humor with some of it directed right back at the production. There are lots of briefly and safely frightening moments and even space for a thought or two about the transforming power of love and care.

Liz Shivener was effective as the heroine, the bookish Belle.nbsp; Nathaniel Hackmann was a delight as the boastful muscle bound Gaston with poor Michael Fatica as Lefou, his frequent punching bag.

Of the castle characters my favorite was Keith Kirkwood as the clock, but Sabina Petra as the Mrs. Potts and Keith Kirkwood as the candelabra more than filled the roles that wersquo;ve come to know so well from the cartoon. Justin Glaser was a sympathetic beast.

Beauty and the Beast begins at seven-thirty. Itrsquo;s a little earlier than usual for the Auditorium and Tuesday nightrsquo;s audience had plenty of audience members who needed booster seats or laps and stayed up way past their bed times.

Itrsquo;s a tribute to the show that it held their attention throughout, though I did see a few drooping heads at the final curtain.

By the way, the orchestra boasted two Indiana University graduates, reed player Ryan Claus and the conductor Carolyn Violi. But although Claus did his college work in Bloomington, Violi is claimed by the Indiana University of Pennsylvania.

Performances of Beauty and the Beast continue this evening and Thursday in the IU Auditorium beginning at seven-thirty.

Beauty and the Beast

Music by Alan Menken

Lyrics by Howard Ashman and Tim Rice

IU Auditorium

March 2, 3, 4, 2010</itunes:summary>
		<itunes:keywords>Content,Type,,Dance,,Featured,in,category,,Popular,Music,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100303-beauty-and-the-beast.mp3" fileSize="1210496" type="audio/mpeg" /></item>
		<item>
		<title>Improbable Kinship: Arthur Liou, Barry Gealt, Osamu James Nakagawa</title>
		<link>http://indianapublicmedia.org/arts/improbable-kinship-liou-gealt-nakagawa/</link>
		<comments>http://indianapublicmedia.org/arts/improbable-kinship-liou-gealt-nakagawa/#comments</comments>
		<pubDate>Wed, 03 Mar 2010 19:49:49 +0000</pubDate>
		<dc:creator>Yaël Ksander</dc:creator>
				<category><![CDATA[Angles from the IU Art Museum Podcast]]></category>
		<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
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		<category><![CDATA[Features]]></category>
		<category><![CDATA[Interviews]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[Visual Arts]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Arthur Liou]]></category>
		<category><![CDATA[Barry Gealt]]></category>
		<category><![CDATA[Battle of Okinawa]]></category>
		<category><![CDATA[Guggenheim Fellowship]]></category>
		<category><![CDATA[Indiana University Art Museum]]></category>
		<category><![CDATA[Normandy]]></category>
		<category><![CDATA[Okinawa]]></category>
		<category><![CDATA[Osamu James Nakagawa]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5519</guid>
		<description>In the gallery where the triennial faculty show is on view at the Indiana University Art Museum, there’s a grouping that might not immediately seem interrelated.  Although very disparate in terms of form, works by Arthur Liou, Barry Gealt, and Osamu James Nakagawa emerged from the artists’ philosophical and personal kinship.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100303-kindred-spirits.mp3" length="3337470" type="audio/mpeg" />
<itunes:duration>6:57</itunes:duration>
		<itunes:subtitle>In the gallery where the triennial faculty show is on view at the Indiana University Art Museum, therersquo;s a grouping that might not immediately seem ...</itunes:subtitle>
		<itunes:summary>In the gallery where the triennial faculty show is on view at the Indiana University Art Museum, therersquo;s a grouping that might not immediately seem interrelated.

Although very disparate in terms of form, works by Arthur Liou, Barry Gealt, and Osamu James Nakagawa emerged from the artistsrsquo; philosophical and personal kinship.

The digital artist, painter and photographer recently sat down to discuss how their connection enriches their art-making.  Kindred Spirits was the name of their ldquo;Art-side Chatrdquo; at the museum onnbsp;Friday, February 26.

Guggenheim-Award-winning photographer Nakagawa was seated next to his large-format photos of the caves where Okinawans took their own lives during the spring of 1945, when the island was under siege from Allied and Japanese forces.

Although Nakagawa comes from Japan, he claims that the inspiration to tackle the subject came from his colleague at IU.  ldquo;You know, Barry, you triggered me,rdquo; he told his friend, emeritus painting professor Barry Gealt, ldquo;to think about landscape as a loaded place.rdquo;

Nakagawa claims that his decision to photograph Okinawarsquo;s suicide cliffs and caves was prompted by Gealtrsquo;s trip to Normandy.

Gealt rsquo;s six-week tour of Normandy was motivated not by military history, but art history.  He wanted to take a group of students to the northern French sites where his heroes had painted.

While hoping to pay homage to the likes of Turner and Monet, however, Gealt couldnrsquo;t help but grapple with the placersquo;s bloody legacy.  ldquo;You see the beaches, the cemeterieshellip;it just buckles your knees, itrsquo;s an awesome experience.rdquo;

Gealtrsquo;s response to the cliffs at Normandy resulted in work he didnrsquo;t anticipate making.  ldquo;The paintings quickly translated into something very different,rdquo; he explained.

But Gealt never could have known how very differently his paintings would ultimately be transformed.

Fascinated with Gealtrsquo;s paintings, digital artist Arthur Liou devised a way to incorporate the texture of his colleaguersquo;s brushstrokes in his own work.  Photographing a small section of a painting in progress, Liou would place the highly textural imagery on a wave pattern, using a 3-D modeling program.  ldquo;So itrsquo;s like dressing the skeleton of the wave with painting,rdquo; Liou explained.

The result is Lioursquo;s video Improbable Waves, a 30-minute loop set to naturalistic ocean sounds.  The improbable waves rise and fall in slow motion, evoking the serenity, longing, and limitlessness of the ocean.

The tragedy underlying the other artistsrsquo; treatment of the coastal landscape informs Arthurrsquo;s work as well.  Lioursquo;s young daughter passed away in 2007.  The following summer, Liou took emotional refuge in the ocean on a diving trip in his native Taiwan.

On his return to Bloomington, Lioursquo;s artist friends helped him back into life, and eventually, the studio.  ldquo;It was Barry who gave me the first assignment,rdquo; Liou remembers, ldquo;which was to hang out in his studio, which brought me back to art-making.rdquo;

Barry Gealtrsquo;s painting, photographs by Osamu James Nakagawa, and Arthur Lioursquo;s video installation are on view at the IU Art Museum, as part of Triennial 2010.

The show, featuring work by 42 artist-teachers in the Hope School of Fine Arts, is on view in the first floor Special Exhibitions Gallery through this Sunday, March 7th.

On Friday, members of IU's Student Composer Association will present ten new solo pieces, each inspired by a different artwork in the Triennial.  ldquo;New Art/New Musicrdquo; starts at 7:30 pm in the Special Exhibitions Gallery.</itunes:summary>
		<itunes:keywords>Angles,from,the,IU,Art,Museum,Podcast,,Bloomington,,Communities,,Content,Type,,Features,,Interviews,,Podcasts,,Special,,Visual,Arts,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100303-kindred-spirits.mp3" fileSize="3337470" type="audio/mpeg" /></item>
		<item>
		<title>Soprano Meghan Dewald As Magda In La Rondine</title>
		<link>http://indianapublicmedia.org/arts/la-rondine-giacomo-puccini/</link>
		<comments>http://indianapublicmedia.org/arts/la-rondine-giacomo-puccini/#comments</comments>
		<pubDate>Wed, 03 Mar 2010 16:30:17 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Bill Forrester]]></category>
		<category><![CDATA[David Effron]]></category>
		<category><![CDATA[La Rondine]]></category>
		<category><![CDATA[Linda Pisano]]></category>
		<category><![CDATA[Meghan Dewald]]></category>
		<category><![CDATA[puccini]]></category>
		<category><![CDATA[Vincent Liotta]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5392</guid>
		<description>Soprano Meghan Dewald, playing Magda, is a veteran of roles in operas that range from the stately Handel to the wild video piece of Osvaldo Golijov.
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100225-la-rondine-int.mp3" length="2402432" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The IU Opera Theaterrsquo;s coming offering is Giacomo Puccinirsquo;s La Rondine, the swallow.

Itrsquo;s a less-known opera by a well-known composer. The original commission called for ...</itunes:subtitle>
		<itunes:summary>The IU Opera Theaterrsquo;s coming offering is Giacomo Puccinirsquo;s La Rondine, the swallow.

Itrsquo;s a less-known opera by a well-known composer. The original commission called for a comic opera with no spoken dialog in the style of Rosenkavalier, ldquo;only more entertaining and more organic.rdquo;

Our guest is soprano Meghan Dewald, a veteran of roles in operas that range from the stately Handel to the wild video piece of Osvaldo Golijov.

"Yes, I have really been blessed with opportunities to sing an incredible range of pieces, and itrsquo;s great. But, every soprano wants to sing Puccini," says Dewald.

A skeleton description of the story says, that the heroine is a young woman in Paris with romantic fantasies finding unexpected troubles.

ldquo;We first find Magda at the center of a party in her house hosting a fabulous affair with her benefactor Rambaldo," explains Dewald.

"Apparently shersquo;s leading a charmed life, but she expresses a certain discontent, a longing.The son of a distant family friend, Ruggero, arrives and by act two, they have fallen in love and shersquo;s left her comfortable position for a little cottage by sea."

Linda Pisano from IUrsquo;s Department of Theatre and Drama is the costume designer for La Rondine. Dewald talked with pleasure about her costumes.

"Magda is the most fashion forward of her circle of friends," she says.

"Her friends are fashionably dressed, but shersquo;s one step more toward couture. Shersquo;s wearing a fortune gown, non-corseted, very lovely. But, then Magda decides to try to recapture her romantic youth and dresses as a grissette in shirt waist, long skirt and boots for an evening at the club Brullier. And later therersquo;s a simple outfit for the beach cottage."

ldquo;People sometimes call this Traviatta light because there are some parallels between Magda and Violetta," she says.

"But I like to think that Puccini made his heroines stronger than Verdirsquo;s and Magda is every bit as strong andnbsp; sometimes self deluded as Tosca and Madama Butterfly.rdquo;

La Rondine by Giacomo Puccini
IU Opera Theater
February 26-27 and March 5-6, 2010
Conductor David Effron
Stage Director Vincent Liotta
Set Bill Forrester
Costumes Linda Pisano</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,in,category,,Interviews,,Opera,,Special,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100225-la-rondine-int.mp3" fileSize="2402432" type="audio/mpeg" /></item>
		<item>
		<title>Review Of La Rondine At The IU Opera Theater</title>
		<link>http://indianapublicmedia.org/arts/la-rondine-giacomo-puccini-2/</link>
		<comments>http://indianapublicmedia.org/arts/la-rondine-giacomo-puccini-2/#comments</comments>
		<pubDate>Wed, 03 Mar 2010 16:15:30 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Reviews]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[David Effron]]></category>
		<category><![CDATA[giacomo puccini]]></category>
		<category><![CDATA[La Rondine]]></category>
		<category><![CDATA[La Traviata]]></category>
		<category><![CDATA[Linda Pisano]]></category>
		<category><![CDATA[Vincent Liotta]]></category>
		<category><![CDATA[William Forrester]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5512</guid>
		<description>La Rondine is Giacomo Puccini’s tale of a richly kept woman who falls in love with a young innocent and then is separated from him by her past.
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100302-la-rondine-rev.mp3" length="1452160" type="audio/mpeg" />
<itunes:duration>3:01</itunes:duration>
		<itunes:subtitle>The Swallow, La Rondine at the IU Opera Theater is Giacomo Puccinirsquo;s tale of a richly kept woman who falls in love with a young ...</itunes:subtitle>
		<itunes:summary>The Swallow, La Rondine at the IU Opera Theater is Giacomo Puccinirsquo;s tale of a richly kept woman who falls in love with a young innocent and then is separated from him by her past. This sounds a bit like La Traviata but there are rich complications and ironies at work in the story.

La Rondine is a lyric romance with romance at the core. Magda the bored kept heroine pines for the lovely romantic moment that she enjoyed in her youth at the student and working class Cafe Bullier.

Inspired by the poet Prunier she goes back to the club and indeed finds a young innocent, Ruggero, to join her in her brief replay of her romantic fantasy.

Unfortunately, the two form a more extensive liaison and when the innocent proposes marriage the fantasy meets reality and Magda herself breaks it off.

The IU Opera Theater production features lovely sets for the salon, the cafe and a beach front house by guest William Forrester.

These were combined with the colorful and carefully period conscious costumes by IU Department of Theatre and Drama Costume Design head Linda Pisano.

The nbsp;combinationnbsp; led to applause for the opening of each of the three acts. Itrsquo;s been a while since IU opera audiences applauded in this way and it was nice to hear.

Saturday eveningrsquo;s Magda, Carolina Castells was strong throughout, but most moving in the final scenes. Jonathan Mathews nicely partnered her as the young Ruggero.

Jennifer Jakob as her perky maid Lisette challenged Castells for the vocal honors.

Jonathan Mathews as the poet Prunier sang well and had a delightfully comic touch as he affected the high life, but wooed the maid. Karl Kanowsky was Magdarsquo;s benefactor Rambaldo. He doesnrsquo;t have much music, but his presence is and was important.

For this production IU used a Metropolitan Opera style curtain call that included the four principals, the conductor and the stage director. I missed Rambaldo.

The stage direction is by Vincent Liotta with choreography by Chris Faesi.nbsp; In particular, they made the complexities of the scene at the Cafeacute; Bullier a richly intricate and yet very clear part ofnbsp; a very satisfying eveningrsquo;s drama.

David Effron conducted.

The IU Opera Theaterrsquo;s production of the swallow, La Rondine  by Giacomo Puccini has final performances this Friday and Saturday, March 5 an 6 in the Musical Arts Center.

La Rondine by Giacomo Puccin

Conductor David Effron

Stage Director Vincent Liotta

Set Design William Forrester</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Dance,,Featured,in,category,,Opera,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
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		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100302-la-rondine-rev.mp3" fileSize="1452160" type="audio/mpeg" /></item>
		<item>
		<title>MOSAIC Film Festival Puts A Spotlight On Homelessness</title>
		<link>http://indianapublicmedia.org/arts/mosaic-film-festival-2/</link>
		<comments>http://indianapublicmedia.org/arts/mosaic-film-festival-2/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 20:16:08 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
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		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[AccessAbilities]]></category>
		<category><![CDATA[and NAM. Jo Throckmorton]]></category>
		<category><![CDATA[Batchelor Middle School]]></category>
		<category><![CDATA[Centerstone]]></category>
		<category><![CDATA[CHADD]]></category>
		<category><![CDATA[City of Bloomington Community and Family Resources Department]]></category>
		<category><![CDATA[City of Bloomington Council for Community Accessibility]]></category>
		<category><![CDATA[Community Kitchen of Monroe County]]></category>
		<category><![CDATA[Diversity Theater]]></category>
		<category><![CDATA[In.]]></category>
		<category><![CDATA[Inc.]]></category>
		<category><![CDATA[Milstones Clinical and Health Resources]]></category>
		<category><![CDATA[Mother Hubbard’s Cupboard]]></category>
		<category><![CDATA[Shalom Community Center]]></category>
		<category><![CDATA[Stepping Stones]]></category>
		<category><![CDATA[Stone Belt Arc]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5492</guid>
		<description>Diversity Theatre, a program of the City of Bloomington Community and
Family Resources Department, presents the 3rd MOSAIC Film Festival.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100225-mosaic-int.mp3" length="2400384" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The guests from the festival were retired IU faculty member Audrey Heller and Stacee Evans, and attorney for IUrsquo;s Student Legal Services.

Heller spoke about a ...</itunes:subtitle>
		<itunes:summary>The guests from the festival were retired IU faculty member Audrey Heller and Stacee Evans, and attorney for IUrsquo;s Student Legal Services.

Heller spoke about a couple of special pieces made by students at Batchelor Middle School. The students made one titled Homeless in the U.S. which won an international award and a second piece about what concern for others means titled Respect.
"Wersquo;re especially happy that these are included in the showings that will take place at Rhinorsquo;s."
Evans is a friend of film maker Jo Throckmorton.
ldquo;Jorsquo;s Hard Life is a feature in which three Indiana residents take viewers through events which resulted in their homelessness and in their recovery. Jo will talk about and introduce his film for the Saturday the 27th showing.rdquo;
Both Heller and Evans wanted to be sure to include mention of the partnering agencies for this yearrsquo;s festival: Shalom Community Center, Mother Hubbardrsquo;s Cupboard, Community Kitchen of Monroe County, In., Stepping Stones, Inc., AccessAbilities, Inc., City of Bloomington Council for Community Accessibility, Centerstone, Stone Belt Arc, Milstones Clinical and Health Resources, CHADD, and NAMI.

Diversity Theatre, a program of the City of Bloomington Community and Family Resources Department, presents the 3rd MOSAIC Film Festival! MOSAIC begins Saturday, Feb. 27 at the Monroe County Public Library Beginning at 11 a.m., and continuing throughout the week.

On Tuesday, March 2, films will be shown at Rhino's All Age Music Club.nbsp; Beginning at 7 p.m. On Wednesday, March 3, films will be shown at Rachael's Cafeacute;, also beginning at 7 p.m.

MOSAIC will conclude Saturday, March 6 at the Ellettsville Branch of The Monroe County Public Library, with shows beginning at 1 p.m. and 3.

For more information, visit the MOSAIC Film Festival website.</itunes:summary>
		<itunes:keywords>Content,Type,,Featured,in,category,,Interviews,,Movies,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100225-mosaic-int.mp3" fileSize="2400384" type="audio/mpeg" /></item>
		<item>
		<title>Major Barbara by George Bernard Shaw</title>
		<link>http://indianapublicmedia.org/arts/major-barbara-george-bernard-shaw/</link>
		<comments>http://indianapublicmedia.org/arts/major-barbara-george-bernard-shaw/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 20:06:04 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Fabian]]></category>
		<category><![CDATA[George Bernard Shaw]]></category>
		<category><![CDATA[Hyunsuk Shin]]></category>
		<category><![CDATA[Lydia Dawson]]></category>
		<category><![CDATA[Major Barbara]]></category>
		<category><![CDATA[sabrina lloyd]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5510</guid>
		<description>In Major Barbara directed by Sabrina Lloyd at IU’s Ruth N. Halls Theatre everyone has a point, a position and a bit of a pulpit. Fortunately, they also have a character, a story and a good bit of humor about them.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100301-major-barbara-rev.mp3" length="2277504" type="audio/mpeg" />
<itunes:duration>4:45</itunes:duration>
		<itunes:subtitle>When George Bernard Shaw found his true vocation as a creator of polemical plays, he built upon years of unsuccessful novel writing, popular music criticism ...</itunes:subtitle>
		<itunes:summary>When George Bernard Shaw found his true vocation as a creator of polemical plays, he built upon years of unsuccessful novel writing, popular music criticism and well-formed speeches and debates in support of social causes.

In Major Barbara directed by Sabrina Lloyd at IUrsquo;s Ruth N. Halls Theatre everyone has a point, a position and a bit of a pulpit. Fortunately, they also have a character, a story and a good bit of humor about them.

Lady Britomart, Sarah Fischer, brought a name and a title to the Undershaft munitions manufacturing family as her marriage portion.

Shersquo;s a bit of a cartoon character, but is quite wily. Though she separated from her husband Andrew Undershaft, Justin Harner, and his multi-million dollar cannon works years ago, she now seeks his financial support for her son and two daughters. The Lady actually still retains a bit of a spark for her roguish husband.

Her fecklessly upper class son Stephen, has been resolutely prepared for no known profession or vocation, but in Sean Magillrsquo;s portrayal, hersquo;s mostly quite totally proud of himself.

Daughter Sarah, Chelsea Gill, is a nicely portrayed lay-about with no special concerns or cares that extend past the next party. Shersquo;s nicely paired with an equally drone like male played by Kevin Sheehan.

Daughter Barbara, Hannah Kennedy, is the title character of the play, Major Barbara. To the chagrin of the whole family, Barbara has actually gotten religion and is quite proudly and happily working to save souls among the poor with the Salvation Army.

Shersquo;s aided by Shewan Howard as Adolphus, a graceful young scholar of the classics whorsquo;s fervor may have more to do with Barbara than with anyonersquo;s soul.

In Major Barbara those souls are quite varied. Andrew Vosper and Isabel Dieppa were a treat as a couple of less deserving down and outers who know just which tales to tell and which buttons to push as they con the army.A third was the dismissed, able-but-a-bit-too-old Peter played by Joe Stollenwerk .

And then there was a real star turn by James Moffat as Bill Walker. Bill comes to the shelter to give his girl friend a good boff in the face for leaving him. He hits Blair Dietrick playing innocent army lass, goes to get beaten up himself and even tries to buy his soul from Barbara. Itrsquo;s quite a performance.

Things come to crisis for the Army and Barbara as finances threaten to close the shelters and she learns that the only way to stay open is to take money from a whiskey distiller and her own fatherrsquo;s munitions factories.

Barbara is appalled but Kristl Densley as the pragmatic leader of the Salvation Army was quite willing to take money from anyone to help the Army in its battle for souls.

I was a little puzzled by her stroking what appeared to be her pregnant belly as she bargained with Undershaft, but she was an imposing figure.

Rounding out the cast were Tad Tobey as the family butler, embarrassed at just how to reintroduce Undershaft to the family, and David Zoeller as a slightly officious functionary at the cannon factory. Both were large actors in small parts.

According to the program notes Shaw had great difficulty with working out an effective dramatic conclusion for Major Barbara and it is indeed a busily stuffed act.

Undershaft played with aplomb by Justin Harner has his polemical innings and decides to leave the business to Adolphus. The arms maker and the Greek scholar joust over the terms of the agreement.

Barbara decides to leave the Salvation Army and its congregation of the poor and hungry to minister to the well off and well fed souls in the cannon works. The formerly estranged family is united.

Itrsquo;s all quite wordy fun and although the general outlines are clear, the details and just how they were arrived at were pretty murky.

Hyunsuk Shinrsquo;s design of the Undershaft living room had a nice feel with walls decorated with some lovely flower and ...</itunes:summary>
		<itunes:keywords>Content,Type,,Featured,in,category,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100301-major-barbara-rev.mp3" fileSize="2277504" type="audio/mpeg" /></item>
		<item>
		<title>Classical Music Highlights for March</title>
		<link>http://indianapublicmedia.org/arts/classical-music-highlights-march/</link>
		<comments>http://indianapublicmedia.org/arts/classical-music-highlights-march/#comments</comments>
		<pubDate>Mon, 01 Mar 2010 13:00:59 +0000</pubDate>
		<dc:creator>David Wood</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured Classical Recordings]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[andrew lawrence king]]></category>
		<category><![CDATA[cappella coloniensis]]></category>
		<category><![CDATA[classical podcast]]></category>
		<category><![CDATA[conspirare]]></category>
		<category><![CDATA[e. power biggs]]></category>
		<category><![CDATA[emile naoumoff]]></category>
		<category><![CDATA[featured recording]]></category>
		<category><![CDATA[gabriel dupont]]></category>
		<category><![CDATA[harp]]></category>
		<category><![CDATA[irish]]></category>
		<category><![CDATA[johann friedrich fasch]]></category>
		<category><![CDATA[johann sebastian bach]]></category>
		<category><![CDATA[piano]]></category>
		<category><![CDATA[the harp consort]]></category>
		<category><![CDATA[trio sonatas]]></category>
		<category><![CDATA[turlough o'carolan]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5622</guid>
		<description>Thawing out with some fine classical music in March.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/CUS9AfAjzuX2hBshnabWzeCoG-8/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/CUS9AfAjzuX2hBshnabWzeCoG-8/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100310-featcd-march.mp3" length="5567659" type="audio/mpeg" />
<itunes:duration>5:48</itunes:duration>
		<itunes:subtitle>March 1st-5th
Gabriel Dupont: Complete Works for Solo Piano (Saphir LVC 1097)

Eacute;mile Naoumoff, piano

French composer Gabriel Dupont began his study at the Paris Conservatory at 15 ...</itunes:subtitle>
		<itunes:summary>March 1st-5th
Gabriel Dupont: Complete Works for Solo Piano (Saphir LVC 1097)

Eacute;mile Naoumoff, piano

French composer Gabriel Dupont began his study at the Paris Conservatory at 15 under the tutelage of Massenet and Widor. In his brief life (he died at age 36), he penned three operas, chamber music, and these two dozen pieces for solo piano.
March 8th-12th
Fasch: Overture, Sinfonias #38; Concerti (Phoenix Edition 191)

Cappella Coloniensis

The Cappella Coloniensis was founded by West German Radio in Cologne in 1954 to introduce historically-informed performances of Baroque music to the public. Since then, the ensemble has worked with conductors like William Christie and John Eliot Gardiner, and they have performed music from a wide range of composers and periods. Here they present a selection of works by Baroque composer Johann Friedrich Fasch.
March 15th-19th
Carolanrsquo;s Harp (Deutsche Harmonia Mundi)

The Harp Consort; Andrew Lawrence-King, director

Turlough Carolan was an itinerant early Irish harper, composer, and singer whose fame is due to his gift for melodic composition. Blinded by smallpox at the age of eighteen, he was the last great Irish harper-composer. The harp is the central focus of this CD, but with the addition of baroque instrumentation, it becomes an album for all music lovers.
March 22nd-26th
A Company of Voices: Conspirare in Concert (Harminia Mundi HMU 907534)

Conspirare; Craig Hella Johnson, artistic director

This live concert recording showcases one of the worldrsquo;s premier vocal ensembles and exemplifies director Craig Hella Johnsonrsquo;s skill at eclectic programming. He manages to successfully combine works from Lauridsen and Gibbons to arrangements of songs by Carly Simon and Annie Lennox.
March 29nd-April 2nd
Bach: The Six Trio Sonatas (Sony Legacy) 

E. Power Biggs, hpsd.

The E. Power Biggs recording of Bachrsquo;s six Trio Sonatas has been released by Sony. Recorded by Biggs in 1966, the performances have been a staple of the CBS/Sony discography. These six sonatas are usually performed on organ, but they excellently accommodate the pedal harpsichord. Generally thought of as a practice instrument for organists, the pedal harpsichord becomes an ideal performing tool with E. Power Biggs at the helm.</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,Classical,Recordings,,Featured,in,category,,Podcasts,,Reviews,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100310-featcd-march.mp3" fileSize="5567659" type="audio/mpeg" /></item>
		<item>
		<title>Voces Novae: The Proper Resolution of Dissonance</title>
		<link>http://indianapublicmedia.org/arts/proper-resolution-dissonance/</link>
		<comments>http://indianapublicmedia.org/arts/proper-resolution-dissonance/#comments</comments>
		<pubDate>Sat, 27 Feb 2010 20:23:45 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[beethoven]]></category>
		<category><![CDATA[Community Justice and Mediation Center]]></category>
		<category><![CDATA[Conflict Resolution]]></category>
		<category><![CDATA[Deborah Phelps]]></category>
		<category><![CDATA[Dissoance]]></category>
		<category><![CDATA[Ed Greenebaum]]></category>
		<category><![CDATA[Machaut]]></category>
		<category><![CDATA[Palestrina]]></category>
		<category><![CDATA[susan swaney]]></category>
		<category><![CDATA[voces novae]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5374</guid>
		<description>The vocal ensemble Voces Novae has collaborated with the Community Justice and Mediation Center for a program titled “The Proper Resolution of Dissonance.”
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100226-voces-novae-int.mp3" length="2420864" type="audio/mpeg" />
<itunes:duration>5:02</itunes:duration>
		<itunes:subtitle>The vocal ensemble Voces Novae directed by Susan Swaney has collaborated with the Community Justice and Mediation Center for a program titled ldquo;The Proper Resolution ...</itunes:subtitle>
		<itunes:summary>The vocal ensemble Voces Novae directed by Susan Swaney has collaborated with the Community Justice and Mediation Center for a program titled ldquo;The Proper Resolution of Dissonance.rdquo;

Two of the programrsquo;s creators are Ed Greenebaum the director of the Center, and choir member and composer Deborah Phelps.

"The Center actually grew out of the melding of two organizations, one which ran a victim offender mediation program on the criminal justice side and one that which ran a community mediation and education program," said Greenebaum.

"We provide mediation services. We help people in disagreement come to a better state for themselves with results that are  acceptable to both."

Greenebaumrsquo;s connection with Voces Novae came in part from his playing the double bass in some programs with the group.

ldquo;I had worked with Sue Swaney in the past and as they were planning a program with emphasis on musical resolutions, she proposed a joint project.rdquo;

Deborah Phelps, a member of Voces Novae, is the composer of ldquo;A Dissonance Demonstration Melodramardquo; for the concert.

ldquo;My day-job is as an oncology nurse, but I have a background both in formal music and in music therapy. The piece that Irsquo;m writing is a mixture of trying to get strong musical lines and showing through that how in the musical world we move from tension to relaxation, from dissonance to resolution. ldquo;

The Proper Resolution of Dissonance
Voces Novae conducted by Susan Swaney
A concert in collaboration with the Community Justice and Mediation Center
Music of Beethoven, Billings, Machaut, Monteverdi, Palestrina and Purcell with ldquo;A Dissonance Demonstration Melodramardquo;  by Deborah Phelps,rdquo;
Unitarian Universalist Church at Fee Lane and the Bypass
Sunday February 28, 2010 at 7:30</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,in,category,,Interviews,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100226-voces-novae-int.mp3" fileSize="2420864" type="audio/mpeg" /></item>
		<item>
		<title>The Luke Gillespie Trio:  Live at the Station</title>
		<link>http://indianapublicmedia.org/arts/luke-gillespie-trio-live-station/</link>
		<comments>http://indianapublicmedia.org/arts/luke-gillespie-trio-live-station/#comments</comments>
		<pubDate>Thu, 25 Feb 2010 19:50:01 +0000</pubDate>
		<dc:creator>David Brent Johnson</dc:creator>
				<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Jazz]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[jeremy allen]]></category>
		<category><![CDATA[Luke Gillespie]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5481</guid>
		<description>Sometimes in the arts, the best things happen when you’re not expecting them.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/T9GxAwVUfSisCHpVvVWNbCk6ciw/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/T9GxAwVUfSisCHpVvVWNbCk6ciw/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/luke-gillespie-trio-live-station/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-gillespie.mp3" length="3126401" type="audio/mpeg" />
<itunes:duration>6:30</itunes:duration>
		<itunes:subtitle>Luke Gillespie didn't mean to record a CD.

The CD, Live at the Station, comes from a gig the Indiana University School of Music professor and ...</itunes:subtitle>
		<itunes:summary>Luke Gillespie didn't mean to record a CD.

The CD, Live at the Station, comes from a gig the Indiana University School of Music professor and jazz pianist was playing with his trio one Friday night in November 2008 at the former Bloomington club Jazz at the Station.  Drummer Jason Tiemann recorded the performance on his Edirol digital recorder, as he often does when he's working, and called Gillespie and bassist Jeremy Allen a few days later to tell them that the music and the sound quality of the recording might be worthy of release.

Gillespie had not put out a CD under his own name since his 2003 solo-piano debut Footprints, though he's appeared on a number of other projects by artists such as the Buselli-Wallarab Orchestra.  On Live at the Station his trio runs through a set of standards that includes "Have You Met Miss Jones," Dizzy Gillespie's "Con Alma," and "Stompin' at the Savoy."  None of it, according to Gillespie, was planned.

"I didn't really tell anybody what I was going to do," Gillespie says, laughing.  "And I wasn't sure myself what I was going to do for a little bit... and then, after a few seconds or so of playing, I'd realize, 'Oh, this is what I'm gonna do,' and I just expected them to follow!  Sometimes it took us a little while to get going.  It's like turning the engine of an old car and finally, after a little bit, it turns over."

The intimacy of such a spontaneous, small-group setting demands a high level of concentration and artistic camaraderie.  "Everybody really has to be serving the music," Gillespie says.  "Having really strong musicians like Jeremy and Jason playing--of course that makes it easy to play along with.  You have to have a certain musical interaction, a conversation that has balance and a sympathetic emotion among all of the musicians."

The Luke Gillespie Trio will do a CD-release party for Live at the Station Thursday, March 11 at Bear's Place from 5:30 to 8 p.m.  Copies of the CD will be on sale at the show and are currently available online as well.</itunes:summary>
		<itunes:keywords>Featured,in,category,,Jazz,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-gillespie.mp3" fileSize="3126401" type="audio/mpeg" /></item>
		<item>
		<title>The Library To The Stage: Folklore/Ethnomusicology Coffeehouse</title>
		<link>http://indianapublicmedia.org/arts/library-stage-folkloreethnomusicology-coffeehouse/</link>
		<comments>http://indianapublicmedia.org/arts/library-stage-folkloreethnomusicology-coffeehouse/#comments</comments>
		<pubDate>Wed, 24 Feb 2010 18:23:02 +0000</pubDate>
		<dc:creator>Annie Corrigan</dc:creator>
				<category><![CDATA[Content Type]]></category>
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		<category><![CDATA[Popular Music]]></category>
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		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[WFIU.org Homepage Featured Story]]></category>
		<category><![CDATA[Coffeehouse]]></category>
		<category><![CDATA[collaborations]]></category>
		<category><![CDATA[department of folklore and ethnomusicology]]></category>
		<category><![CDATA[faculty]]></category>
		<category><![CDATA[graduate students]]></category>
		<category><![CDATA[John McDowell]]></category>
		<category><![CDATA[pop music]]></category>
		<category><![CDATA[Sarah Gordon]]></category>
		<category><![CDATA[The MP3s]]></category>
		<category><![CDATA[Xiaoshi Andrew Wei and the Jagermeisters]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5435</guid>
		<description>Folklore and Ethnomusicology Department cuts loose with an evening of musical performances that includes everything from folk songs to pop tune parodies.
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/library-stage-folkloreethnomusicology-coffeehouse/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-folklore-coffeehouse.mp3" length="3038181" type="audio/mpeg" />
<itunes:duration>6:20</itunes:duration>
		<itunes:subtitle>On any given evening in Bloomington, Indiana, you have your choice of a couple dozennbsp;events and performances to attend.  However, few events offer the ...</itunes:subtitle>
		<itunes:summary>On any given evening in Bloomington, Indiana, you have your choice of a couple dozennbsp;events and performances to attend.  However, few events offer the diversity, character, and just good times as the Coffeehouse performance by the Department ofnbsp;Folklore and Ethnomusicologynbsp;at Indiana University.
I met up with one of the organizers of the Coffeehouse, Sarah Gordon.  Shersquo;s a PhDnbsp;student studying Native North American oral traditions.

She said the fun thingnbsp;about this department is that the students and faculty are devoted to studying the worldrsquo;s artistic andnbsp;expressive traditions, ldquo;but we spend so much time in the library, so much time with ournbsp;noses in books.  This is the one event in the semester where everyone gets to live morenbsp;creatively with the traditions we spend so much time living with academically.rdquo;
Students and Faculty Performing Together
Performers include students and faculty alike. One of the mainstays of the Coffeehouse performances is Prof. Johnnbsp;McDowell.  He is a professor in the Folklore Department.  Recently, he spent half a yearnbsp;in Mexico researching corridos.  He published a book about his work, "Poetry andnbsp;Violence: the Ballad Tradition of Mexico's Costa Chica.rdquo;

McDowell is also known as the singing professor by many of his students, because as henbsp;said, ldquo;any chance I get, I bring my guitar into class.rdquo;  In past Coffeehouse
performances, he has enjoyed impromptu collaborations with colleagues, which gives him a chance to see a different side of the people he associates with everyday. nbsp;"It creates a kind of conviviality that you don't get from faculty meetings."
An Evening of Fun
All sorts of diversenbsp;interests are represented in a Coffeehouse evening, from belly dancing to bagpipes tonbsp;traditional songs. nbsp;But not all the performances are rooted in academic research. nbsp;Therenbsp;are some moments that are just silly.

"Every time, there'snbsp;guaranteednbsp;to be one or two acts who get on stage with the explicit goal of having a good time and making people laugh," Gordon said. nbsp;One such group is Xiaoshi Andrew Wei and thenbsp;Jagermeisters. Andrew Wei came to Indiana University from Shanghai to study bluegrass music, and Gordon said, "he leads this bunch of amazing musicians from the Ethnomusicology Department in renditions of all kinds of ridiculous songs."

The group that undoubtedly garners the most laughs takes performance art to the nextnbsp;level.  That band is called The MP3s. nbsp;They use novelty instruments to recreate pop tunes. nbsp;Gordon commented, "these people are talented enough to take Hot Licks Guitars and a Nintendo DS and actually reproduce pop songs with remarkable accuracy."
Hidden Gem
The Folklore and Ethnomusicology programs at Indiana University are both highly respected in academic circles around the country, "and yet," according to Gordon, "we are this little department that it seems that nobody knows about."

This little department will make a big noise on Sunday, March 7 at 6:00pm.</itunes:summary>
		<itunes:keywords>Content,Type,,Featured,in,category,,Interviews,,Popular,Music,,Special,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-folklore-coffeehouse.mp3" fileSize="3038181" type="audio/mpeg" /></item>
		<item>
		<title>Arts Writer Dianne Durante on Sculpture’s Forgotten Delights</title>
		<link>http://indianapublicmedia.org/arts/arts-writer-dianne-durante-sculptures-forgotten-delights/</link>
		<comments>http://indianapublicmedia.org/arts/arts-writer-dianne-durante-sculptures-forgotten-delights/#comments</comments>
		<pubDate>Wed, 24 Feb 2010 17:48:37 +0000</pubDate>
		<dc:creator>Adam Schwartz</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Visual Arts]]></category>
		<category><![CDATA[Dianne Durante]]></category>
		<category><![CDATA[memorials]]></category>
		<category><![CDATA[monuments]]></category>
		<category><![CDATA[outdoor monuments]]></category>
		<category><![CDATA[reflection]]></category>
		<category><![CDATA[sculpture]]></category>
		<category><![CDATA[World Trade Center Memorial]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5444</guid>
		<description>Arts historian Dianne Durante tells WFIU’s Adam Schwartz how to enjoy outdoor monuments, which she calls “forgotten delights.”
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RohZpBLYYJo:5OYvItKlYiA:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RohZpBLYYJo:5OYvItKlYiA:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RohZpBLYYJo:5OYvItKlYiA:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RohZpBLYYJo:5OYvItKlYiA:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RohZpBLYYJo:5OYvItKlYiA:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-dianne-durante.mp3" length="5548408" type="audio/mpeg" />
<itunes:duration>5:47</itunes:duration>
		<itunes:subtitle>Most of us rush by the statues in our local park or courthouse square without so much as a glance, but not New York arts ...</itunes:subtitle>
		<itunes:summary>Most of us rush by the statues in our local park or courthouse square without so much as a glance, but not New York arts writer Dianne Durante. Durante has spent countless hours gazing at and photographing public sculptures and monuments, which she says inspire, provoke, and amuse her.

Shersquo;s given walking tours of Manhattanrsquo;s statuary, runs a Web site on the subject, and has written two books about outdoor monuments, including Outdoor Monuments of Manhattan: A Historical Guide, published by New York University Press. I called Durante at her home in Brooklyn, New York, to learn how to enjoy and appreciate sculptures and monuments.

Your Web site devoted to public statuary is called ldquo;Forgotten Delights.rdquo; Letrsquo;s take the first part of that. What have we forgotten?
Irsquo;ve think wersquo;ve forgotten that art can hit you so hard that you forget to breathe. In New York City we started having abstract sculptures in the sixties or so that were mostly to sort of decorate the outside of those big, glass office buildings. But they really donrsquo;t speak to you. And I feel very strongly that art is a form of communication. That the artist is saying, ldquo;This is important. Pay attention to this.rdquo; Except that the vocabulary of abstract art is not something that anybody gets. If you read three different descriptions of abstract work, they will tell you three different things.
How can outdoor monuments inspire us?
I think that art is a combination of a fuel supply and a compass. Because if you find a piece that really appeals to you, it can remind you of what you want to be, or where you want to go. And at the same time, it gives you the energy to get there, because you can see that itrsquo;s something that can be achieved.

And it does not necessarily have to be a person whorsquo;s doing exactly whatever it is that you want to do yourself. So if yoursquo;re a computer programmer, you donrsquo;t need to be inspired by a statue of a computer programmer. You can be inspired by someone who was an innovative genius, like Thomas Edison. Or perhaps--if itrsquo;s what you need to keep you going--if therersquo;s a very famous person who was known just for carrying on through think and thin, a sculpture or painting of that person could have the same effect.
You favor representational sculpture over abstract works, and yoursquo;re not thrilled about the proposed World Trade Center memorial, Reflecting Absence, which will be square acre-wide pools with waterfalls. Whatrsquo;s your beef with it?
I think that a memorial ought to be a reminder of the people that we are commemorating, memorializing. And the best memorials remind us what was remarkable about the people that theyrsquo;re commemorating. 

If you think of the Lincoln Memorial in D.C., Lincoln was famous for being president, he was famous for certain debates, but what he was really famous for was grappling with the really thorny ideas, the thorny issues that came up in the Civil War. The statue that we all remember of him sitting in silence, trying to deal. It conveys what people feel is the important aspect of Lincoln.

A pool, even two pools, and a lot of trees, just donrsquo;t do that. And the only memorial aspect of the Reflecting Absence design is the fact that it will have the names of the victims scattered around.

But the problem with specific names is that a proper name is associated with a certain person. If you donrsquo;t know that person, it means nothing. So, if you come visit this place from Thailand, it will say, ldquo;A lot of people died here.rdquo; But it wonrsquo;t give you any conception of what we thought of those people. What was important about those people. And I think that a proper memorial should focus on that. 

I donrsquo;t think it should focus on death and destruction, I think it should focus on what we want to remember about them. This is a monument that people are going to be seeing for centuries, probably, ...</itunes:summary>
		<itunes:keywords>Articles,,Audio,,Content,Type,,Featured,in,category,,Features,,Interviews,,Special,,Visual,Arts</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100224-dianne-durante.mp3" fileSize="5548408" type="audio/mpeg" /></item>
		<item>
		<title>MOSAIC Film Festival Aims To Educate, Entertain</title>
		<link>http://indianapublicmedia.org/arts/mosaic-film-festival-aims-educate-entertain/</link>
		<comments>http://indianapublicmedia.org/arts/mosaic-film-festival-aims-educate-entertain/#comments</comments>
		<pubDate>Tue, 23 Feb 2010 17:56:14 +0000</pubDate>
		<dc:creator>Josephine McRobbie</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
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		<category><![CDATA[Limelight]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[disability]]></category>
		<category><![CDATA[diversity]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[film festival]]></category>
		<category><![CDATA[homelessness]]></category>
		<category><![CDATA[MOSAIC Film Festival]]></category>
		<category><![CDATA[poverty]]></category>
		<category><![CDATA[Shalom Community Center]]></category>
		<category><![CDATA[Stepping Stones]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5423</guid>
		<description>The 3rd annual MOSAIC Film Festival addresses issues of poverty, homelessness, and disability through a variety of short films for adults and children.
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=7cRugAZTA2o:ErNVWpzYVYs:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=7cRugAZTA2o:ErNVWpzYVYs:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=7cRugAZTA2o:ErNVWpzYVYs:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=7cRugAZTA2o:ErNVWpzYVYs:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=7cRugAZTA2o:ErNVWpzYVYs:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/mosaic-film-festival-aims-educate-entertain/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100223-mosaic.mp3" length="651165" type="audio/mpeg" />
<itunes:duration>1:21</itunes:duration>
		<itunes:subtitle>Film has long been a potent method by which people explore societal issues, and one upcoming festival aims to both educate and entertain the audience.

The ...</itunes:subtitle>
		<itunes:summary>Film has long been a potent method by which people explore societal issues, and one upcoming festival aims to both educate and entertain the audience.

The 3rd annual MOSAIC Film Festival will address issues of poverty, homelessness, and disability through a variety of short movies and documentaries for adults and children.

The free festival runs February 27 through March 5, and is presented by Diversity Theatre, a program of the City of Bloomington Community and Family Resources department.

Films include Recycle, about a man who tends a garden for himself and other homeless Los Angeles residents, and Thumbs Down to Pity, the first-person story of a teenager with cerebral palsy who rejects Hollywoodrsquo;s representations of people with disabilities.

Two short documentaries by Batchelor Middle School students will also make their cinematic debut.

Festival publicity coordinator Babita Upadhyay says this event is beneficial to Monroe County residents because it lends a voice to the diverse populations of our society.

"We want people to be recognize and accept people other than themselves, we want people to learn about our similarities and differences," says Upadhyay.

A variety of local agencies are partnering with the MOSAIC film festival, and representatives from the Shalom Community Center, Stepping Stones Incorporated, and Trinity Episcopal Church will be on-hand to further discuss the issues addressed in the films.

MOSAIC Film Festival website</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Features,,Limelight,,Movies,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100223-mosaic.mp3" fileSize="651165" type="audio/mpeg" /></item>
		<item>
		<title>Swing Your Parents Round – The Family Dance Series Is For Everyone</title>
		<link>http://indianapublicmedia.org/arts/swing-parents-family-dance-series/</link>
		<comments>http://indianapublicmedia.org/arts/swing-parents-family-dance-series/#comments</comments>
		<pubDate>Mon, 22 Feb 2010 22:22:37 +0000</pubDate>
		<dc:creator>Annie Corrigan</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Culture]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Abby Ladin]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Family Dance]]></category>
		<category><![CDATA[Harmony School]]></category>
		<category><![CDATA[square dance]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5400</guid>
		<description>Abby Ladin grew up on the east coast and has been dancing her entire life.  She teaches dance and music at festivals around the area.  At one festival, she saw families dancing together for the first time, “and it was a revelation!  I’ve been doing it all my life and I’ve never seen it done like this before.  And this makes so much sense.”
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100222-family-dance.mp3" length="2199547" type="audio/mpeg" />
<itunes:duration>4:35</itunes:duration>
		<itunes:subtitle>The Family Dance series is a new event in town, geared at getting parents and kids to dance together.  You donrsquo;t need to have ...</itunes:subtitle>
		<itunes:summary>The Family Dance series is a new event in town, geared at getting parents and kids to dance together.  You donrsquo;t need to have a lot of skill to enjoy it ndash; you just need to be able to walk.

Making Dance Accessible to Everyone

I spoke with the woman making it all happen, Abby Ladin.  She explained that these dances are all pretty easy to pick-up.  ldquo;Theyrsquo;re all community social dances, in the square dance family of dances.  Theyrsquo;re all meant for lowest common denominator of skill level, and you build on everything you learn as you go.rdquo;

In the last dance event, Ladin served as the caller, and she modified some of the traditional dance terminology to fit the young audience.  Words like right allemande and do-si-do wouldnrsquo;t be understood by dancers who were as young as 4 years old.  So, Ladin said, ldquo;with kids, instead of saying take the inside hand, you might say take the handy hand.  And instead of saying ladies and gents, we might say talls and smalls.rdquo;

Ladin grew up on the east coast and has been dancing her entire life.  Along with her husband, she teaches dance and music at festivals around the area.  At one festival, she saw families dancing together for the first time, ldquo;and it was a revelation!  Irsquo;ve been doing it all my life and Irsquo;ve never seen it done like this before.  And this makes so much sense.rdquo;

Widespread Interest

This series has been in the planning stages for months, but with three children of her own, Ladin was apprehensive about starting something she couldnrsquo;t maintain.  She also said that she had no idea how many folks would be interested in a dance event like this.

ldquo;I was kind of banking on forty people.  I knew that would make for a good number of people dancing.  But, I really was not thinking any farther than that.rdquo;  She was shocked to see that over 115 people attended the first dance in January.  ldquo;And they were not all my friends!rdquo;

This spoke volumes to her about the need for such an event in Bloomington.  And the parents attending the events with their kids agreed.  ldquo;There are lots of events for kids in town.  But itrsquo;s not really parents and kids having the same experience at the same time.  This kind of unites everyone on the same level.rdquo;

Ladin grew up on the east coast and has been dancing her entire life.  Along with her husband, she teaches dance and music at festivals around the area.  At one festival, she saw families dancing together for the first time, ldquo;and it was a revelation!  Irsquo;ve been doing it all my life and Irsquo;ve never seen it done like this before.  And this makes so much sense.rdquo;

Next Event

Abby Ladin is a mother of three and the guiding force behind the Family Dance series in Bloomington, Indiana.  The next dance event is taking place on Sunday, March 7 from 3:00 to 5:00pm at the Harmony School.</itunes:summary>
		<itunes:keywords>Content,Type,,Culture,,Featured,in,category,,Interviews,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100222-family-dance.mp3" fileSize="2199547" type="audio/mpeg" /></item>
		<item>
		<title>The Drawer Boy by Michael Healey</title>
		<link>http://indianapublicmedia.org/arts/drawer-boy-michael-healey-2/</link>
		<comments>http://indianapublicmedia.org/arts/drawer-boy-michael-healey-2/#comments</comments>
		<pubDate>Mon, 22 Feb 2010 16:10:28 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Reviews]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[cardinal stage company]]></category>
		<category><![CDATA[Chib Gratz]]></category>
		<category><![CDATA[David Cole]]></category>
		<category><![CDATA[Harry Watermeier]]></category>
		<category><![CDATA[John Waldron Arts Center]]></category>
		<category><![CDATA[Ken Farrell]]></category>
		<category><![CDATA[Michael Healey]]></category>
		<category><![CDATA[randy white]]></category>
		<category><![CDATA[The Drawere Boy]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5390</guid>
		<description>A fascinating family mystery, wrapped in a very funny city-meets-country comedy.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100221-the-drawer-boy-review.mp3" length="1388672" type="audio/mpeg" />
<itunes:duration>2:53</itunes:duration>
		<itunes:subtitle>The Cardinal Stage Companyrsquo;s production of The Drawer Boy at the John Waldron Arts Center is a fascinating family mystery wrapped in a very funny ...</itunes:subtitle>
		<itunes:summary>The Cardinal Stage Companyrsquo;s production of The Drawer Boy at the John Waldron Arts Center is a fascinating family mystery wrapped in a very funny city-meets-country comedy.

In Michael Healeyrsquo;s play an eager young theatre student, Miles with a group from Toronto comes to a rural community homestead in search of fresh material from real life.

The farm that Miles comes to is run by Angus and Morgan, a couple of WW II veterans and friends from boyhood.

Miles, played by recent IU gradrsquo; Harry Watermeier is at first baffled by the brain damaged Angus played by area veteran David Cole. Angus lost his short term memory during the blitz overseas in London. Hersquo;s a whiz with numbers, but canrsquo;t hang on to current experience for more than a few minutes.

Miles is also in for a good deal of leg pulling by the equally experienced Ken Farrell as Angusrsquo;s protective brother Morgan. Morgan has Miles scrubbing rocks for a ditch and believing that crop rotation actually involves moving whole fields from west to east for more even amounts of sun.

As Miles and other members of his group dramatize some of the stories that theyrsquo;ve learned, the community is fascinated to see the scenes as mirrors of their lives.

In particular, Angus canrsquo;t get enough of Miles work.

In talking with the farmer, Miles tells him about his other acting and outlines his role as Shakespearersquo;s Hamlet. He does a good job of telling the story and Angusrsquo;s naiuml;ve responses are both interesting and insightful.

These stimulating experiences begin to jog parts of Angusrsquo;s memory and long buried conflicting parts begin to come to the surface.

This frightens Morgan and even Miles. It seems that Angus and the brothersrsquo; whole lives may be in real danger, but therersquo;s a very satisfying conclusion and the much put upon Miles even gets a bit of his own back at Morgan.

The assured direction of The Drawer Boy is by Cardinalrsquo;s Artistic Director Randy White. Harry Watermeier does a very nice job with the growing maturity of Miles. 

David Coles as Angus is a master of his good natured stops, starts, confusions and revelations. Ken Farrell show real depth and complexity in his actions and reactions as the caring Morgan. The set that looks as if it might just have come from an authentic photo is by Chib Gratz.

The Cardinal Stage Companyrsquo;s production of The Drawer Boy at the John Waldron Arts Center continues through March 7.

The Drawer Boy by Michael Healey
Directed by Randy White
Cardinal Stage Company
John Waldron Arts Center
February 19-March 7, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Podcasts,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100221-the-drawer-boy-review.mp3" fileSize="1388672" type="audio/mpeg" /></item>
		<item>
		<title>Fondly Do We Hope… Choreographer Bill T. Jones</title>
		<link>http://indianapublicmedia.org/arts/fondly-hope-choreographer-bill-jones/</link>
		<comments>http://indianapublicmedia.org/arts/fondly-hope-choreographer-bill-jones/#comments</comments>
		<pubDate>Thu, 18 Feb 2010 19:10:09 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
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		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[abraham lincoln]]></category>
		<category><![CDATA[Arnie Zane]]></category>
		<category><![CDATA[Bill T. Jones]]></category>
		<category><![CDATA[iu auditorium]]></category>
		<category><![CDATA[post modern]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5343</guid>
		<description>The Bill T. Jones/Arnie Zane Dance Company brings Jones’ Fondly Do We Hope…Fervently Do We Pray to Bloomington February 25, 2010.
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/fondly-hope-choreographer-bill-jones/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/10-02-22-bill-t.-jones-int_mix.mp3" length="2402432" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The Bill T. Jones/Arnie Zane Dance Company brings Jonesrsquo; Fondly Do We Hopehellip;Fervently Do We Pray to Bloomington February 25, 2010. The Abraham Lincoln tribute ...</itunes:subtitle>
		<itunes:summary>The Bill T. Jones/Arnie Zane Dance Company brings Jonesrsquo; Fondly Do We Hopehellip;Fervently Do We Pray to Bloomington February 25, 2010. The Abraham Lincoln tribute was commissioned by the Ravinia Festival and co-commissioned by the IU Auditorium and New Yorkrsquo;s Lincoln Center.

Choreographer, director, Tony Award and MacArthur Gran winner Bill T. Jones talked with WFIUrsquo;s George Walker. Bill T. Jones speaks in long eloquent, thoughtful and thought provoking sentences that resist transcription. The following are all his words, but hearing him speak them adds a great deal.

The words of the piece come from Shakespeare, the Hebrew Bible, Walt Whitman and Lincoln himself. ldquo;I went to myself and then looked for words to help me express what I was thinking and feeling about the man. hellip;This is not really a storyhellip; My job is to make a poetic and free depiction of how I feel or how I understand the issues that Lincoln represents playing out today.rdquo;

ldquo;Irsquo;m not making a biopic. Irsquo;m trying to include all that I have understood about what dance can be with questions about what dance can do. {Irsquo;ve taken}the abstraction that people associate with dancehellip; and couple{d} it with the hard nosed official language, official language that in Lincolnrsquo;s mouth was quite soaring and poetic. But it was also the language of a politician and it was about policy positions. A lot in this piece is about those two worlds colliding, in the past and very much in the present. ldquo;

ldquo;I come from the post modern tradition. And our notion of dance making was about problem solving. In this one, it was how do you bridge the immense distance in terms of literal time and in something more subtle than that, between this man and our time, between that era that he lived in with its freighting with all sorts of political and emotional implications and our own heavily freighted era.rdquo;

ldquo;Sometimes the dancers are the protagonists in both worlds. Sometimes they are just themselves. Sometimes they are an idea about the future. That is what dance promises if it is to be more than just a decorative thing. It is still a beautiful work and it also packs an emotional wallop, but it gets there through other means and they donrsquo;t f it comfortably into what we think dance should be. ldquo;

Fondly Do We Hopehellip;Fervently Do We Pray
Bill T. Jones/Arnie Zane Dance Company
Indiana University Auditory
February 25, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Dance,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/10-02-22-bill-t.-jones-int_mix.mp3" fileSize="2402432" type="audio/mpeg" /></item>
		<item>
		<title>Esprit, the Camerata Orchestra</title>
		<link>http://indianapublicmedia.org/arts/esprit-camerata-orchestra/</link>
		<comments>http://indianapublicmedia.org/arts/esprit-camerata-orchestra/#comments</comments>
		<pubDate>Thu, 18 Feb 2010 13:00:09 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
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		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Arie Lipsky]]></category>
		<category><![CDATA[Caille Saint-Saens]]></category>
		<category><![CDATA[Camerata Orchestra]]></category>
		<category><![CDATA[Candide]]></category>
		<category><![CDATA[Corey Cerovsek]]></category>
		<category><![CDATA[Dmitri Shostakovich]]></category>
		<category><![CDATA[Lenore Hatfield]]></category>
		<category><![CDATA[Leonarad Bernstein]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5283</guid>
		<description>Former IU student and long time Bloomington resident Corey Cerovsek comes to plays the concerto. “Actually, Corey and I have some history,” said Lipsky. He soloed in a piece by Max Bruch with an orchestra that I conducted.”
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100218-camerata-orch.mp3" length="2390144" type="audio/mpeg" />
<itunes:duration>4:59</itunes:duration>
		<itunes:subtitle>The Camerata Orchestra continues their 2009-10 series with a concert of music by Bernstein, Saint-Saens and Shostakovich titled Esprit

The conductor for the concert, visiting from ...</itunes:subtitle>
		<itunes:summary>The Camerata Orchestra continues their 2009-10 series with a concert of music by Bernstein, Saint-Saens and Shostakovich titled Esprit

The conductor for the concert, visiting from his home base in Ann Arbor is guest Arie Lipsky. Lipsky is no stranger to the orchestra. ldquo;This must be the third or fourth time that the grouprsquo;s founder Lenore Hatfield has invited me to conduct.rdquo;

When asked about what he does first with an orchestra, Lipsky replied, ldquo;Well, Camerata is fine group of very advanced student musicians, professionals and faculty members, but theyrsquo;re not a group that plays together all the time...So as Irsquo;m introducing myself, letting the orchestra learn about my style, my body cues, they are feeling out one another as well. Itrsquo;s a bit of mutual discovery.rdquo;

Esprit is the title of the concert and a bit of a theme. Lipsky notes that the Bernsteinrsquo;s energetic overture to Candide very much fits into the spirit as does the Shostakovich Symphony No. 5, ldquo;especially in the final movement as it comes to a resolution.rdquo;

The middle piece of Cameratarsquo;s concert is a performance of the Violin Concerto No. 3 by Camille Saint Saens. Former IU student and long time Bloomington resident Corey Cerovsek comes to plays the concerto. ldquo;Actually, Corey and I have some history,rdquo; said Lipsky. He soloed in a piece by Max Bruch with an orchestra that I conducted.rdquo;

When asked if Cervosekrsquo;s background in higher math and Lipskyrsquo;s own degree in aeronautical engineering might give them extra common ground, Lipsky thought ldquo;probably not much. I only got the engineering degree to please my mother. She thought I needed training for a regular job.rdquo;

The Camerata Orchestra conducted by Arie Lipsky with guest violinist Corey Cerovsek plays music of Leonard Bernstein, Camille Saint-Saens and Dmitri Shostakovich in a concert titled Esprit in Bloomington High School Southrsquo;s Carmichael Hall Sunday February 21st at 3:30</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100218-camerata-orch.mp3" fileSize="2390144" type="audio/mpeg" /></item>
		<item>
		<title>Painting Today:  Other Criteria</title>
		<link>http://indianapublicmedia.org/arts/painting-today-criteria/</link>
		<comments>http://indianapublicmedia.org/arts/painting-today-criteria/#comments</comments>
		<pubDate>Wed, 17 Feb 2010 14:48:44 +0000</pubDate>
		<dc:creator>Yaël Ksander</dc:creator>
				<category><![CDATA[Angles from the IU Art Museum Podcast]]></category>
		<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Features]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[Visual Arts]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[WFIU.org Homepage Featured Story]]></category>
		<category><![CDATA[Betsy Stirratt]]></category>
		<category><![CDATA[Caleb Weintraub]]></category>
		<category><![CDATA[Chris Barnard]]></category>
		<category><![CDATA[hope school of fine arts]]></category>
		<category><![CDATA[Indiana University]]></category>
		<category><![CDATA[IU Hope School of Fine Arts]]></category>
		<category><![CDATA[painting]]></category>
		<category><![CDATA[school of fine arts gallery]]></category>
		<category><![CDATA[Triennial 2010]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5338</guid>
		<description>When you wander into an exhibition of contemporary art these days, it might occur to you to ask, where have all the paintings gone?  The dearth of the longtime mainstay of the visual arts in the current scene prompted a recent discussion at the IU Art Museum.  The triennial show of faculty art set the stage for  "Painting:  Dead or Alive?"
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100217-painting-dead-or-alive.mp3" length="3806797" type="audio/mpeg" />
<itunes:duration>7:56</itunes:duration>
		<itunes:subtitle>When you wander into an exhibition of contemporary art these days, it might occur to you to ask, where have all the paintings gone?  ...</itunes:subtitle>
		<itunes:summary>When you wander into an exhibition of contemporary art these days, it might occur to you to ask, where have all the paintings gone?  The dearth of the longtime mainstay of the visual arts in the current scene prompted a recent discussion at the Indiana University Art Museum.

ldquo;Painting:  Dead or Alive?rdquo; was the question proposed at the Art-Side Chat that took place in the museumrsquo;s Special Exhibitions gallery Friday, February 5.  Panelists included three faculty painters:   Betsy Stirratt, Caleb Weintraub, and Chris Barnard.

The setting for the conversation was a triennial exhibition of work made by 42 teaching artists from the Indiana University Hope School of Fine Arts.

Yes, paintings are included in Triennial 2010, but so are works in nine other studio areas.

ldquo;The painting is dead question has been, of course, around forever,rdquo; was Betsy Stirrattrsquo;s response to the question.  ldquo;When was the first time someone posed that question?rdquo; speculated Stirratt, the longtime director of the School of Fine Arts Gallery.  ldquo;The 1850s?rdquo;

But that doesnrsquo;t keep artists, curators, critics, scholars and collectors from checking paintingrsquo;s vital signs.

Maybe itrsquo;s because painting lacks the funhouse appeal of some of the other, more apparent art forms in the gallery scene todaymdash;installation, video art, performance.

Or maybe itrsquo;s that many painters are working outside of medium, or interpreting the medium hellip;well, very broadly.

Take, for example, Assistant Professor of Painting Caleb Weintraubrsquo;s so-called ldquo;three-dimensional painting,rdquo; titled ldquo;Prelude to a Beatdown.rdquo; Itrsquo;s admittedly difficult to understand the wildly colored sculptural grouping as a paintingmdash;itrsquo;s more like a Mardi Gras float, on which two larger-than- life children are walking a hyena.

Weintraubrsquo;s irreverent definition of the category of ldquo;paintingrdquo; is matched by his undiscriminating approach to materials:  ldquo;Irsquo;ll use the kind of thing yoursquo;d find at Hobby Lobby,rdquo; he explained.

That painting could be so casually interpreted raised some anxiety at the discussion about the erosion of the venerable tradition.  ldquo;With all due respect,rdquo; one participant noted, ldquo;street painting is not the Sistine Chapel.rdquo;

ldquo;We owe it to explain what we might think is better about the Sistine Chapel than graffiti,rdquo; Visiting Professor of Painting Chris Barnard replied.

ldquo;Therersquo;s good graffiti and therersquo;s bad graffiti.  I think itrsquo;s fair to consider how the Sistine Chapel might seem completely irrelevant to a lot of people, who might find that stuff on a wall in their neighborhood more relevant.rdquo;

ldquo;Therersquo;s nothing to fear,rdquo; another audience member concurred.  ldquo;The creative process is what itrsquo;s all about--cross-fertilization and vitality.rdquo;

The exciting proliferation of media these days, though, can make it tricky to separate the wheat from the chaff.

Barnard described that ldquo;Emperorrsquo;s New Clothesrdquo; feeling:  ldquo;People might go to a museum and see something like a Band-Aid crumpled up in the corner, and thatrsquo;s a moment of confusion, and alienation.rdquo;

Itrsquo;s through craft and intention, the panelists agreed, that a contemporary artist will thrive, whether making a crumpled Band-Aid or an abstract painting.  ldquo;Every form has its criteria,rdquo; Barnard suggested.

Painting, Stirratt acknowledged, does have a distinct advantagemdash;not only because of its accessibility among the various art forms, but also its commercial viability.  ldquo;People want to own paintings,rdquo; she averred.

In an art world that encompasses video, installation, and, yes, the proverbial crumpled Band-Aid, there is a place for painting, though it has clearly shifted.

ldquo;We need to make sure that we are part of the art w...</itunes:summary>
		<itunes:keywords>Angles,from,the,IU,Art,Museum,Podcast,,Articles,,Audio,,Bloomington,,Communities,,Content,Type,,Featured,in,category,,Features,,Interviews,,Special,,Visual,Arts,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
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		<itunes:block>No</itunes:block>
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		<item>
		<title>Fondly Do We Hope… Composer Christopher Lancaster</title>
		<link>http://indianapublicmedia.org/arts/fondly-hopefervently-pray/</link>
		<comments>http://indianapublicmedia.org/arts/fondly-hopefervently-pray/#comments</comments>
		<pubDate>Wed, 17 Feb 2010 13:00:25 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Featured in category]]></category>
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		<category><![CDATA[Podcasts]]></category>
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		<category><![CDATA[abraham lincoln]]></category>
		<category><![CDATA[Bill T. Jones]]></category>
		<category><![CDATA[Christopher Antonio William Lawrence]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5314</guid>
		<description>Christopher Antonio William Lancaster is the man that choreographer Bill T. Jones calls his “band leader.”
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=VHxdnDzwA7U:Pi2XIHGWa_I:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=VHxdnDzwA7U:Pi2XIHGWa_I:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=VHxdnDzwA7U:Pi2XIHGWa_I:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=VHxdnDzwA7U:Pi2XIHGWa_I:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=VHxdnDzwA7U:Pi2XIHGWa_I:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100222-christopher-lancaster.mp3" length="2429056" type="audio/mpeg" />
<itunes:duration>5:04</itunes:duration>
		<itunes:subtitle>Christopher Antonio William Lancaster is the man that choreographer Bill T. Jones calls his ldquo;band leader.rdquo; He calls himself the ldquo;Music Director."nbsp;  Lancaster is ...</itunes:subtitle>
		<itunes:summary>Christopher Antonio William Lancaster is the man that choreographer Bill T. Jones calls his ldquo;band leader.rdquo; He calls himself the ldquo;Music Director."nbsp;  Lancaster is one of three composers in the small ensemble that accompanies Jonesrsquo; Lincoln Tribute, ldquo;Fondly Do We Hopehellip;Fervently Do We Pray.rdquo; 

Lancaster started out as a classical cellist, but ldquo;as I played classical music in concert situations, it seemed to just go out into an empty sort of space.rdquo; Then I got the opportunity to play with some dancers. It was a chance to improvise and also when I played something it came back to me in the dancersrsquo; motions.rdquo;

ldquo;Then too, I was playing electric cello and neither classical nor jazz players were very interested in what I could do. So working with dancers just was a natural fit and with the composition work it has just been where Irsquo;ve found myself ldquo;

ldquo;For the current project, Irsquo;ve actually had to go to instruments besides the cello for the kind of sounds and the feel that we want. There are some traditional pieces in the score.  I donrsquo;t think that Irsquo;ve actually touched a violin since I was eleven, but it just seemed right for parts, so Irsquo;m playing it. And Irsquo;m also playing some mandolin and some bass guitar.rdquo;

The Bill T. Jones/Arnie Zane Dance Company with Music Director Christopher Antonio Lancaster comes to the IU Auditorium Thursday February, 25, 2010.

Fondly Do We Hopehellip;Fervently Do We Pray
Bill T. Jones/Arnie Zane Dance Company
Music Director Christopher Antonio Lancaster</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Dance,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100222-christopher-lancaster.mp3" fileSize="2429056" type="audio/mpeg" /></item>
		<item>
		<title>The Welcome Table Returns to the Buskirk-Chumley</title>
		<link>http://indianapublicmedia.org/arts/table-returns-buskirkchumley/</link>
		<comments>http://indianapublicmedia.org/arts/table-returns-buskirkchumley/#comments</comments>
		<pubDate>Tue, 16 Feb 2010 13:00:07 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
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		<category><![CDATA[Dance]]></category>
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		<category><![CDATA[Popular Music]]></category>
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		<category><![CDATA[Abby Ladin]]></category>
		<category><![CDATA[Bloomingfoods]]></category>
		<category><![CDATA[Joshua Kartes]]></category>
		<category><![CDATA[Malcolm Dalglish]]></category>
		<category><![CDATA[Moira Smiley]]></category>
		<category><![CDATA[Ooolites]]></category>
		<category><![CDATA[Sam Bartlett]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5281</guid>
		<description>We’ll be singing ‘Pie R Pie’ and leading a raucous vocal march down to the B-Town Trail and the Farmer’s Market area.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/VdkcJ1D1yw9W_uTUOkZba77DVJ8/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/VdkcJ1D1yw9W_uTUOkZba77DVJ8/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=ztZHSml3Wxg:LbJry7fvYgs:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=ztZHSml3Wxg:LbJry7fvYgs:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=ztZHSml3Wxg:LbJry7fvYgs:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=ztZHSml3Wxg:LbJry7fvYgs:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=ztZHSml3Wxg:LbJry7fvYgs:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100216-welcome-table.mp3" length="2410624" type="audio/mpeg" />
<itunes:duration>5:01</itunes:duration>
		<itunes:subtitle>The Welcome Table, a bright spot in the dark of winter, comes to the Buskirk-Chumley Theatre on Saturday, February 20th.

Composers and musicians Malcolm Dalglish, Moira ...</itunes:subtitle>
		<itunes:summary>The Welcome Table, a bright spot in the dark of winter, comes to the Buskirk-Chumley Theatre on Saturday, February 20th.

Composers and musicians Malcolm Dalglish, Moira Smiley and Joshua Kartes will bring songs.

Dalglish talked about bringing them back to Bloomington from the two coasts for the show.

ldquo;Wersquo;re delighted to have them in part because so much of their music was formed and grew here. Itrsquo;s a very organic thing.rdquo;

Choreography for The Welcome Table is by Abby Ladin and its an organic thing as well.

ldquo;Irsquo;ve been associated, if you want a formal word for it, with music and dance in the area. And I have a real family connection. My sister Evie, was responsible for some of the early choreography for editions of the vocal group, the Ooolites. ldquo;

Malcolm went on to talk about the showrsquo;s finale.

ldquo;Wersquo;ll be singing lsquo;Pie R Piersquo; and leading a raucous vocal march down to the B-Town Trail and the Farmerrsquo;s Market area. Bloomingfoods will have pie, warm libations and indeed there will be a bonfire as we warm and light the cold dark of winter.rdquo;

The third edition of The Welcome Table comes to the Buskirk-Chumley Theatre with song, dance, light verse and an excursion for pie Saturday, February 20th, 2010, at eight.</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Dance,,Featured,in,category,,Interviews,,Podcasts,,Popular,Music,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100216-welcome-table.mp3" fileSize="2410624" type="audio/mpeg" /></item>
		<item>
		<title>Artsweek Event Gives Insight Into ‘The Composer’s Perception’</title>
		<link>http://indianapublicmedia.org/arts/artsweek-event-insight-the-composers-perception/</link>
		<comments>http://indianapublicmedia.org/arts/artsweek-event-insight-the-composers-perception/#comments</comments>
		<pubDate>Mon, 15 Feb 2010 14:50:59 +0000</pubDate>
		<dc:creator>David Wood</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
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		<category><![CDATA[Special]]></category>
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		<category><![CDATA[artsweek]]></category>
		<category><![CDATA[composer's perception]]></category>
		<category><![CDATA[constance cook glen]]></category>
		<category><![CDATA[Indiana University Jacobs School of Music]]></category>
		<category><![CDATA[lecture]]></category>
		<category><![CDATA[nature]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5333</guid>
		<description>On February 20th, Connie Cook Glen, professor at the Jacobs School of Music, will give an Artsweek presentation which seeks to reveal some of the methods composers have used in their efforts to capture the world around them.
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&lt;/div&gt;</description>
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		<item>
		<title>‘The Drawer Boy’ by Michael Healey</title>
		<link>http://indianapublicmedia.org/arts/drawer-boy-michael-healey/</link>
		<comments>http://indianapublicmedia.org/arts/drawer-boy-michael-healey/#comments</comments>
		<pubDate>Mon, 15 Feb 2010 13:00:51 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
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		<category><![CDATA[cardinal stage company]]></category>
		<category><![CDATA[John Waldron Arts Center]]></category>
		<category><![CDATA[Michael Healey]]></category>
		<category><![CDATA[randy white]]></category>
		<category><![CDATA[The Drawer Boy]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5323</guid>
		<description>Actually, we’re thinking about some expansions in the coming year. We’ve had great success with children’s shows like Frog and Toad and we’re thinking about a series that focuses on that audience.
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100215-the-drawer-boy.mp3" length="2398336" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The Cardinal Stage Company presents Michael Healeyrsquo;s The Drawer Boy in the John Waldron Arts Center with performances February 17 through March 7th.

Randy White the ...</itunes:subtitle>
		<itunes:summary>The Cardinal Stage Company presents Michael Healeyrsquo;s The Drawer Boy in the John Waldron Arts Center with performances February 17 through March 7th.

Randy White the companyrsquo;s founder and artistic director talked about the show.

ldquo;Itrsquo;s kind of amazing, but this showhellip;that many have never heard of...is one of the four most produced plays of 2000. I think that much of the attention has come from a production by Chicagorsquo;s Steppenwolf. Actor John Mahoney, who played the father on Frazier, had fallen in love with the show and he persuaded them to do it.rdquo;

ldquo;The Drawer Boy is a classic the city-meets-the-country-story and wersquo;re exploiting that as part of the community Arts Week theme of lsquo;Art and the Environment.rsquo; A city guy, an actor comes to the country as part of a troupe of actors search for material to dramatize. Hersquo;s staying with two old farmers, men who have a deep history that goes back to World War II. What he and we learn is an incredibly involving, surprising and heart warming story.rdquo;

ldquo;Cardinal Stage Company has been alternating larger and smaller pieces. Wersquo;ve just done a big one, The Sound of Music and following The Drawer Boy wersquo;ll have another large musical Little Shop of Horrors. Itrsquo;s both an artistic and a practical choice for the company.rdquo;

ldquo;Actually, wersquo;re thinking about some expansions in the coming year. Wersquo;ve had great success with childrenrsquo;s shows like Frog and Toad and wersquo;re thinking about a series that focuses on that audience. At the same time wersquo;re considering a series that would offer a smaller audience some more challenging theatre.rdquo;

The Drawer Boy by Michael Healey
Cardinal Stage Company
Director Randy White
John Waldron Arts Center
February 17-March 7, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100215-the-drawer-boy.mp3" fileSize="2398336" type="audio/mpeg" /></item>
		<item>
		<title>Urinetown, the Musical</title>
		<link>http://indianapublicmedia.org/arts/urinetown-musical/</link>
		<comments>http://indianapublicmedia.org/arts/urinetown-musical/#comments</comments>
		<pubDate>Mon, 15 Feb 2010 13:00:04 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[Greg Kotis]]></category>
		<category><![CDATA[Mark Hollman]]></category>
		<category><![CDATA[Saint-Mary-of-the-Woods-College]]></category>
		<category><![CDATA[sharon ammen]]></category>
		<category><![CDATA[urinetown]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5256</guid>
		<description>I particularly enjoy working with our cast on this one because the authors have incorporated parodies of a number of Broadways styles. Along the way, afficianados will recognize mini-tributes to West Side Story, Fiddler on the Roof, and Les Misearables .
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/aAKDEOHNlaE5YT1v_irws8rEVUM/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/aAKDEOHNlaE5YT1v_irws8rEVUM/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/urinetown-musical/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100215-urinetown.mp3" length="2410624" type="audio/mpeg" />
<itunes:duration>5:01</itunes:duration>
		<itunes:subtitle>WFIUrsquo;s George Walker talked with the director of Theatre at Saint-Mary-of-the-Woods about the upcoming production of Urinetown, the Musical.

ldquo;We chose Urinetownhellip; for a number of ...</itunes:subtitle>
		<itunes:summary>WFIUrsquo;s George Walker talked with the director of Theatre at Saint-Mary-of-the-Woods about the upcoming production of Urinetown, the Musical.

ldquo;We chose Urinetownhellip; for a number of reasons, some ecological and some theatrical. For one thing, wersquo;re very concerned about conservation here at the college. In fact our opening performance follows a day of workshops and activities around the theme of conservation.rdquo;

ldquo;The show itself is a dystopia about a future world where a single company controls all the water and everyone has to pay to use the toilet. Itrsquo;s a bit of a grim picture, but very much a comedy complete with a spotless hero leading the rebels and a virtuous heroine who happens to be part of the leader of the companyrsquo;s family.rdquo;

ldquo;I particularly enjoy working with our cast on this one because the authors have incorporated parodies of a number of Broadways styles. Along the way, afficianados will recognize mini-tributes to West Side Story, Fiddler on the Roof, and Les Misearables . Urinetownhellip; gives our singers, actors and dancers a chance to really stretch out in a show that I think the audience will really enjoy.rdquo;

Urinetown, the Musical by Mark Hollman and Greg Kotis
Directed by Sharon Ammen
Saint Mary of the Woods College
February 18-21, 2010</itunes:summary>
		<itunes:keywords>Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100215-urinetown.mp3" fileSize="2410624" type="audio/mpeg" /></item>
		<item>
		<title>Powerful Music Delivered in ‘Letters from Lincoln’</title>
		<link>http://indianapublicmedia.org/arts/letters-from-lincoln/</link>
		<comments>http://indianapublicmedia.org/arts/letters-from-lincoln/#comments</comments>
		<pubDate>Fri, 12 Feb 2010 13:00:03 +0000</pubDate>
		<dc:creator>David Wood</dc:creator>
				<category><![CDATA[Classical Music]]></category>
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		<category><![CDATA[Special]]></category>
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		<category><![CDATA[abraham lincoln]]></category>
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		<category><![CDATA[eckart preu]]></category>
		<category><![CDATA[featured recording]]></category>
		<category><![CDATA[gettysburg address]]></category>
		<category><![CDATA[letters from lincoln]]></category>
		<category><![CDATA[spokane symphony]]></category>
		<category><![CDATA[thomas hampson]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5285</guid>
		<description>For the Lincoln bicentennial, the Spokane Symphony commissioned American composer Michael Daugherty to write Letters from Lincoln for baritone and orchestra.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/DZ8jegv-4jnEnOP4q4Qs5w0NYz4/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/DZ8jegv-4jnEnOP4q4Qs5w0NYz4/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/letters-from-lincoln/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100212-featcd-letters-from-lincoln.mp3" length="2778200" type="audio/mpeg" />
<itunes:duration>2:54</itunes:duration>
		<itunes:subtitle>Today, February 12th, 2010, marks the 201st year since the birth of one of Americarsquo;s most beloved Presidents, Abraham Lincoln.nbsp; The young man born in ...</itunes:subtitle>
		<itunes:summary>Today, February 12th, 2010, marks the 201st year since the birth of one of Americarsquo;s most beloved Presidents, Abraham Lincoln.nbsp; The young man born in a log cabin in Kentucky, raised in Indiana, and adopted by Illinois went on to lead a nation during one of its darkest hours.

For the bicentennial last year, the Spokane Symphony commissioned American composer Michael Daugherty to write Letters from Lincoln for baritone and orchestra.

This year brings the release of that premiere from the Spokane Symphony, conducted by Preu Eckart.

The words of the 16th President were sung by baritone Thomas Hampson, who in his own right has done so much in recent years to further the cause of American music past and present.

Letters from Lincoln is a powerfully moving work that paints a portrait of a man caught between the role of Commander in Chief and common man.

Daughertyrsquo;s use of folk melodies, and in one case the passion chorale O Sacred Head Now Wounded, blend perfectly with his own music and the words of this amazing and timeless figure.</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,Classical,Recordings,,Featured,in,category,,Podcasts,,Reviews,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100212-featcd-letters-from-lincoln.mp3" fileSize="2778200" type="audio/mpeg" /></item>
		<item>
		<title>ISU Prof: Mark Twain’s ‘White Period’ More Wild Than We Think</title>
		<link>http://indianapublicmedia.org/arts/isu-prof-mark-twains-white-period-wild/</link>
		<comments>http://indianapublicmedia.org/arts/isu-prof-mark-twains-white-period-wild/#comments</comments>
		<pubDate>Thu, 11 Feb 2010 19:48:48 +0000</pubDate>
		<dc:creator>Adam Schwartz</dc:creator>
				<category><![CDATA[Books and Literature]]></category>
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		<category><![CDATA[man in white]]></category>
		<category><![CDATA[mark twain]]></category>
		<category><![CDATA[michael shelden]]></category>
		<category><![CDATA[random house]]></category>
		<category><![CDATA[samuel clemens]]></category>
		<category><![CDATA[tom sawyer]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5295</guid>
		<description>Samuel Langhorne Clemens, better known as Mark Twain, spent the last years of his life bitter and depressed—or so goes the conventional wisdom. A new biography by Michael Shelden, a professor of English at Indiana State University, challenges that view.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100209-michael-shelden.mp3" length="3399078" type="audio/mpeg" />
<itunes:duration>7:05</itunes:duration>
		<itunes:subtitle>Samuel Langhorne Clemens, better known as Mark Twain, spent the last years of his life bitter and depressedmdash;or so goes the conventional wisdom.  A ...</itunes:subtitle>
		<itunes:summary>Samuel Langhorne Clemens, better known as Mark Twain, spent the last years of his life bitter and depressedmdash;or so goes the conventional wisdom.  A new biography by Michael Shelden, a professor of English at Indiana State University, challenges that view.

Mark Twain: Man in White: The Grand Adventure of His Final Years (Random House) portrays Twain in the last four years of his life enjoying his world-wide fame, picking fights with the powerful, and hobnobbing with celebrities.

According to Shelden, 58, whose previous biographies were on Graham Greene, Cyril Connolly, and George Orwell, Twain started wearing white when he knew his end was in sight.

ldquo;Twain decided that if his death was next, he wasnrsquo;t going to live his last years in black but in white. He was going to out with joy, happiness, and style.rdquo;

Shelden believes Twain may have wore white as a reaction to the mourning that was going on in his family. He had in recent years lost his wife and youngest daughter, and his daughter Clara engaged in such excessive and long-term grieving, which included wearing black, that she earned the nickname ldquo;Night.rdquo;

ldquo;Twain understood that people would undergo periods of mourning but he didnrsquo;t want to be a part of it," Shelden said. "Twain said, if I have to wear black, in mourning or otherwise, itrsquo;s just going to depress me. So Irsquo;ll wear white and make a statement.rdquo;
Glaring Omission
Sheldenrsquo;s wrote the book to correct what he saw was a ldquo;glaring omissionrdquo; in our understanding of Twain. Far from the figure of gloom and despair, as has been traditionally depicted, Twain was full of life at the end.

ldquo;Some of his friends were amazed even up to the last few weeks of his life. He was still taking stairs three at a time. He was trim, strong and vigorous.rdquo; And if he hadnrsquo;t smoked twenty cigars a day, he might have longer than 74 years.

In what could be called his "white period" Twain traveled, drank, danced, and flirted with society girls. He talked politics with Winston Churchill became friends with George Bernard Shaw. He became the willing victim of a lost-at-sea hoax. Sometimes it seemed like he went looking for trouble.

ldquo;There was always a bit of Tom Sawyer in Mark Twain. He liked to get into trouble. He picked fights with Mary Baker Eddy of the Christian Science church, and with more powerful people like King Leopold of Belgium who he thought was guilty of atrocities in the Belgium Congo. He didnrsquo;t much care for Teddy Roosevelt, who he made fun of a lot.rdquo;
Ladies' Man
In his final years Twain enjoyed the attention he got from women. He was friendly with Billie Burke, the actress who later played Glinda the Good Witch in The Wizard of Oz, and discussed female sexuality with Clara Bow, the ldquo;It Girl.rdquo; He sometimes stayed out till the wee hours of the morning partying with showgirls.

ldquo;Women loved Mark Twain. Whenever he was with a group of womenmdash;young women, old women, middle-aged women, young girlsmdash;they all wanted to stroke his hair, in some cases give him a kiss. He really wasnrsquo;t a sexual creature at this point in his life, but he loved the affection and the attention. He came home from a party one night where a bunch of Broadway actresses were, and someone asked him how the party went, and he said, 'It was a kissing bee.'rdquo;

Readers of Man in White are telling Shelden that they feel ldquo;privilegedrdquo; by the way the book helped them to get to know Twain intimately.

ldquo;We donrsquo;t get to know too many people well in our lives. I think if a biography does its job well, it gives you that chance to spend time with somebodymdash;somebody extraordinary. And not only to bask in their good fortune and genius, but also maybe raise the level of your own life a few notches, because yoursquo;ve been challenged by seeing this other life. What you could do with your own life if y...</itunes:summary>
		<itunes:keywords>Books,and,Literature,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage,,WFIU.org,Homepage,Featured,Story</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100209-michael-shelden.mp3" fileSize="3399078" type="audio/mpeg" /></item>
		<item>
		<title>Marat/Sade by Peter Weiss</title>
		<link>http://indianapublicmedia.org/arts/maratsade-peter-weiss-2/</link>
		<comments>http://indianapublicmedia.org/arts/maratsade-peter-weiss-2/#comments</comments>
		<pubDate>Thu, 11 Feb 2010 16:59:55 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[Artaud]]></category>
		<category><![CDATA[Brecht]]></category>
		<category><![CDATA[dale mcfadden]]></category>
		<category><![CDATA[Eric Anderson]]></category>
		<category><![CDATA[Jennifer Sheshko]]></category>
		<category><![CDATA[Jr.]]></category>
		<category><![CDATA[Marat/Sade]]></category>
		<category><![CDATA[Peter Weiss]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5275</guid>
		<description>As we sat waiting for the show to start a warm female answering machine voice kept telling us that “At Charenton art and therapy go hand in hand, we’re modern.”
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/NcBpcS23L08wDzGVHEEa_3WLF8U/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/NcBpcS23L08wDzGVHEEa_3WLF8U/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RDds5lTB89M:pk15TbcopbM:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RDds5lTB89M:pk15TbcopbM:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RDds5lTB89M:pk15TbcopbM:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=RDds5lTB89M:pk15TbcopbM:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=RDds5lTB89M:pk15TbcopbM:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/maratsade-peter-weiss-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100210-marat-sade.mp3" length="1663104" type="audio/mpeg" />
<itunes:duration>3:28</itunes:duration>
		<itunes:subtitle>The Indiana University Department of Theatre and Drama is presenting a very creative, energetic and colorful production of Peter Weissrsquo;s The Persecution and Assassination of ...</itunes:subtitle>
		<itunes:summary>The Indiana University Department of Theatre and Drama is presenting a very creative, energetic and colorful production of Peter Weissrsquo;s The Persecution and Assassination of Jean-Paul Marat as performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade.

Director Dale McFadden has set the play in our time so the audience is committed to being active participants, invited and willing guests. As we sat waiting for the show to start a warm female answering machine voice kept telling us that ldquo;At Charenton art and therapy go hand in hand, wersquo;re modern.rdquo; Throughout the evening Abby Rowold as Coulmier the resolute director of the asylum tried to reinforce the therapeutic message even when things got out of hand, and the cast had to be restrained and put back on track.

Alex McCausland was debonair, but tiredly restrained as the Marquis de Sade. In Weissrsquo;s drama, the Marquis is the author, but the play itself seems to have a separate life as his characters get out of hand and even argue with him. Much of the argument about the efficacy of revolution or retirement comes from Mathew Martin as the playrsquo;s frustrated victim Marat.

Alana Cheshire was a wonder as Maratrsquo;s murderer, Charlotte Corday with the strangest pathetic, appealing and appalling take on the dumb blond that I imagine Irsquo;ll ever see. Ryan Dooly was her peculiarly graceful dance partner.

The instrumentalists and singers for Marat/Sade are all inmates of Charenton and play roles in the drama. Led by music director Eric Anderson, Jr. from the keyboard the scrappy All Star band of David Chervony, David Coleman, Rebecca Masur and Sam Gurnick held forth to good effect on clarinet, violin, cello and banjo seated, marching or strolling. Tyler Gillespie, Brittany Martin, Evan Mayer and Hana Slevin were the showrsquo;s accomplished vocal quartet.

Casey Ellis, Mathew Tepperman, Brianna McClelland and Nicole Bruce were very effective as Charentonrsquo;s guards, a black clad, efficient and mostly uninvolved quartet.

Jennifer Sheshkorsquo;s creative costume designs ranged from the contemporary for the director and staff to a variety evoking the period from formal attire for the Marquis through the strait jacket of the defrocked priest and on to various approaches to creatively deployed rags.

One of director McFaddenrsquo;s chief aims is to make this production as clear a presentation of Peter Weissrsquo;s ideas and his frustrations about the chances for personal and societal change as possible, but this is no dry approach. Hersquo;s marshaled all the tools of theatre to make it as entertaining and vitally theatrical as it is meaningful.

Interestingly enough, in the second act there are two long pauses. In the first the actors simply stood still, in the second they were free to exercise a few of their minor tics. Both were strangely comfortablehellip;.something to think during or to think about.

The IU Department of Theatre and Dramarsquo;s production of Marat/Sade continues with seven-thirty evening performances and on Saturday therersquo;s a two orsquo;clock matinee in addition to the final evening show.</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Reviews,,Theater,,Theatre,and,Dance</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100210-marat-sade.mp3" fileSize="1663104" type="audio/mpeg" /></item>
		<item>
		<title>Perlman, Ax and Ma collaborate on Mendelssohn Trios</title>
		<link>http://indianapublicmedia.org/arts/perlman-ax-ma-collaborate-mendelssohn-trios/</link>
		<comments>http://indianapublicmedia.org/arts/perlman-ax-ma-collaborate-mendelssohn-trios/#comments</comments>
		<pubDate>Wed, 10 Feb 2010 15:24:15 +0000</pubDate>
		<dc:creator>David Wood</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured Classical Recordings]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[classical podcast]]></category>
		<category><![CDATA[emmanuel ax]]></category>
		<category><![CDATA[featured recording]]></category>
		<category><![CDATA[felix mendelssohn]]></category>
		<category><![CDATA[itzhak perlman]]></category>
		<category><![CDATA[piano trios]]></category>
		<category><![CDATA[sony classical]]></category>
		<category><![CDATA[yo-yo ma]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5276</guid>
		<description>With the Super Bowl recently passed, and the Olympics gearing up, I started trying to put together a sort of classical music “dream team.”
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/QCgHHQUfKqAT-XDY3wDIwqZekmM/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/QCgHHQUfKqAT-XDY3wDIwqZekmM/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=6fxFGk66w0M:vX7w69V9E80:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=6fxFGk66w0M:vX7w69V9E80:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=6fxFGk66w0M:vX7w69V9E80:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=6fxFGk66w0M:vX7w69V9E80:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=6fxFGk66w0M:vX7w69V9E80:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/perlman-ax-ma-collaborate-mendelssohn-trios/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100210-featcd-mendelssohn-trios.mp3" length="2464730" type="audio/mpeg" />
<itunes:duration>2:34</itunes:duration>
		<itunes:subtitle>With the Super Bowl recently passed, and the Olympics gearing up, I started trying to put together a sort of classical music ldquo;dream team.rdquo;  ...</itunes:subtitle>
		<itunes:summary>With the Super Bowl recently passed, and the Olympics gearing up, I started trying to put together a sort of classical music ldquo;dream team.rdquo;  But before I could get very far, a CD arrived in my mailbox that filled the lineup perfectly.

After years of friendship and some on-stage collaboration, violinist Itzhak Perlman, pianist Emmanuel Ax, and cellist Yo-Yo Ma appear together on a recording. These three living legends combine their talents on this Sony Classics release of Felix Mendelssohnrsquo;s Piano Trios Opus 49 and 66.

Emmanuel Ax notes that when deciding on the literature for this groundbreaking recording, the Mendelssohn trios immediately came to mind.  ldquo;The Music of Mendelssohn,rdquo; he says, ldquo;reflects what he must have been as a human being ndash; inspired, deeply touching, and full of generosity.rdquo;</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,Classical,Recordings,,Podcasts,,Reviews,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100210-featcd-mendelssohn-trios.mp3" fileSize="2464730" type="audio/mpeg" /></item>
		<item>
		<title>Comedian Maria Bamford Visits Bloomington</title>
		<link>http://indianapublicmedia.org/arts/comedian-maria-bamford-visits-bloomington/</link>
		<comments>http://indianapublicmedia.org/arts/comedian-maria-bamford-visits-bloomington/#comments</comments>
		<pubDate>Tue, 09 Feb 2010 18:40:13 +0000</pubDate>
		<dc:creator>Josephine McRobbie</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Culture]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[A Prairie Home Companion]]></category>
		<category><![CDATA[CatDog]]></category>
		<category><![CDATA[Comedians of Comedy]]></category>
		<category><![CDATA[comedy]]></category>
		<category><![CDATA[comics]]></category>
		<category><![CDATA[entertainment]]></category>
		<category><![CDATA[funny]]></category>
		<category><![CDATA[Maria Bamford]]></category>
		<category><![CDATA[stand-up]]></category>
		<category><![CDATA[The Maria Bamford Show]]></category>
		<category><![CDATA[The Sarah Silverman Program]]></category>
		<category><![CDATA[Tim & Eric Awesome Show]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5260</guid>
		<description>One of the stars of "The Comedians of Comedy" comes to town, outfitted with an arsenal of surreal vignettes and wicked impersonations.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/aD3HEPi-6fjbHfobotOZnV_C2H8/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/aD3HEPi-6fjbHfobotOZnV_C2H8/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
&lt;a href="http://feedads.g.doubleclick.net/~a/aD3HEPi-6fjbHfobotOZnV_C2H8/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/aD3HEPi-6fjbHfobotOZnV_C2H8/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/comedian-maria-bamford-visits-bloomington/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100209-maria-bamford.mp3" length="3312143" type="audio/mpeg" />
<itunes:duration>6:54</itunes:duration>
		<itunes:subtitle>Comedian Maria Bamford Headlines The Funny Bone February 12-14
Of those plucky enough to get up on a stage and perform, the bravest souls are perhaps ...</itunes:subtitle>
		<itunes:summary>Comedian Maria Bamford Headlines The Funny Bone February 12-14
Of those plucky enough to get up on a stage and perform, the bravest souls are perhaps stand-up comedians, who spend half their lives on the road, telling jokes for a room full of strangers each night.

And itrsquo;s not just constantly being in the hot seat that makes it a risky career choice.  Achieving some level of fame or even making enough to pay the bills as a comic can be a process that takes years, or even decades.

Maria Bamford started her career as a comedian in 1989, but the Duluth, Minnesota native has seen her star rise only in the past 8 or so years, during which time she has starred in two half-hour specials on Comedy Central, and appeared on the highly successful Comedians of Comedy tour and DVD.

Bamford has released several CDs of her material, starred in Targetrsquo;s 2009rsquo;s holiday campaign, and has been voted one of the U.S.rsquo;s ldquo;Best 10 Comicsrdquo; by numerous publications.

She spent the leaner years of her career honing her craft, while working various secretarial and temp jobs.
WFIU:  What kind of qualities does one need to be able to make a living doing standup comedy?  It seems to be a brutal way to live when yoursquo;re starting out.

BAMFORD:  Yeah, I did not do the road or traveling until about 8 years in of doing stand up.  I was very theatrical and artsy, so all I did was open mics and theatrical event, performed in theaters that were pretty supportive, and you can be sort of odd and you arenrsquo;t threatened by people who are drunk to get off stage. I mean, for the arts in general it seems like tenacity and creating some sort of meaning about it, and community.. those have been important to me.
"If You Don't Like My Voice, I've Got More"
With a performance style that couples the surrealist humor of Mitch Hedberg with the charmingly deadpan emotional dysfunction of David Sedaris, Bamford brings to the stage a unique view of everyday things.

Her often bizarre takes on sibling rivalry, therapy, and relationships are complemented by the skill she is perhaps best known for ndash; the impersonations.

Bamford has an impressive resume based on her vocal chops alone ndash; she voices main characters on the animated programs Word Girl on PBS and CatDog on Nickelodeon, and has appeared on A Prairie Home Companion with fellow Minnesotan Garrison Keillor.

In her own act, Bamford plays the role of everyone from the  stereotypical female comedian, to the childhood arch enemy she encounters while visiting her hometown, and members of her own family, like her well-meaning but slightly critical mother.
W:  The impressions that you do of people you know, have you done them in front of your family?  Have they come to your show and see them?

B:  For sure, theyrsquo;ve all seen them a million times.  My mom was irritated at first, but once theyrsquo;ve seen it done, and people laughing, they seem to enjoy it more.  And they do impersonations of my impersonations of them.

My dad opened for me once, in my hometown of Duluth.  I was really scared because I was hired to do a motorcycle rally and I just thought ndash; oh, this is a poor choice.  And my dad opened for me and he did an impersonation of me, which was like (high pitched noise) ndash; which is pretty dead on.  And it hurts, it does hurt to see an impersonation of yourself, so that is something that I am grateful for is that theyrsquo;ve been very kind in allowing me to do versions of them on stage.
The Therapy of Comedy
Many stand-up comics use self-deprecating humor as a way to make a connection with the audience, and Bamford is no exception.  But her candidness about her own struggles is more self-help guru than universal pessimist.

The title of Bamfordrsquo;s latest comedy album, Unwanted Thoughts Syndrome is a nod to the form of obsessive compulsive disorder she has suffered from throughout her life.

But this honesty has helped cultivat...</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Culture,,Featured,in,category,,Features,,Interviews,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100209-maria-bamford.mp3" fileSize="3312143" type="audio/mpeg" /></item>
		<item>
		<title>Celebrate Valentine’s Day with the Terre Haute Symphony</title>
		<link>http://indianapublicmedia.org/arts/celebrate-valentines-day-terre-haute-symphony/</link>
		<comments>http://indianapublicmedia.org/arts/celebrate-valentines-day-terre-haute-symphony/#comments</comments>
		<pubDate>Tue, 09 Feb 2010 13:00:31 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[Terre Haute]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[david bowden]]></category>
		<category><![CDATA[Debussy]]></category>
		<category><![CDATA[Harriet Moore]]></category>
		<category><![CDATA[Kurt Fowler]]></category>
		<category><![CDATA[Rachmaninoff]]></category>
		<category><![CDATA[Terre Haute Symphony Orchestra]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5241</guid>
		<description>The Erard and Pleyel companies were vying in the development of the harp. And Claude Debussy was commissioned to create the Danses Sacree et Profane for a new chromatic harp. It’s a case of the piece persisting and the harp itself disappearing.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/dikeWxLwtj3TjExWK7igmYvf4Xo/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/dikeWxLwtj3TjExWK7igmYvf4Xo/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=44X3p_2eBXE:W3tyQ5v6Oxs:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=44X3p_2eBXE:W3tyQ5v6Oxs:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=44X3p_2eBXE:W3tyQ5v6Oxs:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=44X3p_2eBXE:W3tyQ5v6Oxs:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=44X3p_2eBXE:W3tyQ5v6Oxs:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Lucia di Lammermoor by Gaetano Donizetti</title>
		<link>http://indianapublicmedia.org/arts/lucia-di-lammermoor-gaetano-donizetti/</link>
		<comments>http://indianapublicmedia.org/arts/lucia-di-lammermoor-gaetano-donizetti/#comments</comments>
		<pubDate>Mon, 08 Feb 2010 17:37:58 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
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		<category><![CDATA[Opera]]></category>
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		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Andrews Kroes]]></category>
		<category><![CDATA[Arthur Fagen]]></category>
		<category><![CDATA[C. David Higgins]]></category>
		<category><![CDATA[Gaetano Donzietti]]></category>
		<category><![CDATA[Heather Younguist]]></category>
		<category><![CDATA[Indiana University Opera Theater]]></category>
		<category><![CDATA[James Marvel]]></category>
		<category><![CDATA[Jiyoun Hur]]></category>
		<category><![CDATA[Joshua Lindsay]]></category>
		<category><![CDATA[Lucia di Lammermoor]]></category>
		<category><![CDATA[Samuel Green]]></category>
		<category><![CDATA[Scott Hogsed]]></category>
		<category><![CDATA[Shih-Yun]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5247</guid>
		<description>From the opening notes Saturday night it was clear that conductor Fagen was going for color and contrast in Donizetti’s orchestration. Lucia’s accompaniment in her first act aria was beautifully played by harpist Shih-Yun and the famous duet with the flute in her mad scene was flexibly partnered by flutist Jiyoun Hur.
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=iyouAKbG_C8:C8vKGTwM_Is:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=iyouAKbG_C8:C8vKGTwM_Is:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=iyouAKbG_C8:C8vKGTwM_Is:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=iyouAKbG_C8:C8vKGTwM_Is:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=iyouAKbG_C8:C8vKGTwM_Is:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<slash:comments>1</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100208-lucia.mp3" length="1816704" type="audio/mpeg" />
<itunes:duration>3:47</itunes:duration>
		<itunes:subtitle>The Indiana Univeristy Opera Theater opens their spring semester with a stirringly involving production of Donizettirsquo;s Lucia di Lammermoor conducted by recent faculty appointee Arthur ...</itunes:subtitle>
		<itunes:summary>The Indiana Univeristy Opera Theater opens their spring semester with a stirringly involving production of Donizettirsquo;s Lucia di Lammermoor conducted by recent faculty appointee Arthur Fagen with stage direction by guest James Marvel on the familiar design of C. David Higgins.

From the opening notes Saturday night it was clear that conductor Fagen was going for color and contrast in Donizettirsquo;s orchestration. Dynamics were very much in evidence and the alternately lyrical and dance like sections were exploited. Luciarsquo;s accompaniment in her first act aria was beautifully played by harpist Shih-Yun and the famous duet with the flute in her mad scene was flexibly partnered by flutist Jiyoun Hur.

Luciahellip; can easily become an exercise in black and white a sort of dark Dark Shadows, but stage director Marvel has resisted that to I think very good effect. Saturday nightrsquo;s lass of the Lammermoor, sung powerfully by Heather Younguist, was an imaginative and perhaps overstressed young lady, but not crazed until the snap of the wedding night. The ghostly figure that appears in her first scene and stalks through the crowd in the later mad scene was visible as a grim harbinger to the audience, but not to Lucia.

Her brother Enrico, who forces her into the marriage that drives her over the edge, is portrayed as a devious schemer, but not a black hearted one. He deeply cares for his family and indeed for all of Scotland. Saturday nightrsquo;s Enrico, baritone Scott Hogsed was the singer who could best match Younquist in duets.

The list of characters who could be villainsnbsp; also includes the family Chaplain Raimondo and the chosen groom and savior of the family fortunes Arturo. Saturday nightrsquo;s cleric was strongly sung by Andrew Kroes. His Chaplain certainly pushes for the marriage, but clearly has broad ethical considerations and concerns for the people involved.

Arturo, the showrsquo;s one-scene-tenor was sung by Samuel Green. Again this is a character that can be portrayed in rather black terms. But though the voice was small, this Arturo was clearly supposed to be a charmer. The whole cast welcomed his entrance and with a light touch he even waved a greeting to us in the audience.

Frankly the part of Edgardo, the tenor hero sung well on Saturday by Joshua Lindsay is a tough one to make dramatic sense of. After some lovely singing in wooing and winning Lucia he departs on a secret mission and doesnrsquo;t come back until the night of her enforced wedding. Edgardo causes a fuss, but is forced to depart. Then Lucia does the mad scene of all mad scenes that everyone has been waiting for and Saturday nights with Younguist was terrifically moving. What more could one wanthellip;great endinghellip;but no,hellip;

The curtain comes down and therersquo;s a set change so that Edgardo can reappear, sing and then kill himself. Itrsquo;s a tribute to the production that they staging of this in a gloomy cemetery scene with a background of nicely marshaled darkly clad mourners did once again grasp the audiencersquo;s attention and make for a nicely worked out finale.

The IU production of of Lucia di Lammermoor has final performances on Friday and Saturday at eight in the Musical Arts Center. You can find this review and an interview with stage director James Marvel on our web site at WFIU dot ORG.

Lucia di Lammermoor by Gaetano Donizetti
Conductor Arthur Fagen
Stage Director James Marvel
Designer C. David Higgins
IU Opera Theater
February 5, 6, 12, 13, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Opera,,Podcasts,,Reviews,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100208-lucia.mp3" fileSize="1816704" type="audio/mpeg" /></item>
		<item>
		<title>Marat/Sade by Peter Weiss</title>
		<link>http://indianapublicmedia.org/arts/maratsade-peter-weiss/</link>
		<comments>http://indianapublicmedia.org/arts/maratsade-peter-weiss/#comments</comments>
		<pubDate>Wed, 03 Feb 2010 17:21:18 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Abby Rowold]]></category>
		<category><![CDATA[Coulmier]]></category>
		<category><![CDATA[dale mcfadden]]></category>
		<category><![CDATA[Marat/Sade]]></category>
		<category><![CDATA[Peter Weiss]]></category>
		<category><![CDATA[wells-metz theatre]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5244</guid>
		<description>With individuals strapping themselves with explosives and walking into crowds and killing drones flying over Afghanistan the issue of political assassination is very much in the news and in our consciousness
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100203-marat-sade.mp3" length="2412672" type="audio/mpeg" />
<itunes:duration>5:01</itunes:duration>
		<itunes:subtitle>The Indiana University Department of Theatre and Drama opens the spring semester with Peter Weissrsquo;s Tony Award winning play Marat/Sade.

The director is IU Faculty member ...</itunes:subtitle>
		<itunes:summary>The Indiana University Department of Theatre and Drama opens the spring semester with Peter Weissrsquo;s Tony Award winning play Marat/Sade.

The director is IU Faculty member Dale McFadden. MFA student actor Abby Rowold plays the role of the director of the asylum, Coulmier.

McFadden believes that most productions of the play have missed the significance of Coulmier. ldquo;The director is really a key character both in the history and in the play itself. The pride that the director feels is founded, but smug and its break down is a key to the arc of the drama.rdquo;

Abby Rowold says that creating the character is a challenge. Peter Weiss hasnrsquo;t given me a lot to work with. There isnrsquo;t much in the text. Building a back story, a basis for realizing this figure has taken some real research, introspection and lots of conferences with Dale.rdquo;

Mcfadden noted that therersquo;s a current special fascination with Marat/Sade . ldquo;The drama that Sade directs with the members of the asylum is the murder of the revolutionary leader Marat by Charlotte Corday. With individuals strapping themselves with explosives and walking into crowds and killing drones flying over Afghanistan the issue of political assassination is very much in the news and in our consciousness."

The IU production of Peter Weissrsquo;s Marat/Sade opens with performances on Friday and Saturday February 5th and 6th and continues the 9th through the 13th.

Marat/Sade
Directed by Dale McFadden
Indiana University Wells-Metz Theatre
Feb 5, 6 and 9-13 at 7:30 pm, matinee Feb 13 at 2 pm.</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100203-marat-sade.mp3" fileSize="2412672" type="audio/mpeg" /></item>
		<item>
		<title>Woody Guthrie’s American Song</title>
		<link>http://indianapublicmedia.org/arts/woody-guthries-american-song/</link>
		<comments>http://indianapublicmedia.org/arts/woody-guthries-american-song/#comments</comments>
		<pubDate>Wed, 03 Feb 2010 13:26:33 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
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		<category><![CDATA[Popular Music]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Bill Breeden]]></category>
		<category><![CDATA[Mental Health America of Monroe County]]></category>
		<category><![CDATA[Mother Hubbard's Cupboard]]></category>
		<category><![CDATA[Steve Krahnke]]></category>
		<category><![CDATA[Unitarian-Universalist Church]]></category>
		<category><![CDATA[Woody Gurthrie]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5230</guid>
		<description>As we thought about the project it just seemed so right for these times. The songs are such a document of our history. They were difficult times but there’s also a good bit of fun and humor in them. At least one of Woody’s collections was called Hard Hitting Songs for Hard Hit People and that’s a pretty good fit.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/HbBBGPv7jEqPMTxDO7vIYUb63bI/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/HbBBGPv7jEqPMTxDO7vIYUb63bI/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/woody-guthries-american-song/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100203-woodie-guthrie.mp3" length="2402432" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The newly christened Heartland Players are presenting Woody Guthrie''s American Song as a benefit for Mother Hubbardrsquo;s Cupboard and Mental Health America of Monroe County ...</itunes:subtitle>
		<itunes:summary>The newly christened Heartland Players are presenting Woody Guthrie''s American Song as a benefit for Mother Hubbardrsquo;s Cupboard and Mental Health America of Monroe County in performances at Bloomingtonrsquo;s Unitarian Universalist Church.

Jane McLeod is a singer, instrumentalist and a sociology professor at Indiana University. ldquo;I knew a few of Woodie Guthriersquo;s songs, but my own background was in liturgical music and in singing backup in one of Craig Brennerrsquo;s early bands.  Part of the pleasure of working on this has been learning more of and about the songs.rdquo;

The production is directed by Steve Krahnke with minimal staging, but makes use of projections and lighting for background and effects. ldquo;The pictures from the period of course help us to understand the songs even better and they, along and some of the lighting really help to make this open space work for the play.rdquo;

ldquo;Woody Guthriersquo;s American Song offers twenty-three of his songs sung by a cast of sixteen.  With just one exception all of us were in the production a couple of years ago. Itrsquo;s been great getting back together and going through the show.  Wersquo;ve got a six member band led by Dan Lodge-Rigal and with just one exception, theyrsquo;re all back too.rdquo;

ldquo;As we thought about the project it just seemed so right for these times. The songs are such a document of our history. They were difficult times but therersquo;s also a good bit of fun and humor in them. At least one of Woodyrsquo;s collections was called Hard Hitting Songs for Hard Hit People and thatrsquo;s a pretty good fit.rdquo;

Woody Guthriersquo;s American Song
Heartland Players
Bloomington Unitarian Universalist Church
February 5 and 6, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Interviews,,Podcasts,,Popular,Music,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100203-woodie-guthrie.mp3" fileSize="2402432" type="audio/mpeg" /></item>
		<item>
		<title>Creating Beyond Borders: Wonderlab’s Art and Science of Color</title>
		<link>http://indianapublicmedia.org/arts/creating-borders-art-science-color/</link>
		<comments>http://indianapublicmedia.org/arts/creating-borders-art-science-color/#comments</comments>
		<pubDate>Tue, 02 Feb 2010 15:38:35 +0000</pubDate>
		<dc:creator>Yaël Ksander</dc:creator>
				<category><![CDATA[Audio]]></category>
		<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Visual Arts]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Christine Knipstine]]></category>
		<category><![CDATA[fiber art]]></category>
		<category><![CDATA[Martina Celerin]]></category>
		<category><![CDATA[mosaic]]></category>
		<category><![CDATA[wonderlab]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5218</guid>
		<description>In our culture of specialization and compartmentalization, it’s easy to think of art and science as mutually exclusive categories.  At Bloomington’s hands-on science museum, however, the distinctions between learning and playing, science and art, are blurred.
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/creating-borders-art-science-color/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-wonderlab-color.mp3" length="3397615" type="audio/mpeg" />
<itunes:duration>7:05</itunes:duration>
		<itunes:subtitle>In our culture of specialization and compartmentalization, itrsquo;s easy to think of art and science as mutually exclusive categories.

Bloomingtonrsquo;s WonderLab seeks to dissolve the boundary ...</itunes:subtitle>
		<itunes:summary>In our culture of specialization and compartmentalization, itrsquo;s easy to think of art and science as mutually exclusive categories.

Bloomingtonrsquo;s WonderLab seeks to dissolve the boundary between these categories.

Just inside the door of Bloomingtonrsquo;s hands-on science museum, visitors of all ages are challenged to think beyond the art/science duality with an installation that might best be described as ldquo;that Rube Goldberg machine that plays Stardust.rdquo;

Inside the ldquo;Kinetic Contraptionrdquo;, as this custom-made sculpture is called, little balls traverse a circuitous route across catwalks, down chutes, and over a xylophone, which occasionally plays Hoagy Carmichaelrsquo;s best-known composition.     Visitors post themselves around the sculpture to influence the ballrsquo;s path by turning wheel s and pulling levers.

Whether itrsquo;s a piece of art, or a whimsical exploration of physics and probability, itrsquo;s definitely a signature piece for Bloomingtonrsquo;s hands-on science museum.

Activities and exhibitions at the WonderLab tend to blur the distinctions between learning and playing, science and art.  A current program, in fact seeks to underscore the affinities between the disciplines.

ldquo;To be a scientist, you have to be incredibly creative,rdquo; explained Martina Celerin, one of the artists who will be demonstrating her artistic process as part of WonderLabrsquo;s Art and Science of Color program.  ldquo;You have to think outside the box, you have to try and visualize where yoursquo;re going; and with art, itrsquo;s very much experimental to try and demonstrate what yoursquo;re trying to express.rdquo;

With a Ph.D. in molecular genetics, Celerin, who is also a fiber artist, should know.

Each weekend during February a different artist will offering interactive demonstrations for visitors of all ages.  A painter will demonstrate how she mixes pigments and a theatrical troupe will showcase the magic of lighting design.

On the second weekend, mosaicist Christina Knipstine presents the program "Small Dots, Big Picture".  The inspiration for Knipstinersquo;s mosaics is eclecticmdash;from the paintings of Chuck Close and Georges Seurat to scientific modelsmdash;from fractals to satellite photos of the earth.

Knipstine is particularly suited to demonstrate her work for a young audience.  Having homeschooled her five children, she knows that learning happens in an interactive, interdisciplinary way.  Her children have gone on to careers ranging from the humanities to astrophysics.

ldquo;Pigeonholing science and art as separate entities,rdquo; Celerin noted, ldquo;is really not reflective of what a lot of people are like.rdquo;

Nonetheless , the artists agreed, people seem to lose this flexibility as they become adults.

So, WonderLab is creating a situation that might allow grownups, bringing their kids to play, to stumble upon their creativity.

The Art and Science of Color opens at the WonderLab this Friday, February 5th with an evening program during which visitors will be invited to participate in a community art project that will be installed in WonderLab's outdoor garden on the B-Line Trail.</itunes:summary>
		<itunes:keywords>Audio,,Bloomington,,Communities,,Content,Type,,Features,,Interviews,,Special,,Visual,Arts,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-wonderlab-color.mp3" fileSize="3397615" type="audio/mpeg" /></item>
		<item>
		<title>Come to the Cabaret with the Columbus (IN) Philharmonic</title>
		<link>http://indianapublicmedia.org/arts/cabaret-3/</link>
		<comments>http://indianapublicmedia.org/arts/cabaret-3/#comments</comments>
		<pubDate>Tue, 02 Feb 2010 13:00:40 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Columbus]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Popular Music]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[cabaret]]></category>
		<category><![CDATA[Columbus Indiana Philharmoic]]></category>
		<category><![CDATA[come to the cabaret]]></category>
		<category><![CDATA[david bowden]]></category>
		<category><![CDATA[julie andrews]]></category>
		<category><![CDATA[musical theater]]></category>
		<category><![CDATA[sylvia mcnair]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5229</guid>
		<description>I teach my students in the Jacobs School of Music to work from the text. And I do it even with songs in English. I still start with the words, learn the poem or the phrases and then come to the music. And I do have to say that one of the joys of singing in English...is the connection with the audience through the meaning of the common language.”
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/TSBmoFcwxSxA0svoXjHyNLiDtTE/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/TSBmoFcwxSxA0svoXjHyNLiDtTE/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/cabaret-3/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-come-to-the-cabaret.mp3" length="2402432" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>Saturday February 6th the Columbus Indiana Philharmonic conducted by David Bowden welcomes our guest Grammy award winning soprano Sylvia McNair for an evening titled "Come ...</itunes:subtitle>
		<itunes:summary>Saturday February 6th the Columbus Indiana Philharmonic conducted by David Bowden welcomes our guest Grammy award winning soprano Sylvia McNair for an evening titled "Come to the Cabaret." She talked with WFIUrsquo;s George Walker.

This concert catches McNair in the midst of her second career and something she has described as her first love.

ldquo;Irsquo;m not sure if itrsquo;s only my second. But, it is something thatrsquo;s come after I spent twenty years traipsing around the world singing on opera and recital stages.  Now, I did enjoy that and Irsquo;m happy for the opportunities that it gave me. However, today Irsquo;m focusing more on music that indeed was my first love.rdquo;

ldquo;I guess Irsquo;d have to say that in some ways my idol was always sort of Julie Andrews. And today I do sing some of the songs that she made her own. Irsquo;m focusing on American musical theater and popular songs. Those pieces by Rogers and Hammerstein, George and Ira Gershwin, Stephen Sondheim and others are what we now call lsquo;The American Songbook.rsquo;rdquo;

When McNair was singing in French, German and Italian one of the hallmarks of her preparation was the focus on the text. She would translate, check the phrases with native speakers and try to make the words her own.

ldquo;I teach my students in the Jacobs School of Music to work from the text. And I do it even with songs in English. I still start with the words, learn the poem or the phrases and then come to the music. And I do have to say that one of the joys of singing in English, one of the pleasures that Irsquo;ll be enjoying in Columbus this Saturday, is the connection with the audience through the meaning of the common language.rdquo;

Come to the Cabaret
Columbus Indiana Philharmonic
Conducted by David Bowden
Sylvia McNair, soprano
Erne Auditorium of Columbus North High School
February 6, 2010 at 7:30 pm</itunes:summary>
		<itunes:keywords>Columbus,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Popular,Music,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-come-to-the-cabaret.mp3" fileSize="2402432" type="audio/mpeg" /></item>
		<item>
		<title>IU Opera Theatre’s Tale of Scottish Horror “Lucia di Lammermoor’</title>
		<link>http://indianapublicmedia.org/arts/lucia-di-lammermoor-2/</link>
		<comments>http://indianapublicmedia.org/arts/lucia-di-lammermoor-2/#comments</comments>
		<pubDate>Tue, 02 Feb 2010 13:00:14 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Arthur Fagen]]></category>
		<category><![CDATA[C. David Higgins]]></category>
		<category><![CDATA[Gaetano Donizetti]]></category>
		<category><![CDATA[Indiana University]]></category>
		<category><![CDATA[jacobs school of music]]></category>
		<category><![CDATA[James Marvel]]></category>
		<category><![CDATA[Lucia di Lammermoor]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5206</guid>
		<description>Unlike a straight stage play where a character can say something like ‘I love you,’ in a dozen different ways, the opera has come up with a much more focused approach.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-lucia.mp3" length="2400384" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>Indiana University Opera Theater opens their spring 2010 semester with Donizettirsquo;s tragedy Lucia di Lammermoor. The production will be conducted by Jacobs School of Music ...</itunes:subtitle>
		<itunes:summary>Indiana University Opera Theater opens their spring 2010 semester with Donizettirsquo;s tragedy Lucia di Lammermoor. The production will be conducted by Jacobs School of Music faculty member Arthur Fagen. Design is by the schoolrsquo;s C. David Higgins. Talking with WFIUrsquo;s George Walker is award winning first time guest director James Marvel.

ldquo;Luciahellip; is an incredible work. I like to summarize it with references to Shakespearersquo;s classics. It has lovers separated by warring families like Romeo and Juliet. Therersquo;s an evil figure who tries to undermine the efforts of both sides a bit like Iago in Othello. And the famous mad scene may remind some of Opheliarsquo;s in Hamlet. Now, of course Ophelia doesnrsquo;t come on stage covered with blood from her marriage bed, so Donizetti and his librettist certainly take things a bit farther, but there is a parallel.rdquo;

Marvel went on to talk about how hersquo;s been working with the singing actors of this production. ldquo;As Irsquo;ve been working with the casts on the staging of Luciahellip; Irsquo;ve been encouraging them to hear what the music tells us about the words. Unlike a straight stage play where a character can say something like lsquo;I love you,rsquo; in a dozen different ways, the opera has come up with a much more focused approach. There is room for interpretation, but the first thing to do is to fully explore what the music has to say.rdquo;

And his final comments, ldquo;This is going to be quite a production. I think that there are things in the staging of the mad scene that have never been done before. Even though I know whatrsquo;s coming, it gives me chills every time I see it in rehearsal.rdquo;

Lucia di Lammermoor by Gaetano Donizetti
Arthur Fagen, conductor
C. David Higgins, designer
James Marvel, stage director
IU Musical Arts Center
February 2, 6 and 12, 13, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Opera,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100202-lucia.mp3" fileSize="2400384" type="audio/mpeg" /></item>
		<item>
		<title>‘Cadillac’ at the Bloomington Playwrights Project</title>
		<link>http://indianapublicmedia.org/arts/cadillac-bloomington-playwrights-project/</link>
		<comments>http://indianapublicmedia.org/arts/cadillac-bloomington-playwrights-project/#comments</comments>
		<pubDate>Mon, 01 Feb 2010 16:22:30 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
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		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Bill Goveia]]></category>
		<category><![CDATA[Bill Jepsen]]></category>
		<category><![CDATA[Bloomington Playwrights Project]]></category>
		<category><![CDATA[Brett Gloden]]></category>
		<category><![CDATA[Cadillac]]></category>
		<category><![CDATA[Chad Rabinovitz]]></category>
		<category><![CDATA[Frank Buczolich]]></category>
		<category><![CDATA[Gerard Pauwels]]></category>
		<category><![CDATA[Kathleen Walker]]></category>
		<category><![CDATA[Mary Carol Reardon]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5214</guid>
		<description>In a gesture toward conservation, the power is off for a week right through a candle lit Thursday night performance of Cadillac on February 4th.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/EuUJJEqhA1ldJigNTvpFUCvEaLo/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/EuUJJEqhA1ldJigNTvpFUCvEaLo/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100201-cadillac.mp3" length="2117760" type="audio/mpeg" />
<itunes:duration>4:24</itunes:duration>
		<itunes:subtitle>Bill Jepsenrsquo;s Cadillac at the Bloomington Playwrights Project is set in Shane Cinal's richly designed and appointed offices of the Lindy Motors Dealership. Itrsquo;s a ...</itunes:subtitle>
		<itunes:summary>Bill Jepsenrsquo;s Cadillac at the Bloomington Playwrights Project is set in Shane Cinal's richly designed and appointed offices of the Lindy Motors Dealership. Itrsquo;s a lovely set with clocks that show the right time, a FAX machine that works, an impressive desk with a rolodex, a pen and pencil set, a cup with a commemorative baseball and a small American flag.

Gerard Pauwels plays Howard, Lindy Motorsrsquo; Finance Manager. Although hersquo;s been a salesman for years. Now, his primary function is closing the deals for others. Overall the dealership is doing pretty well, but as he says, ldquo;Every month, yoursquo;re back to zero.rdquo;

Therersquo;s Art, Frank Buczolich. Like Howard, hersquo;s very much of the old school. Hersquo;s one to keep an active file and follow up repeat customers over the years. Artrsquo;s motto is  ldquo;Itrsquo;s who knows you, not who you know!rdquo; Hersquo;s doing pretty well with solid monthly sales.

Then therersquo;s Robin, played by Kathleen Walker. Shersquo;s working to be a salesman in Howard and Artrsquo;s mold, but needs daily time away to balance the job, daycare and motherhood. Robin is acutely conscious that shersquo;s the only woman on the floor. Shersquo;s on the edge of not making enough sales to be kept on.

The third member of the sales team is Gary, Brett Gloden. Gary is an arrogant young rebel who hates what he thinks is the sanctimony of the older salesmen. He has no time for calling a down payment, an lsquo;initial investment,rsquo; or the monthly bills, lsquo;installments.rsquo; His only concern is numbers. Hersquo;s currently riding the tide of the new internet contacts and racking up record sales.

Cadillac begins and ends with a dream of one of Howardrsquo;s oldest customer, Fred played by Thomas Thompson. Fred has worked the same job for forty-two years, hersquo;s put four children through parochial school and college and just paid off the mortgage on his house. Hersquo;s ready for his dream car, a recent vintage Cadillac.

In between a lot happens in this richly detailed and imagined play. Bill Goveia and Mary Carol Reardon appear as a couple of customers in a scenario that touches on all the tensions of  car buying in a traditional marriage. It gives Goveia, his head snapping back and forth from salesman to Finance Manager while Reardon taps out a tempo, one of the longest and funniest pauses that Irsquo;ve seen.

A can of worms opens as Gary taunts Howard into pushing him and then calls foul and brings up an earlier charge on Howard that he says involved pushing a secretary. Howard is threatened, Art tries to help and Robin is placed squarely in the middle. If the play has a weak point, itrsquo;s that playwright Jepson hasnrsquo;t worked out a basis for Robinrsquo;s apparently hysterical reaction.

Cadillac is a fascinating inside look at a car dealership, the forces that drive it, the sales people the customer, the strategies of the business.

Cadillac is the maiden directing project for the Bloomington Playwrights Projects new Artistic Director Chad Rabinovitz. Saturday nightrsquo;s performance was a gala with a gathering that began at the John Waldron Arts Center and proceeded with a limousine ride up the street to the Playwrights Projectrsquo;s theatre on Ninth Street.

Following the play there was a proclamation from Mayor Mark Kruzan declaring January 30, 2010 as Bloomington Playwrights Projectrsquo;s  Day. Though the Mayor had to be away, an Elvis impersonating stand-in presented his pre-recorded message. Then playwright Bill Jepsen was on hand for a talk back with the audience and actors.

The finale was the dousing of all the lights at the BPP. In a gesture toward conservation, the power is off for a week right through a candle lit Thursday night performance of Cadillac on February 4th.

Cadillac continues at the Bloomington Playwrights Project through February 27th.</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Podcasts,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100201-cadillac.mp3" fileSize="2117760" type="audio/mpeg" /></item>
		<item>
		<title>Classical Music Highlights for February</title>
		<link>http://indianapublicmedia.org/arts/classical-music-highlights-february/</link>
		<comments>http://indianapublicmedia.org/arts/classical-music-highlights-february/#comments</comments>
		<pubDate>Mon, 01 Feb 2010 13:00:49 +0000</pubDate>
		<dc:creator>David Wood</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured Classical Recordings]]></category>
		<category><![CDATA[Featured in category]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[antoni szalowski]]></category>
		<category><![CDATA[antonio vivaldi]]></category>
		<category><![CDATA[baroque music]]></category>
		<category><![CDATA[benoit loiselle]]></category>
		<category><![CDATA[Classical CD]]></category>
		<category><![CDATA[eastwind trio d'anches]]></category>
		<category><![CDATA[elisabet hermodsson]]></category>
		<category><![CDATA[featured recording]]></category>
		<category><![CDATA[improvisation]]></category>
		<category><![CDATA[norwegian music]]></category>
		<category><![CDATA[rolf lislevand]]></category>
		<category><![CDATA[singer pur]]></category>
		<category><![CDATA[vincent boucher]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5075</guid>
		<description>Spreading a little love of classical music in the month of February.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/0yw5qhEYj9ImS_e08K78SKyWr-4/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/0yw5qhEYj9ImS_e08K78SKyWr-4/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=GPWs6ej5peI:9Ylu8u0YV0c:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=GPWs6ej5peI:9Ylu8u0YV0c:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=GPWs6ej5peI:9Ylu8u0YV0c:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=GPWs6ej5peI:9Ylu8u0YV0c:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=GPWs6ej5peI:9Ylu8u0YV0c:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100201-featcd-february.mp3" length="5148446" type="audio/mpeg" />
<itunes:duration>5:22</itunes:duration>
		<itunes:subtitle>February 1st through 5th
From the lands of the frozen North comes a vocal ensemble of stunning beauty. On their latest CD Nordisk Vocal Musik, Singer ...</itunes:subtitle>
		<itunes:summary>February 1st through 5th
From the lands of the frozen North comes a vocal ensemble of stunning beauty. On their latest CD Nordisk Vocal Musik, Singer Pur performs unaccompanied works by composers from their native Norway, including Einojuhani Rautavaara, Wilhelm Stenhammer, and several other fresh voices
February 8th through 12th
In his previous release Nuove Musiche, lutenist Rolf Lislevand and his colleagues presented an innovative approach to early music with an emphasis on improvisation. Now theyrsquo;re back again with Diminuito, breathing new life into works from the 16th century as they fuse performance practice with the rhythms of world music and the tightness of a stellar jazz ensemble.
February 15th-19th
The EastWind Trio drsquo;Anches is the resident faculty ensemble at The University of North Carolina at Greensburg. Consisting of oboist Mary Ashley Barret, clarinetist Kelly Burke, and bassoonist Michael Burns, the ensemble performs music from the Baroque to the present. On EastWind Looks East they perform selections from Eastern European composers including Witold Lutoslawski and Antoni Szalowski.
February 22n through 26th
Antonio Vivaldirsquo;s primary instrument was the violin, but his works for cello are plentiful, and the instrumentrsquo;s repertoire was greatly enhanced by his various compositions. He composed 10 sonatas for cello, at least 30 concertos for solo cello and strings, and another nine for two cellos. Cellist Benoicirc;t Loiselle performs several of these works as well as a concerto by J.S. Bach with organist Vincent Boucher.</itunes:summary>
		<itunes:keywords>Classical,Music,,Content,Type,,Featured,Classical,Recordings,,Featured,in,category,,Podcasts,,Reviews,,Special</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/featuredcd/10/100201-featcd-february.mp3" fileSize="5148446" type="audio/mpeg" /></item>
		<item>
		<title>IU’s Archives of Traditional Music Races Against Time</title>
		<link>http://indianapublicmedia.org/arts/ius-archives-traditional-music-races-time/</link>
		<comments>http://indianapublicmedia.org/arts/ius-archives-traditional-music-races-time/#comments</comments>
		<pubDate>Thu, 28 Jan 2010 13:16:57 +0000</pubDate>
		<dc:creator>Adam Schwartz</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Culture]]></category>
		<category><![CDATA[Interviews]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[archives of traditional music]]></category>
		<category><![CDATA[ethnomusicology]]></category>
		<category><![CDATA[historic recordings]]></category>
		<category><![CDATA[Indiana University]]></category>
		<category><![CDATA[mark hood]]></category>
		<category><![CDATA[michael casey]]></category>
		<category><![CDATA[preservation]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5179</guid>
		<description>IU's Archive of Traditional Music is preserving as much of its decaying media as it can, but there’s only so much time and money to do it in.
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100127-archives-trad-music.mp3" length="5657103" type="audio/mpeg" />
<itunes:duration>5:54</itunes:duration>
		<itunes:subtitle>Indiana Universityrsquo;s Archives of Traditional Music (ATM) is a treasure trove of rare recordings dating back to the 1890s. Songs from the Congo, dances from ...</itunes:subtitle>
		<itunes:summary>Indiana Universityrsquo;s Archives of Traditional Music (ATM) is a treasure trove of rare recordings dating back to the 1890s. Songs from the Congo, dances from Nepal, and the sounds of extinct languages represent some of the ATMrsquo;s 110 thousand items that ethnographic researchers and folklorists from around the world use in their research.

But some of the old recordings in the ATMrsquo;s collection are decomposing and rapidly becoming become unplayable. I visited the ATM to find out why this legacy of sight and sound is threatened, and what the ATM is doing to preserve it before itrsquo;s too late.

Mike Casey, associate director of recording services, showed me around the ATMrsquo;s offices in the basement of Morrison Hall. First stop was the ATMrsquo;s vault. Casey pressed a button on the side of a twelve-foot-high steel shelf unit, which slid across the floor, revealing shelves filled with boxes of wax cylinders, aluminum discs, and reel-to-reel audio tapes.

The items looked safe in the temperature- and humidity-controlled vault with its fire-suppression system and direct link to IUrsquo;s physical plant. But the vault only protects the collection from external dangersmdash;not from internal ones.

As Casey told me, any of the collections in the ATMrsquo;s holdings are chemically degradingmdash;victims of their own chemistry and the ravages of time. And once they degrade, the audio content on them will be lost forever.

ldquo;Audio recordings such as open-reel tape, particularly some of the formats like lacquered disks, are failing catastrophically,rdquo; Casey said. ldquo;With the lacquers, wersquo;re literally in a race against time.

Itrsquo;s a race they might lose.  The ATM is preserving what it can, but therersquo;s only so much time and money to do it in.

Casey brought me into Preservation Studio Number One and introduced me to Mark Hood, the ATMrsquo;s chief audio engineer. Hood, a former radio DJ, wore a pair of latex gloves as he sat at his workstation, which featured three computer monitors, at least four cassette decks, and a lot of expensive-looking electronic equipment.

On the day I visited, he was converting lacquered discs into computer files. The discs were made by folklorist Herbert Halpert on a heavy, bulky recorder in the New Jersey Pine Barrens in 1939. The disc on Hoodrsquo;s Technics turntable looked like a slightly oversized vinyl LP, but hidden under the black lacquer surface was an aluminum base.

ldquo;No one really knew how these would age when they were first made,rdquo; Hood said. ldquo;In some cases discs like this lose their suppleness in their coating and they suddenly fracture and peel off of the aluminum substrate. In which case, all the information is lost. We can never put it back together again.rdquo;

The lacquer degrades because it was treated with castor oil to soften it for recording. Over the years, the castor oil evaporates and the lacquer shrinks. But the aluminum base keeps its size, and the lacquered disc cracks and peels. According to Hood, the cracking and peeling can happen without warning.

ldquo;Lacquer delamination is often very surprisingly sudden. It plays today great, you open it up tomorrow and itrsquo;s in pieces.rdquo;

The first thing Hood does when he gets a disc is examine the grooves under a stereo microscope to become familiar with its unique wear pattern. Once he knows the wear pattern, he chooses a stylus from among thirteen custom-made models that are laid out in front of his turntable.

ldquo;And by using the microscope and some calculators that I have, I get a good idea of what will be a good fit between a stylus and the groove on this particular lacquer.rdquo;

If he gets a good-quality playback from the disc, hersquo;ll create a digital file of the recording, and the disc will never have to be played again.

ldquo;So this is hopefully the best, last playback that wersquo;ll need to make of these discs to preserve...</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Culture,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<item>
		<title>Black Film Center And Archive</title>
		<link>http://indianapublicmedia.org/arts/black-film-center-archive/</link>
		<comments>http://indianapublicmedia.org/arts/black-film-center-archive/#comments</comments>
		<pubDate>Tue, 26 Jan 2010 18:08:09 +0000</pubDate>
		<dc:creator>Megan Meyer</dc:creator>
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		<category><![CDATA[Abbey Lincoln]]></category>
		<category><![CDATA[african american]]></category>
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		<category><![CDATA[African-American and African Diaspora Studies]]></category>
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		<category><![CDATA[Bill Cosby]]></category>
		<category><![CDATA[Black Film Center]]></category>
		<category><![CDATA[Black Film Center/Archive]]></category>
		<category><![CDATA[black filmmakers]]></category>
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		<category><![CDATA[Ivan Dixon]]></category>
		<category><![CDATA[Malcolm X]]></category>
		<category><![CDATA[Mary Huelsbeck]]></category>
		<category><![CDATA[Michael Martin]]></category>
		<category><![CDATA[Nothing But A Man]]></category>
		<category><![CDATA[Spike Lee]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5154</guid>
		<description>The Black Film Center and Archive is one of the world's most comprehensive collections of films by black filmmakers. Among its stacks are films that were thought disappeared, destroyed, or too dangerous for distribution.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100126-black-film-center.mp3" length="2612270" type="audio/mpeg" />
<itunes:duration>5:27</itunes:duration>
		<itunes:subtitle>The Black Film Center and Archive is one of the world's most comprehensive collections of films by black filmmakers. Among its stacks are films that ...</itunes:subtitle>
		<itunes:summary>The Black Film Center and Archive is one of the world's most comprehensive collections of films by black filmmakers. Among its stacks are films that were thought disappeared, destroyed, or too dangerous for distribution.

David Wall is a visiting professor in Indiana Universityrsquo;s Department of African-American and African Diaspora Studies. Wall is taking full advantage of the Black Film Center and Archive to study societyrsquo;s relationship to movies.

"Film in many ways is a more insidiously dangerous medium than literature because what it does or what it can do," Wall said. "One of the things they do is they have a claim on reality because they look like the world that we live in. It suggests we are looking through the window at the world, as opposed to looking at this weird thing thatrsquo;s just flickering through a projector on a screen."
More Than Entertainment
"[Films] are part of a cultural toolkit that we draw upon for both entertainment, information -- for a sense of understanding particular issues," said Michael Martin, director of the Black Film Center.

"Irsquo;ve always thought of film as something more than entertainment. I saw myself in film," Martin said.

It is filmrsquo;s capacity to reach its audiences on a profoundly personal level that gives it its culture-shifting strength. Michael describes part of one of his favorite films, Nothing But A Man, starring Ivan Dixon as Duff as a southern railroad worker in the 1960rsquo;s, and jazz singer Abbey Lincoln as Josie, his wife, a well-educated teacher.

"Therersquo;s a scene in which Duff is denied work and hersquo;s very frustrated. He comes to her and she feels his frustration," Martin said. "That was a very, very powerful scene because despite the problems the obstacles, they embrace one another. It implied a certain fundamental trust between these two people who happen to be husband and wife."
A Hard Road To Hollywood
Mary Huelsbeck is the Black Film Centerrsquo;s archivist. She explains that black filmmakers historically have had a whole other set of obstacles to face in getting their movies made.

"I really admire, especially those early black filmmakers because they did it themselves," Huelsbeck said. "They didnrsquo;t give up. They didnrsquo;t let all that racism stand in their way in making films. And not just making a film, but making films that had a message to them and presented African Americans with a lot of dignity. You know, Hollywood was not portraying them with a lot of dignity at that time."

But black filmmakers still struggle to get their movies made.

"Hollywood studios are often reluctant to pick up and pay for black films because they see them as politically difficult," Wall said.

Wall shared that even Hollywood-friendly director Spike Lee had difficulty getting his film about Malcolm X off the drawing board. Had it not been for the support of Bill Cosby and Denzel Washington, the Oscar-nominated film might never have hit the theaters.
A Home For Unrecognized Films
The Black Film Center acts as host to all the black films lacking the star power to enjoy a wide distribution.

"You know, you can get any blaxploitation flick you want to see at Netflix, and thatrsquo;s great, you know. But the Archive just has everything you canrsquo;t get hold of. Itrsquo;s priceless," Wall said.

The Black Film Center not only has films ndash;- over 2,000 of them ndash;- but they also have hundreds of movie posters, books, and trinkets for the die-hard film fans.

"Theyrsquo;ve got all like bits and pieces," Wall said. "Theyrsquo;ve got kind of memorabilia there. Theyrsquo;ve got a nice set of handcuffs that were used in the movie called The Flying Ace from 1928. Itrsquo;srsquo; all those sorts of things. So as a scholar itrsquo;s very good, but just as somebody who sort of likes that stuff ndash; itrsquo;s great."</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Movies,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100126-black-film-center.mp3" fileSize="2612270" type="audio/mpeg" /></item>
		<item>
		<title>2010 PRIDE Film Festival Highlights Rural LGBTQ Life</title>
		<link>http://indianapublicmedia.org/arts/silence-celebration-bloomingtons-pride-film-festival/</link>
		<comments>http://indianapublicmedia.org/arts/silence-celebration-bloomingtons-pride-film-festival/#comments</comments>
		<pubDate>Tue, 26 Jan 2010 15:35:20 +0000</pubDate>
		<dc:creator>Josephine McRobbie</dc:creator>
				<category><![CDATA[Bloomington]]></category>
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		<category><![CDATA[Special]]></category>
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		<category><![CDATA[bisexual]]></category>
		<category><![CDATA[discrimination]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[gayu]]></category>
		<category><![CDATA[gender]]></category>
		<category><![CDATA[glbt]]></category>
		<category><![CDATA[identity]]></category>
		<category><![CDATA[lesbian]]></category>
		<category><![CDATA[lgbtq]]></category>
		<category><![CDATA[queer]]></category>
		<category><![CDATA[sexuality]]></category>
		<category><![CDATA[tourism]]></category>
		<category><![CDATA[transgender]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5135</guid>
		<description>Since 2004, thousands have converged annually in Bloomington for the PRIDE Film Festival, a celebration and exploration of the LGBTQ community.
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&lt;/div&gt;</description>
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		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100126-pride.mp3" length="2386154" type="audio/mpeg" />
<itunes:duration>4:58</itunes:duration>
		<itunes:subtitle>Since 2004, thousands of Bloomington Indiana residents and visitors have converged annually for the PRIDE Film Festival.

Founding organization The Buskirk-Chumley Theater calls the festival ldquo;a ...</itunes:subtitle>
		<itunes:summary>Since 2004, thousands of Bloomington Indiana residents and visitors have converged annually for the PRIDE Film Festival.

Founding organization The Buskirk-Chumley Theater calls the festival ldquo;a cinematic celebration of the gay, lesbian, bisexual, and transgender communityrdquo;.
A Festival For Everyone
But PRIDE is not just for people who identify as gay, lesbian, bisexual, transgender, or queer or LGBTQ, according to Buskirk-Chumley director Danielle McClelland.

"A large number of the people who attend the festival are allies," says McClelland.  "Theyrsquo;re not gay or lesbian, but they have family or friends who have that life experience, and would like to learn more about it, and the PRIDE festival is a way for them to explore that."

The festival came about as the result of an exploratory committee convened by the theatre.

ldquo;I recruited a couple of graduate students in the Arts Administration program, and had them do a study of what might work for film programming at the BCT," says McClelland.  "They came up with one of their top ideas, being the possibility of having a gay and lesbian film festival.  And not only were they so excited about it as a possibility, they wanted to start it right now."
Steering Queer in 2010
PRIDE has grown since 2004 from a 2-hour screening of shorts to a full weekend festival that includes panel discussions, social gatherings, a dance party, and 40 films.

Festival organizers have come to rely on more people and more perspectives to make the event come together.

A steering committee, representative of all aspects of local life from students to professionals to retirees, guides the development of the festival.

This year, the committee chose as the theme Steer Queer, and the festival will focus on rural and small town LGBTQ life.

Bloomington Indiana was ranked the #1 Surprisingly Gay Small Town Destination by The Advocate Magazine, and the Census reports that Bloomington is home to the nationrsquo;s fifth largest per capita population of same-sex couples.

"We have a really active, vibrant community and yet itrsquo;s not necessarily realized in the greater culture, even within gay and lesbian culture," says McClelland.  "So we wanted to talk a lot about what itrsquo;s like to be gay, lesbian, bisexual, in a community thatrsquo;s not LA or New York or San Francisco, or even Austin TX."

Though anti-gay attitudes are prevalent in rural areas, McClelland hopes that films and discussions will highlight what she sees as positives:

"Not only the challenges, but some of the unique abilities of people in smaller communities, who are pushing the envelope of diversity and finding a lot of acceptance," she says.
Filmmakers Explore Being Out In Rural America
One of the centerpieces of the Steer Queer campaign is Out in The Silence, a documentary directed by Dean Hamer and Joe Wilson.

Most people start thinking children or home renovation when they get married, but Hamer and Wilson decided to make a movie.

"Joe and I got married, and I put the announcement in the New York Times, which is my hometown paper, and he decided to put the announcement in the Oil City Derrick, which is his hometown paper," explains Hamer.

This happened to be the first same-sex marriage announcement the local newspaper had ever printed.

Residents of the small western Pennsylvania town bombarded the Oil City Derrick with angry letters.

Hamer and Wilson decided to document the resulting discussion, and in the process, interviewed many of the townrsquo;s residents.

They connected with one family in particular when a mother wrote to seek the advice of the filmmakers.

Her son, a gay teenager, had been brutally harassed by classmates to the point that he dropped out of school and rarely left the house.

"She was seeking our help because we were the only openly gay people that she knew of," says Hamer.  "We met her son CJ, whorsquo;s a terrific kid, and over the next thre...</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Culture,,Featured,in,category,,Features,,Interviews,,Movies,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100126-pride.mp3" fileSize="2386154" type="audio/mpeg" /></item>
		<item>
		<title>Theatre of the People’s ‘The Josef K Files’</title>
		<link>http://indianapublicmedia.org/arts/theatre-peoples-the-josef-files/</link>
		<comments>http://indianapublicmedia.org/arts/theatre-peoples-the-josef-files/#comments</comments>
		<pubDate>Mon, 25 Jan 2010 17:49:51 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[david nosko]]></category>
		<category><![CDATA[hannah moss]]></category>
		<category><![CDATA[kafka]]></category>
		<category><![CDATA[Plato]]></category>
		<category><![CDATA[Socrates]]></category>
		<category><![CDATA[The Apology]]></category>
		<category><![CDATA[The Theatre of the People]]></category>
		<category><![CDATA[The Trial]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5133</guid>
		<description>The central figure Josef K, played by Nicholas Maudlin, is an apparently blameless bank functionary who’s suddenly charged with a nameless crime by a nameless authority.
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&lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:D7DqB2pKExk"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=1e4Xii8lD-s:ITsIROkWfTo:D7DqB2pKExk" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:F7zBnMyn0Lo"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=1e4Xii8lD-s:ITsIROkWfTo:F7zBnMyn0Lo" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:V_sGLiPBpWU"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=1e4Xii8lD-s:ITsIROkWfTo:V_sGLiPBpWU" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:gIN9vFwOqvQ"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?i=1e4Xii8lD-s:ITsIROkWfTo:gIN9vFwOqvQ" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/WfiuArts?a=1e4Xii8lD-s:ITsIROkWfTo:TzevzKxY174"&gt;&lt;img src="http://feeds.feedburner.com/~ff/WfiuArts?d=TzevzKxY174" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/theatre-peoples-the-josef-files/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100125-josef-k-files.mp3" length="1335424" type="audio/mpeg" />
<itunes:duration>2:47</itunes:duration>
		<itunes:subtitle>The Theatre of the Peoplersquo;s The Josef K Files at the Rose Firebay of the John Waldron Arts Center is an adaptation of The Trial ...</itunes:subtitle>
		<itunes:summary>The Theatre of the Peoplersquo;s The Josef K Files at the Rose Firebay of the John Waldron Arts Center is an adaptation of The Trial by Franz Kafka with excerpts from Platorsquo;s The Apology. The adaptation and direction is by Theatre of the People co-founder David Nosko.

The central figure Josef K, played by Nicholas Maudlin, is an apparently blameless bank functionary whorsquo;s suddenly charged with a nameless crime by a nameless authority. Although, no one in the fifteen member cast of characters can offer him any insight or real help in the situation Maudlin, as Josef, manages a certain almost dispassionate resilience as he struggles with the case.

Despite its threatening aspects, the production has a certain zany quality from the setting in a caged set to the variety of characters on display. The judge of the proceedings, Phil Addison, has a bit of a corn pone accent. A sympathetic female neighbor, Keith Barrow, is a cross dressing male. A distinguished attorney, Ben Monticue, spends a good deal of the time as a playful dog. The court painter, Stacy Harris, spends most of the play sprawled in a sort of nest of paper printouts. Theatre goers expecting something quite darkly menacing will be disappointed.

Adapter and director of The Josef K Files Nosko has given his actors a heavy burden in carrying a production thatrsquo;s rich to the point of being baroque in detail and plot complexity. For most of them their gimmicks and gags outweigh their part of the plotting and they tended to wear out their welcome. Especially in the second act things were a bit strained. One actor, whose part involved loudly interrupting what seemed to be a key bit of information, was I think in danger from the audience.

Kafka never finished The Trial. Itrsquo;s an incomplete work with more than a few sections that were never completed. Nosko has added sections from Platorsquo;s The Apology an account Socrates unsuccessful defense as brief interludes. Theyrsquo;re delivered with a calm charm from a sort of mechanical fortune tellerrsquo;s booth by co-founder Hannah Moss. As they frequently contrasted with chaos they were always welcome, but more confusing than enlightening.

The Josef K Files
Based on Franz Kafkarsquo;s The Trial
With excerpts from Platorsquo;s Apology
Adapted and directed by David Nosko
Rose Firebay January 22-30, 2010</itunes:summary>
		<itunes:keywords>Content,Type,,Featured,in,category,,Podcasts,,Reviews,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsReviews/10/100125-josef-k-files.mp3" fileSize="1335424" type="audio/mpeg" /></item>
		<item>
		<title>Third Annual Percussive Dance Extravaganza at the Waldron</title>
		<link>http://indianapublicmedia.org/arts/annual-percussive-dance-extravaganza-waldron/</link>
		<comments>http://indianapublicmedia.org/arts/annual-percussive-dance-extravaganza-waldron/#comments</comments>
		<pubDate>Mon, 25 Jan 2010 12:00:58 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Columbus]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Interviews]]></category>
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		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Cindy Kallet]]></category>
		<category><![CDATA[Fiddling]]></category>
		<category><![CDATA[Jamie Gans]]></category>
		<category><![CDATA[Percussive Dance]]></category>
		<category><![CDATA[Rhys Jones]]></category>
		<category><![CDATA[Tamara Loewenthal]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5090</guid>
		<description>We’ll also have two sword dances. Most of the moves are traditional, but I’ve actually created a new one, a ‘wall scrape.’  These can be quite beautiful and even a bit dangerous.
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/annual-percussive-dance-extravaganza-waldron/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100125-percussive-dance.mp3" length="2402432" type="audio/mpeg" />
<itunes:duration>5:00</itunes:duration>
		<itunes:subtitle>The third annual Percussive Dance Extravaganza takes place in the John Waldron Arts Center on January 28 with special guest fiddler Rhys Jones and singer/songwriter ...</itunes:subtitle>
		<itunes:summary>The third annual Percussive Dance Extravaganza takes place in the John Waldron Arts Center on January 28 with special guest fiddler Rhys Jones and singer/songwriter Cindy Kallet. This yearrsquo;s show promises favorites from the previous two years along with new choreography by Tamara Loewenthal and original music by Jamie Gans.

Tamara Loewenthal is a veteran dancer and choreographer in many traditional styles. ldquo;This year wersquo;ll have flat footing and clogging from a variety of traditions. Irsquo;ve arranged for a wide variety from English wooden shoe clogging to French Canadian and Cape Breton step dancing.  Wersquo;ll also have two sword dances. Most of the moves are traditional, but Irsquo;ve actually created a new one, a lsquo;wall scrape.rsquo;  These can be quite beautiful and even a bit dangerous. You have to really pay attention to what you and the other dancers are doing when therersquo;s steel flying. ldquo;

Although fiddler Jamie Gans is contributing some original music to the evening, he doesnrsquo;t call himself a composer. ldquo;I like to say that I make up tunes,rdquo; he says. Gans works out of and through the tradition. ldquo;Actually, unless you know the tunes, you wouldnrsquo;t know which ones are mine and which are traditional. ldquo;  One of his pieces is titled, ldquo;The Road to Castle Dre.rdquo;  ldquo;I was very influenced by an older fiddler and this tune is really a tribute and a sort of memory piece. ldquo;

Tamara Loewenthal wrapped up the interview by saying, ldquo;In addition to those wersquo;ve mentioned there will be a lot of other guests helping with an evening that we think will be a real treat for dance and traditional music fans.rdquo;

Third Annual Percussive Dance Extravaganza:
A Fountain of Fancy Footwork, Fiddling and Fun
John Waldron Arts Center
January 28, 2010 at 7:30</itunes:summary>
		<itunes:keywords>Columbus,,Communities,,Content,Type,,Dance,,Interviews,,Podcasts,,Special,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100125-percussive-dance.mp3" fileSize="2402432" type="audio/mpeg" /></item>
		<item>
		<title>Project K: The Josef K Files</title>
		<link>http://indianapublicmedia.org/arts/project-josef-files/</link>
		<comments>http://indianapublicmedia.org/arts/project-josef-files/#comments</comments>
		<pubDate>Tue, 19 Jan 2010 12:00:19 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[david nosko]]></category>
		<category><![CDATA[Franz Kafka]]></category>
		<category><![CDATA[hannah moss]]></category>
		<category><![CDATA[Nick Maudlin]]></category>
		<category><![CDATA[Plato]]></category>
		<category><![CDATA[rose firebay]]></category>
		<category><![CDATA[The Apology]]></category>
		<category><![CDATA[The Trial]]></category>
		<category><![CDATA[theatre of the people]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5086</guid>
		<description>The text is a great read and Kafka’s language has a uniquely attractive rhythm and style. I found myself wondering about how it would work and even seeing it in my mind on stage.
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100119-kafka.mp3" length="2424960" type="audio/mpeg" />
<itunes:duration>5:03</itunes:duration>
		<itunes:subtitle>Theatre of the Peoplersquo;s lastest project is ldquo;Project K; the Josef K Files: Franz Kafkarsquo;s The Trial with excerpts from Platorsquo;s The Apology.rdquo; WFIUrsquo;s George ...</itunes:subtitle>
		<itunes:summary>Theatre of the Peoplersquo;s lastest project is ldquo;Project K; the Josef K Files: Franz Kafkarsquo;s The Trial with excerpts from Platorsquo;s The Apology.rdquo; WFIUrsquo;s George Walker talked with Theatre of the People cofounder and director David Nosko and Nick Maudlin, the actor who plays Josef K.

ldquo;We took on this project for a couple of reasons,rdquo; said Nosko. On the one hand, Kafka has fascinated me for years. The text is a great read and Kafkarsquo;s language has a uniquely attractive rhythm and style. I found myself wondering about how it would work and even seeing it in my mind on stage. So for me it was a project that involved and stimulated my creativity.rdquo;

ldquo;On the other hand, the project seemed to fit the mission of the Theatre of the People.  TOP aims to engage underserved individuals through inclusive process-based theatre projects to empower the participants.  The piece offered our lsquo;top act playersrsquo; and new members of our company a variety of roles to both accommodate and challenge.rdquo;

ldquo;We added excerpts from Platorsquo;s The Apology for two reasons. For one the ancient and modern themes seemed to fit and to illuminate one another. And for a second reason, The Trial has actually kind of lsquo;David Lynchess.rsquo; There are changes and shifts that donrsquo;t make sense. We used the Plato to kind of help the audience follow the drama.rdquo;

Indiana University student Nick Maudlin who plays Josef K. is a new member of the lsquo;top act players.rsquo; Hersquo;s a sophomore studying informatics. ldquo;Although Irsquo;m not in a drama program, in high school Iwas in a couple of musicals and one summer I did Shakespeare in the Park. I was looking around for an opportunity to get back into theatre here in Bloomington. I found Theatre of the People, almost by accident, through FaceBook.rdquo;

ldquo;Josef K. is quite a character. Irsquo;ve never been in the position that he finds himself in, but I think I can draw on current society to understand his situation. For instance, with any of the recent stories about celebrities the first thing that happens is that people assume guilt. Thatrsquo;s kind of part of what happens to Josef K. Itrsquo;s a demanding role and Irsquo;ve been very pleased that part of Theatre of the Peoplersquo;s approach involves a lot of improvisation and input from the actors during the development process.rdquo;

Project K: The Josef K Files
Franz Kafkarsquo;s The Trial
with excerpts from Platorsquo;s The Apology
January 22,23, 28, 29 and 30, 2010 at 8 pm
January 23 and 30, 2010 at 2 pm
John Waldron Arts Center Rose Firebay</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Interviews,,Podcasts,,Special,,Theater,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100119-kafka.mp3" fileSize="2424960" type="audio/mpeg" /></item>
		<item>
		<title>Violinist Leila Josefowicz</title>
		<link>http://indianapublicmedia.org/arts/violinist-leila-josefowicz/</link>
		<comments>http://indianapublicmedia.org/arts/violinist-leila-josefowicz/#comments</comments>
		<pubDate>Thu, 14 Jan 2010 12:00:15 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[Brahms]]></category>
		<category><![CDATA[Cleveland Orchestra]]></category>
		<category><![CDATA[Franz Welser-Möst]]></category>
		<category><![CDATA[indiana university auditorium]]></category>
		<category><![CDATA[Leila Josefowicz]]></category>
		<category><![CDATA[Thomas Adès]]></category>
		<category><![CDATA[wagner]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5088</guid>
		<description>Professor Josef Gingold was a wonderful warm man with a great depth of knowledge and also quite a sweet tooth.
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/hM7VQDkqiD1x3Lbpkk-Cyp49-2I/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/hM7VQDkqiD1x3Lbpkk-Cyp49-2I/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
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&lt;/div&gt;</description>
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		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100114-leila-josefowicz.mp3" length="2408576" type="audio/mpeg" />
<itunes:duration>5:01</itunes:duration>
		<itunes:subtitle>UPDATE:  Cleveland Orchestra postpones IU residency and concerts.

The Cleveland Orchestra conducted by Franz Welser-Mouml;st comes to the Indiana University Auditorium on January 20 of ...</itunes:subtitle>
		<itunes:summary>UPDATE:  Cleveland Orchestra postpones IU residency and concerts.

The Cleveland Orchestra conducted by Franz Welser-Mouml;st comes to the Indiana University Auditorium on January 20 of 2010 for music of Brahms, Wagner and the young English composer Thomas Adegrave;s. Violinist Leila Josefowicz will be the soloist in the concerto by Adegrave;s.

Actually, this is a return trip to Bloomington for Josefowicz. ldquo;Yes, I came a couple of times in the summers when I was a teenager. I studied quite intensively with Professor Josef Gingold. It was great to get a chance to work with him at such a young age. He was a wonderful warm man with a great depth of knowledge and also quite a sweet tooth. Wersquo;d work for hours on fingerings and expression in Brahms or Beethoven and then go down the hall to see just how much damage we could do at the vending machines. ldquo;

Although Josefowicz studied, performed and recorded much of the basic repertoire, her focus currently is on more modern works. ldquo;I still play standards as part of my concert work, but itrsquo;s the twentieth and twenty-first century that really attracts me. For one thing, it brings the orchestra and the audience more together. With a standard work, both think that they know it and somehow therersquo;s a certain lack of tension. A new piece puts both the players and the listeners together on their best for a new experience.rdquo;

Thomas Adegrave;s is an incredible young English composer. His concerto is so demanding. It sends me up past the end of the fingerboard, calls for great variation in dynamics and has some really challenging fingering. It took much of a year to learn. At the same time, itrsquo;s not music that a listener has to do advanced math to appreciate.  Itrsquo;s a very organic piece full of energy and emotion.rdquo;

Cleveland Orchestra
Music of Wagner, Brahms and Thomas Adegrave;s
Conductor Franz Welser- Mouml;st
Violinist Leila Josefowicz
IU Auditorium January 20, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Classical,Music,,Communities,,Content,Type,,Featured,in,category,,Interviews,,Podcasts,,Special,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100114-leila-josefowicz.mp3" fileSize="2408576" type="audio/mpeg" /></item>
		<item>
		<title>IU Dance Faculty Celebrate ‘The Legacy of Graham’</title>
		<link>http://indianapublicmedia.org/arts/iu-dance-faculty-celebrate-the-legacy-graham/</link>
		<comments>http://indianapublicmedia.org/arts/iu-dance-faculty-celebrate-the-legacy-graham/#comments</comments>
		<pubDate>Thu, 07 Jan 2010 13:00:33 +0000</pubDate>
		<dc:creator>George Walker</dc:creator>
				<category><![CDATA[Bloomington]]></category>
		<category><![CDATA[Communities]]></category>
		<category><![CDATA[Content Type]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[Featured in category]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Podcasts]]></category>
		<category><![CDATA[Special]]></category>
		<category><![CDATA[Theatre and Dance]]></category>
		<category><![CDATA[WFIU.org Homepage]]></category>
		<category><![CDATA[David Hochoy]]></category>
		<category><![CDATA[Indiana University Contemporary Dance Program]]></category>
		<category><![CDATA[Martha Graham]]></category>
		<category><![CDATA[Sandra Kaufmann]]></category>
		<category><![CDATA[Selene Carter]]></category>
		<category><![CDATA[Yuriko]]></category>

		<guid isPermaLink="false">http://indianapublicmedia.org/arts/?p=5079</guid>
		<description>The IU students had such enthusiasm and energy combined with body awareness, that it was a delight to work with them. They’ve really been taught to be thinking dancers.
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&lt;/div&gt;</description>
		<wfw:commentRss>http://indianapublicmedia.org/arts/iu-dance-faculty-celebrate-the-legacy-graham/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		<enclosure url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100107-graham.mp3" length="2412672" type="audio/mpeg" />
<itunes:duration>5:01</itunes:duration>
		<itunes:subtitle>The focus of the IU Dance Theaterrsquo;s annual faculty and guest artist concert celebrates ldquo;The Legacy of Grahamrdquo; with a performance of Martha Grahamrsquo;s early ...</itunes:subtitle>
		<itunes:summary>The focus of the IU Dance Theaterrsquo;s annual faculty and guest artist concert celebrates ldquo;The Legacy of Grahamrdquo; with a performance of Martha Grahamrsquo;s early work, Panorama.

Former Graham dancer Sandra Kaufmann worked with the IU Contemporary Dance Program this fall to restage the piece. ldquo;Martha actually resisted documenting her work. Panorama is an early work from 1936. The information that we have comes from notes, a score of the music by the accompanist Norman Lloyd, some scraps of film by Julien Bryan and reviews. Graham dancer Yurikorsquo;s putting together of nbsp;the ballet was a piece of dance archeology.rdquo;

Kaufmann was impressed by the IU dancers. ldquo;The technique was new to them. Actually, even dancers who know later Graham works would be on new ground because Martharsquo;s technique evolved over the years. But they had such enthusiasm and energy combined with body awareness, that it was a delight to work with them. Theyrsquo;ve really been taught to be thinking dancers.rdquo;

Martha Grahamrsquo;s Panorama

Paul Taylorrsquo;s Aureole and 3 Epitaphs

And works by IU Faculty from Kinesiology, and African American and African Disapora Studies

Ruth N. Halls Theatre

Friday and Saturday Jan 15 #38; 16, 2010</itunes:summary>
		<itunes:keywords>Bloomington,,Communities,,Content,Type,,Dance,,Featured,in,category,,Interviews,,Podcasts,,Special,,Theatre,and,Dance,,WFIU.org,Homepage</itunes:keywords>
		<itunes:author>WFIU Public Media (wfiu.org)</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	<media:content url="http://wfiu.indiana.edu/podcasts/audio/artsInterviews/10/100107-graham.mp3" fileSize="2412672" type="audio/mpeg" /></item>
	<media:credit role="author">WFIU Public Media (wfiu.org)</media:credit><media:rating>nonadult</media:rating><media:description type="plain">Arts interviews, reviews, and features from WFIU Public Media from Indiana University. More arts and culture podcasts at wfiu.org/arts.</media:description></channel>
</rss><!-- Dynamic page generated in 1.493 seconds. --><!-- Cached page generated by WP-Super-Cache on 2010-03-18 23:21:50 -->
