DOCSLIB.ORG

A Shared Multi-Disciplinary Creativity Requirement for First Year Students

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Shared Multi-Disciplinary Creativity Requirement for First Year Students Student Success ISSN: 2205-0795 Volume 9, Issue 2, pp. 95-100 March 2018 Engaging first-year students through a shared multi- disciplinary, creativity requirement. A Practice Report Marilyn Plotkins Suffolk University, Boston, United States Abstract Even though interest in embedding creativity into tertiary curricula has grown internationally, little scholarship exists about implementation strategies or the efficacy of linking creativity pedagogies to first-year experience programs. This practice report describes how Suffolk University in Boston, Massachusetts, inserted a new creativity requirement for first-year students as a part of curriculum reform in the College of Arts and Sciences and in the Sawyer Business School in spite of considerable resistance. It will demonstrate the uniqueness of the approach and suggest anticipated outcomes in advance of a comprehensive assessment process now underway. Please cite this article as: Plotkins, M. (2018). Engaging first-year students through a shared multi-disciplinary, creativity requirement. A Practice Report. Student Success, 9(2), 95-100. doi: 10.5204/ssj.v9i2.423 This practice report has been accepted for publication in Student Success. Please see the Editorial Policies under the ‘About’ section of the Journal website for further information. Student Success: A journal exploring the experiences of students in tertiary education This work is licensed under a Creative Commons Attribution 4.0 International Licence. As an open access journal, articles are free to use, with proper attribution, in educational and other non-commercial settings. ISSN: 2205-0795 Student Success, 9(2) March 2018 | 95 Engaging first-year students through a shared multi-disciplinary, creativity requirement. A Practice Report Introduction and Relationship of Office formed a new General Education Task Topic to Existing Knowledge Force with representatives from the College of Arts and Sciences (CAS) and the Sawyer This practice report examines how Suffolk Business School (SBS) to develop a new shared University in Boston, Massachusetts, a private curriculum for both schools. liberal arts institution, developed and implemented a unique prototype for CAS faculty initially resisted the mandate, embedding creativity into its shared General skeptical that a productive collaboration was Education curriculum for first-year students. possible given the differences in content, style, The report builds on several areas of study: the and structure between the two schools. One of internationally recognised value of embedding the chief obstacles to a shared requirement creativity requirements in higher education was that courses in SBS were based on a three- curricula (Jackson, 2006; Marquis & credit system; most CAS courses were offered Henderson, 2015; Marquis & Vajoczki, 2012; for four credits. Additionally, SBS faculty were McWilliam, 2008; Pink, 2005); agreement in critical of required courses in CAS, and scholarly and trade literature about the crucial departments in both schools recoiled at adding role that creativity plays in a rapidly changing any new requirement to their already credit- global economy (Catmull & Wallace, 2015; heavy majors. Eventually, faculty loyal to their Kelly & Kelly, 2013; McWilliam, 2008); interest endangered institution realised that the in assessing creativity across disciplines (Daly, ongoing threat of enrollment decline could be Mosyjowski, Oprea, Huang-Saad, & Seifert, mitigated through progressive curriculum 2016; Marquis & Henderson, 2015; Marquis & reform and the development of a robust FYE Vajoczki, 2012); and the increasing importance program. ascribed to a robust first-year experience (FYE) (Erickson, Peters, Strommer, 2006; Greenfield, Implementing the Creativity Keup, & Gardner, 2013; Krause, Hartley, Initiative James, & McInnis, 2005; Upcraft, Gardner, & Barefoot, 2005). This report suggests that In the early months of the newly formed linking a creativity requirement to FYE General Education Task Force, SBS and CAS programs has special value. engaged in their own intensive meetings on curriculum reform. Each body researched and Context and Motivation for the debated these questions: What do students in First-Year Creativity Initiative 2020 need to know, and what should they be able to do when they graduate? To find out, Small, urban, private, liberal arts institutions in each school conducted extensive research in the U.S. like Suffolk University were affected by scholarly and trade literature, reviewed the 2008 global recession and the projected accrediting standards, and surveyed their steep demographic declines in college-aged faculties. When the Task Force addressed these students. In response to these challenges facing questions, they were surprised to discover that so many private U.S. institutions, the University both bodies had reached similar conclusions introduced a four-year strategic plan in 2012. independently (L. Levesque, personal The plan called for a move away from siloed communication, December 28, 2017). As a administrative and operational systems and result, the Task Force established the following toward “… a comprehensive approach to learning goals that would become the support student learning through a common foundation of the new shared General core” (L. Bruenjes, personal communication, Education curriculum: Critical Thinking and January 5, 2018). Soon thereafter, the Provost’s Logical Analysis; Social, Cultural, and Global 96 | Student Success, 9(2) March 2018 Plotkins Perspectives; Versatile Communication and “makers” courses promote the kind of active Professional Development; and Creativity and learning prized by FYE programs. Dynamic Innovation. A study of nearly 15 U.S. tertiary institutions About the same time, Theatre Department that embed creativity in their curricula (see Professor, Rickard Chambers, delivered a Appendix) revealed the distinctiveness of our lecture about the spread of STEM to STEAM1 approach: most other creativity requirements education to a multi-disciplinary group of CAS were based on the selection of existing courses faculty. It was a pivotal moment that led to the drawn from their performing, visual arts, and establishment of a CAS working group humanities departments. This practice is based committed to developing courses for the new on the myth that creativity is the exclusive creativity learning goal. SBS leaders on the province of artists (Cro General Education Task Force were 2014). Our multi-disciplinary approach encouraged to meet with their colleagues in asserted that creativity ispley, best 2014;understood Glăveanu, as a CAS to collaborate on building a new Creativity problem-solving process that may be and Innovation (CI) requirement from the deconstructed, taught, and assessed across ground up targeting first-year students. The disciplines (Baillie, 2006; Csikszentmihalyi, newly expanded working group discovered 1999, 2006; Daly, et al., 2016; Jackson, 2006; unexpected similarities between the two Kelley & Kelley, 2013; Marquis & Henderson, schools. For example, several SBS courses 2015; Marquis & Vajoczki, 2012; Pink, 2005; emphasised learning from failure, divergent Sawyer, 2013). Consequently, we aggressively thinking, and ideation as essential habits of recruited faculty across domains for our successful entrepreneurs—traits that are also initiative. crucial in the visual, performing, and literary arts. Our research also suggested that Suffolk’s new creativity requirement could and should Since we were developing something new, we embrace both discipline-general and were eager to learn about other models. discipline-specific content (Csikszentmihalyi, Stanford University’s “Creative Expression” 1999, 2006; Daly, et al., 2016; Jackson, 2006; requirement, one of eight “Ways of Marquis & Henderson, 2015; Marquis & Thinking/Ways of Doing,” was formative Vajoczki, 2012; Plucker & Beghetto, 2004). (Stanford University Undergraduate Catalog, This, too, made our creativity requirement 2017). We were also inspired by a University of unique. Michigan conference that studied the importance of “makers” courses to boost We found no evidence that other tertiary retention and achievement for high risk institutions had creativity courses that shared students (Arts Engine National Network, a clear definition of creativity, a required 2012). This validated our conviction that all CI syllabus template, as well as shared learning courses should focus on making and doing not goals and objectives as we had done at Suffolk. only because they are appropriate pedagogies Nor could we find mandates that faculty for teaching creativity, but also because employ alternatives to the lecture format to create a supportive, collaborative environment where risk, resiliency, divergent thinking, and iterative processes are valued and employed to 1 STEM to STEAM is a K-12 pedagogical movement to integrate the “Arts” into traditional Science, Technology, engage students. Engineering, and Mathematics (STEM) curricula. Student Success, 9(2) March 2018 | 97 Engaging first-year students through a shared multi-disciplinary, creativity requirement. A Practice Report CAS and SBS faculty argued about what form requirements to the FYE. SBS Associate Dean the discipline-specific content of CI should Laurie Levesque (L. Levesque, personal take. While SBS contended that CI courses communication, December 28, 2017) observed should look like one of their existing that first-year students are: requirements for first-year business students, CAS faculty
Load more

Recommended publications
  • CSU Student Eastside Parks Study
    EASTSIDE PARKS Connection | Activation | Community Presented by: TABLE OF CONTENTS I. Project Introduction ..................................................................................................................................................... 3 I. Study Area Background ............................................................................................................................................... 6 II. Community Engagement, Project Focus, & Essential Tasks ................................................................................... 20 III. Plan ........................................................................................................................................................................... 29 IV. Implementatoin ...................................................................................................................................................... 88 V. References .............................................................................................................................................................. 90 VI. Appendices ............................................................................................................................................................. 94 ii Eastside Parks |Connection | Activation | Community I. PROJECT INTRODUCTION Project Background East Side Parks is the centerpiece of the 2020 Planning Studio course offered by the Levin College of Urban Affairs, Cleveland State University, for its Master of Urban Planning
    [Show full text]
  • Arts, Culture and Media 2010 a Creative Change Report Acknowledgments
    Immigration: Arts, Culture and Media 2010 A Creative Change Report Acknowledgments This report was made possible in part by a grant from Unbound Philanthropy. Additional funding from the Carnegie Corporation of New York, Ford Foundation, Four Freedoms Fund, and the Open Society Foundations supports The Opportunity Agenda’s Immigrant Opportunity initiative. Starry Night Fund at Tides Foundation also provides general support for The Opportunity Agenda and our Creative Change initiative. Liz Manne directed the research, and the report was co-authored by Liz Manne and Ruthie Ackerman. Additional assistance was provided by Anike Tourse, Jason P. Drucker, Frances Pollitzer, and Adrian Hopkins. The report’s authors greatly benefited from conversations with Taryn Higashi, executive director of Unbound Philanthropy, and members of the Immigration, Arts, and Culture Working Group. Editing was done by Margo Harris with layout by Element Group, New York. This project was coordinated by Jason P. Drucker for The Opportunity Agenda. We are very grateful to the interviewees for their time and willingness to share their views and opinions. About The Opportunity Agenda The Opportunity Agenda was founded in 2004 with the mission of building the national will to expand opportunity in America. Focused on moving hearts, minds, and policy over time, the organization works closely with social justice organizations, leaders, and movements to advocate for solutions that expand opportunity for everyone. Through active partnerships, The Opportunity Agenda uses communications and media to understand and influence public opinion; synthesizes and translates research on barriers to opportunity and promising solutions; and identifies and advocates for policies that improve people’s lives.
    [Show full text]
  • SURDNA FOUNDATION ANNUAL REPORT 10 TABLE of of TABLE What Wewhat Fund
    20SURDNA FOUNDATION ANNUAL REPORT 10 TABLE OF CONTENTS Year in Review ............................................ 3 About the Surdna Foundation .................... 5 What We Fund ............................................ 6 Sustainable Environments ...........................................6 Strong Local Economies Program ................................7 Thriving Cultures ....................................................... 8 Foundation Initiatives ................................................ 9 Financial Highlights ................................. 10 2010 Approved Grants .............................. 12 Sustainable Environments ........................................ 12 Strong Local Economies ........................................... 19 Effective Citizenry .....................................................27 Thriving Cultures ..................................................... 32 Surdna Arts Teachers Fellowship Program (SATF) ......................................37 Nonprofit Sector ...................................................... 38 Leadership ................................................ 42 WWW.SURDNA.ORG 2 | Table of Contents YEAR IN REVIEW By Phillip W. Henderson & Josephine B. Lowman Andrus and the 400+ living Andrus family members for the work of creating positive social change. We at Surdna are proud to Over the past three years, we have sharpened Surdna’s focus and re- be a family institution, and we tooled our programs in an effort to position the foundation to face- down this generation’s social
    [Show full text]
  • 2006 Self-Study
    PREFACE This self-study is being undertaken during a critical time in the University’s history. Frostburg State University is experiencing a number of important transitions. During the spring 2005 semester, Dr. Catherine R. Gira announced that she will be retiring on June 30, 2006, after serving as president for fifteen years. The University is also undergoing a revision of its mission statement. Although there is no substantive change, the process has focused attention on those characteristics that help to make FSU distinctive. In addition, a significant percentage of faculty members and staff are approaching retirement age. Through their dedication to the institution, their work ethic, and their commitment to students, these individuals have played an enormous role in shaping the qualities that define the institution described in this self-study. The recruitment of new faculty and staff is a major challenge facing the institution. Linking planning with strategic resource allocation has been particularly difficult during a period of statewide cost containment; however, the University has become much more thoughtful and systematic in its efforts to engage in meaningful assessment. The assessment of student learning is a cornerstone of the University’s recent revision of its undergraduate curriculum. Finally, in the past few years considerable emphasis has been given to forming partnerships with the private sector, state agencies, and various community and regional groups in an effort to make a more substantive contribution to the region’s economic, social, and cultural development. As Frostburg State prepares to welcome a new president, it is hoped that this document will serve as a valuable planning blueprint.
    [Show full text]
  • Nurturing Tomorrow's Doc Storytellers
    Nurturing Tomorrow’s Doc Storytellers American University Washington, DC September 17-18, 2006 Centerforsocialmedia.org Centerforsocialmedia.wikispaces.com Funded by the Ford Foundation and the Rockefeller Foundation EXECUTIVE SUMMARY At “Nurturing Tomorrow’s Doc Storytellers,” a convening of teachers and mentors of documentary film practice held on September 17-18, participants discussed the opportunities provided by changing business and technological practice to teach next generations of documentary filmmakers. Social documentary is a vibrant zone of today’s public media, contributing to public knowledge and action. Films such as Fahrenheit 9/11, An Inconvenient Truth, and ENRON: The Smartest Guys in the Room have all played powerful roles in engaging publics. Projects such as the nationwide StoryCorps project featured on public radio and the Murmur Project in Toronto demonstrate the emerging strength of participatory media. As the opportunities to make social documentary expand, so do the opportunities and challenges that teachers and mentors of the practice face. In this meeting, participants identified key challenges, leading opportunities and potential areas of action and coordination. The greatest opportunities of the moment, participants concluded, lie in more information-sharing that can socialize knowledge being generated in many programs across the country. CHALLENGES What are today’s challenges for those cultivating the next generation of public media makers? Participants identified them in the following areas: Ethics of
    [Show full text]
  • LSA Diversity, Equity & Inclusion Strategic Plan Here
    OCTOBER 2018 UNIVERSITY OF MICHIGAN COLLEGE OF LITERATURE, SCIENCE, AND THE ARTS Diversity, Equity, and Inclusion Strategic Plan This is a working document that will be updated regularly over the next five years. Our ability to implement and complete the strategic goals described here will depend in part on the availability of funding and other resources. 2 INDEX 4 LSA Mission and Vision 5 Statement of Commitment 6 LSA Planning Process 10 Introduction and Overview 15 LSA Strategic Plan Initiatives and Metrics for Success 16 Faculty 23 Undergraduate Student Access 28 Inclusive Classrooms and Pedagogy 38 Undergraduate Education Initiatives 49 Graduate Education 53 Staff 57 Appendices A–H 3 MISSION Through a top-ranked liberal arts education VISION outfitted by a uniquely ACADEMIC EXCELLENCE robust and spirited Our commitment to academic excellence starts with recruiting and retaining world-class faculty across the humanities, the natural sciences, research university, LSA and the social sciences so that our students are engaged with a modern prepares students with curriculum taught by leading experts in their fields. It extends to stress a collaborative approach where all of our tenure-track faculty teach pragmatic, durable skills undergraduates, and where students and faculty contribute original that hold their value for knowledge within and across disciplines. We take pride in the fact that 35 percent of LSA faculty have appointments in others schools and a lifetime. colleges—broadening students’ perspectives and enhancing their understanding of classroom concepts. ACCESS One of our highest priorities is to see that top students who come from economically disadvantaged backgrounds, from under-resourced high schools, from underrepresented minority groups, and from small rural districts have the same opportunities to come to LSA and succeed as those who come from high schools that offer AP classes, fully stocked science labs, and class trips abroad.
    [Show full text]
  • Facebook/Vesselthefilm
    WWW.VESSELTHEFILM.COM FACEBOOK/VESSELTHEFILM A fearless sea captain sails a ship through loopholes in international law, providing abortions on the high seas, and leaving in her wake a network of emboldened activists who trust women to handle abortion on their own terms. A film by Diana Whitten 88:00 | HD Video | 16:9 | Stereo | Color | 2014 | USA International Sales: Philippa Kowarsky | Cinephil | +972 3 566 4129 | [email protected] North American Sales: Marc Allen | FilmBuff | 212.627.9898 | [email protected] Community Screenings and Filmmaker Appearances: Caitlin Boyle | Film Sprout | 347.682.2483 | [email protected] Publicity: Adam Segal | 2050 Group | 202.422.4673 | [email protected] SYNOPSIS Dr. Rebecca Gomperts sails a ship around the world, providing abortions at sea for women with no legal alternative. Her idea begins as flawed spectacle, faced with governmental, religious, and military blockade. But with each roadblock comes a more refined mission, until Rebecca realizes she can use new technologies to bypass law – and train women to give themselves abortions using WHO-researched protocols with pills. From there we witness her create an underground network of emboldened, informed activists who trust women to handle abortion themselves. Vessel is Rebecca’s story: one of a woman who hears and answers a calling, and transforms a wildly improbable idea into a global movement. DIRECTOR’S STATEMENT Rebecca’s story first drew me in because of the metaphor I found to be inherent to her work: a woman seeking a space out- side of sovereignty in order to reclaim her own. The metaphor manifests on the ship, with practical, tangible consequences that empower others and change the course of lives.
    [Show full text]
  • Arts and Cultural Plan
    Artisit Cheryl Foster installing art at Market Building | Photo courtesy of Stephanie Doyle Roanoke Arts Commission The Arts and Cultural Plan was developed under the leadership of the Roanoke Arts Commission with the engagement of area residents, artists, and arts and cultural organization leaders. Roanoke City Council Mayor David A. Bowers Vice-Mayor David B. Trinkle William D. Bestpitch Raphael E. Ferris Sherman P. Lea Anita J. Price Court G. Rosen Chris Morrill, City Manager Brian Townsend, Assistant City Manager for Community Development Sherman Stovall, Assistant City Manager for Operations Roanoke Arts Commission Partner Organizations Nathan Harper, Chair Arts Council of the Blue Ridge Patice Holland, Vice Chair Rhonda Morgan, Executive Director Sandra K. Brunk Council of Community Services Dr. Rupert Cutler Pam Kestner, President Dr. Frank J. Eastburn Downtown Roanoke Incorporated Susan Egbert Sean Luther, President Charlene Graves Roanoke Civic Center Douglas Jackson Robyn Schon, General Manager Lucy Lee Roanoke Valley Allegheny Regional Commission Taliaferra Logan Wayne Strickland, Executive Director Kathleen W. Lunsford Roanoke Valley Convention and Visitors Bureau David Mickenberg Landon Howard, Executive Director Dr. Tom McKeon Amy Moorefield Project Team Greg Webster Tom Carr, Director Planning, Building and Development Sara Cole, Council of Community Services Roanoke City Planning Commission Rupert Cutler, Roanoke Arts Commission Angela S. Penn, Chair Chris Chittum, AICP, Planning Administrator Lora J. Katz, Vice Chair Nathan
    [Show full text]
  • Phd in Computational Media, Arts & Cultures
    Computational Media, Arts & Cultures PhD Proposal 19 April 2016/vs 1 PROPOSAL for an Interdisciplinary, Interdepartmental PhD in Computational Media, Arts & Cultures Submitted by: Victoria Szabo, Art History & Visual Studies and Information Science + Studies Mark Hansen, Program in Literature and Art, Art History & Visual Studies Deborah Jenson, Franklin Humanities Institute TABLE OF CONTENTS I. EXECUTIVE SUMMARY ....................................................................................................................................... 4 II. RATIONALE FOR THE PROGRAM .................................................................................................................. 5 A. Introduction ................................................................................................................................... 5 B. History and Background ............................................................................................................ 6 C. An Interdisciplinary, Interdepartmental Program ......................................................... 11 D. The Interdisciplinary Humanities Lab Model .................................................................. 13 E. Characteristics of the Constituting Partners ..................................................................... 15 F. Rationale for a Distinct Program .......................................................................................... 16 G. Unit Sponsor Contributions ...................................................................................................
    [Show full text]
  • Creative Change Alumni Through 2016
    Creative Change Alumni Through 2016 Emily Accamando, The Opportunity Agenda (2010) Gina Acebo, Akonadi Foundation (2014) Aman Ali, Writer, Film Producer (2016) J. Bob Alotta, Astraea Lesbian Foundation for Justice (2011) Sharon Alpert, Nathan Cummings Foundation (2016) Moe Angelos, Performer, Writer, The Builders Association (2014) Jason Michael Aragón, Pan Left Productions (2011) Lulani Arquette, Native Arts and Cultures Foundation (2012) Andrea Assaf, Arts2Action (2011) Caron Atlas, Arts & Democracy Project (2009, 2010, 2013) Byron Au Yong, Composer, Musician (2013) Orlando Bagwell, Ford Foundation (2011) Kenneth Bailey, Design Studio for Social Intervention (2012) Bryonn Bain, Belafonte Enterprises International, NYU (2010, 2013) Robert "Biko" Baker III, League of Young Voters Education Fund, ThoughtWorks (2011, 2016) John Bare, The Arthur M. Blank Family Foundation (2011) Jesus Barraza, Screen Printing, Poster Making (2013) Dante Barry, Million Hoodies Movement for Justice (2016) Jonathan Barzilay, Ford Foundation (2012) Ceci Bastida, Musician (2013) Maria Bauman, Urban Bush Women (2012) Roberto Bedoya, Tucson Pima Arts Council (2014) Ann Beeson, Annette Strauss Institute for Civic Participation and College of Communications, University of Texas (2009, 2010, 2011, 2012) Gina Belafonte, Sankofa.org (2016) W. Kamau Bell, CNN’s United Shades of America (2016) Angad Bhalla, Time of Day Productions (2012) Joan Blades, Moveon.org and MomsRising.org (2011) Johanna Blakley, USC Annenberg Norman Lear Center (2012) Robin Blotnick, Jubilee Films
    [Show full text]
  • Press Kit Small Talk 022417.Pdf
    ORIGINAL TITLE Ri Chang Dui Hua ENGLISH TITLE Small Talk LOG LINE A few simple questions spark a series of talks, which reveal some things that neither my mother nor I are sure we’re ready to face. CONTACT INFO Diana Chiawen Lee | Producer [email protected] | +886 978 052 816 | skype: dianachiawenlee Small Talk Productions New Taipei City, Taiwan 251 TECHNICAL INFO Theatrical length* TRT: 88 minutes Exhibition format: DVD, Blu Ray, DCP Aspect Ratio: 16:9 Shooting format: HD Color | Taiwanese with English Subtitles | Stereo (available in 54’ broadcast length) FESTIVALS AND AWARDS Winner, Best Documentary 31st Teddy Award Berlin Official selection 67th Berlinale Panorama Official selection 53rd Golden Horse Film Festival Nominated, Best Documentary Film for 53rd Golden Horse Awards Nominated, Best Editing for 53rd Golden Horse Awards SYNOPSIS 1 Every morning, my mother wakes up well before me, prepares my lunch, and takes off. Every evening, after eating out, my mom comes home, washes up, closes her bedroom door, and is asleep by 9PM. We live in the same space, my mother and I. But for decades now, we are like strangers under one roof. The only exchanges are the meals she cooks and leaves for me on our dining room table. No hellos, no goodbyes, and no “I love you.” Silence permeates our house as I watch her, knowing that beneath the deafening silence lies a secret that weighs heavily on her, keeping her from speaking; knowing that behind her tightly pursed lips is a shame so overbearing that it suffocates her. One day, I finally summon up the courage to sit her down and make her talk.
    [Show full text]
  • The Nation's Only Documentary Public Television
    The nation’s only documentary public television series on contemporary art, life and culture across the African Diaspora. Season 8 Hosted by Jussie Smollett DAYS OF HOPE PAN! OUR MUSIC ODYSSEY TCHINDAS FIRST FRIDAY SHORTS PROGRAM: MY AFRICA IS & NATIVE SUN Premieres on: Monday, January 18, 2016 8 p.m. ET/5 p.m. PT with new weekly episodes through February 15, 2016 For photos and additional film information: http://bitly.com/AfroPop-dropbox Presented by: PRESS RELEASE FOR IMMEDIATE RELEASE ‘AFROPOP’ TELEVISION SERIES BEATS THE DRUM FOR ‘PAN’ Episode two of the documentary series is ‘Pan! Our Music Odyssey’, an exploration of the magic and mystery behind the steel drum, or pan Premieres on WORLD Channel on Monday, January 25 NEW YORK (January 13, 2016)—Season eight of AfroPoP: The Ultimate Cultural Exchange— the nation’s only documentary series about life, art and culture across the African Diaspora—continues with the electrifying story of the steel drum, or pan. Premiering on Monday, January 25, at 8 p.m. ET/5 p.m. PT on WORLD Channel, directors Jérôme Guiot and Thierry Teston’s high-energy Pan! Our Music Odyssey is a tale of how the steel drum came to be—and how it came to be so big! AfroPoP is hosted by Jussie Smollett, star of the hit FOX TV show Empire, produced by National Black Programming Consortium (NBPC) and co- presented by American Public Television (APT). Through docudrama, competition footage and interviews, Pan! Our Music Odyssey explores the development of the steel drum in Trinidad & Tobago to its place as a musical force around the world.
    [Show full text]