Message Received Here at CFA, Art and the World Intersect and Interact Every Day

Photo by Eva Gallagher (CFA’19). Still, this back and forth flow of dialogue is an essential ingredient in art. Message Received Here at CFA, art and the world intersect and interact every day. They must. Communicating. It seems easy enough. In this issue, we give voice to expression. Whether it’s personal or political, traditional or experimental, artists respond and question and wonder and Just say it, right? But, amidst chaos, act. From a genre that bridges classical and fantasy, to community impact opinions, and differences, it’s hard to know that’s sprinkled in fairy dust, to courses that pronounce art’s place in leading if words are read, if sounds are heard, conversation, to movement that amplifies expression, let’s indulge imagination, let’s believe in possibility, let’s be open to ideas, and let’s if expression is seen. inch closer to understanding. IN THIS ISSUE volume two, issue three 01 Message Received 02 Language of Movement 03 For the Love of Trombone 04 Space Exploration 05 Letting Art Speak 06–07 Spring & Summer Events 08 ARTiculated Changemakers 09 Bringing Neverland 10 Classical Gaming 11 Color Matters 12 Overdrive Boston, MA 02215 MA Boston, 855 Commonwealth Avenue Avenue Commonwealth 855 2 SPARK VOLUME TWO, ISSUE TWO 3 Dancer, choreographer, and educator Yo-El Cassell first discovered the power of movement at the age of three; partially deaf, expression through movement opened a new world of communication for the toddler. He has since dedicated his life to helping others discover this language of movement for themselves. More than just a series of steps, movement is a practicum that can help artists locate a sense of accessibility within them. “College students, especially those pursuing art, are figuring out their place in the world the same way movement thankfully allowed me to find when I was three,” he says. Last fall, Cassell joined the faculty at the College of Fine Arts (CFA). As Assistant Professor of Movement, he consistently shares this lesson with his mentees and students. During his first semester at BU, Cassell quickly learned that CFA students are hungry for accessibility through movement, but he simultaneously discovered their love On the stage (and in the classroom), of movement came with an additional sense of fear. Yo-El Cassell approaches accessibility “Movement,” he says, “is an art form that is often associated with through movement. dance. And while dance elements are within the movement world, the importance of movement practice is how it allows movement by Denae Wilkins (COM'18) in any shape or form, be it gestures or physical responses, as an expressive channel for our inner thoughts and imagination. It’s about embracing self through movement concepts that can For the stimulate, promote, and highlight. The key to movement practice is engaging both the ecstatic self and informative self, treating these two selves as equal partners. One doesn’t dominate the other.” Cassell firmly believes his place in CFA is an important one, and he is thoroughly appreciative of the opportunity to work with artists Love of on the cutting edge of self-discovery. “Now, more than ever, it is important to change their perception of themselves as artists, to help them lift the boundaries they may have set for themselves in the past and to allow movement practice to be an expressive channel to navigate through those self-implied boundaries.” Cassell challenges students to answer the question that has guided Trombone most of his career: “How does movement inform my life, and most importantly, how does my life inform movement?” And for himself, Cassell is determined to answer this: “How can Don Lucas + a global following. movement be incorporated in CFA’s curriculum to inform Anna Whitelaw (COM'19) theater and music and visual arts?” What does it mean to be musical? For some people, that it’s a burlesque, blaring, Dixieland instrument. Developing this personal connection with movement during his musical expression is something they can’t quite “But in reality,” says Lucas, “we trombone players formative years, Cassell takes a more conceptual approach to his describe. For Don Lucas, Chair of the Department of possess an agility and a finesse that are often art form. Throughout his years of study and hands-on work with Brass, Winds & Percussion, music builds a foundation forgotten by the majority of composers.” people from many different walks of life, there has been a common by projecting an instrument’s style in the direction of thread, a lesson he learned at a very young age. “Movement to a musical line traveling in one direction or another For Lucas, it was always the trombone. He had a desire some can be therapeutic, but truly it is an impactful and truthful in order for it to be defined as “musical.” to play the instrument before he even understood what channel of the expressive self,” Cassell explains. “It is not about it was or what it could do. The musician described a trying to be perfect, but rather about embracing the true self Lucas is a master trombonist whose expertise scene during a concert at his elementary school where through the medium of movement. Not only for those who watch, brings him across the world to judge national and a Dixieland jazz duo of a trombonist and trumpeter but those who teach it as well.” Cassell is eager to discover how an international competitions. An educator for 31 took the stage. When he heard them play, he looked at audience feels immersed in a performance, and understand the years, Lucas attends and often judges the American the trombone and knew “that [was] it.” visceral impression they gain from the story he sets out to tell. Trombone Workshop hosted by the U.S. Army Band at Brucker Hall—its headquarters and performance The affection was instant, but much of Lucas’ study Being hearing-impaired, movement is not only a tool for self- center at Fort Myer in Arlington, VA. The annual, free and instruction has been focused on technique. expression for Cassell, but also a way to unpack and understand workshop takes place the second week of March, and He explains how he goes about teaching students Lucas’ secondary role on campus is as the School of the world around him. He hopes his time at CFA results in similar has a loyal following convening professionals, students, from all over the world, from China to Rio de Janeiro, Music London Program Coordinator through BU’s revelations for his students. Through his curriculum, he is hobbyists, and the general public to celebrate the Washington D.C. to London. “We all want drastic Study Abroad Program. His devotion to the program determined to support them in unlocking a sense of ownership over musicality of the trombone. improvements right away but we usually understand stems from his own personal experience studying at their voice and their bodies. And while he performs on the dance intellectually what we wish to do long before the body the Guildhall School of Music and Drama as a Fulbright floor without abandon, he reminds the students that “the goal of This year, Lucas will be teaching a solution-based develops the capacity to do it,” says Lucas. “Performers Scholar. The London program was created in the fall movement is not to impress the audience, but to impress the material masterclass centered on the most common critical need to go much slower, step-by-step, and this is the of 2003 and since then has grown exponentially. Lucas you perform. Follow the pulse of the material and let that move you.” problems for trombonists when it comes to technique. fastest way to develop.” hopes the program will give students the same kind of Along with the definition of “musical,” Lucas will cultural and musical opportunities that he was granted. Yo-El Cassell is Assistant Professor of Movement at BU, touch on the principle of staying full duration before He adds that while his students come from different former resident choreographer for Commonwealth moving to the next note, as it pertains to: slide parts of the world, musical advancement is universal. According to Lucas, the program and the School’s Shakespeare Company, movement consultant for Boston movement, valve movement, natural slurs, and the “Some countries put the emphasis on the tongue in participation in the American Trombone Workshop Photos by Alexandra Wimley (COM’17). Landmarks Orchestra, and on the faculty of Harvard Dance tone before making a first note. starting the notes but I believe the correct approach is continue to expand BU’s musical legacy: “We have Center. Cassell is also the Artistic Director and Founder of 360, to first remove the tongue and just use the air to start been leading the way for the top level of students to a movement theatre ensemble comprised of male actors and According to Lucas, when the general public thinks the notes. Then when the air is fixed, add the tongue practice and learn from the best artists in the world musicians whose mission is to highlight the importance of the trombone, they believe it's the equivalent of a back in. In this correct approach, both the air and and will only continue to do so.” of storytelling through movement. huge musical cannon that will blow them away, or the tongue start the note.” 4 SPARK Eva Gallagher (CFA ’19), a sophomore graphic design student, discusses how a class assignment captured a movement. How did your passion for photography begin and eBay how has it flourished in your time thus far at BU? Untitled (Yard Signs for Billionaires), 2016-17 Risograph printed paper mounted on cardboard with metal stakes.

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