March 7, 7:30 PM | Meany Hall

Cristina Valdés leads the UW Modern Music Ensemble in performances of works from the mid-20th century and beyond. Program includes pieces by Patricia Alessandrini, Kaija Saariaho, Christian Wolff, Huck Hodge, Sarah Hennies, and Huang Ruo.

$10 tickets |

March 7, 7:30 PM | Brechemin Auditorium

Seattle-based percussionist Jeff Busch presents a concert of Brazilian music, featuring students from his Winter 2023 percussion ensemble, and spanning genres from samba to maracatú to forró. With guest appearances by pianist Jovino Santos Neto, singer Adriana Giordano, and other luminaries of the local Brazilian music scene, as well as UW faculty Marc Seales, Steve Rodby, and Shannon Dudley.

Free|

March 8, 5 – 7 PM |Communications Building

Southeast Asian writers experience diaspora, and its losses, both within the region and without, both psychologically and socially. How do they contend with the multiple manifestations of diaspora in their writing? Jee Leong Koh (Snow at 5 PM), Jim Pascual Agustin (Waking Up to the Pattern Left by a Snail Overnight), Lawrence Lacambra Ypil (The Experiment of the Tropics), and Thirii Myo Kyaw Myint (Names of Light) read from their work and converse with Reuven Pinnata (����Ӱ�Ӵ�ý, English) on mapping the unmappable.

Free|

March 9, 6 – 7:30 PM | Architecture Hall

Understand how planners, civic leaders and activists are organizing around the idea of reparations for the damage caused by driving urban freeways through urban communities. Lauren Hood, Chair of the Detroit Planning Commission and a nationally known urban planner, Rosa Lopez, Reconnect South Park Organizer, and Madeleine Spencer, a leader of Placemaking US, will describe the project to restore Seattle’s South Park community, which was divided by State Highway 99.

Highway 99 in Seattle cuts through the heart of South Park. When Highway 99 was constructed, South Park was home to an immigrant population largely of Mexican heritage. It is now the home of numerous immigrant and refugee communities. Highway 99 through South Park is underutilized, and its path is another example of environmental racism. The Washington Legislature has appropriated $600,000 to explore possible actions to repair this rift. The City of Seattle is supporting this initiative and investing in community consultation around alternatives.

Creating great urban neighborhoods and taking action for environmental justice go hand in hand. This panel will make that crucial connection and show how we can envision and attain just and sustainable future cities.

Free |

March 9, 7:30 PM | ��Meany Hall

The UW Wind Ensemble director, Timothy Salzman, performs music by Chang Su Koh and Jennifer Higdon. The Symphonic Band director, Shaun Day, performs music by Darius Milhaud, Philip Sparke and Valerie Coleman. With Scott Farkas, percussion soloist on Jennifer Higdon’s Concerto for Solo Percussion and Band.

$10 tickets |

March 9, 5:30 – 7:30 PM | Solo Bar & Eatery

Seattle has become an exciting center of literary translation over the past few years. Visitors to the 2023 Association of Writers & Writing Programs (AWP) conference and local fans of translation are invited to help celebrate Seattle’s translation community at a party hosted by the Northwest Literary Translators, the UW Translation Studies Hub at the Simpson Center for the Humanities, and Seattle City of Literature. This event features select readings by local translators, delicious food, and a cash bar.

Free |

March 10, 7:30 PM | Meany Hall

The UW Symphony director, David Alexander Rahbee, performs music by Sibelius, Glière and Tchaikovsky in this end-of-quarter concert. With faculty artist John Turman, horn soloist on Glière: Horn Concerto, Op. 91 in B flat Major; and Seattle Symphony assistant conductor Sunny Xia, guest conductor for Tchaikovsky’s Symphony No. 4, Op. 36, in F minor.

$10 tickets |

Have an event that you would like to see featured in the ArtSci Roundup? Connect with Lauren Zondag (zondagld@uw.edu).

Many of these online opportunities are streamed through Zoom. All UW faculty, staff, and students have access to��.��

Spring Concert: Percussion Ensemble and UW Steel Band

June 4, 7:30 PM |��

The UW Percussion Ensemble (Bonnie Whiting, Chair of Percussion Studies and an Assistant Professor of Music, director) and UW Steel Band (Shannon Dudley, Professor of Ethnomusicology, director) present��live-streamed and pre-recorded performances in their Spring 2021 virtual concert.

BOOK TALK | Vikram Prakash, “One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash”

June 3, 3:30 – 5:00 PM |��

The South Asia Center will host Professor of Architecture��Vikramaditya Prakash��to speak on his new book,��One Continuous Line.

One Continuous Line��explores the life, work, art and philosophy of Aditya Prakash, one of India’s early Modernist architects. Aditya Prakash belonged to the first generation of Indian modernists, a lodestar group of civil servants under Jawaharlal Nehru’s leadership immediately after Independence, at a time when the connectivity between city, citizen and nation seemed vibrant and expanding. Ignoring disciplinary boundaries, Prakash viewed all aspects of his work as multiple dimensions of a single quest—to understand the purpose of life, enjoy it, and to keep the interests of the poorest at heart. This is the “continuous line” and it represents an insight into Prakash’s philosophy in life and design.��

Free |

Center for Communication, Difference, and Equity Annual Conference:��Quarantining While Black

June 1-2 |

This year, as a continuation of the Interrupting Privilege Radical Listening project, the Center for Communication, Difference, and Equity��has been recording stories of Black community care during our dual pandemics. Please join them on Tuesday, June 1 from 9am-noon PT and Wednesday, June 2 from 3-7pm PT to radically listen to Black graduate students, police officers, clergy, retirees, and folks from all walks of life. They will share stories of Black joy, grief, resistance, self-to-community care, gentrification, and more.

Short Talks: Power

June 3, 6:30 PM – 8:00 PM | Online

Looking for more?

Check out UWAA’s Stronger Together web page for��more digital engagement opportunities.

Exhibition: In Plain Sight

November 23 – April 26, 2020 | Henry Art Gallery

This group exhibition engages artists whose work addresses narratives, communities, and histories that are typically hidden or invisible in our public space (both conceptually and literally defined). The presenting artists approach the exhibition’s theme from a range of directions, varying across all media as well as aesthetic and conceptual contexts.

Admission to the Henry is free with your Husky ID��|

Earthworks Rising: Mound Building in Native Art & Literature

December 3, 7:00 pm | Kane Hall

In this Katz Distinguished Lecture,��Chadwick Allen��draws from his new book manuscript,��Earthworks Rising: Mound Building in Native Art, Literature, and Performance, in which he investigates how Native writers and artists engage ancient earthworks in contemporary productions. What emerges is a counter-tradition that centers Indigenous worldviews and privileges Indigenous research methodologies—a paradigm we might call Indigenous humanities.

Allen, Professor and Co-director of the Center for American Indian and Indigenous Studies, will address myths of Mound Builders in the nineteenth century and their lingering influence today.�� What accounts for this ongoing appeal within dominant discourses? And how have Indigenous intellectuals worked to imagine their way outside the myth to represent the complexity and multiple functions of the diverse earthen structures actually built by their ancestors?

Free��|

CarolFest

Burke Open Doors

From the Collection: Peruvian Textiles

Jennifer Stager: Color, Vision, and Variegation

May 10, 3:30 pm | Denny 259

, faculty member at John Hopkins University (Ph.D. Berkeley), specializes in the art and architecture of the ancient Mediterranean and its afterlives. Her areas of focus include questions of color, materiality, and vision in the ancient Mediterranean world, the afterlives of antiquity, and the intersections of gender, race, and class in the production and study of art and architecture. Reception to follow the lecture.

Free |

Music of Today: International Experimental Music Ensemble

is a professional percussionist, singer and dancer from San Juan, Puerto Rico. In this video she gives an introduction to “bomba,” an Afro-Puerto Rican music and dance tradition in which dancers lead the drummer to sound out their improvised movements. “Bomba is a way of expression and communication” with key ingredients, explains Ríos. There are bomba drums with a lead drummer, singer, dancer and chorus. “Each one is as important as the other,” she said, and all necessary to making the musical form dynamic.

As the winter quarter 2019 , Ríos teaches classes in drumming, dance and singing to students. She also leads weekly community bomba workshops and collaborates on musical events with community arts organizations including , Seattle Fandango Project, and Movimiento Afrolatino de Seattle.

UPCOMING EVENTS

Bomba Workshops
Sundays through March 10, 2019
Workshops led by Amarilys Ríos are open to the public on a suggested donation basis.
Union Cultural Center, 803 S. King St., Seattle, WA 98104. Cost: Suggested donation of $5 $10 helps to pay UCC and supporting drummers. More info and

Women Who Rock
Saturday, March 16, 2019
Amarilys Ríos participates in a workshop and discussion with campus and community participants in this conference hosted by the UW’s department of Gender, Women, and Sexuality Studies.
Centilia Cultural Center, 1660 S. Roberto Maestas Festival St, Seattle WA 98144. Details .

Ethnomusicology Visiting Artist Concert
March 14, 2019
Amarilys Ríos is joined by special guests and her UW students in this concert of Puerto Rican bomba music and dance.
����Ӱ�Ӵ�ý School of Music, Brechemin Auditorium, 7:30pm. Admission is free.
Details .

Goldie, Max and Milk

May 22 – May 27 | Glen Hughes Penthouse Theater

Max, a single lesbian, just gave birth. She’s unemployed, with a house that’s falling apart, an ex on the loose, and no clue how to nurse her newborn. Can Goldie, an Orthodox Jewish lactation consultant, guide Max into motherhood? Or will conflicting family values get the better of them both? Playwright and UW Drama Senior Artist-in-Residence Karen Hartman makes her UW Drama debut with this hilarious, surprising, and deeply human play.

Percussion Ensemble

7:30 p.m., May 25 | Meany Studio Theater

Percussion Studies chair Bonnie Whiting directs students from the UW Percussion Studio and Ethnomusicology faculty Shannon Dudley directs the UW Steelpan Ensemble in this end-of-year performance.

UW Sings

7:30 p.m., May 25 | Meany Theater

The University Singers, Women’s Choir, and Men’s Glee Club present their popular year-end concert.

Frequency with Yura Lee, Violin: “Dialogues”

7:30 p.m., May 27 | Meany Theater

Frequency, a Seattle-based ensemble, presents innovative, invigorating and intriguing chamber music concerts. Joining together distinguished artists from two acclaimed��chamber groups, the Corigliano Quartet and Decoda, the group is made up of��Michael Jinsoo Lim��(violinist and artistic director), Melia Watras (violist) and��Sæunn Thorsteinsdóttir��(cellist). Frequency is a modular chamber music group, breaking into different parts to present solos, duos and trios, while also expanding with renowned guest artists to perform in a��variety of formations. Frequency members have performed as soloists and chamber musicians worldwide, in leading concert halls such as Carnegie Hall, Alice Tully Hall, Weill��Recital Hall, Suntory Hall, and Disney Hall.

Impfest X with Bill Frisell and Special Guests

7:30 p.m., May 30 – 31 | Meany Studio Theater

Over the past ten years the student-led Improvised Music Project has instigated new directions in Seattle’s jazz and improvised music scene.��The annual festival, which groups up-and-coming musicians, faculty all-stars, and seasoned professionals of international renown, is IMP’s signature annual event.�� World-renowned guitarist Bill Frisell and other special guests headline this year’s festival.

The School of Music also has a busy week, presenting the Voice Divisional Recital as well as Jazz Innovations and an evening of music from Zimbabwe with visiting artists Paul Mataruse and Clair Jones.

MFA Dance Concert
May 13-17 |��Meany Studio Theater
The Dance Program’s world-class MFA candidates have created original choreography for this concert, working with highly trained dance students. Always exceedingly imaginative and thought-provoking, the MFA Dance Concert is a perfect way to end the Dance Program’s concert season.

Pilobolus
May 14-16��|��Meany Hall
Named after a barnyard fungus that propels its spores with extraordinary speed, accuracy and strength, the dance company Pilobolus returns to Seattle for its eighth UW World Series appearance. Through diverse collaborations, the company breaks down barriers between disciplines and challenges the way we think about dance. Pilobolus maintains its own singular style and enjoys a fervent and ever-expanding following. .

Voice Divisional Recital
7:30 p.m., May 18��|��Brechemin Auditorium
UW voice students perform their Spring Quarter recital.

Angela Hewitt
7:30��p.m., May 18 |��Meany Hall
One of the world’s leading pianists, Hewitt regularly appears in recital and with major orchestras throughout Europe, the Americas, and Asia. Her performances and recordings of Bach have drawn particular praise, distinguishing her as one of the composer’s foremost interpreters of our time. She was named Artist of the Year at the 2006 Gramophone Awards.

Rhiannon Giddens��
8 p.m., May 20 | Meany Hall
A founding member of the Grammy-winning Carolina Chocolate Drops, Rhiannon Giddens headlines a national tour featuring music from her new album “Tomorrow is My Turn.” Reviving, interpreting, and recasting traditional music as diverse as gospel, folk, and bluegrass, she creates an intimate evening of rich, soulful music backed by the revamped and expanded Carolina Chocolate Drops. The program will feature songs made famous by female icons of American music, from country queens Patsy Cline and Dolly Parton to Odetta and Nina Simone. .

Jazz Innovations Part I and II
7:30 p.m., May 20-21 | Brechemin Auditorium
Student jazz ensembles pay homage to the icons of jazz and break new ground with original progressive jazz compositions. .

Ethnomusicology Visiting Artists Concert: Claire Jones and Paul Mataruse
7:30 p.m., May 21 | Meany Hall
Ethnomusicology visiting artists Paul Mataruse (performing with Northwest marimba band Ruzivio) and Claire Jones (performing with the Mahonyera Mbira Ensemble) are joined by students in this evening of music from Zimbabwe.

This is a story about folk music, hill music and scratchy early blues — about guitars and banjos, fifes and flutes, and voices raised in song on sweltering back porches many years ago.

And it’s about how people from the ����Ӱ�Ӵ�ý School of Music’s are helping return some of that music — collected decades ago and fading from local memory — to its birthplace, with teaching materials to explain its cultural and historical context.

This is work for which the program is perfectly suited, blending as it does musicology and anthropology with performance studies and community engagement.

But the story really begins with a pickup truck bumping along a dusty Appalachian back road in the 1930s, with a huge tape recorder filling the back and music collector at the wheel.

Lomax, a folklorist and ethnomusicologist like his , made a career of collecting and recording music where people lived, worked and worshipped. From his first independent work in the 1930s until the 1980s, Lomax explored America’s Mississippi Delta and Midwest, the Appalachians, the Ozarks and eastern Kentucky, then the Caribbean, Europe and even North Africa.

He recorded many since recognized as American music greats — Leadbelly, Jelly Roll Morton, Woody Guthrie, Muddy Waters and more. In time, the McCarthyism of the 1950s sent Lomax abroad, where he continued his work for years, and across continents.

Lomax was not the only one; producer also collected and published music during the same years, and later formed what was to become Folkways Records, the label that brought folk music to the American mainstream. Folkways was bought by the Smithsonian Institution in 1987 and is now functioning as both a recording label and an important musical archive.

It is through the Smithsonian’s ongoing work that , a UW professor of music, and her ethnomusicology colleagues, enter the story.

“Of course, I am an old folkster,” Campbell says with a smile in her charmingly cluttered campus office. “That’s what I used to do a whole lot of. I played in various groups — sang, played guitar and dulcimer.”

Over time, Campbell transitioned from the stage to the classroom as professor of music. “I work with raising musicians to teach, to do community service,” she said. She shows students that even if they don’t get the “big country circuit gig,” they can shine as “a transmitter of heritage music.”

Ethnomusicology became her academic home, which Campbell explained is about more than just collecting songs. “It’s an analysis of song, of music in culture — and of music as culture — of knowing the musicians and understanding their stories” and how they express themselves through music.

Campbell began working with Smithsonian Folkways, helping them get their music “out of the archive and into the public sector.” She now chairs the association’s advisory board.

Together with doctoral students Rita Klinger (who has since passed away), Christopher Roberts and Amanda Soto, Campbell designed a special summer curriculum for school and university teachers to use the online resources of the Smithsonian-Folkways recordings and films. The course has run for six summers at the UW, and has been taught at other universities in the U.S. and in Mexico.

The two threads of the story wove together several years back when Campbell got to know , the only daughter of the famed folklorist, who died in 2002.

Wood is now president of the her father founded in 1983. Impressed by Campbell’s work in music education, Wood asked the educator to help open the huge and historically important Lomax archives — many now at the Library of Congress — back up to the world.

Campbell was thrilled — and their work of music repatriation began in earnest.

She started by creating for Lomax-collected music being repatriated to Grenada, Carriacou and Haiti, and then for Como and Senatobia, Mississippi, where repatriation ceremonies were held in 2012 and 2013.

Wood said, “Our idea was to give people at least one viable tool for working with their music in the present. Pat’s lesson plan teaches basic music ‘theory’ through folk music as it is actually performed.”

There are three main repatriation projects, Campbell said, starting with the Mississippi hill country and then in rural Michigan. Come September there will be a repatriation back to East Kentucky, “where the original ‘House of the Rising Sun’ comes from, and was recorded by Alan Lomax,” Campbell noted.

Wood said folks at the Como, Mississippi, library “took us up on our challenge, and brought in artists to teach instrument making and playing and tried out our lesson plans.”

After the 2013 repatriation, Campbell was invited to lecture about music education at the University of Mississippi and give workshops in Oxford, Mississippi, schools — work she’ll return to in the fall.

“Pat has risen to the occasion with great enthusiasm, bringing all of her experience and her tact to the task,” Wood said. “She now plays an indispensable role in our repatriation activities. We share a vision about what it means to bring music back home to its people.”

Who receives these repatriated materials? Whoever is best able to receive and make use of them.

“Museums, community centers, church folks,” Campbell said. “We’ll go to librarians, the local mayor and council. And the families will be invited to a big ceremony where we share some of the recordings.”

At the Mississippi repatriation ceremony last fall, family members of artists recorded long ago stepped forward with pride.

“It was magic in the room,” Campbell said.

So many years have passed since Alan Lomax traveled dusty back roads across states and continents, many have forgotten about the music their own ancestors created.

“A lot of folks are decades removed from it, can’t even imagine what it might have been like,” Campbell said. “They’ve moved off the back porches, where there was no air conditioning, and they used to sit out there playing a banjo, or a fiddle or something.”

Campbell knows she can’t return this old music to its former glory. But she also believes, as Alan Lomax did, that “we can understand Americans — citizens of the world — through the songs they sing, the instruments they play and their dances.”

“And,” she said, “who knows what will come of it?”