
The School of Filmmaking's "Symposium" series opens a door into the world behind the screen, offering audiences a chance to engage with filmmakers, artists and creative thinkers from myriad disciplines who are shaping contemporary storytelling. Through screenings, conversations and engaging dialogue, each event becomes a unique space to come together and explore how art is made, why it matters and what it reveals about the world we live in.

In a world of surreal encounters and shifting realities, lives collide in 1980s America as friends, lovers and strangers navigate beautiful and challenging transformations in Tony Kushner's "Angels in America," the Pulitzer Prize-winning play that was also adapted into an acclaimed HBO miniseries.

From rhythmic vitality to neoclassical precision, the UNCSA Wind Ensemble and Symphonic Winds trace a wide musical range across contrasting tones. Dmitri Shostakovich's "Folk Dances" opens the program with driving energy and spirited motion, drawing themes from the Russian ballet tradition. Richard Strauss' Serenade, Op. 7 follows with youthful grace, revealing the composer's early command of elegance and line. Igor Stravinsky's Octet introduces a shift in texture and form, offering crisp neoclassical writing defined by wit, clarity and inventive structure. Vincent Persichetti's Symphony No. 6 closes the program with sweeping contrast and rich detail in transformation -- inviting audiences to listen for musical form in addition to melody. Under the direction of Mark Norman, the ensembles move between energy, refinement and growing musical architecture within a single program.

The UNCSA Voice Department will present an afternoon of solos and ensembles reaching back to the Renaissance and Baroque periods, while also sampling more contemporary composers who emulate Early Music styles. Of course there will be Bach and Handel, but keep an ear out for surprises from Lully, Strozzi, Purcell, Caccini, and Betinis as well. Featuring high school and undergraduate students from the studios of Marilyn Taylor, Glenn Siebert, Phyllis Pancella, and Jodi Burns.

Join virtuoso singer, songwriter and multi-instrumentalist Tony Furtado for an unforgettable evening at the Muddy Creek Listening Room in Old Salem. Furtado is known for his work on banjo, cello-banjo, slide guitar and baritone ukulele.

Jennifer Rowley, lauded by the New York Times as "a singer of enormous gift and promise," illuminates Watson Hall with a voice of striking power and expressive nuance. From intimate reflection to soaring virtuosity, the program features music that demands both technical brilliance and deep emotional clarity, highlighting the full dramatic and lyrical range of the soprano repertoire. The recital moves between operatic arias and art song, showcasing the voice as both instrument and storyteller. Rowley is acclaimed for her powerful voice and commanding stage presence, with a repertoire spanning many of opera's great heroines. She has appeared on major international stages including the Metropolitan Opera, Staatsoper Berlin and Opernhaus Zürich and in roles such as Aida, Tosca and Turandot. She is also the founder of Aria Bootcamp and serves on the voice faculty at the Curtis Institute of Music. Jennifer Rowley performs at UNCSA as part of a year-long operatic celebration of the 25th anniversary of the A.J. Fletcher Opera Institute.
| CREATIVE CATALYST FELLOWSHIP IN DIVERSITY, EQUITY & INCLUSIVITY | |
| Location | John C. Campbell Folk School Brasstown, N.C. |
| Application Deadline | May 21, 2021 |
| Fellowship Duration | Six-month fellowship, beginning August 2021 |
| Time | 20-25 hours/week |
Issue: The Folk School, like many other folk/craft organizations, struggles to engage younger and more diverse audiences. One of the major goals of our Strategic Plan, approved in 2019, is to assess what diversity means for us and to make changes across the organization to help become a more inclusive place.
With this goal in mind, we launched a pilot mentorship program in 2020, and offered scholarships and stipends for emerging artists to spend a month of focused study with master craftspeople in our studios. We weighed the selection process to prioritize BIPOC and LGBTQ+ artists and brought a diverse group of emerging artists to our small corner of North Carolina. The experience was both inspiring and humbling as our staff engaged in conversations about inclusivity and gender identity, some for the first time. It became clear that we need to facilitate training and a great deal of discussion between Folk School staff to address not only the HOW but also the WHY behind where we are in terms of inclusivity and work together to identify shared goals that will help us develop a more inclusive and diverse community.
Goal: The Fellow in Diversity and Inclusivity will help us in foundational research to determine where we are now in terms of inclusivity, why we are here, and facilitate conversations that will help us define our goals moving forward.
Creative Catalyst Fellowships, in partnership with the Thomas S. Kenan Institute for the Arts at UNC School of the Arts, are highly competitive, paid fellowships that advance artist leadership through skill-building, mentoring, and community of practice; strengthen creative community networks to better address regional gaps; foster systemic approaches to increase access, inclusion and equity; and embrace participation and exchange across the creative sector. Creative Catalyst Fellows will also gain access to educational and community-building opportunities.