
Hear bass and banjo like never before in this bold, genre-spanning performance. Double bassist Craig Butterfield and banjo phenom Max Allard team up to present a program inspired by "Music for Two," the groundbreaking recording by Edgar Meyerand and Béla Fleck. Blending original works with music shaped by Meyer and Fleck's legacy, Butterfield and Allard move seamlessly across folk, bluegrass, jazz and classical styles -- highlighting a natural chemistry between the instruments. With a shared spirit of exploration, this duo pushes beyond tradition to create a sound that is vibrant, inventive and entirely their own.

An acclaimed film exploring AI and society that premiered at Sundance in 2026, the AI Doc is presented in partnership with a/perture cinema. There will be a discussion following the screening featuring film editor Davis Coombe, UNCSA Chancellor Brian Cole, and Arts and Emerging Technology Residency Project Director Koven J. Smith.

Hosted by the University of North Carolina School of the Arts and the Thomas S. Kenan Institute for the Arts, the residency will bring together artists, technologists, legal scholars and industry leaders to examine the ethical, legal, technical and creative implications of AI for the arts. The event centers on the work of acclaimed choreographer and Martha Graham Dance Company member Xin Ying, which was created in collaboration with Mimi Yin and NUUM Collective.

Step into a luminous soundscape as soprano Alisa Jordheim (Gilda in "Rigoletto," Soeur Constance in "Dialogues des Carmélites," Violetta in "La Traviata") brings the dramatic beauty of the Nordic landscape to life through music. Featuring works by Edvard Grieg, Eyvind Alnæs, Agathe Backer Grøndahl, Hugo Alfvén, Jean Sibelius, Lars-Erik Larsson, Albert Schnelzer and Carl Nielsen, the program draws on a rich tradition of song shaped by mountains, fjords, forests and shifting light. Performed in Norwegian, Swedish, Danish and Finnish, these works reflect a deep connection to nature, from quiet introspection to moments of striking intensity. With clarity, warmth and expressive depth, Jordheim invites audiences into a world where the natural and musical realms are inseparable. Alisa Jordheim performs at UNCSA as part of a year-long operatic celebration of the 25th anniversary of the A.J. Fletcher Opera Institute.

Experience a powerful arc of contrast and transformation as Sergei Prokofiev's music moves concertgoers from shadow into light. Faculty members Ida Bieler, violin; Dmitri Vorobiev, piano; and Tadeu Coelho, flute, trace a compelling emotional journey through two of the famed composer's most expressive chamber works. The program features the Violin Sonata in F minor, Op. 80, and the Flute Sonata in D major, Op. 94. Opening in the shadowed, unsettled world of the Violin Sonata, tension and fragility intertwine in music Prokofiev described as "wind over the graves." The Flute Sonata offers a striking contrast: bright, transparent and serene. Together, the works reveal a composer navigating war, fear and upheaval while still reaching toward beauty and light. The result is a deeply human portrait of resilience expressed through sound.

Discover the dazzling power of the viola in a program that reveals the instrument's full range: restless, lyrical, bold and radiant. New faculty artist Brett Deubner leads an evening that moves from high-contrast modernism to intimate chamber dialogue, including a special commissioned work. The viola shifts constantly -- exposed and unaccompanied, in close conversation with its musical counterparts and expanded by unexpected color and texture. The result is a portrait of an instrument that embraces many identities. Joined by faculty members Ida Bieler, violin; Allison Gagnon, piano; and Ksenija Komljenović, chimes, Deubner highlights both the viola's tradition and its evolving voice on the contemporary stage.
Members of Winston-Salem’s new Community Innovation Lab came together at the end of last year to begin the work of getting to know one another and developing a shared understanding of why deep-seated inequities in employment and income persist across race and class lines in their city.
“We don’t know where this will lead, but we know it will lead to new places,” Richard Evans, the founder and president of EmcArts, told those participating in one of only two such pilot projects in the nation.
More than three dozen people representing a diverse cross-section of the city gathered for two-day workshops in November and December to launch the lab. From government, business and faith leaders to artists, educators, low-wage workers, community activists and others, they all expressed a commitment to addressing the economic disparities that challenge Winston-Salem and so many other communities around the country.
Designed and facilitated by EmcArts, the lab uses a radical new approach that equips local communities to address tough social challenges by bringing together a diverse group of stakeholders and deeply integrating artistic practice into change processes. Based in New York City, EmcArts is a nationally known service organization that promotes innovation and adaptive change. The lab is funded by The Kresge Foundation and convened by the Kenan Institute for the Arts at the University of North Carolina School of the Arts, the Winston-Salem Foundation and the Arts Council of Winston-Salem and Forsyth County.
“We hope the lab will catalyze change at the system level, getting beyond the symptoms to the deeper driving forces that are keeping things as they are now and what it will take to make long-lasting change,” said Karina Mangu-Ward, a lead facilitator for EmcArts.
“We’ll be integrating artists and artistic practice throughout the journey because we believe they have an incredible untapped potential to help us build trust, open up difficult conversations and create space for imagination.”
That’s precisely what began to unfold during the first workshop, as the group took part in role-playing exercises, learning journeys and other creative activities related to these core questions:
Jan Detter, an artist and educator who teaches social entrepreneurship at Wake Forest University, said the atmosphere grew tense at times when people began to share their life stories and viewpoints.
“People among strangers don’t usually share that level of intensity because it feels dangerous or unsafe. Across the spectrum, whether you were from a more privileged environment or a less economically privileged environment, so many people wanted to say their truth,” she said. “We didn’t really have a common starting point on Friday, but by the time Saturday was over, I felt we had all found commonality in this work. The stories we told each other, they provided sweet spots in which you could begin to connect the dots between us.”
Detter believes tension can be a good thing. “It strikes me that often we are uncomfortable when we are learning something important. For us to welcome the community into this work with authenticity, which is part of what we will be doing going forward, we have to learn to bond with others in our group who we may not feel comfortable with in the beginning. How could we model that for others if we did not do that ourselves?”
Community activist and lab member Sandy Stinson was impressed by the diversity of the stakeholders she met and how well the workshop was facilitated.
“There was a great mix of not only race but of age and of interests,” Stinson said. “I thought it was going to be like every other conference I had gone to. I had to change my way of thinking.”
One of the local facilitators involved in the project is Geordie MacMinn, a professor of drama at UNCSA who wanted to take his work “outside the world of strictly theater and into the community.”
“Actors transform into characters and bring stories to life and implant them in the hearts and the minds of the audience,” MacMinn explained. “And it is that transformative journey that interests me. The lab is very much looking at how can we transform Winston-Salem.”
The first step in creating change is awareness, he said. To achieve lasting change, not just “quick fixes,” MacMinn added, “We either have the courage to look at what’s really happening in our city or it takes ahold of us. It is imperative to get involved so we can deal with it better and have a say in the direction things go.”
As a theater artist, MacMinn knows how to bring stories and issues to life. “And I think that’s what we did over these two days. We really started something.”
Corey Madden, executive director of the Kenan Institute, came away with a renewed appreciation for how effectively artistic practices can be used in settings outside of the arts.
“We spent eight hours in the room on Saturday and I was 100 percent engaged — and I felt that everybody else was as well,” she said. “As an artist who is used to the excitement of rehearsals, it was extremely gratifying to see that applying some of the strategies of being an artist to difficult discussions about race and inclusion could build so much trust and optimism and clarity so efficiently.”
Each of the exercises helped participants see the systemic nature of the work they are about to do, Madden noted. “Rather than getting caught up in personal-level experiences, the whole idea of this is a systems approach and that a group that understands systemic issues can make a difference.”
Mangu-Ward believes that Winston-Salem’s project will forge “ambitious new territory” in combining the best practices of social innovation labs and arts-based community development.
Issues of inequity and social injustice afflict many communities, MacMinn added, but change can begin with one. “If we can do our part in Winston-Salem to bring some awareness, and even a little transformation on these issues, I think we can actually help to move the entire country forward.”
Throughout the early months of 2016, lab members have been working on “small experiments with radical intent.” The group will reconvene February 24-25, at which time three of these experiments will be selected for further exploration.
February 26, 2016