Hollywood Sun Devils event takes 'let’s do lunch' culture to the next level


October 11, 2018

“It goes without saying that networking is important in Hollywood,” said Adam Collis. And he would know.

As a producer and director, Collis has worked with Oscar winners. As a professor and ASU Film Spark’s center director, he’s determined to accelerate Sun Devils’ careers in the entertainment industry and make ASU’s impact in Hollywood get top billing. Entertainment industry Sun Devils at the mixer Students from Tempe and ASU Online and alumni gathered in Los Angeles for a mixer at the ASU California Center. Photo by Barry Bogovich/ASU Download Full Image

“But I think it’s important to remember that networking, when done right, is just getting to know people and making friends, learning about their interests and building relationships, over time,” he said.

A September event at ASU’s California Center offered the opportunity to do just that. A career fair and networking mixer introduced ASU students from Tempe, ASU Online students in California and alumni to Hollywood’s famous “let’s do lunch” culture — but took it a step further. The event was hosted by ASU FilmsparkCareer and Professional Development Services and the Herberger Institute for Design and the Arts' School of Film, Design and Theatre.

For Sun Devils who want to enter or advance in the entertainment industry, it was a unique opportunity to connect specifically as an ASU community in Hollywood. Many of the employers present were ASU alumni who are enthusiastic about guiding current Sun Devils into Hollywood, and the atmosphere was perfect for those connections.

“Like any student, I was nervous or unsure (about networking) because it wasn’t something that I do regularly, but I just went out and introduced myself,” said Chloe Burbank, a senior majoring in film who drove from Tempe to attend. She’s working on her senior film and made sure to meet fellow students as well as potential employers.

“It’s important to meet employers and stuff like that … but you should also be meeting the people around you so we can all help each other out as we enter Hollywood.”

Collis said that kind of relationship building is exactly what the event was trying to foster, because networking for its own sake isn’t all that useful.

“It’s not about quote, doing lunch, unquote. It’s about sharing your favorite movie moments with somebody. It’s about listening to someone tell you about their favorite television show. It’s about spending time with people over time. Sometimes over several years. Sometimes a decade. Sometimes two decades before you even talk about doing business together,” Collis said.

Burbank hopes to move back to the Los Angeles area, where she’s from, to ultimately end up in production and development for NBC or ABC. She has identified that her career track should start out at a talent agency or as an executive assistant to a producer.

The event featured nearly 20 film, media and entertainment companies from the Los Angeles area, including Lionsgate, NBCUniversal, CBS and Univision offering internships as well as jobs in post production, assistants to producers or executives, production assistants, development assistants and more. Tempe-based advisers offered virtual career advising sessions, and attendees heard a keynote speech from former Marvel president and COO Michael Helfant, who graduated from ASU and who is a founder and CEO of Amasia Entertainment.

For students driving the 14 hours round trip from Tempe to the events, ASU Career and Professional Services staff offered resources ahead of time to make sure students could make the most of their time at the fair and networking mixer. Junior Rashaud Williams, a theater and acting major in Tempe, attended a preparatory session, where he worked on his elevator speech, his resume and how to communicate his skills.

“(We went over) how to present yourself, how to basically give that elevator speech in a more comfortable way. How to present yourself. How to build up your resume to look good enough for the company you’re giving your resume to,” he said.

Williams hopes to work as an actor after graduation; he has been acting since he was 15, when he was inspired by the film "The Pursuit of Happyness."

Alison Scott Dean, associate director for corporate engagement and partnerships for the western region with Career and Professional Development Services, helped organize the event. She loved seeing the event come together and the effect it had on students, alumni and the employers who were there.

“I met one young lady who had just moved to LA a few weeks before and heard about the networking mixer. LA can be overwhelming, but she felt like she had her Sun Devil family there.”

Those close connections were established in LA and beyond. Williams said he realized after going to the event that production companies weren’t faceless corporations — they were made up of people. And in this instance, Sun Devils. He met ASU Online students, as well as people from Tempe he didn’t know before. Williams realized he had a community in Tempe and in Los Angeles.

“I felt that we could build each other up,” he said.

The next Hollywood Sun Devils networking mixer and LA Entertainment Career Fair is scheduled for Feb. 21-22, 2019. For more information about future career and networking events as well as contacting an ASU career adviser, log in to Handshake or get in touch with Career and Professional Development Services at careerservices@asu.edu.

Hannah Moulton Belec

Digital marketing manager, Educational Outreach and Student Services

480-965-4255

 
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International conference at ASU to explore themes of Jewishness in dance

ASU to explore themes of identity at conference on Jewishness in the dance world
October 4, 2018

New pedagogy, Israel, identity and the Holocaust among themes of gathering

How would you dance with a Yiddish accent? Or express the tensions of Jewish-Arab relations through movement?

Arizona State University is holding an international research conference this month called “Jews and Jewishness in the Dance World” that will touch on dozens of these kinds of topics. More than 100 presenters from eight countries will gather for four days of events starting Oct. 11, including discussions, performances, dance labs, a film series and a book reading.

Naomi Jackson, an associate professor in the School of Film, Dance and Theatre in the Herberger Institute for Design and the Arts, said she is organizing the conference now because of an interesting confluence of old and new at the moment. The “old” refers to the end of the previous generation of Jewish people, brought home to her most keenly when her father died a few years ago.

“That generation represented, for me, an artistic and intellectual legacy of Jewish culture that is incredibly powerful,” she said.

“I wanted to honor it because it’s in danger of disappearing because of the high rate of intermarriage. It’s a legacy that I wanted to honor and preserve,” said Jackson, who also is affiliated with the Center for Jewish Studies at ASU, which is the main sponsor of the conference. The event is free and open to the public, but registration is required.

The “new” refers to a dance form called Gaga, developed by Ohad Naharin, the artistic director of Batsheva Dance Company in Israel.

Trailer for "Mr. Gaga," a documentary about Ohad Naharin

“It has spread like wildfire across the dance community and the world,” she said. “Gaga is becoming the ‘in’ technique. This is what’s hot now."

Jackson said the conference will consider the ways Jewish people have impacted dance.

“The Jewish contribution, to especially modern dance and postmodern dance, hasn’t been identified and named. It’s been there, but it’s been invisible,” she said.

Much of the impact has revolved around the Jewish notion of “tikkun olam” — the idea of healing the world through good works.

“How this played out is that many of the pioneers in dance therapy and community dance are Jewish. A lot of them say they went into these fields because of this idea of repairing the world and of social justice,” she said.

liz lerman

Liz Lerman

Liz Lerman, an Institute Professor in the Herberger Institute, is a pioneer in community dance, having founded the Dance Exchange to engage different kinds of people in dance. Lerman, a choreographer, performer and writer, will curate a performance on Oct. 14 and then participate in a discussion about what it means to “dance Jewish.”

Other sessions will include “Dancing Their Identity: Orthodox Women Shaping a New Path in Education,” “Ballet and Jewishness” and “From Victimized to Victorious: Re-Imagining Identities Through Dance.”

The conference will address complicated questions, Jackson said. One session will include Adam McKinney, an assistant professor of dance at Texas Christian University and a former performer with the Alvin Ailey American Dance Theater.

“He’s black, he’s Jewish, he’s gay and he’s orthodox,” she said. “His session is about what it means to be all those complex things today.”

Another session will be a moderated fishbowl about the politics of Israeli folk dance, which Jackson anticipates could be contentious.

“I know there will be places of conflict, and I don’t want to avoid that.”

Top photo: Naomi Jackson, an associate professor in the School of Film, Dance and Theatre, is organizing the "Jews and Jewishness in the Dance World" conference at ASU's Tempe campus this month. Photo by Deanna Dent/ASU Now

Mary Beth Faller

Reporter , ASU News

480-727-4503

 
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Noted playwright visiting ASU to lead workshop on writing a personal manifesto

Noted playwright in ASU residency to teach workshop on how to write a manifesto.
October 2, 2018

Projecting All Voices fellow to explore themes of freedom, identity in community projects

Borders and identity aren’t fixed concepts to an artist — they’re fluid notions that change with time. A prominent playwright and author who is spending this academic year at Arizona State University is examining how art can unlock these perceptions.

Virginia Grise is one of three Projecting All Voices postgraduate fellows for 2018–19 in the Herberger Institute of Design and the Arts. Now in its second year, the program brings designers and artists from diverse communities to ASU to work on projects that investigate cultural heritage, power, race, policy, ability and place.

“I’m really interested right now as an artist in the question of what art does,” said Grise, who is based in New York.

“What are its possibilities and what does it allow us to imagine? I feel like Phoenix is a place I can ask these questions.”

Grise is the author of “Your Healing is Killing Me,” a performance manifesto, and the play “Blu,” which explores the effects of incarceration on a family.

Virginia Grise.

The other two Projecting All Voices fellows this year are Marguerite Hemmings, a New York-based dancer and teacher who specializes in street styles, social dances, hip hop and dancehall, and Carolina Aranibar-Fernandez, a Bolivian visual artist who combines traditional processes such as weaving and ceramics with video and sound.

Grise is not only working on a project for the Projecting All Voices initiative, she’s also involved with Performance in the Borderlands, a programming and educational program in the School of Film, Dance and Theater. She’ll have two public events Oct. 8–9.

Grise answered some questions from ASU Now.

Question: You’re doing a workshop and a reading of “Your Healing is Killing Me.” What is that about?

Answer: It’s a performance manifesto about the artistic and political process. It initially was an invitation by Tiffany Lopez, who is now director of the School of Film, Dance and Theatre but at the time was at the University of California, Riverside, where she had a very innovative program that paired humanities scholars with people in the medical field.

I was asked to talk about the process of ethnography because I’ve done documentary theater, but instead I wanted to talk about my own relationship to health and the medical field. It was part performance, part lecture and part writing workshop. I began with a list of everything that was killing me and I asked people in the audience to write a list of everything that was killing them. That was the beginning of what then became the performance manifesto.

At the workshop on Monday, I’m leading a session called "This Is a Manifesto." We’ll talk about manifesto writing and proclamations and public declarations and people will write their own manifestos.

Q: Why should people write their own manifesto?

A: One of the things I’m interested in in the writing of the manifestos is this question of freedom. What does it mean for people to be free? And what do we need to be free? The word manifesto is from "manifest.’ What is they want to manifest in the world?

Last year I began doing the writing workshops and I was also in a process of taking a writing workshop with a young actor named Manny Rivera in New York. We began with the Combahee River Collective Statement, which was a very important manifesto written in the 1970s by a group of African-American women. There’s a quote from it: “If black women were free, it would mean that everyone else would have to be free since our freedom would necessitate the destruction of all the systems of oppression."

Q: What are you working on through the Projecting All Voices fellowship?

A: I’ve been working on the staging of an adaptation of a novel called “Their Dogs Came With Them” by a woman named Helena Maria Viramontes. It’s a collaboration with Martha Gonzalez, who is doing the music for the adaptation and I’m doing the script.

We’re staging it at Perryville Women’s Prison with 15 women actors. It’s a concert version of the novel, which I’ve never done before but I’ve done workshops in prisons before.

Q: What do the women at Perryville bring to the project?

A: The piece is about displacement and we’re in a collaborative conversation about how that affects us as a community. It’s a dynamic conversation that’s ongoing. We’re workshopping it now and in the spring we’ll stage it.

Watch Grise talk about Performance in the Borderlands.

Grise will hold a sold-out writing workshop called “This Is a Manifesto” at 6:30 p.m. Monday, Oct. 8, at Palabras Bilingual Bookstore, 1738 E. McDowell Road, Phoenix, and a book reading and signing at 7 p.m. Tuesday, Oct. 9, at Valley Bar, 130 N. Central Ave., Phoenix.

Top image by Pixabay

Mary Beth Faller

Reporter , ASU News

480-727-4503

Theatre for Youth students present work as part of Barn Arts Collective residency in Maine


October 1, 2018

Two Theatre for Youth students in the ASU School of Film, Dance and Theatre were accepted as artists-in-residence at the Barn Arts Collective in Maine, where they spent a week in a small barn immersing themselves in the community to devise a 30-minute long theatre experience for babies and their caregivers.

The project started in spring 2018 when graduate students Kelly Fielder and Thomas Petrungaro took a devising sequence course with Herberger Institute Professor Michael Rohd. During the course, they created a five-minute scene inspired by a newspaper article. Photo of a performance of “Breath,” an abstract, performative experience for pre-crawling babies and their caregivers. "Breath” is an abstract, performative experience for pre-crawling babies and their caregivers that was developed by two ASU theatre for youth students as artists-in-residence at the Barn Arts Collective. Download Full Image

“The article that we found was titled ‘Baby Born on International Flight,’” Fielder said. “It was a beautiful and heartwarming story about a woman who went into early labor while traveling overseas to visit her family.”

The pilots were unable to safely perform an emergency landing, so the people on the plane came together to bring this baby into the world, according to Fielder. The students said their scene shifted the focus from the people on the plane to the baby, whom they considered the most important player.

“That one performance in class wasn’t enough for us,” Fielder said. “We were filled with this drive to make the show longer and more meaningful.”

So, when they were accepted to the Barn Arts Collective, they decided to develop the work and created “Breath.”

A performance about change, flight and growth, “Breath” is an abstract, performative experience for pre-crawling babies and their caregivers.

“Culturally, babies are not invited into traditional theatre spaces, and this production extends a hand across those borders to create time and space to accept those families exactly where they are,” Fielder said.

Sarah A. McCarty

Marketing and communications coordinator, Herberger Institute for Design and the Arts

480-727-4433

Fall Forward! celebrates dance with faculty, alumni, student works

Annual show from School of Film, Dance and Theatre kicks off season of events


September 26, 2018

Each year the School of Film, Dance and Theatre kicks off its season of events with Fall Forward!, a dance production featuring a range of new works created by Arizona State University faculty and guests. This year’s Fall Forward! opens this Friday at the Paul V. Galvin Playhouse. 

“It’s really a celebration,” said Mary Fitzgerald, associate professor in ASU’s Herberger Institute for Design and the Arts. “It’s an opportunity for us to share our research with the community and also for us to dance together.” Poster image with two dancers performing Fall Forward! opens the School of Film, Dance and Theatre's fall season. Download Full Image

Fitzgerald, who was recently named a finalist for the 2018 Phoenix Mayor’s Arts Awards, teamed with dance faculty Eileen Standley and Rob Kaplan for a piece called “Ubiquitous.” 

Kaplan, a composer, multi-instrumentalist, professor and musician in dance, said the piece started when he was improvising with looping gadgets and guitar and exploring how “something that’s present is now the past, but it’s also present because I’m playing over it.”

He shared the idea with Fitzgerald and Standley, and they created “Ubiquitous.”

Taking her cue from the definition Siri gave for “ubiquitous,” Standley said the piece plays with “appearing, disappearing and being everywhere at the same time.”

Kaplan composed and is performing the music for the piece, and Fitzgerald and Standley will be dancing.

“The whole time Eileen and I are having this conversation with Rob,” Fitzgerald said. “But we’re also going to have a lot of cameo appearances from other faculty and … little surprise moments for the audiences.”

The show will be different with each performance.

“The nature of the technology is such that what gets caught in the loop is unique to that moment, and it’s never the same twice,” Kaplan said.

“The gaps — the places where we don’t know what’s going to happen — I think that’s some of our favorite places,” Standley said.

“Ubiquitous” is one of seven pieces that will be showcased at the Galvin Playhouse on ASU’s Tempe campus this weekend.

Other pieces include “ATMOS” by B-boy and multidisciplinary artist YNOT and a bachata dance choreographed by David Olarte, lecturer in the School of Film, Dance and Theatre.

“Bachata is a Dominican-style type of dance, and it is being fused and distressed and taken apart from using contemporary and modern techniques,” Olarte said. “Myself and my partner Carla (Leon), we’re really looking at just flipping the end of what bachata dance looks like onstage. We’re giving it our own twist and our own voice.”

The program also includes “Mass: Sacred and Profane,” an excerpt of Leonard Bernstein’s “Mass: A Theatre Piece for Singers, Players and Dancers” that is being presented by the School of Music and guest collaborators at ASU Gammage in November. 

Fitzgerald said she hopes audiences respond to the entire show with “delight and curiosity.”

“I want people to love dancing,” she said. “If we can make them want to dance, then I think we’ve been successful.”

Fall Forward!

When: 7:30 p.m. Sept. 28-29 and 2 p.m. Sept. 30.

Where: Paul V. Galvin Playhouse, ASU's Tempe campus.

Admission: $16 for general admission; $12 for ASU faculty, staff and alumni; $12 for seniors; $8 for students. Purchase tickets online or call the Herberger Institute Box Office at 480-965-6447.

Sarah A. McCarty

Marketing and communications coordinator, Herberger Institute for Design and the Arts

480-727-4433

 
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Community engagement crucial for ASU arts students, who learn how to interact ethically

ASU teaches arts students how to engage ethically with communities they serve.
September 25, 2018

ASU's concept of pursuing mutually beneficial relationships is radical for universities, say panelists at Monday event

Working for the benefit of our community is central to the mission of Arizona State University, but it’s actually a pretty radical idea, according to a professor who teaches students how to do it.

One of ASU’s eight design aspirations is “social embeddedness,” defined as: ASU connects with communities through mutually beneficial partnerships.

In the past few decades, the concept of “community engagement” has moved into academia and arts, said Michael Rohd, an Institute Professor at the Herberger Institute for Design and the Arts.

“The common use of that idea was, ‘OK, so this museum, this theater, this dance company, this gallery or this university arts and design school will engage with people so they show up more at our space.’ We tried to expand their experience of our art,” said Rohd, co-leader of the Center for Performance and Civic Practice, a New York-based nonprofit organization.

“It was very infrequently that the term was about exchange or dialogue or justice.”

But the concept of seeing engagement as give and take — the “mutually beneficial” partnership — is new, said Rohd, who spoke at a panel discussion Monday night called “Ethics at Twilight: Ethical Community Engagement.” The event was a collaboration between the Herberger Institute for Design and the Arts and the Lincoln Center for Applied Ethics to help expose students to the kinds of ethical issues they will face in their careers.

Historically, universities viewed themselves as the holders of knowledge, which they occasionally bestowed on their surrounding communities, according to Lindsey Beagley, the director of social embeddedness for the Office of University Initiatives at ASU.

“Fifteen years ago, when ASU said ‘mutually beneficial partnerships,’ that fundamentally shifts the power dynamic,” she said.

“It implies the community has value. Not only do they benefit by interacting with the university, but the university benefits from interacting with the community.”

Research has proven that direct interaction with community members improves outcomes, she said.

“We know that with increased experiential learning opportunities, we see increased persistence to graduation,” Beagley said.

“We know that when research faculty engage with community partners, they ask better research questions. We also know they ask different research questions, which means innovation.”

All students in the Herberger Institute must engage with people outside the university through the Design and Arts Corps, which works to match community needs with faculty expertise and students’ energy.

Stephani Etheridge Woodson, a professor in the School of Film, Dance and Theatre, is director of the Design and Arts Corps. She said that training the students to interact ethically is crucial before sending them off to meet people. So over the past year, thanks to a grant from the Lincoln Center for Applied Ethics, she was able to work with people in the community to create video modules that the students watch. The videos give messages like, “Show up with a humble spirit” and “Realize that you don’t know everything.”

“We love risks in arts and design, but we manage them,” Etheridge Woodson said.

Rohd said the video training modules themselves are a game changer.

“The idea of having folks who are not academically credentialed on the platform of technology that the university owns, giving instructions on how to enter, exit or be in the community — it is radical,” he said.

Etheridge Woodson said that ASU Project Cities, in the School of Sustainability, is a good example of a mutually beneficial engagement. Municipalities identify projects they would like done, and faculty create coursework for students to study the problem and create a solution. Last spring, a landscape design class designed a dog park for the city of Apache Junction, and students in Etheridge Woodson’s community theater class created a theater experience based on the city’s history.

Engaging ethically is hard work that takes a long time, the speakers said. Wanda Dalla Costa, an architect and Institute Professor in the Herberger Institute, has been working with the Gila River Indian Community. Her “design sovereignty” project aims to give the community a voice in creating new housing designs that are culturally relevant. Earlier this month, several ASU students spent time talking to community members to discover what features they want in a house. By the time the prototype is built, likely later this year, Dalla Costa will have spent more than three years working with the Gila River people.

But nothing can replace that on-the-ground listening, according to Erika Moore, an alumna of the Herberger Institute who helps run the Projecting All Voices initiative. In her previous job, she worked with people who were experiencing homelessness, walking along the Rio Salado riverbed and talking with them.

“You start by listening. And you listen and you listen and you listen,” she said.

“There are a lot of layers to every story.”

Top photo: Stephani Etheridge Woodson (right), a professor in ASU's School of Film, Dance and Theatre, speaks about the importance of genuine community engagement at the “Ethics at Twilight: Ethical Community Engagement” panel on Sept. 24. Also pictured is Michael Rohd, Institute Professor at the Herberger Institute for Design and the Arts (left) and Erika Moore, an alumna of the Herberger Institute who helps run the Projecting All Voices initiative. Ethics at Twilight is an ongoing lecture event sponsored by the Herberger Institute for Design and the Arts and the Lincoln Center for Applied Ethics. Photo by Marcus Chormicle/ASU Now

Mary Beth Faller

Reporter , ASU News

480-727-4503

Year in review: ASU’s Sun Devil Stadium begins new role as cultural hub for campus, community


September 17, 2018

Editor's note: This story is being highlighted in ASU Now's year in review. Read more top stories from 2018 here.

A weeklong music extravaganza is about to hit Arizona State University's Sun Devil Stadium.   Sun Devil Stadium field Sun Devil Stadium. Photo by Anya Magnuson/ASU Now Download Full Image

And that's not all that's in store for the newly renovated stadium: The ASU 365 Community Union fall events series will feature concerts, dance and light shows, movies, and free yoga classes. The concert lineup features Afro-Latina singer Amara La Negra, alternative country band the Old 97’s, pop lyricist Ella Vos, indie pop rockers Best Coast and ends with the Saturday Soiréea new tradition on the stadium’s Coca-Cola Sun Deck featuring DJs, a light show and more.  

Two free Walter Yoga classes will turn the Coca-Cola Sun Deck into a fully immersive experience starting with an opening ceremony and class at 7 p.m. Monday, Oct. 1. Participants are encouraged to wear neon and bring glow sticks to help light up the night at this next-level yoga class. 

The Walter Yoga closing ceremony and class, set for 10 a.m. Sunday, Oct. 7, will cap off the week of live events at Sun Devil Stadium with a heartfelt ceremony to seal the shared experiences. Both events are free and open to the public.

ASU also recently announced two movies screenings at Sun Devil Stadium this fall in collaboration with ASU Film Spark. Hollywood Invades Tempe will present shark thriller "The Meg" at 7 p.m. Saturday, Oct. 27, as well as early Oscar contender "Sorry to Bother You," featuring a special talk by writer and director Boots Riley at 7 p.m. Nov. 14. 

Other concerts and movies are also slated for the fall. The diverse lineup is an early indication of ASU’s ambitious plans for the stadium’s future to become a dynamic and innovative hub every day of the year. 

The ASU 365 Community Union is an initiative to make nonathletic events a staple at Sun Devil Stadium, increasing stadium use from a few days a year to a 365-days-a-year operation. In addition to the regularly scheduled football games, Sun Devil Stadium will now be home to concerts, food festivals, movies, yoga classes and cultural festivals. 

“We want to create a place where you can imagine Sun Devils of all ages starting their day with yoga on the Coca-Cola Sun Deck or a breakfast meeting at a café and ending their day with a film festival or concert under the stars,” said Colleen Jennings-Roggensack, ASU vice president of cultural affairs.

ASU’s ultimate vision is to bring the surrounding public together more frequently to maximize the community impact of Sun Devil Stadium as a convenient and versatile venue. The 365 Community Union hopes to set a trend for stadiums worldwide by offering entertainment outlets for youth, film fanatics, runners, bookworms, foodies, families and sports fans alike. 

“We have a really exciting year ahead with a wide variety of events that will be taking place at Sun Devil Stadium and we’re so excited about kicking things off with these amazing artists,” Jennings-Roggensack said. “We’ll be announcing more events soon and looking to move to 365-days-a-year operation starting in September 2019.” 

Tickets for all events are on sale now at Ticketmaster.com. More information at asu365communityunion.com.

Concerts

Amara La Negra with special guest Phoenix Afrobeat Orchestra

8 p.m. Tuesday, Oct. 2

Amara La Negra is a Miami native and Afro-Latina singer who captivates with a fusion of her unique culture and pop rhythms. Some of the singer’s most popular hits include “What a Bam Bam” and “Se Que Soy.”  

La Negra is no stranger to the entertainment industry. After winning a talent competition in preschool, she subsequently starred on a Hispanic variety show for six years. Now, she stars on the reality show "Love & Hip Hop: Miami." 

The singer is outspoken about the racism and colorism that exists in the entertainment industry and has faced criticism throughout her career regarding her appearance, which she has learned to embrace. La Negra hopes her presence as a successful Afro-Latina in the music industry will inspires others with similar dreams to do the same. 

Amara will be accompanied by special guest Phoenix Afrobeat Orchestra, an ambitious and funky fusion of eclectic local musicians and traditional Afrobeat style.

Old 97’s with special guest Jonathan Tyler and the Northern Lights

8 p.m. Wednesday, Oct. 3

The Dallas-based alternative country band formed in 1993 and has continued to create new music ever since, sticking to their Texas roots along the way. They chose to situate themselves in the remote border town of Tornillo, Texas, instead of recording in more traditional music-centric cities like Los Angeles or New York City.

Their music combines soothing, expressive lyrics with rock beats and an authentic country flair. 

The Old 97’s made their debut with their album "Hitchhike to Rhome" (1994), a reference to Rhome, Texas. Since then, the band has released 10 more studio albums, most recently "Graveyard Whistling" (2017). Their album "Most Messed Up" (2014) reached a high at No. 30 on the Billboard Top 200. 

The Old 97’s will perform alongside rock band Jonathan Tyler and the Northern Lights, also formed in Dallas.

Some notable appearances of the Northern Lights’ music include their hit “Pardon Me” in the premiere of the popular NBC series "Friday Night Lights." Additionally, their rendition of “Sugar, Sugar” served as a replacement theme for the original TLC show "Cake Boss" in 2011. 

Ella Vos with special guest Molly Kate Kestner

8 p.m. Thursday, Oct. 4

Bubbly yet insightful. Dreamy yet perceptive.

Ella Vos pushes boundaries with deeply sentimental and honest lyrics coupled with a unique and captivating modern sound. 

The Los Angeles native is fairly new to the music scene and released her single “White Noise” in 2016, followed by her first album release "Words I Never Said" (2017). Nevertheless, she experienced viral success with “White Noise,” reaching No. 1 on Spotify’s viral chart. 

Much of her music was inspired during her pregnancy, which was ultimately her motivation to pursue a solo career. In her songs, she often touches on the topic of women’s choice while also confronting other personal subjects she once let remain silent.

Ella Vos’ stage name, which in Spanish translates to “She You,” is a reference to her intention of having her music be a relationship with not only her, but her audience as well. 

Similar to Ella Vos, Molly Kate Kestner has also seen viral success. The 22-year-old singer-songwriter from Minnesota earned 1.5 million views on YouTube within two weeks of her posting a passionate ballad she wrote in high school, “His Daughter.” 

It was this hit that landed her on Good Morning America in 2014 and propelled her to continue writing and performing. Kestner was also a contributing songwriter on Kelly Clarkson’s album "Meaning of Life" (2017).

Best Coast with special guest Buzzy Lee

8 p.m. Friday, Oct. 5

Best Coast creates music to ascertain, once and for all, that the West Coast really is the best coast. 

The Los Angeles duo — which consists of singer, songwriter and guitarist Bethany Cosentino and guitarist Bobb Bruno — creates sparkly and sophisticated indie pop and rock music that emphasizes the highs and lows of relationships.

Yet, their lyrics also highlight the juxtaposition between light and dark in California itself, from the bright bubblegum-colored days to calm, lonely nights.

While on their surface their music is reminiscent of the stereotypical SoCal lifestyle, there is an underlying darkness to their sound that represents the ever-present desperation of the Golden State — especially in their third and latest album, "California Nights" (2015). 

Best Coast’s performance will be supplemented by actress and singer Sasha Spielberg, whose latest album "Facepaint" (2018) features a synthetic pop sound. This is her first solo release under her new stage name, Buzzy Lee. Buzzy Lee is the daughter of legendary filmmaker Steven Spielberg, and has appeared in two of his films, "The Post" (2017) and "Munich" (2005).

Saturday Soirée featuring Walter Productions

8 p.m. Saturday, Oct. 6

The new Sun Devil Stadium tradition transforms the  Coca-Cola Sun Deck into a wonderland of sound, light, fire, dancing and more.

Open Mike Eagle 

8 p.m. Tuesday, Nov. 13

Michael Eagle II, otherwise known as Open Mike Eagle, is a college RA turned MC from Chicago. 

After moving to the West Coast for graduate school, he recorded his first album, "Unapologetic Art Rap" with Mush Records in 2010. 

He went on to record two more albums in the next two years before releasing "Dark Comedy" (2014), "Hella Personal Film Festival" (2016) and most recently "Brick Body Kids Still Daydream" (2017) with the Mello Music Group. 

His song “Ziggy Starfish (Anxiety Raps)” featuring Gold Panda has over 4 million listens on Spotify. 

Yoga

Opening Ceremony and Walter Yoga Class 

7 p.m. Monday, Oct. 1

Walter Yoga will be turning the Coca-Cola Sun Deck into a fully immersive experience of love, light, and lasers. Join us for a one-of-a kind celebration that will set intention for the opening week of 365 events at Sun Devil Stadium. This event is free. 

Closing Ceremony and Walter Yoga Class

10 a.m. Sunday, Oct. 7

The week of incredible live events closes with a heartfelt yoga class and ceremony to seal the experience. Start the day feeling grounded and abundant and take all the positive energy that was cultivated throughout the week and incorporate it into your life to create a stronger and supportive community. 

The gathering will begin with complimentary face painting.

Movies on the field

'The Meg' (2018)

7 p.m. Saturday, Oct. 27

'Sorry to Bother You' (2018)

7 p.m. Wednesday, Nov. 14

With special guest writer and director Boots Riley.

Using the Spine Strategies in Contemporary Ballet — Workbook

"Spine" is unique in addressing the connection between dance technique and moving the body from the somatic, experiential perspective. The "Spine" strategies help to quieten the mental circus and open up the filtering of sensations by the individual so that the somatic experience of movement is more accessible for the dancer.

This workbook accompanies the primary "Spine" text.

Spine

"Spine" is unique in addressing the connection between dance technique and moving the body from the somatic, experiential perspective.

Imagery is certainly helpful, but needs to be different for each movement. "Spine" strategies are geometric, linking to a progressive anatomic and biomechanical model for the body — tensegrity — solidly connecting movement experience to movement execution allowing the dancer to bridge the gap between the movement goal and the movement process.

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