And They Danced

(Excerpt) PERFORMANCE NOTES: And They Danced is designed to be played in a chancel: a very compact space. Most chancels feature several steps leading from the floor of the nave and landing on the high altar level. The staging suggested in this script depends on such steps. For example, at the opening, the players are arranged in a symmetrical grouping on at least three levels. On the top level, three men are arranged as follows: SIX in the middle, FOUR to his right, and FIVE to his left. Two of the women are on the step below: TWO stage right (in front of FOUR) and 1HREE stage left (in front of FIVE). ESTHER (ONE) is down center, a step or two in front of the group. Six simple folding chairs are arranged on three sides of the chancel area

Interfaith-Cross-Cultural Improvisation: Music and Meaning Across Boundaries of Faith and Culture

This article explores the social value and meaning of interfaith-cross-cultural improvisation (musical improvisation between people from differing cultural and faith traditions) and its unique quality of engaging widely different cultural and faith-based groups. It draws concepts from evolutionary biology, ethnomusicology, religious experience, the emerging field of community music, and the insight of first-hand participants. Interfaith-cross-cultural improvisation can be seen as a form of “deep play” with the ability to signal and evoke empathy across participants who identify with divergent beliefs, cultures, and practices. The article attempts to illuminate the process of interfaith-cross-cultural improvisation as a meaningful undertaking of interfaith and multicultural practice, important to the formation of group empathy, sense of connection, and ultimately creating a deep sense of community

The Street and Organization Studies

Work and organization increasingly happen in transit. People meet in coffee shops and write emails from their phones while waiting for buses or sitting outdoors on benches. Business meetings are held in airports and projects are run from laptops during travel. We take the street as a place where organizing in transit accumulates. While the organization studies field has been catching up with various related phenomena, including co-working, digital nomadism, and mobile and online communities, we argue that it has overlooked what has historically been the most important site for organizational activity outside of organizations. The street has been both location and inspiration for organizing, whether political, social, or governmental. It is a space of both planning and spontaneity, of silent co-existence and explicit conflict, and therefore offers abundant empirical and methodological opportunities. It is surprising that the street and the experiences it brings with it have remained largely outside the scope of organization studies. We suggest that organization scholars take to the street, and offer recommendations asto how to do so. Specifically, we explore the tensionsthat become apparent when organizing happens in and through the street

Gianni Schicchi: Postcard from Morocco

This is the concert program of the Boston University Opera Institute and Chamber Orchestra performance running February 10, 11, and 12 at 8:00 p.m. and February 13 at 5:00 p.m. at the Boston University Theatre, 264 Huntington Avenue. Operas performed were Gianni Schicchi with music by Giacomo Puccini and libretto by Giovacchino Forzano and Postcard from Morocco, an opera in one act with music by Dominick Argento and libretto by John Clark Donahue. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Time's Arrow, April 28, 1998

This is the concert program of the Time's Arrow performance on Tuesday, April 28, 1998 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Piccola Musica Notturna by Luigi Dallapiccola, Nonet No. 1 by Hans Eisler, ZØN by Theodore Antoniou, Esprit rude, esprit doux by Elliot Carter, Wanderings by Özkan Manav, and Introductions and Goodbyes by Lukas Foss. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund