{"id":128,"date":"2021-10-18T11:59:52","date_gmt":"2021-10-18T17:59:52","guid":{"rendered":"https:\/\/sites.coloradocollege.edu\/emailarchive\/?p=128"},"modified":"2021-10-19T08:57:24","modified_gmt":"2021-10-19T14:57:24","slug":"creativity-innovation-newsletter-block-2-week-4","status":"publish","type":"post","link":"https:\/\/sites.coloradocollege.edu\/emailarchive\/2021\/10\/18\/creativity-innovation-newsletter-block-2-week-4\/","title":{"rendered":"Creativity & Innovation Newsletter, Block 2, Week 4"},"content":{"rendered":"
\n

<\/p>\n

<\/center><\/p>\n\n\n\n
<\/p>\n\n\n\n
<\/p>\n\n\n\n
\n\n\n\n
<\/p>\n\n\n\n
View this email in your browser<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/p>\n\n\n
<\/p>\n\n\n\n
\n\n\n\n
Newsletter<\/strong>
\nBlock 2, Week 4, 2021<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/p>\n\n\n
<\/p>\n\n\n\n
\n\n\n\n\n
\n

\u201cWhy is creativity important for culture? Because it is the main engine behind cultural change and transformation. Whenever old solutions no longer apply or new problems emerge, creativity is called upon to add, change, enrich, simplify or purely to beautify the world. And it is not only the \u2018few great creators\u2019 who play a role in this process but each and every one of us.\u201d<\/em><\/span><\/span><\/span>\u00a0<\/em><\/span><\/span><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0–\u00a0\u00a0\u00a0Vlad Petre Gl\u00e4veanu\u00a0\u201cCreativity as Cultural Participation\u201d<\/strong><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n

<\/p>\n\n\n\n
\n\n\n\n
<\/p>\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/p>\n\n\n
<\/p>\n\n\n\n
\n\n\n\n
\n
Welcome to Kris Stanec as Faculty Fellow in Creativity & Innovation 2021-2022.<\/strong>
\n<\/span><\/span><\/span>
\nInterview with SethWilson Gray, (\u201819)<\/span><\/span><\/span><\/strong><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
<\/p>\n\n\n\n
\n
\n

Could you speak\u00a0a little bit\u00a0about the different roles you’ve had at Colorado College\u00a0and your time here?\u00a0\u00a0<\/strong><\/p>\n

I’m a CC alum. I was a Psychology major and minored in Theory and Practice of the Arts. When I was a 4th year, trying to figure out what to do next, I saw a career counselor who gave me a battery of tests and said, \u2018Creativity is one of your biggest strengths. You need a job that really involves creative aspects.\u2019 I also wanted to work directly with people. Teaching at that point in time had a lot of flexibility to explore pedagogies and put curricular pieces together yourself \u2013 this was before standards and testing.<\/p>\n

I\u2019ve always utilized arts integration when I teach, because of the capacity for the arts to pull people into conversations, engage them in learning, and increase access to content. I started teaching a class in the MAT program at CC on Arts Integration, which became a course on curriculum design for undergraduates as well. I\u2019ve taught many other Education courses, including one that I developed as a Cornerstone Arts Initiative course, ED210: Power of the Arts.<\/p>\n

As Director of Education at the Fine Arts Center Museum, I received funding through the Andrew W. Mellon Foundation to develop a project called Multiple Narratives.\u00a0 This program shifts the art historical approach of looking at art to a more inclusive pedagogy that supports students\u2019 identity development, fosters authentic relationships and values students\u2019 lived experiences and cultural knowledge. I\u2019ve continued to research how this pedagogy works in various contexts with children through adults.<\/p>\n

I believe that part of the culture at CC encourages people to try new things.\u00a0 Course development grants and other funding opportunities provide resources and permission to cultivate and apply innovative ideas.<\/p>\n

What\u2019s\u00a0exciting\u00a0to\u00a0you about your role in C&I this year? What do Creativity and Innovation as broader themes\u00a0mean to you when it comes to your role this year?\u00a0<\/strong><\/p>\n

I’m so excited to be working with faculty and students across disciplines.\u00a0 I spend time with professors to converse about their course goals; then we work together to construct a creative component that aligns with their objectives.<\/p>\n

I enjoy divergent thinking and the challenge of connecting abstract concepts to something concrete. Students talk about how motivating it is to have the freedom to generate ideas.\u00a0 Granted, it takes a certain kind of risk, often putting oneself in a vulnerable position to share thoughts that might seem outlandish. The creative process can feel unsettling. But the discoveries that come from relating random ideas to prior knowledge can lead to unique and meaningful learning. There is power in understanding that failure is simply part of a process and that iteration leads to better outcomes. Creative methods and approaches, while maybe uncomfortable at first, have a real way of freeing us from the ways of thinking that we’re locked into for whatever reason.<\/p>\n

When people understand that they can bring their whole selves to discussions,
\nassignments, or group work, collectively more opportunities and options arise. When
\nwe compassionately listen to each other, we increase the realm of possibilities based on the fact that each unique person brings different ideas.<\/p>\n

What are some of your hopes and dreams for the academic year when engaging students, and what is something that you want to accomplish?<\/strong><\/p>\n

I have questioned how to provide sustainable creative components for courses, in addition to the single visits I often have with a class.\u00a0 Trying to go beyond one visit was an issue in my community-based learning courses as well as school visits at the Fine Arts Center. I\u2019m interested in how we can create something that can be used throughout an entire course, as well as how we can provide an option for students to utilize creative methods across blocks, across semesters, and across disciplines.<\/p>\n

As an educator of art and creativity, and now innovation, do you engage in any creative practices yourself?<\/strong><\/p>\n

Yes, all the time. I explore various crafts, making things that are basically for myself.\u00a0 I find such joy when I try new processes. For example, I took a workshop that Melanie Yazzie offered a few years ago when she was a visiting artist. She taught printmaking with gelli plates and stencils. I\u2019m enamored by the process and am experimenting with the materials to get different results.<\/p>\n

I often ask myself, \u201cWhat more?\u201d as opposed to \u201cwhat else?\u201d There’s a distinction. Years ago, Jessica Hunter introduced me to Visual Thinking Strategies, which repeatedly asks us \u2018What more we can find when we look at a work of art?” I use that as kind of an underlying philosophy in many ways; \u2018what more\u2019 can be found?<\/p>\n

I actually collect ampersands in a variety of sizes and materials; they remind me to think about ‘what more.\u2019 I play with all sorts of mediums, which then becomes a creative challenge. How can I take random, disparate methods, and put them together? I can find such flow when immersed in the textures, shapes, and colors of beads. I then try to figure out how to combine them with copper pipe, ceramic pieces, or gelli prints until I find something that feels pleasing to me.<\/p>\n

Do you have advice you’d like to share with the Colorado College community at this time, whether it be in regard to creativity or something\u00a0 else that you find important?<\/strong>
\n<\/span><\/span><\/p>\n

I hope that we as a campus learn how to sit in things that are uncomfortable and remain open to possibilities. We need to figure out how to\u00a0 hold space for things beyond our own experience. The creative process can help us practice this capacity.\u00a0 It is exciting to think about where we could then go as a community.\u00a0\u00a0 So, my advice – to myself as well –\u00a0 is to risk failure, to be vulnerable and to create a wide variety of options as a way to begin to address challenges.<\/span><\/span><\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/p>\n\n\n
<\/p>\n\n\n\n
\n\n\n\n
\n
Creativity & Innovation\u2019s\u00a0Innovators in Residence\u00a0Connect Creative Minds<\/span><\/span><\/strong><\/p>\n

Jessica Hunter, Associate Director of Creativity & Innovation<\/strong><\/span><\/span><\/span><\/div>\n


\nSince its inception in 2016, the Innovator in Residence program has quickly become one of Creativity & Innovation\u2019s signature programs. Our goal is to embed creative professionals from a range of fields deeply into the Colorado College community. The residency is flexible in duration and scope. It allows for structured and spontaneous teaching opportunities and collaborations with faculty, staff, and students. We\u2019ve hosted a diverse group of Innovators who represent a wide variety of professional and personal backgrounds, including activists, artists, architects, designers, filmmakers, scientists, and spiritual leaders. Across this diversity, Innovators share characteristics of flexibility, curiosity, and the desire to work collaboratively.<\/p>\n

As part of their residencies, Innovators work closely with faculty to develop activities and assignments that support students to engage their creativity and make dynamic connections between ideas. Notable curricular collaborations in our first five years include: sound composer Reiko Yamada working with professor Sara Hanson\u2019s Molecular Biology students to translate yeast RNA into musical scores; game designer and theater professional Janani Balasubramanian working with Physics professor Natalie Gosnell and a student group to iterate and test an astrophysics-based immersive theater piece; Dr. Bon Ku discussing principles of Heath Design Thinking with students in science and art classes; and interdisciplinary artists Senga Nengudi, Eddy Kwon, Crow Nishimura, and Joshua Kohl conducting workshops that explore individual and collaborative creativity for students in multiple courses.<\/p>\n

We are delighted to welcome our Innovators in Residence for academic year 2021-2022. For more information about upcoming Innovators or explore ideas for collaborations, please contact Associate Director Jessica Hunter at\u00a0jhunter@coloradocollege.edu&nbsp<\/a>;or 719-389-7083\u00a0<\/span><\/span><\/span><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n

Michelle\u00a0Gabrieloff-Parish\u00a0(\u201900)
\nBlock 3, 2021<\/strong>\u00a0<\/em><\/span><\/span><\/p>\n

Michelle<\/strong>\u202f has over\u00a020 years of experience uniting the fields of sustainability, justice, culture, nature, and art. She serves on the leadership council for\u00a0the\u00a0food justice organization\u00a0\u201cFrontline Farming.\u201d She is\u00a0the founder of\u00a0\u201cCandelas Glows,\u201d\u00a0a community group\u00a0that\u00a0raises\u00a0awareness about the\u00a0nuclear superfund site\u00a0Rocky Flats. She served as a\u00a0US\u00a0delegate for the Colorado River in Mexico and is a former\u00a0US\u00a0State Department\u00a0BoldFood\u00a0fellow in Uganda. While Assistant\u00a0Director for Energy and Climate Justice at the University of Colorado Boulder,\u202fMichelle\u202f created\u00a0projects\u00a0that\u00a0partnered\u00a0students and low-income community members for sustainability projects and green job\u00a0training. She\u00a0co-founded the\u00a0\u201cJust Transition Collaborative\u201d\u00a0to\u00a0advocate\u00a0for equitable\u00a0climate\u00a0policies in local governments. As Senior Program Manager for Climate Innovation\u00a0at Movement Strategy Center,
\nMichelle \u202ffacilitates community-driven planning\u00a0using\u00a0transformative community and ecological design tools.\u00a0Her poetry was\u00a0featured in the Jaipur Literary Fest and\u00a0at\u00a0the Joanna Macy Center. She\u00a0is\u00a0also\u00a0a featured poet in \u201cThe Dreamer\u201d\u00a0room at\u00a0Meow Wolf,<\/em>\u00a0Denver.\u00a0<\/span><\/span><\/p>\n

For more information,\u00a0visit:\u00a0<\/span><\/span>
\nhttps:\/\/www.coloradocollege.edu\/other\/facesofinnovation\/people\/michelle-gabrieloff-parish.html<\/span><\/a><\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/p>\n

Warm Cookies of the Revolution\u202fCommunity almanac on Food Justice<\/span><\/a>\u00a0<\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n

Teresa\u00a0Cavazos\u00a0Cohn<\/strong>\u00a0\u201896
\nBlock 4, 2021<\/strong><\/span><\/span><\/span><\/p>\n

Teresa<\/strong>\u00a0is an Associate Professor in the University of New Hampshire\u2019s Department of Natural Resources and the Environment\u00a0and\u00a0a climate change fellow at the Harvard Divinity School. She is also\u00a0a co-founder of the\u00a0\u201cConfluence Lab,\u201d\u00a0which \u202fbrings together scholars in the humanities and sciences with community members to engage in environmental issues in rural communities.\u00a0Teresa\u202f is a geographer
\nspecializing\u00a0in\u00a0hydrosocial\u00a0relations, emphasizing\u00a0Tribes of the Western United States, human dimensions of fire, science communication,\u00a0and the environment. Her research and outreach projects have been funded by the National Science Foundation, NASA,\u00a0and Milkweed Press.\u00a0Teresa earned her\u00a0BA\u00a0from Colorado College, an\u00a0M.S.c\u00a0from Schumacher College, and a\u00a0Ph.D.\u00a0from Montana State\u00a0University.\u00a0\u00a0<\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n
\n

 <\/p>\n

Jessica Lynne
\nJ Block, 2022<\/strong><\/span><\/span><\/div>\n

Jessica\u00a0<\/strong>is a writer and art critic. She is a founding editor of ARTS.BLACK, an online journal of art criticism from Black perspectives. Her writing has been featured in Art in America,\u202f The Believer, \u202fFrieze,\u00a0and\u00a0The Nation.\u202f She is the recipient of a 2020 Research and Development award from the\u202f Graham Foundation for Advanced Studies in the Fine Arts\u202fand\u00a0a\u00a02020 Arts Writer Grant from The Andy Warhol Foundation. She is currently\u00a0working\u00a0on a collection of essays about faith, art, and the\u00a0US\u00a0South.\u00a0\u00a0<\/em>Her podcast\u00a0series\u00a0Care + Criticality\u00a0<\/em>animates the various forms that criticism may occupy in contemporary art.<\/p>\n

For more information,\u00a0visit:\u00a0<\/span><\/span>
\nhttps:\/\/www.jessicalynne.co\/<\/span><\/a><\/span><\/span>\u00a0<\/em><\/span><\/span><\/span><\/a><\/p>\n

https:\/\/arts.black\/<\/span><\/a><\/span><\/span>\u00a0<\/em><\/span><\/span><\/span><\/a><\/p>\n

https:\/\/open.spotify.com\/show\/6B8BhfkDAfGvWW0x6YL8lY?si=l8AtL76rQl6mEsfvGOZg9A&nd=1<\/span><\/a><\/span><\/span>\u00a0<\/em><\/span><\/span><\/span><\/a><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n
\n

Myra Jackson, Mindfulness Resident
\nBlocks 5 & 6, 2022<\/strong><\/span><\/span><\/span><\/p>\n

Myra Jackson,<\/strong>\u00a0often described as a Renaissance woman, has enjoyed a diverse array of hefty careers as an Electrical Engineer, Organizational Development Professional, Systems Thinker,\u00a0and Master Trainer. She has lived abroad and studied many of the\u00a0world\u2019s\u00a0religious and spiritual traditions in service to her lifelong fascination with the belief structures and cosmologies that captivate people and inform their lives. She holds the title of Diplomat of the Biosphere awarded by Stockholm Resilience Centre. Linking local and global policy-making, she is a founding wisdom council member of the\u00a0Gaiafield\u00a0Project and Subtle Activism Network. She is also a senior advisor\u00a0on Whole Earth Civics and Focal Point on Harmony with Nature with\u00a0Geoversiv\u00a0Foundation.\u00a0<\/strong>As\u00a0UN\u00a0Permanent Representative in New York, Myra serves as the focal point on climate change for the Commons Cluster of NGOs. She recently facilitated Oprah\u00a0Winfrey\u2019s\u00a0Belief series initiative as an official program of the United Nations hosted by the President of the General Assembly in October 2016.\u00a0\u00a0<\/span><\/span><\/span><\/p>\n

For more information,\u00a0visit:<\/span><\/span><\/span>
\nhttp:\/\/www.harmonywithnatureun.org\/profile\/oSwERVRwv+nXh1UiDPCF+pKW7!IOKdUj4ywK4mRHJ27ioDrhI5XnBzevo6JHihNyFmgrqinuoiMI98nPSDovsA==<\/span><\/a><\/span><\/span>\u00a0\u00a0<\/span><\/span><\/span><\/a><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n

Erin Elder
\nBlock 8, 2022<\/strong><\/span><\/span><\/p>\n

Erin Elder<\/strong>\u00a0is an artist, curator,\u00a0and writer\u202fguided by interests in land use, experimental collaboration, and non-traditional modes of expression. Her research-driven projects take highly participatory forms, working with a broad definition of art to bring audiences into a direct experience of particular places.\u00a0Underscoring
\nErin\u2019s\u00a0work is a commitment to the creative process and direct support for artists. From 2009 – 2013, she cooperatively founded and directed PLAND, an off-the-grid residency program near Tres Piedras, NM. From 2012 – 2015, she was the Visual Arts Director at the Center for Contemporary Arts in Santa Fe, where she curated 50+ exhibitions and many public programs. Under her direction, the program worked directly with artists on exhibitions of new work designed specifically for the unique gallery spaces at CCA.\u202f\u00a0Erin is contributing faculty at\u00a0several\u00a0universities\u202fand colleges and\u202fserves on several arts boards in Albuquerque.<\/p>\n

For more information,\u00a0visit:\u00a0https:\/\/www.erinelder.com\/<\/span><\/a>\u00a0\u00a0<\/span><\/a><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n
\n
\n

Queer Nature
\nBlocks 7 & 8 ,\u00a02022<\/strong><\/span><\/span><\/span><\/p>\n

Queer\u202f Nature is an education and social sculpture project based on Arapaho, Ute, and Cheyenne territories that actively dreams into de-colonially-informed\u202fqueer
\n\u2018ancestral futurism\u2019\u00a0through mentorship in place-based skills with awareness of post-industrial\/globalized\/ecocidal\u00a0contexts. Place-based skills include naturalist studies, handcrafts,\u00a0\u201csurvival skills,\u201d\u00a0and recognition of colonial and indigenous histories of land and are framed in a container that emphasizes deep listening and relationship building with living and non-living earth systems. Co-envisioned by\u00a0Pinar\u00a0Ate\u015f
\nSinopoulos-Lloyd\u00a0and So\u00a0Sinopoulos-Lloyd,\u202fQueer\u202fNature designs and facilitates nature-based workshops and multi-day immersions\u00a0that are\u00a0financially, emotionally, and physically accessible\u00a0to\u00a0LGBTQI2+ people and QTBIPOCs.<\/p>\n

For more information, visit\u00a0<\/span>https:\/\/www.queernature.org\/<\/span><\/a>\u00a0\u00a0<\/span><\/a><\/span><\/span><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
<\/p>\n\n\n\n
\n
Alum Spotlight: Alana Aamodt and Anna Gilbertson<\/span><\/span><\/span><\/strong><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n\n
\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n

<\/p>\n\n\n\n
\n\n\n\n
\n\n\n\n
<\/p>\n\n\n\n
Momentix<\/span><\/a> won the Big Idea in 2019 and are based in Denver. They make toy kits that use chain reactions to teach critical engineering and design skills to kids. In their current <\/span>Kickstarter<\/span><\/a>, <\/span>they have far surpassed their goal.\u00a0<\/span><\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n

\n\n\n\n
\n\n\n\n
<\/p>\n\n\n\n\n
Momentix is continuing their exciting momentum with a feature on Westword. This article touches on the foundation of their idea, their product, as well as the importance it holds in our society.\u00a0<\/span><\/span><\/span><\/p>\n

Read the article here<\/span><\/a>!<\/span><\/u><\/span><\/span><\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n

<\/p>\n\n\n\n
\n<\/p>\n\n\n
<\/p>\n\n\n\n
\n\n\n\n
\n
Faculty Spotlight Interview with Liliana Carrizo<\/strong><\/span><\/span><\/p>\n

\u00a0Jessica Hunter, Associate Director Creativity & Innovation<\/span><\/span><\/strong><\/span><\/div>\n


\nI have been fortunate to work with many professors who teach innovative classes in my time at Colorado College. As a former CC student, I am frequently tempted to drop everything and join a class for the duration of the block. Professor Liliana
\nCarrizo\u2019s\u00a0CC100\/120 course,\u00a0Music, Food, and the Senses,<\/em>\u00a0is one such class.<\/p>\n

In Blocks\u00a01and\u00a02, three C & I team\u00a0members\u00a0have had the opportunity to work with\u00a0this class, which brings together\u00a0ethnographic\u00a0and literary\u00a0studies
\nwith\u00a0acoustemology\u00a0to examine the engagement of sound and human sensory systems across a range of global\u00a0contexts. Over two blocks, students explore the sonic, visual, tactile, and culinary practices among different individuals and communities as a way of understanding\u00a0how\u00a0musical and culinary expression
\nintertwine with memory, migration, and resistance.<\/p>\n

I sat down with Liliana\u00a0to talk\u00a0about the philosophies that undergird the course and how it intersects with her own research.\u00a0I\u2019m\u00a0delighted to share excerpts from our conversation.<\/p>\n

Jessica Hunter:<\/strong> What motivated you to develop this course?<\/p>\n

Liliana Carrizo:<\/strong>\u00a0It\u2019s\u00a0very inspired by what I write about and what I do as a researcher.\u00a0Everything that I do is rooted in sensorial\u00a0and musical\u00a0embodiment, cultural understanding,\u00a0and\u00a0belonging.\u00a0A lot of my\u00a0research\u00a0addresses\u00a0how songs follow pathways of migration.\u00a0You\u00a0can write alternative histories of human movement and\u00a0experience\u00a0by\u00a0following\u00a0the paths of songs\u00a0or recipes.\u00a0\u00a0So, the idea for the course came from\u00a0me asking myself,\u00a0\u201cWell, what if I applied\u00a0that kind of lens of inquiry\u00a0while working with\u00a0students?\u201d<\/p>\n

JH:<\/strong> \u00a0How does the course unfold over two blocks?<\/p>\n

LC:<\/strong>\u00a0I\u00a0begin\u00a0the class by introducing students\u00a0to\u00a0ethnographic theory\u00a0—\u00a0I kind of front-load the course with that. And then,\u00a0we\u00a0take the theories\u00a0and dig deep\u00a0by
\ntracing the\u00a0paths\u00a0of recipes\u00a0and songs\u00a0in our own lives.\u00a0This involves a lot of self-reflection, writing, and discussion\u00a0so that we\u00a0understand\u00a0ideas and experiences intuitively\u00a0and\u00a0intellectually. This is really where I resonate with what you all do at Creativity &\u00a0Innovation. I think that it is\u00a0essential\u00a0to create space for intuitive and creative understanding.<\/p>\n

Once\u00a0we\u2019ve\u00a0done a lot of internal work to figure out what these theories mean and how they play out in our own lives, we move it outwards. We start to ask,\u00a0\u201cWhat does community-responsive work look like in terms of ethnography? How do we apply the methods of listening\u00a0we\u2019ve\u00a0learned as we take our lens outwards?\u00a0What does it really mean to listen?\u201d\u00a0So, listening to other people, centering other voices, becomes
\nessential. And this is where we start bordering on\u00a0social justice issues: how do we amplify the voices of marginalized communities?<\/p>\n

In the third week of block\u00a01 in collaboration with four different CC100 classes, we had\u00a0a\u00a0large event focused on music, food, and social justice. The event featured
\nthe\u00a0Chicanx\u00a0bands\u00a0Los\u00a0Mocochetes<\/em>\u00a0and\u00a0The Pink Hawks<\/em>\u00a0from Denver,\u00a0who do a lot of work in\u00a0musical\u00a0education and social justice.\u00a0And,\u00a0we partnered with\u00a0CC Professor\u00a0Florencia\u00a0Rojo\u00a0and\u00a0Food to Power, as well as\u00a0the Mobile Arts Truck. Together we started to brainstorm and envision\u00a0how\u00a0we can\u00a0reflect on music and foodways as forms of knowledge that can also serve as sites of resistance to protest systems of inequality\u00a0and enact social change. What future possibilities do they allow us to envision beyond our current place of social inequality?<\/p>\n

JH:<\/strong> What has excited you about this class\u00a0so far?<\/p>\n

LC:<\/strong>\u00a0I\u2019ve\u00a0been pushing the boundaries of what we consider\u00a0academic practice and\u00a0constantly\u00a0encouraging\u00a0the students to take risks.\u00a0I\u2019ve\u00a0tried to approach this\u00a0from a\u00a0place of respect and care.\u00a0So,\u00a0I\u2019m\u00a0always privileging vulnerability\u00a0while\u00a0supporting
\nstudents to step\u00a0outside\u00a0of purely analytical thinking and\u00a0learning and embrace theory from an embodied perspective.<\/p>\n

At the end of block 1, the students produced ambitious creative projects that
\nsynthesized\u00a0all that\u00a0they\u2019ve\u00a0been learning, thinking, and feeling. The projects took a wide variety of forms, including an\u00a0ethnographic\u00a0audiobook,\u00a0a\u00a0synesthetic biography of David Bowie through a series of drawings, and\u00a0the creation of a\u00a0fictional ethnographic world accompanied by three\u00a0original\u00a0songs. The students really ran with the creative project!<\/p>\n

I could sense in the early weeks that the students had some fear-based reactions to this open-ended creative project that engages the\u00a0course\u2019s\u00a0theories. It was a big experiment because I also\u00a0hadn\u2019t\u00a0done something like this before.\u00a0It\u00a0was extremely helpful to have the\u00a0staff\u00a0from Creativity & Innovation come in and help the students start to access their creative ideas. It got the wheels rolling.<\/p>\n

JH:<\/strong> What is coming up in block 2?<\/p>\n

LC:<\/strong> The CC120 portion of the class is a writing seminar\u00a0in which we will continue to\u00a0play\u00a0with the ideas of compassionate listening and empathic ways of knowing to learn about the human condition.\u00a0I see at the forefront of ethnographic disciplines like anthropology and ethnomusicology work that intersects with creative nonfiction. And I think\u00a0that\u2019s\u00a0what\u2019s\u00a0helping to decolonize these disciplines because\u00a0we\u2019re
\nthrowing away this antiquated idea of an objective knower\u00a0who\u00a0can\u00a0tell a story from an\u00a0outsider\u2019s\u00a0perspective.\u00a0So,\u00a0we will refer back to some of the questions we explored in block one: What does it really\u00a0mean\u00a0to listen and amplify the voices of people who\u00a0don\u2019t\u00a0usually get to tell the stories? And what perspectives emerge when we make space for those stories to be told?\u00a0Block two asks students to start looking deeply at those themes in terms of self-reflection\u00a0in an even more concentrated way.<\/p>\n

Ultimately, the goal is\u00a0for\u00a0students\u00a0to\u00a0produce a large body of written work by the end of the block that answers the question,\u00a0\u201cWhat does your life look like if told from the perspective of music and song?\u201d\u00a0It\u2019s\u00a0an auto-ethnographic dive deep, and\u00a0it\u2019s
\ncreative.<\/p>\n

JH:<\/strong> What do you hope the students will take away from this class?<\/p>\n

LC:<\/strong> They may come out of this class excited to write an academic ethnographic paper, or they might also want to write a podcast or write a blog.\u00a0I\u2019m\u00a0hoping that the\u00a0course\u00a0will offer them tools that are transferrable in a\u00a0relevant way\u00a0that will serve them.\u00a0Most of these students\u00a0probably\u00a0won\u2019t\u00a0go to musicology grad school. Still, they\u00a0will likely apply their skills to personal essays, blog posts, websites, memoirs, travel writing, literary journalism, or even cultural criticism.\u00a0\u00a0So,\u00a0I\u2019m\u00a0always asking myself, how can I apply the tools of the discipline in a way\u00a0that\u2019s\u00a0helpful for\u00a0the students, long-term?\u00a0<\/span><\/span><\/span><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
<\/p>\n\n\n\n
View this email in your browser Newsletter Block 2, Week 4, 2021 \u201cWhy is creativity important for culture? Because it is the main engine behind cultural change and transformation. Whenever old solutions no longer apply or new problems emerge, creativity is called upon to add, change, enrich, simplify or purely to beautify the world. And … <\/p>\n

Continue reading “Creativity & Innovation Newsletter, Block 2, Week 4”<\/span><\/a><\/p>\n","protected":false},"author":1534,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,1],"tags":[],"class_list":["post-128","post","type-post","status-publish","format-standard","hentry","category-creativity-innovation","category-email","entry"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/posts\/128","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/users\/1534"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/comments?post=128"}],"version-history":[{"count":2,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/posts\/128\/revisions"}],"predecessor-version":[{"id":133,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/posts\/128\/revisions\/133"}],"wp:attachment":[{"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/media?parent=128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/categories?post=128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/emailarchive\/wp-json\/wp\/v2\/tags?post=128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}