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World-renowned cellist Yo-Yo Ma to deliver final Week Seven morning lecture

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On Nov. 29, 1962, Yo-Yo Ma and his sister Yeou-Cheng Ma were preparing to take the stage at a benefit concert for what was to become the John F. Kennedy Center for the Performing Arts.

With many luminaries of politics and the arts in attendance, Leonard Bernstein introduced the duo with a description of the scene.

Yo-Yo Ma

“Now here’s a cultural image for you to ponder as you listen: a 7-year-old Chinese cellist playing old French music for his new American compatriots,” Bernstein said.

Fifty-five years later, much has changed for Ma, but Bernstein’s depiction of the cellist as a symbol of multiculturalism still rings true. Ma remains one of the world’s most prominent symbols of cultural openness and global collaboration.

At 10:45 a.m. Friday, Aug. 10, in the Amphitheater, Ma will deliver the final morning lecture of Week Seven’s theme, “The Arts and Global Understanding.”

That concert in 1962 marked the public beginning of Ma’s journey to musical superstardom. Five thousand people were in attendance, including President John F. Kennedy and First Lady Jacqueline Kennedy, and thousands more watched on closed-circuit telecasts in cities around the country.

Now, the cellist is 62 and an American citizen, and he’s recorded dozens of albums that range far beyond old French music, from Brazilian bossa nova to Appalachian bluegrass. His work through the Silkroad Ensemble has brought together musicians from all over the world, and his upcoming tour of Bach’s six cello suites will take him to all six continents.

“I think few voices can speak with such power as Yo-Yo Ma to the larger role of music in our personal lives, in our communities and around the world,” said Matt Ewalt, Institution chief of staff.

For Ma, music has always been part of a larger interest in human life and culture. In a 2016 interview for “On Being” with Krista Tippett, Ma said that music is an entry point for broader investigations.

“I think my lifelong preoccupation in the human realm has always been, ‘Who did it, and why?’” Ma said.

When Ma was 16, he decided to take that question seriously by attending Harvard University, where he took many classes in anthropology. That meant forgoing a conservatory education, a somewhat unusual choice for a young musical prodigy.

Ma’s time at Harvard would lay the groundwork for everything that would come after, he said in a 2014 interview at Harvard’s John F. Kennedy School of Government. Ma said that there are benefitts of deeply focused and narrow work, such as learning to play an instrument at the highest possible level. But by the time he got to Harvard, Ma said the cello was already “a game I (knew) how to play.”

At Harvard, he was able to study much more than just the cello, and he could place his musical career in the broader context of the human experience — something that still informs his worldview today.

“But you also need to come out of that hole and look at the world, and I think, for example, what culture and the arts do is it stimulates all of your senses and brings a greater awareness of your everyday environment,” Ma said in the interview. “ … It’s one thing to understand your own process, but it’s even more important to understand someone else’s.”

Daniel Mach discusses discrimination in Supreme Court rulings

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Although the baker won the battle in Masterpiece Cakeshop v. Colorado Civil Rights Commission, Daniel Mach believes he left empty-handed in the war. And he would know. As a member of the prosecuting side, Mach was on the front lines.

At 2 p.m. Wednesday, Aug. 8, in the Hall of Philosophy, Mach, director of the American Civil Liberties Union’s Program on Freedom of Religion and Belief and adjunct law professor at the George Washington University Law School, gave his lecture, “Masterpiece Cakeshop and Beyond: Discrimination and Religious Liberty in the Supreme Court,” as part of Week Seven’s interfaith theme, “Let Them Eat Cake? Defining the Future of Religious Freedom in the U.S.”

In Masterpiece, Mach represented the same-sex couple David Mullins and Charlie Craig at the Supreme Court level.

In July 2012, Craig and Mullins visited Masterpiece Cakeshop with Craig’s mother to order a cake for their upcoming wedding reception. However, the bakery owner, Jack Phillips, informed them that the bakery wouldn’t sell wedding cakes to same-sex couples, but would make and sell them any other baked goods.

Mach said the most important thing to note about the interaction was that Phillips gave the couple a “blanket rejection” on the spot.

“There was no discussion of what the cake would look like; there was no suggestion that there need be a specific message or any writing whatsoever,” he said. “The rejection came upfront at the mere notion that because of who you are, you are not getting a wedding cake.”

In response, the ACLU sued and asserted that Colorado’s civil rights laws had been violated.

When the case reached the U.S. Supreme Court, the bakery argued that the constitutional protections for free speech and the freedom of religion gave it the right to discriminate and violate the civil rights law with impunity, Mach said.

In terms of the bakery’s free speech argument, both the bakery and the Trump administration argued that the baker’s wedding cakes were “expressive products,” Mach said.

“Because of that, (Phillips claimed) that requiring him to make one for a same-sex couple would unconstitutionally compel him to convey a view with which he disagreed,” Mach said.

According to Mach, an exemption like what Phillips requested would have novel consequences.

“There is seemingly an endless list of businesses that could claim a similar exemption,” he said. “Book sellers, tailors, nail salons, lawyers, chefs, all offer expressive goods and services. Even the Subway sandwich chain calls their employees sandwich artists.”

Therefore, the bakery’s defense team had to come up with a way to limit which businesses qualified as expressive and which did not.

On the other hand, the ACLU’s defense did not depend on any “line drawing.”

“In our view, businesses producing expressive products are not immune from anti-discrimination laws. Businesses don’t have to affirm a message they believe in; they just have to treat customers equally.”

-Daniel Mach, Director, ACLU Program on Freedom of Religion and Belief

As for the bakery’s freedom of religion argument, Mach said this stance was much more difficult to uphold because the law of religious exercise, as interpreted by the Supreme Court, is far less protective of religious exercise than it is of free speech.

For decades, laws that burden religious exercise have been upheld by the courts as long as those laws are “neutral and generally applicable,” Mach said.

“Basically, as long as they were not written with the aim of suppressing religious exercise, and as long as they are applied neutrally by the state body and all across the board, they will be upheld,” he said.

Mach said the bakery did not “win big” with this argument either.

“In its decision, the court made clear that businesses do not have a blanket right to discriminate,” Mach said.

Instead, the court ruled that in the unique facts of the case, the process by which the Colorado Civil Rights Commission addressed that issue was tainted by anti-religious animus, and the bias independently violated the baker’s rights.

“It is an incredible stretch, says this neutral, unbiased observer,” Mach said.

Mach believes the animus findings rested on three pieces of “paper-thin evidence.”

First, in public hearings on the Masterpiece case, one of the seven civil rights commissioners said, “It is one of the most despicable pieces of rhetoric that people can use to use their religion to hurt others.”

Next, the Supreme Court mentioned another commissioner’s statement saying the baker can believe whatever he wants to believe, but he can’t act on that belief if he decides to do business in this state.

The final piece of evidence was the state civil rights commission’s refusal to pursue complaints against three other bakeries that refused to make a Christian activist’s cakes with anti-gay messages.

In 2014, William Jack went to a bakery in Denver and asked for two cakes, both in the shape of an open Bible. On one, he asked the bakery to write “God loves sinners” and “While we were yet sinners Christ died for us. Romans 5:8” and to include an illustration of two men holding hands in front of a cross, covered with what Jack described as a “Ghostbusters symbol,” a red circle with a line through it to show that such unions are “un-Biblical.” On the other cake, he wanted “Homosexuality is a detestable sin. Leviticus 18:22” written on one side of the Bible and “God hates sin. Psalm 45:7” on the other.

Mach believes using Jack as a piece of evidence “amounts to nothing” because those bakeries would have declined to make those cakes for any customer, regardless of their faith.

“There was simply no discrimination and no violation of the law,” he said. “Change William Jack’s faith, and he still wouldn’t have gotten his anti-gay cakes, but change the sexual orientation of Craig and Mullins and Masterpiece Cakeshop would have provided a cake.”

However, the Supreme Court claimed there was enough bias to make its decision in favor of Phillips. Mach said this conclusion was remarkable, especially in comparison to a contrary decision in a case a few weeks later.

“Although the Court bent over backwards to find anti-religion animus in the Masterpiece case, that same month the Supreme Court ignored far more compelling evidence and egregious religious hostility in upholding President Trump’s Muslim travel ban,” Mach said. “In the face of Trump’s repeated, unambiguous statements condemning Muslims and Islam, the court essentially gave the president a free pass to vilify an entire faith and then enshrined that bigotry into federal law and national immigration policy.”

After making a central campaign promise of a total and complete shutdown of Muslim immigration, Trump issued a series of travel bans using territory as a proxy for religion and imposing indefinite entry restrictions on the individual Muslim countries, Mach said.

In contrast to the Masterpiece case, the evidence of anti-religious animus in the Muslim ban case was “colossal.”

“It was unambiguous, and it all flowed from the president himself,” he said. “The buck stopped with Trump, and he made it absolutely clear what he thought. Neither the president’s lawyers nor any member of the majority of the Supreme Court ever tried to argue that the mountain of evidence was innocent and the president had not displayed hostility toward an entire group. They didn’t even try. They couldn’t.”

Instead, the court concluded that it was justified because the ban arose in the context of immigration combined with national security.

“In other words, as long as Trump claimed a non-religious reason for implementing that policy, as long as it was plausible, then the court will treat the president’s unequivocal, explicit anti-Muslim statements as irrelevant,” Mach said.

In the end, Mach believes it is evident that the Supreme Court went “out of its way” to recognize an opposite set of criteria than it did with Masterpiece, and the outcome poses a continuous threat to tolerance and religious belief in America.

So, where will it go from here? Mach said it is too early to tell.

“I would like to think that the administration would also care about the faiths of customers turned away by businesses simply because of who they are and who they love,” he said, “or that administration would care about civil rights laws that it is responsible for enforcing fairly and equally. But as I wrap up this afternoon, I am not getting my hopes up.”

Galician bagpiper Cristina Pato to join CSO for U.S. premiere of “Widows of the Living and of the Dead”

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Rossen Milanov conducts the Chautauqua Symphony Orchestra in a performance of Prélude à l’après-midi d’un faune on Thursday, August 2, 2018, in the Amp. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER

Cristina Pato knows what to expect when she tells people what she does for a living: a generous smile and lots of questions.

Pato is one of the world’s preeminent gaita (Galician bagpipes) players, an unusual profession to say the least. She’s accomplished both as a soloist on the instrument and as a member of the Silkroad Ensemble, which is in residence at Chautauqua Institution this week.

At 8:15 p.m. Thursday, Aug. 9, in the Amphitheater, Pato will join the Chautauqua Symphony Orchestra and Music Director Rossen Milanov for the U.S. premiere of Octavio Vázquez’s concerto for Galician bagpipes and orchestra, “Widows of the Living and of the Dead.” After intermission, Milanov and the CSO will perform Tchaikovsky’s Manfred Symphony in B-minor, op. 58. Musicologist David Levy will give a pre-concert lecture at 6:45 p.m. Thursday, Aug. 9, in the Hurlbut Church sanctuary, joined by Vázquez and Pato.

Cristina Pato

Pato began playing the gaita when she was 4 years old, at a time when the instrument was a symbol of communal identity in her homeland of Galicia, a region in northwestern Spain. Pato was born shortly after Spanish dictator Francisco Franco died, and Galician cultural artifacts — such as the gaita — were undergoing a revival.

“Playing bagpipes (in Galicia) in the ’80s was pretty much the thing to do. Either you played soccer or you played bagpipes, and I chose bagpipes,” Pato said. “Just to give you an idea, I come from a city of 100,000 people, and 10,000 of them in my generation were involved in bagpipes somehow. It was very popular.”

The gaita was not new by any means in the ’80s — according to one scholar, references to the bagpipes appear as early as the Old Testament. Americans are likely to recognize the Celtic bagpipes, Pato said, but the gaita has been the traditional instrument of shepherds throughout Europe and parts of Africa and Asia for centuries.

The gaita, Pato said, has been portrayed throughout history as an instrument traditionally played by men. There were female gaita players, according to Pato, but they were less visible in historical accounts.

Pato changed that in 1998 when she released her solo gaita album, becoming the first woman to do so.

“When I released my first album 20 years ago as a bagpiper, it was just because I was happy to do the music I liked to do, which was a mixture of pop and rock and heavy metal with the bagpipe,” Pato said. “All of the sudden, that became my career.”

Soon afterward, Pato was playing 100 shows a year as a solo bagpiper. She didn’t expect this career path; Pato had been training as a classical pianist for years, ultimately earning her doctorate in collaborative piano from Rutgers University.

“I always felt there was some sort of wall between folkloric music and classical music. I can do things with the bagpipes that I cannot do with the piano and the other way around,” Pato said. “I’ve enjoyed being able to navigate between those two worlds and find the connections and beauty in both.”

Through her engagements as a pianist, bagpiper and member of Silkroad Ensemble, Pato has been exploring those connections for over a decade. About 10 years ago, she began the Gaita and Orchestra Commissioning Project, an effort to fund music for her instrument and orchestra.

The piece she will perform this evening — Vázquez’s “Widows of the Living and of the Dead” — is a result of that project. The title comes from Follas novas (Fallen Leaves) by poet Rosalia de Castro, whom Pato describes as the muse of Galician culture.

The piece is an ode to Galicia’s history of women upholding Galician society after men left for war or to foreign countries for work. This was very common in the 19th century, and as a result, many women were left as the lone heads of their households.

“Metaphorically speaking, Galicia is a matriarchal society,” Pato said. “This concerto, because of (Vázquez’s) knowledge of my love of Rosalia de Castro, is focused on that particular story of powerful, strong women that have been carrying the history of Galicia for centuries, even though they were always invisible.”

For Vázquez, the story of Galician women carries both Galician and universal importance.

“It’s dedicated to these Galician women that moved forward in spite of the very harsh conditions they had, so it’s an homage to their spirit,” Vázquez said. “But that homage is not an inward-looking thing; it extends to all women throughout history.”

Tchaikovsky’s Manfred Symphony will close the program. The symphony is a lesser known work of the composer’s and is not often performed.

Milanov said he doesn’t know exactly why that is, but he has a theory: the work clocks in at around 55 minutes, which is longer than would fit on a single LP. Milanov thinks this played a role in what pieces did and did not become popular throughout the 20th century.

Despite its relative obscurity, the Manfred Symphony is a personal favorite of Milanov’s. It’s incredibly rich, he said, with intense and dramatic opening and closing movements and middle movements that represent “beautiful studies in orchestration.”

“Tchaikovsky had the audacity to really show his innermost world to the audience from the stage without wearing some sort of a mask,” Milanov said. “That’s something quite unique, and I think sometimes people do not fully appreciate how much personal importance it was to Tchaikovsky to have that ability of sharing very personal, emotional content.”

Andrew Russeth to explore the impact of visual arts on lecture platform

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Andrew Russeth will speak at 10:45 a.m. Thursday, August 9, in the Amphitheater on why art, in all its various forms, is essential to everyday life.

Russeth is an art critic rooted in New York and the co-executive editor of ARTnews. Russeth’s blog, “16 Miles of String” has been supported by the Warhol Foundation of Arts Writers Grant Program.

“In this week focused on art and cross-cultural understanding, Russeth turns our attention to the visual arts, using contemporary art on the Amp stage,” said Matt Ewalt, Institution chief of staff, “much like Silkroad has done with music throughout the week — to help us explore examples and consider the impact of cross-cultural artistic collaboration and dialogue.”

Russeth will be giving a broad overview as he discusses the recent visual arts that have caught his eye and the attention of many others.

“I will be looking at issues of migration and refugees through contemporary arts,” Russeth said. “Also, I will be looking historically at a few artists’ practices.”

Russeth also plans to touch on cultural appropriation within the art world.

“The hope is to throw out a bunch of interesting things that are important to me and the art world,” Russeth said. “If the takeaway could be ‘Art is really important, and it can play a real role in bridging communities and making people understand each other,’ that would be very exciting to me.”

There is so much art being made, and knowing that there is always “something new to see and learn” is what keeps Russeth excited about his work.

Russeth believes social media helps publicize art as it places it on a public platform.

“People used to have to wait until the latest copy of an art magazine to see new art,” Russeth said. “Now, people can go on Instagram as an art show is happening and immediately see photographs of works. Of course, that’s not the full experience; nothing compares to looking at a work in person. But in terms of sheer information and accessibility, we never have been living in a time like now and social media is really instrumental in that.”

According to Russeth, the art world is bigger; however, it is also more competitive.

“I will always take more art and more artists over a few artists,” Russeth said.

To anyone hoping to be an art critic, Russeth advises to “see a ton of art, talk to artists and learn.”

This will be Russeth’s first time at Chautauqua Institution.

“I wanted to come purely off the absolute sterling reputation (Chautauqua) has for putting on incredible programming,” Russeth said. “The fact that Yo-Yo Ma is involved is pretty incredible to me. He’s been a longtime role model of mine. I know everyone loves art at Chautauqua, so I can’t wait to meet everyone.”

Steven Smith explains the constitutional defenses that determined the Masterpiece Cakeshop case

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  • Steven Smith, co-executive director of the University of San Diego's Institute for Law and Religion, delivers his lecture "The Cake Artist and the 'Fixed Star in our Constitutional Constellation'" Tuesday, Aug. 7 in the Hall of Philosophy. DAVE MUNCH/PHOTO EDITOR

A 30-second conversation in a Colorado cake shop sparked six years of constitutional debate on local, state and national levels.

Although even the Supreme Court has now declared a definitive stance in Masterpiece Cakeshop v. Colorado Civil Rights Commission, Steven Smith still doesn’t believe there is any legal action that can crown either side completely victorious.

At 2 p.m. Tuesday, August 7, in the Hall of Philosophy, Smith, the University of San Diego Warren Distinguished Professor of Law, gave his lecture, “The Cake Artist and the ‘Fixed Star in Our Constitutional Constellation,’ ” as part of Week Seven’s interfaith theme, “Let Them Eat Cake? Defining the Future of Religious Freedom in the U.S.”

Masterpiece Cakeshop v. Colorado Civil Rights Commission consisted of three central figures: Jack Phillips, Charlie Craig and David Mullins.

First was Phillips, the owner of Masterpiece Cakeshop in Lakewood, Colorado.

“(Phillips) describes himself as a cake artist, and in this case that is not just over-promotion or puffing — he actually did study art and sculpture as a young man and decided early in his career that his artistic medium was going to be baked goods,” Smith said.

In addition to being an artist, Phillips is also a devout Christian.

“He believes that he should serve God in all aspects of his life and in particular, (prioritizes it) in his business,” Smith said.

Due to his decision to integrate his faith into his work, Smith said Phillips has declined many orders over the course of his career that express messages “contrary to what he believes to be God’s will.”

“He won’t make a cake that expresses an anti-American message, a racist message, and he has apparently turned down business for Halloween cakes because in his particular interpretation of Christianity, he sees inconsistencies there,” Smith said.

In addition to his other exclusions, Phillips has refused to make cakes for same-sex weddings on multiple occasions because he believes God’s will is the marriage between a man and a woman, Smith said.

Craig and Mullins are a same-sex couple whose businesss Phillips declined in July 2012.

Same-sex marriage was not yet legal in Colorado, so the couple planned to have their wedding in Massachusetts and return to Colorado for a celebratory reception. When they asked Phillips for a wedding cake, he said he could not make it based on his religious beliefs, but would make and sell them any other baked goods. Craig and Mullins promptly left without discussing any details of their wedding cake.

The following day, Craig’s mother called Phillips, and he told her the same information.

Craig and Mullins proceeded to file a complaint with the Colorado Civil Rights Commision.

“They argued that Phillips violated Colorado’s anti-discrimination act, which, among other things, prohibits discrimination in public accomodations on grounds of race, sex and sexual orientation, the prominent criteria here,” Smith said.

Phillips responded to the complaint, saying he had not violated the statute because he did not decline the cake based on the sexual orientation of the couple and raised a First Amendment defense.

In response to Phillip’s First Amendment argument, Smith posed a question: What does the free exercise of religion, guaranteed by the U.S. Constitution, mean?

Smith said the concepts of accommodation and neutrality have answered that question through the course of “all constitutional tradition.”

Accommodation is the idea that government should try to make room, whenever possible, for people to live in accordance with their religious beliefs, Smith said.

On the other hand, neutrality is the idea that government does not have any obligation to accommodate religion, but it “should not target, persecute or discriminate against it.”

For three decades in the second half of the 20th century, the official position of the Supreme Court was that the Free Exercise Clause requires accommodation.

“If somebody’s religion was being burdened by a law, they should be exempted of it unless the government has a compelling argument in requiring them to comply and can’t alter it in a less constrictive way,” Smith said.

However, in 1990, the court repudiated accommodation in favor of neutrality.

“The court said that as long as a law is religiously neutral and generally applicable, no accommodation of religion is constitutionally required,” Smith said.

According to Smith, the decision to switch to neutrality was seen as a “significant cutback” in the protection of religious freedom.

“At the time, it was almost universally denounced across the political spectrum,” he said.

Eventually, Congress passed the Religious Freedom Restoration Act, which re-imposed the accommodation requirement.

However, in the Masterpiece case, RFRA did not apply because the law that was allegedly violated was on the state level, not the federal.

“On that standard, the Colorado judges quite quickly dismissed Phillips’ free exercise objections,” Smith said. “They said the Colorado Anti-Discrimination Act is religiously neutral; it is not targeting religion.”

Smith then moved on to what he calls “the constitutional heart” of the case — the free speech or “no compelled affirmations” issue.

Smith believes the best example of this issue is the 1943 case West Virginia State Board of Education v. Barnette.

In 1942, the West Virginia Board of Education required public schools to make saluting the flag a mandatory part of school activities. Children from a family of Jehovah’s Witnesses refused to perform the salute and were sent home from school for noncompliance. In a 6-to-3 decision, the Supreme Court overruled its decision in a previous case and ruled that compelling public schoolchildren to salute the flag was unconstitutional.

Smith quoted what he considers to be the “most eloquent statement in the case”:

“If there is any fixed star in our constitutional constellation, it is that no official, high or petty, can prescribe what shall be orthodox in politics, nationalism, religion, or other matters of opinion or force citizens to confess by word or act their faith therein.”

Smith now calls that quote the “Barnette principle,” standing for the proposition that freedom of speech means the freedom not to speak.

Historically, Smith thinks the principle is important because people in positions of power have shown a tendency to want others to affirm their controversial beliefs. He believes this form of affirmation threatens freedom of conscience more than any other act of speech.

“Being compelled to affirm something that you don’t believe, I think, is more of an invasion on our personal integrity and conscience than being told you can’t say certain things you want to say,” he said.

The Barnette principle applies to Masterpiece in two ways.

First is the “expressive conduct” approach.

“The basic idea behind this approach is that speech or expression can’t be limited to spoken or written words,” Smith said. “Freedom of expression has to include symbolic or expressive conduct like art or burning a flag.”

However, freedom of expression can’t include all forms of conduct, so the conduct being regulated has to be examined to determine how expressive the underlying message is.

“If we take that approach, then the question in the Masterpiece case is something like, ‘Is the wedding cake really expressive?’ ” he said. “Some would say no, the cake is just meant to be eaten.”

Smith said with differing characterizations of what both conduct and expression mean, many First Amendment theorists are skeptical of this approach.

The second approach is “government purpose.”

“If we think the Free Speech Clause is supposed to be a force against government censorship, then it might be that what we care about is not so much whether the conduct is expressive or not, but rather whether the government’s purpose in regulating it is because the government is concerned with the content of what it is regulating,” Smith said.

Smith said if that is the government’s concern, then the First Amendment is “implicated.” If it is not, then free speech is “not implicated,” even if it is clear that expression is involved.

Smith believes this approach does not apply to Masterpiece on the basis of anti-discrimination laws.

“I believe that general anti-discrimination laws are intended to prevent deprivation from goods, services and opportunities,” he said. “These laws are not concerned with any expression.”

In wedding vendor cases like Masterpiece, this does not apply because the complainants alleged little to no material injury.

“In (the Masterpiece case), another baker promptly made a cake for Craig and Mullins, and so they did not claim any damages for the deprivation of a cake,” Smith said.

Instead of material damages, Smith said Masterpiece focuses more on “dignitary harms.”

“The argument is that the refusal of service sends a message that is insulting or humiliating,” Smith said.

However, Smith said people fail to realize that the dignitary harm falls on Phillips more so than Craig and Mullins.

“Not only has the law condemned his particular belief, but he is being required to act contrary … to something that is core in his life,” Smith said.

Smith believes there are strong constitutional arguments in favor of both Phillips and Craig and Mullins. So instead of picking sides, Smith wants people to work toward creating communities where no one is discriminated against based on race, sex, sexual orientation or even religious beliefs.

“I hope we are going to be able to find some way to have a community that is inclusive enough that we can allow (all) people to participate in public life without having to closet, hide or bracket their beliefs,” he said.

Tayo Rockson emphasizes global understanding, cultural communication

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  • Tayo Rockson, founder and CEO of UYD Management, speaks on the importance of communicating across cultures during his lecture Wednesday, Aug. 8, 2018 on the Amphitheater stage. DAVE MUNCH/PHOTO EDITOR

Tayo Rockson has a message drilled into his head: “The world is bigger than you, and if you want to succeed in it, you have to understand it.”

He shared this mantra with Wednesday’s 10:45 a.m. morning lecture attendees in the Amphitheater on Aug. 8, speaking to communicating across cultures, a continuation of Week Seven’s theme, “The Arts and Global Understanding.” The morning kicked off with a celebration of the Chautauqua Literary and Scientific Circle Class of 2018, which graduated earlier that day.

“If you look around the world today, we can see that due to the internet and migration patterns, we’re experiencing a whole new world. The intersections of worldviews, ideas, cultures, religions, is influencing every single policy we have today. … So, it’s imperative for leaders of today and tomorrow to learn how to navigate across these differences. It’s no longer just an option to ignore them.”

-Tayo Rockson, CEO, UYD Management

A son of a diplomat, Rockson was raised in Nigeria, Sweden, Burkina Faso, Vietnam and the United States, where he now resides. Rockson serves as the chief executive officer of UYD Management, a consulting and leadership firm that helps companies incorporate diversity, inclusion, hiring, retention and social justice strategies. He is also the host of “As Told by Nomads,” the No. 1 cross-cultural podcast in the world.

Rockson was named one of the Top 40 Millennial Influencers to Follow in 2018 by New Theory magazine and is the author of The Ultimate Guide to TCK Living: Understanding the World Around You.

He opened his lecture with a question for the audience: how many people have had a “nagging thought?” For Rockson, his is how to efficiently execute cross-cultural engagement. As a child, his method was through basketball.

“I had a Taiwanese teammate, a Dutch teammate, a Cameroonian teammate, an American teammate, and I’m Nigerian,” he said. “We had a common goal that was to win. That was my first clue, a common goal. Establishing mutual purpose is so key when you want learn how to communicate effectively across cultures.”

Thus began his quest to connect across borders, a question to resolve his nagging question. The answer: To effectively engage cross-culturally, one must educate — not perpetuate — and communicate. Education begins with the education of ourselves.

Rockson asked the audience to think about three questions — “What have my experiences been?,” “What prejudices do I hold?” and “How much have I strayed outside of my comfort zone?” To answer, he asked the audience to jot down three places they lived, their three best friends and their last three partners, followed by descriptors. Rockson then asked for volunteers to share their responses.

Chautauquan Joann Rose offered to share. A Philadelphia native, Rose moved to a small town and has since relocated to a suburb. One of her best friends was born in Puerto Rico; the other two are her husband and grandchild.

“You can really get isolated in your environment, but over the years if you move and you change, you expand, hopefully,” she said, when asked by Rockson what this information said about herself. “There’s always room for expansion.”

Based on these answers, Rockson asked the audience to examine their biases — are they rooted in fear, insecurity or avoidance?

To overcome these prejudices, Rockson said, people must educate themselves about their environment by learning to collect and gather information, becoming an active listener and being an active member of their community.

“Something amazing happens when you commit to active listening,” he said. “Because actively listening is listening to learn, listening to understand and listening to evaluate. … It is not listening to confirm, which is what a lot of us do.”

Listening to confirm only perpetuates stereotypes and prejudices, Rockson said. He experienced this firsthand when he moved to the United States and a man, after learning he was Nigerian, approached Rockson pretending to hold an imaginary object, which he raised after singing “Circle of Life” from “The Lion King.”

Misguided questions about his culture led Rockson to realize that people trivialize others’ identities through jokes and that marginalized groups feel the need to hide to avoid this humiliation. He said it’s too easy for people to brush others aside as being “too sensitive,” something the media perpetuates through misrepresentation and lack of diversity.

“If we don’t do a better job of creating these stories that are accurate, inviting more people to create these stories through the media,” Rockson said, “… if we don’t do a better job of just clicking send or reshare based on a headline without actually reading, we are going to create this system where no one is listening and we are going to perpetuate certain stereotypes. … Once you perpetuate, you create systems of discrimination, intentionally or unintentionally.”

Communication is key to eroding stereotypes, he said. Rockson quoted Martin Luther King Jr.: “Our lives begin to end the day we become silent about things that matter.”

Rockson offered self-directed questions as a guide for contentious conversations: “What is my goal for this conversation?,” “What do want from this person out of this conversation?,” “What do I want for myself out of this conversation?” and “What do I want from the relationship moving forward?” After examining these motives, Rockson offered a final question — “How will I act if that’s what I want?”

Communication is rooted in abandoning egos and the need to be right in order to find common ground, Rockson said.

“My call to action to you all today is this: educate, don’t perpetuate, instead, communicate,” he said. “Fact of the matter is, you all have a choice; you can choose to see the world as is and do nothing about it, or you can choose to see a world that is hurting and participate by changing the narrative. Whichever choice you make, you’re changing the world in some shape or form. My choice is that you choose the latter, so I leave you with this question: Will you use your difference to make a difference?”

After the conclusion of Rockson’s lecture, Institution Chief of Staff Matt Ewalt opened the Q-and-A by asking if “exposing ourselves to other cultures at times limits ourselves from thinking of cross-cultural understanding within our own community.”

“I don’t think it’s mutually exclusive,” Rockson said, “that if you educate yourself on another person or another culture, you’re going to lose that aspect of yourself.”

Ewalt then turned to the audience for questions; two attendees asked how to find spaces to communicate across cultures.

“If you share your story and create spaces for others to tell their stories, you don’t know what the ripple effect of that is,” Rockson said. “But one thing that won’t allow growth is not doing anything. The very least that anyone can do is tell their story.”

 

‘Rhythm is the great connector:’ The Silkroad Ensemble will feature percussion pieces in Amphitheater

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In every Silkroad Ensemble concert, the ensemble aims to provide the audience with an experience of traveling around the world, according to Jeffrey Beecher, co-artistic director of Silkroad.

“(A Silkroad Ensemble concert is) an introduction to a culture that (audience members) may have some familiarity with,” Beecher said. “And by building the trust of that knowledge, we can then take them to some place they may not have gone before.”

The Silkroad Ensemble will give a concert featuring its percussion section at 8:15 p.m. Wednesday, Aug. 8, in the Amphitheater.

“One of the questions we are asking this week … is ‘What is the global perspective like when you get people from all over the world and, in this case, into upstate New York, into a beautiful setting?’” Beecher said. “What’s the kind of conversation that is going on, and how do people actually learn how to do that if they don’t even come from the same background?”

And to answer these questions, Beecher said tonight’s concert will effectively demonstrate that rhythm is the great connector for people of different backgrounds.

“Everybody has a heartbeat. Everybody has a pulse,” Beecher said. “And really, every (kind of) music from all over the world has this sense of rhythm that gives us a pulse of nature to it.”

According to Beecher, tonight’s program will start with a marimba duet by composer Steve Reich. Before the intermission, there will be “an incredibly exciting piece” by Sandeep Das about the creation of the world — “perfect” for an outdoor setting like the Amphitheater.

There will be smaller pieces as well, like Michio Mamiya’s “Finnish Folk Songs,” which Yo-Yo Ma often plays on the cello, Beecher said. Japanese-Danish shakuhachi player Kojiro Umezaki will play the piece, with Cristina Pato accompanying on the piano. Beecher said this is the “sort of perfect Silkroad experience we are getting at.”

Beecher said he hopes the audience has a fantastic experience — it “is certainly a priority for (Silkroad Ensemble)” — but he also hopes attendees walk away with a sense of inspiration or recognition of the “turbulent times” in which they are living.

“Respecting the other, appreciating another’s culture, is an incredibly valuable experience. I think, taking some of the concert and passing that to the interaction everyone has the next day after our concert is the most powerful thing that would mean a lot to us as musicians,” Beecher said. “ … It’s the resonance of the concert that affects people after that. Maybe giving them some new perspective is a very powerful thing.”

According to Deborah Sunya Moore, vice president of performing and visual arts, artists in Silkroad Ensemble are ones who have a real social mission.

“That’s what we hope makes the week resonate so much, because it is about global conversation, not just about global arts,” Moore said.

After candlelit Vigil, Recognition Day celebrates history, future with CLSC Class of 2018 graduation

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On a warm Sunday night, flickers of candlelight punctuated the Hall of Philosophy’s storied columns.

The ambience was one of joy and reflection as the Chautauqua Literary and Scientific Circle Vigil Ceremony recognized the graduating Class of 2018.

Among the graduates — all draped in white with faces illuminated by twinkling ames — was Liz Propst.

This is only Propst’s second visit to Chautauqua. Last year, she witnessed Recognition Day, asked a friendly stranger about the celebration and spent the winter reading CLSC books.

On this Recognition Day, Propst will be one of the graduates in white and donning a class stole.

The celebration begins with the Alumni Association of the CLSC’s banner parade at 9 a.m. Wednesday, Aug 8. Separately, the Class of 2018 will make its way to the Hall of Philosophy from the Hall of Christ.

During the ceremony, a key etched with the inscription “read” will open the golden gates, and graduates will receive diplomas.

After the graduation ceremony, the newly initiated Class of 2018 will join the other alumni for the march to the Amphitheater for the presentation of the class banner.

There are 128 graduates this year, the 137th in CLSC’s 140-year history, and an additional 161 readers are graduating from various levels in the Guild of Seven Seals.

“The Recognition Day Ceremony follows 140 years of tradition that has been established by the Chautauqua Literary and Scientific Circle, celebrating the pursuit of lifelong learning and a love of literature,” said Stephine Hunt, CLSC Veranda Manager.

In the spirit Hunt describes, the CLSC Class of 2018 motto is “Gateways to Open Minds,” and the class symbol is an archway of books.

The class flower, clematis, is a climbing plant sometimes referred to as “traveler’s joy.” As graduating member Jo Ann Wolfe wrote, clematis “reminds us how reading can open our minds at any time as we scramble through the printed pages of book, bringing us joy.”

Atom Atkinson, director of literary arts, said honoring this tradition also works to keep the “historic roots” of the CLSC alive.

“Even though today its function has changed (from being a correspondence course) and it’s much more about celebrating a lifetime of reading, whether someone is currently a student or not, it is more than just fun to honor people for committing themselves to that lifetime of reading,” Atkinson said. “But it is fun.”

As Recognition Day continues, there will be a luncheon for the Class of 2018 and a gala dinner for CLSC alumni.

But before today’s festivities of food, family, friends and celebration for the books read and pages yet to be turned was a quieter occasion: the vigil.

“Both ceremonies are steeped in tradition, and yet unique to each class, making the experience one of refreshing beauty,” Hunt said.

The vigil began with a march from the Literary Arts Center at Alumni Hall to the Hall of Philosophy. Musicians played, candles winked, and onlookers lit the path with ashlights and phones.

Music School Festival Orchestra members Xing Gao, Jonathan Lien and Elena Rubin performed the processional.

Atkinson read a note from the class honoree, Sherra Babcock, former vice president and Emily and Richard Smucker Chair for Education.

Babcock, who is currently traveling around the country and Canada as part of her retirement festivities, sent her warm thoughts from North Dakota.

“Today, enjoy your place in this historic celebration, and keep reading,” she wrote.

Members of the CLSC Class of 2018 gave readings from favorite authors that touched on the infinite powers of reading: Emily Dickinson, Anne Perry and Sherwin B. Nuland.

President Michael E. Hill, himself a graduate, read a selection from his Three Taps of the Gavel address.

After the acceptance of the class gifts, the Rev. Dr. J. Paul Womack, CLSC Class of 2009, shared the Grace of the Parting Word.

“Divine spirit who hovers over us and gives light to our eyes and sound to our ears, abide with us in the books we read, that we might understand the events we share and gain empathy for the characters we meet,” he read. “So that when we act in this world and appear in another story, it may be said of us, ‘There goes a practitioner of justice, a philanthropist of kindness, a benefactor of love, and thus be known as one who bestows grace on this Earth and the human race.’ ”

When Propst first visited Chautauqua last summer, she was only here for two days to visit her daughter, Jenni Propst, a lighting supervisor on the grounds. By happenstance, Propst stood on Bestor Plaza as the CLSC parade marched by.

Propst said she enjoys the historic and current CLSC selections and the different points of view they represent.

Of the 20 books she read this winter, two of her favorites were The Song Poet: A Memoir of My Father by Kao Kalia Yang and God’s Politics: Why the Right Gets It Wrong and the Left Doesn’t Get It by Jim Wallis.

“I loved the diversity and timeliness of holding our political leaders accountable by incorporating our spiritual values into change for America,” she said about God’s Politics.

Other than the parade she witnessed, Propst had not been to a single class gathering or met a CLSC member (although she is indebted to the stranger who talked to her that fateful Recognition

Day in 2017, she does not know the stranger’s name).

Propst lives in Asheville, North Carolina, far from Chautauqua. Using the internet, she researched the CLSC, fell in love with the reading circle, studied its history, learned about class flowers and then found an affordable way to read: her local library.

“I bought Mary Lee Talbot’s book, Chautauqua’s Heart, so I could learn more about the history and joy of the organization,” Propst said. “Her book has made me feel a part (of the tradition).”

Tayo Rockson to offer insight on embracing identity and communicating across cultures in morning lecture

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Raised in Nigeria, Sweden, Burkina Faso, Vietnam and the United States, Tayo Rockson is no tourist when it comes to communicating across cultures.

The son of a diplomat, Rockson grew up in five different countries on four different continents. His unique upbringing helped shape his life and his outlook on the world. In his lecture, he will discuss the importance of being able to communicate across cultures and embrace global identity at 10:45 a.m. Wednesday, August 8, in the Amphitheater as part of Week Seven’s theme, “The Arts and Global Understanding.”

“In a week in which we explore the role of the arts in fostering global understanding, and the arts take center stage in a variety of programs, we also wanted to consider the impact of greater global understanding through culture,” said Matt Ewalt, Institution chief of staff. “Following a morning with Ambassador (Barbara) Stephenson on the role of cultural diplomacy, Tayo, himself the son of an ambassador, will speak to the benefits of cultural intelligence to business, and why our understanding across borders and cultures matters more and more to companies and organizations.”

Rockson is the founder and CEO of UYD Management — a firm that advises businesses on strategies to improve diversity, hiring, inclusivity, retention and social justice.

Growing up, Rockson was exposed to a variety of cultures, and he felt pressured to fit in. This challenge caused him to struggle with an “identity crisis,” but he credits that crisis as the driving force behind his work; he said it made him realize that his life experience allowed him to “see the world through different lenses.”

Rockson is a “third-culture kid,” meaning he was raised outside of his parents’ culture for the majority of his childhood. Growing up, Rockson said that he lost pieces of himself while trying to blend in with the majority.

“Part of being (the son of a diplomat) and a third-culture kid, you’re always in different environments, and there’s this tendency to try to fit in,” Rockson said. “A lot of the time, I tried to fit in, and I would almost lose myself. By the time I was 17, I decided not to lose myself anymore.”

When he was 22 years old, Rockson quit his job to move to New York City, and in 2014, he created “As Told By Nomads,” a podcast that features people who come from multicultural backgrounds. He and his guests discuss global identity and what it means to be a global leader.

“The podcast is what launched my career,” Rockson said. “I started to ask: ‘Why do we live in a globalized, digitalized world, (but) we still have problems that prevent us from communicating across cultures?’ ”

On his podcast, Rockson said he talks to people who have unique perspectives and will ask questions he knows his audience is curious to learn about.

A lover of learning, Rockson said he has grown through his work and wants people to experience that growth in their own lives. This desire to share stories and create change motivated him to create UYD — Use Your Difference — Management.

“I started to look at two places that we spend most of our lives — school and the workplace,” Rockson said. “There are still people that don’t know how to fully be themselves in the workplace and leaders that don’t know how to bring people together. I wanted to use my research (from the podcast) to help UYD Management.”

Through consultations, UYD offers guidance to corporations so they can expand and become more inclusive.

“I think it’s important to embrace who you are because we live in a world that likes to tell people what they can and what they can’t be,” Rockson said. “When you exist in that environment, you are inevitably going to suppress a part of yourself.”

By being able understand different perspectives, Rockson thinks people learn how to empathize, imagine different solutions and solve problems in well-rounded ways.

“Other people are going to come out of themselves,” Rockson said. “That is going to create a community that wasn’t there before.”

Two key principles that guide him through his work, Rockson said, are education and creating platforms for voices that are not often heard.

He thinks there is always more to learn and wants everyone to embrace their individuality and give a voice to those constantly tuned out by a society that is quick to judge.

“I know what it’s like to have your voice taken away from you, so just knowing that I could play a role in helping someone realize the best in themselves (makes my work worthwhile),” Rockson said.

Ambassador Barbara Stephenson speaks on arts as a form of diplomacy for Week Seven “The Arts and Global Understanding” morning lecture

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  • American Foreign Service Association President Barbara Stephenson lectures on music's role in diplomacy Tuesday, August 7, 2018 in the Amphitheater. RILEY ROBINSON/STAFF PHOTOGRAPHER

The arts are diplomatic, according to Ambassador Barbara Stephenson.

Stephenson spoke to music’s role in diplomacy at the 10:45 a.m. morning lecture on Chautauqua Institution’s 144th birthday Tuesday, Aug. 7, in the Amphitheater, continuing Week Seven’s theme, “The Arts and Global Understanding.”

“When we make music together, we sometimes create a space of goodwill that allows us to take a risk, to set doubts, suspicions and even old enemies aside, to join hands as a world and walk together toward peace,” she said.

Stephenson has spent over 30 years working toward peace while serving as an active-duty member of the American Foreign Service; she was elected president of the American Foreign Service Association in 2015. She previously served as ambassador to Panama and later as the first female deputy chief of mission and chargé d’affaires at the U.S. Embassy in London. From 2001 to 2004, Stephenson worked as the American consul general in Belfast, Northern Ireland.

“Great diplomats strive never to leave international partners feeling coerced, feeling that they had no choice but to go along, feeling that we, a powerful country, impose our will on them,” Stephenson said. “Great diplomats learn to make common cause, to coax an international partner to ‘yes’ with the lightest possible touch and always seeking to preserve maximum goodwill. At our best, we diplomats invite our partners to walk with us, and our partners do so gladly, even joyfully.”

Inviting “partners to walk with us” is “soft power” diplomacy, she said; soft power is cooperation through means of appeal and attraction, rather than coercion or “hard power.”

What Stephenson teaches at the Foreign Service Institute, a training institution for aspiring emissaries, is that great diplomats harness the advantages of soft power through “(efforts) to understand the culture of where they will serve.”

In particular, music is central to many cultures, religions and historical events. Stephenson projected examples on the screens; Catholic hymns, Islamic prayer calls, weddings and funerals. Finally, Stephenson showed a video of a Foreign Service Day memorial service in the lobby of the U.S. State Department, where attendees joined in singing the national anthem.

“That moment of coming together in song reminds us of our shared purpose,” she said. “… We know that we must keep the flags flying at our embassies around the world to build relationships, relationships that, carefully nurtured over time, create trust and understanding. These are the relationships our country will call upon when confronting security threats, responding to crises and encouraging others to share the burden of tackling the world’s challenges.”

Across from where that memorial gathering was held in the U.S. State Department is a photo gallery commemorating “a legendary period of cultural diplomacy, when we prevailed over communism, not with bombs, but with music — a fascinating story of soft power at work,” Stephenson said.

In the years following World War II amid the height of the Cold War, she said, Russian artists, ballerinas and composers captivated the world stage, but the genesis of jazz music in the United States quickly garnered attention. Jazz musicians became the front line in the cultural war against the Red State; Louis Armstrong performed for packed audiences in East Berlin, and the Duke Ellington Orchestra spent a decade touring South Asia, the Middle East and eventually Moscow.

The Dave Brubeck Quartet toured the Soviet Union in the 1980s. Stephenson played a video of a young Russian violinist interrupting Brubeck during a piano concert with his own music. Brubeck, with joy, followed the boy’s lead and continued tapping at the keys, creating a duet between the two musicians and the two superpowers.

“I think this musical moment captures the concept of soft, attractive power just perfectly. And the very best diplomacy feels like that to me. It feels like ‘Let me join you, I want to be a part of this.’ Creating an experience like that is hard work, but it’s worth it and those who seek to master the art of diplomacy should seek to create moments like this — moments when our partners choose to walk with us gladly, even joyfully.”

-Barbara Stephenson, President, American Foreign Service Association

Moments like that are depicted in the movie, “Joyeux Noël,” which tells the story of the Christmas truce of 1914, when British and German soldiers ceased fire on Christmas Eve to celebrate the holiday with music, soccer and festivities. While that may be the Hollywood version, Stephenson shared a real-life example of this power.

While serving as as the American consul general in Belfast, Northern Ireland, she was tasked with establishing lasting peace in Northern Ireland, tackling a new policing order after the Good Friday Agreement and disbandment of the Royal Ulster Constabulary. Stephenson faced considerable doubt from Catholic law enforcement, specifically those of the Sinn Féin party, who believed the British crown was illegitimate and that Northern Ireland was rightfully a part of the Republic of Ireland.

As a solution, the police force adopted new uniforms; their badges were outfitted with various symbols, including traditional Irish-Catholic symbols and a crown in an attempt to represent all communities and establish unity, Stephenson said.

In 2003, Dublin hosted the summer Special Olympics. The athletes, to Stephenson’s shock, were marched into the opening ceremony by Northern and Republic police officers alike. That ceremony featured appearances by Nelson Mandela and performances by Riverdance and U2. U2 performed “Pride (In the Name of Love),” to which the audience erupted into song, she said.

“I have no doubt that that powerful musical experience we shared, north and south, former Royal Ulster Constabulary riding side by side with on-guard Garda Síochána police from the Republic, helped all of us to set doubt, suspicion and old enemies aside,” Stephenson said. “… After singing our hearts out together, it was not so easy to call the police service of Northern Ireland ‘them.’ It was not so easy to depict them as alien or other. That moment that we shared together in song … paved the way for a diplomatic breakthrough on the long journey to lasting, irreversible peace in Northern Ireland.”

After the conclusion of Stephenson’s lecture, Geof Follansbee, vice president of development and chief executive officer of the Chautauqua Foundation, opened the Q-and-A by asking if soft power is still alive in a world that feels hardened.

Stephenson said that although the United States has experienced a sharp drop in global soft power rankings, countries still admire its ability to negotiate using soft, attractive power.

Follansbee then turned to the audience for questions; one attendee asked if Stephenson, an English major, found a role for literature in diplomacy.

“You know that first part of diplomacy, … you have to understand and read your partner, the other culture,” Stephenson said. “… That other culture is a text, and it’s part of my job to look for the subtleties in that text and figure out how to explain that very succinctly to Washington.”

To close, Follansbee asked how diplomacy can carry into everyday society.

“There are some verbs we should all just take to heart,” Stephenson said. “Listen and understand.”

Douglas Laycock outlined the parameters of religious freedom

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  • University of Virginia Professor Douglas Laycock speaks about religious freedom during the Interfaith Lecture, Monday, August 6, 2018, in the Hall of Philosophy. BRIAN HAYES/STAFF PHOTOGRAPHER

Even before the First Amendment was ratified, Douglas Laycock said practicing religious freedom has never been a piece of cake.

At 2 p.m. Monday, August 6, in the Hall of Philosophy, Laycock, the Robert E. Scott Distinguished Professor of Law at the University of Virginia School of Law, gave his lecture, “Free Exercise of Religion – from Martin Luther to Masterpiece Cakeshop,” as part of Week Seven’s interfaith theme, “Let Them Eat Cake? Defining the Future of Religious Freedom in the U.S.”

The prelude to America’s “experiment with religion liberty” began with Martin Luther’s Protestant Reformation, Laycock said.

“Earlier reformers had been oppressed, but Luther had the enormous advantage of the printing press and he spread alleged heresy on a continental scale,” he said.

Laycock said although Protestants and Catholics were fighting for religious liberty, neither group was ready for it.

“They both assumed that they should enforce their faith wherever the government would cooperate,” he said. “Never forget that it was government, not churches, that had the power to punish and to execute. That is why our constitution protects religion from government, not the other way around.”

However, it turned out many governments were willing to persecute. The resulting persecutions, or “wars on religion,” consumed Europe for the next 200 years, Laycock said.

“Of course, the English experience is most salient in America,” he said. “England was irretrievably Protestant by the end of Elizabeth’s reign in 1603, but the persecutions continued, and religious warfare broke out in intervals. Anglican Puritans’ civil war in the 1640s was a revolution that overthrew a Catholic king in 1688, and a final climactic battle between Protestants’ and Catholics’ claims to the throne in 1746 is within the living memory of the men who wrote the Constitution.”

All of this human suffering led “sensible people” to question the premise: Why not let each individual determine a religious stance for his or herself?

First came the idea of tolerance.

“The state would still designate the true church and support it in various ways, but the state and the true church would tolerate dissenters,” Laycock said.

Religious equality was the second idea, Laycock said.

“Rather than one official church that tolerated all of the others, religious liberty would be a natural right,” Laycock said. “It would mean equal rights for every church and every believer and, eventually, every non-believer as well.”

The concept of religious liberty sparked debate among the American people.

“Defenders of the old regime offered multiple reasons for state control of religion, but all of the reasons had one thing in common: Religion is too important to be left to individuals,” Laycock said.

One of most common reasons for giving the state control of religion was to “save souls.”

“If there is one true faith whose believers will be saved, and many false teachings whose believers will be damned, then heretics need to be forced into the true faith for their own good and also to protect the innocent that they might lead astray,” Laycock said.

Laycock said the argument of keeping the peace was secular and the argument of saving souls was more theological and with both, each individual’s salvation was at stake.

“That turned the old view on its head,” he said. “Religion was far too important to be left to government.”

By the early 18th century, toleration had come — even to New England. First, government officials exempted dissenters from attending the established church. Eventually, they declared that any Christian denomination can hold its own worship service and by the 1720s, the United States and New England were enacting regulatory exemptions for religious minorities.

“First, they exempted Quakers and Baptists from paying a church tax, then they exempted Quakers from swearing oaths, and in 1757, during the French and Indian War, Massachusetts finally addressed the most difficult issue of all and exempted Quakers from serving in the militia,” Laycock said.

During the American Revolution, every state wrote a constitution; the federal constitution followed in 1787.

“Church and state was a major issue in those constitutional conventions, but the fight was over how to finance the church,” Laycock said. Including religion in the state and federal constitutions led to the most fundamental disagreement, Laycock said.

On one side, Americans declared that the constitutional right to religion must include the right to be exempt from laws that interfere with one’s religious beliefs unless the government has a strong reason for refusing an exemption.

The other side of the debate said that exemptions for Quakers, Jewish people and dissenters who refused to pay the church tax were all enacted by legislatures, Laycock said.

“(The legislatures) addressed specific problems,” Laycock said. “They tell us nothing about what rights were made judicially enforceable, and they tell us nothing about any claim to religious exemptions for any new law or new practice that might arise in the future.”

The issue of church and state first reached the Supreme Court in 1878 with Reynolds v. United States, the prosecution of a polygamous Mormon leader.

“The opinion is embarrassing to read today,” Laycock said. “The court said polygamy wasn’t even really a religious practice, and it had been a practice of Asian and African people, but never Europeans.”

Laycock said the court drew a definitive line between belief and action.

“It said you can believe any religion you want, but you have no right to practice it if the legislature says no,” Laycock said.

But the court’s protection of belief was short-lived. In 1890, the Supreme Court upheld a test oath that prevented Mormons from voting in Davis v. Beason. The oath covered not just polygamy, but also “speech, church membership and mere belief.”

“Congress revoked the church’s corporate charter and seized all of its property besides actual places of worship,” Laycock said. “Shortly after, the Mormon Church banned any plural marriages.”

However, in 1892, the Supreme Court had ruled on a case about a Presbyterian church in Louisville, Kentucky. The court declared that civil courts must defer to the highest authority in the denomination.

“That decision has given rise to a principle that churches have the right to control their own internal affairs,” Laycock said.

He said that principle is why the Supreme Court unanimously decided in 2012 that employees in positions of religious leadership can’t sue their churches for alleged discrimination and why churches can’t be required to perform weddings, except in accordance with their own rules.

The debate around the free exercise of religion remained an issue of personal belief until it became a “culture war issue” in the late 1990s, Laycock said.

“Gay rights groups and civil rights groups demanded a total carveout for all civil rights claims, and of course, the sponsors couldn’t give them that,” he said. “Secular civil liberty groups dropped out of the Coalition for the Free Exercise of Religion, and religious groups could not pass a bill without them.”

The most recent example of a culture-based case was the Masterpiece Cakeshop v. Colorado Civil Rights Commission.

Masterpiece is among a handful of cases where conservative Christians in the wedding business refused to assist with a same-sex wedding and get sued under a state public accommodations law,” Laycock said.

Laycock said vendors, like the owner of Masterpiece Cakeshop, view marriage as an inherently religious relationship and therefore think of weddings as religious events, too.

“Their job is to make their part of the wedding the best and most memorable it can be,” he said. “(People who provide services for weddings) see themselves as promoting it, celebrating it, and they say they can’t do that.”

Over time, Laycock said cases like Masterpiece have been litigated under state constitutions in blue and purple states with statewide gay rights laws. However, the federal government took a much larger role in the Masterpiece Cakeshop case because Colorado had no previous ruling interpreting the state constitution’s free exercise clause.

The baker claimed that the cake decorations were works of art protected by the free speech clause.

“If you look at the pictures of those cakes, that’s not crazy, but it is an argument with no logical stopping points,” Laycock said. “If cake decorating is speech, then lots of businesses are speech.”

Laycock and a colleague filed a friend of the court brief for Masterpiece devoted to free exercise.

“We said this (wedding) is a religious event; only small business should be exempted and only with things directly connected to the wedding,” he said. “Almost no one took us seriously except for seven justices on the Supreme Court.”

In 2015, William Jack, a Christian activist, tested the flip side of the Masterpiece argument. He went to three different bakers requesting cakes with religious messages hostile to same-sex marriage. Each baker refused to make  the cake, and they were charged with religious discrimination, but the charges were dismissed.

“The same Colorado law that prohibits sexual orientation discrimination prohibits discrimination on the basis of any religious belief or practice,” Laycock said.

Laycock said in its decision of the Masterpiece Cakeshop case, the Supreme Court proved that the reason for protecting free exercise now is the same as it was 200 years ago: to reduce human suffering and preserve social peace.

“Religious liberty is one of America’s great contributions to the world, and we should not let it slip away either in legal wrangling or in a bitter culture war,” Laycock said.

Chautauqua Opera Company to bring most-produced contemporary American opera ‘As One’ to Norton Hall

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The collaboration between As One’s creators began like all great partnerships: drinking rosè at home over dinner.

It was at that dinner in composer and creator Laura Kaminsky’s home where librettists Mark Campbell and Kimberly Reed met, solidifying the team that would construct an opera about a transgender woman.

As One premiered in September 2014. Steven Osgood, general and artistic director of Chautauqua Opera Company, conducted the production and has wanted to bring the opera here since the premiere. That is being realized after 21 other productions of the opera, and As One will be staged at 4 p.m. Tuesday, Aug. 7, in Norton Hall.

Kaminsky, Campbell and Reed will all be in attendance. The original cast, consisting of Kelly Markgraf and Sasha Cooke, will portray Hannah Before and Hannah After, respectively. The Fry Street Quartet, which performed the score during the premiere, will provide the music. Chautauqua Opera’s production will unite the original musical team for the first time since 2014.

Since the premiere, As One has become the most-produced contemporary American opera in North America, with Chautauqua being the 22nd production in four years. The journey from that first bottle of rosè to today’s performance has left an impact on the audiences that have seen it and those directly involved with its production.

The reach of As One

Stage Director Matt Gray, who conducted As One in Berlin, will join the original team for the Chautauqua Opera performance. Gray is the producing director of American Opera Projects, the company that originally produced As One.

Kaminsky liked Gray’s direction in Berlin, and it was important to her that someone close to the production’s origins direct this specific performance.

“There was a lot of subtle and interesting physical staging (about Gray’s production) that we thought was evocative and sensitive,” Kaminsky said. “I think that he uses set pieces and props in a useful and meaningful way, not just to clutter up a stage or generalistically.”

Since the opening production in Brooklyn, As One has been performed in Anchorage, Alaska, Berlin, Seattle and 16 other places around the world. At least one person from the original team has gone to each of the performances, except the one in Anchorage.

“So many companies have produced this opera because they say it’s important, and it speaks to (their) audience,” Osgood said. “It’s unbelievable. You can’t allow yourself to expect that on the day of the premiere. You can only look back on that and say, ‘Wow, that worked.’ ”

Before performing in As One, Cooke said she and Markgraf didn’t have a total understanding of what it meant to be transgender. But As One has led to self-realizations, Cooke said.

“I suddenly realized how much I struggle with masculine and feminine divisions. I myself, for various reasons, have not identified with women, and in other ways I do,” Cooke said. “But there are things about the sort of social standards of being a woman that I alway thought, ‘I don’t want to do that. That doesn’t feel like me’ And I think it’s hard to accept myself because the majority (of women) want to do that.”

When As One goes to a “red state,” Campbell makes it a point to go and sit on a panel. If Reed cannot make it, Campbell ensures the production team puts someone who is transgender on the panel.

“What I love about the success of this opera is that I hope that it’s changing people’s hearts and helping make them understand that transgender people should not be denied their rights,” Campbell said.

As One’s origin story

Kaminsky rarely composed vocal music, and she had never written an opera, but the music she did create revolved around activism. Kaminsky and her wife were following the legalization of marriage equality from state to state when she first decided to create an opera.

At 6 a.m., Kaminsky was drinking a cup of coffee while reading The New York Times. She happened across an article about a New Jersey couple that had been married for 18 years, and one was transitioning. The couple decided to stay together because  their “souls connected,” Kaminsky said, but if marriage equality was not recognized in their state, their marriage wouldn’t be, either.

“I remember it just flooded me. This is the stuff of opera,” Kaminsky said. “It asks the questions ‘Who am I?’ ‘Who am I in relationship to my people and the world in which I live?’ and ‘Who am I to the societal and political structures in which I live? What do I need to give up in order to be who I am?’ and ‘What do I gain in that journey?’ It just seemed operatic to me, and I knew I wanted to write this opera.”

After reading that article, Kaminsky knew she wanted to craft an opera about a transgender person. She didn’t have a concrete idea, but the quest to find the story began.

In fact, she had the musicians and the performers picked out before the story.

Kaminsky had worked with Fry Street Quartet and knew she wanted the group to be a part of the opera. Then she met husband and wife Markgraf and Cooke, a baritone and mezzo-soprano, respectively. Kaminsky fell in love with the couple after hearing them perform together.

“I was standing in the wings listening to them, and I went, ‘Oh my god, I want them to be in my opera. In fact, I want them to be my opera,’ ” Kaminsky said. “I realized, at that point, I didn’t want any other characters, I didn’t want subplots. I wanted this to be the story of one person on their personal quest to find and become fully realized and find happiness.”

It wasn’t until a date night with her wife that Kaminsky found the inspiration for her story. Her wife had been giving her books to read and films to watch, and that’s when Kaminsky saw Reed’s “Prodigal Sons” for the first time.

The film was about Reed and her journey back to her hometown in Montana as a transgender woman and her quest to reconcile with her estranged, adopted brother.

At that moment, Kaminsky knew she had to work with Reed and incorporate film into the opera.

Kaminsky still didn’t have a story, though, so she reached out to Campbell, a well-known contemporary librettist. She was hoping Campbell would refer her an affordable person to work with, but Campbell decided he wanted to write the libretto as a passion project.

That led to the dinner in March 2013 where Campbell met Reed for the first time, and the group came together.

Crafting the libretto and supplying the music

On the first night he met Reed, Campbell asked her to recall some of her earliest experiences as a transgender woman. Reed told Campbell she had a paper route, and one day she decided to wear a blouse under her jacket. She got up early so no one would see her.

Campbell turned to Kaminsky and said: “OK, this is what a writer dreams of. This is the kind of stories that can be turned into lyrics.”

Reed’s experiences became the basis for the opera’s text. Initially, Reed thought she was just going to produce a film that would act as the setting for the opera, but Campbell thought it would be best to invite her into the writing process.

“I’m cisgender,” Campbell said. “I needed a voice of authenticity to help me create this story.”

Writing her first libretto was fun, especially because she was learning from the best, Reed said.

Though her background was in film, she “felt at home” writing the opera.

“Most of the time, I think that people are assuming that there’s going to be a lot of differences from the filmmaking process, and for me, I’m just always struck by the similarities,” Reed said. “Writing a libretto is not hugely dissimilar from writing a screenplay.”

Campbell and Reed took Kaminsky’s idea of two people playing one person and created Hannah Before and Hannah After. Through those two voices becoming as one, the librettists wanted to explore different themes through song cycle.

For Markgraf and Cooke, being married has helped them portray this one character with two voices. They are comfortable and trust each other, and there is no awkwardness in proximity.

When they first got the libretto, Cooke and Markgraf read it in bed and wept, Cooke said.

“Mark’s words and Kim’s words, they’ve crafted something that is able to speak to all people,” Markgraf said.

Campbell would often write a first draft, and Reed would refine it. The piece that gave Campbell the most difficulties was “Close.” In the song, Hannah starts taking hormone pills.

Hannah Before sings: “Is my skin really softer? Is my face really fuller? Am I just imagining it? / More pills. / Months. / No, I’m not imagining it.”

Because Campbell had not gone through a transition himself, Reed kept suggesting changes and sharing her experiences.

“There were just minor changes to (the song),” Campbell said. “It’s not as if you take hormones and you wake up and you’re a girl. It’s a very slow process, and the body is revolting against it. It doesn’t know what this new thing is until finally the body and the mind and the heart meet and say, ‘Yes, your skin is growing softer, and yes, you’re now emerging as the person you were meant to be.’”

Campbell also drew from his experiences as a gay man, and that’s how the song “To know” came about.The piece follows Hannah as she sees someone on television and begins to learn that there is someone else like her.

“Kim would just encourage me to find those moments that I felt, as a gay man, as the ‘other’ in society, like the person who is outside of society because of my sexuality,” Campbell said.

Reed and Campbell wanted to make Hannah as human as possible, which meant incorporating humor into the character. They said adding humorous aspects to the opera would make it more accessible to the audience and would help make attendees more comfortable.

“They’re coming in there really scared that we’re going to show a penis getting hacked off,” Campbell said. “When they come to an opera about a transgender person, they’re really so afraid that it’s going to be all about genitalia.”

Kaminsky, Reed and Campbell also wanted to depict this journey as a joyous one, which is reflected in the libretto and the music. Too often, the media presents transitioning as a horrible, torturous experience, Campbell said, when it is really a journey of joy.

“The change that Hannah makes, it’s a big change, and it is not an easy change, but it’s also not that different from someone saying, ‘I’m moving to New York because I will meet people like me,’ ” Campbell said. “We all make big changes in our lives, and we all make big changes to achieve happiness. And that’s why I think this story is universal.”

The score of the opera reflects a wide range of styles, Kaminsky said. She composed it to further reflect the journey Hannah goes on — from youthful innocence to confusion to discovery to commitment. Because it’s a journey, Kaminsky said there is a “propulsive” movement to the music, and Kaminsky made the music more dissonant and angular in the stressful moments of Hannah’s life.

The opera’s music is performed by a quartet that is positioned on stage with the performers as a way of “breaking down a lot of the standard expectations around opera,” Kaminsky said. When composing As One, Kaminsky assigned the middle voice of the viola, which she said is often buried in string quartets, to represent Hannah.

“There’s a soulful viola melody that keeps getting transformed throughout the piece,” Kaminsky said. “That’s kind of her pure inner self saying, ‘This is really who I am, and there’s some darkness here, but I’m yearning to be who I am.’ ”

Old First Night: A happy 144th birthday to Chautauqua

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Every year since 1966, the founding of Chautauqua Institution has been celebrated on the first Tuesday of August in an evening known to Chautauquans as Old First Night.

“(OFN) is the annual birthday celebration for Chautauqua,” said Tina Downey, director of the Chautauqua Fund. “So it’s a real chance for the community to come together and, in a sense, offer birthday gifts to Chautauqua.”

The celebration has varied throughout the years, as Geof Follansbee, chief executive officer of the Chautauqua Foundation, said the program has changed “from decade to decade.” When the Institution turned 143 last season, it continued to evolve in an effort to be even more inclusive to both new and longtime Chautauquans. For the 144th birthday celebration, festivities will be held from noon to 2 p.m. Tuesday, Aug. 7, on Bestor Plaza, with family-friendly activities and crafts like mask coloring, yard games, a photo booth with props and the Community Band performance at 12:15 p.m. Evening activities are set to begin at 6:45 p.m. in the Amphitheater.

“(OFN) honors tradition and family,” said Tim Renjilian, co-chair of the Chautauqua Fund. “But it also makes clear that from day one, new Chautauquans are an essential part of the fabric here, and they represent the start of new traditions and future multigenerational Chautauquan families.”

The evening kicks off with Vespers led by the Rt. Rev. V. Gene Robinson, vice president of religion and senior pastor, followed by the Drooping of the Lilies, when audience members raises white handkerchiefs or tissues to remember late Chautauquans.

From there, other aspects of the evening program will include a plethora of activities.

Kit Trapasso, director of Children’s School, will lead the audience in singing “Happy Birthday.” Greg Prechtl, McCredie Family Director of Boys’ and Girls’ Club, will invite the audience to sing the “Club Song.”

After the songs, fund co-chairs Tim and Leslie Renjilian will invite community members to make a gift to the 2018 Chautauqua Fund. In previous years, Downey said the gifts from OFN are a significant contribution to the annual fund, sometimes raising between $30,000 and $70,000 in support of a wide range of programming. Those who make a gift today will be entered in a drawing to win a half-day pontoon boat rental.

The winner of the give- away will be announced by President Michael E. Hill after selections from Air Band. Theatre of Varieties will perform from 7:30 to 9 p.m. as part of the Family Entertainment Series, featuring “death-defying” stunts from Viktoria Grimmy, ventriloquism from Lynn Trefzger and magic from David “Kid Ace” Boyd.

To end the night, community members can enjoy cake served from various denominational houses, such as the Baptist House, Catholic House and United Methodist House, as well as the Chautauqua Women’s Club. A “cake map” will be provided. Following this treat, the film “Coco” will be shown at 9:30 p.m. on Bestor Plaza.

The events of OFN are meant to honor the Institution’s past and future, according to Tim Renjilian.

“To me, Old First Night is a sweet, inwardly-focused celebration that touches on many key elements of our community’s culture,” Tim Renjilian said. “Throughout it all, there’s a focus on the ways Chautauquans past, present and future have sustained, and will continue to support, the work and values of the Institution.”

Silkroad Ensemble brings musical spin to lecture on listening across differences

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  • The Silk Road Ensemble joins Steven Seidel, Harvard University's director of Arts in Education program, in a discussion and musical performance focused on 'listening across differences,' on Monday, August 6, 2018, in the Amp. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER

The Silkroad Ensemble embraces difference.

Ten of its members brought that philosophy to the Amphitheater stage Monday, Aug. 6, as a twist on the traditional 10:45 a.m. morning lecture, opening Week Seven’s theme, “The Arts and Global Understanding.”

Following the morning announcements, the Amp filled with the nasal sounds of Galician bagpipes, accompanied by percussionists Joseph Gramley, playing a rattle, and Shane Shanahan, playing a melody on a conch, as they ambled through the aisles. As they reached the stage, a cacophony of strings and percussion instruments erupted.

The piece, John Zorn’s “Book of Angels,” featured folksy Jewish harmonies equipped with undertones of lute-like instruments and drums. As the piece ended, Galician bagpiper Cristina Pato stepped forward to address the packed audience.

“Twenty years ago, curiosity brought Yo-Yo Ma to gather musicians from all around the world, … the curiosity about learning about other cultures, the curiosity about learning about other instruments,” Pato said. “And he had one very simple question in mind: What happens when new social groups meet?”

The famed cellist Ma established Silkroad in 1998 as a way to engage differences through music, and as a metaphor for the benefits of a globalized, connected world through musical innovation. Evidence of this is in its members, who Pato turned to introduce.

Wu Man, a pipa virtuoso and original Silkroad member, plays her traditional Chinese instrument around the world in contemporary and classical settings while bringing age and experience to the ensemble; Mike Block, a cellist, brings innovation through his rigged cello, which allows him to play his instrument — which traditionally requires the musician to be seated — while standing.

Education is another pillar of Silkroad Ensemble, Pato said. Pato herself is a teacher; percussionist Gramley is a professor at the University of Michigan and Martine Thomas is a Harvard University alumna who participated in Harvard’s collaboration with Silkroad Ensemble as part of “The Silk Road Project.”

The lecture was led by Steve Seidel, director of the Arts in Education Program at Harvard Graduate School of Education, who frequently works with the group. When he met Silkroad 10 years ago, he was struck by its members’ dedication to learning — both about themselves and those around them. Seidel introduced the theme for the morning: listening as art.

Listening is best expressed during rehearsal, he said.

“You go into rehearsal with your instrument or, if you’re working as an actor, with your text, and fully expect to make sound, to make noise, to express,” Seidel said. “But from a learning perspective, a rehearsal does not have to be a learning environment — and without listening, it rarely is. Listening is the turning point … that takes the making of noise into the making of meaningful sound.”

Seidel called on percussionist Shanahan and violinist and erhu player Shaw Pong Liu to discuss the rehearsal process for “Book of Angels,” which Liu previously only performed twice compared with Shanahan’s 50 times. Shanahan described the necessity to understand body language as a form of listening, both on and off stage.

For Japanese percussionist Haruka Fujii, her culture inspires her music. “Ma,” — yes, like Yo-Yo Ma, she said — is the Japanese concept of negative space. “Ma,” in the physical sense, can be the distance between two people; it can be the emotional distance; or in the musical sense, it can be “the space between sound and sound,” a concept Japanese composer Tōru Takemitsu explored in his piece “Seasons.”

Fujii looked to replicate this concept at Chautauqua Institution. The musicians scattered; some took their instruments to the top of the bowl, others went empty-handed to various points along the stairs, ramps and throughout the orchestra pit. After the clang of the gong, the musicians began improvising noises. After a few minutes, Seidel gestured for the audience to join.

Eventually, the Amp over-flowed with noises, rattles and claps. Attendees whistled, rolled and sloshed water bottles, rustled clothing and paper, clinked jewelry against seats, stomped and drummed rhythms into railings. The clamour began to resemble a jungle or noisy summer evening, coincidently equipped with a metronome of a truck’s back-up beeper.

After a few more moments, Seidel gestured a decrescendo. He paused, and asked the audience to pause as well, because “silence is a space in which we can collect our thoughts.” Then he asked the audience to discuss with those around them.

The Amp burst into chatter.

“While you were talking, I was listening, and that was a fantastic sound,” Seidel said.

Seidel turned back to the concept of listening, a topic percussionist Sandeep Das knows well. Das lived with Guru Pandit Kishan Maharaj for 12 years, studying the traditional Indian instrument, the tabla. During this time, Das learned to practice space, similar to the Japanese concept of “ma,” and listening — listening to his instrument.

Das and Shanahan played together to demonstrate the relationship between sounds and musicians. Das began with slower rhythms on the tabla, which Shanahan accented with strikes to a singing bowl. The rhythms progressively increased in intricacy and speed. By the end, the two men’s melodies meshed seamlessly as they finished in sync.

Pato closed this portion of the lecture, explaining Silkroad and Ma’s core principle.

“In ecology, the point in which two ecosystems meet, such as the forest and the savanna, that point is called the edge effect, and apparently in that point is where more new life forms are created. And somehow Silkroad is (Ma’s) own recreation of the edge effect.”

-Cristina Pato, Galician bagpiper, Silkroad Ensemble

Institution President Michael E. Hill opened the Q-and-A by asking what lessons can be drawn from listening and incorporated into discourse.

“There’s often the experience when you can’t hear someone — whether that’s based on how loud they are speaking or you can’t understand or agree with what they are saying — (and) you might feel a sense of frustration or fear,” said Jeffrey Beecher, bassist and co-artistic director of Silkroad. “… I think what this experience has taught us … is rather than shout … I trust that by actually going somewhat quieter, by lowering my energy in some way, (is effective) instead of trying to forcefully get something across.”

Hill then turned to the audience for questions; an attendee asked if silence had its own sound.

“Silence is the moment of interaction,” Block said.

With that, the ensemble closed the lecture with a song. The piece featured a snakey beat, enhanced by the erhu, a two-stringed predecessor to the violin, played by Liu, a strong beat and intense bowing from the strings section. The audience clapped along as the ensemble finished con gusto.

Ambassador Barbara Stephenson will speak about shared musical experience in diplomacy, and music as the best vehicle for cultural identity and communal experience

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Diplomats are by definition “strangers in the strange land,” according to Ambassador Barbara Stephenson, president of the American Foreign Service Association.

“That’s always been our lives,” Stephenson said, “ … figuring out ‘How do we understand the culture where we live?’ and ‘How do we create a moment of connection where they understand us, and we can have a relationship?’ — which is the whole purpose of being strangers in the strange land.”

As part of Week Seven’s theme, “The Arts and Global Understanding,” Stephenson will discuss “Conducting Diplomacy Through Sharing Music” at the 10:45 a.m. lecture Tuesday, August 7, in the Amphitheater.

“That’s what I wanted to explore: … music as a unique communal and uniquely powerful form of communal expression and vehicle for expressing,” Stephenson said, “but also by participating in it to create a sense of community.”

Although Stephenson is not a trained musician, she said her art as a diplomat is to figure out how to read different cultures, people and their values and then explain her culture to them.

On a higher level, Stephenson describes diplomatic work as “creating a shared experience that enables us to set aside doubt in the sense of ‘us’ versus ‘them’ to walk together toward a common goal. That’s what diplomats do in their highest moments of their calling.”

To Stephenson, music is “the best vehicle for creating that powerful shared experience.”

Stephenson said she often reflects on how people form connections, and she said music is the most powerful “vehicle that we — almost as part of the human condition — have available to us.”

Stephenson said there are many ways that people “might introduce (themselves) and share a culture.”

“We sometimes share food. We sometimes share our story,” Stephenson said. “Even when we are sharing our story, we are often sharing that story with a musical component and often with dance accompanying the music.”

There are many other forms of art that can be used to build connections — for example, fine art — but Stephenson said standing in an art museum looking at artworks is “a lonely experience.”

“You stand there, you stare silently at the painting, and the painting looks back silently at you,” Stephenson said. “And you may try to talk about it (with others) afterward, but it’s not a communal experience.”

Stephenson said music is different because it often involves people coming together to share the experience. That experience can then lead to a shared understanding, Stephenson said, which is the root of diplomacy.

Diplomacy is about finding a way “to grow the space for ‘us’ and shrink the space for ‘them,’ ” Stephenson said, paraphrasing former President Bill Clinton.

“Coming together to share our music is a very powerful communal experience,” Stephenson said.

Rabbi Asher Lopatin talks the role of Modern Orthodox Judaism at the interfaith table

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  • Rabbi Asher Lopatin speaks on Orthodox Judaism during the Interfaith Friday Lecture on Friday, August 3, 2018 in the Hall of Philosophy. HALDAN KIRSCH/STAFF PHOTOGRAPHER

In the sixth edition of the Interfaith Friday Series, August 3, the Rt. Rev. V. Gene Robinson, vice president of religion, moderated a number of questions with interfaith advocate Rabbi Asher Lopatin, who represented Modern Orthodox Judaism.

Lopatin is president of Yeshivat Chovevei Torah Rabbinical School, an Orthodox rabbinical school. In August, Lopatin will launch a new Modern Orthodox synagogue in Detroit, as well as starting a university-oriented Center for Civil Discourse. Lopatin has written chapters in over 20 books, as well as numerous articles. He is a member of the Council on Foreign Relations, cochaired the Jewish-Muslim Community-Building Initiative in Chicago, and has been listed several years in Newsweek’s Top 50 Rabbis.

What follows is an abridged version of Lopatin’s conversation. Lopatin and Robinson’s remarks have been condensed for clarity.

From where you sit in your tradition, why should we be moving in an interfaith direction either here at Chautauqua or in the world?

Lopatin: By interfaith direction, my understanding is more interfaith dialogue, more contact with each other. That gets to the idea that I think a richer life is a challenged life, is a more educated life, and I get excited by hearing different views. It is interesting — interfaith does two things. First of all, it does challenge you, and you have to think about your religion more deeply, and that’s healthy. I really think that maybe we should let our kids play in the dirt a little bit more because then they will build up more resistance. So, I like the idea of being challenged. But the other side, which I found very exciting, is finding the similarities we have. Especially Jesus as a Jew, studying the New Testament (and) finding so many central tensions that the rabbis share. (There are also) so many issues that Judaism and Islam share. There are countries in Europe that don’t allow us to slaughter our meat in our traditional ways, and Jews and Muslims stand together on that. Then in sociological ways, how do Muslims in America keep their tradition going in this very secular and, some ways, Christian country? What happens when your little kid comes home, your Muslim kid, and wants to have a Christmas tree in the living room? That is something that Jews and Muslims can deal with together. Both the differences are strengthening, and the similarities are also very supportive.

When you come to the metaphorical interfaith table, what gifts do you bring as a Modern Orthodox Jew to that table?

Lopatin: I think that one of the great things about Judaism is this idea of an evolving and changing world. I think that in today’s times, some things can be very frustrating, and it is important to believe that this world can be a good world. And you see torture going on, and some of these other things you see going on, refugees and bannings from different countries, but this belief that it can get better is a critical idea of Judaism. Along with that is this idea of change without change. You can have kind of radical change without being afraid that you are wiping out your tradition, and Judaism has been very good at accommodating that. When Judaism entered a more benign attitude, let’s say toward Christianity, certainly during the Middle Ages, doing business and being part of it in its own way, the Christian community, it was not seen as we are abandoning our Judaism. It’s seen as a new understanding and a Judaism that was always there. So I actually feel that on many issues — on Israel, Palestinians, on Jews in America. One of these issues, what Judaism should have to offer, is that you can come up with a very different perspective than people have 100 years ago, or 50 years or a year ago, and that is not betraying your religion; it is really being consistent with your religion, it is really what your religion is about. Now, I guess people will say, “Oh you’re deluding yourself, that’s not what Judaism is about.” It will take a lot of arguments, but I think that ultimately, Judaism has that to offer. You see the changes that have occurred without asking people to abandon their passion for their religion.

What gifts do other religions bring to the table that you might benefit from?

Lopatin: I am always looking, first of all, for passion, and passion comes in different ways. In Islam, (we see) the incredible passion of praying five times a day. Now, Jewish prayers are a little bit longer than Muslim prayers, but that model of stick-to-itiveness that Muslims have to a great extent (is good) for Jews to know. When it’s time to pray, you pray. You don’t worry who is around. I think sometimes when we see it in other people and other religions, it gets us to be more passionate, more understanding and more comfortable in asserting who we are. But I also see where it is such a consumer-driven society that (there is) this powerful tradition of Christianity, aestheticism and other worldliness. I mean, Judaism is great because we can work this world so well, and we don’t have to give up enjoying this world. We don’t have to give up working in this world; even traditional Orthodox (people) in Israel are trying to go more into the workplace and out of their rabbinical schools, but there is something about living in other worldly ways, so maybe we can get a little bit of that balance.

Do you have any sacred texts or holy teachings that are telling you that yours is the one true religion?

Lopatin: I guess the area where this is difficult for some or stands out is “chosenness.” Definitely in (a verse meaning): “We are the people that were chosen to receive a revelation.” Islam actually has the same revelation. For Judaism, it’s only the Jewish people, in general, and we distinguish ourselves from other people in that way. There’s a prayer that says, “God did not make us like other nations, and God is in charge of our destiny.” There is a lot of other literature, Talmudic literature, which doesn’t talk about other religions but talks about “them and us.” Zalman Schachter-Shalomi reread that part and said, “God made us like all the other nations.” I’m not saying that is the simple understanding, I do think the tradition is that God chose us to be special, but the fact that the text can be read in that way and can sound that way is amazing. I’m a mystical believer that that is wholesome, contained in the text even though the simple meaning is this chosenness. Even with all the chosenness, it’s not to say in general within Orthodoxy that other nations are not special in their own ways. Judaism is special in a lot of ways, and other nations are special in their other ways. There is a stream, to be honest, within Judaism, within Orthodoxy, that thinks the soul of a non-Jew is different from the soul of a Jew. I don’t subscribe to that, and many Orthodox (adherents) don’t subscribe to that. I don’t know how to explain that. That bothers me a lot. But that’s something you have to accept as an Orthodox Jew; that’s one voice out there. A lot of people that subscribe to that are the nicest people to ever run the world, but they just believe they have a better soul than other people. But that’s one element within Orthodoxy, but that’s been a debate. The fact that Orthodoxy has debated that, their enforcement to say “everyone’s soul … everyone’s equal,” and argued against those that said that there is a difference in soul, shows that Orthodoxy is sensitive to this issue, and there’s really a tradition within Orthodoxy of “We are all chosen in our own ways.”

Do you have extremist practitioners of Modern Orthodox Judaism?

Lopatin: I’m very optimistic. There’s just a big love fest in Orthodoxy. There are those that are extremist against Zionism. Zionism is that sort of balance between parochialism and having a promised land you should live in and also making that land an ethical model for the world. I think Israel strives for that and works on that, but there are those totally against the Jewish state and Israel, and those are the ones that hate that concept of protesting. But you know what’s interesting? Even those who are more extreme are coming around a little bit. Even some that were against going to work, who said, “A man should just stay in rabbinical school,” some of those are starting to say, “OK, it’s OK to be a part of the workforce.” Some of those that were so much against Israel are now much more loyal to Israel actually, even if they don’t believe Zionism is a God-given era. Even on the toughest issues, women issues, gender issues, there’s movement, there is a great deal of movement, (but) it’s slow. Really, I think the most bitterness (comes from) people that are so similar within Orthodoxy. Different factions within Modern Orthodoxy or modern versus centrists and centrists versus ultra. But there is movement, and I’m always very hopeful about that. So we do have our extremists, and the tragedy is, a lot of time, extremists are zero-sum people. They think it’s us or them. It’s either we do good for the Jews, or it’s a loss. If they can understand that this world is not so much a zero-sum world, that it’s a positive sum — we can do good for us while doing good for others. So I think that is the problem that I see, and I hope that’s  where there will be a shift.

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