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REJOICE! Finding Joy in Every Circumstance

Rejoice finding light.jpeg

Christmas Around the World is a well-established tradition at Brigham Young University, with this year’s production marking its 60th appearance in the BYUarts season. While primarily a cultural celebration, there is always a theme arching over the production and informing the text and music performed in between the dance numbers. Previous years have seen themes, most recently, “A Light in the Window” (2019), which highlighted the importance of cultural roots being maintained despite immigration, and promoted empathy and compassion for those who have had to leave their ancestral homes against their will. With such a lofty preceding theme, the 2021 theme, “Rejoice” can seem rather simple in comparison. However, I think more than ever, today we are aware that rejoicing is not an inherently simple action.

Etymologically speaking, the word “rejoice” presents a point of interest. It is a variation of the word “joy”, which is commonly defined as “a feeling of great pleasure and happiness”, which I think is well within the bounds of how we typically consider the word rejoice. However, the prefix “re” is where my interest was piqued. This word-forming element first emerged (near as we can tell) in the 1200s from Old French and Latin, both with the meanings of turning back, renewing, coming back again to an original place. In that sense, “rejoice” can also be seen as “returning to joy”—a beautifully hopeful concept; the idea that even when we have lost sight of light, we can always find it again.

As the world continues to experience and feel the effects of COVD-19, we are in the midst of universal heartache and trauma. While life is never perfect, and there is always immense suffering present in the world, now we are currently facing a nearly unprecedented phenomenon: a global population united in experiencing, in various ways, the effects of the same antagonist. There is not a single person who hasn’t suffered in some way, lost loved ones or opportunities, or faced considerable hardship due to COVID-19 and connected events. For many, the year 2020 felt like a year in unwilling stasis: life could not continue as normal, and no one really knew how to cope with it. For me, I often felt like even breathing carried an extra weight to it. People were isolated, scared, and uncertain. For the most part, many of us are still variations of all of these things.

With Christmas Around the World this year, there is a conscious effort to highlight celebration and joy. In many cases, such as in Hopak, folk dances evolved from a need to rejoice in the wake and aftermath of war and fear. American pioneers, who had next to nothing and faced a seemingly barren desert to build a new home in, danced in families and as friends to celebrate the good God provided them. The Israeli Na’ara is a beautiful tribute to and celebration of the lives of loved ones who have passed on. Dance provides a powerful outlet whereby our fears and sorrows can be translated and changed into a renewal of joy in life.

Beyond this, this holiday season, regardless of what you celebrate—Christmas, Hanukkah, Kwanzaa, Diwali, Solstice, or various New Year’s—there is an urge to rejoice, even with the hardships at hand. Even in ancient times, early Christians would rejoice in the coming of their Savior, despite the heartache many of them faced in the face of King Herod. Hanukkah is celebrated in remembrance of Jerusalem being recovered and the Second Temple being rededicated; another instance of celebration in the aftermath of and continued sorrow and fear. Many celebrate the Winter Solstice, the shortest day of the year, despite the literal extended darkness of the day. Regardless of the circumstances, traditions, and faiths associated with these holidays, there almost seems to be a need to rejoice.

All of this goes to say, in the world at large and here at BYU, there is a collective need to “return to joy.” Heartache, trials, and confusion still, and will continue, to abound. We will always need to adapt to new versions of “normal,” make sacrifices we would rather avoid, and mourn for what we lose and miss out on. However, we can (and should) always seek our own “great pleasures and happiness(es),” despite the darkness surrounding us. When we look for light, we are often surprised by the abundance in which we find it.

Here we are standing, despite it all. What a wonderful reason to rejoice.

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Games and Activities Inspired by this Fishy, Wishful Tale (Part 2)

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The cast has been participating in workshops with Teresa Love, an adjunct professor at BYU who teaches theatre for the elementary classroom, storytelling, and adapts many of the TYA plays performed on the BYU stage. (Fun fact: She wrote the script to BYU's most recent mainstage play, The Selfish Giant.) She is currently helping the cast of The Fisherman and His Wife construct a post-show interactive workshop for 3rd graders. These workshops will take place after the students have seen the show performed at their elementary school. In the images below, the cast and stage manager collaborate to first establish, then create frozen images of the play's themes: CONTENTMENT, POSSIBILITIES, DESIRE, UNSATISFIED, REVERSED, HAPPY. Overall Message: BE CAREFUL WHAT YOU FISH FOR! Can you see any of these themes or messages represented in the poses below? MORE WORKSHOP PICTURES TO COME!
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Design Inspiration

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by Amelia Johnson, Dramaturg Creating a show is a process. Though the run of the show is over, there was a lot more that went into the show than what was seen in those few weeks. Months before the run, the production team began meetings. They discussed the director’s vision for the show and began planning designs. Everything was approved of and discussed before lights were set, sets, were built, and the costume and makeup designs were implemented. This year, the costume and makeup designers drew inspiration from the local artist, James Christensen. Having passed away earlier this year, director Dallyn Bayles thought it would be nice to pay tribute to him in this way. Costume designer Dennis Wright was thrilled to base his designs of Christensen's style. He said, “What I really love about Christensen’s work is the whimsy that he incorporates into his characters. His distinctive use of patterns, layers and silhouette is really fun and distinctive. I wanted to be sure to capture that in the costume designs for this production. “I love this show, and the concept and design choices our team has made. I am excited to share it with our audience. As a big James Christensen fan, my one regret is that I didn’t actually get to meet the artist in person. I just returned to Utah last year and sadly, missed my chance. I am very grateful to be able to pay tribute to him in this small way”. Makeup and hair designer Sarah Bult also shared some of her thoughts. “After reading the script I looked through as many James Christensen paintings as I could find. I picked out textures, colors, broke it all down and paired certain characters with those elements. His artwork influenced everything from the shape and colors of hair down to the detail on the bead work of the hairpins. I loved that I could draw my inspiration from his work and create something that really embodied his artwork." Bult continued, “One thing I didn’t expect to be a challenge was that not many Christensen pieces have hair showing. This created a very unique and fun challenge for me. I had to look many different paintings, combine textures and colors, and use my own design style to come up with fun fairy tale hair and makeup styles that were reminiscent of Christensen’s artwork. I am very excited to see how all of the elements come together”. Join us on the 4th Wall next time to learn more about what goes on behind the scenes!
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by Holly Mancuso, dramaturg After a successful run, Microburst Theatre Festival has wrapped up for this year. If you missed it, make sure you join us next year for a fresh round of new plays written by students. As part of the show we created boards for the lobby highlighting each of the shows. Different drafts showed how much these plays have changed since the first drafts, which was fun for audiences to see. [caption id="attachment_3667" align="aligncenter" width="3264"] The Microburst lobby display[/caption] As part of this process, the production team has grappled with the question: "Why new plays?" This is a fair concern, since many people don't feel comfortable seeing something with which they aren't familiar. It's also easier to be drawn in by a known name
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