This sonically-innovative harpist is revolutionizing her instrument for the digital era. Over the past 15 years, she has worked relentlessly to stretch boundaries and limitations for harpists. In 2022, she made history by becoming the first black woman to be nominated for a Grammy Award for Best Instrumental Composition. That same year, she was also nominated for an NAACP Image Award.

“No harpist thus far has been more capable of combining all of the modern harp traditions—from Salzedo, through Dorothy Ashby, through Alice Coltrane—with such strength, grace and commitment.”

—saxophonist Ravi Coltrane

Over the past six or seven years I have focused on cutting away certain areas of maps, creating lace-like pages of roads, rivers, and other geographical features. These are then protected between sheets of acrylic, in boxes, or safely mounted on panels.

For my site-specific installation at Twenty Summers, I embraced the fragility of the pages, leaving them unprotected and open to whatever might happen when people also enter the space. I envisioned hundreds of cut maps hanging from the beams, perhaps randomly, perhaps in a specific layout.

I have a sense of the installation being somewhat representative of the world, in particular the fragility of the planet and how we are failing to take care of it. But I also like the idea that it spreads through the community and parts of it live on wherever people put the pieces that they take. I see the whole as ephemeral and removing some of the individual elements does not diminish it. And maybe, during future iterations of the installation, more will be added, and it will continually evolve; perhaps becoming a permanent part of my art practice.

All life once rose from the ocean, and all life still depends on it today. From melting glaciers and rising sea levels to plastic pollution and overfishing, our common origin is in danger. This group of marine biologists, ocean advocates, and researchers of the local coastal ecosystem venture into a discussion about how the ocean connects us—and what we can do to protect it.

Fabiola Méndez is a Puerto Rican cuatrista, singer, Emmy-nominated composer, and educator that has taken part in a musical and cultural movement, crossing over the lines of genres such as folk, jazz & Afro-Caribbean and taking the listener on a journey through identities, cultures, and roots.

A chance meeting with a stranger on the side of the road led artist, Michael Joseph down a decade-long journey photographing and documenting an American subculture, called Travelers. Travelers are the most contemporary of non-conformists, having evolved from the 1930s Dustbowl Hobo, '50s Kerouac Beatnik, and the '90s East Village Squatter. Michael presents his work and new book, "Lost and Found: A Portrait of American Wanderlust" through visuals and audio. His portrait project set in Provincetown, called "Wild West of the East" will be discussed. Topics common to both projects include identity formation, found family, wanderlust, the human journey and the search for equality and human authenticity.

Introduce yourself to the nettle plant through an immersion of flavor, texture, sensations and experiences. Nicole Cormier RD, LDN offers connections to Urtica dioica with a tasting of various preparations of the plant to eat, sip and feel.

“I am passionate about helping people...improving whole health ... mental and physical ...educating ... I believe in the power connecting farmers and consumers.”

The Weather Station is the project of Toronto based songwriter Tamara Lindeman. The last few years have seen The Weather Station release two albums: the career defining Ignorance (2021) and its ethereal, mostly live recording companion piece, How Is It That I Should Look At The Stars (2022). In that time, The Weather Station have gone on to headline tours across North America and Europe, play major festivals, and perform on the televised Austin City Limits as well as Jimmy Kimmel Live. Ignorance was named Best New Music (Pitchfork), and landed in year-end Top 10 lists from The New Yorker (#1), Spin, New York Times, Uncut, Pitchfork, The Guardian, and many others. Called "a heartbroken masterpiece" in The Guardian, the record was a complex evocation of climate grief that struck a chord worldwide.

As a writer, Lindeman is known for her detail. “Her writing can feel … like the collected epiphanies from a lifetime of observing” (Pitchfork). Over the course of six albums, her music has moved from home recorded, mostly acoustic folk to the “ornate act of world building” (New Yorker) that was Ignorance. The throughline, though, is a focus on ideas; her lyrics walk the line between the personal and the conceptual, forever tying small moments to larger metaphysical quandaries. Nominated for three Juno Awards, a Socan Songwriting Award, and the Polaris Prize, her albums have made a mark both critically and conceptually.

On August 18th, 1949, Forum 49 hosted a panel discussion called ‘Directions in 20th Century Architecture’ featuring architect Marcel Breuer, the artist and filmmaker György Kepes, and architect and journalist, Peter Blake, who was then curator for Architecture and Design at the Museum of Modern Art.

All three speakers were engaged in the then-raging debate about whether modern houses should use the materials and methods of vernacular, regional architecture, or employ universal, standardized, machine-made components.

Breuer had just finished building his own experimental house in Wellfleet and one for the Kepes family not far away. Both houses were modest-sized, environmentally sensitive, outposts for art-making and creative congregation.

By coincidence this 75th anniversary of Forum 49 is also the year the Cape Cod Modern House Trust is seeking to purchase, restore and re-open Breuer’s house as a platform for scholarship and new creative work.

By looking back at the Forum 49 discussions, this talk will explore the relevance of Breuer’s work today, as well as the process of preserving his summer house and the archiving of its contents.

The ecological crisis is only a symptom of a deeper spiritual disconnect, one that must be mended to heal the whole. What can we learn from nature about the processes of decay and renewal? What must be decomposed in order for our species to mend its relationship with the Earth? In this keynote conversation bridging the spiritual and ecological, we will hear from Atmos editor-in-chief Willow Defebaugh and philosopher, writer, and founder of The Emergence Network Bayo Akomolafe, as they invite us into a deeper understanding about the transmutations and murmurations our world is faced with today.

Cody Plays is an experiment in creating a play in a matter of a few days with a rotating group of special guests and collaborators created by writer/performer Cody Sullivan. Where is the show taking place this week? What is happening in the world that day? Who can we beg to take a role? The answers to these questions are the frantic, immediate, ephemeral ingredients that Cody uses to facilitate the group creation of each Cody Plays. Cody started the show in Provincetown at The Gifford House, in June 2023. He continues to play in Provincetown and Boston.

“The results are outrageous and boisterous and harken back to Provincetown’s devil-may-care days.” – Chris Muller, The Boston Globe.