Shown in a 2013 Concert on the Quad at ÀÖ²¥´«Ã½, Corey Harris ’91 brings his distinctive brand of roots music back to ÀÖ²¥´«Ã½ on Sept. 24. (Phyllis Graber Jensen/ÀÖ²¥´«Ã½ College)

Heading to New England for concerts that include a , singer-songwriter Corey Harris ’91 checked in with a reporter in advance of a show at Portsmouth’s Music Hall.

Music writer Christopher Hislop queried Harris about his musical range, which encompasses such Africa Diaspora genres as blues, reggae, and jazz. As Harris represents so many styles in his sound, Hislop wondered, “how does ‘life’ find its way into your storytelling?”

Harris replied, “I express the reality of my past, present, and future as an African living in the Western Hemisphere. Life finds its way intro one’s music in the same way that it is in one’s everyday words and actions.”

Harris launched his musical career not long after graduating from ÀÖ²¥´«Ã½, starting out with a tight focus on the blues that’s still at the heart of his music. He has some 15 recordings in his catalog, and in 2003 was the central figure in the opening episode of a multi-part Martin Scorsese documentary about the blues.

Harris, whose musical career brings him back to ÀÖ²¥´«Ã½ every few years, received an honorary degree of Doctor of Music from the college in 2007. That same year, he was honored with a MacArthur “genius grant.”

But perhaps more germane to his ÀÖ²¥´«Ã½ appearance Sunday is the fact that, as a ÀÖ²¥´«Ã½ graduate, Harris received a Watson Fellowship to study pidgin English in Cameroon, following up on his senior thesis topic. Sunday’s concert honors the 50 years that the Watson Foundation has offered fellowships to students at ÀÖ²¥´«Ã½ and other select colleges and universities.

The concert is co-sponsored by the offices of the Dean of the Faculty and of College Advancement, and the departments of psychology and of French and francophone studies.

Blues in the night is no fun. But blues in the evening can be a very good time indeed, as proven July 18 by musician Corey Harris ’91.

Harris visited ÀÖ²¥´«Ã½ to kick off the college’s brand-new Concerts on the Quad summer music series, dedicated to the blues in all its myriad forms.

The setting was the front porch of Coram Library, where the public presentations usually involve academic regalia, sunshine and some degree of heat.

Spotlighted by the last rays of the setting sun, Harris skipped the cap and gown but generated plenty of musical heat with an 80-minute set given largely to country blues.

ÀÖ²¥´«Ã½ President Clayton Spencer introduced Harris. A casual Spencer, obviously pleased to be presenting the musician, had some fun with her introduction. Describing Harris as “a brilliant musician and ÀÖ²¥´«Ã½ alumnus,” she added, “I love having those two things in the same sentence.”

What makes the country blues aesthetic so cool, writes Doug Hubley, “is how big, complex and captivating a sound one player can wring from one guitar.” Phyllis Graber Jensen/ÀÖ²¥´«Ã½ College.

She also offered a helpful amendment to his career bio, indicating that the “old Quad” should be added to his impressive list of career venues. Speaking of which, Harris came to ÀÖ²¥´«Ã½ fresh from a short Maine tour that brought him to the highly regarded Stone Mountain Arts Center, Brownfield, and Rockland’s North Atlantic Blues Festival.

As Harris recently told a Portland Press Herald reporter, “I think roots music is a good name for what I do, because I play the whole tree, you know?” His ÀÖ²¥´«Ã½ show did reflect his wide interests within music of the African diaspora, sparkling with sounds of the Caribbean, West Africa and Memphis R&B.

But blues, and really the acoustic country blues of the Deep South, was the heart of the show — perhaps necessarily, since additional musicians are often integral to Harris’ ventures into other genres. In fact, the country blues aesthetic rests in part on the notion of solo performance: What makes it so cool is how big, complex and captivating a sound one player can wring from one guitar.

Crackling energy and fresh invention into the old Delta playbook.

Harris showed complete command in that realm. Switching between fretted acoustic guitar and a wooden resonator instrument played with a slide, he dazzled his audience with moves that infused crackling energy and fresh invention into the old Delta playbook. Late in the show, he revealed different facets of his virtuosity with a few instrumentals that explored “prettier” precincts of the musical scale.

As Corey Harris recently told a Portland Press Herald reporter, “I think roots music is a good name for what I do, because I play the whole tree, you know?” Phyllis Graber Jensen/ÀÖ²¥´«Ã½ College.

As a singer, Harris was equally fluent and rangy, moving easily from deep growl to plaintive wail and creating vocal personas to suit a shifting panoply of characters and points of view.

The singer drew heavily on his latest album, this year’s Fulton Blues, whose overall theme is the destruction of Fulton, a middle-class, historically black neighborhood that fell victim to “urban renewal” planning in the 1970s in Richmond, Va. Selections included the title number and “Lynch Blues,” which was especially compelling.

Blues is about laughing just to keep from crying, right?

But Harris ranged all over his catalog. He looked all the way back to his 1995 debut, Between Midnight and Day, for “Pony Blues” and “61 Highway,” and touched down in the 2000s for the spirituals “Daily Bread” and “Keep Your Lamp Trimmed and Burning.” There was humor, too (blues is about laughing just to keep from crying, right?), in songs like the rag “That Will Never Happen No More” and the classic double entendre “Diddy Wah Diddy,” which puts the blue in blues.

Coram Library made a nice concert stage. Photograph by Phyllis Graber Jensen/ÀÖ²¥´«Ã½ College.

For this writer, there were two particular standouts in an overall strong performance: the reggae-flavored “Watching You,” a Harris composition about technology and surveillance that got even edgier with the recent news about National Security Agency activities; and an excellent cover of Skip James’ haunting “Devil Got My Woman.”

The Quad audience, numbering about 100, blended young families — “there’s my opening act,” Harris said as two little girls raced back and forth in front of him — and folks who’d been around for the great rediscovery of the blues in the 1960s and ’70s.

ÀÖ²¥´«Ã½ staff and faculty were well-represented, among them members of the faculty in anthropology, Harris’ major.

Rain started to fall along with the night a little before 8 o’clock, and after a generous set that numbered nearly two dozen songs, Harris wrapped up the evening with a short and sweet “Pony Blues.”

Held at 6:30 p.m. Thursdays, Concerts on the Quad continue Aug. 1 with Portland artist Samuel James and conclude Aug. 15 with ÀÖ²¥´«Ã½ favorite Francine Reed.

Corey Harris performs in 2008 at ÀÖ²¥´«Ã½ College, where he is a member of the class of 1991. Photograph by Phyllis Graber Jensen/ÀÖ²¥´«Ã½ College.

Enjoy three distinctly different approaches to that quintessential American music, the blues, as ÀÖ²¥´«Ã½ College presents its new outdoor music series, Concerts on the Quad.

Concerts on the Quad performances take place at 6:30 on three summer Thursdays on ÀÖ²¥´«Ã½’ Historic Quad, at College Street and Campus Avenue. Admission to the series is free, and audience members are encouraged to bring picnics and chairs or blankets.

Blues, gospel and jazz singer Francine Reed returns to ÀÖ²¥´«Ã½ Aug. 15.

Taking the place of the college’s Midsummer Lakeside Concerts, the new series continues ÀÖ²¥´«Ã½’ long and popular tradition of presenting outdoor music for the whole family. For more information, please call 207-786-6400.

Here are the Concerts on the Quad performers:

• Corey Harris, a singer-songwriter featured in the Martin Scorsese blues documentary Feel Like Going Home, opens the series with a solo show on July 18.
• A Portland bluesman praised as a “guardian of lightning,” Samuel James offers a solo performance on Aug. 1.
• In her third visit to ÀÖ²¥´«Ã½, veteran blues, gospel and jazz singer Francine Reed performs with her band on Aug. 15.

– Office of Communications and Media Relations

Musician Corey Harris, who played a key role in Martin Scorsese’s 2003 PBS television series The Blues, performs at ÀÖ²¥´«Ã½ at 8 p.m. Friday, Feb. 29, in the Olin Arts Center Concert Hall, 75 Russell St.

The concert is sold out. For more information, please contact 207-786-6135 or this olinarts@bates.edu.

a member of the ÀÖ²¥´«Ã½ class of 1991 and recipient of an honorary Doctor of Music degree from ÀÖ²¥´«Ã½ in 2007, is at the college for a seven-day residency that includes work with classes and individual students. His visit as a ÀÖ²¥´«Ã½ learning associate is supported by The Andrew W. Mellon Foundation of New York City.

Harris is known for intrepid explorations of blues, jazz, reggae and other genres. Recipient of a 2007 MacArthur Foundation “genius grant,” he was described by the foundation as an artist who “forges an adventurous path marked by deliberate eclecticism. With one foot in tradition and the other in contemporary experimentation, he blends musical styles often considered separate and distinct to create something entirely new.”

“I’d like to call my music ‘diaspora rock,’ ” Harris told National Public Radio’s “Morning Edition.” “I’m looking at my people who are black around the world, seeing what unites us musically, and trying to express that as a black American.”

Harris has played top venues including the Royal Albert Hall in London, the Lincoln Center in New York and the Kennedy Center in Washington, D.C. He has performed in Africa, South America, the Caribbean, Europe, Japan and New Zealand.

In 2003, Harris was at the center of “Feel Like Going Home,” the debut episode of Scorsese’s PBS documentary series The Blues. For that episode he traveled to Mali to play with Ali Farka Touré, a journey he repeated for his album Mississippi to Mali (Rounder, 2003), in which he explored connections between African music and the blues.

Born in Colorado, Harris first tasted the blues from his mother’s collection of Lightnin’ Hopkins records. He began playing trumpet at age 5, and at 12 turned to guitar.

At ÀÖ²¥´«Ã½, Harris majored in anthropology and spent time in West Africa, completing a senior thesis on pidgin English in Cameroon. While at ÀÖ²¥´«Ã½, Harris won a prestigious postgraduate Watson Fellowship that supported another extended visit to Cameroon after graduation. His time in Africa has significantly influenced his work, and his blues-based adaptations of African music have won national regard.

“This is what we as black Americans gave to the world: the concept of blues,” Harris said in a 2002 interview for Rounder Records. “But at the same time, I’m of a different generation. I didn’t ever have to go to the back of a bus.”

“So I’m trying to represent what my tradition is, and then represent my individual self in the movement.”

His first album, Between Midnight and Day, was released by Alligator Records in 1995. His second, Fish Ain’t Bitin’ (Alligator, 1997) won the W.C. Handy Award for best acoustic blues album. Also on Alligator he released Greens From the Garden (1999) and, with Henry Butler, Vu-Du Menz (2000). On Rounder, Harris’s recordings include Downhome Sophisticate (2002).

For his 2007 debut on Telarc, he released the widely acclaimed Zion Crossroads, which the magazine Global Rhythm called “one of the most vibrant reggae albums to be released this year.”

“I wanted to make a record that was all roots-oriented,” Harris says. He adds, “It’s a spiritual record, but at the same time, it’s talking about the crossroads — not just the crossroads that we all understand in the blues context, but in all the meanings of that word.”

– Office of Communications and Media Relations

The John D. and Catherine T. MacArthur Foundation today named Corey Harris, a musician and 1991 ÀÖ²¥´«Ã½ College graduate, as one of 24 new MacArthur Fellows for 2007.

Harris, the foundation said in its announcement of the award, “forges an adventurous path marked by deliberate eclecticism. With one foot in tradition and the other in contemporary experimentation, he blends musical styles often considered separate and distinct to create something entirely new.

This past week, the MacArthur recipients learned that they will each receive $500,000 in “no strings attached” support over the next five years. The fellowships offer recipients the opportunity to accelerate their current activities or take their work in new directions. This unusual level of independence underscores the spirit of freedom intrinsic to creative endeavors.

The new Fellows work across a broad spectrum of endeavors. Other awardees include a biomedical scientist, a forensic anthropologist, an inventor, a medieval historian and a spider silk biologist. All were selected for their creativity, originality and potential to make important contributions in the future.

Acclaimed for his brilliant, blues-based exploration of African diaspora music, singer-songwriter Harris lives in Charlottesville, Va., where he is on the board of directors of the Field School, a middle school for boys opening in fall 2007.

In 2003, director Martin Scorsese put the musician at the center of “Feel Like Going Home,” the debut episode of the PBS documentary The Blues, in which Harris traced American blues music to its African origins.

A high-honors anthropology major at ÀÖ²¥´«Ã½, Harris won a postgraduate Watson Fellowship to study pidgin English in Cameroon (his senior thesis topic), then taught English and French in Napoleonville, La., traveling to New Orleans to perform on weekends. Music soon became his singular pursuit.

Harris’ first recording was 1995’s Between Midnight and Day, a collection of traditional Delta blues songs performed with just voice and National steel guitar. Its successor, Fish Ain’t Bitin’ (1997), won the 1998 W.C. Handy Award for best acoustic blues album.

Harris’ Downhome Sophisticate (2002) showcased a dazzling command of styles. “[The CD] isn’t what you’d expect from a musician well versed in traditional blues,” wrote The Washington Post. “Unless it’s someone who also has a passion for the music of Jamaica and West Africa, the rhymes and rhythms of rap, the sensuous allure of Afro-Caribbean dances, the horn-charged funk of James Brown and the fiery, guitar-driven sonics of psychedelic rock.”

Harris received an honorary degree at the ÀÖ²¥´«Ã½ College commencement last May. (See his commencement remarks.)

“The MacArthur Foundation supports highly creative individuals and institutions with the ability and the promise to make a difference in shaping and improving our future,” said MacArthur President Jonathan Fanton. “These new MacArthur Fellows, extraordinary men and women of all ages and in many fields, honor and inspire us with their talent, their courage and their deep commitment.

“With the gift of time and unfettered opportunity to create and explore, we are confident that the Fellows will follow their hearts and their minds wherever they lead, making new discoveries and making a difference in the world.”

The or MacArthur Fellowship — sometimes nicknamed the “genius grant” — is awarded each year to typically 20 to 25 people of any age and working in any field who “show exceptional merit and promise for continued and enhanced creative work.”

According to the Foundation Web site, “the fellowship is not a reward for past accomplishment, but rather an investment in a person’s originality, insight, and potential.” The Fellowship has no application. People are nominated anonymously, by a body of nominators who submit recommendations to a small selection committee of about a dozen people, also anonymous. The committee then reviews every nominee and passes along their recommendations to the foundation president and the board of directors.

Most new MacArthur Fellows first learn that they have even been considered when they receive the congratulatory phone call.

The inaugural class of MacArthur Fellows was named in 1981. Including this year’s Fellows, 756 people, ranging in age from 18 to 82 at the time of their selection, have been named MacArthur Fellows since the inception of the program.

The John D. and Catherine T. MacArthur Foundation is a private, independent grantmaking institution dedicated to building a more just and sustainable world. Through the support it provides, the Foundation fosters the development of knowledge, nurtures individual creativity, helps strengthen institutions, helps improve public policy and provides information to the public, primarily through support for public interest media.

With an endowment over $6.4 billion, the Foundation makes grants totaling approximately $225 million each year.

“If you want to solve all the problems that we’re facing in this world, it’s unlikely that the people and ideas that got us to where we are will be the ones that are going to get us to a different place,” Segway inventor Dean Kamen told 464 graduates at ÀÖ²¥´«Ã½ College’ 141st Commencement ceremony.

“It’s going to require new people with new ideas. And that would be you,” Kamen said in one of the ceremony’s biggest applause lines. (See the honorands’ addresses and citations, slide shows and videos).

Inventor-entrepreneur Kamen was one of four honorary degree recipients at the ceremony, which took place under gathering clouds on the college’s historic Quad. The otherwere children’s book illustrator-author Eric Carle, actress-writer Anna Deavere Smith, and Corey Harris, a respected roots musician who graduated from ÀÖ²¥´«Ã½ in 1991.

In her fifth ÀÖ²¥´«Ã½ Commencement, President Elaine Tuttle Hansen led the ceremony. “This ceremony celebrates you, ÀÖ²¥´«Ã½ graduates — your habits of mind and soul, and our enduring pride in you,” she said. Hansen concluded by asking the assembly to applaud the people — parents, grandparents, “special others” and faculty — who had done so much to support the students in their journey to this day.

The first of the day’s honorands, Carle may be best-known for his 1969 book The Very Hungry Caterpillar, which has eaten its way into the hearts of millions of children worldwide. Since Caterpillar, Carle has illustrated more than 70 books, many of them best-sellers and most of which he also wrote. More than 75 million copies of his books have been sold around the world.

Carle, who dropped out of school at 16, told the graduates of his “unerring confidence that, when I grew up, I would draw pictures.” He said, “I must warn you that following your dream comes with a price.” In his case, that price lay in not learning much about other subjects, such as math and Latin, that would have served him well later in life. “I regret that,” he said.

Carle also explained how he came to write Caterpillar, getting the idea as he punched holes in a stack of paper. “The holes made me think of a bookworm, and with the help of my good editor, the bookworm became a caterpillar” and the subject of his breakthrough book.

“You see, a good editor, a hole-puncher in good working order and a little bit of luck will take you a long way,” Carle said.

“I was asked to write a speech, but instead I’m just going to talk to you,” Harris began. Sixteen years after his own ÀÖ²¥´«Ã½ graduation, the 38-year-old musician returned with a resume that includes well-regarded CDs exploring the spectrum of African-influenced New World music and a central role in a episode of Martin Scorsese’s 2003 PBS series The Blues.

Harris recounted his very first visit to ÀÖ²¥´«Ã½, when this college in a small Maine city seemed like “an outpost. I felt like I was somewhere in the North Pole.” Coming from what he regarded as an insular community in Colorado, “it’s funny that I chose ÀÖ²¥´«Ã½ to see the world,” he told the graduates. “But, when I look at you all, I can see that you are the world.”

Harris credited ÀÖ²¥´«Ã½ with increasing the diversity of its campus community, while reminding the graduates that in his view, if one considers the world as a whole, “there’s no such thing as a minority.”

He said, “It was at ÀÖ²¥´«Ã½ that I got to interact with people I never thought I’d interact with . . . This was my jumping-off point to discover the world.”

Kamen’s Segway personal transporter is the best-known of a string of sophisticated innovations that more typically aim to improve the lives of medical patients and people lacking access to basic necessities of life. College graduates are often exhorted to go fix the world, but Kamen was unusually blunt about what needs fixing and how the worst problems stack up against the worries that graduates may have, such as how to repay college loans.

Kamen reminded his listeners that “a billion people live on less than a dollar a day. And four billion — that’s two-thirds of humanity — on less than two dollars a day.”

He pointed out that the people with the education and privilege to be effective leaders are an “incredibly small minority of this planet. They have a huge advantage in the leverage they have and the control they have.”

In the traditional verbiage that colleges use in presenting honorary degrees, honorands are accorded all the “rights, privileges and responsibilities ” that pertain to the honor. Kamen had opened his address by saying he wanted to know about those privileges. But Smith, known for writing and performing plays that comment on American race relations and other social issues, jokingly responded, “I still want to know what the rights are.”

Taking community as a theme, Smith asked the students to think of community as the people not just close by, but the ones they can possible reach. “What’s so important is, how long is your reach?”

“Many of us have been educated to celebrate our own identities and to celebrate that which we understand because that’s what we came from,” she said. But she challenged her listeners to “come out of your safe houses of identity . . . to a state that I call the crossroads of ambiguity, where there is no house, where it is not safe.”

She recounted how, as someone who has stayed in plenty of hotels, she saw no point in opening the curtains when she entered her room on at the start of her visit here. Later she changed her mind and opened the curtains, realizing that daylight would help her get up in the morning.

“When I woke up this morning I saw that extraordinary waterfall,” the Androscoggin River’s Great Falls between Auburn and Lewiston. “Even at the moment when we think we know something, if we stop to open the curtains, to open our eyes, to open our hearts in another way, there just might be that waterfall. And that waterfall might lead to a new thought or a new spirit.”

The 464 members of ÀÖ²¥´«Ã½’ class of 2007 consisted of 249 women and 215 men. Fifty-five were Maine residents, out of 249 New England residents. One hundred eighty five came from other states, and 30 from other countries.

The most popular subjects in which members of the class of 2007 majored were psychology, with 51 graduates; political science, with 50; and economics, with 41. Fifty-two students took double majors.

Four honorary degree recipients will speak at ÀÖ²¥´«Ã½ College’s 141st commencement, on May 27. The honorands are children’s book author Eric Carle, singer-songwriter Corey Harris ’91, inventor-entrepreneur Dean Kamen and actor and author Anna Deavere Smith.

The 10 a.m. commencement ceremony will take place on the historic quad in front of Coram Library. In case of rain, the ceremony will be held in Merrill Gymnasium.

Eric Carle creates brilliantly illustrated and designed picture books for very young children. His best-known work, The Very Hungry Caterpillar, has eaten its way into the hearts of literally millions of children all over the world and has been translated into more than 30 languages and sold more than 25 million copies. Since publishing Caterpillar in 1969, Carle has illustrated more than 70 books, many best sellers, most of which he also wrote. More than 75 million copies of his books have sold around the world.

Distinctive and instantly recognizable, Carle’s art work is created in collage technique, using hand-painted papers, which he cuts and layers to form bright and cheerful images. The appeal of Carle’s books lies in his intuitive understanding of and respect for children, who instinctively sense in him someone who shares their most cherished thoughts and emotions. The themes of his stories are usually drawn from his extensive knowledge and love of nature — an interest shared by most small children. The Washington Post describes Carle’s “mega-bestsellers” as “picture books about usually unlovable creatures that overcome obstacles to find meaning in life.”

Says Carle: “With many of my books I attempt to bridge the gap between the home and school. I believe the passage from home to school is the second biggest trauma of childhood; the first is, of course, being born. Indeed, in both cases we leave a place of warmth and protection for one that is unknown. The unknown often brings fear with it. In my books I try to counteract this fear, to replace it with a positive message.”

In 2002, Carle and his wife, Barbara, helped to found the Eric Carle Museum of Picture Book Art in Amherst, Mass., the first full-scale museum in this country devoted to national and international picture book art, conceived and built with the aim of celebrating the art that we are first exposed to as children.

Carle will receive the honorary degree of Doctor of Letters at ÀÖ²¥´«Ã½.

Acclaimed for his brilliant, blues-based exploration of African diaspora music, singer-songwriter Corey Harris, a 1991 ÀÖ²¥´«Ã½ graduate, began his musical journey with 1995’s Between Midnight and Day, a collection of traditional Delta blues songs performed with just voice and National steel guitar. “I’m grounded heavily in the blues, but I let everything influence me,” Harris told in 1997. “I try to be as open as I can.”

A high-honors anthropology major at ÀÖ²¥´«Ã½, Harris won a postgraduate Watson Fellowship to study pidgin English in Cameroon (his senior thesis topic), then taught English and French in Napoleonville, La., traveling to New Orleans to perform on weekends. Music soon became his singular pursuit. His second CD was Fish Ain’t Bitin’ (1997), winner of the 1998 W.C. Handy Award for best acoustic blues album, followed by the plugged-in Greens from the Garden (1999), Vu-Du Menz (2000) and Downhome Sophisticate (2002), the latter showcasing a dazzling command of styles.

“[The CD] isn’t what you’d expect from a musician well-versed in traditional blues,” wrote The Washington Post. “Unless it’s someone who also has a passion for the music of Jamaica and West Africa, the rhymes and rhythms of rap, the sensuous allure of Afro-Caribbean dances, the horn-charged funk of James Brown and the fiery, guitar-driven sonics of psychedelic rock.”

In 2003, director Martin Scorsese put Harris at the center of “Feel Like Going Home,” the debut episode of the PBS documentary The Blues, in which Harris traced American blues music to its African origins. Scorsese filmed Harris performing with the late, legendary guitarist Ali Farka Toure, an experience that led to the CD Mississippi to Mali, followed by Daily Bread in 2005. Harris lives in Charlottesville, Va., where he is on the board of directors of the Field School, a middle school for boys opening in fall 2007.

Harris will receive the honorary degree of Doctor of Music.

“Most people today look at technology and see magic,” inventor-entrepreneur Dean Kamen told Newsweek last December. Kamen’s creations may indeed seem magical, from the two-wheeled personal transporter called the Segway to health care innovations, such as the first wearable insulin pump for diabetics, that have transformed daily living for many. But Kamen’s commitment to his calling transcends any single invention, as he is passionate about bringing young people into the field and heightening the profile of science and technology in education and society. In short, if technology seems like magic, he wants to ensure an ample supply of magicians.

One of his proudest creations is FIRST (For Inspiration and Recognition of Science and Technology), an organization dedicated to motivating the next generation to understand, use, and enjoy science and technology. This year, FIRST’s student competitions in robotics will involve nearly 33,000 high school students in 1,300 teams; and more than 92,000 9-to-14-year-olds in 45 countries will take part in FIRST’s LEGO League competitions.

Born on New York’s Long Island, Kamen attended Worcester Polytechnic Institute, during which time he developed the interest in medical technology that led him to produce the insulin pump. His inventions since then have included the HomeChoice portable dialysis machine and the Independence iBot, a “super-wheelchair” whose sensors, microprocessors, and gyroscopes allow people with mobility impairments to negotiate stairs and broken terrain. Kamen’s most recent projects include systems to purify water and generate electricity in resource-poor regions.

He is the founder and president of DEKA Research and Development Corp., of Manchester, N.H., where he pursues both proprietary inventions and initiatives for corporate clients. Kamen received the National Medal of Technology in 2000 and the Lemelson-MIT Prize in 2002, is a member of the National Academy of Engineers, and in May 2005 was inducted into the National Inventors Hall of Fame.

Kamen will receive the honorary degree of Doctor of Science.

Hailed by Newsweek as “the most exciting individual in American theater,” playwright, actor, performance artist and author Anna Deavere Smith uses her singular brand of theater to explore issues of race, community and character in America. In 1996, she was awarded the prestigious MacArthur Foundation Fellowship (known as a “genius” grant) for creating “a new form of theater — a blend of theatrical art, social commentary, journalism and intimate reverie.”

Smith is perhaps best-known as the author and performer of two one-woman plays about racial tensions in American cities: Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, a Pulitzer Prize finalist; and Twilight: Los Angeles 1992, which earned two Tony nominations. Combining the journalistic technique of interviewing subjects from all walks of life with the art of recreating their words in performance, Smith, a two-time Obie winner, transforms herself onstage into an astonishing number of characters (up to 46 in one show), expressing their own points of view on controversial issues.

In 2004, Smith released two plays, House Arrest and Piano, that question the power of the media in shaping our “truths.” She has appeared in many television shows, including a recurring role in The West Wing and most recently in Life Support on HBO, about HIV in the African American community; and in motion pictures, including Philadelphia, The American President and The Manchurian Candidate.

In 1998, in association with the Ford Foundation, Smith founded the Institute on the Arts and Civic Dialogue at Harvard (now at New York University). The institute’s mission is to explore the role of the arts in relation to vital social issues. A tenured professor at the Tisch School of the Arts at New York University, Smith’s current work in progress is Let Me Down Easy, exploring expressions of the human body, both its frailty and vitality.

She will receive the honorary degree of Doctor of Fine Arts.