Published by: Season Sponsor: 2017 BAM Next Wave Festival #BAMNextWave
Brooklyn Academy of Music
Adam E. Max, Katy Clark, Chairman of the Board President
William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer
Charles Atlas / Rashaun Mitchell / Silas Riener
BAM Harvey Theater Dec 13—16 at 7:30pm; Dec 16 at 2pm
Running time: approx. one hour & 40 minutes, including intermission
Music by Fennesz Thomas Arsenault (Mas Ysa)
Lighting design by Davison Scandrett
Season Sponsor:
Leadership support for dance at BAM provided by The Harkness Foundation for Dance.
Major support for dance at BAM provided by The SHS Foundation.
Major support provided by Toby Devan Lewis. Tesseract
CHARLES ATLAS DAVID RAFAEL BOTANA
ELEANOR HULLIHAN KATE JEWETT
CORI KRESGE RASHAUN MITCHELL
SILAS RIENER RYAN THOMAS JENKINS
Photos: Atlas: Lori E. Seid; Hullihan: RJ Shaughnessy; Jewett: Nir Arieli; Kresge: Jeremy Tressler; Mitchell, Riener by Michael Williams. Tesseract
PART I—TESSERACT
Directed and edited by Charles Atlas Choreography by Rashaun Mitchell + Silas Riener Music by Fennesz Set and costume design by Rashaun Mitchell + Silas Riener
Performers David Rafael Botana Kristen Foote Hiroki Ichinose Cori Kresge Rashaun Mitchell Silas Riener Melissa Toogood
Produced by Victoria Brooks Project managed by Ian Hamelin Camera operator, Steadicam operator, and color correction Ryan Thomas Jenkins Steadicam operator for “Fog” Victor Lazaro Stereography Andrew Parke First assistant camera Alena Samoray Second assistant camera and photography Mick Bello DIT and compositing Eric Brucker Assistant editing Lazar Bozic Post production assistance Collin Leitch Digital landscaping James Siewert Lead audio engineering Stephen McLaughlin Audio engineering Jeff Svatek Direction of stage technologies Geoff Abbas Assistant technical direction Eric Lin Lighting direction Dan Swalec Master carpentry and rigging William Fritz Production technicians Carl Lewandowski and Michael Wells Grip and scenic assistance Amanda Cherlebois Scenic assistance Daniela MacCallum Costume fabrication Julia Donaldson and Yvette Helin Black and white textile drops Fraser Taylor Artist services administration Zhenelle Falk General management for Rashaun Mitchell + Silas Riener Katy Dammers
World premiere: January 2017 at EMPAC/Experimental Media and Performing Arts Center at the Rensselaer Polytechnic Institute. Special thanks to Penelope Armstead-Williams, Ali Naschke-Messing, and Joe Westmoreland. Tesseract
PART II—TESSERACT ◯
Choreography by Rashaun Mitchell + Silas Riener Video by Charles Atlas Music by Mas Ysa
Performers David Rafael Botana Eleanor Hullihan Kate Jewett Cori Kresge Rashaun Mitchell Silas Riener Kayla Farrish (understudy)
Lighting design Davison Scandrett Costume design Rashaun Mitchell and Silas Riener with Mary Jo Mecca and Yvette Helin Steadicam operation Ryan Thomas Jenkins Assistant to Charles Atlas Lazar Bozic Stage management Dani Prados Costume construction Yvette Hellin and Mary Jo Mecca General management Katy Dammers
Scrim courtesy of Juilliard. Special thanks to Melissa Toogood, Justin Faircloth, Stanley Gambucci, Xenia Mansour, Maddie Schimmel, Cassidy Wagner, Judy Fishman, Richard Feldman, anonymous, Mary Filardo, Ariane Harrison, Liz Radke, Dorothy Reilly, Katherine Sonnenborn, Vicki Mitchell and Greg Mitchell, and Cathy Reilly and Joe Riener.
Tesseract by Charles Atlas / Rashaun Mitchell / Silas Riener was commissioned and produced by EMPAC/Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute and co- commissioned by Triangle France.
Tesseract ◯ by Charles Atlas / Rashaun Mitchell / Silas Riener was co-commissioned by EMPAC / Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, the Walker Art Center, the Museum of Contemporary Art Chicago, and On the Boards.
Tesseract was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. Additional funding from the Dean’s Grant administered by the Tisch School of the Arts through New York University. Tesseract was developed, in part, through residencies at EMPAC/Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, The Watermill Center, and the Walker Art Center. Notes
Tesseract , a stereoscopic, three-dimensional Manipulating the three-dimensional footage video, is a six-chapter work of science fiction. to combine live dance with animation, Atlas’ It is also Charles Atlas’ first dance video in distinctive video effects reach into otherworldly more than a decade. Filmed with a mobile dimensions beyond the stage. camera rig that moves with the choreography, Tesseract traverses a series of hybrid and The second part, Tesseract ◯◯, expands the imagined worlds. It was staged and filmed over view from film frame to proscenium stage. a series of production residencies at EMPAC/ A performance for six dancers and multiple Experimental Media and Performing Arts Center mobile cameras—the footage of which Atlas will at the Rensselaer Polytechnic Institute. Each manipulate in real-time and project back onto the chapter combines a specific set, choreography, stage—Tesseract ◯ superimposes the space of and camera motion to encompass duet and dance with live cinematic production, rendering a ensemble pieces choreographed and performed choreographic analogue to the four-dimensional by Rashaun Mitchell and Silas Riener. cube from which the piece takes its title. Photo: Ray Felix / EMPAC
Who’s Who
CHARLES ATLAS (director, editor, videographer) Choreographic Fellowship, was selected for has been a pioneering figure in the creation of LMCC’s inaugural Extended Life Development time-based visual art for more than four decades, Program, and was a Wellesley College Artist extending the limits of his media and forging in Residence. Their work together has been new territory in a wide range of genres, stylistic presented by EMPAC, Walker Art Center, MCA approaches, and techniques. Over the years he Chicago, On the Boards, and MoMA PS1. Other has made media/dance works, multichannel awards include a 2007 Princess Grace Award: video installations, feature-length documentaries, Dance Fellowship, a 2013 Foundation for video art works for television, and live electronic Contemporary Art “Grant to Artist,” and a 2011 performances. Throughout his career, he has Bessie Award for sustained achievement in the fostered collaborative relationships, working work of Merce Cunningham 2004—12. He is a intimately with such artists and performers as Cunningham trustee and licensed stager of the Leigh Bowery, Michael Clark, Douglas Dunn, repertory. Mitchell is on faculty at NYU Tisch Marina Abramovic, Yvonne Rainer, ANOHNI, School of the Arts, and has taught master classes and most notably Merce Cunningham, for throughout the country. Since graduating with a whom he served as filmmaker-in-residence BA from Sarah Lawrence College, Mitchell has for a decade from the early 1970s through worked on projects with artists Anne Carson, 1983. Since 2003, Atlas has been interested Stephin Merritt, Carla Fernandez, Chantal in exploring different contexts that exploit the Yzermans, Donna Uchizono, Pam Tanowitz, Risa use of live video, such as in Instant Fame Jaroslow, Sara Rudner, Jonah Bokaer, Richard (2003–06), which consisted of a series of real- Colton, Deborah Hay, Rebecca Lazier, Jodi time video portraits of performers and artists Melnick, Sara Mearns, Moriah Evans, the Bureau created live in the gallery space. His recent for the Future of Choreography, Charles Atlas, live video/installations include The Pedestrians Xavier Cha, Davison Scandrett, Phillip Greenlief, (2011), in collaboration with Mika Tajima at and Claudia La Rocco. the South London Gallery, and Charles Atlas and Collaborators (2013) at the Tate Modern. SILAS RIENER (choreographer, set/costume His installation, The Tyranny of Consciousness designer, performer) graduated from Princeton (2017), was shown at the recent Venice University in 2006 with a degree in comparative Biennale and was awarded a Special Mention. literature and certificates in creative writing and Atlas has received a Guggenheim Fellowship, dance, with a focus on linguistics. As a dancer three Bessie Awards, the Foundation for he has worked with Chantal Yzermans, Takehiro Contemporary Art’s John Cage Award, and a Ueyama, Christopher Williams, Joanna Kotze, 2016 USA Gracie Fellowship. Jonah Bokaer, Rebecca Lazier, Tere O’Connor, Wally Cardona, and Kota Yamazaki. He has RASHAUN MITCHELL (choreographer, set/ an ongoing collaboration with sculptor Martha costume designer, performer) is a 2014 Friedman. He was a member of the Merce Guggenheim Fellow and recipient of the Cunningham Dance Company from November 2012 Bessie Award for Outstanding Emerging 2007 until its closure at the end of 2011, and Choreographer. His choreography has been received a 2012 Bessie Award for his solo presented by New York Live Arts, Danspace performance in Cunningham’s Split Sides (2011 Project, Baryshnikov Arts Center, REDCAT, Next Wave). While performing with MCDC, Institute of Contemporary Art Boston and Riener completed his MFA in dance at NYU’s Summer Stages Dance, La MaMa Moves Tisch School of the Arts (2008). Riener was Festival, Mount Tremper Arts, Skirball Center the movement designer for the architecture and at NYU, the Museum of Arts and Design, The design firm Harrison Atelier in 2013—14. Since Lab, and at numerous site-specific venues and 2010 he has collaborated with choreographer universities. With his ongoing collaborator, Rashaun Mitchell. Together they have been part Silas Riener, he received a 2014 City Center of Lower Manhattan Cultural Council’s Extended Photo: Ray Felix / EMPAC Who’s Who
Life Dance Development program, New York others. She received formative training from City Center Choreographic Fellowship, and have UNCSA, NYU Tisch Dance, ADF, SEAD, and with been artists in residence at EMPAC, Mount Kelly Kane, Janet Panetta, Clarice Marshall, and Tremper Arts, Wellesley College, Jacob’s Pillow, Christine Bratton. She was a danceWEB scholar and Pieter. His work has also been curated at in 2010 and co-curated Movement Research’s EMPAC, the Serpentine Pavillion, Danspace spring festival in 2011. Hullihan’s fantasy Project, Architecture OMI, CATCH, as part performance band, asubtout, has been presented of LMCC’s River to River Festival, Chocolate throughout NYC. She has choreographed for Factory, and BFI Gallery. music videos and commercials and has been a movement coach for feature films. Hullihan DAVID RAFAEL BOTANA (performer) was teaches Pilates and body conditioning at her introduced to movement at a young age through private studio and American Ballet Theater’s JKO Spanish dance, gymnastics, and Goju-Ryu training program. She is currently creating new Karate. He has a BFA in dance performance from work with Jimmy Jolliff and Asli Bulbul. New World School of the Arts (2006) under the direction of Daniel Lewis, and also studied tai RYAN THOMAS JENKINS (camera/ chi and contact improvisation. He worked with Steadicam operator, color correction) is senior Jonah Bokaer as a performer in On Vanishing video technician at EMPAC/Curtis R. Priem (2011) at the Guggenheim Museum and in Experimental Media and Performing Arts Center Filter (2011) at Festival de Danse les Hivernales at Rensselaer Polytechnic Institute, and has an in Avignon. He was also part of the last Merce MFA from Rensselaer Polytechnic Institute with Cunningham Repertory Understudy Group a focus in sculpture and the moving image. (2010—11). He has worked with Pam Tanowitz, He specializes in Steadicam, gimbal, 3D film, Bill Young, and sculptor/painter Jonathan Van and camera operation. He has worked on film, Dyke, and has collaborated with Leslie Satin and sculpture, installations, and touring productions Bradley Teal Ellis. Botana was a cast member of for Laurie Anderson, Charles Atlas, Jem Cohen, Punchdrunk’s Sleep No More at the McKittrick Brent Green, Cally Spooner, Eve Sussman, Hotel (2011—17). He has been a dancer with Martine Syms, the Wooster Group, and many Rashaun Mitchell and Silas Riener since 2015. more. Jenkins lives in upstate New York with his parter Nora, their dog Gunni, and two young CHRISTIAN FENNESZ (composer) is a guitarist boys, Wyatt and Calder. and composer active in electronic music and records who is known as Fennesz. He KATE JEWETT (performer) is a dancer, dance uses guitar and notebook computers to make maker, educator, and rehearsal director. She multilayered compositions that blend melody holds a BFA from the University of North and treated samples with glitch-influenced Carolina School of the Arts. Early in her career sounds and washes of white noise. His first duo Jewett was a member of Merce Cunningham’s recording with Jim O’Rourke, It’s Hard for Me to Repertory Understudy Group. In 2005, she Say I’m Sorry, was released in 2016. Fennesz is joined Shen Wei Dance Arts and was named published by Touch Music and lives and works rehearsal director in 2009. As the company in Vienna, Austria. education director she created a dance-in- education program for NYC schools. Her ELEANOR HULLIHAN (performer) is a own works have been performed at DeSales performer, choreographer, and teacher living University, the United Nations, Park Avenue in Brooklyn. She has performed and created Armory, SCGSAH’s Gunter Theater, Milano Teatro work with John Jasperse, Beth Gill, Jennifer Scuola Paolo Grassi, and Fabbrica Europa and Monson, Sarah Michelson, Andrew Ondrejcak, Performatica festivals. Jewett founded Watusi Mike Mills, Jessica Dessner, Sufjan Stevens, Lily Regime, a site-specific collaborative performance Gold, Rashaun Mitchell, Silas Reiner, Charles series. With her sister Beth Jewett, she co- Atlas, Zeena Parkins, and Tere O’Connor, among founded Moving Minds, a workshop series that Who’s Who
combines modern dance with critical Jokes and Neal Brennan’s 3 Mics. Production thinking skills. management credits include projects with Marina Abramovic, Wendy Whelan, Sarah Michelson, CORI KRESGE (performer) is a New York- Benjamin Millepied, Miguel Gutierrez, Kyle based dancer and teacher with a BFA in dance Abraham, Brian Brooks, Jennifer Monson, from SUNY Purchase. Kresge is a Darmasiswa BalletBoyz, Homer’s Coat, and numerous International Scholarship recipient for studies productions for Lincoln Center Festival. He in Balinese dance in Indonesia. She has been was the recipient of a Bessie Award for his a member of the Merce Cunningham Repertory collaboration with Sarah Michelson and Parker Understudy Group, José Navas/Compagnie Lutz on the visual design of DOGS (2006 Flak, and the Stephen Petronio Company. As Next Wave). a freelance dancer she currently performs with Esme Boyce, Xavier Cha, Bill Young, Sarah THOMAS ARSENAULT (Mas Ysa) (composer) Skaggs, Ellen Cornfield, Rebecca Lazier, Wendy composes and performs as Mas Ysa. Born in Osserman, multimedia artist Liz Magic Laser, Montreal, Canada, he spent his formative years and filmmaker Zuzka Kurtz, among others. in São Paulo, Brazil, before moving to the US Kresge has been dancing with Rashaun Mitchell to study modern composition at the Oberlin and Silas Riener since 2012. Conservatory. While living between Brooklyn and Woodstock, NY he released two albums, Worth DAVISON SCANDRETT (lighting designer) met (2014) and Seraph (2015), both of which Silas Riener, Rashaun Mitchell, and Charles Atlas received critical acclaim. He has also toured during his tenure as director of production for internationally. Tesseract marks Arsenault’s the Merce Cunningham Dance Company from third collaboration with choreographer Rashaun 2008—12. Since then he has created designs Mitchell, having previously collaborated on NOX for Mitchell and Riener’s productions NOX, Veal, and Interface. He resides in New York City, Interface, Taste, Way In, PERFORMANCE, where he recently released a new untitled EP Light Years, and Blue Name. Other design and companion film, directed by Dan Shapiro. credits include works by Pam Tanowitz, Sarah Michelson, Andrew Ondrejcak, Rebecca Lazier, Paris Opera Ballet, and the off-Broadway productions of Mike Birbiglia’s Thank God for Tesseract — Q&A with Rashaun Mitchell + Silas Riener Photo: Ray Felix / EMPAC Photo: Ray Felix
Susan Yung: Can you talk about the visual and artists Julia Donaldson and Yvette Helin, concepts and costumes in the film? Were there both of whom take our hare-brained ideas and any specific sources or influences? make them a wearable reality.
Rashaun Mitchell/Silas Riener: The visual SY: Discuss the technical side of the film— design is based on a spectrum of ideas ranging collaborating with Charles Atlas, the set designs from exposed and conspicuous imagery to and fabrication, the shoot, the integration of notions of concealment and camouflage. There’s the green screen elements, how long the whole a foundational question about how bodies might process took... exist in different environments, how we might assimilate or rebel in a given setting. We explore RM/SR: The process took 2½ years. Initial the disembodiment of shape in abstract geometry conversations about science fiction grew into and how it might refer back to something on brainstorming sessions that were mostly eclipsed a body, a landscape. We found anchors in by the technical realities and the financial Flatland: A Romance of Many Dimensions, concerns with mounting something so ambitious. a satirical 1880s novel and animated film of We conceived of the sets and then brought in politics set in a geometrical universe and the images for the team at EMPAC to construct to low-budget film Cube 2: Hypercube, a futuristic our specific measurements. The “kaleidoscope” experiment where the participants are in a scene was made of many interconnected, faceted disorienting cube that keeps changing. triangles that ultimately form a supine human figure disguised as a mountain range. Another But influences are so hard to track. They scene was a reworking of figurative and abstract splinter and unravel over time and then emerge tapestries that were printed and designed by in mysterious ways, often layered with other Fraser Taylor and used in a previous piece as influences until they become unrecognizable or a backdrop. Here they were placed throughout take on new meanings. The “desert scene” may the stage space to create multiple “rooms.” The or may not relate to Frank Herbert’s novel Dune. green screen shoot was the most unplanned We worked with excellent costume fabricators scene. We had all worked with green screens Tesseract
before so we knew many decisions could be SY: How involved is Charles Atlas in Ryan’s made in post-production. The background desert movements, and what is his role (if any) during topography was added later. The final duet scene the performance? is composed of tubular crinoline, a stretchy, reflective material that we hung throughout the RM/SR: Charlie is usually stationed in the back theater like jungle vines. of the house and is responsible for mixing the live images and the pre-designed images. It’s a SY: How do you two collaborate on choreography? live act. The creation of Ryan’s choreography and camera angles was very collaborative. It reflects RM/SR: We argue until we don’t anymore. We a mixture of our conceptual and spatial demands take turns bossing each other and the dancers as well as Charlie’s process of responding to around. We work on multiple things at once. We the choreography and the techncial demands of are interested in the blurring of authorship. producing a potent and incisive image.
SY: In part 2, Ryan [Thomas Jenkins] is almost SY: How did you come to collaborate with Charles? like another dancer on stage. Are his movements as choreographed as the dancers’, or does he RM/SR: We first worked with Charlie in the have some leeway in his patterns? Merce Cunningham Dance Company on numerous film/dance projects so we had a RM/SR: Ryan’s pathways and timing are shared history and model for collaborating. completely choreographed. The equipment is Charlie approached us in 2014 to work on the very heavy and takes up a lot of space. The EMPAC commission. While in Troy, NY, we went framing of the shots is so sensitive that he has to the movie theater together to see 3D films to be incredibly exacting in performance in order for whenever we could. the image to be captured in the right way. He has to know his own choreography, the camera tracking, Susan Yung is senior editorial manager at BAM. and each individual dancer’s choreography. He is the seventh dancer in the work. © 2017 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Ray Felix / EMPAC Photo: Ray Felix @BAM_Brooklyn #BAMNextWave Charles Atlas. Photo: Mick Bello
Q&A with Rashaun Mitchell and Silas Riener, by Susan Yung
TesseractTesseract, a work by Charles Atlas, Rashaun in mysterious ways, often layered with other Mitchell, and Silas Riener at the BAM Harvey influences until they become unrecognizable or from Dec 13 to 16, is in two parts: a 3D dance take on new meanings. The “desert scene” may film, and a live performance with video. The three or may not relate to Frank Herbert’s novel Dune. artists all worked with Merce Cunningham. We worked with excellent costume fabricators and artists Julia Donaldson and Yvette Helin, both Can you talk about the visual concepts and of whom take our hare-brained ideas and make costumes in the film? Were there any specific them a wearable reality. sources or influences? Discuss the technical side of the film— The visual design is based on a spectrum of ideas collaborating with Charles Atlas, the set designs ranging from exposed and conspicuous imagery and fabrication, the shoot, the integration of to notions of concealment and camouflage. the green screen elements, how long the whole There’s a foundation question about how process took... bodies might exist in different environments, how we might assimilate or rebel in a given The process took 2½ years. Initial conversations setting. We explore the disembodiment of shape about science fiction grew into brainstorming in abstract geometry and how it might refer sessions that were mostly eclipsed by the back to something on a body, a landscape. technical realities and the financial concerns We found anchors in Flatland: A Romance of with mounting something so ambitious. We Many Dimensions, a satirical 1880s novel and conceived of the sets and the brought in images animated film of politics set in a geometrical for the team at EMPAC to construct to our universe, the low-budget film Cube 2: Hypercube, specific measurements. The “kaleidoscope” a futuristic experiment where the participants are scene was made of many interconnected, faceted in a disorienting cube that keeps changing. triangles that ultimately form a supine human figure disguised as a mountain range. Another But influences are so hard to track. They scene was a reworking of figurative and abstract splinter and unravel over time and then emerge tapestries that were printed and designed by #BAMNextWave Dec 13—16
Fraser Taylor and used in a previous piece as a each individual dancer’s choreography. He is the backdrop. Here they were placed throughout the seventh dancer in the work. stage space to create multiple “rooms.” The green screen shoot was the most unplanned scene. How involved is Charles Atlas in Ryan’s We had all worked with green screens before so movements, and what is his role (if any) during we knew many decisions could be made in post- the performance? production. The background desert topography was added later. The final duet scene is composed of Charlie is usually stationed in the back of the tubular crinoline, a stretchy, reflective material that house and is responsible for mixing the live we hung throughout the theater like jungle vines. images and the pre-designed images. It’s a live act. The creation of Ryan’s choreography and How do you two collaborate on choreography? camera angles was very collaborative. It reflects We argue until we don’t anymore. We take turns a mixture of our conceptual and spatial demands bossing each other and the dancers around. We as well as Charlie’s process of responding to work on multiple things at once. We are interested the choreography and the techncial demands of in the blurring of authorship. producing a potent and incisive image.
In part 2, Ryan [Thomas Jenkins] is almost like How did you come to collaborate with Charles? another dancer on stage. Are his movements as choreographed as the dancers’, or does he have We first worked with Charlie in the Merce some leeway in his patterns? Cunningham Dance Company on numerous film/ dance projects so we had a shared history and Ryan’s pathways and timing are completely model for collaborating. Charlie approached us in choreographed. The equipment is very heavy 2014 to work on the EMPAC commission. While and takes up a lot of space. The framing of the in Troy, NY, we went to the movie theater together shots is so sensitive that he has to be incredibly to see 3D films whenever we could. exacting in performance in order for the image to be captured in the right way. He has to know Susan Yung is senior editorial manager at BAM. his own choreography, the camera tracking, and © 2017 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Ian Douglas ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom
Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 A cropped photographA cropped of MercephotographA croppedCunningham’s of Merce photograph Cunningham’s How How Toof MercePass, To Pass, Kick, Cunningham’sKick, FallFall and and Run Run How To Pass, Kick, Fall and Run omitting John Cageomitting sitting John stage Cageomitting sittingleft. Mercestage John left. CunninghamCage Merce Cunninghamsitting stageDance Dance left. CompanyCompany Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James Klosty, courtesy courtesy Photo:BAM BAM HammHamm James Archives Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives
A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives Dec 2017
Contents
Black Superheroes Ancient Girl Power, Rejuvenated Tamara Dobson in Cleopatra Jones . Tamara Photo courtesy Warner Bros./Photofest Photo courtesy Warner
Gulaim. Photo courtesy the artist. BAMcinématek presents the series Fight the Power: Qyrq Qyz, from the Aga Khan Music Initiative, is a Black Superheroes on Film, from Feb 2 to 18. multimedia work revolving around the story of 40 By Maureen Masters Girls, an ancient tale from Central Asia. It comes to BAM on Mar 23 & 24. Behind the Scenes By David Hsieh Meet Jackie David and Raven Jones, who have been ushers at BAM for 25 years.
BAMbill Cover
Sara Greenberger Rafferty is the 2017 Next Wave Festival BAMbill Cover Artist—part of BAM’s tradition of visual art on the cover of BAMbill. Greenberger Rafferty reimagined the BAMbill cover in a commissioned artwork. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, and Rosemarie Trockel.
Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen and MoMA PS1 in New York; Eli Marsh Gallery (Amherst College, MA); The Suburban (IL); and a commissioned sculpture for the Public Art Fund. In 2014, she participated in the Whitney Biennial; the Hammer Biennial; and had solo exhibitions in Portland, OR; Riga, Latvia; and NYC. In 2015, her work was shown at Museum of Contem- porary Art (San Diego), Atlanta Contemporary Art Center (GA), and Galerie Andreas Huber (Vienna). In 2016, she presented her fourth solo exhibition at Rachel Uffner Gallery and this year a traveling exhibition—Sara Green- berger Rafferty: Gloves Off—is at the Dorsky Museum in New Paltz, NY.
Published by: Season Sponsor: Rafferty has participated in group shows including the Aspen Art Museum; Sara Greenberger Rafferty and in New York at Neuberger Museum (Purchase); Gagosian Gallery; Comedian’s Costume: Cover for 2017 Next and Jewish Museum. She is included in the collections of the Museum of Wave Festival BAMbill, 2017. Courtesy of the Modern Art and Whitney Museum of American Art, among others. Rafferty artist and Rachel Uffner Gallery, New York lives and works in Brooklyn. Black Superheroes Superheroes onFilm drawstogether adiverse BAMcinématek’s series Fight thePower: Black and complement the releaseofBlackPanther, Forest Whitaker. Clark adds,“tobothcelebrate Bassett, MichaelB. Jordan, DanielKaluuya,and Chadwick Boseman, Lupita Nyong’o, Angela constellation oftopblacktalent,including Black Panther’s largecastfeaturesaremarkable fantasy genre.” in therepresentationofblackcharacters inthe “and isrightlyseenasanewhighwatermark anticipated blockbustersoftheyear,” saysClark, Station, Creed),isoneofthemosthotly Panther, directedbyRyanCoogler( Fruitvale Senior ProgrammerBlack AshleyClark. “Marvel’s The seriesisprogrammedbyBAMcinématek of superheroes. reimagining thetextbookdefinition of African-Americanfictionalcharacterswhile 28 featureshighlightingthetenaciousspirit and Blaxploitationfilms,theseriesincludes daring elementsofsciencefiction, comicbook, Film 2—18.Drawingfromthemore , February presents Fight thePower: BlackSuperheroeson BlackPantherof Disney’s , BAMcinématek Taking release inspirationfromthiswinter’s @BAM_Brooklyn By MaureenMasters the Blade filmseries,Spawn (1997,Dippe) pages ofcomicbooks, includingselectionsfrom The seriesincludes fourfilmsstraightfromthe Sat bytheDoor(1973,Dixon). anti-establishment cultclassic,TheSpookWho Coney), BlackDynamite(2009,Sanders),and (1971,Parks),Shaft Space IsthePlace(1974, Jones (1973,Starrett),Foxy Brown(1974,Hill), memorable heroiccharactersincluding Cleopatra includes othericonicBlaxploitation filmswith unconventional accomplices.Fight the Power he dodgespolicearrestwithhelpfromsome male prostituteSweetSweetback(Peebles) as in this70sBlaxploitationthrillerthatfollows (1971). Van Peebles wrote,directed, andstars Peebles’ SweetSweetback’sBaadassssSong 2withMelvinVanThe seriesbeginsFebruary it covered.” Wesley SnipesinBlade—Fight the Power has under-appreciated comicbookforebearslike pioneers, toBlackPanther’s superheroicyet Blaxploitation kingsandqueenstoAfrofuturistic the pathforBlackPanther. From subversive heroes; thiscastofmemorablecharacterslaid and groundbreakingfictionalblackscreen and internationalrangeofmythical,fantastical, #BAMcinematek
Tamara Dobson in Cleopatra Jones. Photo courtesy Warner Bros./Photofest #BAMcinematek Feb 2—18 and Catwoman (2004, Pitof). Based on the naturalistic film about a street magician; Attack Marvel comic book character Blade, the 1998 the Block (2011, Cornish) stars John Boyega hit film, written by David S. Goyer and directed and is set in a South London invaded by angry by Stephen Norrington, drew a cult following aliens; in Jim Jarmusch’s Ghost Dog: The Way and subsequent film franchise. Wesley Snipes of the Samurai (2000), Forest Whitaker plays a stars as Blade—the half-human, half-vampire hired hitman that lives by the code of the ancient out to avenge his mother’s death and rid the samurai; and Kirikou and the Sorceress (1998, world of vampires. In 2002, Guillermo Del Toro Ocelot & Burlet) is an animated film influenced directed the sequel, Blade II, wherein Blade by West African folk tales about a newborn baby (Snipes) joins forces with vampires to combat a with the ability to speak and walk who saves his new type of deadly monster. Based on the comic village from an evil witch. book hero of the same name, Spawn features Michael Jai White as hell’s reluctant soldier. And Fight the Power also includes a few films in Catwoman, based on the DC Comic, Halle with unconventional superheroes, including Berry stars as a shy graphic designer, who, upon Candyman (1992, Rose), and George Romero’s discovering a grave industry secret, is killed and Night of the Living Dead (1968). Candyman’s reborn with cat-like reflexes. Tony Todd is an anti-hero in a film rich in compelling racial and social commentary. Duane A selection of films spotlight fantasy and science Jones was one of first black actors to play a lead fiction heroes. These films include The Brother role in a mainstream American horror film, as From Another Planet (1984, Sayles) about a Ben in Night of the Living Dead. mute, black extraterrestrial with a gift of technical wizardry who escaped from another planet, only Follow BAMcinématek on social media and to end up in New York. The Meteor Man (1993, BAM.org for a complete list of series films as well Townsend) tells the story of a schoolteacher as announcements of special guest appearances. who develops superpowers after being struck by a meteor and uses his new found powers to Maureen Masters is BAM’s cinema publicity fight crime in his neighborhood; Sleight (2016, manager. J.D. Dillard) infuses fantastical elements in a © 2017, Brooklyn Academy of Music, Inc. All rights reserved. . Photo courtesy Warner Bros. Halle Berry in Catwoman . Photo courtesy Warner WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. @BAM_Brooklyn #BAMWinterSpring Qyrq Qyz. Photo courtesy the artists. Qyrq Qyz by David Hsieh ANCIENT GIRL POWER, REJUVENATED Qyrq Qyz is an ancient oral epic widespread in Central Asia. It tells of 40 teenage girls, led by Central Asia is landlocked and perennially their leader Gulaim, who rise up from a land contested. Containing an area of roughly 1.5 ravished by (male) invaders and secure freedom, million square miles, it is hemmed in by Russia, justice, and prosperity for their people. Uzbek China, the South Asia subcontinent, and the filmmaker Saodat Ismailova has long been Middle East, with some of the most arid places fascinated by this legend, and the ubiquitous on earth. Deserts and nomadic life have presence of the number 40 in her culture. “This been co-dependent through human history. number appears prominently in most spiritual No wonder this region has produced some rituals of Central Asia, whether for purification, of the fiercest warriors on horseback that mourning, healing, fertility, or life transitions,” she humankind has known. said in an email interview. “Everyone you know in Central Asia knows the story of Forty Girls. Every Even though for at least 1000 years Central region and most villages have their own Qyrq Asia has been at the crossroads of the east Qyz—a well or a stone, where people are healed, and west, people outside the region seem blessed, and purified; places where women to know more about what passed through it restore their fertility and pray for the continuity of (Roman coins, Persian glasses, Byzantine icons, their family lineage.” Islamism, Buddhism, silk, tea, etc.) than what was produced within it (except, perhaps, those Ismailova wanted to present the story in a form unstoppable warriors). Fortunately scholars, relevant to our time. She also wanted to celebrate artists, museums, and institutions have begun its “girl power” theme. At a showing of the short to correct the ignorance in recent years, most filmGulaim she made based on the legend, she noticeably through the Silk Road Project founded met Theodore Levin, an ethnomusicologist at by Yo-Yo Ma. Another piece of knowledge will be the Aga Khan Music Initiative, who shared her proffered when BAM presents a major multimedia enthusiasm in introducing the story to a wider music work called Qyrq Qyz (Forty Girls) in audience. Their idea was to create a multimedia March, 2018. concert experience that combined images and TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!
TBHC is the Official Healthcare Provider of BAM. #BAMWinterSpring Mar 23 & 24
live music, casting young female musicians from fire. This four-fold structure runs through the different Central Asian countries as the core of film, musical composition, lighting, costumes the presentation. and stage design. The narrative story is recited in different voices and Central Asian languages, The Aga Khan Music Initiative is an interregional subtitled in English. The traditional repertoire of music and arts education program with worldwide the show is carefully selected to fit the emotional performance, outreach, mentoring, and artistic structure of the narration and consists of melodies production activities. With the support of AKMI and songs mostly performed by women in and its director Fairouz Nishanova, Ismailova was Central Asia. Songs about longing, landscape, able to dive deep into the project, assembling friendship, horses, and homeland represent a new a creative team, including one of the most interpretation of Qyrq Qyz today.” prominent contemporary Uzbek composers, Dmitri Yanov-Yanovsky. She spent more than a Central Asian peoples are no more monolithic year conducting a “talent search” in Central Asia. than its geography, which contains deserts, mountains, steppes, and permafrost. But they all Ismailova said, “we invited over 100 young share this legend, albeit with distinct local flavors. women to a casting session in search of The musicians performing on stage reflect this our Gulaim for the film. We found her in variety. Gumshagul Bekturganova and Gumisay Aysanem Yusupova, a first-year acting student Berdikhanova are from Karakalpakstan, a from Karakalpakstan. The film was shot in culturally autonomous region of Uzbekistan Karakalpakstan, on the sites of Qyrq Qyz ruins, that borders the Aral Sea. Aziza Davronova and in one of the oldest mosques of Tashkent, the is from Uzbekistan. Saltanat Yersultan, capital city of Uzbekistan. Arailym Omirbekova, and Tokzhan Karatai are from Kazakhstan. Makhabat Kobogonova is And to create a live experience, she is confronted from Kyrgyzstan. with the challenge of working with traditional music while escaping conventional forms of They are under the direction of Raushan concert presentation. “We set out to push the limits of the concert stage to create a hybrid of film and performance that also includes moments of text recitation—an homage to the old epic bards of Central Asia. To achieve this, I invited lighting artist and choreographer Séverine Rième to develop the stage Photo: Ian Douglas movement of the performers. For the stage design and costumes I invited Kamilla Kurmanbekova, a Kazakh scenographer and artist whom I met when we both represented Central Asia in the 2013 Venice Biennale. We decided to strip the stage to its minimal material expression, using only one element: 40 handmade kurpachas—Central Asian traditional textile-encased floor mats that can be found in every household and are a central artifact of everyday life.”
“The performance alternates between narration of the film and the live musicians who recite, sing, murmur, and act onstage. The structure of the whole performance is inspired by Zoroastrian cosmology and its four Saodat Izmailova. Photo courtesy the artist. essential elements: earth, air, water, and BAM Directory
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BAM thanks our friends and supporters who have paid tribute to Harvey Lichtenstein’s visionary leadership by making a charitable contribution to the BAM Harvey Fund. To join them in honoring Harvey, please visit BAM.org/Harvey. Your support ensures that daring contemporary work continues to flourish at the institution he loved so much. @BAM_Brooklyn #BAMWinterSpring
Orazbaeva, a distinguished Kazakh performer of the two-stringed fiddle qobyz. Uzbek percussionist Alibek Kabdurakhmanov adds a contemporary, atmospheric dimension to the score. Ismailova believes the ensemble will do a good job of “representing the diverse vocal timbres and musical instruments of the region. The musicians have developed their skills within their traditions and in some cases learned to play instruments, such as the jetigen, a type of hammer dulcimer, that are rarely used today.”
It seems fitting that a group of people known for their battle skills would produce the legend of Qyrq Qyz. But this phenomenon is not limited to Central Asia, from China’s Hua Mulan to Greece’s Amazon to France’s Joan of Arc, people around the world worship their female warriors, real or fictional. Ismailova thinks the overwhelming patriarchal history throughout mankind creates ripe ground for such stories. “What could be a greater imaginary challenge and fascination than a young, beautiful, smart, and strong Amazon on a horse? A rapprochement of elemental contrasts—virginity and death, tenderness and violence, beauty and war—will always captivate people’s imaginations.” The legend of Qyrq Qyz is traditionally told by male bards. But “we live in a time when women are finding new forms of emancipation,” and in creating her female-dominated presentation of Qyrq Qyz, Ismailova hopes it will be “one of the projects that illuminates and contributes to expanding the boundaries of female expression.”
Qyrq Qyz (Forty Girls) will be performed at the BAM Harvey Theater on March 23 & 24.
David Hsieh is a publicity manager at BAM.
© 2017, Brooklyn Academy of Music, Inc. All rights reserved. Gulaim . Photo courtesy the artists. #BAMNextWave BEHIND THE SCENES
L-R: Raven Jones and Jackie David. Photo: David Hsieh
Long-time BAM audiences will recognize Jackie JD: After a year I became a supervisor. One day David and Raven Jones, two stalwarts on the Christine [Gruder, theater manager] asked me usher floors for the past 25 years. When they to fill in for someone who couldn’t come in, and started (within three months of each other), the that was it—I was promoted. Harvey Theater was still called the Majestic and the Rose Cinemas were the Carey Playhouse, RJ: Being an usher at BAM is very intense. You where a 35-year-old Robert Lepage made his have to be on top of everything. You have to BAM debut with a one-man show Needles and keep everything flowing. Every usher has a “sta- Opium. Neither of them expected to stay “more tion” to be in. You cannot leave that station. You than two or three years.” But a quarter-of-a-cen- don’t just disappear after you seat the audience. tury later, they have seen BAM grow along with their own families. They spoke with BAMbill. JD: Before the house opens, I check it from top to bottom: make sure the lights are on and the Jackie David: I started because of my brother. exit doors are clear. After the show we check the He was an assistant manager in ticket services house to make sure nothing is left. then. He told me about the usher opening and I started in September, 1992. Actually two of my RJ: When we had our 15th anniversary, all the brothers used to work here. ushers gave us a cake. We cut the cake and they said, “Feed the bride!” so we fed each other Raven Jones: It’s a family legacy! I started in De- cake. I will always remember that day. cember, 1992. My first show was Mark Morris’ The Hard Nut. I also came because one of my JD: Some of the board members and patrons brothers was a choreographer and wanted to see know us by name. That make us feel very the show from the audience’s point of view. special. I was a school teacher. He said this would be perfect because I finish at three o’clock and RJ: They’ll share stories about their kids and I’ll could jump on a train and get here on-time. share stories about my grandchildren. It feels I intended to be here only two or three years. very nice. But that BAM thing happened and I kept up coming back. It has been a very rewarding and © 2017, Brooklyn Academy of Music, Inc. All rights reserved. challengeing experience. Securing BAM’s Future
BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the financial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.
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For more information on the BAM Endowment please contact As of August 1, 2016 William Lynch at 718.636.4186 or [email protected].
Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future
Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneficiary in your retirement plan or insurance policy, among others. Unless otherwise specified by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.
Our special thanks to the foresight of the charitable BAM Angels listed below.
BAM Angels Denis Azaro Karen Brooks Hopkins William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn
For more information on Planned Giving opportunities please contact William Lynch at 718.636.4186 or [email protected]. All inquiries will remain confidential.
Upcoming Events Jan 12&13at9pm|BC Angela Johnson|InconjunctionwithTribute toDr. LutherKing,Jr. Martin Jan 15at10:30am|OH of TheCityUniversityNewYork Presented byBAM,BrooklynBorough President EricL.Adams,andMedgarEversCollege TributeThe 32ndAnnualBrooklyn toDr. King,Jr. Luther Martin Jan 27 at 1pm | Pre-screening | lectureat12pm|BRC 1pm at 27 Jan Puccini’s Tosca Institutional Radio Choir, 2017. Photo: Beowulf Sheehan BC=BAMcafé |BRC=BAM Rose Cinemas|FLL=Fisher Lower Lobby |FS=Fishman Space(BAMFisher) | HT=BAM Harvey Theater | OH=BAMHowardGilman OperaHouse|MM=Mark MorrisDance Center HT=BAM Harvey 2018 WINTER/SPRING THE MET:THE IN HD LIVE BAMCAFÉ LIVE @BAM_Brooklyn
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BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between October 15, 2016—October 15, 2017)
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Programming in the BAM Howard Gilman Leadership support for dance at BAM Leadership support for every season Opera House is supported and endowed provided by: provided by the BAM Board of Trustees, by the Howard Gilman Foundation. led by Adam E. Max, Chair & Programming in the BAM Harvey Theater William I. Campbell, Vice Chair. is endowed by the Doris Duke Charitable Foundation. Programming in BAM’s Xavier Cha is the recipient of Support preserving the vitality of Lepercq Space is supported by The The Harkness Dance Residency at BAM programming provided by the Lepercq Charitable Foundation. the BAM Fisher in 2017. Lichtenstein family and generous donors to the BAM Harvey Fund. Major support for Crossing provided by Official Airline of BAM: Robert L. Turner. Next Wave Festival supporters: Rose M. Badgeley Residuary Major Sponsor Charitable Trust Official Healthcare Provider of BAM: BNY Mellon brigittenyc Leadership support for opera at BAM The Gladys Krieble Delmas Foundation provided by: Epstein Teicher Philanthropies Aashish & Dinyar Devitre Fribourg Family Foundation The Andrew W. Mellon Foundation The Francena T. Harrison Title Sponsor of BAM Rose Cinemas Foundation Trust Major support for The Fountainhead and BAMcinématek: The DuBose and Dorothy Heyward and Bangsokol provided by Memorial Fund Edward Jay Wohlgemuth. The Kovner Foundation M&T Bank Major support for The Fountainhead BAM Rose Cinemas are named in The Ambrose Monell Foundation provided by The Dutch Performing Arts recognition of a major gift in honor of Morgan Stanley Fund NL. Jonathan F.P. and Diana Calthorpe Rose, Henry and Lucy Moses Fund, Inc. and have been generously supported by Samuel I. Newhouse Foundation, Inc. Onassis Programs at BAM supported by: The Peter Jay Sharp Foundation, and the Stavros Niarchos Foundation Estate of Richard B. Fisher. Donald A. Pels Charitable Trust Pfizer Inc. The Steinberg Screen at the BAM Harvey The Reed Foundation Major support for Principles of Theater is made possible by The The Jerome Robbins Foundation, Inc. Uncertainty, Buffer, and A Billion Nights Joseph S. and Diane H. Steinberg The Morris and Alma Schapiro Fund On Earth provided by Agnes Gund. Charitable Trust. The Scherman Foundation, Inc. The SHS Foundation Leadership support for BAM Visual Major support for BAM Hamm Archives The Shubert Foundation, Inc. Art provided by Agnes Gund and provided by Charles J. & Irene F. Hamm. The Harold and Mimi Steinberg Toby Devan Lewis. Charitable Trust BAM would like to thank the Brooklyn The TinMan Fund Major Sponsor of BAM Community Delegations of the New York State Virginia B. Toulmin Foundation Programs: Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator The BAM facilities are owned by the Velmanette Montgomery. City of New York and benefit from public funds provided through the New York Endowed funds supporting the Next City Department of Cultural Affairs Wave Festival: The Howard Gilman Your tax dollars make BAM programs with support from Mayor Bill de Blasio; Foundation; Lila Wallace-Reader’s possible through funding from: Cultural Affairs Commissioner Tom Digest Endowment Fund for Community, Finkelpearl; the New York City Council Educational, and Public Affairs Programs including Council Speaker Melissa Mark at BAM; The Andrew W. Mellon Viverito, Finance Committee Chair Julissa Foundation Fund for Opera and Music- Ferreras, Cultural Affairs Committee Chair Theater; The SHS Foundation; The Peter Jimmy Van Bramer, Councilmember Jay Sharp Fund for Opera and Theater; Laurie Cumbo, and the Brooklyn The Ford Foundation Fund to Support Delegation of the Council; and Brooklyn Collaborative Creativity Among U.S. Borough President Eric L. Adams. Artists; Estate of Richard B. Fisher; BAM Fund to Support Emerging and Local Official Piano for BAM: Musicians; The Starr Foundation; Next Wave Forward Fund: Altria Group, Inc./ Founding Sponsor “Supporting the Spirit of Innovation”; and The Devitre Fund. BAM Supporters & Patrons
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Brooklyn Academy of Music Dr. Rudolph F. Crew Bartholomew A. Sheehan III Charles J. Hamm Cheryl Della Rosa Brian Stafford Barbara B. Haws, C.A. Chairman of the Board Dinyar S. Devitre Axel Stawski William Josephson Adam E. Max Mark Diker Doug Steiner Mary Kantor Yrthya Dinzey-Flores Joseph A. Stern John Lipsky Vice Chairman of the Board Andre Dua Pedro J. Torres Laurie Mallet William I. Campbell Thérèse Esperdy John L. Usdan Cathy-Ann Martine-Dolecki Richard E. Feldman Brigitte Vosse David L. Ramsay, M.D., M.Ed. President Steven G. Felsher Nora Ann Wallace Elaine Weinstein Katy Clark Jeanne Donovan Fisher Veronica Westberg Hon. Franklin R. Weissberg Barry M. Fox Adam Wolfensohn Secretary MaryAnne Gilmartin Claire Wood BAM Endowment Trust Chair Joseph V. Melillo Robert M. Greenberg Andrew Zolli Gabriel Pizzi Anoushka Healy Treasurer G. Penn Holsenbeck Ex Officio Treasurer James I. McLaren Anne Hubbard Gina Argento Keith Stubblefield Daniel A. Klores Lori Luis Presidents Emeriti Philippe Krakowsky Laura Popa Members Karen Brooks Hopkins Edgar A. Lampert William A. Douglass III Harvey Lichtenstein (in memoriam) Gary Lynch Chairmen Emeriti Steven G. Felsher Patricia E. Michels Neil D. Chrisman Alan H. Fishman Members Ahrin Mishan Seth S. Faison (in memoriam) Elizabeth Holtzman Jonathan S. Auerbach William A. Perlmuth Alan H. Fishman James I. McLaren Tony Bechara David L. Picket Bruce C. Ratner Alberto Sanchez Fran Bermanzohn Frances A. Resheske Timothy Sebunya Gordon Bowen Jonathan F.P. Rose Honorary Trustees R. Edward Spilka Linda Chinn Anna Kuzmik Sampas Beth Rudin DeWoody Nora Ann Wallace Henry Christensen III Alberto Sanchez Mallory Factor Henry Christensen III, Ex Officio Pamela A. Codispoti Timothy Sebunya Robert L. Forbes Thérèse Esperdy, Ex Officio Adam E. Max, Ex Officio
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Gaev, Mtume Gant, Ingrid Gordon, Pat Hall, Mel House, Albert Iturregui- Anna Troester, Marketing Coordinator, Patron Programs Asst. Elias, Devin Kawaoka, Gwendolyn Education & Community INFORMATION TECHNOLOGY Kelso, Abigail Levine, Spencer Lott, Matt Frazier, Advertising Coordinator MEMBERSHIP & DEVELOPMENT William Allen Lee III, Director of Gladys Maldonado, Farai Malianga, Lindsay Brayton, Marketing & OPERATIONS Information Technology WT McRae, Anthony Merchant, Publicity Asst. Claire Charlesworth, Director of Ira Sibulkin, Assoc. Director of IT Elia Monte Brown, Michael Mullen, Chloe Silversmith, Angelica Wilson, Membership & Development Svetlana Mikhalevskaya, Kwesi Nkroma, Janet Onyenucheya, Marketing Interns Operations Database Developer Pamela Patrick, Mike Ramsey, Sarah Mischner, Assoc. Director, Jason Q. Minnis, IT Project Gwenyth Reitz, Efeya Sampson, TICKET SERVICES Operations & Analytics Manager Victor Sanchez, Jashua SaRa, Billy G. Scott Kubovsak, Director of Travis Calvert, Senior Manager, Matthew Taylor, Andrei Iliescu, Schultz, Lauren Sharpe, Jen Shirley, Ticket Services Budget & Operations Web Developers Elizabeth Simmons, Marcus Smalls, Kevin McLoughlin, Head Cheryl Miller, Membership Jersy Rodriguez, Technical Sara Stranovsky, Taylor Steele, Karen Treasurer Manager Support Manager Thornton Daniels, Jono Waldman, Sarah Wansley, Adia Whitaker, Todd Russell Grier, First Asst. Treasurer Elizabeth Sarkady, Project Man- Tamar Audate, Technical Support Woodard Victor Jouvert, Charlie Dolce, Kyle ager, Crediting & Operations Tech Williams, Asst. Treasurers Richard Serrano, Research Manager Susan Bishop, Admin. MARKETING & Royda C. Venture, Ticket Services Bruce Smolanoff, Telefundraising Coordinator COMMUNICATIONS Manager Manager Lucas Austin, Kenneth Flores, Grace Finley, Admin. Asst. to VP of Georgina Richardson, Customer Steven Knudsen, Development Desktop Analysts Marketing & Communications Care Manager Operations Asst. Britt Aronovich, Marketing Latasha McNeil, Asst. Manager Emily Searles, Membership Asst. STRATEGIC PLANNING & Revenue Manager Ryan Mauldin, Ticket Services PROJECTS Frank Marsilio, Marketing Coordinator SPECIAL EVENTS Ellen Leszynski, Project Operations Manager Miranda Gauvin, Ticket Services James Vause, Special Events Manager Senior Representative Director COMMUNICATIONS Saul Almiachev, Anaïs Blin, Grace Eubank, Special Events Audience Research & Analysis Sandy Sawotka, Director of Shadell Brown, Lucca Damilano, Manager George A. Wachtel Justin Dash, Robert Ebanks, Greg Lucile Russo, Special Events Communications Bookseller Garner, Andy Mines, Warren Ng, Coordinator Sarah Garvey, Assoc. Director Greenlight Bookstore of Publicity Elsie Pacella, Edward Raube- Gina Dyches, Special Events Asst. Susan Yung, Senior Editorial Wilson, Angela Romualdez, European Production Representative Manager Allyson Steele, Noel Vega, Ticket FINANCE & ADMINISTRATION On Tour Ltd., Roger Chapman Adriana Leshko, Senior Publicity Services Representatives CAPITAL PROJECTS Manager Jonathan Jones, Director, Capital Film Buyer David Hsieh, Maureen Masters, DEVELOPMENT Projects Adam Birnbaum Publicity Managers Olivia Jacobs, Admin. Asst. to Daniel Costa, Capital Projects Immigration Counsel Christian Barclay, Publicist the VP of Development Manager Jonathan Ginsburg, Fettman, James Sutton, Publications Asst. Katerina Patouri, Capital Projects Tolchin and Majors, PC Merisa Sahin, Intern CORPORATE RELATIONS & & Government Affairs Manager SPONSORSHIP Licia Croce, Government Affairs Andi Floyd, Blue Skies Immigrations Services, LLC CREATIVE SERVICES Chantal Bernard, Director of Intern Corporate Relations & Andrew Sloat, Creative Director Insurance Broker Sponsorship FACILITIES MANAGEMENT Patrick Morin, Assoc. Director Dewitt Stern of Design Rebecca Carew, Associate Director Danny Jiang, Operations Manager Rebecca Brooker, Joseph Kaplan, of Corporate Partnerships & Lynn Alexander, Facilities Medical Consultants Kyle Richardson, Alison Sponsorships Manager Ahmar Butt, MD Whitworth, Designers Mari Ogino, Corporate Relations & Markee Glover, Logistical Services Ben Katz, Video Producer Sponsorship Manager Coordinator Legal Counsel Joseph Barglowski, Kaitlyn Ahmad Ghany, Raul Gotay, Mark Jackson INSTITUTIONAL GIVING Anthony Sam, Building Chandler, Video Editors Restaurateur Clemente Luna, Director of Services Assocs. Dorothea Trufelman, Asst. Video Great Performances Editor Institutional Giving Kailin Husayko, Senior Manager BUILDING MAINTENANCE Jenny Choi, Publications Manager Nov 1, 2017 Farah Haidari, Copywriter of Institutional Giving Anthony Shields, Maintenance Kati Rehbeck, Creative Services Semra Ercin, Institutional Giving Supervisor Project Coordinator Manager