BAMbill NOV 2009 2009 Next Wave Festival

Adam Fuss, 2009

BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by: 2009 Next Wave Festival

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board

Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer

Presents the US premiere of Itutu Approximate BAM Howard Gilman Opera House running time: Nov 4, 6 & 7 at 7:30pm 70 minutes, no intermission Armitage Gone! Choreographed by Karole Armitage

With live music by Burkina Electric and band member Lukas Ligeti

Set and fabric design by Philip Taaffe Costumes designed by Peter Speliopolous Lighting design by Clifton Taylor Technical director/Lighting supervisor Joe Doran

Dancers Leonides D. Arpon, Kristina Bethel-Blunt, Megumi Eda, William Isaac, Luke Manley, Abbey Roesner, Bennyroyce Royon, Marlon Taylor-Wiles, Emily Wagner, Mei-Hua Wang, Masayo Yamaguchi

Burkina Electric Wende K. Blass guitar, Lukas Ligeti drums & electronics, Maï Lingani vocals & dance, Pyrolator electronics, Vicky dance, Zoko Zoko dance

BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by Time Warner Inc.

Leadership support for the Next Wave Festival provided by The Ford Foundation.

Leadership support for Itutu provided by The Jerome Robbins Foundation, Inc.

Major support for BAM dance is provided by The Harkness Foundation for Dance and The SHS Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation. Itutu

Itutu—conceived, directed, and choreographed by Karole Armitage for Armitage Gone! Dance is a col- laborative work with West African electronica band Burkina Electric and composer/band member Lukas Ligeti that features sets by Philip Taaffe. The evening-long work harks back to the tradition of the “en- salada,” a typical Spanish genre, which was very popular in the sixteenth century. The features of the ensalada are the combination of sacred and secular images, diverse rhythms, and different languages. Ensaladas, though rooted in popular culture, were performed mainly at important times during the religious calendar. In this 21st-century ensalada, dancers, and musicians mix vocabularies and sounds from multiple sources. The riveting African pop sounds of Burkina Electric are performed in several African languages as well as in French and English. The ancient Burkinabé rhythms of Burkina Faso are fused with western club electronica. Armitage’s classical abstractions and traditional translate the polyrhythmic music into a poly-visual form. The most mysterious sections are performed to the solos of Lukas Ligeti, unleashed on an electric marimba. Western artists have been in a dialogue with African aesthetics since the turn of the last century. Itutu celebrates that continuum.

Armitage Gone! Dance Endowment for the Arts, The American Recovery Artistic director Karole Armitage and Reinvestment Act administered by the Na- Rehearsal director Monique Meunier tional Endowment for the Arts, the New York City Executive director Diane Rosenblatt Department of Cultural Affairs, and by The Doris Duke Charitable Trust, The National Dance Project The creation of Itutu is made possible, in part, administered by the New England Foundation with lead commissioning funds from the L’E.A.R. for the Arts, The Fan Fox and Leslie R. Samuels Teatro Massimo Vincenzo Bellini di Catania in Foundation, The Jerome Robbins Foundation, the Sicily with additional commissioning support from Gladys Krieble Delmas Foundation, the Charles BAM for the 2009 Next Wave Festival and Lincoln and Joan Gross Family Foundation, the LLWW Center for Lincoln Center Out of Doors. Foundation, The Shubert Foundation, and others.

Armitage Gone! Dance’s 2009—2010 Season is supported with public funds from the National Who’s Who

ARMITAGE GONE! DANCE was launched in world premieres in Italy, engagements in San 2005 when Karole Armitage returned to the Francisco, Chicago, St. Louis, and Milwaukee, US after fifteen years of working in Europe. She and tours to California and New England, includ- formed her first company, Armitage Gone! in New ing performances at Jacob’s Pillow Dance Festival York City in 1979 to critical acclaim. The com- and Mass MOCA. Since the Company’s launch pany toured to festivals and venues worldwide, it has maintained an active presence in its home performing works in collaboration with visual community of New York City. During the last two artists David Salle and Jeff Koons. Throughout the seasons the Company premiered Connoisseurs 1990s, Armitage chose to maintain her company of Chaos at The (January 2008), on a project basis while accepting commissions participated in New York City Center’s popular from European and opera companies. In Fall for Dance Festival, collaborated with Gotham November 2005, Armitage Gone! Dance was Chamber Opera on a production of Ariadne launched in New York City with an unprecedented Unhinged, and performed in the Guggenheim three-week season at The Duke on 42nd Street, Museum’s Works & Process series (where the followed by a commissioned dance for Works Company previewed sections from the first phase & Process at The Guggenheim Museum. The of a work inspired by The Elegant Universe, a excitement generated by these engagements led collaboration with string-theory physicist and to performances in Italy, France, Mexico, and author ). Last winter, the Company tours throughout the United States. Highlights of presented Think Punk!—a two-week NYC season the company’s recent activities include two 2009 at The Kitchen which featured a revival of Armit- Who’s Who

age’s landmark , Drastic-Classicism and Theatre. In 1987, at the request of Rudolph The Watteau Duets, to live music. Last May, the Nureyev she created her fourth dance for the Paris company premiered Summer of Love, an early in- Opera Ballet. Its success led to many European carnation of Itutu, at Teatro Vincenzo di Bellini in commissions. For over a decade, Armitage main- Catania, and in June premiered Armitage’s Made tained her company on a project basis while she in Naples at the Napoli Teatro Festival Italia. A worked with major European companies. She was work in fifteen scenes inspired by Pulcinella and appointed Director of MaggioDanza in Florence, the city of his origins, Made in Naples featured Italy, where from 1995 to 1998 she supervised sets by artist Karen Kilimnik and costumes by 45 dancers in the classical repertoire and created Alba Clemente. Most recently the Company her own work. From 1999—2002 she was the returned to Italy for performances in Venice and resident choreographer of the Ballet de Lorraine Turin. This winter, Armitage Gone! Dance will tour in France, which toured her work throughout Itutu to the Salle Garnier at the Opera de Monte Europe. In 2004, she made a resounding return Carlo, the Ludwig Forum in Aachen, Germany, to New York when The Joyce Theater invited her and the Grand Theatre Verviers in Belgium. In the to create a new ballet. Armitage Gone! Dance was spring the Company will premiere a new evening- launched in 2005. In the same year, she served long work inspired by The Elegant Universe at as the Director of the Venice Biennale Festival of the Krannert Center in Illinois where the company Contemporary Dance. In 2007, Armitage was will participate in a two-week creative residency. awarded France’s most prestigious arts award, Armitage Gone! Dance has received a number of Commandeur dans L’Ordre des Arts et des Lettres. prestigious awards and commissions including She has created dances for numerous companies two National Dance Project Awards, support from including the White Oak Dance Project, Deutsche the Doris Duke Charitable Foundation, a Multi- Oper Berlin, Les de Monte Carlo, Lyon Arts Production Fund Award, and commissions Opera Ballet, Washington Ballet, Alvin Ailey from the Guggenheim’s Works & Process program, American Dance Theater, and Rambert Dance The Joyce Theater’s Cathy and Stephen Wein- Company. She has also directed operas from the roth Fund for New Works, the Teatro Massimo baroque and contemporary repertoire for many of Vincenzo Bellini di Catania, in Italy, Lincoln Center the prestigious houses of Europe including Teatro for Lincoln Center Out of Doors, Napoli Teatro di San Carlo in Naples, Théâtre du Châtelet in Festival Italia, and BAM for the 2009 Next Wave Paris, the Lyric Opera in Athens, and Het Muzik Festival. www.armitagegonedance.org Theater in Amsterdam. She has choreographed for pop icons and and KAROLE ARMITAGE the filmmakers Merchant and Ivory. Over the years (artistic director) she has collaborated with a distinguished array of For three decades as a artists including Thomas Adès, Jean-Paul Gaultier, choreographer and director, Jeff Koons, Christian Lacroix, David Salle, Peter Karole Armitage has pushed Speliopoulos, Philip Taaffe, Vera Lutter, Karen the boundaries of classicism Kilimnik, Will Cotton, and Brice Marden. Her work to create a contemporary has been the subject of two documentaries made idiom blending new dance, for television: The South Bank Show (1985) di- music, and art. Armitage rected by David Hinton and Wild Ballerina (1998) began her professional career directed by Mark Kidel. Armitage’s recent projects in 1973, as a member of the Ballet du Grand include a revival of her production of Gluck’s Orfeo Théâtre de Genève, Switzerland, a company ed Euridice for Teatro di San Carlo, in Naples, devoted exclusively to Balanchine repertoire. From Italy (April 2008); a new work for the Bern Ballet 1976—1981 she was a member of the Merce (2008); for Passing Strange, which Cunningham Dance Company. Armitage created opened on Broadway in February 2008 (Drama her first piece, Ne, in 1978 followed by Drastic- Desk Award Nomination for Outstanding Choreog- Classicism in 1981. Throughout the 80s she led raphy); choreography for the Public Theater’s ac- her own New York-based dance company. After claimed production of Hair at the Delacorte Theater a performance of her Watteau Duets at Dance in Central Park and currently on Broadway (Tony Theater Workshop (1984), Award Nomination,Drama Desk Award Nomina- invited her to create a work for American Ballet tion, Outer Critics Circle Nomination for Outstand- Who’s Who ing Choreography, and Astaire Award nomination presentation of Filipino contemporary artists. He for Best Broadway Choreographer). is a founding member of the Queens Academy of Arts & Dance =[QuA²D]. This is his sixth season MONIQUE MEUNIER (rehearsal with Armitage Gone! Dance. director), born in Hollywood, CA, is half Cuban and half Ecuador- KRISTINA BETHEL-BLUNT is ian. At the age of fourteen she a native of St. Thomas, Virgin received a full scholarship to Islands, but grew up in Houston, attend the School of American TX. Her dance career began on Ballet. Meunier was asked to join the living room coffee table where the New York City Ballet one year later. In 1997, she put on performances for her she was promoted to soloist and reached the rank stuffed animals. Shortly after, her of principal dancer in 1998. There she performed mom enrolled her in dance class. Her training numerous roles by Balanchine, Robbins, and includes the High School for the Performing and Forsythe as well as Odette/Odile in Swan Lake. Visual Arts in Houston, Alvin Ailey School, and In 2002, Meunier joined American Dance Festival. She holds a BFA in where she added the classics, Tudor, and Kylian to dance from the University of Oklahoma. Bethel- her repertoire. In 2007, she joined Complexions Blunt’s credits include Alvin Ailey 2, The Lion King Contemporary Ballet and has worked for the Bal- (1st National Tour), Complexions Contemporary anchine Trust. She joined Armitage Gone! Dance Ballet, The Lion King on Broadway, The 62nd as rehearsal director in the fall of 2009. Annual TONY Awards, and she can be seen on VH1: To Legit (the story about the rise and fall of DANCERS M.C. Hammer). This is her second season with Armitage Gone! Dance. LEONIDES D. ARPON, a Filipino born in Israel, Arpon studied at the MEGUMI EDA, born in Nagano, Bat-Dor Dance School under the Japan, made her professional de- direction of Rosaline Subel Kassel. but with Tokyo’s Matsuyama Bal- Before joining the Bat-Dor Dance let Company. In 1992, she was Company under the direction of invited to join the Hamburg Ballet Jeannette Ordman, he worked with School, and soon after she joined choreographers such as Luciano Canitto, Randy the company, where she worked Duncan, and Igal Perry. Since moving to New York with Mats Ek and choreographer/director John in 1999, he has worked with Arthur Aviles, Her- Neumeier. In 1997 she joined the Dutch National nando Cortez, Sean Curran, Heidi Latsky, Fredrick Ballet where she worked with Twyla Tharp, Hans Earl Mosley, Marta Renzi, Nathan Trice, Edisa van Manen, Rudi Van Dantzig, William Forsythe, Weeks, Johannes Wieland, and Kevin Wynn. and Redha. In 2001, Eda moved to London to He is a recipient of the American Israeli Cultural dance with the Rambert Dance Company. There Foundation Scholarship and the Princess Grace she worked with Christopher Bruce, Jiri Kylian, Award for 2006. Arpon has taught workshops Linsey Kemp, and also started expanding her own throughout Israel, Japan, and the US and has choreography creating two pieces for the Rambert presented his choreography in various venues in Company. In 2002, Eda was awarded “Best New New York City including: the Queens Museum of Artist” by the Japanese national newspaper, Shi- Art Dance Residency, the Joan Weil Dance The- nano Mainichi Shimbun. She now lives in NYC, ater at the Alvin Ailey American Dance School, the where she won a Bessie Award in 2004 for her Uptown/Downtown Dance Series at Aaron Davis performance in Armitage’s Time is the echo of an Hall, the Harry De Jur Playhouse, and Dance New axe within a wood. She recently worked with Ya- Amsterdam (sponsored by PMT Productions). He suko Yokoshi and film director Abe Abraham. This co-produced the Variations in a Foreign Land IX is Eda’s sixth season with Armitage Gone! Dance. performance series with the Yangtze Repertory Theatre of America and is the founder of Akin, WILLIAM ISAAC, born on the island of St. Johns, Amin, Atin (for me, for us, for everyone) which Antigua, began his training at PS 158 and at the is dedicated to the cultivation, education, and Bernice Johnson Cultural Arts Center in Queens, Who’s Who

New York. He was a fellowship Dance Project. In 2007 she moved to Canada to recipient at the Ailey School and join Les Grands Ballets Canadiens de Montreal. is an alumnus of the High School There, she danced works by Ohad Naharin, Stijn of the Performing Arts and The Celis, George Balanchine, and Fernand Nault Juilliard School. Isaac was a while touring throughout Canada and Europe. She finalist for ARTS sponsored by joined Armitage Gone! Dance in June of 2008 as the National Foundation for the a guest artist for the Lincoln Center Out of Doors Advancement for the Arts and a William Loeb performance of Summer of Love and joined the Scholarship recipient at Philadanco. He has Company for Think Punk! at The Kitchen last danced with Alvin Ailey American Dance Theater, March. This is Roesner’s second season with Complexions Contemporary Ballet, Alonzo King’s Armitage Gone! Dance. LINES Ballet, Dance Theatre of Harlem, and Philadanco. In the fall of 2003, Isaac performed EMILY WAGNER, trained under with the New York City Opera in their produc- scholarships at the Flint Youth tion of Handel’s Alcina, directed by Francesca Ballet, Virginia School of the Arts, Zambello, and choreographed by Sean Curran. and the American Ballet Theatre After performing with Karole Armitage in her School. Her most influential 2004 season at The Joyce Theater, he spent a training came from Sabrina season with the Ballet de Lorraine as a guest artist Pillars, friend and mentor from where Armitage was resident choreographer. Isaac the NYCB. Wagner has performed nationally with recently worked as Karole Armitage’s assistant Ballet Austin, Eglevsky Ballet, Ballet Noir, Aseid as she choreographed Passing Strange, which Contemporary Dance Company, International Bal- appeared at the Public Theater in the summer let Theater, and BalletX in Philadelphia. In 2005 of 2007 and opened on Broadway in February she performed Peter Breuer’s Bolero in Salzburg, 2008. In 2008, William received a Bessie Award Austria with the Salzburg Ballett and from 2005 for his performances at the Joyce Theater in to 2007 she danced as a soloist with the Move- Karole Armitage’s Connoisseurs of Chaos. This is ment Network of Amsterdam, The Netherlands. Isaac’s sixth season with Armitage Gone! Dance. While in Europe, she also received an interna- tional Pilates certification with Body Arts and LUKE MANLEY was born in Sciences International. Wagner dances as a tango Dowagiac, MI and studied dance artist with The New Generation Dance Company at the School of Ballet Chicago and is a guest artist with the Pennsylvania Ballet. under Daniel Duell and Patricia Wagner is very happy to be dancing with Armitage Blair and at the Hubbard Street Gone! Dance. This is her first season with the Dance Center, both on scholar- Company. ship. He has danced profession- ally with River North Dance Chicago, American MARLON TAYLOR-WILES was Repertory Ballet, the Lyric Opera of Chicago, and born in Houston, TX where he the Saint Louis Ballet’s Salute to Vienna tour. This trained with the Margo Marshall is Manley’s second season with Armitage Gone! School of Ballet under the direc- Dance. tion of Margo Marshall and Mary Elizabeth Arrington. He graduated ABBEY ROESNER was born in from Houston’s High School for Maryland and began her dance the Performing and Visual Arts training in her hometown at the and in 2007 received his BFA degree from the Baltimore School for the Arts. Boston Conservatory. While attending the Boston After graduating second in her Conservatory on full scholarship, he performed class, Roesner continued her works by such notable choreographers as José studies at The Juilliard School Limon, Paul Taylor, and Luis Fuente. For the last where she received her BFA in 2006. To start five years Taylor-Wiles has dedicated himself to her professional career, she freelanced with Tony Williams’ Urban Nutcracker; a show promot- several companies in New York City including ing diversity and dance within the inner city com- the Metropolitan Opera Ballet and the Chamber munity while mixing Duke Ellington’s Nutcracker Who’s Who

suite with Tchaikovsky’s. In 2009 he had the MASAYO YAMAGUCHI was born pleasure of performing at the Africa and Interna- in Nagano, Japan. She started tional Friends Inaugural Ball in National Harbor, ballet training under the direc- MD, honoring the inauguration of President tion of Ms. Tamae Tsukada. She Barack Obama. This is Taylor-Wiles’ first season performed in Austria, Hungary, with the Company. Slovakia, and Japan. In 1998, she performed a pas de trois in BENNYROYCE ROYON, born in Swan Lake as a part of Leningrad Ballet’s tour in the Philippines, started profes- Nagano, Japan. She studied and graduated with sional dance training at age a BFA in Dance Education from the University sixteen under the tutelage of of Central Oklahoma. She was a member of Wade Walthall at the Evergreen Kaleidoscope Dance Company and also received City Ballet Academy in Auburn, the Kaleidoscope Dance Award at UCO in 2003. WA. In 2006, Bennyroyce She moved to NYC in 2003 as a member of the received his BFA degree from The Juilliard School Faune . She performed with Armit- where he danced notable works by Jose Limon, age Gone! Dance as a guest dancer at The Duke on Paul Taylor, Mark Morris, and world premieres 42nd Street Theater in 2005, at the Joyce Theater by Jessica Lang, Jacqulyn Buglisi, Ron Brown, in 2007, and joined the Company in 2008. This is Eliot Feld, Alan Hineline, and Jill Johnson. He Yamaguchi’s second season with Armitage Gone! has freelanced with numerous companies in New Dance. York City such as the Carolyn Dorfman Dance Company, The Metropolitan Opera Ballet, Nilas MUSICIANS Martins Dance Company, Chamber Dance Project, Sidra Bell Dance NY, and Rasta Thomas’ Bad Boys BURKINA ELECTRIC of Dance. Royon recently danced and toured in Burkina Electric is the first electronic band from Canada and Europe with Cas Public, a Montreal- Burkina Faso, in the deep interior of West Africa. based contemporary dance company. He has Based in Ouagadougou, Burkina Faso’s capital, it taught ballet and contemporary classes in Seattle, is, at the same time, an international band, with New York City, Montreal, and at Jacob’s Pillow. members living in New York and in Germany His choreographic works have been presented in as well as in Ouaga. Burkina Electric’s music Montreal, Maryland, Seattle, New York City, and at combines the traditions and rhythms of Burkina Jacob’s Pillow. This is Royon’s second season with Faso with contemporary electronic dance culture, Armitage Gone! Dance. making it a trailblazer in electronic world music. This diverse and talented group consists of four MEI-HUA WANG is originally musicians and two dancers who collectively from Taiwan where she trained participate in the creative process and represent at the National Taiwan Academy disparate musical genres and sounds from across of Arts. In her home city, she the globe. Rather than recycling well-known performed as a principal dancer rock and funk rhythms, Burkina Electric seeks with Capital Ballet Taipei and to enrich the fabric of electronic dance music by Taipei Ballet Company. She was using unusual rhythms that are rarely heard and also a guest artist with the Korea Universal Ballet little-known even in much of Africa, including Company, Peking Central Opera Ballet and Ballet ancient rhythms of the Sahel such as the Mossi Moderno y Folklorico de Guatemala. Wang moved people’s Ouaraba and Ouenega. Creating their to New York City in 1999, and has performed own innovative grooves as well and incorporat- and worked with Igal Perry/ Peridance Ensemble, ing sounds of traditional instruments and found Rebecca Kelly Ballet, Stephen Petronio, Earl sounds recorded in Burkina Faso, their music is Mosely, Sue Bernhard Danceworks, Silver-Brown truly African electronica, an exotic exploration and Dance, and WilliamsWorks, among others. Her fusion of musical styles that is experimental and first choreographic commission premiered in May entertaining. Prior to Burkina Electric’s formation, 2006 for the Capital Ballet Taipei. Wang joined band members Maï Lingani, Wendé K. Blass, Armitage Gone! Dance in 2006, this is her fourth Pyrolator, and Lukas Ligeti had become friends as season with Armitage Gone! Dance. members of Beta Foly, a group that emerged from Who’s Who a workshop led by Lukas and Pyrolator in Abidjan, Côte d’Ivoire, which, among other experiments, created some of the earliest fusions of techno/trip-hop with Afri- can traditional music. This led to further collaborations, and eventually, to the inclu- sion of two dancers to the present band, which has become increasingly active over the past three years. In the fall of 2007, Burkina Electric self-released the double EP Rêem Tekré, featuring four of the group’s songs plus remixes by DJ Spooky, Paul de Jong (of The Books), Rupert Huber (of Tosca), Raz Mesinai (Badawi), and Stefan Schneider (Mapstation/ To Rococo Rot). Burkina Electric’s song “Mdole” is featured on the compilation Beyond the Horizon, as- sembled by BBC Radio DJ Charlie Gillett, released in July 2008 by Warner Clas- sics & Jazz (www.myspace. com/burkinaelectric). Burkina Electric and many others. He joined the experimental Burkina Electric’s debut full-length CD, Paspanga, due ensemble Beta Foly in 1996 and has continued to for release in January 2010 by the New York-based label collaborate with Lukas Ligeti, Pyrolator, and Maï Cantaloupe Music, is being made available for purchase Lingani ever since. He toured Europe three times as a special early preview, exclusively at BAM. Please with Beta Foly, performing at the Mozart Concert visit the merchandise kiosk to get your CD in advance. Hall in Vienna, the Music Meeting in Nijmegen, Netherlands, and the Goethe-Forum in Munich, WENDE K. BLASS (guitar) is one of Burkina and many other venues. Returning to Ouaga- Faso’s foremost guitarists, combining a deep dougou in 2000, he has collaborated regularly knowledge of local traditions with much experi- with Maï, toured Finland with singer Sami Rama, ence playing African jazz and pop music while and has played countless concerts with a virtual demonstrating an openness for experimentation. “who’s who” of Burkina’s music scene. Aside He began his career with Ouagadougou main- from his activity with Burkina Electric, he now stays Desi et les Sympathiques and then lived in works with various artists in Ouagadougou and Abidjan, Côte d’Ivoire, where he was in demand New York, and is a member of Lukas Ligeti’s new as a studio musician with renowned artists such ensemble Kaleidoscope Point. He is also active as as Aicha Koné, and on the city’s lively reggae a producer and recording engineer. scene, performing with Tangara Speed Ghoda Who’s Who

LUKAS LIGETI (drums, electric marimba) was Abidjan, Côte d’Ivoire, where she started singing born in Austria, studied composition at the in the mid-90s in various musical styles ranging University for Music and the Performing Arts in Vi- from traditional music to reggae. She had already enna, and then moved to the US, working first for started making a name for herself as a singer two years at Stanford University’s electronic music in Abidjan when she began collaborating with institute before settling in New York City in 1998. Lukas Ligeti in the group Beta Foly in 1996. In His musical interests include cultural exchange, 1997, Lingani relocated to Ouagadougou where polyrhythmic and polymetric structures, and the she quickly became one of the most sought after possibilities of electronics. He has received com- singers working with a wide variety of local and position commissions from Bang on a Can, the international artists. In 1998, she won the Grand American Composers Orchestra, Kronos Quartet, Prix National de la Chanson Moderne Burkinabé, Ensemble Modern, the Vienna Festwochen, ORF the country’s most significant music award. Austrian Broadcasting Company, Tonkünstler Lingani was also a member of Burkina Faso’s na- Orchestra, Radio France, Colin Currie and Håkan tional radio orchestra. In 1999, she toured Europe Hardenberger, and many others. Active on NYC’s for the first time with Beta Foly, and in 2000 she music scene and internationally as an improvising released her debut album, Entrons dans la danse, drummer, he has worked with John Zorn, Henry produced by Lukas Ligeti and Pyrolator. For the Kaiser, Raoul Björkenheim, Gary Lucas, John past year, Lingani has divided her time between Tchicai, Gianni Gebbia, Benoît Delbecq, Michael Ouagadougou and New York and has worked with Manring, Wadada Leo Smith, Marilyn Crispell, important artists such as Paul Winter, Jonathan Jim O’Rourke, and more. He often performs solo Peters, Bashiri Johnson, and many others. on electronic percussion, recently releasing a solo www.myspace.com/mailingani album, Afrikan Machinery, his second CD on Tzadik Records. In 2009, he curated a program PYROLATOR (electronics) is a seminal figure in at The Stone (NYC’s experimental music venue), popular music in Germany. He was a founding performed a solo concert as part of the Whitney member of the well-known band DAF (Deutsch- Museum’s Composer Portrait Series, and gave the Amerikanische Freundschaft) before founding world premiere of his marimba lumina concerto Der Plan, one of the most inspiring bands of the Labyrinth of Clouds with the American Composers German new wave era (Neue Deutsche Welle). Orchestra at Carnegie Hall. Ligeti has worked on He founded the record label and recording studio many intercultural collaborative projects begin- AtaTak in Düsseldorf and produced several ning in 1994 when he co-founded the group Beta notable pop hits. He has also worked with video Foly in Abidjan, Côte d’Ivoire, which resulted from and multi-speaker sound installations, presenting an invitation by the Goethe Institute and was, in his work in the US, Argentina, Korea, etc.; many a certain sense, a precursor to Burkina Electric. of these projects were sponsored by the Goethe He has also worked with Batonka musicians Institute. He was a co-founder of the group Beta in Zimbabwe; with Nubian musicians in Egypt Foly in Côte d’Ivoire in 1994 and, at present, he (culminating in a joint concert at the Cairo Opera); is the producer and keyboardist for Fehlfarben, with musicians from various Caribbean Islands one of Germany’s best-known rock bands. (composing a piece for them in Florida); and in www.pyrolator.com Uganda with the Ndere Troupe, that country’s pre- mier music and dance troupe. In 2005, he was VICKY (dance), born to Burkinabé parents in featured at the Unyazi Festival in Johannesburg, Yamoussoukro, Côte d’Ivoire, began his career in South Africa, Africa’s first festival of experimental Ouagadougou around 2001, attending workshops electronic music. He has taught composition at with artists such as Salia ni Seydou and Mathilde the University of the Witwatersrand in Johannes- Monnier, and quickly became one of the most burg and at the University of Ghana. watched dancers of the young generation in www.myspace.com/lukasligeti Burkina Faso, collaborating with artists such as Souleymane Porgho, Irene Tassembedo, Virginie MAÏ LINGANI (vocals and dance) was born Dejeu, Serge Aimé Coulibaly, and many others. in Koudougou, Burkina Faso, and grew up in As a choreographer, he leads his own company, Who’s Who

Téguéré, performing at numerous festivals in 1997). Speliopoulos is a native of Springfield, MA Africa and Europe. He is also in high demand for and received his BFA from the Parsons School of dance workshops internationally and has led nu- Design in 1982. merous educational projects with youth organiza- tions in his home country. PHILIP TAAFFE (set and fabric design), was born in Elizabeth, NJ in 1955, and studied at the ZOKO ZOKO (dance) has lived in Burkina Faso Cooper Union in New York. His first solo exhibi- since 1999 but was born in Côte d’Ivoire, where tion was in New York in 1982. He has traveled he started out as a young dancer in 1989 with widely in the Middle East, India, South America, the famous cultural association Ki-Yi M’bock. He and Morocco, where he collaborated with Moham- began his choreographic work around 1997 with med Mrabet on the book Chocolate Creams and Compagnie Mamatuy, in San Pédro, Côte d’Ivoire. Dollars, translated by Paul Bowles (Inanout Press, He also worked with the experimental dance New York: 1993). Taaffe lived and worked in troupe Ymako Teatri and the group Didiga, led by Naples from 1988—91. He has been included Côte d’Ivoire’s former minister of culture, Bernard in numerous museum exhibitions, including the Zadi-Zahourou. In addition, he has worked with Carnegie International, two Sydney Biennials, and the group Foliba, led by Adama Dramé, one of the three Whitney Biennials. In 1990 his work was world’s foremost djembé players. As a choreog- the subject of an extensive critical study in Parkett rapher, he started his own company, By-Sanko, no. 26 (Zurich & New York). His work is in fusing the traditions of Côte d’Ivoire and Burkina numerous public collections including: Museum of Faso with and breakdance. He Modern Art, New York; Philadelphia Museum of has also been in high demand as a dancer and Art; Whitney Museum of American Art; Solomon choreographer for music videos. R. Guggenheim Museum; and the Reina Sofia, Madrid. In the year 2000, the IVAM museum in DESIGN Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, PETER SPELIOPOULOS (costume design) Robert Rosenblum, and Robert Creeley. In 2001 began his collaboration with Karole Armitage an extensive survey of his work was presented by designing costumes for the Athens production of the Galleria Civica of Trento, Italy (with texts by Aristophanes’ The Birds in the summer of 2000. Vittoria Coen and Francesco Pellizzi). In 2004 the Since then, he has created the costumes for the Galleria d’Arte Moderna in San Marino (Italy) pre- Armitage ballets Schrodinger’s Cat, Drastic Remix, sented a survey of paintings and drawings based Rave, Melodien, SZ110... la sonate, and Sonata on the artist’s explorations with floating pigments di Caccia (all for Ballet de Lorraine, Nancy, and the paper marbling process, accompanied by France); Living Toys (Rambert Dance Company, the Skira publication, Carte annuvolate (Cloud Pa- London) and Nadaswaram, Time is the echo of pers) with esssays by Peter Lamborn Wilson and an axe within a wood, Ligeti Essays, Connoisseurs John Yau. In 2008 the Kunstmuseum Wolfsburg of Chaos, and Summer of Love (Armitage Gone! organized a retrospective survey, The Life of Forms Dance, NY). For operas directed by Armitage, he in Art: Paintings 1980—2008, with a publication has designed costumes for Bartok’s Bluebeard’s by Hatje Cantz, featuring contributions by Markus Castle (Opera de Lorraine, Nancy, France), Gluck’s Brüderlin, Holger Broeker, Kay Heymer, and Orfeo ed Euridice (Teatro di San Carlo, Naples, Brooks Adams. Taaffe presently works and lives in Italy), Rameau’s Pygmalion (Théâtre du Châtelet, New York City, and West Cornwall, Connecticut. Paris), and Ariadne Unhinged (Gotham Chamber Opera, NY). In 2002, he returned to New York to CLIFTON TAYLOR (lighting design) has worked continue his work in fashion design. He is cur- with Karole Armitage in Italy, France and with rently Senior Vice President of Design and Creative her company in New York on numerous projects. Director of Donna Karan. He was formerly Creative Broadway credits: Jay Johnson: The Two and Only Director of Cerruti Arte, Paris (1997—2002) and (Ovation and LA Drama Critics Circle Nomina- Senior Design Director of Donna Karan (1993— tions); Frozen (Lortel Nomination), and Hot Who’s Who

Feet (Henry Hewes Nomination). Off-Broadway has also served as a projection consultant for New credits include The Big Voice: God or Merman?, York City Opera. Mongold serves as the director of Scattergood, Endgame, The Streets of New York, production for New York City Center Theater and and Last Easter. Other credits include Houston’s supervises all of the production aspects of the En- Alley Theater, Tanglewood Music Center, Opera cores! series of musicals. Mongold has designed de Lorraine et Nancy (Théâtre du Châtelet, Paris), lighting for numerous dance companies includ- New York City Opera/National Company, American ing New York City Ballet, Alvin Ailey American Conservatory Theater (San Francisco), Dallas The- Dance Theater, Elisa Monte Dance Company, The ater Center, Cleveland Playhouse (resident lighting Carolina Ballet, Pennsylvania/ Milwaukee Ballet, designer), Irish Repertory Theater (NY), and New and Nilas Martins Dance Company. He served as York’s MCC Theater. His work can be seen in the the Lighting Supervisor for the Bolshoi Ballet of repertories of Rambert Dance Company (London), Moscow, La Scala Opera Ballet of Milan, Bavarian American Ballet Theatre (NY), San Francisco National Ballet of Munich, Eliot Feld Ballet, David Ballet, Scottish National Ballet, Les Grands Ballets Parsons Dance Company, Twyla Tharp Dance, and Canadiens, Ballet de Lorraine (Nancy, France), the Korean musical The Last Empress. Mongold’s Ballet Jazz de Montreal, Alvin Ailey American work has taken him to all 50 states, North and Dance Theater (NY), MaggioDanza (Florence, It- South America, Australia and Europe. He is a aly), Sardono Dance Theatre (Indonesia), and the graduate of Northwestern, University in Chicago. Ballet Company of Rio de Janeiro, among many He resides in the New York City area with his wife others. Other work includes numerous projects at Arlene Yu. New York’s Asia Society; the landmark US tour of the Royal Cambodian Ballet: Dance: The Spirit of TECHNICAL CREW Cambodia; and new works for Lar Lubovitch, Elisa Monte, Helgi Tomasson, and Larry Keigwin among JOE DORAN (technical director/lighting supervisor many others. and stage manager) enjoys working with AG!D. He also works with Sean Curran Company, HT SCENIC AND COSTUME COORDINATION Chen and Dancers, Gabrielle Lansner and Co., and Martha Graham Dance Company, among JON CAN COSKUNSES (costume design as- others. He is the producing artistic director and sociate) is a native of Turkey. Before moving to resident designer of Equilateral Theatre Company, New York eleven years ago, Coskunses owned a nonprofit organization he founded in 2004. As an exclusive fashion/sportswear design office in lighting designer he designed and created Illumi- Istanbul for seven years. Since then he has been nate, a magical modern dance of light. Regionally, designing and constructing costumes for Broad- Doran recently designed an adaptation of The way, prestigious dance companies, and movies. Tempest starring Olympia Dukakis for the Alpine His New York credits include costume construc- Theatre Project. He also works with Historic Swift tion for Studio Izquierdo, Martha Graham, Pascal Creek Mill Theatre and Richmond VA’s Festival of Rioult, Cedar Lake, and for last four years Parsons the Arts at Dogwood Dell. He is the 2008 recipi- Meares, as well as designing costumes for DC ent of the Richmond Theatre Critics Circle Award City Dance Ensemble, Avodah Dance Co, Notes in for Outstanding Achievement in Lighting Design. Motion Dance, Parsons Dance Co., Nai-Ni Chen He is an artistic member of Resonance Ensemble Dance, and Keigwin+Company. He has also been in NYC. Graduate of North Carolina School of the nominated for an Excellence in Costume Design Arts. Member of United Scenic Artists Local 829. Award in 2008 by Metro DC. MATT SLOAN (sound technician), comes to MARK MONGOLD (scenic consultant) Armitage Gone! Dance from the Institute of Con- Mongold has designed projections for New York temporary Art in Boston where he has been the City Ballet, Long Wharf Theater Company, The resident audio engineer since 2007. Prior to this, Grinch on Broadway, and City Center Encores!. He Sloan worked as a field and studio engineer for Who’s Who

WBUR-FM, Boston’s National Public Radio affili- Ellen Sosnow ate. His specialties include live recording, front of Peter Speliopoulos house mixing, and production management. Sloan Giovanni Spinelli has a BA in audio and radio engineering from Diane Tuft Emerson College. Robert L. Turner

STAFF ARMITAGE GONE! DANCE STAFF Karole Armitage, Artistic Director DIANE ROSENBLATT (executive director) joined Diane Rosenblatt, Executive Director the staff of Armitage Gone! Dance in July 2007. Marta Tejeda, Projects Manager An experienced arts administrator, she served as Jane Schreck, Development Associate the Executive Director of Doug Varone and Danc- Julie Blackwell, Administrative Assistant ers for ten years, guiding the organization’s growth Arthur Steinberg, Accounting from a small organization to a million-dollar oper- ating budget. She has also served as the Market- ADDITIONAL ITUTU CREDITS ing and Public Relations Director of the Michigan Jon Can Coskunses, Costume Design Associate Theater in Ann Arbor, Acting Executive Director of Mark Mongold, Scenic Design Consultant the Michigan Dance Association, and Managing Matt Sloan, Sound Technician Director of Michael Mao Dance. She completed Joe Forbes—Scenic Arts Studios, Scenic Painting graduate coursework as a PhD candidate in His- Costume Fabrication, Deanna Berg and tory at the University of Michigan and holds a BA Parsons Meares from Boston University. She has published several Fabric Printing, Dyenamix, Raylene Marasco articles on dance for Michigan publications. Armitage Gone! Dance is a 501(c) 3 nonprofit SPECIAL THANKS TO: organization. Donations are welcome and may be Everyone at BAM, Gagosian Gallery, Kim Higby, mailed to: Raymond Foye, Dyenamix Inc., Raylene Marasco, ARMITAGE GONE! DANCE Will Cotton, Karen Young, Jon Can Coskunses, PO Box 2095 Parsons Meares, Keiko Voltaire, Deanna Berg, Canal Street Station Peter Pearson, Allison Weissman, Tanja Grunert, New York, NY 10013 Dorothy Berwin, Dominique Lévy, Susan Cappa, www.armitagegonedance.org Erin Baiano, Julieta Cervantes, Character Genera- 212.966.1001 tors, Mark Robison, Nathan Buck, Marcia Previti, [email protected] | 212.966.1001 Mary Schwab, Harold Norris, Ilter Ibrahimof, Purchase College Performing Arts Center, Christy NORTH AMERICA TOURING REPRESENTATIVE Havard, Jan Sillery, Bedell Cellars and Michael Harold Norris, H-Art Management Lynne, our Gala Benefit Co-Chairs, Donna Karan, 481 Eighth Avenue, Suite 834 Anne and Vincent Mai, Gioacchino Lanza Tomasi, New York, NY 1001 David Salle, the entire benefit committee, and our Office: 212.868.2134 | Fax: 212.504.3229 volunteers. INTERNATIONAL BOOKING REPRESENTATIVE ARMITAGE FOUNDATION BOARD OF Aldo Grompone DIRECTORS Via Giulia 195 David Salle, Chairman 00186 Roma, Italia Karole Armitage +39 06 68 76 495 Jan Abrams [email protected] Lorinda Ash Dominique Lévy Richard Massey Donald Rosenfeld Who’s Who Special Thanks to the Gone! Gala Dorothy Lichtenstein Lisa & Richard Frisch Benefit Committee Co-Chairs: LLWW Foundation Sandy Gallin Live Music for Dance Program of the Carol & Myron Goldman Donna Karan, Anne & Vincent Mai, American Music Center Caroline & Edward Hyman David Salle and Gioacchino Lanza Jerome Robbins Foundation Barbara Jakobson Tomasi. The Shubert Foundation Jerome Kurtz Ellen & Larry Sosnow Melissa Lazarov Committee Members: Jan & Stefan Alexandra I & Billy S Lerner Abrams, Shelley Fox Aarons & Philip DEVOTEES The Albert G Lowenthal Fdn Aarons, Lorinda Ash, Anne H. Bass & $1000—$4999 Diane & Adam Max Julian Lethbridge, Ross Bleckner & Shelly Fox Aarons & Philip Aarons Tom Otterness Studio Eric Freeman, Peter M. Brant, Melva Kenneth & Katie Armitage Randy Polumbo Bucksbaum & Raymond Learsy, Susan Peggy & John Bader Keren Coplan Ringler &Yves Ringler Cappa, Joanne Leonhardt Cassullo, Alba Elizabeth Calhoun Baker Carol Rollo & Francesco Clemente, Madison Cox, Andre Balazs Mr. & Mrs. Benjamin Rosen Douglas S. Cramer & Hubert Bush, Mary Judith Bauer Eileen Rosenau Sharp Cronson, Michelle & Asher Edelman, Katarina Otto Bernstein The Foundation, To- Life, Inc Susan & David Edelstein, Brandon Fradd, Barbara Bertozzi Castelli Mary & James G Wallach, Fdn. Larry Gagosian, Christine & Andrew Hall, Mary Boone Michael Young Jill Kalikow Heller, Tullan Holmqvist & Brown Foundation Donald E. Zilkha Giovanni Spinelli, Karen Brooks Hopkins, Melva Bucksbaum & Raymond Learsy Lucia Hwong Gordon, Donna Karan, Stanley & Frieda Cayre Fdn FRIENDS Yung Hee Kim, Jeff & Justine Koons, Cheim & Read LLC, John Cheim & Howard $100—$499 Melissa Lazarov, Alexandra I. & Billy S. Read Richard & Iris Abrons Fdn Inc Lerner, Dominique Lévy & Dorothy Berwin, Alba & Francesco Clemente Stephan and Caroline Adler Dorothy Lichtenstein, Ninah & Michael Marion & James Cohen Janna Bullock Lynne, The Honorable & Mrs. Earle I. Rebecca Cooper Arnold & Bryn Cohen Mack, Anne & Vincent Mai, Jamie Mai, Madison Cox Design Inc Philanthropic Foundation Richard Massey, Joseph V. Melillo, Suze Douglas S. Cramer & Hubert Bush Robert Colaciello Orman & Kathy Travis, Susan Gluck Mary Sharp Cronson Frederico de Giorgis Pappajohn & Greg Pappajohn, Carol & Barbara & Michael Ditzian Diane & Blaine Fogg Nicholas Paumgarten, Donald Rosenfeld, Jeffrey Deitch, Inc Lisa Gersh Clifford Ross, Martine & William Rubenstein, Deutsche Bank Matching Gift Program Robert Goff David Salle, Allison Sarofim, Cindy Sherman, Susan & David Edelstein David Humphrey Melissa & Robert Soros, Ellen & Larry Feldstein Family Charitable Fdn Edward & Caroline Hyman Sosnow, Peter Speliopoulos & Robert Eric Fischl & April Gornik Michael Langman Turner, Mr. & Mrs. David Stockman, Brandon Fradd Jane Magidson Stephanie Stokes, Leila & Mickey Straus, The Barry Friedberg & Charlotte Moss Jennifer Peck Gioacchino Lanza Tomasi, Diane Tuft, Foundation Michele Pietra Charles-Antoine Van Campenhout, Terry Alan Gover & Janine Behrman Betsy & Rob Pitts Winters & Hendel Teicher, Arden Wohl. Stella & Charles Guttman Fdn, Inc Allison & Neil Rubler List in formation as of 9/24/09 Christine & Andrew Hall Cyndi Stivers Sigmund D Heller & Jan Shaw Debi Wisch Armitage Gone! Dance wishes to Lucia Hwong Gordon 9/20/08 to 9/24/09. We regret any omis- express our sincere appreciation Infinite Possibilities Fdn, Inc sions or misspellings. and gratitude to the following orga- Philip Isles & Bridget Marks Barbara Jakobson FOUNDING MEMBERS IN 2005 nizations and individuals for their Ada & Alex Katz Anne H. Bass and Carl E. Bolch III generous support. Calvin Klein Herman Liebmann Foundation ARMITAGE GONE! DANCE VISIONARIES The Dorothea L Leonhardt Fdn. Circle of Artists $25,000 and above Leslie & Bari Lieberman 2008 & 2009 Earle I. Mack Foundation Inc Michael Lynne John Ahearn, Ghada Amer, Michael Bevi- National Dance Project of the New England Fredric & Tami Mack lacqua, Donald Baechler, Ross Bleckner, Foundation for the Arts David & Sondra Mack Fdn. Cecily Brown, Bob Buck, Will Cotton, Anne American Recovery and Reinvestment Act William & Phyllis Mack Family Fdn. Collier, Richard Dupont, Margaret Evan- of the National Endowment for the Arts Marlborough Gallery geline, Reza Farkhondeh, Eric Fischl, Don David Salle Stephanie & Leander McCormick-Goodhart Freeman, Eric Freeman, Maureen Gallace, Robert L. Turner & Peter Speliopoulos Jay McInerney & Anne Hearst Martha Gallo, Ralph Gibson, April Gornik, Mimi Mendelson Hillary Harkness, Dana Hoey, David BENEFACTORS Harvey Shipley Miller Humphrey, Bryan Hunt, YZ Kami, Jacob $15,000—$24,999 Daniel M Neidich & Brooke Garber Fdn. Kassay, Karen Kilimnik, Jeff Koons, Cary Doris Duke Charitable Trust Jody Oberfelder & Jurgen Riehm Leibowitz, David Levinthal, Vera Lutter, Fan Fox & Leslie R Samuels Fdn Suze Orman & Kathy Travis Mary Jane Marcasiano, Sophie Matisse, Charles & Joan Gross Family Fdn Susan Gluck Pappajohn & Greg Pappajohn Ryan McGinness, Patrick McMullan, Sean The Mai Family Foundation Peninsula Foundation, Agnes Gund Mellyn, Marilyn Minter, Martin Mull, Matt New York City Department of Cultural Dara Perlbinder Mullican, Vik Muniz, John Newsom, Tom Affairs Ellen Phelan & Joel Shapiro Otterness, Yigal Ozeri, Enoc Perez, Chloe Clifford Ross Piene, Jack Pierson, Jean Pagliuso, Robin SUSTAINERS Allison Sarofim Rhode, Clifford Ross, Tom Sachs, David $10,000—$14,999 Cindy Sherman Salle, Julian Schnabel, Dana Schutz, Gedi Jan & Stefan Abrams Melissa & Robert Soros Sibony, Amy Sillman, Laurie Simmons, Lorinda Ash & Peter Ezersky Mr. & Mrs. David Stockman Pat Steir, Billy Sullivan, Philip Taaffe, Gagosian Gallery, Inc Leila & Melville Straus Diane Tuft, Frederic Tuten, Max Waldman David H Koch Ann G Tenenbaum Archive, James Welling, Robert Wilson, Dominique Lévy Fine Art, LLC The Roy & Niuta Titus Fdn., Inc Lucy Winton, Robert Rahway Zakanitch Jamie Mai Glen & Lynn Tobias Family Fdn. Richard Massey Barbara Toll Special Thanks to Bedell Cellars for National Endowment for the Arts John J. Turner & Jerry G. Fischer their donation of wine to the GONE! Tuft Family Foundation Trust for Mutual Understanding GALA Charles Antoine Van Campenhout Terry Winters & Hendel Teicher Arden Wohl SPONSORS $5000—$9999 PATRONS Anne H. Bass $500—$999 Bloomberg LP S. Kassidy Choi Schagrin Gladys Krieble Delmas Fdn Fred Davis Barbara Horgan Asher & Michelle Edelman Donna Karan Michael Fields