DOCSLIB.ORG

2009 Next Wave Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2009 Next Wave Festival 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! Dance 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 African dance 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 Joyce Theater (January 2008), on a project basis while accepting commissions participated in New York City Center’s popular from European ballet 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 Brian Greene). 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 dances, 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 Ballets 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 Madonna and Michael Jackson 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); choreography 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.
Load more

Recommended publications
  • Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
    [Show full text]
  • Universidade Católica Portuguesa Creative
    UNIVERSIDADE CATÓLICA PORTUGUESA CREATIVE INTERACTIONS BETWEEN VISUAL TECHNOLOGY AND SOUND ART IN A LIVE PERFORMANCE CONTEXT Tese apresentada à Universidade Católica Portuguesa para obtenção do grau de Doutor em Ciência e Tecnologia das Artes na Especialidade de Arte Interactiva por Sónia de Sousa Ferreira Guedes Rodrigues ESCOLA DAS ARTES (Mês e 2014) UNIVERSIDADE CATÓLICA PORTUGUESA CREATIVE INTERACTIONS BETWEEN VISUAL TECHNOLOGY AND SOUND ART IN A LIVE PERFORMANCE CONTEXT Tese apresentada à Universidade Católica Portuguesa para obtenção do grau de Doutor em Ciência e Tecnologia das Artes na Especialidade de Arte Interactiva Por Sónia de Sousa Ferreira Guedes Rodrigues Sob orientação de Professor Doutor Álvaro Barbosa ESCOLA DAS ARTES (Mês e 2014) Abstract For introducing this thesis, it is important to place it in a context of: models of interactivity – systems, systemic work, mediation, participation, collaboration, interfaces, dance, drawing, video, sound, interaction, multimedia, Digital versus analogue, layers, physical time versus performance and film time, physical space versus virtual space, material (paper ink etc.) versus light projection and sound, wearable technology, and to briefly pinpoint artists who are working in relevant ways for the discussion arising. Within dance itself the use of new technology is also varied and has seen the creation of different contexts for Dance The main question is on how to achieve a creative solution for non­intrusive technology for dance expression and a dialogue between different parts like drawing, video, dance improvisation, interactive performative dialogues and sound. By non­ intrusive technology one means technology that does not physically interfere with the ability a dancer has to move freely like cables, wires or heavy suits that restrict movement instead of promoting it.
    [Show full text]
  • Zvidance DABKE
    presents ZviDance Sunday, July 12-Tuesday, July 14 at 8:00pm Reynolds Industries Theater Performance: 50 minutes, no intermission DABKE (2012) Choreography: Zvi Gotheiner in collaboration with the dancers Original Score by: Scott Killian with Dabke music by Ali El Deek Lighting Design: Mark London Costume Design: Reid Bartelme Assistant Costume Design: Guy Dempster Dancers: Chelsea Ainsworth, Todd Allen, Alex Biegelson, Kuan Hui Chew, Tyner Dumortier, Samantha Harvey, Ying-Ying Shiau, Robert M. Valdez, Jr. Company Manager: Jacob Goodhart Executive Director: Nikki Chalas A few words from Zvi about the creation of DABKE: The idea of creating a contemporary dance piece based on a Middle Eastern folk dance revealed itself in a Lebanese restaurant in Stockholm, Sweden. My Israeli partner and a Lebanese waiter became friendly and were soon dancing the Dabke between tables. While patrons cheered, I remained still, transfixed, all the while envisioning this as material for a new piece. Dabke (translated from Arabic as "stomping of the feet") is a traditional folk dance and is now the national dance of Lebanon, Jordan, Syria, and Palestine. Israelis have their own version. It is a line dance often performed at weddings, holidays, and community celebrations. The dance strongly references solidarity, and traditionally only men participated. The dancers, linked by hands or shoulders, stomp the ground with complex rhythms, emphasizing their connection to the land. While the group keeps rhythm, the leader, called Raas (meaning "head"), improvises on pre-choreographed movement phrases. He also twirls a handkerchief or string of beads known as a Masbha. When I was a child and teenager growing up in a Kibbutz in northern Israel, Friday nights were folk dance nights.
    [Show full text]
  • Dance Workshop an Online Offering of Live and Recorded Dance
    The Queensborough Community College Dance Program In the Department of Health, Physical Education and Dance Present Dance Workshop An online offering of live and recorded dance. Welcome from Emily Berry - Dance Program Director 1. The Healing Choreography: Kevin McEwen with creative input from the cast Performance: Andre Murph, Chynah Bennett, Desiree Ohangio, Hallie Langaigne, Kadeshia Thomas, Kyasia Cooper, Maiya Holley, Randi Morgan, Samantha Cajamarca Music: Zid Lmel (featuring Maalem Hammam) by Boddhi Satva, Come Together by The Internet, Work That by Mary J Blige, Destiny by Burna Boy, Soli Rapid by the Kofago Drum Ensemble Costumes, Videography and Video Production: Kevin McEwen Muriel Manings Award Presented by Kevin McEwen 2. Beyond. Within. - Part I: Microcosmic Entropy Choreography and Performance: Yona Lavie Music: Ludovico Einaudi Videography and video editing: Yona Lavie 3. HOPE(ful) Choreography and Performance: Khayla Mcleod Music: Drehz & Ólafur Arnalds Videography/Editing: Khayla Mcleod Costume: Khayla Mcleod 4. This Seems a Home Choreography: Aviva Geismar in collaboration with the performers Performance: Dennis Charwin, Brook Lyn Gonzalez, Jiwon Kim, Hallie Langaigne, Yona Lavie, Desiree Oghaego, Phillip Pettiford, Nadia Simmons and Kadeisha Thomas Music: “Plan and Elevation” by Caroline Shaw, recorded by the Attacca Quartet Text: “Fences” by August Wilson Video Editing: Aviva Geismar Tech Scholarship Request and Rising Star Award Presented by Aviva Geismar 5. A New Me Choreography and Performance: Samantha Cajamarca Music: K/DA- MORE Videography: Mynor Ordonez Video Editing: Guillermo Garcia 6. Peace Choreography: Hallie Langaigne Performance: Chynah Bennett, Maiya Holley, Hallie Langaigne, Randi Morgan and Nadia Simmons Music: “Nile” by Beyoncé ft Kendrick Lamar Costume: Marcela Jones 7.
    [Show full text]
  • Resource Guide for Educators
    RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN 1 A LETTER FROM OUR EXECUTIVE DIRECTOR “Dance came from the people and must always be delivered back to the people.” - Alvin Ailey Dear Educator, For over sixty years, Alvin Ailey American Dance Theater has carried out the credo of its founder through performances, school and community programs, professional training of young dancers, classes for the public, and more. To Mr. Ailey, dance was more than a series of steps; it was a means of expressing emotion, of telling one’s story, of honoring the past and rejoicing in what is to come. In fulfillment of his legacy, we strive to offer abundant opportunities for young people to experience the possibilities of dance, no matter who they are or where they come from. We hope the exercises and activities suggested in this resource guide will provide you and your students with a creative and interactive inlet to the world of dance and the work of the Alvin Ailey American Dance Theater, or help you prepare them to attend a dance performance. By bringing your students to an Ailey performance, participating in an Ailey Arts In Education residency, or simply sharing with them the joy and practice of dance, you are engaging the next generation in the Ailey legacy; one expressly dedicated to expanding the minds, talents, and dreams of young people. Thank you for your contribution, and enjoy! Sincerely, Bennett Rink Executive Director, Alvin Ailey Dance Foundation 2 RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN The content and suggested activities in this guide can be integrated into an established school curriculum.
    [Show full text]
  • “The Art of Rita Blitt” by Robert Mcdonald Edited by Donna Stein
    Untitled Document “The Art of Rita Blitt” By Robert McDonald Edited by Donna Stein Rita Blitt has been an artist for as long as she can remember. Since she was a child she has had a passion for creating art and for sharing it with others. She recalls her excited anticipation when teachers passed out fresh drawing paper in school, and these creative expectations endure today. Blitt channels her enthusiasm to others via drawings, paintings, and sculptures. Working from intuition as well as intelligence, her experience of making art is both physical and spiritual. She has had a calling and the strength to follow her path. Like novelist Willa Cather, Blitt has discovered that happiness is "to be dissolved into something complete and great," to become "part of something entire." An important source of Blitt's enthusiasm for art was the influence of her grandfather, Isaac Sofnas, a Russian designer of flower embroidery patterns, who lived in New York City. According to Blitt, "My grandfather drew fanciful flowers on the letters he sent. From the time I was a toddler we exchanged drawings. Now I feel my lines continue his." Blitt's father, Herman Copaken, a businessman and part-time inventor, embodied patient determination and self-motivation, which he passed on to his daughter. Blitt's mother, Dorothy Sofnas Copaken, devoted herself to Jewish humanitarian causes. She instilled in her three children an awareness of and caring for the world, which Blitt expresses through art. "My Mom always said, 'Look at the beautiful trees,'" Rita remembers. "I loved drawing trees formed with multiple lines, each emanating from the roots and continuing up through the trunk to become branches and twigs.
    [Show full text]
  • ADF-Timeline.Pdf
    Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts.
    [Show full text]
  • Danza in Video Forme E Modelli Della Danza Televisiva Dal 1954 Ad Oggi
    Danza in video Forme e modelli della danza televisiva dal 1954 ad oggi Facoltà di Lettere e Filosofia Dipartimento di Storia dell’Arte e Spettacolo Corso di laurea magistrale in Spettacolo, Moda e Arti Digitali Cattedra di Ricerche di storia del teatro e della danza Candidata Caterina Giangrasso 1679306 Relatrice Correlatore Prof.ssa Annamaria Corea Prof. Andrea Minuz A. A. 2016/2017 Indice Introduzione 2 1. La danza e il video: definizioni e destinazioni 1.1 La danza sullo schermo 7 1.2 Gli esordi della danza al cinema: tra avanguardia e musical 10 1.3 La videodanza: una definizione inafferrabile 23 1.4 La videodanza italiana. Esempi e occasioni di confronto 28 1.5 Repertorio in video 32 2. La danza nella televisione italiana 2.1 La danza in Italia nella seconda metà del Novecento 36 2.2 La danza nella televisione italiana 42 2.3 In principio fu il varietà 46 2.4 L’infotainment per divulgare la danza 72 2.5 Il talent show: breve storia e mutamenti 86 3.La danza e le pratiche di comunicazione in video oggi 3.1 La danza di serie A e la danza di serie B: una questione di gusto? 97 3.2 Lo spettatore, la popolarità dei divi, l’evento di danza 104 3.3 Una riflessione sull’uso del corpo danzante in televisione 111 3.4 Forme della danza tecnologica e digitale 114 3.5 Regie a confronto 120 Appendice Conversazione con Francesca Pedroni 126 Catalogazione ore di trasmissione di danza e relativi dati d’ascolto 141 Catalogazione materiale filmato e trasmesso da Maratona d’Estate 155 Appendice iconografica 177 Bibliografia 199 Ringraziamenti 205 1 Introduzione Analizzare criticamente i rapporti intercorsi tra danza e televisione è l’obiettivo che si prefigura questo lavoro e che prende vita e spunto dalla constatazione che anche studiare la danza in una prospettiva storica e teorica senza praticarla come esperienza corporea può essere un’avventura fatta di scoperte, coinvolgimento e passione.
    [Show full text]
  • Alvin Ailey American Dance Theater
    CAL PERFORMANCES PRESENTS Alvin Ailey® American Dance Th eater March 11-20, 2005 Zellerbach Hall Alvin Ailey, founder JUDITH JAMISON, artistic director Masazumi Chaya, associate artistic director Company Members Clyde Archer, Guillermo Asca, Olivia Bowman, Kirven J. Boyd, Hope Boykin, Clifton Brown, Rosalyn Deshauteurs, Samuel Deshauteurs, Antonio Douthit, Linda-Denise Fisher-Harrell, Vernard J. Gilmore, Venus Hall, Zach Law Ingram, Abdur-Rahim Jackson, Chris Jackson, Gwynenn Taylor Jones, Willy Laury, Roxanne Lyst, Amos J. Machanic, Jr., Briana Reed, Renee Robinson, Matthew Rushing, Wendy White Sasser, Glenn Allen Sims, Linda Celeste Sims, Dwana Adiaha Smallwood, Asha Th omas, Lisa M. Th omas, Tina Monica Williams, Dion Wilson, and Dudley Williams Sharon Gersten Luckman, executive director Major funding is provided by the New York State Council on the Arts, a State Agency, the New York City Department of Cultural Aff airs, the National Endowment for the Arts, Altria Group, Inc., MasterCard International, Time Warner Inc., and Th e Shubert Foundation. is the sponsor of the Ailey New Choreography Initiative. American Airlines is the offi cial airline of the Alvin Ailey American Dance Th eater. National Sponsor Th is presentation of Alvin Ailey American Dance Th eater at Cal Performances is made possible, in part, by the generous support of Bank of America. Cal Performances thanks the Zellerbach Family Foundation, Citigroup, the City of Berkeley’s Civic Arts Program, Macy’s West, and the McKesson Foundation for supporting Alvin Ailey American
    [Show full text]
  • Camille Billops and James V. Hatch Archives at Emory University
    Camille Billops and James V. Hatch archives at Emory University Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Descriptive Summary Title: Camille Billops and James V. Hatch archives at Emory University Call Number: Manuscript Collection No. 927 Extent: 47.25 linear feet (95 boxes), 12 oversized papers boxes and 16 oversized papers folders (OP), 6 extra oversized papers (XOP), AV Masters: 9.25 linear feet (9 boxes and LP1-4), and 10 GB born digital material (231 files) Abstract: The Camille Billops and James Hatch Archives at Emory University consists of a variety of materials relating to African American culture and art. Language: Materials entirely in English. Administrative Information Restrictions on Access Special Restrictions: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library in advance for access to this material. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Related Materials in Other Repositories Hatch-Billops Oral History at the City College of New York Emory Libraries provides copies of its finding aids for use only in research and private study.
    [Show full text]
  • Island 3 SECTIONS, 32 PAGES Rin Go Blah Errant Erin Fools Forecasters; Islanders Breathe Easy by Mark S
    Visioning Lottery winner Parsons dance page 4A pageiB page 1C AUGUST 4,1995 VOLUME 24 NUMBER 31 island 3 SECTIONS, 32 PAGES rin go blah Errant Erin fools forecasters; Islanders breathe easy By Mark S. Krzos StaffWriter In the end, Hurricane Erin's punch packed less than last weekend's unexpected rainfall. After initial Path of forecasts putting Sanibel and Lee County in Erin's direct path, the- storm made a jiggle to the north and Tropical Storm/ Hurricane Erin spared the islands the brunt of the storm. (Sunday, July SO—Thursday, Aug. 3) Left in Erin's wake, however, are statistics that might keep the adrenaline pumping as much as Monday and Tuesday's weather reports. According to the city's weather consultant Bill Zeliff, July has been one of the most active Julys this century for hurricanes. "This is only the second time this century where Red indicates course. White Indicates predicted coarse four named storms appeared in July," Zeliff said. "Storms Allison, Barry, Chantal, Dean and Erin have all made an appearance in July." The last time there were four named storms in the . -please see page 2A Islands prepared for worst ease By Matthew Miller StaffWriter , The theme of the lecture would have been "Evacuation," a seminar conducted by Commander Janet Cali of the Sanibel Police Department Wednesday morning at the Sanibel Library. Ironically Shell art on display however, Cali had to cancel her hurricane preparation TT meeting to prepare for a hurricane. it • For many long hours in the beginning of the week, , t most on the islands were bracing for the worst—a •\ *• •-•, •please see page 2A k Weekend rains worse than storm By Mark S.
    [Show full text]
  • Paul Taylor Dance Company
    Paul B. Goode Paul PAUL TAYLOR DANCE COMPANY Dancers Eran Bugge, Michael Apuzzo, Heather McGinley, George Smallwood, Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, Devon Louis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman Founding Artistic Director Paul Taylor Artistic Director Michael Novak Rehearsal Director Bettie De Jong, Andy Lebeau Principal Lighting Designer Jennifer Tipton, James F. Ingalls Principal Set & Costume Designer Santo Loquasto, William Ivey Long Executive Director John Tomlinson PROGRAM There will be two intermissions. Friday, January 24 @ 8 PM Saturday, January 25 @ 2 PM Saturday, January 25 @ 8 PM Zellerbach Theatre The 19/20 dance series is presented by the Annenberg Center and NextMove Dance. Media Sponsor: Major funding provided by The SHS Foundation. Support also provided by public funds from the New York City Department of Cultural Aff airs in partnership with the City Council; and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Additional support provided by Shubert Foundation. National tour supported in part by an award from the National Endowment for the Arts. 19/20 SEASON 65 PROGRAM NOTES Syzygy The nearly straight-line configuration of three or more celestial bodies in a gravitational system. Music Composition Donald York Choreography Paul Taylor Costumes Santo Loquasto Lighting Jennifer Tipton First performed in 1987. Original production made possible in part by The Eleanor Naylor Dana Charitable Trust and the National Endowment for the Arts. Preservation made possible by contributions to the Paul Taylor Repertory Preservation Project with support from the National Endowment for the Arts.
    [Show full text]