Brooklyn Academy of Music 1997 Next Wave Festival ••• •• • Julio Galan, Rado, 1996, oil on canvas, 39 W' x 31 W' • Iver PHILIP MORRIS BAM 1997 Next Wave Festival is sponsored by COM PAN IE SIN C. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President and Executive Producer presents II Running time: Eiko & Koma approximately Kronos Quartet seventy-five minutes. Somei Satoh There will be no intermission. BAM Majestic Theater December 3-6, 1997 at 7:30pm December 7 at 3pm Dancers Eiko & Koma Musicians Kronos Quartet David Harrington violin John Sherba viol in Hank Dutt viola Joan Jeanrenaud cello Com poser Somei Satoh Lighti ng designer Jeff Fontaine Scenery Eiko & Koma Sculptor Judd Weisberg Audio engineer Jay Cloidt Major support for this presentation has been provided by The Ford Foundation, The Harkness Foundation for Dance and The Joyce Mertz-Gilmore Foundation. Additional support has been provided by the Asian Cultural Council. Metropolitan Life Foundation is the exclusive sponsor of BAMradio, a broadcast series for which Kronos Quartet's performance will be recorded. The creation and touring of River has been made possible by Brooklyn Academy of Music in cooperation with other funders and presenters. Eiko & Koma An Arts Partners project grant to Lafayette College in Easton, PA enabled the Williams Center for the Arts there to function as lead commissioner of River and to provide the use of its theater for development of the work. The Jacob's Pillow Dance Festival, Art Awareness and the Atlantic Center for the Arts provided additional creative time and space. The creation of River was also supported by the National Dance Project (a national pro­ gram funded by the National Endowment for the Arts and the Andrew W. Mellon Foundation and administered by the New England Foundation for the Arts); the Chase Manhattan Foundation, Philip Morris Companies Inc. and the Harkness Foundation for Dance. The creation and touring of River was supported in significant part by a National Endowment for the Arts Creation and Presentation grant to Eiko & Koma. )omei Satoh Major funds for Mr. Satoh's commission were provided by Meet The Composer / International Creative Collaborations, a program funded by the Ford Foundation and administered by Meet The Composer, Inc. Additional support to Eiko & Koma for the music commission was provided by the Japan Foundation through its Performing Arts JAPAN program, adminis­ tered by the Japan-US Partnership for the Performing Arts. Kronos Qua rtet Kronos Quartet's participation in the collaboration was made possible in part by support from The Japan Foundation through the Performing Arts JAPAN Program, administered by the Japan-US Partnership for the Performing Arts; the National Endowment for the Arts Creation and Presentation category; the California Arts Council Organizational Support Program, Performing Arts Touring and Presenting Program and The California Challenge Program; The William and Flora Hewlett Foundation; and Grants for the Arts / San Francisco Hotel Tax Fund. This presentation of River was supported by a National Dance Project pre­ sentation grant, made possible in part, in addition to the funders listed above, by special support to the New England Foundation for the Arts by Philip Morris Companies Inc. in celebration of their twenty-five years of support for dance. Support was also provided to Eiko & Koma by the New York State Council on the Arts Dance Program Eiko & Koma express their special thanks to Harvey Lichtenstein, Joe Melillo and the BAM staff and crew. Thanks also to Ivan Sygoda, Janet Cowperthwaite and her colleagues at Kronos, Ellis Finger, Paula Lawrence, Noriko Sengoku, Pablo Martinez, Tracy Williams and Deborah Larsen. Choreography (c)1997, Eiko & Koma. All rights reserved. Music (c)1997, Somei Satoh. All rights reserved. Eiko & Koma Eiko (female) and Koma (male) were law and political science students in Japan when, in 1971, they each joined the Tatsumi Hijikata company in Tokyo. Their collaboration began as an experiment and then developed into an exclusive partnership. They started to work as independent artists in Tokyo in 1972 and at the same time began to study with Kazuo Ohno, who along with Hijikata was the central figure in the Japanese avant-garde theatrical movement of the 1960s. Neither Eiko nor Koma studied traditional Japanese dance or theater forms, and have preferred to choreograph and perform only their own works. Their interest in Neue Tanz, the German modern dance movement which flourished alongside the Bauhaus movement in art and architecture, and their desire to explore non-verbal theater took them to Hanover, Germany in 1972. There they studied with Manja Chmiel, a disciple of Mary Wigman. In 1973, they moved to Amsterdam, and for the next two years toured extensively in Germany, the Netherlands, Switzerland and Tunisia. The Japan Society sponsored the first American performance of Eiko & Koma's White Dance in May of 1976. Since then, they have presented their works­ Fur Seal (1977), Before the Cock Crows (1978), Fluttering Black (1979), Trilogy (1979-81), Grain (1983), Beam (1983), Elegy (1984), Night Tide (1984), Thirst (1985), By The River (1986), New Moon Stories, a tetralogy (1986), Tree (1988), Canal (1989), Rust (1989), Memory (1989) and Passage (1989)-at theaters, universities, museums, galleries and festivals across North America, Europe and Japan. Land, their full-evening collaboration with Native American composer Robert Mirabal and New York visual artist Sandra Lerner, premiered at the BAM Next Wave Festival in November, 1991. Wind, another collaboration with Robert Mirabal and also Chanticleer, premiered at the Walker Arts Center in Minneapolis in March, 1993. During the summer of 1995, Eiko & Koma completed River, an outdoor environmental exploration, in collaboration with visual artist Judd Weisberg. They also created Distant (1994) and Echo (1995), the latter commissioned by Japan Society of New York in celebration of Eiko & Koma's twentieth anniversary season there in the fall of 1995. Eiko & Koma have occasionally set works on other companies. Under the auspices of the National Choreography Project, they created Broken Pieces for CoDanceCo in 1986. During the 1993-94 season, they created Dream for Pittsburgh's Dance Alloy under the auspices of the National Dance Repertory Enrichment Program. They have also worked in dance/video as another means of communication with their audiences. Their videotapes Tentacle, Bone Dream, Wallow, Lament, Husk and Undertow are available through Pentacle. Undertow, a collaboration with James Byrne, aired on KCTA's Alive from Off Center in 1989. Most recently, Eiko & Koma have been invited to create and perform in a "living tableau" at the Whitney Museum of American Art in New York. This new work will be on view from May 28 through June 21. Eiko & Koma are permanent residents of the United States. They live in New Photo: Philip Trager York City, where they perform regularly and offer occasional Delicious Movement Workshops. They were named John Simon Guggenheim Memorial Foundation Fellows for 1984. Their touring has been supported by the AT&T Foundation's Dance Tour, Dance / USA's American Dance Touring Initiative and the National Dance Project. They have also received grants from the Creative Artists Public Service (CAPS) program, the Beard's Fund, the Foundation for Contemporary Performance Art, the Jerome Foundation, the New York Foundation for the Arts, Art Matters, the Harkness Foundations for Dance, the Mary Flagler Cary Charitable Trust, the Greenwall Foundation, the Joyce Mertz-Gilmore Foundation, the Nathan Cummings Foundation, the Lila Acheson Wallace Theater Fund, Meet the Composer, the Japan Foundation, the Japan-United States Friendship Commission, the Asian Cultural Council, the Saison Foundation, the Fund for US Artists at International Festivals and Exhibitions and the Rockefeller Foundation's Multi-Arts Production Fund. Their work has been regularly supported by the National Endowment for the Arts and the New York State Council on the Arts. Eiko & Koma were named MacArthur Fellows in June of 1996. This was the first time in the program's sixteen year history that the foundation awarded a fellowship to be shared by collaborators. Kronos Quartet Since its inception in 1973, the Kronos Quartet has emerged as a leading voice for new work. Combining a unique musical vision with a fearless dedi­ cation to experimentation, Kronos has assembled a body of work unparalleled in its range and scope of expression, and in the process, has captured the attention of audiences world-wide. The Quartet's extensive repertoire ranges from Shostakovich, Webern, Bartok and lves to Astor Piazzolla, John Cage, Raymond Scott and Howlin' Wolf. In addition to working closely with modern masters such as Terry Riley, John Zorn and Henryk Gorecki, Kronos com­ missions new works from today's most innovative composers from around the world, extending its reach as far as Zimbabwe, Poland, Australia, Japan, Argentina and Azerbaijan. The Quartet is currently working with many com­ posers, including John Adams, Franghiz Ali-Zadeh, Diamanda Galas, Osvaldo Golijov, Ben Johnston, Steven Mackey, Akira Nishimura, Gabriela Ortiz, P. Q. Phan, Steve Reich, Somei Satoh, Tan Dun and Guo Wenjing. Kronos performs annually in many cities including San Francisco and New York, and tours extensively with more than 100 concerts each year in concert halls, clubs and at jazz festivals throughout