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Home , Edward MacDowell Medal, Harvey Lichtenstein, Jonah Bokaer, Kitty Carlisle, Merce Cunningham, Takehisa Kosugi

CAL PERFORMANCES PRESENTS Company Friday and Saturday, February 6–7, 8 pm, 2004 Zellerbach Hall

Dancers Cédric Andrieux Lisa Boudreau Holley Farmer Jennifer Goggans Rashaun Mitchell Koji Mizuta Marcie Munnerlyn Daniel Roberts Daniel Squire Jeannie Steele Derry Swan Robert Swinston Andrea Weber

Musicians Loren Kiyoshi Dempster Stuart Dempster John Shiurba

Choreography Merce Cunningham

Founding Music Director Assistant to the Choreographer (1912–1992) Robert Swinston

Music Director Executive Director Takehisa Kosugi Jeffrey H. James

Trevor Carlson, general manager James Hall, wardrobe supervisor Josh Johnson, lighting director Will Knapp, production manager Andy Russ, music supervisor Eddie Schneller, company manager Jeannie Steele, rehearsal assistant David Vaughan, archivist

This performance is made possible with public funds from the National Endowment for the Arts and the State Council on the Arts, a state agency. Major support for the Merce Cunningham Dance Company’s 50th Anniversary was provided by the Howard Gilman Foundation, Sage and John Cowles, The Andrew W. Mellon Foundation, and Phyllis Wattis.

These performances have been made possible, in part, by members of the Cal Performances Producers Circle.

Cal Performances thanks the William and Flora Hewlett Foundation and the Zellerbach Family Foundation for their generous support. Cal Performances receives additional funding from the National Endowment for the Arts, a federal agency that supports the visual, literary, and performing arts to benefit all Americans.

C AL PERFORMANCES 1 FRIDAY PROGRAM FRIDAY PROGRAM

This dance was begun by processing phrases of movement into DanceForms, the dance computer program I utilize. It continues my interest in dancers dealing with movement complexities. —Merce Cunningham

Underground Overlays is the result of a commission in 1993 from Meet The Composer’s Composer/Choreographer Project for a collaboration with Merce Cunningham for performances during 1995. Dedicated to the memory of John Cage, Underground Overlays actually describes what takes place and is inspired by my work with Merce Cunningham during the tour of summer 1976, when I played and recorded In the Great Abbey of Clement VI in Avignon. The material for this piece was recorded in a two-million-gallon former water tank at Fort Worden in Port Townsend, about 70 miles northwest of Seattle, which has now achieved some notoriety since the CD Deep Listening was recorded there in 1988. John Cage was deeply moved by that recording. The old water tank is known locally as “the cistern” or, more fondly, “The Cistern Chapel.” It has an incredible reverberation time of 45 seconds; any sound made is reverberated warmly with nearly perfect evenness in tone quality and dynamic range over a 45-second decay time. —Stuart Dempster In the making of this work, 10 trombone players descended 14 feet into the 186- foot-diameter cistern and spread out around the circumference. Dempster— as composer, soloist, and director—performed in the center, spinning slowly and Jeannie Steele and Glen Rumsey in BIPED delivering various instructions to each of the performers in turn. The result is a warm, shimmering series of overlays from this underground water tank, hence the Friday, February 6, 8 pm title of the work. The resulting tapes were then arranged to be played with a per- formance attitude separately or simultaneously, while at the same time live musi- cians are blending with the tapes(s), creating more layers. The sources for these Ground Level Overlay (1995) tapes will be released this year as a CD by New Albion Records in San Francisco. Music: Stuart Dempster, Underground Overlays Decor: Leonardo Drew This work is made possible, in part, by AT&T. Costumes: Suzanne Gallo Lighting: Aaron Copp The composer and choreographer commission fees for this collaboration were made possible by a grant from the Meet The Composer Choreographer Project, a national program funded by the Ford Foundation and The Pew Charitable Trusts. Dancers Cédric Andrieux Jonah Bokaer Lisa Boudreau The performers on these tapes are: Stuart Dempster (solo trombone, garden hose, didjeridu, conch); Holley Farmer Jennifer Goggans Rashaun Mitchell Koji Mizuta Jay Bulen, Jeff Domoto, Moc Escobedo (also conch), Scott Higbee, Gretchen Hopper, Nathaniel Irby-Oxford, Marcie Munnerlyn Daniel Roberts Daniel Squire Jeannie Steele Chad Kirby (also conch), Dave Marriot, Greg Powers, trombones; Debra Sykes, Tibetan cymbals. Derry Swan Robert Swinston Andrea Weber Recording engineer; Al Swanston, Location Recording, Seattle Musicians Loren Kiyoshi Dempster Stuart Dempster Takehisa Kosugi INTERMISSION First performance: Merce Cunningham Dance Company, City Center Theater, New York, NY – March 8, 1995 Restaged in 2003 by Robert Swinston and Merce Cunningham.

2 C AL PERFORMANCES CAL PERFORMANCES 3 FRIDAY PROGRAM

BIPED (1999) Music: , Biped Decor: Shelley Eshkar, Paul Kaiser Costumes: Suzanne Gallo Lighting: Aaron Copp

Dancers Cédric Andrieux Jonah Bokaer Lisa Boudreau Holley Farmer Jennifer Goggans Rashaun Mitchell Koji Mizuta Marcie Munnerlyn Daniel Roberts Daniel Squire Jeannie Steele Derry Swan Andrea Weber

Musicians As co-chairs of Cal Performances’ Legacy Although there are many tax and financial Loren Kiyoshi Dempster Takehisa Kosugi John Shiurba

Circle, we would like to welcome all of the reasons to make a planned gift, the greatest First Performance: friends, patrons, and lovers of the arts to reward comes from knowing that you are Merce Cunningham Dance Company, Cal Performances, Zellerbach Hall, today’s performance. We would like to helping, in a very real way, to improve the University of California, Berkeley, California – April 23, 1999 extend a special welcome to members of quantity and quality of arts programs avail- The decor for BIPED is an exploration of the possibilities of the new animation tech- Cal Performances’ Legacy Circle, an able to the people of Northern California. nology of motion capture. The movement (but not the physical appearance) of the honorary society that recognizes those We would be very pleased to include you dancers was transposed into digital images. Paul Kaiser and Shelley Eshkar collaborated individuals who have informed us of their with Cunningham to make a new piece of virtual choreography. The dancers involved in in the distinguished Legacy Circle. A intentions to include Cal Performances in the motion capture process were Jared Phillips, Jeannie Steele, and Robert Swinston. brochure with more information is avail- their wills or estate plans through some able at the patron display in the lobby. form of planned gift. BIPED was commissioned by the through the If you have already made a commitment to Doris Duke Awards for New Work; The Barbican Centre, London; and Cal Performances, Berkeley. With a planned gift, you are making a Cal Performances as part of your estate Major funding was provided by the National Endowment for the Arts, the AT&T Foundation, and the National Dance Project of the New England Foundation for the Arts special, significant contribution to Cal plan, or if you would like more informa- (with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, Performances that will help ensure the tion about how to make a planned gift, the Andrew W. Mellon Foundation, and the Philip Morris Companies Inc.) program’s vitality for future generations. please contact Tim Whalen, Director of in partnership with the . Your gift can also help satisfy personal tax Development, at 510.643.6705. This work was also funded, in part, by the National Dance Residency Program, a program underwritten by The Pew Charitable Trusts and financial goals and may be structured Enjoy the performance! and administered at the New York Foundation for the Arts. to provide increased income, immediate Animations for the decor of BIPED were created with Character Studio tax deductions, and avoidance of capital —Marie Collins and Nancy Douglass and 3D Studio Max software by Discreet (a division of Autodesk) on Compaq Workstations. gains taxes. Legacy Circle Co-Chairs The motion capture for the decor was performed at Modern Uprising Studio in , NY. Portions of the music recorded by Gavin Bryars at the Dave Hunt Studio, London: Chris Ekers, recording engineer; Dave Hunt, programming. Special thanks to Gavin Bryars Ensemble musicians: Sophie Harris, cello; James Woodrow, guitar; Roger Heaton, bass clarinet. Music used by arrangement with European American Music Distributors Corporation. Sole US and Canadian agent for Schott and Co., Ltd., London, publisher and copyright owner.

C AL PERFORMANCES 5 SATURDAY PROGRAM

Saturday, February 7, 8 pm

Interscape (2000) Order Your Music: John Cage, 108 (1991) and/or One 8 (1991)* Decor and Costumes: , Interscape Mirage Lighting: Aaron Copp Tickets Online! Dancers Cédric Andrieux Jonah Bokaer Lisa Boudreau Holley Farmer Jennifer Goggans Rashaun Mitchell Koji Mizuta Marcie Munnerlyn Daniel Roberts Single tickets to Cal Performances’ Daniel Squire Jeannie Steele Derry Swan Robert Swinston Andrea Weber 2003/04 Season are now available Musician for purchase online through our Loren Kiyoshi Dempster partnership with Tickets.com. First performance: Eisenhower Theater, John F. Kennedy Center for the Performing Arts, The full range of available Washington, DC – April 6, 2000

seating locations for any given Interscape Mirage © Robert Rauschenberg, 2000, collection of the artist performance is at your fingertips, *Interscape may be performed to John Cage’s solo for cello, One8, the eighth piece Cage wrote in his series of number pieces for a single performer. It may also be performed to Cage’s 108, ensuring that you’ll always an orchestral piece composed for 108 musicians. John Cage explained that 108 may be performed receive the best possible choice simultaneously with One8 to form a kind of cello concerto. of seats at the time you order! For performances at Zellerbach Hall, the music by John Cage will be One8. Interscape was commissioned by Fondazione Teatro La Fenice, Venezia. (The computer will automatically The creation of Interscape was made possible through the generous support of choose the best available seats the Fondazione Teatro La Fenice, Venezia, and the John F. Kennedy Center for the Performing Arts. at the time you begin the INTERMISSION purchase process.) Sounddance (1975) To find out more, visit Music: , Toneburst our web site today at Decor, Costumes, and Lighting: Mark Lancaster www.calperfs.berkeley.edu Dancers and see the Calendar of Events Cédric Andrieux Lisa Boudreau Holley Farmer Jennifer Goggans Koji Mizuta Daniel Roberts Daniel Squire Jeannie Steele page for more details. Derry Swan Robert Swinston Musicians Takehisa Kosugi

First performance: Merce Cunningham Dance Company, Music Hall, Detroit, Michigan – March 8, 1975 Restaged in 2003 by Meg Harper

C AL PERFORMANCES 7 ABOUT THE ARTISTS ABOUT THE ARTISTS

Merce Cunningham Dance Company again in the Paris Autumn Festival in Kaiser and Shelley Eshkar of (MCDC) came into being in the summer of December. In November, the company gave a Riverbed Media to develop 1953, when Cunningham took a group of series of Events at the Tate Modern in London. the decor for BIPED, with dancers who had been working with him in At Zellerbach Hall, in the company’s music by Gavin Bryars (first New York to , the latest visit to the University of California at performed in 1999 here in progressive liberal arts school near Asheville, Berkeley, Ground Level Overlay and Sound- Zellerbach Hall). Another North Carolina. The group included Carolyn dance return to the repertory after an absence major work, Interscape, first Brown, , , and Paul of, respectively, three and four years. BIPED given in 2000, reunited Taylor. John Cage was music director and received its world premiere in Berkeley in Cunningham with his early David Tudor the company musician. April 1999. Interscape was previously seen here collaborator Robert Rausch- In June 1964, as the Company began its in February 2002. enberg, who designed both second decade, it set off on a world tour that The present tour continues with engage- decor and costumes for the was to last six months, with performances in ments in Portland (OR) and Tucson (AZ). dance, which has music by Western and Eastern Europe, India, Thailand, John Cage. and Japan. The recognition—by audiences and Merce Cunningham, In October 2000, critics alike—of the importance of the work of born in Centralia (WA), Cunningham received the Cunningham and Cage and their associates received his first formal Dorothy and made this tour a turning point in the Com- dance and theater Prize. Other honors and pany’s history. Extended domestic tours and training at the Cornish awards include: The Handel New York seasons were soon part of the annu- School (now Cornish Medallion from the Mayor al schedule, as well as further trips abroad. College of the Arts) in of (1999); John Cage’s association with the Company Seattle. From 1939 to the Bagley Wright Fund continued until his death in August 1992, 1945, he was a soloist Established Artists Award, when David Tudor succeeded him as music in the company of Seattle (1998); the Nellie director. Tudor died in August 1996. In 1995, . He presented his first New Cornish Arts Achievement Takehisa Kosugi was appointed music director. York solo concert with John Cage in April Award from his alma mater, From 1954 to 1964, Robert Rauschenberg 1944. Merce Cunningham Dance Company Cornish College of the Arts, was the Company’s resident designer. The fol- was formed at Black Mountain College in Seattle (1996); the Golden lowing decade saw a number of celebrated col- the summer of 1953. Since that time, Lion of the Venice Biennale laborations with visual artists such as Jasper Cunningham has choreographed nearly (1995); and the Wexner Johns (who was appointed artistic advisor in 200 works for his company. His work Prize of the Wexner Center 1967), , , and Robert has also been presented by New York City for the Arts at Ohio State Morris. Mark Lancaster succeeded Johns as Ballet, the Ballet of the Paris Opera, University, Columbus (with artistic advisor in 1980, and was, in turn, , Boston Ballet, John Cage, posthumously, Lisa Boudreau and Cédric Andrieux in Interscape succeeded by William Anastasi and Dove White Oak Dance Project, Pacific Northwest 1993). Cunningham was Bradshaw in 1984. Ballet, Pennsylvania Ballet, Zurich Ballet, also a recipient of the in Else Press, New York, 1968), and The Dancer Since the 1970s, Cunningham has chore- and Rambert Dance Company (London), 1990 and the in and the Dance, interviews with Jacqueline ographed a number of video- and filmdances among others. 1985, in which year he also received a Laurence Lesschaeve (Marion Boyars, New York and in collaboration with Charles Atlas and with Cunningham has worked extensively in Olivier Award in London and a MacArthur London, 1985). The latter, originally pub- Elliot Caplan. The collaboration with Atlas film and video, in collaboration first with Fellowship. In France, he was made lished in French, has also been translated into resumed with the production of the documen- Charles Atlas and later with Elliot Caplan. Commander of the Order of Arts and Letters in German and Italian. Merce Cunningham/ tary Merce Cunningham: A Lifetime of Dance, In 1999, the collaboration with Atlas was 1982; in 2003, he was made Officer of the Dancing in Space and Time, a collection of shown on PBS’ in December resumed with the production of the documen- French Legion of Honor. In November 2002, critical essays edited by Richard Kostelanetz 2001. In Mulhouse, France, in November tary Merce Cunningham: A Lifetime in Dance, he was the recipient of the Arts and Business (second edition), was published in 1998 by 2001, three dances from the Company’s reper- a version of which was shown on PBS’ Council Hart Award. In August the Da Capo Press. Merce Cunningham: Fifty tory were filmed under Atlas’ direction. American Masters. Cunningham’s interest in 2003, Cunningham was the recipient of the Years, chronicle and commentary by David At the conclusion of the Merce Cunning- contemporary technology has also led him Edward MacDowell Medal in Interdisciplinary Vaughan, archivist of the Cunningham ham Dance Company’s 50th Anniversary Year, to work with the computer program Art from the MacDowell Colony. Dance Foundation, was published by Aper- Cunningham’s latest work, Split Sides, was DanceForms, which he has used in making all Cunningham has collaborated on two ture in September 1997. Aperture also pub- presented at the Brooklyn Academy of Music’s his dances since Trackers (1991). In 1997, he books about his work: Changes: Notes on lished a book of Cunningham’s drawings and “Next Wave” Festival in October 2003, and began work in motion capture with Paul Choreography, with Frances Starr (Something journals, under the title Other Animals;

8 C AL PERFORMANCES CAL PERFORMANCES 9 ABOUT THE ARTISTS ABOUT THE ARTISTS

Drawings and Journals by Merce Cunningham, University in 1988–89) was published by (1994). His sound installations have been pre- How to Pass, Kick, Fall, and Run (1965); and in the spring of 2002. Harvard University Press in 1990. Cage’s sented in various exhibitions, including Fur Rainforest (1968). He has also assisted in A major exhibition on Cunningham and music is published by the Henmar Press of Augen und Ohren in Berlin (1980); Ecouter the staging of Cunningham works on other his collaborations, curated by Germano C.F. Peters Corporation and has been record- par les yeux in Paris (1980); New Music companies, including Boston Ballet, Dayton Celant, was first seen at the Fundació Antoni ed on many labels. He died in New York City America Festival in Washington (1983); Im Company, White Oak Tàpies in Barcelona in 1999, and subsequent- on August 12, 1992. Toten Winken in Hamburg (1984); Klang- Dance Project, Rambert Dance Company, ly at the Fundação de Serralves, Porto, installationen in Bremen (1987); Moments and . In 2003, Swinston Portugal, 1999; the Museum Moderner Kunst Takehisa Kosugi (music director) was born in Sonores in Utsunomiya, Japan (1989); Kunst received a “Bessie” Award for his performance Stifftung Ludwig, Vienna, 2000; and the Tokyo in 1938. He studied musicology at als Grenzbeschreitung: John Cage und die in the revival of Cunningham’s How to Pass, Museo d’Arte Contemporanea, Castello di Tokyo National University of Fine Arts and Moderne in Munchen (1991); Musik Tage in Kick, Fall, and Run. Rivoli, Turin, 2000. A trio of exhibitions Music. In 1960, he co-founded the Group Donaueschingen (1993); and Ashiya City devoted to John Cage, Robert Rauschenberg, Ongaku, the first collective improvisation Museum of Art and History, Japan (1996). Cédric Andrieux, a native of France, studied and Merce Cunningham, curated by Ron group in Tokyo. During this period, his event at the Conservatoire National Supérieur de Bishop, was shown in spring 2002 at the pieces were introduced by in Europe Jeffrey H. James (executive director) has pur- Musique et de Danse, from which he graduat- Gallery of Fine Art, Edison College, Fort and the . From 1965 to 1967, he sued a 28-year career as a manager, fundraiser, ed with honors in 1996. Since then, he has Myers (FL). lived in New York, creating mixed-media and marketer in the arts and education. danced with the Junior Ballet, Patrick Le In August 2001, Merce Cunningham performance works and giving concerts with Among his arts assignments have been the Douare, Jennifer Muller/The Works, and returned to the stage in the first theatrical pre- and other Fluxus members. In New York Philharmonic, Dance Theatre of Jonathan Appels. He joined the CDF sentations of John Cage’s An Alphabet at the 1967, he co-founded the Taj Mahal Travellers Harlem, and the International Foundation for Repertory Understudy Group in 1998 and Edinburgh Festival in Scotland, with subse- in Tokyo, a collective improvisational group the Canadian Centre for Architecture, where became a member of MCDC in the summer quent engagements in Berlin, Germany; giving intermedia presentations in various he was founding president. In higher educa- of 1999. Champaign-Urbana (IL); Berkeley (CA); and environments, which continued until 1976. tion, he has served as a senior member of the Perth, Western Australia. In the recent revival The group created a traveling event, voyaging Advancement Office of UCLA and as vice Jonah Bokaer is a volunteer librarian, a tutor of How to Pass, Kick, Fall, and Run (1965), to the Taj Mahal in India, via England, other president, advancement and external affairs, of children in NYC public schools, and the Merce Cunningham read the accompanying European countries, and the Near East. The for the California Institute of the Arts. He recipient of a Human Rights Award (Winston- stories by John Cage (originally performed by event included participation in Utopia and became the executive director of the Salem). Born in Ithaca (NY), Bokaer joined Cage), together with David Vaughan. Visions in Stockholm, ICES’ 72 in London, Cunningham Dance Foundation in 2001. MCDC in June 2000, and is a graduate of and recording for both BBC Television and North Carolina School of the Arts. He also John Cage (founding music director) was born Radio Bremen. As a composer, he participated received dance training at , in Los Angeles in 1912. He studied with in Expo’ 70 in Osaka, with works commis- DANCERS Jacob’s Pillow, the School, the Richard Buhlig, Henry Cowell, Adolph Weiss, sioned for environmental sound events for Washington Ballet, and the Ithaca Ballet. and Arnold Schoenberg. In 1952, at Black the Festival Plaza. He has been a composer/ Robert Swinston (assistant to the choreogra- Mountain College, he presented a theatrical performer with MCDC since 1977, and was pher) was born in Pittsburgh (PA) and attend- Lisa Boudreau was born in Ontario, Canada, event considered by many to be the first appointed music director of the company in ed Middlebury College and The Juilliard and trained at the Royal Winnipeg Ballet. “.” Cage was associated with Merce 1995. Kosugi received grants from the JDR School, where he received a BFA in dance. Since moving to New York, she has worked Cunningham from the early 1940s, and was Third Fund in 1966 and 1977, a DAAD fel- He has danced with the Martha Graham with Milton Myers and Mafata Dance music director to Merce Cunningham Dance lowship grant to reside in Berlin in 1981, and Apprentice Company, the José Limón Dance Company. She became a member of the CDF Company until his death in 1992. He and the John Cage Award for Music from the Company, and with Kazuko Hirabayashi Repertory Understudy Group in April 1994 Cunningham were responsible for a number Foundation for Contemporary Performance Dance Theatre. Swinston joined MCDC in and joined MCDC in August 1994. In 2001, of radical innovations in musical and choreo- Arts in 1994. He has performed in many August 1980. He has taught dance at Boudreau made her film debut in Mikel graphic composition, such as the use of chance international festivals, including the Festival Montclair State College, SUNY Purchase, The Rouse’s Funding. operations and the independence of dance and d’Automne in Paris (1978–79); Fetes , and the Merce Cunningham music. His last work for MCDC was FOUR 3, Musicales de la Sainte-Baume (1978/79/80); Studio. In July 1992, he became assistant to Holley Farmer grew up in Fresno (CA). the score for Beach Birds, presented at the the Holland Festival (1979); Opening the choreographer. Swinston directs the She has danced with The Theatre Ballet of James Joyce/John Cage Festival in Zurich in Concert in Rome (1980); Workshop Freie activities of the CDF Repertory Understudy Canada, Oakland Ballet, and the original 1991. He was the author of many books, Musik in Berlin (1984); Pro Musica Nova Group and its work with the Cunningham Canadian cast of The Phantom of the Opera. among them Silence (1961), A Year from in Bremen (1984); Almeida International Educational Outreach Program. Since 1998, Farmer graduated magna cum laude with a Monday (1968), M (1973), Empty Words Festival of Contemporary Music in London he has instigated, assisted, and/or overseen BFA in dance from Cornish College of the (1979), and X (1983), all published by (1986); Invention in Berlin (1986/89/92); various Cunningham archival reconstructions, Arts in 1994, and in 1996 received her MFA Wesleyan University Press. I-VI (the Charles Biennale d’art contemporain in Lyon (1993); including Suite for Five (1956–58); Summer- from the University of Washington. She Eliot Norton Lectures delivered at Harvard and Sound and Nature in Krems, Austria space (1956); Antic Meet (1958); Crises (1960); joined MCDC in 1997.

10 C AL PERFORMANCES C AL PERFORMANCES 11 ABOUT THE ARTISTS ABOUT THE ARTISTS

Jennifer Goggans received her early dance staged Cunningham’s Totem Ancestor (1942) bassist in the mid-1960s, playing with impro- the Great Abbey of Clement VI, Underground training in her hometown of Owensboro on the . In addition to danc- visers Derek Bailey and Tony Oxley. He also Overlays from the Cistern Chapel, Deep (KY), and later continued her studies at the ing, Roberts freelances as a ballet accompanist worked closely with composers such as Listening, Sound Massage Parlor, and SWAMI Nutmeg Ballet in Connecticut. In May 2000, in New York City. Cornelius Cardew, as well as founding The (State of Washington As a Musical Instrument). she graduated summa cum laude and received Portsmouth Sinfonia, which acquired cult sta- Dempster’s grants include: Creative Associate her BFA in dance from SUNY Purchase. Daniel Squire received his initial dance train- tus for its performances and recordings of the at SUNYAB (1967–68); Fellow, Center for Goggans has worked with the Louisville ing in his native Yorkshire from Dorothy classical repertoire with minimal music skills. Advanced Study, University of Illinois Ballet as well as MOMIX. She became a Stevens and Louise Browne. Later, after mov- His first major work was The Sinking of the (1971–72); Fulbright Scholar in Australia member of the CDF Repertory Understudy ing to London, he studied at White Lodge and Titanic (1969), which was originally released (1973); NEA Composer Grant (1978); Group in January 2000 and joined MCDC in at the Rambert School. He has danced with along with Jesus’ Blood Never Failed Me Yet on US/UK Fellowship (1979); Guggenheim June 2000. Michael Clark, Ian Spink, and Matthew ’s Obscure label. Fellowship (1981). A leading figure in the Hawkins. Squire joined MCDC in February produced Bryars’ opera Medea at the Opéra de development of trombone technique and per- Rashaun Mitchell was born in Stamford 1998 and became a faculty member at the Lyon and the Paris Opera in 1984. Bryars’ formance, he published his landmark book, (CT) and raised in Atlanta (GA). He started Merce Cunningham Studio in 2001. work has been used extensively by choreogra- The Modern Trombone: A Definition of Its dancing at Concord Academy in Concord phers worldwide, including William Forsythe, Idioms, in 1979. Dempster is a founding (MA) and graduated from Sarah Lawrence Jeannie Steele was born in Florida and raised , Carolyn Carlson, Maguy member of Deep Listening Band. College in 2000. Rashaun received the Viola in North Carolina. She received most of her Marin, Jiri Kylian, Siobhan Davies, and Farber-Slayton Memorial Grant from the training at the North Carolina School of the Edouard Lock. The Gavin Bryars Ensemble, Leonardo Drew was born in Tallahassee (FL) Foundation for Contemporary Performance Arts. Steele joined MCDC in 1993 and was founded in 1981, tours internationally and and educated in New York at the Parsons Art in 2000. He became a member of the appointed rehearsal assistant in June 2001. performs annual concerts in London. School of Design and at Cooper Union, from CDF Repertory Group in June 2001 and She is currently on the faculty at the Merce which he graduated with a BFA in 1985. His joined MCDC in January 2004. Cunningham Studio and teaches master class- Aaron Copp was associated with MCDC for work has been exhibited in group shows at es in the United States and abroad. In addition 10 years. His designs for the company include Cooper Union; the Studio Museum in Koji Mizuta was born in Kochi, Japan, and to helping to further the daily process of Doubletoss (1993), Breakers (1994), Ground Harlem; the Biennal Dakar in Senegal, Africa; received his dance training in Tokyo. From MCDC and the CDF Repertory Understudy Level Overlay (1995), Windows (1995), the Kunsthalle; the Aldrich Museum of 1989, he studied with Tatsuo Group, Steele has assisted in the reconstruc- BIPED (1999), Interscape (2000), Way Station Contemporary Art in Ridgefield (CT); the Mochizuki and Kazuko Hirabayashi. Mizuta tion of August Pace (1989) on the Rambert (2001), and Loose Time (2002). Copp was the Carnegie International in Pittsburgh; the Pace has had extensive performing experience in Dance Company; Summerspace (1958) on the recipient of a 2000 New York Dance and Roberts Foundation for Contemporary Art in Japan and has won several awards for his danc- New York City Ballet; and Night Wandering Performance Award (“Bessie”) for BIPED. He San Antonio (TX); and the Art Institute of ing. In December 1997, he began studying (1958) on the Royal Swedish Ballet. has also been a member of the performance Chicago; and in individual exhibitions at at the Merce Cunningham Studio. Mizuta group The Second Hand since 1989. Cornell University, the San Francisco Art joined MCDC in the fall of 1998, and is a Derry Swan is from Swarthmore (PA), where Institute, the Museum of Contemporary Art member of the Contemporary Dance Associa- she trained with Lori Ardis. She graduated Loren Kiyoshi Dempster was born in Seattle in La Jolla (CA), and the Hirschhorn Museum tion of Japan. magna cum laude from Barnard College in (WA). In 1996, he graduated with a BA/BM in Washington (DC). His work is also in 1992 with degrees in English and dance. Swan from the University of Washington, where he the collection of the Metropolitan Museum Marcie Munnerlyn is from Portland (OR). joined MCDC in 1996. studied cello with Raymond Davis. Dempster of Art. Drew has been an artist-in-residence at She trained at Jefferson High School, Oregon recently studied cello with Bonnie Hampton the Skowhegan School of Painting and Ballet Theater, and the Cornish College of the Andrea Weber is from Stafford (VA). In 1997, and received an MM from the San Francisco Sculpture, the Vermont Studio School, and Arts. Munnerlyn became a member of CDF she graduated from The Juilliard School, Conservatory of Music. He started with Studio Museum in Harlem, and has received Repertory Understudy Group in June 2002 where she received a BFA in dance. Weber MCDC in 1999, performs solo cello in Gavin awards from the Mid-Atlantic Arts Foun- and joined MCDC in January 2004. became a member of the CDF Repertory Bryars’ BIPED, is recognized worldwide for dation and the Joan Mitchell Foundation. He Understudy Group in July 2002 and joined his performance of John Cage’s 108 in currently lives in Brooklyn, New York, and is Daniel Roberts is from Pittsburgh (PA), MCDC in January 2004. Cunningham’s dance Interscape, and is also a represented by the Mary Boone Gallery in where he studied dance at the Pittsburgh Civic regular among the company musicians. New York City. Light Opera and piano at Carnegie Mellon University. He graduated magna cum laude GUEST MUSICIANS, Stuart Dempster is a sound gatherer, trom- Shelley Eshkar is a multimedia artist and from Ohio State University with a BFA in COMPOSERS & DESIGNERS bonist, composer, and didjeriduist (etc.), and experimental animator who received a BFA dance performance and lab annotation. professor emeritus at the University of from the Cooper Union School of Art in Roberts became a member of the CDF Gavin Bryars is one of Britain’s most success- Washington. He has recorded for numerous 1993, pursuing a multidisciplinary fine arts Repertory Understudy Group in January 2000 ful composers. He was born in Yorkshire in labels, including Columbia, Nonesuch, and education. Eshkar’s innovations in three- and joined MCDC one year later. Recently, he 1943, and his first musical work was as a jazz New Albion, where his recordings include In dimensional figural drawing and animation

12 C AL PERFORMANCES C AL PERFORMANCES 13 ABOUT THE ARTISTS ABOUT THE ARTISTS have aroused considerable attention in the designed by Robert Rauschenberg, 1959). He painting was made as a backdrop for associate, both with the Merce Cunningham fields of computer graphics, dance, and archi- collaborated on Coast Zone (1983); Inlets 2 Cunningham’s Events, and was first seen at the Dance Company and with Cage’s Project for tecture. Eshkar joined Riverbed in 1995 (1983); Roaratorio (1983); Pictures (1984); Joyce Theater in May 1964. Most recently, Music for Electronic Tape. He gradually ended where, together with Paul Kaiser, he has col- Doubles (1984); Five Stone Wind (1988), for Rauschenberg designed the decor and cos- his active career as a pianist, as he and Cage laborated with Bill T. Jones (Ghostcatching) which he received a New York Dance and tumes for Cunningham’s Interscape (2000). initiated a trend toward “live”—as distinct and Merce Cunningham (Hand-drawn Spaces), Performance (“Bessie”) Award; Neighbors from taped—electronic music. His first score receiving an award for this work from the (1991); Touchbase (1992); and CRWDSPCR John Shiurba is a composer and guitarist for Merce Cunningham was for RainForest in Foundation for Contemporary Performance (1993). Lancaster’s paintings have been exhib- whose musical pursuits include improvisation, 1968; this was followed by those for Sound- Arts in 1998. He has lectured to such diverse ited widely and are in numerous public and art-rock, modern composition, and noise. dance, Exchange, Channels/Inserts, Quartet, groups as SIGGRAPH, the Congress of private collections. Shiurba has recorded and toured the US and Phrases, Shards, Five Stone Wind (with Cage Research in Dance, Jacob’s Pillow Dance Europe as a member of the bands Eskimo, The and Takehisa Kosugi), Polarity, and Enter. Festival, UC Berkeley’s Cal Performances, Paul Kaiser’s early work was in experimental Molecules, and Spezza Rotto, in various After the death of Cage in August 1992, Tudor Brooklyn Academy of Music, The Cooper filmmaking (with such films as Timothy and improv settings and as a member of the Merce succeeded him as musical advisor to MCDC. Union, Harvard University’s Graduate School Colourblind etc.) and performance audio tapes Cunningham Dance Company and the In the fall of that year, he returned to the of Design, and Aarhus University in Denmark. (including Talking my way about theirs and SFSound Ensemble. Shiurba has composed acoustic piano in concert performances of Thoughts on erasing blank tape). He later spent works for his own Triplicate and 5x5 ensem- Cage’s Winter Music with Atlas Eclipticalis and Suzanne Gallo was the costumer for Merce 10 years teaching students with severe learning bles, for the SFSound Ensemble, and for vari- (in 1993) Solo for Piano from Concert for Cunningham from 1982 until her death in disabilities, with whom he collaborated on ous soloists. As a guitarist, he has developed a Piano and Orchestra. His last work for February 2000. She worked in a wide variety making multimedia depictions of their own unique and personalized approach to the gui- Cunningham was Soundings: Ocean Diary, the of performing arts, stretching from Las Vegas minds (a body of work honored by a tar. Through the use of extended techniques electronic component of the score for Ocean revues to Broadway musicals to opera. She Computerworld/Smithsonian Award in and unusual preparations, he expands the tra- in 1994. designed a contemporary version of Phaedra, a 1991). In 1994, Kaiser founded Riverbed ditional sound range of the instrument, pro- modern opera based on the letters of Vincent (www.riverbed.com), a digital arts studio in ducing stunning, often unrecognizable results. Cunningham Dance Foundation Van Gogh, and works for Neil Greenberg & New York City. He has collaborated with Cadence magazine calls Shiurba a “wildly cre- Board of Directors Robert Wilson (Visionary of Theater/Theater Company, Diamond Dance, Andrew Janetti, ative guitarist . . . anti-jazz, anti-everything Molly Davies, co-chair Ellen Cornfield, Mary Seldman, and MCDC. of Drawings and The New World Theater for else, yet utterly compelling.” Shiurba was Lewis L. Lloyd, co-chair Gallo also worked for , Alvin the Museum of the Jewish Diaspora); with Bill invited to play at the Seattle Improvised Music Alvin Chereskin, vice-chair Ailey, Ballet Hispanico, New Choreographers T. Jones and Shelley Eshkar (Ghostcatching); Festival (1998), the High Zero Festival in Anthony B. Creamer III, treasurer on Pointe, Lucinda Childs, , and and with Merce Cunningham and Shelley Baltimore (1999), and the Experi- David Vaughan, secretary White Oak Dance Project. Eshkar (Hand-drawn Spaces). In 1996, Kaiser mental Music Festival (2002), as well as being Jean Rigg, associate secretary became the first digital artist to receive a featured at New Langton Arts (2002), pre- Candace Krugman Beinecke Mark Lancaster was born in Yorkshire, Guggenheim Fellowship. In 1998, he received miering his work Triplicate. He has played Sallie Blumenthal England, and educated at Bootham School, an award from the Foundation for Con- with internationally acclaimed musicians Jill F. Bonovitz York, and the University of Newcastle-upon- temporary Performance Arts together with including Anthony Braxton, Fred Frith, Carolyn Brown Tyne. He was an artist-in-residence at King’s Shelley Eshkar. Eugene Chadbourne, and Jack Wright, as well Sage F. Cowles College, Cambridge, from 1968 to 1970. as many of the finest West Coast improvisers— Merce Cunningham Lancaster moved to New York in 1974, when Robert Rauschenberg was born in Port Gino Robair, Dan Plonsey, Scott Rosenberg, Judith R. Fishman he first designed for MCDC, having been Arthur, Texas, in 1925. His first one-man Myles Boisen, Matt Ingalls, Tim Perkis, and Gary Garrels ’ assistant for Un jour ou deux at show was at the Betty Parsons Gallery in 1951. Matthew Sperry, to name a few. In 1998, Rosalind G. Jacobs the Paris Opera in 1973. He designed for the In 1954, he designed his first decor for Shiurba formed the improvised music label Alan M. Kriegsman videodance Westbeth (1974), Sounddance Cunningham, Minutiae, and for the next 10 Limited Sedition, which has released 28 CDs Harriette Levine (1975), Rebus (1975), Torse (1976), Square- years he was resident designer and sometimes documenting the diverse and lively Bay Area game (1976), Fractions (both video and stage technical director for MCDC. Cunningham improvised music scene. Bénédicte Pesle versions, 1977), Tango (1978), Locale (1979), works for which Rauschenberg designed Barbara Pine and Roadrunners (1979). In 1980, Lancaster decors, costumes, and objects include Suite for David Tudor (1926–1996) was born in Judith F. Pisar was appointed artistic advisor to MCDC. Five (1956), Nocturnes (1956), Antic Meet Philadelphia, and his first professional activity Eileen Rosenau From that point forward, he designed Duets (1958), Summerspace (1958), Rune (original was as an organist. Later he became known as Barbara S. Schwartz (1980) and Duets for American Ballet Theatre version, 1960), Aeon (1961), Story (1963), and a leading avant-garde pianist, with his highly Allan G. Sperling (1982), 10’s with Shoes (1981), Gallopade Winterbranch (1964). In 1977, Cunningham, acclaimed first performances of compositions Patricia Tarr (1981), Trails (1982), Quartet (1982), and a Cage, and Rauschenberg collaborated again by contemporary composers. From the early Suzanne Weil new production of Rune (1982; originally on Travelogue. Rauschenberg’s large Immerce 1950s, he became John Cage’s closest musical Jeffrey H. James, ex officio

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Cunningham Dance Foundation – Staff The media repertory of Merce Cunningham Dance Alberto Bohl, studio technical director Company includes programs from the Merce Nancy Bright, financial aid administrator Cunningham Archives, videotapes and films chore- Mary Lisa Burns, studio director ographed specifically for the camera, documen- Trevor Carlson, general manager taries, and educational materials, which are distrib- Tony Dougherty, photographer uted by the Cunningham Dance Foundation, Inc. Tel: 212.255.8240; Fax: 212.633.2453. Contact Renee Gladden, finance officer/bookkeeper Stacy Sumpman, ext. 26 ([email protected]). James Hall, wardrobe supervisor Alice Helpern, studio consultant The Merce Cunningham Studio is a nonprofit edu- Jeffrey H. James, executive director cational institution accredited by the National Josh Johnson, lighting director Association of Schools of Dance, giving instruction Will Knapp, production director on the professional level. The Studio holds regular Margaret Pasanowic, director of finance classes in technique, elementary to advanced, Cathy Richards, office manager/assistant which are supplemented at periodic intervals by to the executive director workshops in composition, repertory, and film/ Andy Russ, music supervisor video dance. Scholarships, financial aid, and Eddie Schneller, company manager work/study are available. Tel: 212.255.8240; Fax: Jeannie Steele, rehearsal assistant 212.633.2453. Contact Mary Lisa Burns, ext. 32 ([email protected]). Stacy Sumpman, archival assistant/ media coordinator The Merce Cunningham Studio offers a rental pro- Robert Swinston, assistant to the choreographer gram for emerging choreographers and performance Kate Taylor, development manager open to any company or individual artist on a self- Carol Teitelbaum, faculty chair producing basis. The program features low rates, David Vaughan, archivist complete facilities, a flexible performance space, Rebecca Wilhelms, contracts and touring and year-round booking. Tel: 212.255.8240; Fax: administrator 212.633.2453. Contact Mary Lisa Burns, ext. 32 Kristin Young, development associate ([email protected]).

European administration for Merce Cunningham Physical therapy for the Merce Cunningham Dance Dance Company provided by Bénédicte Pesle and Company in New York provided by Susan Julie George, Paris, France. Tel: 33.1.4588.9020, Blankensop, Julie Daugherty, Martha Brown, and 33.1.4588.0441; Fax: 33.1.4589.1393. E-mail: Marshall Hagins. [email protected]. Travel arrangements for the Merce Cunningham North and South America booking and Far Dance Company provided by Michael Yampolsky East booking provided by David Lieberman at Battery Travel Associates, Inc. Artists Representative. Tel: 323.221.9998; Fax: 323.221.9994; Cell phone: 213.792.0600. Contact The orthopedist to the Merce Cunningham Dance David Lieberman ([email protected]). Company is David S. Weiss, MD, NYU–HJD, Department of Orthopedic Surgery. Publicity provided by Cohn Davis Bigar Associates. Tel: 917.339.7189; Fax: 917.339.7160. Contact Interns for the Merce Cunningham Dance Helene Davis ([email protected]). Company: Abigail V. Sebaly and Monica Zanocchi.

Visit Cal Performances on the Internet for a sneak preview of the program notes! Complete program descriptions, biographies, and notes are available on-line one week prior to each event. www.calperfs.berkeley.edu

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