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Home , Beverly Emmons, Daniel Arsham, David Behrman, Gwangju City Ballet, Harvey Lichtenstein, Liviu Ciulei

Cal Performances Presents Program

Friday, November 7, 2008, 8pm Company Saturday, November 8, 2008, 8pm Friday, November 14, 2008, 8pm Saturday, November 15, 2008, 8pm Dancers Zellerbach Hall Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, Merce Cunningham Dance Company Daniel Squire, Robert Swinston, Melissa Toogood, Andrea Weber Musicians , Loren Dempster, Aurora Josephson, John King, , Stephan Moore, William Winant, Christian Wolff

Choreography Merce Cunningham Founding Music Director (1912–1992) Music Director Takehisa Kosugi Assistant to the Choreographer Robert Swinston Executive Director Trevor Carlson Chief Financial Officer Lynn Wichern Archivist David Vaughan Company Manager Geoffrey Finger Production Manager Davison Scandrett Sound Engineer & Music Coordinator Stephan Moore Lighting Director Christine Shallenberg Wardrobe Supervisor Anna Finke Director of Special Projects Kevin Taylor

Robert Rauschenberg (1925–2008) shared a long and rich history of collaboration with Merce Cunningham, dating from 1954 to 2008. The Merce Cunningham Dance Company dedicates Merce’s 90th birthday season to the life of .

Major support for the Merce Cunningham Dance Company’s 2008–2009 season has been provided by American Express Company, Booth Ferris Foundation, Carnegie Corporation of , Daniel Madoff and Julie Cunningham inXOVER . Photo by Kawakahi Amina. Sage and John Cowles, Judith and Alan Fishman, The Goldman Sachs Foundation, HRK Foundation, JCT Foundation, Low Road Foundation, the Andrew W. Mellon Foundation, Jacqueline Matisse Monnier, New England Foundation for the Arts, Princess Grace Foundation-USA, Prospect Hill Foundation, These performances are made possible, in part, by the American Express Foundation. Robert Rauschenberg, James E. Robison Foundation, Rockefeller Brothers Fund, Rockefeller Foundation, Additional support is provided by Nancy Livingston and Fred Levin, The Shenson Foundation. The Shubert Foundation, Melissa and Robert Soros, Starr Foundation and Norman and Rosita Winston Foundation, with public funds provided by the National for the Arts, the Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Department of Cultural Affairs and the New York State Council on the Arts, a state agency.

4 CAL PERFORMANCES CAL PERFORMANCES 5 Program A Program A

Friday, November 7, 2008, 8pm Zellerbach Hall

Suite for Five (1953–1958)

Music John Cage, Music for Piano 4–19 Costumes Robert Rauschenberg Lighting Beverly Emmons

Dancers Julie Cunningham, Holley Farmer, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn

Musician Christian Wolff

First Performance University of Notre Dame, South Bend, Indiana, May 18, 1956; revised version, Ball State Teachers College, Muncie, Indiana, July 1, 1958

Restaging Carolyn Brown, Merce Cunningham, Robert Swinston (2002) Cedric Andrieux, and Brandon Collwes in eyeSpace. Photo by Anna Finke.

INTERMISSION A special thank you to the Cunningham Repertory Understudy Group for eyeSpace: Tara Lorenzen, Daniel Madoff, Joseph Simeone and Melissa Toogood.

eyeSpace was made possible by the National Endowment for the Arts and the Doris eyeSpace Duke Fund for Dance of the National Dance Project, a program administered by the (2006) New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation, the Ford Foundation and the Andrew W. Mellon Foundation. Music Mikel Rouse, International Cloud Atlas Costumes Henry Samelson eyeSpace was commissioned in part by Carnival Center for the Performing Arts, ; Décor Henry Samelson, Blues Arrive Not Anticipating UC Davis; and The Joyce Theater’s Stephen and Cathy Weinroth Fund for New York. What Transpires Even Between Themselves Lighting Josh Johnson Henry Samelson’s décor commissioned by the Cunningham Dance Foundation.

Dancers Music commissioned by Cunningham Dance Foundation and support for International Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Cloud Atlas provided by The John Cage Trust and Betty Freeman. Jennifer Goggans, Daniel Madoff, Koji Mizuta, Marcie Munnerlyn, Silas Riener, Daniel Squire, Melissa Toogood, Andrea Weber International Cloud Atlas music composed and arranged for iPods for the Merce Cunningham Dance Company’s eyeSpace. Musician Stephan Moore Mikel Rouse’s entire score for International Cloud Atlas is available through iTunes. First Performance The Joyce Theater, New York, October 10, 2006

Costume Construction David Quinn INTERMISSION

6 CAL PERFORMANCES CAL PERFORMANCES 7 Program A Program B

Saturday, November 8, 2008, 8pm BIPED Zellerbach Hall (1999)

Music , Biped Second Hand Décor Shelley Eshkar, Paul Kaiser (1970) Costumes Suzanne Gallo Lighting Aaron Copp

Dancers Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, Daniel Squire, Melissa Toogood, Andrea Weber

Musicians Takehisa Kosugi, John King, Loren Dempster

First Performance Cal Performances’ Zellerbach Hall, April 23, 1999

The décor for BIPED is an exploration of the possibilities of the new animation technology of motion capture. The movement (but not the physical appearance) of the dancers was transposed into digital images. Paul Kaiser and Shelley Eshkar collaborated with Merce Cunningham to make a new piece of virtual choreography. The dancers involved in the motion capture process were Jared Phillips, Jeannie Steele and Robert Swinston. Holley Farmer, Brandon Collwes et al. in Second Hand. Photo by Anna Finke. BIPED was commissioned by the through the Doris Duke Awards for New Work, the Barbican Centre, , and Cal Performances. Music John Cage, Cheap Imitation Costumes Major support was provided by the National Endowment for the Arts, the AT&T Foundation, Lighting Richard Nelson the Foundation for the Visual Arts, and the National Dance Project of the New England Foundation for the Arts (with funding from the National Endowment for the Arts, Dancers the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation and Altria Group, Brandon Collwes, Emma Desjardins, Jennifer Goggans, Rashaun Mitchell, Koji Mizuta, Inc.), in partnership with the . Marcie Munnerlyn, Silas Riener, Robert Swinston, Melissa Toogood, Andrea Weber

Additional support provided by the National Dance Residency Program, a program Musician David Behrman underwritten by The Pew Charitable Trusts and administered at the New York Foundation First Performance Academy of Music, Brooklyn, for the Arts. New York, January 8, 1970 Reconstruction and Staging Carolyn Brown, Merce Cunningham, 2 Sandra Neels Lighting Design Christine Shallenberg (2008)

This revival of Second Hand was made possible through support from American Express Company and the National Endowment for the Arts American Masterpieces: Dance initiative, administered by the New England Foundation for the Arts.

INTERMISSION

8 CAL PERFORMANCES CAL PERFORMANCES 9 Program B Program C

Friday, November 14, 2008, 8pm Split Sides Zellerbach Hall (2003) Music , Sigur Rós eyeSpace Décor Robert Heishman, Catherine Yass (2007) Costumes James Hall Lighting James F. Ingalls Music A combination of David Behrman, Long Throw, and Annea Lockwood, Jitterbug Dancers Costumes Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Décor Daniel Arsham, ODE/EON Daniel Madoff, Rashaun Mitchell, Koji Mizuta,Marcie Munnerlyn, Silas Riener, Lighting Josh Johnson Daniel Squire, Robert Swinston, Melissa Toogood, Andrea Weber Dancers Musicians Takehisa Kosugi, John King, David Behrman Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, First Performance Howard Gilman Opera House, Brooklyn Daniel Squire, Melissa Toogood, Andrea Weber Academy of Music, October 14, 2003 Musicians Takehisa Kosugi, Christian Wolff, Each design element, including choreography, has been made in two parts either by one or two John King, David Behrman, Stephan Moore artists, or in the case of the music, by two bands. The order in which each design element is presented is determined by chance procedure the day of the performance. First Performance Miami Performing Arts Center, February 22, 2007 Split Sides was commissioned by the BITE:04 Barbican, London, and the Benedicta Arts Center of the College of Saint Benedict, St. Joseph, Minnesota, and was co-commissioned by eyeSpace was made possible by the National Endowment for the Arts and the Doris Duke the Center Dance Association of the Music Center of Los Angeles County; the Carlsen Center Fund for Dance of the National Dance Project, a program administered by the New England at Johnson County Community College, Overland Park, Kansas; and the Brooklyn Academy Foundation for the Arts with funding from the Doris Duke Charitable Foundation, the Ford of Music, Brooklyn, New York. Foundation and the Andrew W. Mellon Foundation.

Split Sides was made possible, in part, by support from the Howard Gilman Foundation, eyeSpace was commissioned in part by Carnival Center for the Performing Arts, Miami, Florida; the Rudolf Nureyev Dance Foundation, Phyllis Wattis and members of the New Works UC Davis; and The Joyce Theater’s Stephen and Cathy Weinroth fund for New York. Commissioner’s Circle, and through public support from the National Endowment for the Arts, which believes that a great nation deserves great art. Daniel Arsham’s décor commissioned by the Museum of (MOCA), North Miami, and the Cunningham Dance Foundation. Commissioning of the music for Split Sides was made possible by a gift from Jill F. Bonovitz. Music commissioned by Cunningham Dance Foundation. Underwriting of décor by Catherine Yass was provided by Harriette and Noel Levine.

Coordination of concept and collaboration by Trevor Carlson.

INTERMISSION 2

10 CAL PERFORMANCES CAL PERFORMANCES 11 Program C Program D

Saturday, November 15, 2008, 8pm BIPED Zellerbach Hall (1999) Music Gavin Bryars, Biped Views on Stage Décor Shelley Eshkar, Paul Kaiser (2004) Costumes Suzanne Gallo Lighting Aaron Copp Music John Cage, ASLSP and Music for Two Dancers Décor Ernesto Neto Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Costumes James Hall Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, Lighting Josh Johnson Daniel Squire, Melissa Toogood, Andrea Weber Dancers Musicians Takehisa Kosugi, John King, Loren Dempster Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, First Performance Cal Performances’ Zellerbach Hall, Daniel Squire, Robert Swinston, Andrea Weber April 23, 1999 ASLSP Musician Christian Wolff The décor for BIPED is an exploration of the possibilities of the new animation technology of Music for Two Musicians Takehisa Kosugi, William Winant motion capture. The movement (but not the physical appearance) of the dancers was transposed into digital images. Paul Kaiser and Shelley Eshkar collaborated with Merce Cunningham to First Performance Edinburgh Festival Theatre, Scotland, make a new piece of virtual choreography. The dancers involved in the motion capture process October 29, 2004 were Jared Phillips, Jeannie Steele and Robert Swinston. ASLSP was composed for piano or organ solo. The title stands for “As SLow(ly) and Soft(ly) as BIPED was commissioned by the American Dance Festival through the Doris Duke Awards Possible” and also refers to “Soft morning city. Lsp!” (from James Joyce’s Finnegans Wake). for New Work; the Barbican Centre, London; and Cal Performances. Music for _____ was composed from 1984–1987. The title is to be completed by adding the Major support was provided by the National Endowment for the Arts, the AT&T Foundation, number of performers, e.g. Music for Five. Each part consists of “pieces” and “interludes.” The the Andy Warhol Foundation for the Visual Arts, and the National Dance Project of the New parts are notated on two systems and use flexible time brackets. The instrumentation could England Foundation for the Arts (with funding from the National Endowment for the Arts, include the following: parts for voice, flute, oboe, clarinet (B), (C), horn (F), trombone, the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation and Altria Group, percussion (four parts), piano (two parts), violin (two parts), viola, cello. Inc.), in partnership with the Walker Art Center. Views on Stage was commissioned by the Benedicta Arts Center at the College of Saint Benedict, Additional support provided by the National Dance Residency Program, a program St. Joseph, Minnesota; Stanford Lively Arts at Stanford University; and Dance Umbrella. Views underwritten by The Pew Charitable Trusts and administered at the New York Foundation on Stage was made possible, in part, by the Howard Gilman Foundation and the Andrew W. for the Arts. Mellon Foundation, and through public support from the National Endowment for the Arts, which believes that a great nation deserves great art. 2

INTERMISSION

12 CAL PERFORMANCES CAL PERFORMANCES 13 Program D About the Artists

Merce Cunningham Dance Company (MCDC) visual artists such as Jasper Johns (who was ap- Crises was formed in the summer of 1953 at Black pointed artistic advisor in 1967), , (1960) Mountain College, the progressive liberal arts Andy Warhol, , and Robert Morris. school in North Carolina. The original company Mark Lancaster succeeded Mr. Johns as artistic Music Conlon Nancarrow, Rhythm Studies for Player included Carolyn Brown, , Paul Taylor advisor in 1980, and was in turn succeeded by Piano Nos. 1, 2a, 3*, 4*, 5, 6, 7 (excerpt) and . John Cage was music director William Anastasi and Dove Bradshaw, from 1984 Costumes Robert Rauschenberg and the company musician. to 1995. Mr. Cunningham has continued and ex- Performances in the early years were few and tended the practice of commissioning décors from Dancers far between; the Company famously toured in a contemporary visual artists; Daniel Arsham and Julie Cunningham, Holley Farmer, Jennifer Goggans, Rashaun Mitchell, Andrea Weber Volkswagen bus with room for six dancers (includ- Ernesto Neto have designed décors for recent rep- ing Cunningham), the two musicians, and the stage ertory pieces. First Performance Connecticut College, New London, manager, who was often Robert Rauschenberg, Since the 1970s, Mr. Cunningham has choreo- Connecticut, August 19, 1960 who became the Company’s resident designer graphed a number of video and film dances in col- in 1954. laboration first with Charles Atlas and later with Costume Reconstruction David Quinn In June 1964, as MCDC began its second Elliot Caplan. The collaboration with Mr. Atlas Revival Staging Carolyn Brown and Carol Teitelbaum (2006) decade, an enlarged group set off on a world tour resumed with the production of the documentary Lighting Design Megan Byrne (2006) that was to last six months, with performances Merce Cunningham: A Lifetime of Dance in 2001. in Western and Eastern Europe, India, Thailand Mr. Atlas has directed further archival films of rep- This revival ofCrises was made possible through public support from the National Endowment and Japan. The recognition, by audiences and ertory works as part of an ongoing project funded for the Arts, which believes that a great nation deserves great art. critics alike, of the importance of the work of by the Andrew W. Mellon Foundation. Cunningham and Cage and their associates made In the 2002–2003 season, the Company cele- * Nancarrow altered these pieces after 1960; tonight’s performance presents the original versions. this tour a turning point in the Company’s his- brated its 50th anniversary, beginning with perfor- tory. International and domestic touring became mances at the 2002 Lincoln Center Festival in New part of the annual schedule, with occasional New York City and ending in the Brooklyn Academy of INTERMISSION York seasons. Music’s Next Wave Festival in October 2003, when John Cage’s association with the Company Split Sides, a new work with music by two rock continued until his death in August 1992, when bands, Radiohead and Sigur Rós, was presented. David Tudor succeeded him as music director. In September 2007, the Company performed for XOVER Tudor died in August 1996. In 1995, Takehisa the first time at Dia:Beacon as part of The Hudson (2007) Kosugi was appointed music director. MCDC al- Valley Project, an ongoing residency partnership ways performs with live music, whether electronic continuing into 2009. Merce Cunningham’s most Music John Cage, Aria and Fontana Mix or acoustic. In recent years, the Company practice recent dance, XOVER, was presented at Dartmouth Aria Performer Aurora Josephson has been to engage individual musicians accord- College in New Hampshire in October 2007, Fontana Mix Performers Christian Wolff, Takehisa Kosugi, Stephan Moore, ing to the requirements of the repertory being marking Mr. Cunningham’s final collaboration David Behrman, John King, William Winant presented. Musicians/ David Behrman, with Robert Rauschenberg. In March 2008, dur- Décor & Costumes Robert Rauschenberg John King, , William Winant and ing an engagement at the Washington Performing Lighting Josh Johnson Christian Wolff have all recently performed with Art Society in Washington, D.C., the Company the Company in repertory or Event situations. first presented a revival of Second Hand (1970). In Dancers At the end of the 1964 world tour, Robert September 2008, the Company presented a unique Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Rauschenberg resigned as resident designer, though performance of Ocean inside a granite quarry near Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, he continued to collaborate with Mr. Cunningham St. Cloud, Minnesota, and then traveled to London Daniel Squire, Melissa Toogood, Andrea Weber from time to time. The following decade saw a for a week-long residency at the Barbican Centre. number of celebrated collaborations with other First Performance Hopkins Center, , Hanover, New Hampshire, October 5, 2007

XOVER is a co-commission of barbicanbite08, London, and the Hopkins Center for the Arts at Dartmouth College. XOVER was made possible through public support by the National Endowment for the Arts, which believes a great nation deserves great art.

14 CAL PERFORMANCES CAL PERFORMANCES 15 About the Artists About the Artists

Directors archivist of the Cunningham Dance Foundation, delivered at in 1988–1989) was was published in 1997 by Aperture and in French published by Harvard University Press in 1990. Merce Cunningham, by Gavin Bryars, first performed in 1999 in Cal translation by Editions Plume. A digital supple- Mr. Cage’s music is published by the Henmar born in Centralia, Performances’ Zellerbach Hall. ment (CD-ROM) entitled Merce Cunningham: Press of C. F. Peters Corporation and has been re- Washington, received In August 2001, Mr. Cunningham returned Fifty Forward was produced by the Cunningham corded on many labels. He died in New York City his first formal dance to the stage in the first theatrical presentations Dance Foundation in 2005. Aperture published a on August 12, 1992. and theater training of John Cage’s An Alphabet, at the Edinburgh book of Mr. Cunningham’s drawings and journals, at the Cornish School Festival, with subsequent engagements in , under the title Other Animals, in spring 2002. Takehisa Kosugi (Music Director) was born in (now Cornish College ; Champaign-Urbana, ; Berkeley, A major exhibition about Mr. Cunningham Tokyo in 1938. He studied musicology at Tokyo of the Arts) in Seattle. ; and Perth, Western Australia. In the and his collaborations, curated by Germano National University of Fine Arts and Music. In From 1939 to 1945, revival of How to Pass, Kick, Fall and Run (1965), Celant, was first seen at the Fundació Antoni 1960, he co-founded the Group Ongaku, the first he was a soloist in the first performed in the 2002 Lincoln Center Festival Tàpies in Barcelona in 1999, and subsequently collective improvisation group in Tokyo. During company of Martha at the New York State Theater, Mr. Cunningham, at the Fundação de Serralves, Porto, Portugal, this period, his event pieces were introduced by Graham. He presented together with David Vaughan, read the accompa- 1999; the Museum moderner Kunst Stifftung in Europe and the United States. From his first New York solo concert with John Cage in nying stories by John Cage. Ludwig, Vienna, 2000; and the Museo d’Arte 1965 to 1967, he lived in New York, creating April 1944. Merce Cunningham Dance Company In October 2005, Mr. Cunningham received Contemporanea, Castello di Rivoli, Turin, 2000. mixed-media performance works and performing was formed at in the sum- the in Tokyo. Other hon- A trio of exhibitions devoted to John Cage, Robert with and other Fluxus members. mer of 1953. Since that time, Mr. Cunningham has ors and awards include: the Dorothy and Lillian Rauschenberg and Merce Cunningham, curated In 1967, he co-founded the choreographed nearly 200 works for his company. Gish Prize (2000); the from by Ron Bishop, were shown in the spring of 2002 in Tokyo, a collective improvisational group. As In 1973, he choreographed Un jour ou deux for the Mayor of New York City (1999); the Bagley at the Gallery of Fine Art, Edison College, Fort a he participated in Expo ’70 in Osaka. the Ballet of the Paris Opéra, with music by John Wright Fund Established Artists Award, Seattle Myers, Florida. Merce Cunningham: Dancing on He has been a composer/performer with MCDC Cage and design by Jasper Johns. (A revised ver- (1998); the Nellie Cornish Arts Achievement the Cutting Edge, an exhibition of recent design for since 1977 and was appointed Music Director of sion was presented there in 1986.) The Ballet of the Award from his alma mater, Cornish College of MCDC, opened at the Museum of Contemporary the Company in 1995. He received grants from the Paris Opéra also performed a revival of his Points the Arts, Seattle (1996); the Golden Lion of the Art, North Miami, in January 2007. The ma- John D. Rockefeller III Fund in 1966 and 1977, in Space in 1990. His work has also been presented (1995); and the Wexner Prize jor exhibition : Merce Cunningham & a DAAD fellowship grant to reside in Berlin in by , , of the Wexner Center for the Arts at Ohio State Collaborators at the New York Public Library for 1981, and the John Cage Award for Music from , White Oak Dance Project, Pacific University, Columbus (with John Cage, posthu- the Performing Arts closed on October 13, 2007. the Foundation for Contemporary Performance Northwest Ballet, , Zurich mously, 1993). Mr. Cunningham was also a recipi- Arts in 1994. He has performed in many interna- Ballet and (London), ent of the in 1990 and the John Cage (Founding Music Director) was born tional festivals, including the Festival d’Automne among others. in 1985, in which year he in Los Angeles in 1912. He studied with Richard in Paris, the Almeida International Festival of Mr. Cunningham has worked extensively in also received a Laurence Olivier Award in London Buhlig, Henry Cowell, Adolph Weiss and Arnold Contemporary Music in London, and the Sound film and video, in collaboration first with Charles and a MacArthur Fellowship. In France, he was Schoenberg. In 1952, at Black Mountain College, and Nature in Krems, Austria. His sound instal- Atlas and later with Elliot Caplan. In 1999, the col- made Commander of the Order of Arts and Letters he presented a theatrical event considered by many lations have been presented in various exhibitions, laboration with Mr. Atlas was resumed with the in 1982 and first Chevalier (1989) and then Officier to be the first “.” He was associated with including Für Augen und Ohren, Berlin; Ecouter production of the documentary Merce Cunningham: (2004) of the Légion d’Honneur. Merce Cunningham from the early 1940s, and was par les yeux, Paris; and Kunst als Grenzbeschreitung: A Lifetime of Dance. In 2004–2005, they collabo- Mr. Cunningham has collaborated on Music Director of Merce Cunningham Dance John Cage und die Moderne, . rated again on a new piece whose final form is in two books about his work: Changes: Notes on Company until his death in 1992. Mr. Cage and two versions, Views on Camera and Views on Video. Choreography, with Frances Starr (Something Mr. Cunningham were responsible for a number of Trevor Carlson (Executive Director) is a gradu- This was funded by a grant from the Andrew W. Else Press, New York, 1968), and The Dancer and radical innovations in musical and choreographic ate of The in New York, where Mellon Foundation; further projects under this the Dance, interviews with Jacqueline Lesschaeve composition, such as the use of chance operations he received a BFA in dance. He has performed grant include films of Split Sides (2003) and Ocean (Marion Boyars, New York and London, 1985). and the independence of dance and music. His last with the Stanley Love Performance Group and (1994; revived 2005). Mr. Cunningham’s interest The latter, originally published in French, has also work for MCDC was FOUR3, the score for Beach was co-founder of the organization. Throughout in contemporary technology has led him to work been translated into German and Italian. Merce Birds, presented at the James Joyce/John Cage his career as an arts administrator, he has served with the computer program DanceForms, which Cunningham/Dancing in Space and Time, a collec- Festival in Zürich in 1991. He was the author of as Fiscal Associate for Pentacle/DanceWorks, he has used in making all his dances since Trackers tion of critical essays edited by Richard Kostelanetz many books, among them Silence (1961), A Year Managing Director of the Stephen Petronio (1991). In 1997, he began work in motion capture (second edition), was published in 1998 by the from Monday (1968), M (1973), Empty Words (1979) Company, Tour Manager for P.S. 122 Field Trips, with Paul Kaiser and Shelley Eshkar of Riverbed Da Capo Press. Merce Cunningham: Fifty Years, and X (1983), all published by Wesleyan University Company Manager at The Joyce Theater, and Media to develop the décor for BIPED, with music chronicle and commentary by David Vaughan, Press. I–VI (the Charles Eliot Norton Lectures, Company Manager, Director of Communications

16 CAL PERFORMANCES CAL PERFORMANCES 17 About the Artists About the Artists and General Manager of MCDC. He assumed the Dancers for and twice at American In 2004, she was awarded a “Bessie” for sustained position of Executive Director of the Cunningham Dance Festival. He became a member of the CDF achievement in the work of Merce Cunningham. Dance Foundation in 2005. During his tenure at Robert Swinston (Assistant to the Choreographer) Repertory Understudy Group in October 2003 MCDC, he has helped to increase the number was born in Pittsburgh, Pennsylvania, and attend- and joined MCDC in January 2006. Jennifer Goggans re- of visual artist collaborations by developing the ed Middlebury College and ceived her early dance possibility for Mr. Cunningham to create Events The Juilliard School, where Julie Cunningham was training in her hometown in repertory theater houses using different décors he received a BFA in dance. born in Liverpool, England. of Owensboro, Kentucky, each evening. A total of 25 additional collabora- He has danced with the She trained with Elizabeth and later continued her tions have been staged in this manner. He also Apprentice Hill and then at Rambert studies at the Nutmeg helped stimulate the vision for MCDC’s 2003 col- Company, the José Limón School. She has worked Ballet in Connecticut. In laboration with the bands Radiohead and Sigur Dance Company, and with with Ballet der Stadt May 2000, she received her Rós and artists Robert Heishman and Catherine Kazuko Hirabayashi Dance Theater Koblenz, Germany. BFA in dance from SUNY Yass. Most recently, in continuation of this col- Theatre. He joined MCDC In March 2003, she be- Purchase. Ms. Goggans has laborative philosophy, Mr. Carlson has helped to in August 1980. He has came a member of the CDF worked with the Louisville expand the role of MCDC as a community-wide taught dance at Montclair Repertory Understudy Ballet as well as MOMIX. Ms. Goggans is current- residency partner. These partnerships provide his- State College, SUNY Purchase, The Juilliard Group and joined MCDC ly a faculty member of the Merce Cunningham torical context, as well as stimulus for new local School and the Merce Cunningham Studio. In July in July 2004. Studio and recently staged Cunningham’s Cross collaboration and creation across multiple artistic 1992, he became Assistant to the Choreographer. Currents on the Augusta Ballet in Georgia. She be- fields. The Company has experienced great success Mr. Swinston directs the activities of the CDF Emma Desjardins grew came a member of the CDF Repertory Understudy with this formula at several residencies, including Repertory Understudy Group and its work with up and began her dance Group in January 2000 and joined MCDC in the Melbourne International Arts Festival in 2007. the Cunningham Educational Outreach Program. training in Providence, June 2000. Also during his tenure, Mr. Carlson helped initiate Since 1998, Swinston has instigated, helped, and/ Rhode Island. She gradu- the groundbreaking Mondays with Merce series, to or overseen various Cunningham archival recon- ated from Barnard College Daniel Madoff received his capture Mr. Cunningham’s Monday company class structions including Suite for Five (1956–1958), at in BFA in dance from SUNY and other aspects of studio life for the Company. Summerspace (1958), Antic Meet (1958), Crises 2003, where she trained Purchase in June 2006. The program gives dancers around the world the (1960), How to Pass, Kick, Fall and Run (1965), and performed with their He has danced for Kazuko opportunity to take class from Mr. Cunningham RainForest (1968) and CRWDSPCR (1993). He has Dance department. Emma Hirabayashi Dance Theatre, himself. Mr. Carlson has given lectures at numer- assisted in the staging of Cunningham works on began dancing at the Merce Nelly van Bommel, Lauri ous institutions, including the College of Saint other companies, including Boston Ballet, Dayton Cunningham Studio in St a l l i n g s a nd Pa m Ta now it z . Benedict, Johnson County Community College, Contemporary Dance Company, White Oak 2002, became a member of the CDF Repertory He became a member of the The Juilliard School, Stanford University, the Dance Project, Rambert Dance Company and Understudy Group in 2004 and joined MCDC in CDF Repertory Understudy University of Florida at Gainesville, University New York City Ballet. In 2003, Mr. Swinston re- January 2006. Group in January 2005 of Illinois, University of Maryland, University of ceived a “Bessie” Award for his performance in the and joined MCDC in Michigan, UC Berkeley and UC Davis, and in revival of Cunningham’s How to Pass, Kick, Fall, Holley Farmer grew up in August 2007. various locations throughout Brazil, the United and Run. Fresno, California. Hae Shik Kingdom and Norway. He has also served as Kim was her first teacher. Rashaun Mitchell was born in Stamford, a panelist for the Jerome Foundation. In 2001, Brandon Collwes re- She has danced with Theatre Connecticut, and raised in Atlanta, Georgia. He Mr. Carlson performed in John Cage’s theater ceived his early dance Ballet of Canada, Oakland started dancing at Concord piece, James Joyce, , : training at the Pittsburgh Ballet and The Phantom of Academy in An Alphabet. CLO, Pittsburgh Ballet the Opera. She graduated and graduated from Sarah Theater and the Creative with a BFA in dance from Lawrence College in 2000. and Performing Arts High Cornish College of the He received the Viola Farber- 2 School. He attended The Arts in 1994, and in 1996 Slayton Memorial Grant Juilliard School and SUNY received her MFA from the from the Foundation for Purchase. Mr. Collwes has University of Washington, where she taught her Contemporary Performance studied on scholarship to thesis course on critical theory using literary mod- Arts in 2000. He became the Martha Graham Center els for dance studies. She joined MCDC in 1997. a member of the CDF

18 CAL PERFORMANCES CAL PERFORMANCES 19 About the Artists About the Artists

Repertory Understudy Group in June 2001 and restaged by Millicent Hodson. He has also worked Andrea Weber is from selected to participate in PR04. Mr. Arsham lives joined MCDC in January 2004. Since then, he has with Takehiro Ueyama and TakeDance. Mr. Stafford, Virginia. In 1997, and works in Miami and New York. danced with Pam Tanowitz, Chantal Yzermans Riener is currently earning his MFA at NYU’s she graduated from The and Donna Uchizono, and is currently collabo- Tisch School of the Arts. He joined MCDC in Juilliard School, where she David Behrman has been active as a composer rating with writer Anne Carson. Most recently, September 2007. received a BFA in dance. and multimedia artist since the 1960s and makes Mr. Mitchell was the recipient of a Princess Grace Ms. Weber participated in pieces designed for performance as well as sound Award Dance Fellowship. Daniel Squire received the Gros Mourne Project in installations. Most of his work since the late seven- his initial dance train- Greenpoint, Newfoundland ties has involved computer-controlled systems op- Koji Mizuta was born in ing in his native Yorkshire with Coleman Lemieux & erating interactively with people who may or may Kochi, Japan, and received from Dorothy Stevens and Campagnie in July 2006. She not be musically expert. Recordings of his works are his dance training in Tokyo. Louise Browne. Later, af- has assisted and staged Lila published by , XI, Alga Marghen and From 1989 he studied mod- ter moving to London, he York’s works on ballet companies, throughout the Classic Masters. Two recent sound/multimedia in- ern dance with Tatsuo studied at White Lodge and United States and in Denmark. Ms. Weber has stallations, Pen Light and View Finder, were shown Mochizuki and Kazuko at the Rambert School. He also worked with Charlotte Griffin, Jessica Lang, at the 2002 “Inventionen” festival in Berlin. Hirabayashi. He has had has danced with Michael Sue Bernhard and Ellen Cornfield. She became a extensive performing expe- Clark, Ian Spink, Matthew member of the CDF Repertory Understudy Group Gavin Bryars, born in Yorkshire in 1943, is one rience in Japan and has won Hawkins and Kimberly in July 2002 and joined MCDC in January 2004. of Britain’s most successful composers. His first several awards for his danc- Bartosik. In 2006, Daniel Squire &c. performed musical reputation was as a bassist working in ing. In December 1997, he his work, [sic], as part of his company’s inaugural All headshots by Rita Antonioli (2007), except Melissa the mid-1960s with improvisers Derek Bailey and began studying at the Merce Cunningham Studio, New York season. He joined MCDC in February Toogood’s by Anna Finke (2008). Tony Oxley. He also worked closely with compos- and joined MCDC in the fall of 1998. He is a 1998 and became a faculty member at the Merce ers such as Cornelius Cardew, as well as founding member of the Contemporary Dance Association Cunningham Studio in 2001. the Portsmouth Sinfonia, which acquired cult sta- of Japan. 2 tus for its performances and recordings of the clas- Melissa Toogood is a na- sical repertoire with minimal music skills. His first Marcie Munnerlyn is tive of Sydney, Australia. major work was The Sinking of the Titanic (1969), from Portland, Oregon. She became a member Collaborators which was originally released along with Jesus’ She trained at Jefferson of the CDF Repertory Blood Never Failed Me Yet on ’s Obscure High School, Oregon Understudy Group in Daniel Arsham was born in Cleveland, Ohio, Label. produced his opera Medea at Ballet Theater and the November 2005 and joined in 1979. He received his BFA from The Cooper the Opéra de Lyon and the Paris Opéra in 1984. Cornish College of the the Merce Cunningham Union in 2003. His work has been included in His work has been used extensively by choreog- Arts. She became a mem- Dance Company in May selected exhibitions, including: Art Positions at raphers worldwide, including William Forsythe, ber of CDF Repertory 2008. She has worked Art Basel Miami Beach (2004); Miami Nice at , Carolyn Carlson, Maguy Marin, Understudy Group in June with Miro Dance Theatre, Emmanuel Perrotin Gallery in Paris, France Jiri Kylian, and Edouard Lock. 2002 and joined MCDC in Freddick Bratcher & (2004); Obituray at Placemaker in Miami, Florida The Gavin Bryars Ensemble, founded in 1981, January 2004. Co., was a founding member of Michael Uthoff (2004); Ten Times the Space Between Night and Day tours internationally and performs annual concerts Dance Theatre and continues to do projects at Guild and Greyshkul in New York City (2004); in London. Silas Riener grew up in with Pam Tanowitz Dance. She received a BFA The at Jacob Carpio Gallery Booth in Washington, D.C. He in dance from New World School of the Arts in New York City (2004); and Ever at Placemaker in Megan Byrne worked as the Lighting Director for graduated from Princeton Miami. She is currently on faculty at the Merce Miami (2004). Mr. Arsham’s work can be found in MCDC from 2005 through 2007. Her lighting de- University with a degree Cunningham Studio. the MOCA North Miami Collection, James and sign credits for Cunningham works include Events in comparative literature. Amy Chanos Collection, Paul and Estelle Berg in New York, Grenoble and ; Ocean at the There, he began studying Collection, Philip and Shelly Aarons Collection, Roundhouse in London; and the revival of Crises dance with Ze’eva Cohen the Four Seasons Miami Collection and oth- in 2006. She holds a BFA in dance from Mason and Rebecca Lazier, and ers. His work has been reviewed in such journals Gross School of the Arts and continues to choreo- performed works by James and publications as Art in America, Art Nexus, graph and perform in New York. Waring, The , Street Miami, The New Times and Leonide Massine, as Miami and more. He is the 2003 recipient of the Aaron Copp was associated with MCDC for Gelman Trust Fellowship. Most recently, he was 10 years. His designs for the company include:

20 CAL PERFORMANCES CAL PERFORMANCES 21 About the Artists About the Artists

Doubletoss (1993), Breakers (1994), Ground Level the 1976 Lumen Award, 1984 and 1986 “Bessies,” Mad; Stephen Petronio Company’s Walk-In reviv- from the worlds of contemporary composition, im- Overlay (1995), Windows (1995), BIPED (1999), a 1986 Obie Award for Distinguished Lighting al in 1995; and Ashley Chen Performance Group’s provisation and rock. She has performed and re- Interscape (2000), Way Station (2001) and Loose and 31 Maharam Foundation/American Theater We’re All Grown Up Now. James Hall has designed corded with international talents like improvising Time (2002). Mr. Copp was the recipient of a Wing Awards. costumes for Merce Cunningham’s Way Station musicians Martin Blume, Alvin Curran, Gianni 2000 New York Dance and Performance Award (2001), AmEx Event (2002), Fluid Canvas (2002), Gebbia, Henry Kaiser, Joelle Leandre, Phillip (“Bessie”) for BIPED. He has also been a mem- Shelley Eshkar is a multimedia artist and ex- Split Sides (2003) and Views on Stage (2004). Wachsmann and William Winant, art rock groups ber of the performance group The Second Hand perimental animator who received a BFA from The The Molecules and the Flying Luttenbachers, and since 1989. Cooper Union School of Art in 1993, pursuing Robert Heishman is an artist who works in the the electro group The Paradise Boys. a multidisciplinary fine arts education. Eshkar’s medium of photography. For some of his work Loren Kiyoshi Dempster uses a combination innovations in three-dimensional figural draw- Heishman uses pinhole photography, a form of Jasper Johns, born in 1930 in Georgia and raised of computer, electronics, field recordings, cello, ing and animation have aroused considerable at- lens-less photography in which an artist can use in South Carolina, moved to New York City in improvisation, notated scores and world music tention in the fields of computer graphics, dance, an assortment of improvised or designed objects of 1948 to expand his art studies. After military ser- influences to create and perform music. An active and architecture. Mr. Eshkar joined Riverbed many shapes and sizes, with a tiny hole in one end vice, which included a stay in Japan, he returned to chamber musician and improviser, his collabora- in 1995 where, together with Paul Kaiser, he has in place of a lens and film or photographic paper New York in 1953. The next year, he destroyed all tors include Arthur Solari, Dan Joseph Jerome collaborated with Bill T. Jones (on Ghostcatching) in the other end. Mr. Heishman’s favorite cameras of his art in his possession to start anew as an art- Begin, Jessica Pavone and Reuben Radding, and with Merce Cunningham (on Hand-drawn have been those made out of size 11½ tennis shoe ist, soon working in encaustic and making his first among many others. He has performed at and been Spaces), receiving an award for this work from the boxes or Quaker Oats boxes. He works exclusively painting of an American flag. He began making presented by The Stone, Roulette, Interpretations, Foundation for Contemporary Performance Arts in black and white film to create images of various sculptures in 1958 of light bulbs and flashlights, North River Music, Wesleyan College and Chez in 1998. He has lectured to such diverse groups as environments. of Ballantine ale cans and a Savarin coffee can Bushwick, a 2007 Bessie Award-winning perfor- SIGGRAPH, the Congress of Research in Dance, filled with paintbrushes. His first print, Target, mance arts space in Brooklyn, of which he was a Jacob’s Pillow Dance Festival, Cal Performances, James F. Ingalls has designed lighting for dance was published in 1960 at Universal Limited Art founding member. Always interested in the rela- Brooklyn Academy of Music, The Cooper Union, companies including Boston Ballet, Hubbard Editions (ULAE), and he has since become re- tionships between movement, space and sound, Harvard University’s Graduate School of Design Street Dance Company, Mark Morris Dance nowned as a master printmaker, with a catalogue he may be found creating or performing music for and Aarhus University in Denmark. Group, , Saint Joseph Ballet raisonné of his prints published by ULAE in 1993. many choreographers, most recently in Europe and and White Oak. Mr. Ingalls’s work has been seen Mr. Johns’s first one-man exhibition was presented South America with Berlin-based choreographer Suzanne Gallo was the costumer for Merce at the Royal Opera House, Edinburgh Festival, in 1958 at Gallery, where he contin- Jeremy Wade. A teacher of Suzuki method and Cunningham from 1982 until her death in Glyndebourne, Metropolitan Opera, Salzburg, ued to show until the Gallery’s closing. From the traditional lessons, he is on the faculty of Music February 2000. She worked in a wide variety of Chatelet, Bastille, De Nederlandse Opera, Santa first Castelli show, three paintings were acquired Conservatory of Westchester and Waldorf School performing arts stretching from Las Vegas revues Fe. His designs for Broadway include The Elephant by the Museum of , New York, and of Garden City. to Broadway musicals to opera. She designed a Man, George Gershwin Alone, The Young Man Mr. Johns has since had a vast number of exhibi- contemporary version of Phaedra, a modern op- from Atlanta, ’Night Mother and A Year with Frog tions in the United States and abroad. An exhi- Beverly Emmons has designed for Broadway, era based on the letters of Vincent Van Gogh, and and Toad. New York and regional credits include bition featuring his work with gray in paintings, Off-Broadway, regional theater, dance, and opera works for Neil Greenberg & Company, Diamond My Life with Albertine (Playwrights Horizons), drawings, sculptures and prints, Jasper Johns: Gray, in the United States and abroad. Off-Broadway she Dance, Andrew Janetti, Ellen Cornfield, Mary Gentlemen from America (TFANA), Les Troyens, opened at the Art Institute of at the begin- has worked with director-artists, including Joseph Seldman and MCDC. She worked for Meredith War and Peace (Metropolitan Opera), ACT/ ning of November 2007 and was then shown at the Chaikin, and Robert Wilson, in Monk, , , New San Francisco, ART/Cambridge, Center Stage, Metropolitan Museum of Art, New York, in early such works as Quarry and . Choreographers on Pointe, Lucinda Childs, Trisha Goodman and Steppenwolf. His work in London February 2008. Mr. Johns’s work is represented in In regional theater, she lit well-known productions Brown and White Oak Dance Project. has been seen at the Royal Shakespeare Company numerous public and private collections around of Tartuffe, The Wild Duck, The Cherry Orchard and the Royal National Theater. the world. Mr. Johns met John Cage and Merce and The Broken Jug at the Guthrie and Arena Stage James Hall was wardrobe supervisor on a va- Cunningham after seeing a performance of their with directors Lucian Pintilie and Liviu Ciulei. She riety of Broadway shows from 1995 until 2000. Aurora Josephson is an accomplished musician work in 1955. From that time a friendship grew worked with MCDC from 1965 to 1968, and she He self-produced and designed Operation Bliss and visual artist residing in Oakland, California. and, along with Robert Rauschenberg, they con- has lit the works of , Trisha at Danspace/St. Mark’s Church in New York Building on a foundation of operatic training and tinued to exchange ideas. In 1963, Mr. Johns and Brown and Martha Graham, among others. Her City with choreographers Stanley Love and Glen a BA in music performance from , she Cage founded the Foundation for Contemporary Broadway credits include Annie Get Your Gun, Rumsey in 1997. Mr. Hall has also designed cos- has forged a bold vocal style that is uniquely her Performance Arts to which painters and sculptors Jekyll & Hyde, The Heiress, ’s tumes for Mia Lawrence’s egg and close as i am; own. To unleash the limitless range of sonic possi- contributed their works to be sold for the benefit , and . She has HDC’s Passage and Vodka on the Rocks; Esiotrot’s bilities in the voice, Ms. Josephson employs a variety of performing artists. The organization contin- been awarded seven Tony Award nominations, Underneath; Stanley Love Performance Group’s I’m of extended and unconventional techniques drawn ues today as the Foundation for Contemporary

22 CAL PERFORMANCES CAL PERFORMANCES 23 About the Artists About the Artists

Arts, a public charity that also supports visual {an orchestra}, Ethel, the Albany Symphony/“Dogs CDs. During the 1970s and 1980s, she turned her player piano had been relegated to the status of an artists. Mr. Johns served as artistic advisor to the of Desire,” Bang on a Can All-Stars, Mannheim attention to performance works focused on envi- object of nostalgia. But not so for Mr. Nancarrow, Merce Cunningham Dance Company from 1967 Ballet, New York City Ballet/Diamond Project, ronmental sounds, life narratives and performance who from the late 1940s composed almost ex- to 1973, during which time he designed the sets , Ballets de Monte Carlo; and three works using low-tech devices, such as her Sound clusively for the instrument. The recipient of a and costumes for Mr. Cunningham’s Walkaround commissions from the Merce Cunningham Dance Ball (a foam-covered ball containing six small MacArthur Fellowship, Mr. Nancarrow’s com- Time and Un jour ou deux. His participation in Company (Native Green, CRWSPCR and Fluid speakers and a radio receiver, originally designed plete Studies for Player Piano have been released on the performance of Mr. Cage’s Lecture on the Canvas). He was Music Curator at The Kitchen to “put sound into the hands of” dancers). compact disc by Wergo (Germany), produced by Weather followed his theatrical debut in 2001 in from 1999 to 2003 and is currently a member of Charles Amirkhanian. Mr. Cage’s Alphabet. the Music Committee at MCDC. He has written Stephan Moore (Musician, Sound Engineer, Music two operas: Herzstuck/heartpiece, based on the text Coordinator) is a composer, audio artist and sound Ernesto Neto was born in 1964 in Rio de Janeiro, Josh Johnson is a technical artist who uses all of Heiner Müller, premiered at the 1999 Warsaw designer in New York City. He performs regularly where he studied art and currently resides. His the tools of our time to support the emotional Autumn Festival and presented at The Kitchen in as half of the electronic duo Evidence, and with first exhibition, held in Rio de Janeiro in 1988, expression of theatre artists. Mr. Johnson has de- 2000; and la belle captive, based on texts by Alain a wide range of musicians, live video artists and made him known nationally and internationally. signed lighting or sound for Meredith Monk, the Robbe-Grillet, premiered at Teatro Colon/CETC dancers. Many recent performances and installa- In 1990, he received the award Brasilia de Artes Flying Karamazov Brothers, On the Boards, A in Buenos Aires in 2003, and toured to London’s tion artworks make use of his unique, handbuilt Plásticas from the Museu de Arte in Brasilia and Contemporary Theatre (ACT), Seattle Rep, Seattle ICA (Fronteras Festival) in 2004 and The Kitchen Hemisphere speakers. He has created custom mu- has since taken part in many important group Opera and the Group Theatre. Since moving to in 2005. He has two new CD releases of mu- sic software for a variety of composers and artists, exhibitions like the biennials in Kwangju (1995), New York in 2000, Mr. Johnson has toured to 31 sic for string quartet, AllSteel (Tzadik) and Ethel and has taught numerous college courses in sound São Paulo (1998) and Venice (2001). In 2001, he states and 16 countries with Michael Moschen, (Cantaloupe). He currently leads his own string art and . won the CENTRAL art prize of the CENTRAL David Dorfman, 33 Fainting Spells, Bebe Miller, quartet, Crucible, which will be recording four Krankenversicherung (Health Insurance) Ltd. and and MCDC, among other music, dance and the- new quartets on the New World label in 2009. His Conlon Nancarrow was born in Texarkana, Kunstverein (Art Association) in Cologne. This atre companies. Mr. Johnson was the Director of recent work includes a new opera, Dice Thrown, an Arkansas, in 1912 and was active in his early art-promotion prize, worth nearly 77,000 euros, Production for MCDC until 2008. excerpt of which was performed in the New York years as a trumpeter, playing jazz and other types is meant for artists “who are already contributing City Opera’s 2008 VOX series; and a new evening- of popular music. He attended the Cincinnati to the international art scene without being fully Paul Kaiser’s early work was in experimen- length ballet, Hamlet, for the Stuttgart Ballet College Conservatory of Music from 1929 to 1932, established within it.” The jury included Zdenka tal filmmaking (with such films as Timothy and which premiered October 3, 2008. and later studied composition and counterpoint Badovinac, , Hannes Bauermeister, Colourblind etc) and performance audio tapes (in- in Boston with Nicolas Slonimsky, Walter Piston Daniel Birnbaum and Udo Kittelmann. Following cluding Talking my way about theirs and Thoughts Annea Lockwood was born in 1939 in and Roger Sessions (1933–1936). Mr. Nancarrow Rirkrit Tiravanija (1996) and Douglas Gordon on erasing blank tape). He later spent 10 years Christchurch, New Zealand, where she received also cited Bach and Stravinsky as seminal influ- (1998), Mr. Neto was the third winner. He spent teaching students with severe learning disabilities, her early training as a composer. After completing ences. In 1937, Mr. Nancarrow enlisted in the half a year working in Cologne and showed his with whom he collaborated on making multime- a B.Mus. (honors), she went on to study composi- Abraham Lincoln Brigade to fight against Franco works in the Kunstverein there. dia depictions of their own minds (a body of work tion at the Royal College of Music in London with in the Spanish Civil War. On his return to the honored by a Computerworld/Smithsonian Award Peter Racine Fricker (1961–1963); at the Darmstadt United States in 1939, he became involved in the Radiohead has been variously hailed as “The Best in 1991). In 1994, Mr. Kaiser founded Riverbed, Ferienkurse für Neue Musik (1962–1963); and with New York new music scene, contributing several Band in the World” (Q Magazine), “Rock’s Best a digital arts studio in New York City. He has Gottfried Michael Koenig at the Musik hochschule, reviews to Modern Music and associating with such Live Band” (Rolling Stone) and No. 1 of Spin’s 40 collaborated with Robert Wilson (on Visionary of Cologne, and in Holland (1963–1964). Returning composers as Elliott Carter and Aaron Copland. most influential artists. Radiohead has spent the Theater/Theater of Drawings and on The New World to London in 1964, she freelanced as a composer- Mr. Nancarrow was a dedicated socialist, which last 10 years evolving into the most acclaimed and Theater for the Museum of the Jewish Diaspora), with performer in Britain and other European coun- made him politically unacceptable in the United adventurous force in modern music. The band’s Bill T. Jones and Shelley Eshkar (on Ghostcatching), tries until moving to the United States in 1973. States. This was made evident when he applied for seventh recording, In Rainbows, was released in and with Merce Cunningham and Mr. Eshkar (on There she continued to freelance and teach, first at a passport and was denied. Angry at such treat- October 2007, and subsequently charted at number Hand-drawn Spaces). In 1996, Mr. Kaiser became CUNY’s Hunter College, then, from 1982 to the ment, he moved to Mexico City in the early 1940s, one in both the United Kingdom and the United the first digital artist to receive a Guggenheim present on the faculty of Vassar College. During becoming a Mexican citizen in 1956. He died there States. Previous Radiohead recordings include Fellowship. In 1998, he received an award from the the 1960s, she collaborated frequently with sound in 1997. Mr. Nancarrow returned to the player Pablo Honey (1993), The Bends (1995), OK Computer Foundation for Contemporary Performance Arts poets, choreographers and visual artists, and cre- piano partly because of Mexico’s extreme musi- (1997; their first Grammy Award-winning album together with Mr. Eshkar. ated a number of works which she herself per- cal isolation. Another more compelling reason and widely considered the most significant record of formed, including the Glass Concert (1967), later was his long-standing frustration at the inability the 1990s), Kid A (2000; another Grammy-winner John King, composer, guitarist and violist, has re- published in Source: Music of the Avant-Garde and of musicians to deal with even moderately difficult and quite possibly the strangest record ever to hit ceived commissions from the Kronos Quartet, Red recorded on Tangent Records, then on What Next rhythms. With the advent of the phonograph, the No. 1 in the United States), Amnesiac (2001) and

24 CAL PERFORMANCES CAL PERFORMANCES 25 About the Artists About the Artists

Hail to the Thief (2003). Radiohead toured Europe Mikel Rouse is a New York-based composer, Chris Brown and . Mr. Winant Steve Lacy, Christian Marclay, Keith Rowe, and the United States this past summer, and just director, performer and recording artist hailed has performed as a guest artist with the Los Angeles William Winant, Kui Dong and Larry Polansky. recently completed a week-long tour of Japan. as “a composer many believe to be the best of his Philharmonic and the San Francisco Symphony. His writings on music (up to 1998) are collected generation” (). His works in- For 10 years, he was principal percussionist with in Cues: Writings and Conversations, published by Robert Rauschenberg (1925–2008) was resident clude 25 records, seven films (including Funding the Cabrillo Festival Orchestra and timpanist with MusikTexte, Cologne. He has received awards designer (décor, costumes, lighting) for the Merce and Music for Minorities), and a trilogy of media the Philharmonia Baroque Orchestra from 1985 to and grants from the American Academy of Arts Cunningham Dance Company from 1954 to operas: Failing Kansas, Dennis Cleveland and The 1989. In March 1997, he participated in the world and National Institute of Arts and Letters, DAAD 1964. His first work for the company was the décor End of Cinematics. His work has frequently ap- premiere of Lou Harrison’s Rhymes with Silver Berlin, the Asian Cultural Council, the Fromm for Minutiae (1954), a freestanding object that be- peared on top ten lists around the country. He has with cellist Yo-Yo Ma and the Mark Morris Dance Foundation, the Foundation for Contemporary came known as the first of the artist’s “Combines” received commissions from the Brooklyn Academy Group. He teaches at UC Berkeley and UC Santa Performance Arts (the John Cage award for mu- and was shown in the exhibition of those works at of Music, the Mary Flagler Cary Charitable Cruz, and is Artist-in-Residence at Mills College sic) and the Andrew W. Mellon Foundation. He is the Metropolitan Museum of Art from December Trust and the Meet the Composer/Reader’s Digest with the -Steinberg-Winant Trio, which has a member of the Akademie der Kuenste in Berlin 2005 to April 2006. (Also at the Museum of Commissioning Program. Mr. Rouse’s composi- commissioned more than 25 new works for violin, and the American Academy of Arts and Sciences. Contemporary Art, Los Angeles; the Musée tions have been performed at Lincoln Center, the piano and percussion. In 2004, he received an honorary Doctor of Arts National d’Art Moderne and Centre Georges New York State Theater and Alice Tully Hall, and degree from the California Institute of the Arts. Pompidou, Paris; and the , throughout the United States and Europe. Christian Wolff was born in 1934 in Nice, Academically trained as a classicist, Mr. Wolff Stockholm.) During those years, he also designed France, but has lived mostly in the United States was professor of classics and music at Dartmouth Suite for Five, Labyrinthian Dances, Antic Meet, Henry Samelson received an MFA in paint- since 1941. He studied piano with Grete Sultan College from 1971 to 1999. Summerspace, Rune, Crises, Æon, Winterbranch and ing from the School of the Museum of Fine Arts, and briefly composition with John Cage. Though Story, for which he famously constructed a new Boston, and Tufts University in 2003. He also mostly self-taught as composer, the work of John Catherine Yass studied at Goldsmiths College set for each performance from materials he found nearly completed his doctorate in English from the Cage, , David Tudor and Earle in Britain and has gone on to exhibit internation- in and around the theater. In later years, he re- University of North Carolina, Chapel Hill, before Brown have been important to him, as well as long ally. She was awarded the Glen Dimplex award turned to collaborate with Merce Cunningham on suspending his studies to work as a chef/propri- associations with Cornelius Cardew and Frederic by the Irish in 1999 and Travelogue (1977), Interscape (2000) and XOVER etor of a bistro in Chapel Hill for several years. Rzewski. A particular feature of his music is to al- represented Britain at the 10th Indian Triennale (2007), both with music by John Cage. The paint- In 1998, he moved to Boston to focus on painting low a variety of degrees of freedom at the actual in Delhi 2001. Following her solo show at Asprey ing Immerse (1994) was made to be used as a back- full time. In Boston, his work has been exhibited time of its performance. Mr. Wolff’s music is pub- Jacques in 2002, Ms. Yass was short-listed for the drop for Events. Mr. Rauschenberg’s costumes for at Miller Block Gallery, the Museum of Fine Arts, lished by C. F. Peters, New York, and is recorded Turner Prize and exhibited at the Tate Gallery, Mr. Cunningham are illustrated in Volume 9, No. 1, the Mills Gallery, Green Street and elsewhere. He on many labels. A number of his pieces have been London. Ms. Yass lives and works in London. of the publication 2wice, 2006. Mr. Cunningham’s has also shown in group settings and galleries in used by Merce Cunningham and MCDC, the first most recent work, XOVER (October 2007), with Chicago and New York, and in January 2007 his in 1953. Mr. Wolff has been active as a performer music by John Cage, was their final collaboration, work became part of an exhibit at the Museum of and also as an improviser with Takehisa Kosugi, 2 for which Mr. Rauschenberg created both the cos- Contemporary Art (MOCA), North Miami, cele- tumes and backdrop from his work Plank (2003). brating the past ten years of collaboration between visual artists and Merce Cunningham. Sigur Rós formed in Reykjavík, Iceland, although no one outside the coffee houses of 101 heard of William Winant is principal percussionist with them at least until 1998. Kjarri is the serious one the San Francisco Contemporary Music Players and likes cigarettes and coffee. Goggi is great with and the John Zorn Chamber Ensemble. Since a wine list. Jonsi has a flat full of dolls and likes the 1995, he has been the percussionist with the avant- rainbow. Orri is the quiet one, and you know what rock band Mr. Bungle. He has made over 100 re- they say about those. Sigur Rós have released five al- cordings including music from Earle Brown, John bums: Von (1997), Agaetis Byrjun (1999), ( ) (2002), Zorn, Pauline Oliveros, Luc Ferrari, Karlheinz Takk (2005), and Hvarf-Heim (2007). Also released Stockhausen and Danny Elfman. His recording of in 2007 was Heima, a live DVD of the previous Lou Harrison’s La Koro Sutro (New Albion) was the summer’s Iceland tour. Sigur Rós have performed New York Times Critics’ Choice for best contem- with MCDC in Korea, Miami and Melbourne. porary recording of 1988. Many composers have written works for him, including John Cage, Lou Harrison, John Zorn, Peter Garland, Alvin Curran,

26 CAL PERFORMANCES CAL PERFORMANCES 27 About the Artists About the Artists

Cunningham Dance Foundation Staff Merce Cunningham Studio offers a rental program for emerging choreographers and performance open to any company or individual artist on a self-producing basis. The program features low rates, complete Beth Brandt Administrative Assistant facilities, a flexible performance space and year-round booking. Phone 212.255.8240, Nancy Bright Financial Aid Administrator fax 212.633.2453; contact Christopher Young, ext. 24, [email protected]. Mary Lisa Burns Director of Education Keith Butler Director of Development Physical Therapy for the Merce Cunningham Dance Company provided by Susan Blankensop, Trevor Carlson Executive Director Christine Bratton and Julie Daugherty. Orthopædist to the Merce Cunningham Dance Company is Jeff Donaldson-Forbes Contracts & Touring Administrator David S. Weiss, M.D., NYU-HJD Department of Orthopædic Surgery. Jordan Elkind Development Associate Pepper Fajans Personal Assistant to the Artistic Director/ 2 Office Assistant Geoffrey Finger Company Manager Cunningham Dance Foundation Board of Directors Anna Finke Wardrobe Supervisor Alice Helpern International Program Coordinator Molly Davies, Chair Layton Hower Office Manager/Bookeeper Alvin Chereskin, Vice-Chair Ana Isabel Keilson Film and Video Archival Assistant Anthony B. Creamer III, Acting Treasurer Stephan Moore Sound Engineer & Music Coordinator David Vaughan, Secretary Davison Scandrett Production Manager Jean Rigg, Associate Secretary Christine Shallenberg Lighting Director Robert Swinston Assistant to the Choreographer Simon Bass Kevin Taylor Director of Special Projects Candace Krugman Beinecke Carol Teitelbaum Faculty Chair Sallie Blumenthal David Vaughan Archivist Jill F. Bonovitz Lynn Wichern Chief Financial Officer Carolyn Brown Christopher Young Studio Technical Director Frank A. Cordasco, MD Sage F. Cowles 2 Merce Cunningham Judith R. Fishman European Administration for MCDC provided by Julie George, Paris, France. Phone 33.1.4588.9020, and Gary Garrels 33.1.4588.0441, fax 33.1.4589.1393, [email protected]. Katherine Hayes Rosalind G. Jacobs North and South American Booking and Asian Booking provided by David Lieberman Artists Pamela Kramlich Representative. Phone 714.979.4700, fax 714.979.4740, cell 213.792.0600, [email protected]. Alan M. Kriegsman Harriette Levine Legal counsel: Cleary Gottlieb Steen & Hamilton. Jacqueline Matisse Monniers Accounting services for MCDC provided by Lutz and Carr Certified Public Accountants, LLP. Timothy J. McClimon Bénédicte Pesle The Media Repertory of MCDC includes programs from the Merce Cunningham Archives, videotapes and Barbara Pine films choreographed specifically for the camera, documentaries and educational materials, Judith F. Pisar which are distributed by the Cunningham Dance Foundation, Inc. Phone 212.255.8240, Eileen Rosenau fax 212.633.2453; contact Ana Keilson, ext. 26, [email protected]. Nicholas Rudenstine Kristy Santimyer-Melita Merce Cunningham Studio is a nonprofit educational institution accredited by the National Association of Barbara S. Schwartz Schools of Dance, giving instruction on the professional level. The Studio holds regular classes in technique, Allan G. Sperling elementary to advanced, which are supplemented at periodic intervals by workshops in composition, Patricia Tarr repertory and film/video dance. Scholarships, financial aid and work/study are available. Paul L. Wattis, III Phone 212.255.8240, fax 212.633.2453; contact Mary Lisa Burns, ext. 32, [email protected]. Suzanne Weil

28 CAL PERFORMANCES CAL PERFORMANCES 29