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Home , Irwin Kremen, Merce Cunningham

Brooklyn Academy of Music 1997 Next Wave Festival .•••- •

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Julio Galan, Rado, 1996, oil on canvas, 39 'f," x 31 'H' Cunningham, Merce Forward & Reverse

~ ~ ~ ~E~ R,RNI~ BAM 1997 Next Wave Festival is sponsored by Lpl:N Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey Lichtenstein President & Executive Producer

presents Cunningham 9J19 Forward & Reverse

BAM Opera House Program A· October 14, 16 & 18, 1997 at 7.30pm Program B: October 15 & 17 at 7: 30pm; October 19 at 3pm

Merce Cunningham Company

Running times: Dancers Program A Lisa Boudreau, Thomas Caley, Michael Cole, Holley Farmer, Maydelle Fason, approximately two Jean Freebury, Foofwa d'imobilite, Matthew Mohr, Banu Ogan, Jared Phillips, hours and thirty Glen Rumsey, Jeannie Steele, Derry Swan, Robert Swinston, Cheryl Therrien minutes including two intermissions Musicians Program B , Thurston Moore, Jim O'Rourke, Andrew Russ, Trimpin approximately two Choreography hours and ten Founding musical director minutes including Musical director Takehisa Kosugi two intermissions Assistant to the choreographer Robert Swinston Executive director William B. Cook

This Merce Cunningham Dance Company season is supported in part with funding from the National Endowment for the Arts. Additional funding has been provided by the New York State Council on the Arts.

The Yamaha Disklavier is the official piano of the Merce Cunningham Dance Company.

Special support is provided by The Harkness Foundation for Dance and The Ford Foundation. Opening night sponsored by Interview Magazine with additional support from Pernod. BAM thanks the Theater Development Photo .. Annie Leibovitz Fund for supporting this presentation. Choreogra phy Merce Cunningham

Rondo (1996) New York premiere Intermission Music John Cage, FOUR 6 Costumes Suzanne Gallo & Merce Cunningham Scenario (1997) World premiere Lighting Kelly Atallah Music Takehisa Kosugi, Wave Code A-Z Dancers Lisa Boudreau, Thomas Caley, Costumes Rei Kawakubo Michael Cole, Holley Farmer, Maydelle Fason, Space &Iighti ng concept Rei Kawakubo Jean Freebury, Foofwa d'imobilite, Lighting Masao Nihei & David Covey Matthew Mohr, Banu Ogan, Jared Phillips, Space Takao Kawasaki Glen Rumsey, Jeannie Steele, Derry Swan, Dancers Lisa Boudreau, Thomas Caley, Robert Swinston, Cheryl Therrien Michael Cole, Holley Farmer, Maydelle Fason, Musicians Takehisa Kosugi, Thurston Moore, Jean Freebury, Foofwa d'imobilite, Jim O'Rourke, Andrew Russ Matthew Mohr, Banu Ogan, Jared Phillips, Glen Rumsey, Jeannie Steele, Derry Swan, Fi rst performed at Theater im Foru m, Robert Swinston, Cheryl Therrien Ludwigsburg, Germany, June 2, 1996 Musician Takehisa Kosugi

Rondo has two sections. The first is variable from Wave Code A-Z performance to performance in the order of the The inaudible very low f~equency electronic waves continuity of the eight short dances that comprise make sounds undulate. Various sounds and it. The second section is denser and has a shift of phonetic realisations instructed by the meanings of pace, like a sudden change in the weather. The 26 single words (A to Z) are performed with the material for Rondo has been worked out, in part, electronic waves. The undulated sounds may be on the dance computer program, LifeForms. heard for gradual change of sonic spectrum. -Merce Cunningham -Takehisa Kosugi

This work has been made possible by the ADF The defiance and fusion of the dancers within the (with support from Philip Morris Companies Inc.), confines of a limited white space! What would the North Carolina Museum of Art, Ludwigsburger happen? Schlossfestspiele Internationale Festspiele Baden­ WUrttemberg and Cunningham Dance The emphasis of and restrictions to the movements Foundation, Inc. due to the shapes and volumes of the costumes! Would something totally unexpected be produced? Intermission The results are unpredictable. BAMevent We can only await chance and fortuity. Music Company Musicians -Rei Kawakubo Costu mes Suzanne Gallo Lighti ng David Covey Partial support for Scenario provided by Opera Dancers Lisa Boudreau, Thomas Caley, National de Parisi Palais Garnier; Metropolitan Life Michael Cole, Holley Farmer, Maydelle Fason, Foundation; Choo-San Goh & H. Robert Magee Jean Freebury, Foofwa d'imobilite, Foundation; the Mary Flagler Cary Charitable Trust; Matthew Mohr, Banu Ogan, Jared Phillips, Brooklyn Academy of Music Glen Rumsey, Jeannie Steele, Derry Swan, Robert Swinston, Cheryl Therrien Special thanks to Tsuguya Inuoe, graphic design; Musicians Takehisa Kosugi, Thurston Moore, Hiroshi Matsushita, fabrics; Timothy Greenfield­ Jim O'Rourke Sanders, photography; and Comme des Gar<;ons

Notes for tonight's BAMevent are detailed in a program insert. Choreography Merce Cunningham

Installations (1996) New York premiere by The Pew Charitable Trusts and The Helen W. Music Trimpin, Thirteenstitches Buckner Trust. Th is work was co-com missioned by Video decor & lighting Elliot Caplan Meany Hall at the University of Washington and with thanks to Kelly Atallah the Cunningham Dance Foundation, Inc. Costumes Suzanne Gallo Dancers Lisa Boudreau, Thomas Caley, Elliot Caplan thanks: Simon Egleton; Bob Michael Cole, Maydelle Fason, Jean Freebury, Richman; Peter Siller; Steve Robinson; Greg Foofwa d'imobilite, Matthew Mohr, Banu Ogan, Addison; Johnathan Nichols; Ben Wolf; Kelly Jared Phillips, Glen Rumsey, Jeannie Steele, Richardson; Web Crittenden; Karen Kenesevitch; Derry Swan, Robert Swinston, Cheryl Therrien Sean Forbes; Raymond Campbell; Damon Gordon; Musician Trimpin Janine Melillo; Roman Rosell; Jens Greuner

First performed at University of Washington, Intermission Meany Hall, Seattle, Washington, May 2, 1996 Windows (1995) New York premiere Thirteenstitches is based on acoustical transitions, Music Emanuel Dimas de Melo Pimenta, using the physical space surrounding the audience Microcosmos as an instrument. The tuning system for this piece Decor John Cage, Global Village 1-36 (1989) is based on the natural overtone series, not fre­ Costumes Suzanne Gallo quently used in our Western-influenced approach Lighti ng Aaron Copp to composition. All the sounds heard are ureal," Dancers Lisa Boudreau, Thomas Caley, Michael nothing is amplified or synthesized. The somewhat Cole, Holley Farmer, Maydelle Fason, Jean traditional melodic and rhythmical patterns that Freebury, Foofwa d'imobilite, Matthew Mohr, emerge in Thirteenstitches are contradictory to the Banu Ogan, Jared Phillips, Glen Rumsey, ever-experimental direction of the Cunningham Jeannie Steele, Robert Swinston, Cheryl Therrien choreography. The simultaneous lateral movement Musicians Takehisa Kosugi, Thurston Moore, of the dance (visual) and the acoustical move­ Jim O'Rourke ments (aural) result in a mental synchronization that resolves the two dissimilar structures into one First performed at Opera Berlioz/ Le Corum, entity. Creating friction by having two distinctly Montpellier, France, June 23, 1995 different approaches working opposite each other is a risk I wanted to explore in Thirteenstitches. Made possible, in part, by the AT&T Foundation -Trimpin Intermission As designer as well as filmmaker, my work with dance is direct, I work to be clear. My intention BAMevent is to maintain a situation for the audience where Music Company Musicians the viewer's eye can roam the stage alternating Costu mes Suzanne Gallo between live performance and recorded image. Lighti ng David Covey This kind of experience can be lively for the dancer Dancers Lisa Boudreau, Thomas Caley, and engaging for the viewer. It should be like look­ Michael Cole, Holley Farmer, Maydelle Fason, ing at a painting, rather than watching television. Jean Freebury, Foofwa d'imobilite, There should be a lot to see. Overall, I seek to Matthew Mohr, Banu Ogan, Jared Phillips, intensify the dance experience, not get in its way. Glen Rumsey, Jeannie Steele, Derry Swan, -Elliot Caplan Robert Swinston, Cheryl Therrien Musicians Takehisa Kosugi, Thurston Moore, The composer and choreographer commission fees Jim 0'Rourke for this collaboration were made possible by a grant from Meet The Composer's Composer / Notes for tonight's BAMevent are detailed in a Choreographer Project, a national program funded program insert. Merce Cunningham Dance Company came into minute work seen in the 1996 Lincoln Center being in the summer of 1953, when Cunningham Festival, at the Belfast Festival at Queen's, in took a group of dancers who had been working November of this year. Ocean will also be given at with him to , the progres­ the festival Montpellier Danse in June 1998. sive liberal arts school in North Carolina. The 1998 wi II begi n with two weeks at the Opera group included Carolyn Brown, , National de Paris, Palais Garnier, during which , and Paul Taylor. John Cage was another new work will be presented, Pond Way, musical director and the company with music by . 1998 will also see a musician. Cage's association with the company major season at the Barbican Centre in London continued until his death in August 1992, when and a month-long tour of Japan. Tudor succeeded him as musical advisor. David Tudor died in August 1996. In 1995, Takehisa Merce Cunningham, born in Centralia, Kosugi was appointed musical director. Washington, received his first formal dance and theater training at the Cornish School (now Cornish In June 1964, as the company began its second College of the Arts) in Seattle. From 1939 to decade, it set off on a world tour that was to last 1945, he was a soloist in the company of six months, with performances in Western and . He presented his first New York Eastern Europe, India, Thailand, and Japan. The solo concert with John Cage in April 1944. Merce recognition, by audiences and critics alike, of the Cunningham Dance Company was formed at importance of the work of Cunningham and Cage Black Mountain College in the summer of 1953. and their associates made this tour a turning point Since that time Cunningham has choreographed in the company's history. Extended domestic tours nearly two hundred works for his company. and New York seasons were soon part of the annual schedule, as well as further tours abroad. His work has aIso been presented by Ballet, the Paris Opera Ballet, American Ballet From 1954 to 1964 was the Theatre, Boston Ballet, White Oak Dance Project, company's resident designer. The following decade Pacific Northwest Ballet, Pennsylvania Ballet, and saw a number of celebrated collaborations with Rambert Dance Company, among others. visual artists, including (who was appointed artistic advisor in 1967), , Cunningham's interest in contemporary technology , and Robert Morris. In 1980, the has led him to work extensively in film and video, British painter Mark Lancaster succeeded Johns as in collaboration first with Charles Atlas, later with artistic advisor; since 1984 William Anastasi and Elliot Caplan, and also to explore the Computer Dove Bradshaw have served jointly in that capacity. program LifeForms, which he has used in creating all his dances since Trackers (1991). Most recently Since the 1970s, Cunningham has choreographed he has worked with Paul Kaiser and Shelley Eshkar a number of video and filmdances, in collaboration of Riverbed to develop a virtual dance performance. first with Charles Atlas and later with Elliot Caplan. The most recent, Beach Birds For Camera (1993), In 1996, Cunningham received the Nellie Cornish was produced for 35mm wide-screen presentation. Arts Achievement Award from his alma mater, The latest Cunningham / Caplan film collaboration, Cornish College of the Arts; in 1995 he was CRWDSPCR, documenting the creation of the awarded the Golden Lion of the Venice Biennale. dance of that name, was shown at Anthology Cunningham and John Cage (posthumously) were Film Archives in New York in May of this year. awa rded the Wexner Prize of the Wexner Center for the Arts at Ohio State University in 1993. During the past summer the company performed Cunningham was also a recepient of the National Events in Frankfurt, Germany, and Prague and Bmo, Medal of Arts in 1990 and the Kennedy Center in the Czech Republic, and a week of repertory Honors in 1985, in which year he also received at the Jacob's Pillow Dance Festival. Following the Laurence Olivier Award in London and a the performances at BAM, Merce Cunningham MacArthur Fellowship. In France, he was made Dance Company will present Ocean, the ninety- a Chevalier of the Legion d'Honneur in 1989. Cunningham has collaborated on two books about collective improvisational group giving intermedia his work: Changes: Notes on Choreography, with presentations. He has been a composer/performer Frances Starr (Something Else Press, New York, with Merce Cunningham Dance Company since 1968), and The Dancer and the Dance, interviews 1977. In 1991 he received the John Cage Award with Jacqueline Lesschaeve (Marion Boyars, New for Music from the Foundation for Contemporary York and London, 1985). The latter, originally Performance Arts. He was appointed Musical published in French, has also been translated into Director of MCDC in 1995. German and Italian. Merce Cunningham / Dancing in Space and Time, a collection of critical essays Robert Swinston was born in Pittsburgh, PA, and edited by Richard Kostelanetz, was published in attended Middlebury College and the Juilliard 1992 by a cappella books. Merce Cunningham School, where he received a BFA in dance. He 50 Years, chronicle and commentary by David has danced with the Martha Graham Apprentice Vaughan, archivist of the Cunningham Dance Company, the Jose Lim6n Dance Company, and Foundation, was published by Aperture in with Kazuko Hirabayashi Dance Theatre. He joined September of this year. MCDC in August 1980. He has taught dance at Montclair State College, SUNY Purchase, the John Cage was born in Los Angeles in 1912. and the Merce Cunningham He studied with Richard Buhlig, Henry Cowell, Studio. In July 1992 he became Assistant to the Adolph Weiss, and Arnold Schoenberg. In 1952, Choreographer, and also directs the activities of at Black Mountain College, he presented a the­ the CDF Repertory Understudy Group and the atrical event considered by many to be the first Cunningham Repertory Group. He has assisted in . He was associated with Merce the staging of Cunningham works on other compa­ Cunningham from the early 1940s, and was nies, including Boston Ballet, Dayton Contemporary Musical Advisor to Merce Cunningham Dance Dance Company, and the White Oak Dance Project. Company until his death in 1992. Cage and Cunningham were responsible for a number of Lisa Boudreau was born in Ontario, Canada and radical innovations in musical and choreographic trained at the Royal Winnipeg Ballet. Since moving composition, such as the use of chance operations to New York, she has worked with Milton Meyers and the independence of dance and music. and Mafata Dancecompany. She became a mem­ ber of the Repertory Understudy Group in April 3 His last work for MCDC was FOUR , the score for 1994 and joined the Company in August 1994. Beach Birds, presented at the James Joyce/ John Cage Festival in ZUrich in 1991. He was the author Thomas Caley was born in Michigan, where he of many books, among them Silence (1961), attended Interlochen Arts Academy. In the spri ng A Year from Monday (1968), M (1973), Empty of 1992 he graduated from SUNY Purchase Words (1979), and X (1983), all published by with a BFA in dance, and a President's Award for Wesleyan University Press. I-VI (the Charles Eliot Academic Achievement. In New York he has Norton Lectures delivered at performed with Neil Greenberg, Kevin Wynn in 1988-89) was published by Harvard University and Kenneth Tosti. He is a Princess Grace Press in 1990. Cage's music is published by the Foundation-USA Dance Scholar for 1993-94 Henmar Press of C. F. Peters Corp. and has been and joined MCDC in August of 1993. recorded on many labels. He died in New York City on August 12, 1992. Michael Cole grew up in Philadelphia and attended the North Carolina School of the Arts where he Takehisa Kosugi was born in Tokyo in 1938. He received a BFA and the Chancellor's Award for graduated from Tokyo National University of Fine Excellence in Dance. Before joining MCDC in Arts and Music in 1962. From 1965 to 1967 he 1989, Michael danced with many choreographers lived in New York, creating multi-media perfor­ including Robert Kovich, Peter Pucci, Mark Dendy, mance works and giving concerts with Nam June Ton Simons and Bill Young. He also toured with Paik and other Fluxus members. In 1969, he the David Gordon / Pick-Up Company in 1987. founded the Taj Mahal Travellers in Tokyo, a Michael has been on the faculty of the Merce Cunningham Studio since 1993 and has conduct­ Holland Dance Festival/thank you Merce ed master classes on tour and at the School of the Dance Theater of Harlem. He has also completed Matthew Mohr has trained at the Juilliard School the computerized catalogue of Merce Cunningham's and received his BFA in dance from SUNY choreographic works for the National Library. This Purchase. He began working with the Repertory year Michael choreographed a fashion show for Understudy Group in February, 1994 and joined shoe designer Bernard Figueroa presented at the Company in July, 1994. Bergdorf Goodman and featuring the women of MCDC. He also completed the video Portable Banu Ogan was born in Ankara, Turkey, received Fields, a computer dance utilizing the animation her early dance training in Bloomington, IN, and software LifeForms. He plans to continue his work graduated with a BA in biology from University pairing dance with computers and will enroll as a of North Carolina at Chapel Hill in May 1991. graduate student at Arizona State University in Shortly thereafter, she moved to New York to study January 1998. Michael wishes to thank each and at the Merce Cunningham Studio, became a mem­ every dancer with whom he has shared a ber of the Repertory Understudy Group one year Cunningham step and extends special thanks to: later, and a member of the Company in May 1993. Alan, Chris, Robert, Vickie, Larissa, Frederic, Foofwa, Derry, David V, (my dear) Kimberly, and Jared Phillips was born in Anderson, SC, in 1972. bien sur, Merce. He remained there until he went to North Carolina School of the Arts his senior year of High School. Holley Frances Farmer first trained with Hae Shik He studied there for three years. He then landed in Kim in Fresno, California. She has danced with the the Cunningham Studio in the summer of 1993. Theatre Ballet of Canada, the Oakland Ballet, and the original Canadian cast of The Phantom of the Glen E. Rumsey was born in Greensboro, NC. He Opera. She holds a BFA from Cornish College of the came to New York City after graduating from North Arts and an MFA from University of Washington. Carolina School of the Arts in May, 1992. He has been with Merce Cunningham Dance Company Maydelle Fason began dancing as a child in since January of 1993. Glen would like to thank Austin, TX. During high school she moved to New his parents for their encouragement and support. York to study at School of American Ballet which led to an apprenticeship performing with the New Jeannie Steele received most of her training from York City Ballet. Since then she has danced with North Carolina School of the Arts. She worked with Chris d'Amboise, Francine Landes, Yakov Sharir, the Repertory Understudy Group, Alan Good and L10ry Wi Ison and was a Repertory Understudy Ton Simons before joining the Company in May, before joining the MCDC in 1996. Maydelle 1993. received a BA in literature from Barnard College. Derry Swan is from Swarthmore, PA, where she Jean Freebury studied at the Alberta Ballet studied with Lori Ardis. She graduated from School, London Contem pora ry Da nce School Barnard College with honors degrees in english and North Carolina School of the Arts. Since and dance. Before joining MCDC in 1996, Derry moving to New York in 1990, she has worked danced with Marjorie Folkman, Sally Hess, Kraig with Ellen Cornfield, Bryan Hayes and Kenneth Patterson and Neta Pulvermacher. King. She joined MCDC in July, 1992. Cheryl Therrien is originally from New Hampshire Foofwa d'imobilite: 69 born Switzerland / both and received her early dance training from the parents dancers/ 81-86 Ballet Junior, Geneva / Boston Ballet school. She holds a BFA in dance 86-87 awards at ballet competitions /87-90 from SUNY Purchase and since graduating has danced with the Stuttgart Ballet/90 Robert worked with Ellen Cornfield, Ton Simons, Kenneth Kovich Company / since 91 Merce Cunningham ,King, Sarah Michelson / The Shirley Choir and Company /94-95 recipient of the New York Christopher Caines. She was also a member of the Dance and Performance Award (Bessie) / in Repertory Understudy Group before joining the February 98 will perform his own dance-text­ Company in November, 1993 and is currently a video work at the Prix de Lausanne and the faculty member at the Cunningham Studio. Thurston Moore is a founder of NYC rock / noise of formal musical training (in brass and wood­ 4-tet -active since 1981 touring winds), a four-year apprenticeship in electronics planet earth and releasing records everywhere .. and a university degree in pedagogy of art and Prior to that, he played with the likes of Glen music. His fascination with mechanical instru­ Branca, Rhys Chatham and others. During his ments began when he was a child. Later training ongoing work with Sonic Youth he has involved in carpentry and electronics made it possible for himself with fanzine publishing (KILLER, Sonic Trimpin to begin his work in earnest. Trimpin Death, New Grass), and archive/ documentation moved to the United States from Germany in (Ecstatic Peace records / tapes / CDs) releasing 1979. Since his arrival, he has been altering documents by the likes of Frank Lowe, No Neck musical instruments and less traditional sound­ Blues Band, Arthur Doyle, White Out, Shit making objects, such as hand-blown glass vessels Spangled Banner, Test, Yoshimi, Ram Umbus, and Dutch wooden shoes, to create new musical James Tenney /Wm. Winant and many others. sounds. From 1979 until the mid-1980s, Trimpin He is also involved with free-reign collective designed the hardware and software prototypes improvisation. This latter activity has led him into for computer controllers that could play many interplay with Rudolph Grey, William Hooker, Tom different instruments at once. While he has made Surgal, Tamio, John Zorn, Rashied Ali, Peter numerous technical advances since then, his Brotzmann, Haino Keiji, Loren Mazzacane, Nels current work derives directly from these seminal Cline, Yamatsuka Eye, Randall Colbourne, Borah pieces. Trimpin finishes his early research and Bergman, Stefan Jaworzyn, Lol Coxhill, and others. completed his first computer-controlled installations The free / noise / music space scene is where he during a two-year residency at the Sweelinck resides with his partner Kim Gordon and daughter Conservatory in Amsterdam in the 1980s. Most Coco Hayley. Thurston and Sonic Youth are cur­ of his subsequent works use computers to control rently involved with future / guitar music. percussive sounds made with traditional instru­ ments, like pianos, xylophones and cymbals, as Jim O'Rourke was born in Chicago in early 1969. well as more unusual sound sources played in Depending on what hour of the day, he improvises non-traditional ways. Among contemporary com­ (and has with some folks, like Henry Kaiser, Mats posers, Trimpin's interest in the "superhuman" Gustafason, Gunter Muller, Voice Crack, Eddie control of natural sound is rare. While many other Prevost, Derek Bailey, etc.), remixes other people's composers work with computers, Trimpin is one of music (Tortoise, Microstoria, Smog, etc.), records the only composers who uses computers to control other people's music (US Maple, Palace, etc.), strictly acoustic sound sources. He has no interest produces people's records (Faust, Smog, etc.), in electronic sound and he uses no electronically plays in some groups (Gastr del Sol, Red Crayola, synthesized or digitally sampled sounds. He has etc.), works closely with others (John Fahey, Tony performed and installed sound work in art settings Conrad, etc.), makes soundtracks (Picture of Ught, and science museums throughout Europe and etc.) and makes some music of his own. The latter North America. Trimpin received a 1997 half of '97 will include working with the Flying MacArthur Fellowship. Saucer Allack, Loren Mazzacane, Arnold Dreyblatt, Phil Niblock, some new music of his own as well Rei Kawakubo established COMME des GARCONS as all of the above. in 1973 in Tokyo, Japan. Ever since she began showing her collections in Paris in 1981, Trimpin, a Seattle-based composer and installation Kawakubo has been recognized as the leader of the artist, has become one of the best known and fashion avant-garde. In two decades, Kawakubo, as most often presented artists from the Northwest sole owner, expanded the Comme des Gargons working with sound. For more than 10 years he operation to involve two subsidiary companies has used custom-built computer controllers to in Paris and New York, more than 300 stores in perform his compositions. Although there are still Japan, and 3 directly owned flagship stores in no academic programs that offer degrees in "sound Paris and New York. In 1987, the Fashion Institute art" as such, Trimpin's background prepared him of Technology in New York featured an exhibition, unusually well for the field, including twelve years Three Women: Madeleine Vionnet, Claire McCardell and Rei Kawakubo highlighting the Grand Prix for Beach Birds for Camera; 1992 innovative and radical aspects of each designer's IMZ Dance Screen Award for Cage / Cunningham. work. Having long believed in the importance of the inter-relationship of clothing and the envi­ David Covey is an associate professor of dance at ronment, Kawakubo continues to design all of the the Ohio State University Department of Dance Comme des Gargons boutiques, collaborating with where he teaches production, lighting design and architect Takao Kawasaki, lighting expert Masao composition. He has designed for and toured as Nihei and graphic designer Tsuguya Inoue. Fabric production manager with the Liz Lerman Dance innovation has always been crucial to Comme des Exchange, Tish Carter and Sharon Wyrrick, among Gargons and Kawakubo has worked exclusively others, while living in the Washington DC area. with textile expert Hiroshi Matsushita, developing He continues to design for regional choreographers completely new fabrics season after season for in Ohio and New York City. He is currently on each collection. Kawakubo was an early explorer leave from Ohio State during his tenure with the of the cross-over between art and fashion. She has Cunningham Dance Foundation. collaborated with artists such as Cindy Sherman, Daniel Buren, Fischli & Weiss on installations in Suzanne Gallo has been the costumer for Merce several of her stores and graphically through the Cunningham for many years, leading her to spe­ company's large-format magazine Six (1988-91), cialize in dancewear construction and design. With published twice a year, with Gilbert and George, a dual degree in clothing/textiles and theater arts, Enzo Cucchi, Robert Frank, Doug and Mike Stern she has been active in many areas from Las Vegas to name a few. From 1981-87, Kawakubo pro­ revues through Broadway to her current involve­ duced catalogs for her various brands where pho­ ment with modern choreographers. She has worked tographers Peter Lindbergh, Steven Meisel and for Meredith Monk, Neil Greenberg & Company, Paolo Roversi were asked to push the boundaries , , Mary Seidman, of fashion photography. In 1986, the George White Oak Dance Project and Diamond Dance. Pompidou Center in Paris exhibited more than 135 photographs from this period. In 1993, Kawakubo Andy Russ is currently leading a double-life pro­ was awarded a Chevalier de I'Ordre des Arts et des ducing his own performance work and helping Lettres in Paris. Most recently, Ms. Kawakubo others produce theirs. Graduating from Oberlin received an honorary doctorate degree from the College with degrees in dance and electronic Roya I College of Art in London. music, his music and choreography have been performed extensively at Oberl in, as well as such Elliot Caplan, filmmaker in residence at the venues as the Festival in Cunningham Dance Foundation, began his asso­ Cleveland, the Intermedia Festival in NYC and ciation with Merce Cunningham in 1977 and has Context Studios. His most recent production credits collaborated with Cunningham and John Cage in include work as sound engineer for Michael Hedges the production of films and videos. Together, their and the , as production work has aired nationally on PBS, Bravo, Arts & stage manager for Azahar (Estelle Eichenberger), Entertainment and internationally to thirty-five and as the "Eternal Freelancer" for dance and countries. Video installations include Whitney Off-Broadway shows around the city. This is his Museum of American Art at Philip Morris for which third year with the Cunningham Company. Caplan earned a 1995 Bessie award; Cartier Foundation, Paris (1996) and The Jewish European Administration for Merce Cunningham Museum, Vienna (1997). Caplan's recent work Dance Company provided by Benedicte Pesle and has received numerous awards: 1996 Gold Award, Julie George, Artservice International, Paris, France. Dance on Camera Festival for CRWDSPCR; tel.: 33.1.4239.1400, fax: 33.1.4239.1402 Grand Prix International Video Danse 1994, and the Categorie Captation de Spectacle Prix North & South America and Far East Booking Academie des Beaux Arts, Stockolm, Sweden; provided by Cunningham Dance Foundation, Inc. 1993 Grand .Prize, New York Dance on Camera tel.: 212.255.8240, fax: 212.633.2453 Festival; and the 1993 IMZ Dance Screen Award The Media Repertory of Merce Cunningham Cunningham Dance Foundation Dance Company includes programs from the Merce Board of Directors Cunningham Archives, videotapes and films chore­ Allan G. Sperling, Chairman ographed specifically for the camera, documen­ Suzanne Weil, Vice Chairman taries, and educational materials, which are distrib­ Anthony B. Creamer III, Treasurer uted by the Cunningham Dance Foundation, Inc. David Vaughan, Secretary / Archivist tel.: 212.255.3130, fax: 212.633.2453 Candace Krugman Beinecke The Merce Cunningham Studio is a non profit Sallie Blumenthal educational institution accredited by the National Li ndsley Chase Borsod i Association of Schools of Dance, giving instruction Carolyn Brown on the professional level. The Studio holds regular Alvin Chereskin classes in technique, elementary to advanced, Barbara J. Cooperman which are supplemented at periodic intervals by Robert J. Fitzpatrick workshops in composition, repertory, and film / Marjorie Reed Gordon video dance. Scholarships, financial aid and Alberto IbargUen work/ study are available. Rosalind G. Jacobs tel.: 212.691.9751, fax: 212.633.2453 Harriette Levine Ba rba ra London The Merce Cunningham Studio offers a Rental Ti mothy J. McCI imon Program for emerging choreography and perfor­ Kathy McCarver Mnuchin mance open to any company or individual artist Ti mothy U. Nye on a self-producing basis. The program features Benedicte Pesle low rates, complete facilities, a flexible performance Barbara Pine space, and year-round booking. Judith F. Pisar tel.: 212.691.9751, fax: 212.633.2453 Eileen Rosenau Travel arrangements for Merce Cunningham Michael L. Salitan, M.D. Dance Company provided by Michael Barbara Schwartz Yampolsky at Battery Travel Associates, Inc. Patricia Tarr Kazuhito Yoshii

Nancy Bright, Financial Aid Administrator Sonya Robbins, Project Coordinator Anna Brown, Bookeeper / Film & Video Andrew Russ, Sound Engineer Distribution Coordinator Stephen Shelley, Assistant Company Manager Elaine Buckholtz, Technical Director Earnie Stevenson, Associate Director of Elliot Caplan, Filmmaker Development William Cook, Executive Director Robert Swinston, Assistant to the Choreographer David Covey, Production Manager Stephen Tollafield, Office Manager Merce Cunningham, Artistic Director David Vaughan, Archivist Suzanne Gallo, Costume Supervisor / Costume Design Coord inator Press Representative, Ellen Jacobs & Co. David Guion, Director of Development Auditors, Richard A. Eisner & Co. Meg Harper, Faculty Chair Legal Council, Cleary, Gottleib, Steen & Hamilton Alice Helpern, Studio Director Repertory Understudy Grou p Marleine Hofmann, Director of Finance Tamsin Carlson, David Kulick, Daniel Squire Nancy Johnson, Studio Administrator Cunningham Repertory Group Takehisa Kosugi, Musical Director Robert Swinston (Director), Aaron Booher, John Musall, Studio Technical Director Tasmin Carlson, David Kulick (Co-Director), Donna Richard, Company Manager Maia Ramnath, Daniel Squire, Kerry Stichweh The Merce Cunningham Dance Sage and John Cowles Ms. Ellen Asher Mr. Denver Lindley, Jr. Foundation and the Board of Mr. Anthony B. Creamer III Mr. and Mrs. Milton Avery Mr. Lewis Lloyd Directors wish to express the Anne d'Harnoncourt and Ms. Antoinette W. Ayres Mrs. Maryel F. Locke deepest appreciation to the Joseph Rishel Ms. Elizabeth C. Baker Mr. and Mrs. Donald J. Loftus following government agencies, Madam Ethel de Croisset Mr. and Mrs. Richard B. Ms. Barbara J. London corporations, foundations and Ms. Betty Freeman Beaman Mr. Robert Longo individuals for their generous Mr. Richard W. Hulbert Ms. Kay Bearman Ms. Loretta Lorance and support: Mrs. Rosalind G. Jacobs Mrs. William S. Beinecke Mr. Anthony Lagon Mrs. Hariette Levine Mr. and Mrs. Jay Bennett Mrs. Irwin I. LuBowe The National Endowment for Mr. and Mrs. Fowler Merle- Mr. John Bergman Mrs. Mary B. Lumet the Arts Smith Ms. Flora M. Biddle Ms. Barbara MacGinnitie The New York State Council on Mr. and Mrs. Robert Meyerhoff Mr. Charles R. Blyth Ms. Ruth D. MacNaughton the Arts Mr. Timothy J. McClimon Mrs. Geraldine L. Boone Mr. Russell Makowsky Anglo-American Contemporary Mr. and Mrs. S.1. Newhouse, Jr. Ms. Mrs. Phyllis D. Massar Dance Foundation Mrs. Barbara Pine Ms. Bonnie A. Brooks Mr. Harry B. Mathews ArtsLink/ CEC International Mr. Sidney Rothberg Ms. Holly Kerr Buchan Mr. Harry M. Matthews, Jr. Partners Mrs. Barbara Schwartz Mr. Ronald L. Bunker Ms. Barbara Mayfield AT&T Foundation Mr. Allan G. Sperling Dr. and Mrs. J. Alexis Burland Ms. Frances Milberg Edith C. Blum Foundation Mr and Mrs. Jeffrey Tarr Mr. Carl T. Burton Ms. Meredith Monk Booth Ferris Foundation Mr. and Mrs. John B. Cairns Mr. and Mrs. Edward Morse Mary Flagler Cary Charitable BENEFACTOR Mr. and Mrs. David C. Clark, Jr. Mr. Trust Ms. Carolyn Brown Mr. Robert Cole Mrs. Curt Muser Choo-San Goh & H. Robert Ms. Barbara J. Cooperman Mr. William B. Cook Ms. Patricia N. Nanon Magee Foundation Ms. Doris A. Dennison Dr. W. Stephen Croddy Mr. Sifor Ng Consolidated Edison Mr. Robert J. Fitzpatrick Mr. Stuart Dempster Ms. Julia Nicolas The Eleanor Naylor Dana Mrs. Helen Goldstein Mr. Alex Dube Ms. Mary Ann O'Brian Malkin Charitable Trust Ms. Marjorie Reed Gordon Ms. Joan K. Easton Mr. Paul O'Neil Dance Magazine Mr. Timothy Greenfield-Sanders Ms. Marilyn M. Einhorn Ms. Ruth E. Pachman Foundation for Contemporary Mr. Dale Harris Mr. and Mrs. Richard A. Eisner Ms. Carol Pardo Performance Arts Mr. Alberto IbargUen Mr. and Mrs. Paul Elliot Mr. and Mrs. Gary S. Patrik The Fan Fox and Leslie R. Mr. and Mrs. Ronald Lauder Mr. James E. Fain Mr. and Mrs. Roswell B. Perkins Samuels Foundation Ms. Ellen Levy and Mr. William B. Fetterman Mr. and Mrs. S. J. Perlis The Fund for U.S. Artists at Mr. Gregg Horowitz Hermine Ford Ms. Constance H. Poster International Festivals and Mr. and Mrs. Sydney Lewis Mr. Mark P. Friedman Mr. Henry C. Preston Exhibitions Mr. and Mrs. Richard Lippold Mr. and Mrs. Martin Friedman Mr. John Prior Horace W. Goldsmith Matthew Marks Richard Friedman and Ms. Jean Rigg Foundation Ms. Kathryn McCarver Mnuchin Victoria Shoemaker Mr. George Roller The Harkness Foundation for Mr. and Mrs. Joseph Perloff Mr. and Mrs. David Gamper Mr. and Mrs. Howard Dance Ms. Benedicte Pesle Ms. Christina Gandolfi Rubenstein Estee Lauder Companies Mrs. Judith F. Pisar Ms. Pia S. Gilbert Mr. and Mrs. Neil L. Rudenstine Marsicano Foundation Dr. Michael L. Salitan, M.D. Mr. and Mrs. Joshua Ginsberg Ms. Christina L. Schlundt Meet The Composer, Inc. Ms. Jean Stein Mr. David Gordon and Ms. Katherine Scully The Andrew W. Mellon Ms. Suzanne S. Weil Ms. Mr. and Mrs. Charles Shenk Foundation Mr. Kazuhito Yoshii Mr. and Mrs. Phillipe Grelsamer Mr. Vernon Shetley Robert and Joyce Menschel Ms. Maxine Groffsky Mr. and Mrs. Gilbert B. Foundation PATRON Mr. Bennet H. Grutman Silverman Metropolitan Life Foundation Mr. and Mrs. Don G. Abel Ms. Nan Guslander Mr. Harry R. Simino National Dance Residency Mr. and Mrs. William H. Caley Ms. Lucile Hamlin Ms. Marsha Skinner Program Mrs. Jean E. Campbell Ms. Joanna Gewertz Dr. Richard Slusarczyk The New York Times Company Mr. and Mrs. Michael Carr Harris, Ph.D. Mr. Jesse M. Smith Foundation, Inc. Ms. Virginia Dwan Mr. and Mrs. Ihab H. Hassan Mr. and Mrs. Laurence T. Sorkin Philip Morris Companies Inc. Ms. Selma Jeanne Cohen Ms. Linda I. Hirschmann Ms. Annaliese Soros The Prospect Hill Foundation Mrs. Marilyn V. Drown Ms. Elizabeth Howard Ms. Anne Markley Spivak Murray and Isabella Rayburn Dr. and Mrs. Ernst Kafka Mr. Alan Hyde and Ms. Temple St. Clair Carr Foundation Mr. and Mrs. Werner Kramarsky Ms. Ellen Gesmer Mr. and Mrs. Michael G. Sundell James E. Robison Foundation Mr. William S. Lieberman Ms. Charlotte Irey Ms. Linda Sweet Saks Fifth Avenue Mr. and Mrs. Paul Lohmeyer Mrs. Marian B. Javits Mrs. Bessie Schbnberg Varley Emma A. Sheafer Charitable Ms. Susan Lorence Mr. and Mrs. Ben Johnston Prinz Franz von Bayern Trust Mr. and Mrs. Herbert Ross Dr. John B. Josimovich Ms. Joanne W. Von Blon The Shubert Foundation, Inc. Mr. Martin Segal Mr. and Mrs. David Kaplan Mr. David Waks and Trust for Mutual Understanding Mr. Alain M. Sinturel Ms. S. A. Kelly Ms. Sandra Teger Uris Brothers Foundation, Inc. Dr. Stephen W. Smoliar Ms. Catherine Kerr Mr. and Mrs. Peter Walker Lila Wallace-Reader's Digest Mr. George Sonneborn and Ms. Jeanne H. Klein Mr. Nicholas Fox Weber Fund Ms. Judith Tokel Mr. Thomas J. Kort Mrs. Micki Wesson Madame Darthea Speyer Dr. and Mrs. Mr. and Mrs. T. AI Wheeler LEADERSHIP Mr. David Vaughan Ms. Laura D. Kuhn Ms. Elizabeth Strong Williams Mr. and Mrs. Frederick W. Mr. and Mrs. Christian Wolff Dr. Robert P. Kurshan Mr. Robert M. Wilson Beinecke II Kate and Tom Kush Mrs. Sallie Blumenthal ASSOCIATE Mr. Peter D. Lamm Reflects donations received as of The Estate of Mr. Thomas Dr. Reba Adler Mr. and Mrs. Addison Lanier 8/13/97. We apologize for any John Bordua Ms. Mae Alexander Mr. Jack Lenor Larsen omissions or errors. Please call Ms. Lindsley Chase Borsodi Madame Susan Alexander Ms. Virginia Laudisio Earnie Stevenson at 212.255. Mr. Alvin Chereskin Madam Nicole Andraos-Asseily Mr. Julian Lethbridge 8240, ext 13 with corrections.