Presents

TERE O'CONNOR DANCE

Tuesday, July 10 & Wednesday, July 11 at 8:00pm Reynolds Industries Theater Performance: 1 hour 15 minutes with no intermission LONG RUN Choreography by Tere O'Connor Music by Tere O'Connor Lighting Design by Michael O'Connor Costume Design by Strauss Bourque-Lafrance Performers Simon Courchel, Marc Crousillat, Eleanor Hullihan, Emma Judkins, Joey Loto, Silas Riener, Lee Serle, Jin Ju Song-Begin

The movement material for this work is made through a collaborative process with the performers. A heartfelt thank you to them for contributing so much inventive movement material. Their creativity, rigor, and talent are central to this work. I have tremendous respect and gratitude for them all. –Tere O'Connor

Long Run is co-commissioned by the American Dance Festival, with support from the Doris Duke/SHS Foundations Award for New Works, and Live Arts Bard at the Richard B. Fisher Center for the Performing Arts at Bard College through a Choreographic Fellowship with lead support from The Andrew W. Mellon Foundation and NYU Skirball. This presentation of Long Run is made possible by The New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, and The Cultural Development Fund. Additional funding is provided by the New York State Council on the Arts, The National Endowment for the Arts’ Art Works Grant, New York City Department of Cultural Affairs, and the research fund from University of Urbana Champaign. The development of Long Run was made possible in part by the National Center for Choreography at The University of Akron. ABOUT THE COMPANY Tere O’Connor’s choreography finds its logic outside the realm of “translation,” operating in a sub linguistic area of expression. He views dance as a system with its own properties; an abstract documentary form that doesn’t search to depict or explain. The lenses of western culture, spoken language, and dance history, often used to “interpret” dance, are subsumed into layers of the work and deemphasized. In addition to a great love of movement and a deep commitment to choreographic craft and design, more philosophical urges animate the work. From his earliest efforts, the complex entanglement of passing time, metaphor, constant change, tangential thought, and memory have ignited an exploration into the nature of consciousness for O’Connor. Choreography is a process of observation which includes multiple, disparate elements that float in and out of synchronicity. Engaging in dance as a life style constitutes a move away from the social constructs we’ve created to standardize human behavior. O’Connor’s astounding performers and renowned collaborators constitute a family of artists who are dedicated to expanding the potency of dance as a serious art form. His boldly individualist approach to choreography has contributed new thought to the form that resonates throughout its theoretical discourse. For O’Connor, meaning is arrived at in collaboration with the audience with its endlessly diverse referential scope. It is, therefore, fluid and forever open-ended. TERE O’CONNOR (Choreographer) has been making dances for 35 years, creating more than 40 works for his company, and touring extensively nationally and internationally. He has created numerous commissioned works for other dance companies including the Lyon Opera Ballet and White Oak Dance Project and a solo for Mikhail Baryshnikov entitled Indoor Man, among others. O’Connor received a 2013 Doris Duke Performing Artist Award and is a 2009 United States Artist Rockefeller Fellow and a 1999 Guggenheim Fellow. In 2014 he was inducted into the American Academy of Arts and Sciences. He has received awards from the Foundation for Contemporary Arts, Arts International’s DNA Project, and Creative Capital. He has been honored with three New York Dance and Performance (“Bessie”) Awards: one for Heaven Up North in 1988, another in 1999 for Sustained Achievement, and the third for Frozen Mommy (2005). His work has been supported by the National Endowment for the Arts, the New York State Council on the Arts, MAP Fund, National Dance Project, and many others. A much sought after teacher, O’Connor has taught at universities and festivals worldwide. He is currently a Center For Advanced Studies Professor in Dance at the University of Illinois at Urbana- Champaign. He splits his time between New York and Illinois. STRAUSS BOURQUE-LAFRANCE (Costume Designer) is a New York-based artist. Recent solo shows include Rachel Uffner Gallery, New York; T293, Rome, Italy; KANSAS, New York; and Courtney Blades, . His work has been included in exhibitions at The Kitchen, New York; SculptureCenter, New York; Abrons Art Center, New York; Judson Memorial Church, New York; Bodega, New York; Clifford Gallery, Colgate University, New York; ICA, Philadelphia; Contemporary Austin Jones Center, Texas; White Flag Projects, St. Louis; ExoExo, Paris, France; Galerie Derouillon, Paris, France; and Galerie Tobias Naehring, Leipzig, Germany, among others. Strauss received his BFA from Hampshire College, Amherst, MA, and his MFA from Tyler School of Art, Philadelphia, PA. Residencies completed include Skowhegan School of Painting and Sculpture, Dance and Process at The Kitchen, and the Movement Research AIR Program. SIMON COURCHEL (Performer) was born in Paris and studied dance at The Conservatoire National Supérieur de Musique et de Danse de Paris. He then worked with Michel Kelemenis, Jean-Claude Gallota, Karole Armitage, Yuval Pick, Tero Saarinen, Lucinda Childs, and Russel Maliphant among others. In 2006, he joined the Belgium choreographer Frédéric Flamand and his team in Marseille as a principal dancer. Since 2010, Simon has lived in New York and worked with Carolee Schneemann, John Jasperse, Maria Hassabi, Yoshiko Chuma, Paul-André Fortier, Enrico Wey, and Rebecca Lazier. Simon is currently working and collaborating with Jon Kinzel, Tere O’ Connor, and Yanira Castro. He is also developing his own work as a photographer and works at The Invisible Dog Art Center in Brooklyn, NY. MARC CROUSILLAT (Performer) dances in New York City. He currently works with Trisha Brown Dance Company and Netta Yerushalmy. He has also performed in the works of John Jasperse, Wally Cardona & Jennifer Lacey, and Alessandro Sciarroni. He works on his own improvisational practice and makes films with his sister, Stephanie. He has shown his work at Roulette, Center for Performance Research, Movement Research’s Open Performance, HyLo Boutiques, and FringeArts Philly. He has also been an artist- in-residence at Chez Bushwick and an artist at The Watermill Center’s International Summer Program. He received a BFA in Dance at The University of the Arts (2013) in Philadelphia. He has taught masterclasses at Yale University, Duke University, The University of the Arts, Gibney Dance Center, Forum Dança, and Jerusalem Academy of Music and Dance, among others. He is a recipient of the 2016 Princess Grace Award Dance Fellowship and was listed as one of Dance Magazine’s “25 to Watch” in 2017. He was born and raised in Northern New Jersey. This is his first project with Tere. ELEANOR HULLIHAN (Performer) is a performer, choreographer, and teacher living in Brooklyn. She has performed and created work with John Jasperse, Beth Gill, Jennifer Monson, Sarah Michelson, Andrew Ondrejcak, Mike Mills, Jessica Dessner, Sufjan Stevens, Lily Gold, Rashaun Mitchel, Silas Reiner, Charles Atlas, Zeena Parkins, and Tere O’Connor, among others. She received formative training from UNCSA, NYU Tisch Dance, ADF, and S. E. A. D. and with Kelly Kane, Janet Panetta, Clarice Marshall, and Christine Bratton. She was a danceWEB scholar in 2010 and co-curated MR’s spring festival in 2011. Eleanor’s fantasy performance band, asubtout, was presented throughout NYC. She has choreographed for music videos and commercials and has been a movement coach for feature films. Eleanor teaches Pilates and body conditioning at private studio and American Ballet Theater’s JKO training program. She is currently creating new work with Jimmy Jolliff and Asli Bulbul. EMMA JUDKINS (Performer) is a Brooklyn-based freelance dancer and performer with roots in her home town of Portland, ME. Most recently, she has had the pleasure of performing with Pavel Zutiak/Palissimo Company, Anna Sperber, Amber Sloan, and The Space We Make. Past artistic and performing collaborations include Kendra Portier/ BANDPortier, Phantom Limb Company, Laurel Snyder, and Kyle Abraham/Abraham. In.Motion. Emma is also a bookkeeper and freelance administrator. JOEY LOTO (Performer) studied dance at the University of Florida and moved to New York in 2013. He currently collaborates with Tere O’Connor, Ori Flomin, and Tzveta Kassabova. He has also worked with artists including Neta Pulvermacher, Hilary Easton, Yaniv Abraham, and Robin Becker. MICHAEL O’CONNOR (Lighting Designer) has collaborated with Tere for nineteen years on such projects as Transcendental Daughter, Undersweet, The Goodbye Studies, and Bleed. Other recent designs include Loveless Texas (Sheen Center), this is an Irish dance (Kennedy Center), Morgan James Grace (YouTube Studios), The Pigeon In the Taj Mahal (Irish Rep), Gregorian (WalkerSpace), The Immigrant (Penguin Rep), This Is Mary Brown (La Mama), Collin Dunne’s The Turn (City Center), Strange Country (Access Theater), Hit The Body Alarm (Performance Garage), A Celebration of Harold Pinter (Irish Rep), SHE (HERE Arts Center), Me And The Girls (Mary MacArthur Theater), Monte Cristo (Urban Stages), Ballet Next (NYLA), The Report (Lynn Redgrave Theater), Oxbow (BAM), The Fantasticks (Forestburgh Playhouse), Who’s Your Daddy? (Irish Rep), and Noctu (Irish Rep). Michael is the resident lighting designer for New Light Theatre Project and the American Academy of Dramatic Arts NYC. SILAS RIENER (Performer) graduated from Princeton University in 2006. As a dancer he has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Joanna Kotze, Jonah Bokaer, Rebecca Lazier, Kota Yamazaki, and Wally Cardona & Jennifer Lacey. He was a member of the Dance Company from November 2007 until its closure at the end of 2011 and received a 2012 New York Dance and Performance Award (“Bessie”) for his solo performance in Cunningham’s Split Sides. While performing with MCDC, Riener completed his MFA in Dance at NYU’s Tisch School of the Arts (2008). Since 2010 he has collaborated with Rashaun Mitchell. In 2013, along with Rashaun Mitchell, he was named one of Dance Magazine’s “25 to Watch.” He is a licensed stager for the Merce Cunningham Trust, a regular teacher of dance, and has been dancing with Tere O’Connor since 2012.

LEE SERLE (Performer) is a New York based choreographer, performer, and teacher from Melbourne, Australia. He has collaborated and performed in the work of Trisha Brown, Lucy Guerin, Chunky Move (Gideon Obarzanek), Shelley Lasica, Antony Hamilton, Kota Yamazaki, Stephanie Lake, and visual artist Mateo López. Lee’s choreographic work and collaborations have been presented in Australia, USA, France, and Lebanon. He was commissioned to create new dances for the Lyon Opera Ballet, Sydney Dance Company, Australian Centre for Contemporary Art, Lucy Guerin Inc., Dancenorth, and the Victorian College of the Arts. Lee was an Australia Council for the Arts Fellow (2012) and Protégé in Dance for the prestigious Rolex Mentor and Protégé Arts Initiative (2010-11), mentored by the late Trisha Brown. JIN JU SONG-BEGIN (Performer) is a choreographer, dancer, and dance teacher from Seoul, Korea, whose work has been presented internationally in Korea, Japan, Singapore, and the US. Since moving to New York in 2010, her work has been shown in many venues in NYC. In 2012, Jin Ju founded her dance company, Da-On Dance. Jin Ju dances with Douglas Dunn + Dancers and Seán Curran Company. She is thrilled to be dancing her first work with Tere O’Connor. and out of a queer vernacular. O’Connor first deflected inquiries into his sexuality with humor, mining jokes and performance LONG for their layered meanings that provoked laughter in others, rather than at him. This sense of humor is present in Long Run, its layered complexity rendering a dancer’s RUN hip pop and outstretched arms as both a by Katy Dammers witty retort and an abstracted calibration of he first time I sawLong Run in an early body parts that quickly fade into a turn as T rehearsal Eleanor Hullihan entered the phrase continues. Throughout Long Run with her arms raised up, gesturing towards definitive meaning is purposefully eluded the sky and then bending at the elbows as O’Connor delights in ambiguity amidst to extend them towards the ground. I carefully crafted movements. saw many things as she repeated this The arm phrase I loved reappeared midway sequence—a ritual of thanks to the heaven through Long Run when it premiered at and earth, a longing for an embrace Bard College some three months later. within her arms, the throw-your-arms-up On a rainy evening I sat in the darkened dejection of defeat. Over two weeks at audience as Silas Riener danced a solo the National Center for Choreography in where the arm sequence was utilized in Akron, Tere O’Connor and his cast a myriad of ways—his arms alternatively of eight dancers had developed a trove of extended up and down and in and out, multivalent phrases. He was reticent to then repeated with one arm and then the speak about them specifically, reminding other, variously speeding up and slowing me that he was “just showing the material.” down. The sequence went on to appear in O’Connor once said that “dance is a a variety of modes throughout the piece— reference salad,” and I think that’s an thematic material that was copied and apt metaphor for his work that has a revised again and again. Later all of the multiplicity of readings, purposefully dancers moved simultaneously, employing refusing to be pinned down to a narrative this phrase in a variety of ways until they or single thematic. This strategy allows gradually came together in unison to the viewer to toggle between spectrums repeat the phrase with their arms reaching of understandings, a traversal that recalls skyward. While I found this sequence as O’Connor’s own experience shifting his captivating as ever, seeing it placed within outward presentation of himself between the larger context of the final piece altered various registers as a burgeoning teenager. its resonance. O’Connor’s choreography Navigating this terrain he learned to code is finely attuned to the structure of the subtle gestures as he slipped seamlessly in work—where a sequence is placed in relationship with other phrases, the includes sections that O’Connor composed length of various parts, and the transitions and played himself on the piano and guitar, between them. For him this composition is the along with samples selected from the work itself—Long Run uses dance as a means of internet and further manipulated. O’Connor undoing normative modes of understanding. described his use of music as a means to O’Connor is a scrupulous editor, continually “set up the potential for there to be drama tinkering with the structure of his for the viewer,” and its presence works choreography. He began creating Long closely with the choreographic structure Run by working with Silas Riener, who to shape the viewer’s experience of the has been in all of O’Connor’s pieces since work. Long Run begins with a techno 2013. Over two weeks they built a solo for beat matching the walking cadence of the Riener whose dynamic shifts and elegant dancers as they begin to emerge from the phrases outline movement material and wings. Its repetitive rhythm provides a thematics that are returned to throughout solid foundation against which the slight the piece. As the rest of the dancers shifts in the movement sequence further joined rehearsals they learned Riener’s reverberate, drawing my eye towards the solo and used what O’Connor describes addition of a single releve as the dancers as the “grammar” of the phrase to create walk across the stage. O’Connor also their own variations. Instead of mimicking employs music to provide dramatic tension. the shapes and imagery of Riener’s solo A chorus of intoned vocals came on just as phrase they followed its larger structural Joey Loto slid to the floor, instantly encircled elements such as its timing, shifts in scale, in a pool of light as the scene drastically and relationships between body parts. Each shifted tone. dancer transposed the sequence in their O’Connor’s use of silence within the arc of own way, extending a subtle swivel of the the work is just as striking, with his choice hips to be a full turn, a repetition of the arm to employ long periods without music phrase into a repeated sequence in the feet. sharply contrasting with its later return. At Their variations, seen throughout the piece, one point in the piece silence comes over exemplify the ways O’Connor’s eccentricities the stage as Jin Ju Song-Begin sat center are filtered through the specificity of each stage while a soft spotlight emerged to dancer’s body—engaging them as active isolate her amidst the darkened space. collaborators in his choreographic process. As she sat motionless, looking out at the Music is another structuring force audience for what felt like a long time (I throughout Long Run—its sudden stops later found out it was about a minute) I felt and starts, changing rhythms, and melodic myself take a deep breath—it was a welcome shading quickly determining a shift in moment to reorient myself, a palette cleanser atmosphere. O’Connor crafted the music amidst the rapidly shifting piece. for this work himself for the first time—it Throughout Long Run O’Connor meditates the choreographer prescribe, and what on this act of watching, reconsidering what aspects reveal my own unacknowledged it means to look at dance as the subject. proclivities? With his persistent resistance Early on in the work the dancers stopped of narrative and focus on structure abruptly midway through a sequence O’Connor offers an opportunity to to point at something, their fixed stare reconsider how we watch dance, and more accompanied by a sudden intake of breath broadly how we determine meaning. audible in the silence. While it was hard The phrase “long run” is often used in to determine what they were staring economics to describe a period of time at, their pointed perspective drew me in during which all factors of production as if a movie-camera was zooming and and costs are variable—whereas profits narrowing its field of vision. Near the end and costs are fixed in the short run, much of the work Lee Serle, Riener, and Hullihan remains to be seen in the wide arc of sat on the ground facing the dancers with development. Amidst a career spanning their backs to us in the audience. While more than forty years O’Connor remains in this act of viewing seemed more passive, the long run of his practice, committed to the sustained presence of the dancers in working with structure and reconsidering front of the audience’s field of vision was the broader evolutions within a piece, even unavoidable. Their placement in front of as his careful crafting of the movement my perspective undergirded the physical material reveals a deep commitment to act of viewing, highlighting the bodily details. Long Run invites the viewer to nature of this ubiquitous act that I often look to the horizon, sinking in for the span forget about when I’m glued to my phone, of time as sweeping patterns and subtle my shoulders gradually slumping over until moments captivate. I look like a zombie. O’Connor’s interest in the act of watching dovetails with his interest in structure—reconsidering the ways in which our understanding of dance is mediated by the sequence in which it is viewed, the field of vision as defined by the stage space and lighting, and the ways in which this perspective changes throughout the arc of the work. Watching O’Connor’s work for many years I have found it often reveals more about my own perspective than I expected, encouraging me to reconsider how I am looking at dance. What parts of my field of vision does

Presents

WONDROUS WOMEN SOLOS CREATED BY THE ARTISTS FOR THEMSELVES

Friday, July 13 at 8:00pm Saturday, July 14 at 7:00pm The Carolina Theater ink (Solo Excerpt)

Directed and Choreographed by Camille A. Brown in collaboration with the musicians and members of CABD Dancer Camille A. Brown Musician Atiba Morales Original Lighting Design David L. Arsenault, adapted by David Ferri Costume Design Mayte Natalio Company Manager Michelle Fletcher

"This is what’s been underneath the whole time, the thing that’s carrying us through, the African spirit." –Camille A. Brown in The New York Times Propelled by the live rhythms and sounds of traditional African and handmade instruments, Camille A. Brown’s ink celebrates the rituals, gestures, and traditions of the African diaspora. Highlighting themes of brotherhood, community, and resilience, the work seeks to reclaim African American narratives and is the final installment of Brown’s dance theater trilogy about identity. THE INVISIBLE ENTANGLEMENT World Premiere Conceptual Ideation, Choreography, and Performance by Yabin Wang Music Song Zhao at Cello, Du Dapeng at Gu Qin Lighting Designer Willy Cessa, adapted by David Ferri

If dance could transform body and transcend souls, that is because as I believe my inspiration comes in the same way as quantum works, invisbly entangled as it can be, you can literarily feel its existence. In fact, when a movement of quantum is tested, you can find movement of another quantum echoed in distance away, moving in equibrilium to the one first tested. As such, that is how our body and souls can be felt by people living in different worlds, thus changing the way we think about things around us. Seeing it or not, once you believe in the way that quantum travels as your soul travels, there will not be boundaries to your persuit to truth. This piece of creation is a journey, from awaring, feeling, understanding, touching, to disappearing. This invisible entanglement is like quantum makes the physical transformation and metaphysical transcendment be tested and felt no matter who you are and where you are.

The Invisible Entanglement was commissioned by ADF with support from the Doris Duke/ SHS Foundations Award for New Works. This performance was funded, in part, by Asian | Pacific Studies Institute Duke University. Ishvara (Ī�vara) World Premiere Concept, Choreography, Aparna Ramaswamy & Performance by Musical Composition by Smt. Prema Ramamurthy Musical Arrangement by Aparna Ramaswamy and Ranee Ramaswamy Musical Ensemble Preethy Mahesh (vocal); CK Vasudevan (nattuvangam/vocal percussion and cymbals); Saktivel Muruganandam (mridangam/percussion); R. Kalaiarasan (violin) Lighting Design David Ferri Ragams Hamsadhwani, Valachi, Kapi, Behag, Nalinakanthi Talams Ekam, Roopakam, Mishram, Adi Lyrics Selections fromOru Kuralai (Thirumangai Azwar, 9th c); Vishnusahasranāmam—1,000 Names of Vishnu; Kalithokai 119 (Nallanduvanar); Nachiar Tirumozhi— Sacred Sayings of the Goddess (Andal, 9th c)

At no point in the cosmos does nature end and the Divine begin. It is nature itself that, through a subtle process of dissolution, turns into God, and it is God who, through a subtle process of manifestation, turns into nature. This work revels in the tension between the inner and the outer. Weaving together multiple textual sources, we traverse the landscape between the sacred and the personal to express deep longing, ecstasy, and the desire to merge the soul with the Paramatman (Supreme Consciousness) which, in this case, is Mahavishnu. In this piece, she asks all nature—clouds, birds, groves—to act as urgent messengers and to persuade Vishnu to be with her. The Tamil Sangam poets (300 B.C.E. – 300 C.E.) saw divinity in the physical world. Recognizing that human activities are interwoven with all of creation, they drew parallels between inner landscape and outer landscape and used the natural world as a metaphor to examine the intricacies of human emotion. Those ancient bards combined emotional inscapes and external geographies to sing of love, loss, and violence; their imagination was inclusive and expansive. Nachiar Tirumozhi (Sacred Sayings of the Goddess)—a text of 143 verses by the 8th century Tamil mystic poet, Andal—reveals her intense longing for Vishnu. In Andal’s direct communication with the divine, she upends established ritual and uses the power of art (song, dance, and poetry) to erase the divide between the infinite and the intimate. The Vishnusahasranāmam (The Thousand Names of Mahavishnu) describes him as master of all the worlds, the supreme light, the essence of the universe; all matter animate and inanimate resides within him and he, in turn, resides within all matter. The Sanskrit word "Ishvara" means, “He who holds sway over all.”

Ishvara (Ī�vara) was commissioned by ADF with support from the Doris Duke/SHS Foundations Award for New Works. Phase 4: In God's Design We Trust World Premiere Choreographed & Performed by Rhapsody James Music Production (Composer) Mark Cruz, various artists Script Nicco Annan Lighting Design David Ferri Costume Rhapsody James The time has come to enter Phase 4 of your life. The phase where it is realized that you are walking in the God's design of life. There have been many hills, valleys, and wrong turns, but you have still made it to the place where you are meant to be. There are no mistakes in this design, all you have to do is trust and continue to walk the path. Choreographer Rhapsody James brings you through the 3 phases of her creative life leading us to Phase 4, the encounter where spirit, gift, choice, and trust collide. Told through her signature fusion style of Street Jazz, witness the premiere of PHASE 4: In God's Design We Trust. Phase 4: In God's Design We Trust was commissioned by ADF with support from the Doris Duke/SHS Foundations Award for New Works.

INTERMISSION

thenow World Premiere

Choreographed and Performed by Michelle Dorrance Music and Sarah Neufeld Lighting Design David Ferri

thenow was commissioned by ADF with support from the Doris Duke/SHS Foundations Award for New Works. –– CAMILLE A. BROWN –– CAMILLE A. BROWN is a prolific choreographer making a personal claim on history through the lens of a modern Black female perspective. She leads her dancers through excavations of ancestral stories, both timeless and traditional, that illustrate stories which connect history with contemporary culture. She is a 2017 Ford Foundation Art of Change Fellow, 2017 Irma P. Hall Black Theater Award nominee, a four-time Princess Grace Award winner, 2016 Jacob’s Pillow Dance Award recipient, 2016 Guggenheim Fellowship recipient, 2015 USA Jay Franke and David Herro Fellow, 2015 TED Fellow, and 2015 Doris Duke Artist Award recipient. Her company Camille A. Brown & Dancers received a 2014 "Bessie" award for Outstanding Production for the workMr. TOL E. RAncE and was nominated for a 2016 "Bessie" award for Outstanding Production for the work BLACK GIRL: Linguistic Play. Brown’s work has been commissioned by Alvin Ailey American Dance Theater, Philadanco!, Complexions, and Urban Bush Women, among others. She is the choreographer for the Tony Award winning Broadway revival of Once on This Island, for which she received Outer Critics Circle, Drama Desk, and Chita Rivera award nominations. Other theater credits include the musical BELLA: An American Tall Tale, for which she received an AUDELCO award and Lucille Lortel nominations. Currently Brown’s latest work ink is the final installation of the company’s dance theater trilogy about culture, race, and identity. Brown’s TED-Ed talk "A Visual History of Social Dance in 25 Moves" has more than 15 million views on Facebook and counting. ATIBA MORALES has been a D'Jembe and Dun Dun drummer for 22 years. He was taught by his older sister, a master drummer, and got his start playing at Bernice Johnson's Dance School. Since then he has played with numerous African dance companies and schools. Atiba also currently teaches D'Jembe and Dun Dun drumming and plays for dance classes at public, private, and after school programs throughout New York City. He has been working with these programs for over 19 years. –– YABIN WANG– YABIN WANG is China’s most renowned contemporary dancer and choreographer. She has won numerous gold prizes in Chinese national and regional dance competitions. In 2009 Yabin Wang started her own studio, Yabin Studio, and has produced a dance performance every year since then under the brand name Yabin & Her Friends. Her dance company produces full-length dance programs and commissions choreographers from the US, Europe, and China to create new works of dance. Her extraordinary talent has received praise from critics and artists alike, both as a dancer as well as a choreographer. She has gained a reputation as the most promising and pioneering choreographer, dancer, and producer of new contemporary dance in and outside China. In 2014, Yabin Wang was commissioned by English National Ballet Artistic Director Tamara Rojo to choreograph a ballet for the triple bill “She Said” in celebration of female choreographers which premiered in 2016 at Sadler’s Wells, London. Yabin Wang choreographed “M-Dao” as part of the triple bill. This production, together with “Akram Khan’s New Giselle," won the 2017 Laurence Olivier Award for the English National Ballet in Outstanding Achievement in Dance. Yabin Wang has worked with numerous renowned choreographers including Sidi Larbi Cherkaoui, Elisabeth Roxas-Dobrish, Mark Haim, and Tamara Rojo and composers including Pulitzer Prize-winning composer Zhou Long and Tony Award-winning composer Jocelyn Pook. Yabin Wang was invited to participate in the American Dance Festival International Choreographers in Residence, during which time she premiered the dance Sepia, choreographed by Tatiana Baganova. www.behance.net/wangyabin | www.vimeo.com/yabinstudio –– APARNA RAMASWAMY –– APARNA RAMASWAMY is Co-Artistic Director, Choreographer, and Principal Dancer of Ragamala Dance Company (, MN) with her choreographic partner (and mother) Ranee Ramaswamy, who founded Ragamala in 1992. As dancemakers and performers, their creative vision merges the rich traditions and deep philosophical roots of their Indian heritage with their hybridic perspective as first generation Indian- American artists. Born in and raised both in India and the United States, Aparna is protégé and senior disciple of legendary dancer/choreographer Alarmél Valli, known as one of India’s greatest living masters. Aparna’s training under Ms. Valli has formed the bedrock of her creative aesthetic. Described by The New York Times as “thrillingly three-dimensional… rapturous and profound” and selected as a 2017 Research Fellow by the Rockefeller Foundation Bellagio Center in Italy, Aparna is a recipient of a 2018 Guggenheim Fellowship, a 2016 Doris Duke Performing Artist Award, a 2016 Joyce Award, a Bush Fellowship for Choreography, and three McKnight Artist Fellowships, among others. Aparna was selected as one of Dance Magazine’s 25 to Watch for 2010. Aparna and Ranee’s choreographic work has been commissioned by the , Lincoln Center, Krannert Center at the University of Illinois, Clarice Smith Center at the University of Maryland, Opening Nights Performing Arts at Florida State University, and the Arts Center at NYU Abu Dhabi in the United Arab Emirates, and has been developed in residence at the Maggie Allesee National Center for Choreography, NYU Abu Dhabi, and an NPN residency at The Yard. Ragamala Dance Company has toured extensively, highlighted by Jacob’s Pillow Dance Festival, the Kennedy Center, the Joyce Theater, Lincoln Center, Walker Art Center, Museum of Contemporary Art Chicago, International Festival of Arts & Ideas, the Arts Center at NYU Abu Dhabi (United Arab Emirates), Just Festival (Edinburgh, UK), Bali Arts Festival (Indonesia), Sri Krishna Gana Sabha (, India), and National Centre for Performing Arts (Mumbai, India). Aparna’s solo work, performed with live music, has toured widely in the US and India, supported by the National Dance Project and USArtists International. Aparna is currently working with composer/violinist Colin Jacobsen on a new work commissioned by and for the Silk Road Ensemble, to premiere in 2019. www. ragamaladance.org –– RHAPSODY JAMES –– Rhapsody James began her career as a choreographer after receiving her BFA from Purchase College (NY). Born in Brooklyn, her first job was at Sony Music as an Executive Assistant, which planted the seed for her foray into the commercial dance industry. James quickly became a lead choreographer for the NBA New Jersey Nets Dance Team and a principal dancer in the acclaimed "Put Your Hands Where My Eyes Can See" music video by Busta Rhymes. Keeping up her flair for business and choreography, James parlayed those roles into appearances on the commercial dance world’s leading stages: MTV's TheGrind, VH-1 80's Dance Party, VH-1 Fashion Awards, and Lip Service. James’ accolades in the commercial world opened the door for her to begin teaching at Broadway Dance Center. Today, she continues to be one of the most popular hip-hop teachers and has stewarded relationships between the commercial and concert dance within the studio’s walls. James is also a part of the esteemed faculty of Monsters of Hip Hop Dance Convention and teaches master classes throughout Los Angeles, Miami, Japan, London, Finland, Switzerland, Germany, and Australia. Her credits include Beyoncé, , Ariana Grande, Britney Spears, Mariah Carey, Nicki Minaj, J.Lo, Diddy-Dirty Money, Puff Daddy, Trey Songz, Kalenna, SEVYN, The Jonas Brothers, The Pussycat Dolls, The Spice Girls, Cassie, Jay Sean, Step Up 2: The Streets, Making The Band: Season 4, and commercials for the NY Lottery, Citron Car Company, and ESPN. Proclaimed the "Queen of Street Jazz" on the 2012 cover of Dance Teacher Magazine and labeled as the #1 female choreographer in the 2015 HUFFPOST's article "Top 26 Black Female Choreographers to Know," Rhapsody James proves she is a household name in the commercial dance industry. Not one to limit herself or the students and dancers she works with, James has several programs she continues to pursue artistic inspirations under. She is the Artistic Director/ Choreographer of R.E.D. – Rhapsody En Dance, Director/Creator of a multimedia cabaret show Siren Assassins, and the Artistic Director of her commercial dance training program called Motivating Excellence. All of these ventures allow James the creative outlet to continue pursuing her unique fusion of various dance styles with all disciplines of art, beyond performance. –– MICHELLE DORRANCE –– Michelle Dorrance is a New York City-based tap dancer, choreographer, director, and teacher and the Founder/Artistic Director of Dorrance Dance. Mentored by Gene Medler, she grew up performing with his North Carolina Youth Tap Ensemble and has since performed in Savion Glover’s ti dii, Derick Grant's Imagine Tap!, Jason Samuels Smith's Charlie’s Angels/Chasing the Bird, STOMP, company work with Manhattan Tap, Barbara Duffy & Co, JazzTap Ensemble, Rumba Tap, and original work by legends Dr. Harold Cromer and Mable Lee. Recent highlights include CBS’s The Late Show with Stephen Colbert, The Royal Variety Show, a high-fashion short film for Tabitha Simmons, collaborating and performing with inspirations Dormeshia Sumbry-Edwards, Derick Grant, Toshi Reagon, Nicholas Van Young, Ephrat Asherie, Damian Woetzel, Lil' Buck, Bill Irwin, and Tiler Peck, and choreography commissions for The Dance Company, The Guggenheim Museum, and American Ballet Theatre. A 2018 Doris Duke Artist, 2017 Ford Foundation Art of Change Fellow, and 2015 MacArthur Fellow, Michelle is humbled to have been acknowledged and supported by United States Artists, the Joyce Theater, New York City Center, the Alpert Awards, Jacob’s Pillow, the Princess Grace Foundation, Crain's New York, the Field, American Tap Dance Foundation, and the "Bessie" awards. A passionate educator, Michelle holds a BA from New York University. She teaches on faculty at IFTRA and Broadway Dance Center and as a guest artist at universities, festivals, and arts organizations throughout the world. She wishes to credit the master hoofers from whom she studied in her youth for constant inspiration and influence. 2018 ADF FUND CONTRIBUTORS Includes contributions received October 1, 2017 VISIONARY ($100,000+) Brenda Brodie Doris Duke Charitable Foundation Susan and Thomas Carson Duke University Tom and Nancy Carstens SHS Foundation Carolina Woman Magazine + Durham/ Chapel Hill Magazine + Bruce and INNOVATOR ($50,000+) Rebecca Elvin 315 Fund Susan T. Hall City of Durham Richard and Ford Hibbits National Endowment for the Arts Mary Love May and Paul Gabrielson North Carolina Arts Council Nancy Carver McKaig Carlton Midyette PRODUCER ($25,000+) Office of Cultural Affairs, Consulate General Asian Cultural Council of Israel in Atlanta The Shubert Foundation Caroline and Arthur Rogers Judith Sagan SUSTAINER ($10,000+) Russell Savre Arnhold Foundation South Arts CAMBRiA Hotel* SunTrust Foundation Fox Family Foundation Taiwan Academy of TECRO/Ministry Thomas R. Galloway of Culture in Taiwan Giorgios Hospitality & Lifestyle Group The Jones Dance Education Scholarship and Parizäde* The Harkness Foundation for Dance Li Hong and Yabin Wang Trust for Mutual Understanding Curt C. Myers Nasher Museum of Art CREATOR ($2,500+) New England Foundation for the Arts American Tobacco Campus Office of Cultural Affairs, Consulate General Association of Performing Arts of Israel in New York Professionals, Inc. Parkinson’s Foundation Suzanne Begnoche and Pavan Reddy PNC Josh Bond and Quentin Pell Adam Reinhart The Duke Energy Foundation Charles Reinhart Durham Merchants Association Robert and Mercedes Eichholz Foundation Charitable Foundation The Catering Company of Chapel Hill* Dr. James A. Frazier The Esther and Otto Seligmann Foundation, C. Thomas Kunz Inc. North Carolina Museum of Art The Mary Duke Biddle Foundation Eugene Oddone and Grace Couchman Susan Rosenthal and Michael Hershfield Sam’s Quik Shop and Sam’s Bottle Shop* SciMed Solutions, Inc. PIONEER ($5,000+) Smitten Boutique 21c Museum Hotel Durham* Spain-USA Foundation Cultural Center Anonymous The Israel Center of the Durham-Chapel Anonymous Hill Jewish Federation Anonymous Thomas S. Kenan III Bernard Bell and Stacy Cole INVESTOR ($1,000+) Angela Sessoms, in honor of the Adrienne Arsht Center for the Performing Christopher Cherry Family Anonymous James N. Siedow, in memory of Mary Arts of Miami-Dade County Siedow Marcia Angle and Mark Trustin Fund of Mindy and Guy Solie, Triangle Community Foundation in honor of Jodee Nimerichter Melinda and David Thomas Helen and Richard Tapper Connie and Elliot Bossen, Dianne and Daniel Vapnek Silverback Foundation Wells Fargo Alison S. Bowes WUNC+ BuildSense Lyell and Paul Wright Bull City Advisors Amy Chavasse and Dan Kindlon, LEADER ($500+) in memory of Rodger Belman ACME Plumbing Company Christopher Rand Construction Alliance Architecture Classic Graphics* Atelier N Fine Jewelry Sharon M. Connelly, in honor of Charles Don Ball and Stephanie Reinhart and Gerry and Robin Barefoot Martha Myers Sarah and Christopher Bean Craven Allen Gallery, House of Frames* Blackman & Sloop Certified Public Durham Arts Council Accountants Enterprise Holdings Foundation Dan and Kathy Burns, in memory of John and Carolyn Falletta Allen D. Roses and in honor of Russ B. Gail Freeman and Susan Gidwitz Savre Gateway Building Company Rosie Canizares Misty and John Gay Carolina Women’s Wellness Center Laura and Bob Gutman Robin L. Dennis Ivy Community Service Foundation of Cary, Duda|Paine Architects Inc. Duke Asian | Pacific Studies Institute Jewelsmith Inc. Elkin Family Fund Drs. Samuel Katz and Catherine Wilfert Courtney Ellis Gene and Diane Linfors emma delon EiIeen Greenbaum and Lawrence Mintz Eno Ventures Tom Mitchell and Jill Over Jim and Jane Finch Jodee Nimerichter and Gaspard Louis, Beth Friedland, in honor of Mary Lou Nimerichter, in memory of Shirley Friedland Girish Bhargava, and Rodger Belman Campbell and Susana Harvey Partners in Performance Susan Herst, Broker/Partner, Picnic* Urban Durham Realty Francine and Benson Pilloff Angela Hodge and Adnan Nasir PMG Arts Management, LLC Hodge Kittrell Sotheby’s Québec Government Office in New York International Realty, Jack Arnold RED Collective: Connie Semans, Scott and Julie Hollenbeck Jerry Conrad, Chloë Seymore Kate Kadoun, Jim Sanders, in memory of Dora C. Sanders in memory of Stephanie Reinhart Anne Sena, in memory of Sue Crawford Kennon Craver, PLLC KONTEK Systems, Inc. Larry’s Coffee* Hank Majestic Leland Little Auctions Edward and Connie McCraw Allen and Lucy Martindale Lisa J. McQuay Leon Meyers, North Carolina State Employees in honor of the Saunders-Roses family Combined Campaign Morgan Imports John Victor Orth Nana’s Taco Philip Pavlik Richard Newell and Bonnie Nevel Melodie Griffin Pugh Northgate Associates LLLP Josephine Rand, in honor of Gerri Houlihan One Forty Salon and Blow Dry Bar Sandy and Art Rogers Richard and Janice Palmer Karen Soskin and Stephen Haskin Pappas Capital, LLC. Svetkey - van der Horst Fund of Triangle Patricia Pertalion Community Foundation, in honor of Patricia S. Peterson Diane Robertson Piedmont Investment Advisors, LLC Sharon Taylor and Willie Covington David and Ingrid Pisetsky Alice and Clarke Thacher Anne and Billy Pizer The Mad Popper* Mary Regan The Walling Family Ride Cycle Studio Anne Wall Thomas Gerry Riveros and Gay Bradley Mr. and Mrs. Scott B. Wishart Rebekah Shoaf Douglas Young and Patricia Petersen Bill and Lucy Stokes Debara Tucci and Kevan VanLandingham ENTHUSIAST ($100+) Ward Design Group Carolyn Aaronson Myra and Nils Weise Mary Eileen Anderson Andy and Ginny Widmark Kathryn Andolsek Cynthia Wyse Deborah Barab Glenna Batson COLLABORATOR ($250+) Hope Blecher, in honor of Loren Sass Elizabeth M. Amend Julia Borbely-Brown Lisa Berot Dorothy Rose Borden, Mimi Bull, in honor of Jodee Nimerichter z in memory of Julia D. Wray Nicola Bullock Kayla Briggs Janice Christensen Carol and Webb Burgess Leah Cox and Bob Bursey Caroline Calouche Linda Y. Cooper Karen Campbell and Bob Galloway Todd Dickinson and Helen Kalevas Carol Cappelletti and Dan Weinlandt Mia and Scott Doron Diane and Chuck Catotti Paula and Dale Graff Cocoa Cinnamon* Guglhupf Bakery, Cafe, and Restaurant* Betsy Collie - Rapid Results Fitness Gayla Halbrecht Jeffrey Collins and Rose Mills Judy and Shannon Hallman Joanne and Michael Cotter Charlotte and Andrew Holton Janet Dale Joe Van Gogh* Ann and Robert DeMaine Michael and Mary Justice Sarah Deutsch Jane Kestenbaum Duke Durham Neighborhood Partnership Dr. Annette and Norman Kirshner Salena and Douglas Elish Dawn E. Enochs Peggy Wallin-Hart, Muki W. Fairchild and Charles Keith in memory of Rodger Belman Alison and Scott Gatherum Martin Wechsler and David Fanger Carmelo Graffagnino Patricia L. Weeks, Jenny and John Grant in memory of Rodger Belman Marie Grauerholz Laura Weisberg and David Wong, Treat Harvey and Regina de Lacy, in honor of Lillian and Sam Weisberg in honor of Jodee Nimerichter Lynn E. Whitaker Dorothy L. Heninger David and Rita Whitney Brian E. Hogg Allen and Claire Wilcox Jane Hoppin Heather and David Yeowell Joseph P. Horrigan Sandra Zellinger Gerri Houlihan, in memory of Rodger Belman FRIEND ($1-$99) Lori N. Jones Anonymous Stephen and Shelley Keir Anonymous Marlene Kibler Anonymous Nathanael and Brianne Kibler, Anonymous in honor of Cynthia Wyse Anonymous Judy Kinberg, in honor of Jodee Nimerichter Cameron Ayres Gigi Krapels Glenna Batson Shelli Lieberman Jay and Belva William Lynch Lori Snyder Bennear Elaine and Lee Marcus Maura Berry Mark McCarty, Evelyn S. Bloch in memory of Rodger Belman BLOK Architecture, PLLC. Albert McMahill Craig Bouchard and Tonia Burton- Kellie Melinda Bouchard, in memory of Rodger Belman Linda Miller, in memory of Rodger Belman Chris and Mandy Brannon Jeanne and Brian Murray Carol Burgess Patricia Mydlow and Gary Pakes Caroline Calouche Norman G. Owen and Roberta Yule Owen Jody and Ronnie Cassell Doren Madey Pinnell Shaela Davis Margaret and Justin Potnick Daniel Ellison Sandra Reid, in memory of Rodger Belman Whiteney Evanse Lao Rubert and The Honorable Tamara Faison Stephen Schewel Jenny and Monty Favret Jeanne Ruddy Kelsey L. Favret Kristin Skelley Russell Favret Ellen Stone Sylvia Favret, in honor of Kelsey Favret Dean and Ann Taylor Emily Feldman-Kravitz and Rich Kravitz, Alan Teasley in honor of Rebecca Elvin Mary Thacher Joyce and David Gordon, Katrin A. Thompson, in memory of Mary Lou Nimerichter in honor of Gerri Houlihan Jami Grossfield Amy and Pete Tyler Priscilla A. Guild Art Waber and Alyson Colwell-Waber Deborah and Keith Hall Bobbie Hardaker, in memory of Dr. William T. Hardaker, Jr. Tom and Polly Harris Scott and Richard Hill Carolyn Hoehner Diana Hoffmaster Carolyn Hoehner Julie Horton and Bill Beard Margaret Hurwitz Robert Jankowski Elizabeth Johnson, in honor of Nancy McKaig Sara Juli and Chris Ajemian Jane Kelly Kassandra Kolbeck Sarah Louisa Lanners Janet Lilly Judi Lilley Killian Manning James Marsh Jeanine McClain Kathi Mello Denny and Helen O’Neal Nathaniel Parrott Sarah Peterson Abigail Reid Jeanna M. Reschly Susan Ross and Tom Hadzor Loren Sass Ruth Satinsky Sieber Scott Shore and Rebecca Boston Dallas and Donna Stallings, in memory of Mary Lou Nimerichter Michael Stolbach Deborah Swain, in memory of Betty Kovak Caitlyn Swett Robert Swett Marsha A. Thomas Gale Touger Dorothy Uhl Daryl Farrington Walker, in honor of Lola Davis Jones Nicolle Wasserman CONTRIBUTOR KEY Mary Water Erin Whyte * In-Kind Community Partner + Media Sponsor CAPITAL CAMPAIGN FUND SAMUEL H. SCRIPPS STUDIOS

$100,000+ $1,000+ SHS Foundation and Richard E. Feldman, Mr. and Mrs. Pete Allison, Jr Esq. Eileen and Lowell Aptman $75,000+ Robert and Kathleen Buchholz Allen D. Roses, MD Mimi Bull The Scripps Family George and Ginger Elvin Laura and Bob Gutman $20,000+ Roger and Joan Hooker Jody and John Arnhold Li Hong and Yabin Wang $500+ Martha and Curt Myers Gerri Houlihan Stephen H. Judson $10,000+ William Lynch Anonymous Ted Rotante Robert Battle Michael and Joan Spero Mr. and Mrs. John W. Claghorn III and RBC Elizabeth and Larry Wilker Wealth Management Wellspring Fund of Triangle Community The Elvin Family Foundation Fox Family Foundation Alex and Ada Katz $250+ Ozzie and Mary Nagler Piedmont Investment Advisors, LLC Charles L. Reinhart Dan and Kathy Burns Judith Sagan Carol and Curt Richardson Alice and Clarke Thacher $5,000+ Allen and Diane Wold Richard and Dierdre Arnold Keith and Brenda Brodie $100+ Sharon M. Connelly Tom and Shauna Farmer Mitchell deLong and Betty Burton John and Lucy Grant Joseph Fedrowitz and Mitchell Vann Kevin and Myra Kane Pamela and Isaac Green and Family Dan and Martha Milam Ford and Richard Hibbits Stettner Family Jodee Nimerichter and Gaspard Louis Elizabeth and Keith Wexelblatt Jason D. Palmquist <$100 Caroline and Arthur Rogers Laura Bowen Andy and Barbra Rothschild Molly Brown Alex Sagan and Julie B. Altman Denise Harrison Bruce Sagan Coolie and Thad Monroe Paul and Ann Sagan Jim and Mary Siedow Jay and Toshiko Tompkins $2,500+ Amy and Jeffrey Silverman ENDOWMENT FUND $2,000,0000+ Kathy and John Piva Doris Duke Charitable Foundation Mary Regan SHS Foundation Susan Ross and Tom Hadzor $250,000 - $499,000 Michael C. Schindler National Endowment for the Arts $100 - $200 $100,000 - $249,000 Anonymous Paul J. Schupf Terri Arledge Luise Scripps Lori Arthur Nancy B. Sokal Off Topic Book Club Mary G Campbell $15,000 - $50,000 Craven Allen Gallery, House of Frames Anonymous Al and Karen Crumbliss Beinecke Family M'Liss and AnsonIn Dorrance Herbert M. Lehman and Edgar B. Lehman Earl Dowell Gayle Miller Cavett and Barker French Estelle Sommers Malcolm and Elizabeth Gillis Anne Wall Thomas Janet L. Grogg $5,000 - $10,000 Dr. and Mrs. Robert Heckel Thomas S. Kenan Foundation Elizabeth K. Hussey Thomas S. Kenan, III Mr. and Mrs. A. Bradley Ives Douglas Zinn Kevin and Myra Kane $1,000 - $4999 Lisa and Emil Kang Carolyn Aaronson John and Joy Kasson Tom Kearns and Jane Ellison Moyra and Brian Kileff John and Carolyn Falletta Timothy Kuhn Jenny Semans Koortbojian Shelli Lieberman Jodee Nimerichter and Gaspard Louis David Lindquist and Paul Hrusovsky Kathy and John Piva R.M. Lowder Barbra and Andy Rothschild D.G. and Harriet Martin Guy and Mindy Solie Lanier and James May Mrs. Jerome J. Stanislaw Mac and Wendy McCorkle $250 - $500 Melissa Mills Jack Arnold and Robin Harris Darelyn"DJ" and Barry Mitsch Robert and Beverly Atwood James and Susan Moeser Dr. Charlotte Clark Ted and Pati Opalka Mary and Bill Dewey Richard and Janice Palmer Thomas Fenn Joan C. Pharr Stephen Gheen and Cathy Moore Wyndham Robertson GlaxoSmithKline, Inc. Carolina and Arthur Rogers John Hammond Kay and Mark Rountree Evan and Suma Jones Judith Ruderman Lori Leachman and Peter Lange Reid Saleeby Chapel Hill Investment Advisors Dr. and Mrs. Robert E. Scheiber The Mary Duke Biddle Foundation Kathy and Steve Simon Josie Patton Patricia L. Spencer Andrew Tansey and Lou Frost Leo and Laurie Lambert and the Faculty and Staff of Elon University Jane Shuping Tyndall Tyler Walters and Julie Janus Walters $25 - $75 Patricia Basta and Edgar Hill Paul Noonan Mr. and Mrs. Edward Toth Kate and Coke Ariail Andrew and Caelia Bingham Mary Ann Black Anne Craver Cathy Eason Allison Haltom and David McClay James Marksbury Marilyn Metcalf Joseph P. Morra Patrick and Pamela Murphy Dr. and Mrs. David A. Orsinelli Susan and Lars Pedersen Dorothy Silverherz Maria Romano Wade and Ann Smith G Sefton Stevens Kathleen and Matthew Sullivan Ryan and Bronwyn Thornburg Robert W. Upchurch Mary and Brent Voelkel David and C.C. Winslow Beverly Biggs Patrick and Evelyn Coleman Charles R. "Chuck" Davis Melynn Glusman and Tim Nordgren Jodi and Glenn Preminger Lori Sisk Post Performance Discussions

Join Us! Post Performance Discussions (PPDs) provide a unique opportunity for patrons to meet the festival artists, ask questions, and gain insight into the creators’ work and vision. PPDs take place after select evening performances throughout the summer. Please check the calendar located in the middle of the playbill for the PPD schedule.