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HAWAI'I Presented by Pioneers, U II Theatre & Dance Departrnent and Tim Bostock Productions

Friday March 19 and Saturday March 20, 2010, at 8 pm

Supported by The Hawaii State Foundation for Culture and the Arts, The Atherton Foundation, and the Ritchie Gregory Fund. Special Thanks to the staff and students at Kennedy Theatre, Piikea Miller at Hawaii Community Foundation, Marilyn Cristofori and Dance Pioneers, the Aqua Waikiki Pearl. UNIVERSITY of HAWAI 'I ( MANOA 1_Vnne& 7fieatr~ HAWAI'I Joyce Baker started taking dance classes while in college, learning international while at the University of Oregon. Since then she has dabbled in many different dance genres. including tap, Javanese. . Argentine tango, Lindy, and contradance. She performed with the Karadeniz Folk Dance Ensemble and the Omega Dancers. and served as director of the latter from the early 1980s to the early 2000s. She currently is an active member of the local recreational folk dance community and attends a Hungarian music and dance camp in Seattle almost every summer.

Michael Cahill began dancing when she was four years old. Her background is in tap. and jazz. Michael's first major experience with traditional Guinean dance was in 2002. Since then. she has immersed herself in this sty1e of music. She has been to Guinea two times to study dance and drum and hopes to return very soon.

Cocoa Chandelier recently exited the Kennedy Theatre mainstage as the lead role of The White Snake and is back for more after returning last semester to the University of Hawaii at Manoa for a degree in Theatre and Dance. Has been officiated as Artist-in-Residence at the Leeward Community College after contributing an array of talents as choreographer, costume design and artistic direction after several years of participation in both the Drama and Dance departments. Travels continuously as an advocate and spokesperson for H.I.V/AIDS within the Pacific Islands and Polynesian based communities and holds several pageantry crowns over her wigs.

Celia Chun has danced principal roles with the Honolulu Dance Theatre, Ballet Hawaii, Hawaii Ballet Theatre, and Hawaii Opera Theatre. Ms. Chun is the 1996 recipient of the Hawaii State Dance Council Award recognizing her contribution to the arts in Hawaii and the 1999 Individual Artist Performing Arts Fellowship established by the State Foundation on Culture and the Arts. Ms. Chun currently teaches at Mid-Pacific Schoolof Performing Arts.

Originally from the Big Island, Malia Delapenia has graced the stage with her multifaceted encompassing unique music, versatile props, and contagious fervor. Her ability to captivate her audience with her unique cabaret fusion style and awe inspiring choreography has made her world renown as a master instructor and performer. She has been featured in several highly reputable productions such as: Mozart's "Abduction from the Seraglio" at Hawaii Opera Theater, "Mardi Gras Follies" at Hawaii Theater, and University Hawaii Symphony Holiday Showcase. She is Oahu's top rated belly dance instructor, exceptional professional performer, and talented director of her own professional dance company, Belly Dancers in Paradise. For more on Malia and Belly Dancers In Paradise please visit www.MalialnHawaii.com .

Peter Rockford Espirirtu (Tau) is the founder, Artistic Director, and primary choreographer of Tau Dance Theater. Hawai'i's critically acclaimed professional modem dance company. In its 14th year, Tau is a non-profit 501(c)3 arts organization that reflects the multi­ culturalism of Hawai'i and the Pacific Rim , honoring traditional art forrns while setting new standards for modern Polynesia through the arts. Tau has the distinguished privilege of being the only professional western form dance company based in Hawai'i directed by a native Pacific Islander. Tau's movement based viewpoint produces specific artistic images that are unique to Hawai'i's geographical location, Pacific Island culture, and native pluralism.

Betsy Fisher's dance career includes international touring as a soloist and as a member of the Murray Louis Dance Company. Her choreography has been presented in the US, Europe and Asia. She was a Fulbright Scholar in Finland, a Sr. Lecturer of Dance at the Hong Kong Academy of Performing Arts, and is currently Professor of Dance at UH Manoa. Betsy holds a Doctor of Arts in Dance from the Theater Academy of Finland, an MAin Dance and Cultural Anthropology from NYU , and a BFA Dance from the Juilliard School. Cheryl Flaharty is the choreographerlfounder of the award-winning IONA Theatre which began in the Hawaiian Islands in 1990. IONA is lauded for its harmonious and innovative blend of Eastern, Western and indigenous Influences infused With extravagant costumes, witty spoken text, and video, creating a consummate experience that reaches beyond dance to total theatre. The Company has toured nationally and internationally. Raised in Hawaii, Flaharty received a B.A. in Dance from the Umversrty of Hawaii and performed as a principle dancer with Betty Jones' and Fntz Ludin's We Dance Company. She also worked with Japanese butoh master Poppo Shiraishi, performing as a principle dancer in his Go Go Boys company in New York from 1985-1990. Flaharty is the recipient of SIX Hawai'l State Dance Council choreographic awards, the State Foundation on Culture and the Arts' Individual Artists Fellowship, and the Baciu Award for cutting edge work. Mary Jo Freshley was born in Ohio(1934) and has BS (1956) and MS (1959) in Education from Bowling Green State University, Bowling Green, Ohio. She attended the American Dance Festival in New London, CT. in the summer of 1959, and came to Hawaii in 1961 to teach health and physical education at Kamehameha Schools, using a movement education approach. Freshley has performed in concerts at the University of Hawaii (1960s-1970s) under Cart Wolz: also Filipino dance, Javanese dance and music, European Folk Dance, Okinawan dance, Hula, and . Freshley started assisting/teaching at Halla Huhm Korean Dance Studio in 1974to present. She studied in Korea on various occasions from 1972-1995, and has taught the Korean dance class at UH since 1998.

Chansri A. Green is a teacher, choreographer, and performer who studied at the Jeffrey Ballet School, the Harid Conservatory, and the Juilliard School. She received her BFA in Dance, concentration in education, from Columbia College Chicago in 2003. In 2004, she moved to Hawaii to further pursue her education and attended the University of Hawaii at Manoa on fellowship. In 2007, she received a MFA in Dance, concentrations in education & performancelchoreography. During the past six years she has taught and choreographed dance at the University of Hawaii at Manoa, Kapiolani Community College, Punahou Dance School, The ARC of Hawaii, and The Movement Center, where she is currently serving as the Artistic Director, Director for the TMC SaHel Program and the choreographer for The Encore Dance Project.

David Heller, was bom in Manhattan, Kansas, otherwise known as ·The Little Apple: One fateful hot summer afternoon in 1999, David witnessed B-boying, known to the masses as break dancing for the first time, up close. With no formal training, David has spent the last ten years learning all of his moves from the underground music scene in the mid-west, and most recently Hawaii. His dance resume also includes performing on stage for hip-hop legend KRS1, Cirque Hawaii, Puja: An Annual Dance Concert, and currently he dances at a bi-monthly event known as Global Cafe at Ocean's Nightclub. Today, David spreads his love of dance to all ages through his breaking and popping classes in addition to his performances because for David, dancing is a way of life. ,

Mabel Ho began her dance training in 2006 when she joined the Phoenix Dance Chamber. She has performed in various community events on Oahu, Maui, and Big Island. She has also performed in concert at the Hawai'i Theatre in Spirit of China, 2007, and Legacy of the Phoenix, 2009.

Mestre Kinha is from Rio de Janeiro, Brazil. He began studying capoeira when he was 7 years old and became a master (mestre) when he was 24 years old. He has been teaching capoeira for more than 20 years. He came to Hawaii in 2001 to instruct capoeira and then founded his own school called The Association of Capoe1ra Besouro in 2004. Mestre Kinha teaches capoeira to children and adults.

Diane Letoto, Ph.D., founded the Phoenix Dance Chamber in 1989 under the mentorship of Professor Liu Youlan, Ethnic Folk Dance Specialist of the Dance Academy. Letoto's dance training includes over 13 years of study in the Noenoelani Zuttermeiester Hula Halau, 15 years of Shin Buyo in the Yamada Minyo Dance School, classes with Onoe Kikunobu at the University of Hawai'i at Manoa, and modem and ballet ever s1nce the 1970s. Letoto was artistic director of several dance concerts in Hawai'i and co-produced the Warriors of Qin, a dance concert featuring the Hong Kong Academy for Performing Arts. Carmen Linhares has been dancing since she was a small child. She stludied and performed Ballet, Jazz, Modern, Ethnic dance; West African, Caribbean, Brazilian, and Hula. Carmen has also taught West African and Brazilian dance. Bra;~ilian dance (samba) led carmen to study Capoeira, which she has been dedicated to for the last 9 years, and is currently an instructor. Carmen works as an Assistant Professor in the School of Nursing at University of Hawaii Manoa and is aliso a certified nurse- midwife. She manages and co-owns the capoeira school; The Association of Capoeira Besouro.

Gregg Lizenberry's solo concert, MEN DANCING, a retrospective of men in American Dance, toured nabonally and 1ntemationally whiCh led to a video documentary, Dancing Men of the 20th Century, broadcast on PBS in July 2000. Extensive research led to the creation of a documentary on the life and works of Donald McKayle whose craft and artistry have touched every venue for dance. Donald McKayle: Heartbeats of a DanceMaker was broadcast nationally on PBS in 2004. He is currently a Professor, Director and Graduate Chair of the dance program in the Department of Theatre and Dance at the University of Hawai'i at Manoa.

Cheryl Nakasone, director of Jimpu Kai USA Kin Ryosho Ryukyu Geino Kenkyusho, is the first foreigner to pass the Ryukyu Shimpo Geino Konkuru in Oktnawa. She received her Shihan certificate in 1977 from Master Kin Ryosho, who was a National Living Treasure of Japan. She is a graduate of the University of Hawaii at Manoa and teaches Okinawan dance at her studio, on Maui, and at the University of Hawaii.

Michael Pill Pang is the Kumu Hula of Halau Hula Ka No'eau, a hula school located in Waimea on the Big Island of Hawaii and in downtown Honolulu. Prior to being appointed by Mayor Mufi Hannemann ciS the as Executive Director to the Mayor's of Culture and the Arts, in the spring of 2005, Michaelwas the founder of Hawai'i Arts Ensemble, the first professional Hawaiian touring company. Finding his career as an arts administrator he marketed the company to theaters and unive rs~ies throughout the United States, Canada and Asia. Through this effort he carved out a touring schedule each year; touring as many as nine weeks a year. Michael's hula PE!rformances and artistic achievements have awarded him numerous grants including Roo(efeller Foundation Multi-purpose Grant, and a first time National Endowment for the Arts award to create a new dance piece in the traditional hula styling. He was the first Kumu Hula to complete! a Master's of Fine Arts Degree in Dance, from the University of Hawai'i.

Maile Baran·Primaclo is a graduate of University of Hawaii at Manoa's dance program. This is her 12th year with lona Contemporary Dance Theatre. Maile also enjoys perform1ng with Giinko Mariso'hino performance group.

Sonja Sironen has studied Bharata Natyam with teachers in India and Sri Lanka for over ten years and performed in Asia and Germany. In 2002 she moved to Honolulu and earned a MAin Dance Ethnology at the University of Hawai'i in Manoa. Sonja Sironen continues to perform, choreographs and teaches Bharata Natyam classes for children and adults.

Laisa Ro'i is a PhD candidate in Economics, focusing on Oceania region-building. Presently liv1ng in O'ahu, she participates in the Asia Pacific Leadership Program and works with the Pacific Islands Development Program of the East West Center (University of Hawai'i}. Ro'i will defend her dissertation in October this year, in France, after which she plans to retum to her roots that lie in the PacifiC. Her family's maternal side is from Vanuatu , and now living in New Caledonia and Australia, while the patemal side family is from Huahine, French Polynesia. Beyond economics, I want to work on and for regional education programs, with a focus on traditional knowledge and practices. In a few words, Ro'i hopes to continue! to contribute to the building of an Oceania community, with the idea of strength through unity. •

Jennifer Butler Shannon holds a BFA Cornish College of the Arts, and an MFA University of Hawaii at Manoa. Creating origtnal choreography is a fundamental and passionate aspect of dance for Jennifer. Her work explores relationships between people and their environment and has been performed throughout Hawaii and The Unrted States. Recent productions include Army Commun1ty Theatre (Grease, Fiddler on the RooQ, Puja, Marks Garage (Convergence Dance Theatre). Honolulu Art Academy and KCC. Jennifer is ownerfartistic director of The Dance Space, a lecturer at Kapiolani Community College and artistic director of Convergence Dance Theatre and mom to Finn.

'ukie Shiroma, Co-Artistic Director of Monkey Waterfall , has a MFA degree in dance ·om University of Hawai at Manoa, founded the dance program at Mid-Pacific Institute, nd dances Okinawan classical dance with Cheryl Yoshie Nakasone of Jimpu Kai USA :in Ryosho Ryukyu Geino Kenkyusho.

Jonathan Clarke Sypert has been a working artist in Honolulu for over 20 years. With a blend of acting and dance as his forte, Jonathan has appeared with Honolulu Theatre for Youth, The Hot Club of Hulaville, Tau Dance Theatre, is a founding team member of HawaiiSiam, and choreographed for Henry Kapono on his Wild Hawaiian Groovement Tour. Jonathan would like to thank all of his teachers, instructors and mentors who have been instrumental in his performing arts education. Special thanks to his mother Shirley Sypert, a Broadway performer, who started rt all. icky Holt Takamine is a graduate of Kamehameha Schools and received her BA & lAin Dance Ethnology from the University of Hawai'i. In 1975, She graduated as Jmu hula (master teacher of Hawaiian dance) through the 'Oniki ntuals of hula from laiki Aiu Lake and is the founder and kumu hula (master teacher) of two halau hula, :hools of traditional Hawaiian dance, Pua Ali'i 'llima on O'ahu and Papa Laua'e 0 lakana, on Kaua'i island. Vicky IS well respected throughout the Hawaiian community or her cultural expertise and advocacy WOf1( on behalf of Hawaiians, their cu~ural aditions, and the protection and preservation of the cultural and natural resources of awai'i. She is a lecturer of hula at the University of Hawai'i at Manoa and Leeward ommunity College.

Marie Takazawa, always loved to dance ... studied at the University of Hawai'i, then moved to NYC. So many classes to take, so many dance performances to see. She cleaned studios for classes, hung heavy fur coats for rich ladies out for dinner. .. Was fortunate to get into the Broadway touring company of The King and I starring Yul Brynner and another tour starring Rudolph Nureyev. Traveled to many cities but never found a better place to live than here in Hawai'i, where she can teach, choreograph, and surf.

Eve Walstrum had a special dance career. She first was in Eliot Feld's company and then danced with the Batsheva Dance Company in Israel. Eve had the good fortune to have danced with the Netherlands Dance Theater for 12 years under the direction of Jiri Kylian and also worked with other well-known choreographers, including William Forsythe. She now co-owns Queen Emma Ballet School and teaches Ballet at UH M. She helps her students to be the best dancers they can be.

Bruce &Yoko Wee are avid Argentine Tango dancers and have been dancing for more than 10 years. Tango was Bruce's first exposure to the dance arts whilst Yoko stems from a modern ballet and jazz dance background. There are many styles of Argentine Tango and Bruce & Yoko try to explore the spirit and emotion of each of them. They are known for their fluidity and in this improvisational dance of emotion and passion.·

Carolyn Wilt started her ballet training at the Londonderry Dance Academy, directed by Barbara Mullen, at age five. Under Ms. Mullen, Carolyn has attended workshops in New York Crty and London; studied at the Yorkshire Ballet Seminar; and passed her Royal Academy of Dance Children's and Major examinations. In 2008, she went to the Czech Republic to study at the Ballet and Dance Workshop Ostrava. She is currently finishing her BFA 1n Dance Theater and BBA in Marketing at the University of Hawaii at Manoa ABOUT "FROM THE HORSE'S MOUTH" :

From the Horse's Mouth was first performed in 1998 at ,Joyce Soho in New York City with a cast of experienced and innovative modern dancers and choreographers including Viola Farber, Stuart Hodes, Carmen de Lavallade, Wendy Perron, Jane Comfort, Sara Rudner, Sally Silvers and many more. Subsequent productions became more diverse by including dancers from other disciplines and styles such as African, , East Indian, Japanese, jazz, tap, ballet and Broadway including Carol Lawrence, Martine van Hamel and Grover Dale. Over the past 12 years it has been presented in New York City, Los Angeles, San Francisco, Chicago, Boston, Philadelphia, Minneapolis, Miami, and Toronto; and at Jacob's Pillow and the American Dance Festival. The piece generally has 30 dancers of all ages and backgrounds, each telling a personal story from their life and performing their own movement. Every production is cast or "curated" to showcase or feature a specific group of dancers; therefore, no two performances are ever the same. A production at a university may focus on alumni and faculty. A dance company or venue may want to focus on a specific lineage or tradition. It has been used to highlight an anniversary year, the opening of a new venue, or simply to celebrate the cultural diversity of a community. It engages the local dance community in a singular experience that builds a dance audience at the same time. Because the structure is simple, From the Horse's Mouth can be rehearsed and performed in three days. To date, over 700 dancers- ages 13 to 93- have performed in From the Horse's Mouth. www.horsesmouth.org From the Horse's Mouth is structured so that only four p'eople are on stage at one time. Each dancer tells a brief story from their life, then performs his/her own movement-first in place, then traveling through space, sometimes interacting with another dancer. A chance element is introduced by picking a card from a box which suggests now to vary the movement. These sections are juxtaposed with stage crossings where the dancers perform in full costume. Some costumes depict a favorite dance; others may repn~sent a costume they have always wanted to wear but never have.

Conceived and directed by Tina Croll and Jamie Cunningham

Kennedy Theatre Production Staff:

Stage Manager: Anne Alves Box Office Staff: Sarah Carlton, Cindy Harigan, Lighting Designer: David M. Gerke Jordan Hemsley, Stefannye Slaughter Sound Operator: Matthew Bise Staff Technical Director: Gerald Kawaoka Run Crew: Tracie Lock & Sothen Kong Staff Theatr~e Manager: Marty Myers House Manager: Kristina Tannenbaum Department Office Staff: Tana Marin, Lori Ann Chun Assistant House Managers: Sarah Rohde, Department Chair: W. Dennis Carroll Andrew Giordano, Toby Rinaldi Director of Dance: Gregg Lizenbery

For large print programs, Assistive Listening Devices or other accessibility requests please contact the House Manager or call the Kennedy Theatre Box Office at956-7655. Please silence all pagers, phones, and digital watches. No texting please. No photography or video recordin~1 is permitted. Please refrain from eating, drinking or smoking in the theatre. Security escorts available to other on-campus locations. See the House Manager. * * Coming next to Kennedy Theatre's Earle Ernst Lab Theatre: SPRING FOOTHOLDS April14, 15, 16, 17 at Bpm; April18 at 2pm Tickets on sale now at www.eticl