May/June 2016

2016 Winter/Spring Season MAY/JUNE 2016

Elizabeth Murray, If Only Cup, 1997—98

Published by: Season Sponsor: BAM 2016 Winter/Spring Season #DanceAfrica

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board Adam E. Max, DanceAfrica Vice Chairman of the Board

Katy Clark, President 2 016 Joseph V. Melillo, Executive Producer Senegal: Doors of Ancient Futures Artistic Director Abdel R. Salaam and Artistic Director Emeritus Chuck Davis

BAM Howard Gilman Opera House May 27 at 7:30pm; May 28 at 2pm & 7:30pm; May 29 & 30 at 3pm Approximate running time: two hours and 15 minutes, including one intermission

Produced by BAM

Les Ballets de la Renaissance Africaine Season Sponsor: “WAATO SiiTA” (Senegal) Compagnie Tenane (Senegal) Germaine Acogny (Senegal) Time Warner Inc. is the 2016 DanceAfrica Sponsor. Dyane Harvey (New York) Reverend Nafisa Sharriff (New York) Support for Muslim Stories: Global to Local provided by the Building Bridges Program of the Doris Duke BAM/Restoration DanceAfrica Ensemble (Brooklyn) Foundation for Islamic Art. Lighting design by Al Crawford Presenting Sponsor of Dance Education: Forest City Ratner Companies Sound design by David Margolin Lawson Stage manager N’Goma Woolbright Leadership support for dance at BAM provided by Assistant stage manager Normadien Woolbright the Doris Duke Charitable Foundation and The Harkness Foundation for Dance. Production stage manager Lori Lundquist

Support for the Signature Artist Series provided by The participation of the Senegalese companies in the Howard Gilman Foundation. DanceAfrica was made possible with the support of Major support for dance at BAM provided by Senegal Ministry of Culture (Blaise Senghor Cultural The SHS Foundation. Center) DanceAfrica 2016

Les Ballets de la Renaissance Africaine “WAATO SiiTA.” Photo by Abdou Serigne DIENG Compagnie Tenane. Photo by Elisabeth Sloat Peace and blessings!

There is no greater honor than to be chosen to serve a community through one’s greatest passion. Dance, through its infinite forms and rhythms, has always instilled me with the desire to heal, to feel, and to see. To have received such a gift and have the opportunity to share it with the DanceAfrica family is beyond exciting. It is truly a Divine Blessing!

Since performing in the first DanceAfrica in 1977, I have received 38 years of inspiration, joy, light, and knowledge. Africa and its worldwide diaspora have shared the gifts of an ancient and contemporary civilization whose cultures have been and continue to be dynamic! Africa was and continues to be the wellspring from which we have drawn and will draw, as our thirst for its healing waters of life is eternal. Africa is our great ancestor, whose first language was gesture, movement, and ultimately dance, with all of its infinite rhythms. Africa and the dance and music of its diaspora are ancient and traditional, present and contemporary—visionary and the future.

We at BAM search for tradition and innovation in Africa that will inspire us to create programs to entertain, provoke thought, and hopefully encourage positive, healing change. This year, from Senegal, we welcome Les Ballets de la Renaissance Africaine “WAATO SiiTA” and Compagnie Tenane, and Senegal’s mother of contemporary dance, Germaine Acogny. To Dyane Harvey, Reverend Nafisa Sharriff, and the youngsters of the BAM DanceAfrica Restoration Ensemble and the DanceAfrica Alumni Ensemble, it is a joy to welcome you back to this feast of mind, movement, and rhythm!

I give thanks and praise to the Elders and our Ancestors! To Mama Joan Miller, my dance mother, and to Baba Chuck Davis, my African dance father, whose mentorship and guidance helped me lay the foundation of the vision upon which I now build, I give thanks and praise. To the creative team and everyone at BAM, here we go!

Join us as we embark on this journey to the land of what was, what is, and what can be… DanceAfrica!

Health, prosperity, love, and peace to you all,

Baba Abdel R. Salaam, Artistic Director, DanceAfrica 2016 DanceAfrica 2016—PROGRAM NOTES

SENEGAL: DOORS OF ANCIENT FUTURES Inspired by Baba Abdel R. Salaam’s vision of The Door of No Return during his first journey to Senegal in 1978 and his subsequent return in 2015, Senegal: Doors of Ancient Futures seeks to illuminate and unite visions of Senegal—past and present, rural and urban—with potential for the future.

WELCOME Baba Chuck Davis and Baba Abdel R. Salaam

GOREE Candlebearers and Armand Celestin

SPIRIT WALKERS (2016) Choreography Abdel R. Salaam Music William “Billy” Bungo Dancers BAM/Restoration DanceAfrica Ensemble Alumni: Kourtney Charles, Jude Evans, Thea Grier, Noel Kelly, Faith Mondesire, Jasmine Poole, Yushemepree Spencer, Jamaine Victor Inspired by Baba Chuck Davis’ Memorial, SPIRIT WALKERS honors the Ancestors and Elders of the DanceAfrica community through light, ritual, rhythm, and celebratory dance.

VILLAGE FISHERMAN’S DANCE KOUKOU Les Ballets de la Renaissance Africaine “WAATO SiiTA” Choreography Moussa Sonko Musical direction Birame Mboup Artistic director Boule Sonko Choreographer Moussa Sonko Dancers Nogaye Ndiaye, Ndeye Khady Gaye, Amy Ndiaye, Mama Cissokho, Aissatou Dione, Fatou Niang, Massanba Diallo, Demba Niang, Amidou Sy, Baye Mbaye Dieng, Ibrahima Thioube Musicians Ibrahima Ndyiaye, Mbacke Thioubou, Elhadji Faye, Abdoulaye Sonko Company manager Serigne Abdou Dieng “WAATO SiiTA” performs two works that celebrate traditional village life within a West African agrarian society. Fisherman’s Dance and Koukou honor the importance of the resources of the ocean and rivers in sustaining life of the living cultures of Mande and Wolof of Senegal and the Beyla of Guinea.

WHO ARE WE? Compagnie Tenane Choreography Marie Agnes Gomis Dancers Marie Agnes Gomis (artistic director/choreographer), Marie Pierre Gomis, Simone Gomis, Baidy Ba Music by Benoît de Clerck, Wasis Diop, Woodkid, Youssou NDOUR, Yande Codou Sene, Omou Sangare, Xalam Costume design Leaurant Preira (LODJ Couture) The work is inspired by the company members’ personal history and identity questioning through Afro dance, a mix of diverse Afro contemporary and Afro urban styles and rhythms (contemporary, African, krump, hip-hop, and more).

BALLANTE Les Ballets de la Renaissance Africaine “WAATO SiiTA” With Dance Africa Restoration Ensemble (refer to list of performers in Who’s Who) Choreography Moussa Sonko Musical direction Birame Mboup DanceAfrica 2016

Ballante comprises traditional dance and rhythms from Senegal that signify and honor the power and strength of the Warrior. Danced by men and women, it can be a source of inspiration to energize the community.

—INTERMISSION—

A QUESTION OF BEAUTY (2016) Choreography Abdel R. Salaam Performers Germaine Acogny, Kourtney Charles, Dyane Harvey, Faith Mondesire, and Reverend Nafisa Sharriff Costume design Brenda Bunsen Bey Music Tunde Jegede A Question of Beauty portrays a young African woman’s struggle with ideals of beauty, cultural identity, and self-awareness as she is ultimately empowered by the Elementals.

SABAR TRADITIONNEL | SABAR URBAIN Les Ballets de la Renaissance Africaine “WAATO SiiTA” Choreography Moussa Sonko Musical direction Birame Mboup Sabar is one of the most celebrated forms of dance and rhythm in Senegal. Sabar masters have made this art form a movement phenomenon throughout the world for the past 50 years. Sonko’s visceral vocabulary and movement language present traditional styles while fusing and developing contemporary explorations.

FINALE Led by Baba Chuck Davis and Baba Abdel R. Salaam

Program subject to change.

Who’s Who

ABDEL R. SALAAM (artistic director, Dance USA. He has been an artist in residence choreographer) is artistic director of DanceAfrica, for Tennessee Performing Arts and Cathedral of founded by Baba Chuck Davis in 1977. Salaam St. John the Divine. Credits in theater, film, and has been the executive artistic director of television include as choreographer for Measure Forces of Nature Dance Theatre (FONDT) since for Measure, New York Shakespeare Festival; founding it in 1981. Born in Harlem, NY, he Pecong, Newark Symphony Hall; TUT, Free to has been a dancer, teacher, and performing Dance, PBS; Expressions in Black: The Story artist on five continents in his 45-year career. of a People, ABC; and director/choreographer He has received awards and fellowships from for New York Musical Theatre Festival; Ebony the National Endowment for the Arts, New Magic: The Life and Legend of Marie Laveau, England Foundation on the Arts, New York Aaronow Theater; JuJu Man, Billie Holiday Foundation for the Arts, New York State Council Theater; The Liberation of Mother Goose, Billie for Arts, National Council for Arts and Culture, Holiday Theater; Eclipse: Visions of the Crescent and Lehman College. His company received and the Cross, TPAC; and as performer in The the 2013 Audelco Award for Dance Company Richard Pryor Show, NBC and Black Nativity, of the Year. He has served as choreographer Fox Searchlight Films. Salaam has created and/or director for the New York Shakespeare ballets for Philadanco, Joan Miller Chamber Arts/ Festival, Billie Holiday Theater, Apollo Theater, Dance Players, Chuck Davis Dance Company, Winter Solstice/Cathedral of St. John the Divine, Union Dance Theater (London), Ballet Islenos New York Musical Theater Festival, and Black (Puerto Rico), Sakoba Dance Theater (London), Who’s Who

Muntu Dance Theater, Nashville Ballet, African the St. Joseph’s Historic Foundation announced American Dance Ensemble, and Giwayen the establishment of its Glaxo-SmithKline-Charles Mata. Salaam has served on the faculties of the “Chuck” Davis Endowment. American Dance Festival in the US and Seoul; and in New York at Herbert H. Lehman College; LES BALLETS DE LA RENAISSANCE Alvin Ailey American Dance Center, Restoration AFRICAINE “WAATO SiiTA” Youth Arts Academy, and Harlem Children’s Created in 2010 following the World Festival of Zone. He is creator of the Kwanzaa Regeneration Negro Arts in Dakar, Les Ballets de la Africaine Night Celebration in Harlem, now 34 years old, Renaissance WAATO SiiTA has represented inspired by the teachings of its visionary creator Senegal in several events at the national and and founder of Kwanzaa, Dr. Maulana Karenga. international level. The choreographer/dancer Pape Moussa, voted the best dancer last year, is CHUCK DAVIS (artistic director emeritus and the official dancer of Youssou NDOUR’s band, founding Elder) is one of the foremost teachers Super Étoile. WAATO SiiTA is composed of many and choreographers of traditional African dance of the best percussionists and dancers from in America and has traveled extensively in Africa Senegal. This group consists of young artists to study with leading African artists. Davis who are dynamic, energetic, and deeply love founded the Chuck Davis Dance Company what they do. They have represented Senegal in New York City in 1968 and the African as cultural ambassadors and have contributed American Dance Ensemble in Durham, NC in successfully to many festivals and cultural 1983. He has been a panelist for the National events. Les Ballets de la Africaine Renaissance Endowment for the Arts and is a recipient of the WAATO SiiTA offers creations from tradition; it AARP Certificate of Excellence, North Carolina represents a structured life, balancing customs, Dance Alliance Award, the 1990 North Carolina tradition, and modernity. It has based dances Artist Award, and North Carolina Order of the on the discovery of authentic African dances, Long Leaf Pine. Since 1991, at the governor’s particularly those from West Africa. These dances request, he has served on the board of the can express joy, sadness, and melancholy—the North Carolina Arts Council, and in 1992 he deepest expression of African dance, including received the North Carolina Award in Fine Arts, scenes from life. These dances can refer to the state’s highest honor. In 1996, Chuck Davis gestures inspired by a crow’s flight, the languid and his African American Dance Ensemble movement of a lizard, scenes of daily life and of were awarded a $100,000 grant from National human activity, but also the traditional religions Dance Residency Program, a three-year initiative of West Africa. launched in 1994 by New York Foundation for the Arts and funded by Pew Charitable Trusts. COMPAGNIE TENANE, a company of four Professional awards include a Monarch, a sisters, was founded in 2007 out of Simone Bessie, and a BAMmie. In 1998, Davis was Gomis’ desire to freely express her creativity awarded a doctorate from Medgar Evers College as a choreographer. She wrote and produced and special honors from Duke University for his Tenane, her first piece, with her three sisters work in promoting dance across the US. Davis Marie-Pierre, Eveline Amie, and Marie Agnès and DanceAfrica were named to Dance Heritage Gomis. In January 2015, under Marie Agnès’ Coalition’s list of “America’s Irreplaceable Dance lead, Compagnie Tenane expanded, with new Treasures: The First 100.” In 2004, he received dancers joining the troupe. Marie Agnès Gomis, a prestigious Dance Magazine Award in honor of Marie Pierre Gomis, Baidy Bâ, Naby Lay Moussa his achievements, and that year he was honored Touré, and Yves Sambou developed a new kind at Kennedy Center’s week-long celebration of movement made up of various dance styles “Masters of African-American Choreography.” (Afro contemporary dance, krump, popping, In 2006, Baba Chuck received an honorary breakdance, traditional dance, and more). Since doctorate from Williams College in Williamstown, 2007, the company has toured internationally MA, and was commencement speaker. He also and participated in various festivals in Africa, received the 2006 Balasaraswati/Joy Ann Dewey Europe. Beinecke Chair for Distinguished Teaching at the American Dance Festival at Duke University. In GERMAINE ACOGNY is known as “the mother 2009 he received an honorary doctorate from the of contemporary African dance.” She established University of Massachusetts, Amherst. Recently, her first dance studio in Senegal’s capital, Dakar, Who’s Who in 1968 and has since become a major figure Recognition Award. She is associate professor at in African dance, blending contemporary dance Princeton and Hofstra Universities. with traditional African styles. She has been choreographer and artistic director of many REVEREND NAFISA SHARRIFF is a master dance companies and studios, including Mudra teacher and choreographer of traditional West Afrique in Senegal and Studio-École-Ballet- African folklore from the Old Malian Empire. She Théâtre du 3è Monde in Toulouse, France. In met Baba Chuck Davis when she was 17 years 1997 she established L’École des Sables in old and went on to become a principal dancer Toubab Dialaw, Senegal. She is also the founder in his company for 10 years. Throughout her of Compagnie Jant-Bi, which performed in the illustrious 40-year career, Reverend Nafisa has 2008 Next Wave Festival. Born in Benin in performed with Stevie Wonder, Whitney Houston, 1944, Acogny moved to Dakar when she was six Spike Lee, TC Carson, C&C Music Factory, and years old. Her background in traditional dance Kairaba West African Dance Company. Her can be traced to her grandmother, a Yoruba television credits include performances on The priestess, but what makes her work significant Richard Pryor Show, Dance Black America, is the way it combines contemporary dance and Positively Black. Beyond her dance career with traditional African dance to create her Reverend Nafisa Sharriff is an ordained Interfaith own unique modern African dance technique, Minister and the Founder and CEO of Entering comparable to Western dance techniques like the Holy of Holies, An Institute of Learning those of Martha Graham or José Limón. and Healing, Inc. (ETHOH). Through ETHOH Reverend Nafisa conducts classes, workshops, DYANE HARVEY is a founding member of seasonal cleanses, a Woman’s Rite of Passage, Forces of Nature Dance Theatre for the past and retreats in meditation, stress management, 35 years. “Lady Dy” has a professional career inner healing, and Spiritual Tools for as a dancer, teacher, and choreographer that Transformation. She teaches a free traditional West spans more than 48 years in four continents. African dance class in Harlem, New York where She has performed as principal soloist with everyone is welcomed into her family of Love. the Eleo Pomare Dance Company for over 25 years, touring the US, Italy, Australia, and Lagos, BAM/RESTORATION DANCEAFRICA Nigeria as US representative in FESTAC (Second ENSEMBLE and BAM have been partners for Black and African Festival of Art and Culture). In 19 years in a youth development effort with 2009 she reconstructed two of Pomare’s solos DanceAfrica as its focus. The group is an annual and offered a presentation on his life as part of favorite and a symbol of youth involvement the Black Dance Project at Centre National de in the preservation of African heritage. In la Danse in Paris. Harvey has performed with that time, more than 4,000 students have Tony Award-winning George Faison’s Universal taken part in professional caliber workshops. Dance Experience, Walter Nicks’ Dance Theatre, The BAM/Restoration DanceAfrica initiative New Art Ensemble, Contemporary Chamber encourages participants to express themselves Dance Company, Joan Miller’s Dance Players, through the common themes of dance, music, Dance Brazil, and the Trinidad/Tobago Repertory visual arts, creative writing, and study of the Dance Theatre. She served as rehearsal director cultural histories of Africa and the African for the Apollo Theatre project Get On The Good diaspora. The talented young dancers of the Foot, a celebration in dance to the music of BAM/Restoration Dance-Africa Ensemble are James Brown. She earned the Dance for Life students from Bedford Stuyvesant Restoration Award (from Better Family Life), two AUDELCO Corporation’s Youth Arts Academy, where they Awards for performance and choreography, the receive intensive training in ballet, modern, Monarch Merit Award, the Ira Aldridge Black African, and contemporary dance. Observing its Theatre Award for contributions to the theater 49th anniversary this year, Bedford Stuyvesant community, the Goddesses and Gurus Award, Restoration Corporation’s mission is to be the and “Walk a Mile in Her Shoes,” given by the catalyst for the progressive improvement of the Hempstead African-American Museum. The quality of life for the people of central Brooklyn Greater Harlem Chamber of Commerce and by utilizing every avenue available to foster Harlem Arts Alliance honored her as a “Woman growth and development through economic, of Distinction.” Recently she received the cultural, educational, and social and artistic AUDELCO/Friends of VIV Torch Bearer Pioneer ventures. The Center for Arts and Culture Who’s Who

(CAC) at Restoration presents year-round N’GOMA WOOLBRIGHT (stage manager) is a multidisciplinary arts and culture programming native of Jacksonville, FL. He began his career with the Billie Holiday Theatre, Skylight Gallery, as a stage manager in 1968 with the Chuck Youth Arts Academy, and Restoration Plaza. Davis Company, where he later became technical director. He has worked with several dance AL CRAWFORD (lighting designer) has been companies in and around New York City. Until the lighting director of the world renowned Alvin recently, he was the technical director for the Ailey American Dance Theater since 1998. dance company Forces of Nature. Woolbright’s Now in his 17th season with the famed dance credits include Lyon and the Jewel, Frankenstein’s company, he has produced the lighting for Ailey Rib, The Greatest of All Time, and Muhammed in virtually every major theater, performing arts Wait for Me. He has been stage manager for center, and opera house on earth, touring to 48 DanceAfrica since its inception in 1977. states and more than 65 countries. Crawford has had the opportunity to work directly with many NORMADIEN WOOLBRIGHT (assistant stage important choreographers in the dance world manager) is a graduate of the Performing Arts including Judith Jamison, Robert Battle, Ronald High School, holds a BA in dance education K. Brown, Garth Fagan, Matthew Rushing, from Lehman College, and has studied with George Faison, Alonzo King, Melissa Hayden, Chuck Davis since her teens. She became artistic Christopher Huggins, Hope Boykin, Jeanguy director of the Chuck Davis Dance Company Saintus, and many others. He has designed when Davis relocated to Durham, NC in 1989. 15 new works for Alvin Ailey American Dance She now serves as road manager and director Theater, 16 for Ailey II, and numerous works for of educational projects for the African American companies worldwide. Crawford is a graduate Dance Ensemble. She remains active in the field of the North Carolina School of the Arts. of dancing through teaching, performing, and arc3design.com participating in school residencies.

DAVID MARGOLIN LAWSON (sound designer) LORI LUNDQUIST (production stage manager) is a New York based sound designer and is happy to be back at BAM for her third recording engineer. He has worked with, DanceAfrica. She has worked on Broadway with recorded, and designed for many New York area Fosse, The Best Man, and Holiday and has performing arts organizations including: Abdel R. toured with Spelling Bee, Will Roger’s Follies, Salaam’s Forces of Nature Dance Theater, and Fosse. New York City credits include: The Signature Theater, Atlantic Theater, American Legend of Georgia McBride (MCC), Gloria Place Theater, The Juilliard School, New York (Vineyard), Incident at Vichy and Big Love University, Repertorio Español, Manhattan (Signature), Julie Taymor’s A Midummer Night’s Theater Club, La MaMa ETC, Joffrey Ballet, Dream (Theater for a New Audience), The New World Stages, Theater Row Theaters, The Shaggs and The Burnt Part Boys (Playwrights Culture Project, Muna Tseng Dance, NYMF, The Horizons), Into the Woods and The Musical Public Theater, Abingdon Theater, Cherry Lane, of Two Gentlement of Verona (Shakespeare Intar, Theater for a New City, PS 122, HERE Arts in the Park), Civil War Christmas (New York Center, Urban Stages, Ohio Theater, Ars Nova, Theater Workshop), and productions at Second Studio Dante, 59E59, Playwrights Horizons, and Stage, Roundabout, and New York City Opera. more. Regional: Two Rivers Theater Co, Alliance Regional credits include La Jolla Playhouse, the Theater, Hartford Stage, Capital Rep, The Long Huntington, the Ordway, Trinity Rep, Long Wharf, Wharf, Luna Stage, and Studio Arena. As a Hartford Stage, the Alley, and Kansas City Rep. recording engineer, Lawson has recorded and Lundquist is a proud member of AEA. produced several spots for Movado featuring the voices of Mikhail Baryshnikov, Judith Jamison, and Wynton Marsalis. He has also recorded for Macy’s, Radio Shack, HBO Films, United Nations,Toyota, and the BBC, among others. Lawson teaches sound design at Pace University, NYC. Member TSDCA. dmlsoundny.com

Who’s Who

Bedford Stuyvesant Restoration Corporation Kevin G. Chavers, Chairman, Center for Arts and Culture Festival Dance Instructors Board of Directors Indira Etwaroo, Executive Director for the Shaneeka Nicholson Colvin W. Grannum, President Center for Arts & Culture Mama Andara Rahman Dyrnest K. Sinckler, Executive VP, Chief Hollis King, Creative Director Lydia Yearwood Operating Officer Sabine M. LaFortune, Director of Tracey L. Capers, Executive VP, Programs Operations Drummers Fran Carlson, Executive VP & Chief Peggy Alston, YAA Director Dellwyn Gilkes Financial & Business Officer Edna Fulton, Bursar/Registrar Stephan Litzsey Gordon Bell, Executive VP, Karlvy Smith, YAA Program Associate Frank Malloy IV Chief Strategy Officer Xia Gordon, Program Associate Baba Wali Rahman Jeanine Reynolds, VP, Development Careem McLeod, Intern David Williams

DanceAfrica Centerstage Artistic Directors Karen Thornton, Dance Dellwyn Gilkes, Music

BAM/Restoration Faith Mondesire Kyra Howard Rites of Passage Aniyah New DanceAfrica Jasmine Poole Bahiyah Leito Ajna Amenra-Vaughan Tatiana Pettus Ensemble Fatousek Primus Nuani Lewinson Ciara Andre Christine Ramsey Yushemepree Spencer Saabriah Mapp Kiara Archille Star Torbert Dance Instructors Jamain Victor Atiya Pope Sudani Ausby Karen Thornton Nailah Walthour Jada Spencer Jordan Bestman Costume Designer Shaneeka Nicholson Kianna Blake-Collins Hopie Lynn Burrows Lydia Yearwood Centerstage Dancers Centerstage Aisle Amani Boyce Deirdre Brock Alexis Donavon Femi Brown Parent Volunteers Centerstage Alumni Kaisa Browne Nikala Elson Autumn Campbell Nadia Hyppolite Camille Bailey Te’anna Chin Jeffrey Infante Jada Charles Jackie Jardine Armand Celestin Hadiya Hyppolite Bria Knox Adia Clarke Deborah Jordan Kourtney Charles Naomi Johnson Colby Myers Nyya Collins Simone Knox Jude Evans Aziza Pope Mia Nelson Sotera Gomez Elania Lanier Thea Grier Tianna Smith Sade Scriven Denae Guy Nicole London Stephen Hill Naomi Sylvester Donea Harrison Jeannie Mitchell Shaniya Hyndman Centerstage Juniors T’khiya Townsend Kyane Howard Rose Mitchell Noel Kelly Wynter Dias Christina Woods Nya Jones Qahirah Kibler Kaleah Gaskin Aaliyah McKenzie

ADDITIONAL DANCEAFRICA EVENTS!

FILMAFRICA—A focus on Senegal, home of this year’s visiting DanceAfrica companies. May 25—Mbeubeuss, le Terreau de L’Espoir (2014), May 28—Sembene! (2015), dir. Jason Silverman, dir. Nicolas Cissé. Screens with Mbeubeuss, dir. Samba Gadjigo Simona Rsi* May 28—The Longest Kiss (2013), dir. Alexandra May 25—The E-Waste Tragedy (2014), dir. Cosima Sicotte-Levesque. Screens with The Prophecy Dannoritzer (2015), dir. Marcia Juzga* May 26 & 27—Lamb (2015), dir. Yared Zeleke May 29—Under the Starry Sky (2013), dir. Dyana May 27—Red Leaves (2014), dir. Bazi Gete. Screens Gaye with Cholo (2014), dir. Muzna Almusafer May 30—TGV (1998), dir. Moussa Touré May 27— Afripedia (2014), dir. Teddy Goitom, Benja- May 30—Head Gone (2014), dir. Dare Fasasi min Taft, Senay Berhe* *Includes Q&A or discussion

DANCEAFRICA OUTDOOR BAZAAR—Vendors from around the world transform the streets surrounding BAM into a global marketplace offering one-of-a-kind African, Caribbean, and African-American crafts, jewelry, and food. Sat, May 28, 12—10pm | Sun, May 29, 12—8pm | Mon, May 30, 12—8pm | Rain or Shine! Ashland Pl between Hanson Pl & Fulton St; Lafayette Ave between Flatbush Ave & Ft. Greene Pl

LATE NIGHT DANCE PARTY With DJ Tony Humphries | May 28 at 10pm | BAMcafé

DANCEAFRICA WORKSHOPS Family Workshop, 10—11:15am | Adult Workshop, 12—1:30pm Mon, May 30 | Mark Morris Dance Center Who’s Who

DanceAfrica 2016—Council of Elders

Senior Elders Mama Carol Awolowo Mama Akua Ishangi Mama Kumali Abramson Mama Sandra Burton Mama Amma McKen Baba Lee Abramson Baba Neil Clarke Mama Katunge Mimy Baba William Mathews Mama Jackie Coban Mama Madeline Mama Lynette White Mathews Baba Chuck Davis Yayodele Nelson Mama Rahkiah Eason Mama Amma Oloriwaa Elders Mama Linda Evans Baba Obara Wali Rahman Mama Hajja Rahkiah Baba Leslie Gray Mama Andara Koumba Rahman Abdurahman (Emeritus) Mama DeBorah Davis-Gray Baba Jonathan Robinson (Emeritus) Mama Peggy Alston Mama Doris Green Mama Esmeralda Simmons, Esq. Baba Yomi Awolowo Baba Nathaniel Boyd Hakika Baba K. Mensah Wali

Memorial List Afinya Odak Dr. Betty Shabazz Mama Sandy Royster Ortheia Barnes- To those who have Larry Phillips Abdul Rahman Nana Yoa Bonsue Kennerly passed on to the Pearl Reynolds Mama Ince Amanqua B.B. King ancestral grounds, we Tommy Johnson Ralph Dorsey Vernon Brandon Bey Errol Brown will not forget you or Aaron Frazier Tessie Williams Robert Boyd Ben E. King your contributions to Ray Hurrey Alex Haley Bro. Abu Shabazz Percy Sledge the world. Cheryl Zincke Morris Gloria Jackson Bro. Arthur Maddox Andraé Crouch Ase! Ase! Ase! William MacPhearson Charles Moore Mama Annie Davis Baba Raymond Ethel Watkins-Davis Micheal Peters Scobey Mitchell Baba Djimo Kouyate Graham Assadata Dafora Bubacar Niang Jacqueline Armstrong Papa Ladji Camara Prince Ismay Andrews Doug Allan Gregory Myles DeJean Richard B. Fisher Papa Wemba Alfonse Cimbe Nana Adowa Aforiwaa Baba Dele Brother Mishak Sillam DouDou N’Diaye Rose Joe Commodore Jamila Bey Bernard Johnson Bob Riordan Dudley Williams Moses Mims Nana Opare Biea Kolawole Balogun Malaika Holman Blondell Cummings Ruby Pryor John Flynn Ron Love Bermiss Billy Paul Phillips Stamps John Blandford Mama KeKe Francina Yalewa Tammy Gibson Aquasiba Derby Charles Abramson James McCoy Osunlebo Kendrick Norman Peck Jerome Jeffries Denise Delapenza Evelyn “Jessie” Hodari Burkett Lavinia Williams Bill Moore Williams Eleo Pomare Memorial List— Madrina Assencion Raymond Taylor Lester Wilson Frankie Manning Council of Elders Serrano Osa Unko Earl Mack Mama Willie Wilson Brother James Cherry Baba Walter P. Brown Syvilla Forte Alyo Tolbert Sarah Frederick Lena Horne Baba Hajji Bilal Thelma Hill Noni Olaniyan Alvin Ailey Niles Ford Abdurahman Early Scott Michael Schwartz James Butler Mama Guillermina Nana Opare Yao Bettina Bancroft Peter Tumbleston Nana Osunyomi Prades Correoso Dinizulu Ayodele Elaine Loremil Machado Afolabi-Sarpong (“Miguelina”) Baba Bill Grant Beener Kevin McDonald Nana Opare Yao Mamadou Johnson Papa Scuddie McGee Jamila Bey Denton Melville Dinizulu Phyllis Lichtenstein Mama Sarah McGee Percival Borde Robert Bob LaPrince Yao Odum Mama Margaret Baba Mzee Moyo Falumi Prince Dave Roberson Rita D’Adamo Quiñones Baba M.B. Olatunji Halika Harriet Clegge Nancy Quinn Mama Adlyn M. Irwin Brother Lou Meyers Baba Kwame Ishangi Al Perryman LeRoy Radcliff Charles E. Inniss Brother William Fleet Baba Chief Bey Aaron Baxter Keith Simmons Jonathan Schenker Baba Amiri Baraka Mama Barbara Bey Ronnie Pratt Djbril Traoure Mama Pearl Tata Nelson Mandela Baba Joe Nash Priscilla Taylor Jimi Williams Omowale Primus Reinaldo Pepe Santos Mama Mary Umolu Ron Taylor Marion Cooper, Jr. Olukose Wiles Dr. Yosef A.A. Ben- Baba Luther Michelle Fennell Oscar Beau Brown III Lucille Ellis Jochannan Sulaimaan Wilson Mama Mary Gray LaRocque Bey Tommy Gomez Duncan Karim Mama Elsie Abdoulah Hakim Robert Hudson Talley Beatty Braithwaite Washington Ted Holiday Leonard Anthony Queen Mother Geoffrey Holder Baba Montego Joe Clinton Jackson Joseph Solomon Deas Adley Moore Chief Yacub Mama Pearl White Yusef Imam Tony Williams Betty Carter Ronald E. Feiner Mrs. King Stanley Mamadi Tony Davis Natalie Cole Eddie Spencer Tarzer Iyalu Opeodu Sean Price Kofi Nkrumah Scobey Stroman Baba Wilbert Linton Wendell Holmes ©2015 Viacom Inc. All rights reserved. rights All Inc. ©2015 Viacom

Final Size: 5.25" x 8.375" • Ratio: 1' = 1' • Resolution: 300 DPI • Color: CMYK 24781 BAM Salute Ad 4C Viacom_2015 A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives May/June 2016

Contents

Wilde Again BAMcinématek . Photo: Keith Pattison . Photo: Keith Henry IV Part II Alex Hassell in Alex

Photo courtesy Film Movement L-R: Charlie Row, Rupert Everett, Cal MacAninch. Everett, Cal MacAninch. Rupert Charlie Row, L-R: Photo: Johan Persson David Hare shares his thoughts on The Judas Kiss, Rainer Werner Fassbinder stars in the riveting, starring Rupert Everett kitschy Kamikaze ’89, directed by Wolf Gremm, at by Brian Scott Lipton BAMcinématek. by Nick Pinkerton DanceMotion USASM This cultural exchange program announces its next dynamic pairings of companies and locations. by Susan Yung

BAMbill Cover

Elizabeth Murray is the 2015—16 Winter/Spring BAMbill Cover Artist, part of BAM’s tradition of visual art on the cover of BAMbill. Since 1983, dozens of artists have participated, including Roy Lichtenstein, Andy Warhol, Chuck Close, Rosemarie Trockel, and more. If Only Cup is featured in Heart & Mind, an exhibition of works by Murray on view at BAM through Feb 14, organized by Pace Gallery in conjunction with BAM and Trisha Brown Dance Company. Murray’s visual design can be seen in this season’s presentation of Brown’s 2003 work PRESENT TENSE. For more information, please contact BAM Visual Art at [email protected] or 718.636.4101.

Elizabeth Murray (1940—2007) was born in Chicago and received a BFA (Art Institute of Chicago) and an MFA (Mills College, Oakland, CA). Murray’s paintings and drawings blur the distinction between abstraction and representation, and her shaped canvases challenge traditional concepts of painting. She received numerous honors, including the Skowhegan Medal for Painting (1986); a MacArthur Fellowship (1999), and a College Art Association Distinguished Artist Award for Lifetime Achievement (2006). Murray’s work has been the subject of more than 70 solo exhibitions worldwide. The Dallas Museum of Art organized a 1987 retrospective of her work, which traveled to Elizabeth Murray venues including the Museum of Fine Arts, Boston; Museum of Contemporary Art, Los If Only Cup, October 1997—January 1998 Angeles; Walker Art Center, Minneapolis; and Whitney Museum of American Art. Eliza- Oil on canvas and plywood, 68” x 72” beth Murray, the 2005 retrospective at MoMA, New York, traveled to Institut Valencià Photograph by Tom Barratt, courtesy Pace Gallery d’Art Modern in Spain in 2006. In 2007, her work was included in the Italian Pavilion © The Murray-Holman Family Trust / Artist Rights at the 52nd Venice Biennale, and she designed mosaic murals for two New York City Society (ARS), New York, courtesy Pace Gallery, subway stations—59th St./Lexington Ave. in Manhattan and 23rd Street/Ely Ave. in New York Queens. Her work is featured in collections including Art Institute of Chicago; Detroit Institute of Arts; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Nelson-Atkins Museum of Art, Kansas City; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; and Whitney Museum of American Art, Metropolitan Museum of Art, and MoMA, New York. @BAM_Brooklyn #TheJudasKiss

Wilde Again Everett, Cal MacAninch. Photo: Johan Persson Rupert Charlie Row, L-R: By Brian Scott Lipton about what inspired the work and what has changed over the past two decades. Life is full of second chances, even if we don’t always make the most of them. Take the case Brian Scott Lipton: What was your original of the great Irish dramatist Oscar Wilde, whose inspiration for writing The Judas Kiss? reputation never quite recovered after his ill- conceived love affair with the young poet, Lord David Hare: I’d admired Wilde since I was 10 Alfred “Bosie” Douglas. Or, conversely, take years old. I tried to study him at university, but the renowned British playwright David Hare, I was told by my Cambridge English literature whose very play on that subject, The Judas Kiss, supervisor that Wilde was not serious, and that received tepid reviews on Broadway in 1998, if I wrote my fi nal year dissertation on him, I but which has been since revived to glorious would be a laughing stock. I ignored the advice. reviews by director Neil Armfi eld and star Rupert I never wanted to write biographical plays but I Everett (whom the UK Telegraph says “was born had always been fascinated by the question of to play Wilde”). This acclaimed production now why Wilde turned down the opportunity to run comes to the BAM Harvey from May 11 through away and avoid prosecution. But I also loved the June 12. For BAMbill, I recently spoke to Hare period of his life after prison when, in exile and #TheJudasKiss May 11—Jun 12 with apparent perversity, he returned to the lover DH: The 1998 production was a sort of who had precipitated his downfall. I decided legendary mess. It wasn’t anybody’s fault. Or that making a play out of these two separate, maybe it was all our faults, mine as much as apparently incomprehensible actions would be anyone’s. Sometimes, with the best intentions, exciting. everything goes wrong. That’s life. So when I saw Neil Armfi eld’s Sydney production for Belvoir BSL: Many of your plays deal with outsiders, Street Theatre, with [the late] Bille Browne as activists, and artists—all of which describe Oscar Wilde, I felt overwhelming relief that I wasn’t Wilde. How do you feel The Judas Kiss fi ts into mad since the play on stage at last resembled your oeuvre? the one in my head. When I read what Chekhov went through on The Seagull—disaster in St DH: I was fi rst drawn to Wilde by his insistence Petersburg, vindication in Moscow—I think how that morality does not consist of telling others lucky he was to wait only two years. I waited 14 what to do, it’s what you do yourself. This is my years! own view. If you think of all the greatest women and men in history, they illuminate by example, BSL: How much of the success of this current not by instruction. They keep their noses out of production relies on Rupert Everett as Wilde? other peoples’ business. They don’t judge others, they judge themselves. DH: When Rupert offered to play the part in London, I insisted Neil direct it. Some people BSL: What kind of research did you undertake believed that I must have re-written it to achieve before writing the play? so complete a transformation, but in fact every word was the same. The reality is that Rupert DH: Wilde is not just a great writer, but he is giving a great performance, and how many of is the inspiration for great writing in others. those do we see? There are loads of good books about him, most especially those by his grandson Merlin Holland. Brian Scott Lipton is a noted writer about the But remember, my play dramatizes two events performing arts, culture, and fashion based in which happened behind closed doors, so fi nally I New York City. depend on imagination, not research.

BSL: How long did it take to write the play?

DH: The play was fi rst done in London in 1998. I spruced it up a bit for Broadway later that spring. The fi rst act was very diffi cult to write because it contains so much information which I was trying to convey painlessly. But the second act wrote itself.

BSL: In an age where homosexuality is not a crime in many countries, and legalized gay marriage is spreading across the world, what relevance do you feel the play has in 2016?

DH: Honestly, Wilde and Bosie had both been having sex with boys, some of whom who were under-age. Is that any more acceptable today? I don’t think so. As Bosie says, the paradox of Wilde is that he’s a gay hero who never considered telling the truth.

BSL: How different does this production feel to you than the original one? Rupert Everett. Photo: Perou Rupert TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. Delta is proud to be the offical airline of BAM. @BAM_Brooklyn #BAMcinematek #Kamikaze89 Photo courtesy Film Movement Photo courtesy Film

Kamikaze ’89 by Nick Pinkerton Kamikaze ’89 is a science-fi ction whodunnit set of Kraftwerk’s “Radioactivity.” Portraying a kind of in a near-future that sits awkwardly between cyberpunk Sam Spade was all in a day’s work. utopia and dystopia. It was directed by Wolf Gremm, a gigging journeyman whose critical While regularly appearing in his own fi lms, reputation at the time of its release was basically Fassbinder continued to appear as an actor, on dismal. The fi lm’s eyesore costumes and neon- stage and screen, for other directors. He played wreathed production design suggest that it the lead in Volker Schlöndorff’s movie of Brecht’s belongs to the same extended cinematic universe Baal (1969), was a black market operator in as Menahem Golan’s West German kitsch classic repertory cast regular Ulli Lommel’s Tenderness The Apple (1980). And playing the central role of the Wolves (1973), and appeared in his of burly, alcoholic police detective Lieutenant idol Douglas Sirk’s late short, Bourbon Street Jansen is one of the most important artists of the Blues (1978). Kamikaze ’89, brought to him 20th century, Rainer Werner Fassbinder. by producer (and Gremm’s wife) Regina Ziegler, was based on Murder on the Thirty-First Floor, At a remarkably young age Fassbinder had a 1964 novel by Per Wahlöö, a Swedish author digested the whole history of literary, theatrical, whose detective stories had earned him a cult and cinematic modernism, but he preferred following by the time of his early death in 1975. the jostle and stink of the street to a quiet ivory Part of Fassbinder’s attraction to the character, tower. He believed that while making tough, his last major role, was that it was a star part— rigorous, complicated fi lms, he could function the sardonic Jansen appeared in every scene. as a popular artist, and to a remarkable degree his faith in himself and his public was rewarded. Fassbinder’s Lt. Jansen is introduced playing Nothing was beneath him. On New Year’s Eve, racquetball in a gym/discotheque, wearing a 1980, two days after the last episode of his nylon tracksuit with leopard spots. Along with opus Berlin Alexanderplatz had aired on German his catchphrase, “Avoid unnecessary remarks,” television, he appeared on Stars in der Manege, the leopard pattern is Jansen’s trademark: His an ersatz Deutsch Circus of the Stars, doing a revolver has leopard fur trim on the handle, he stage magic act in which he passed a levitating sleeps on leopard-print sheets, and he usually Hanna Schygulla through a metal ring to the strains wears a leopard-print suit which Fassbinder was CELEBRATE COMMUNITY

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B000611_Aug2015_CRA_CommADBAM.indd 1 8/25/15 10:09 AM #BAMcinematek said to have kept after the shoot and occasionally It transpires that the Combine has united wore out on the town. Germany’s best and brightest artists, corralled them in the 31st-fl oor attic, and given them free Kamikaze ’89 was fi lmed in and around Berlin rein to work as they like, quarantined from an and Düsseldorf in August and September of outside world that their “subversive” publication 1981. The movie takes place eight years in a will never reach. Jansen is too late to save the future whose predictions Fassbinder wouldn’t day, and ends the fi lm in a despairing embrace be around to see; he died within a year, before with the heroic fi gure of Neil Armstrong. Kamikaze ’89’s release. In the fi lm, the Federal Fassbinder had only one more fi lm in him, Republic of Germany has become the world’s an adaptation of Jean Genet’s Querelle—a foremost economic superpower. The affi rmative big-budget, phallus-strewn extravaganza of thumbs up is the new “Sieg Heil” of this shiny, gay erotica featuring Nero, American star Brad happy, biodegradable Brave New World. All Davis and, in a small role, Gremm. To the end, problems of industrial pollution and drug Fassbinder never cloistered himself, and in the addiction have been solved, and all press, art, shadow of his death, his fi nal high-wire public and entertainment are manufactured under the performances are extraordinarily poignant. auspices of a megacorporation called, simply, “the Combine.” Kamikaze ’89 screens in a new 4K restoration at BAMcinématek from June 3 to 9. No champions of high culture, the combine’s top-rated program involves contestants trying to Nick Pinkerton is a Cincinnati-born, Queens- outlast one another in a marathon of hysterical based fi lm critic who rarely isn’t thinking about laughter. The mystery gets underway when a R.W. Fassbinder. bomb threat takes Jansen to their headquarters, where he fi rst hears of activities in a “special department” located on the 31st fl oor. The actual plotting is rather murky, though the fi lm is vivid in quotidian moments, as when Fassbinder’s world-weary Jansen is seen masticating the dreariest, most fl avorless microwaved sandwich in all of cinema.

Gremm is credited as the director of Kamikaze ’89, though Fassbinder biographer Robert Katz— Movement Photo courtesy Film who’d polished the fi lm’s original screenplay— states that Fassbinder was to some extent directing himself, in the manner of Orson Welles on the set of Carol Reed’s 1949 The Third Man. (By this point Fassbinder had swollen to nearly Wellesian proportions.) He also brought repeat collaborators with him, including Alexanderplatz cinematographer Xaver Schwartzenberger and several members of his repertory troupe: Onetime lover Günther Kaufmann plays Jansen’s sidekick; Brigitte Mira is a combine employee who takes a swan dive onto the pavement outside their glass box HQ; and Juliane Lorenz as the nurse tending to the police chief forever harassing Jansen through cameraphone devices. New elements in the mix include Tangerine Dream’s Edgar Froese, who composed the original electronic soundtrack, and spaghetti western star Franco Nero as a mystery man who reveals the Combine’s game. BAM Directory

STAY CONNECTED BAM Box Offi ce Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: #BAMNextWave Sun 12–4pm (performance days only) 718.636.4182 BAM.org/blog [email protected] BAM Harvey Theater and BAM BAMwifi _forBK Fisher box offi ces open 90 minutes Lost & Found Facebook.com/BAMstage prior to curtain on performance 718.636.4150, Mon—Fri: 9am—5pm @BAM_Brooklyn days (same-date ticket sales and pick-up only). Restrooms BAMorg/video BAM Howard Gilman Opera House: Group Sales mezzanine and balcony level LOCATIONS For ticket orders of 10 or more (handicapped accessible: 718.623.7885 | [email protected] orchestra level and BAMcafé) PETER JAY SHARP BUILDING 30 Lafayette Ave BAM Rose Cinemas BAM Harvey Theater: BAM Howard Gilman Opera House Advance Ticket Sales: lobby and gallery level Lepercq Space/BAMcafé 877.789.MOVIE BAM Rose Cinemas BAM.org/#fi lm BAM Fisher: Hillman Attic Studio Info: 718.636.4100 lower lobby, 4th fl oor, and 7th fl oor

BAM HARVEY THEATER Box offi ce opens 30 minutes before Headphones 651 Fulton St the fi rst screening of the day. BAM offers infra-red listening devices for the hearing impaired; please BAM FISHER BAM Rose Cinemas is wheelchair inquire at the coat check. accessible. Infra-red headsets for 321 Ashland Pl OTHER Fishman Space the hearing impaired are available; Hillman Studio inquire at the box offi ce. Administrative Offi ces Rooftop Terrace and Stutz Gardens 718.636.4111 Leavitt Workshop Student Rush Info www.BAM.org/student-rush Rental Information Brooklyn, NY 11217 718.636.4198 | [email protected] BAM.org/rentals [email protected] SERVICES BAM Visual Art TICKETS Membership 718.636.4194 718.636.4101 BAM Ticket Services [email protected] BAM.org/BAMVisualArt Performance tickets and info Level 5 special access to orchestra seats, [email protected] 718.636.4100 call Ticket Services at 718.636.4100 [email protected] Questions and Comments BAMcafé [email protected] Reservations/info: 718.623.7811 BAM.org/contactus

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Warning The photographing, the safety of others by lighting BAM theater managers and press videotaping, or sound recording of matches or smoking in prohibited agents are represented by the any performance without written areas during the performances and Association of Theatrical Press Agents permission of the management, is intermissions. This violates a New and Managers, prohibited by law. Violators may be York City ordinance and is punishable Local #18032, punished by ejection and may be by law. —Fire Commissioner IATSE, AFL-CIO. liable for money damages. BAM backstage employees BAM is a charter member of the Fire Notice The exit indicated by a are represented by the League of Historic American Theaters red light and sign nearest to the seat International Alliance of and an affi liate member of the League you occupy is the shortest route to Theatrical Stage Employees of American Theaters and Producers. the street. In the event of fi re or other (I.A.T.S.E.). Children under fi ve not admitted emergency, please WALK TO THAT unless explicitly noted. EXIT, FOLLOWING THE DIRECTIVES OF THE HOUSE STAFF. Thoughtless persons annoy patrons and endanger Thanks to our Winter/Spring Season supporters

Season Sponsor: Global Tour Premier Partner of King and Major support for BAM provided by: Country

Programming in the BAM Howard Leadership support for King and Country Gilman Opera House is supported and Major support for Les Fêtes Vénetiennes provided by: endowed by: provided by the Selz Foundation.

Additional support for Les Fêtes Major support for King and Country Programming in the BAM Harvey Theater Vénetiennes provided by Anne H. Bass; provided by Alan Jones & Ashley Garrett; is endowed by the Doris Duke Charitable Norman S. Benzaquen; Mary Sharp and Katheryn C. Patterson & Thomas Foundation. Cronson; Michael E. & Mary Gellert; The L. Kempner Jr.; and Jewish Communal Fan Fox & Leslie R. Samuels Foundation; fund. Additional support provided by Major Supporter of BAM Harvey Theater and Sam & Ellen Sporn. Mercedes T. Bass; and Robert & Teresa Programming: Lindsay. Leadership support for dance at BAM provided by: Major Sponsor of BAMcafe Live:

Major Sponsor of BAM’s Winter/Spring Programming in the BAM Lepercq Space Season: is supported by The Lepercq Charitable Leadership support for opera at BAM Foundation. provided by Aashish & Dinyar Devitre. Title Sponsor of BAM Rose Cinemas and Winter/Spring Season supporters: Ofﬁcial Airline of BAM: BAMcinématek: Booth Ferris Foundation brigitte nyc William I. Campbell & Support for Muslim Stories: Global to BAM Rose Cinemas are named in Local provided by the Building Bridges Christine Wächter-Campbell recognition of a major gift in honor of Charina Endowment Fund Program of the Doris Duke Foundation for Jonathan F.P. and Diana Calthorpe Rose, Islamic Art. The Gladys Krieble Delmas Foundation and have been generously supported by Epstein Teicher Philanthropies

The Peter Jay Sharp Foundation, and the Jeanne Donovan Fisher Estate of Richard B. Fisher. Judith R. & Alan H. Fishman The Francena T. Harrison Leadership support for Scandinavian The Steinberg Screen at the BAM Harvey Foundation Trust programming provided by The Barbro Theater is made possible by The Joseph Stephanie & Timothy Ingrassia Osher Pro Suecia Foundation. S. and Diane H. Steinberg Charitable David L. Klein, Jr. Foundation Trust. Diane & Adam E. Max Hellenic Humanities programs The Ambrose Monell Foundation supported by: Official Beverage of BAM: Henry and Lucy Moses Fund, Inc. Donald R. Mullen Jr. Samuel I. Newhouse Foundation, Inc. BAM Community Programs Sponsor: The Reed Foundation Major support for French programming The Jerome Robbins Foundation, Inc. at BAM provided by: The Fan Fox & Leslie R. Samuels Foundation, Inc. Endowment support for the Winter/ The Morris and Alma Schapiro Fund Spring Season: The Andrew W. Mellon The Scherman Foundation Foundation Fund for Opera and Music- The SHS Foundation Theater; The Peter Jay Sharp Fund The Shubert Foundation, Inc. Presenting Sponsor of the for Opera and Theater; Lila Wallace- The Harold and Mimi Steinberg Dr. Martin Luther King Jr. Tribute Reader’s Digest Endowment Fund for Charitable Trust Community, Educational, & Public Affairs The TinMan Fund The BAM facilities are owned by the Programming; The SHS Foundation; The Winston Foundation, Inc. City of New York and benefit from public Estate of Richard B. Fisher; The Starr Estate of Martha Zalles funds provided through the New York Foundation; Nora Ann Wallace and Jack City Department of Cultural Affairs Nusbaum; The Devitre Fund; and the Major supporter of BAM: with support from Mayor Bill de Blasio; BAM Fund to Support Emerging and Cultural Affairs Commissioner Tom Local Musicians. Finkelpearl; the New York City Council BAM would like to thank the Brooklyn including Council Speaker Melissa Mark- BAM Marquee Sponsor: Viverito, Finance Committee Chair Julissa Delegations of the New York State Ferreras, Cultural Affairs Committee Assembly, Joseph R. Lentol, Delegation Chair Jimmy Van Bramer, the Brooklyn Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Delegation of the Council, and Council BAM.org sponsor: Member Laurie Cumbo; and Brooklyn Leader. Borough President Eric L. Adams. Your tax dollars make BAM programs Official Piano for BAM: possible through funding from: @BAM_Brooklyn #DMUSA

Dance — changing c in Jordan. Bodytrafﬁ lives worldwide Photo by Guzmán Rosado

by Susan Yung

Since its inception, DanceMotion USASM has with disabilities, and members of the LGBTI reached more than 125,000 people in 49 community. countries, and an impressive 40 million online. Participants for 2017—18 are KEIGWIN + The geographic areas covered this year are COMPANY, Stephen Petronio Company, and typically wide-ranging for these three New York Reggie Wilson/Fist and Heel Performance area troupes. KEIGWIN + COMPANY will travel Group. It’s a testament to the depth of American to Côte d’Ivoire, Ethiopia, and Tunisia. The dance talent that these esteemed companies company is led by choreographer Larry Keigwin, comprise what is already the sixth season of whose dynamic dances emphasizing speed, this international exchange initiative of the US intricate formations, and intriguing concepts have Department of State’s Bureau of Educational and been enthusiastically received. He is practiced Cultural Affairs, produced by BAM. in working with large groups; the company’s widely-seen Bolero project involves non- BAM Executive Producer Joseph V. Melillo notes, professional performers from the participating “DanceMotion USASM has had enormous impact communities. on the global communities it has touched, and has inspired and enriched our dance- Stephen Petronio Company will travel to ambassadors.” Singapore, Thailand, and Vietnam. The company is renowned for its muscular and The artists will embark on four-week residencies precise renditions of Petronio’s athletic, in different regions of the world, engaging in breathtakingly propulsive movement, as well performances and outreach events—workshops, as collaborations with visual artists, fashion master classes, and press interviews—as well as designers, and composers. Petronio, an alumnus sessions on production and arts management. of the Trisha Brown Company, has in recent Of particular focus are at-risk youth, people seasons undertaken the Bloodlines project, cont. @BAM_Brooklyn #DMUSA

which features a dance by a modern pioneer albeit rewarding, for the participants, who who inﬂ uenced him alongside his own work; undertake a rigorous schedule of studio in a recent season at the Joyce Theater, it was events, workshops, and symposiums. Both the Brown’s Glacial Decoy. companies and the host country participants are able to communicate through dance, which The Brooklyn-based Reggie Wilson/Fist and Heel transcends the language barrier. Performance Group will visit the Dominican Republic, Haiti, and Panama. Wilson generates Glenn Edgerton, artistic director of past work by drawing on myriad sources, including participant Hubbard Street Dance Chicago, said, African and postmodern dance, storytelling, and “It was a great reminder of how intuitive it can traditional idioms such as blues and gospel. His be to work with others physically—how natural company performed at BAM in 2009 with The it can be to communicate through movement.” Good Dance—dakar/brooklyn and 2013 with Donald Byrd, artistic director of Spectrum Dance Moses(es). Theater, noted, “There were connections made and bonds forged that were unexpected, and DanceMotion USASM project director R. Michael deeply felt.” Blanco says, “It is gratifying to see how this program that originates from our home at BAM Olga Tsvetkova of Minsk, Belarus, said of her in Brooklyn has reached so many people around DMUSASM experience with Illstyle & Peace the world, sharing a simple message: everyone Productions: “When I was watching you leave I can dance.” was about to cry—you do change one person at a time. You’ve deﬁ nitely changed me, not only by DanceMotion USASM has pushed for greater the way you dance but also by who you are.” access through means such as livestreaming workshops and demonstrations. Touring company DanceMotion USASM continues to changes lives members maintain an active presence on social around the globe, one dancer at a time. media and a blog, charting highlights and sharing local one-of-a-kind cultural experiences. Susan Yung is Senior Editorial Manager at BAM. The program’s breadth of activities is demanding, Dance Heginbotham in Jakarta. Oliveiro Photo by Valerie Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a growing endowment is the foundation for expansive programming that continues to set new standards for artistic daring and excellence. The BAM Endowment provides the ﬁnancial underpinning to launch new artistic initiatives, plan for future years, seize opportunities for institutional advancement, and confront unanticipated challenges. BAM sincerely thanks those listed below for their generous support in securing BAM’s future.

$5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Performance Fund Educational, & Martha A. & Robert S. Rubin Rita K. Hillman Public Affairs Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 and above $250,000 and above recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner $100,000 and above Edward Spilka William Boss Sandberg Michael Bailkin, Marvin Levine, Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera Jesse Masyr, David Stadtmauer Mr. & Mrs. Ame Vennema and Theater Robert & Joan Catell Fund for Verizon Communications The SHS Foundation Education Programs The Isak and Rose Weinman The Starr Foundation Charina Endowment Fund Foundation in honor of Madame $500,000 and above Neil D. & Kathleen M. Chrisman Lilliana Teruzzi The Devitre Fund Mr. & Mrs. Henry Christensen III The Winston Foundation Anonymous For more information on the BAM Endowment please contact Denis Azaro at 718.636.4193 or [email protected]. As of September 1, 2015

Photo: Peter Jay Sharp Building, by Ben Cohen Securing BAM’s Future

Planned Giving Another way to help BAM prepare for the future is by making a provision in your estate plans. You create a legacy for many generations to come and ensure BAM’s excellence continues for the next 150 years. Existing options for planned giving include making a bequest in your will, and naming BAM as a beneﬁciary in your retirement plan or insurance policy, among others. Unless otherwise speciﬁed by a donor, it is BAM’s policy to apply planned gifts toward its endowment. Individuals who have made such gifts are recognized in the select group of patrons known as BAM Angels.

Our special thanks to the foresight of the charitable BAM Angels listed below.

BAM Angels Denis Azaro Karen Brooks Hopkins William Winthrop Parsons Bettina Bancroft William Josephson Marie D. Powers Robert & Joan Catell Charlotte & Stanley Kriegel David L. Ramsay, MD Neil D. Chrisman Edgar A. Lampert William Boss Sandberg Mr. & Mrs. Henry Christensen III Harvey Lichtenstein Louis Sanders Mallory Factor Phyllis Holbrook Lichtenstein Harriet L. Senz Madison S. Finlay William Lynch Toni Mendez Shapiro Richard B. Fisher Georgene M. Maxwell Bella F. Stoll Judith R. & Alan H. Fishman Scott C. McDonald Lynn M. Stirrup Barry M. Fox Joseph V. Melillo PaulaMarie Susi Rita Hillman Evelyn & Everett Ortner Judge Franklin R. Weissberg Barbara T. Hoffman Frank J. & Adeline Pannizzo Carol Yorke & Gerard Conn

For more information on Planned Giving opportunities please contact Stephanie Franco at 718.724.8137 or [email protected]. All inquiries will remain conﬁdential. BAM

Official Beverage of BAM

Salutes Upcoming Events @BAM_Brooklyn

PRESENTED IN PARTNERSHIP WITH THE NATIONAL BOOK FOUNDATION Bill Clegg | Jun 8 at 6:30pm | BC Moderated by Rebecca Mead

BAMKIDS BAM Youth Summer Programs | Jul 5—29 | Ages 6—16 Photo courtesy Film Movement. Photo courtesy Film . R&B FESTIVAL AT METROTECH FREE CONCERTS—THURSDAYS AT NOON IN DOWNTOWN Kamikaze 89 Kamikaze BROOKLYN Every Thursday at noon from June 2 through August 4, join us for free concerts at the BAM R&B Festival at MetroTech, on the green in downtown Brooklyn. Check BAM.org for the full lineup.

BC=BAMcafé | BRC=BAM Rose Cinemas | FS=Fishman Space (BAM Fisher) | HS=Hillman Studio (BAM Fisher) HT=BAM Harvey Theater | OH=BAM Howard Gilman Opera House | MM=Mark Morris Dance Center Photo by Cylla von Tiedemann. . The Judas Kiss Rupert Everett, Cal MacAninch, and Charlie Rowe in Everett, Cal MacAninch, and Charlie Rowe Rupert BAM Supporters & Patrons

BAM wishes to thank our patrons for all the operating, capital, and endowment support you’ve given us over the past year. (List represents gifts between April 7, 2015—April 7, 2016)

$500,000 and above The Lepercq Charitable Mercedes T. Bass Charitable Calvin Klein Inc. Mr. & Mrs. Theodore C. brigitte nyc Foundation Corporation Donald A. Capoccia Rogers Brooklyn Borough Toby Devan Lewis Anne H. Bass Car2go Rolex SA President’s Office— James I. McLaren & Lawton Tony Bechara Causemedia Group Martha A. & Robert S. Rubin Eric Adams W. Fitt Charles Hayden Foundation Goldman Sachs Gives at Thomas & Georgina Russo JPMorgan Chase & Co. New York State Council on Jim Chervenak the direction of R. Martin Saul & Devorah Sherman The City of New York— the Arts Linda & Adam Chinn Chavez Fund Bill de Blasio, Mayor Pepsi-Cola Bottling Citi Foundation Credit Suisse Timothy & Julie Sebunya Aashish & Dinyar Devitre Company of New York Pamela Codispoti & Mark Beatrice & James Del Favero The Evelyn Sharp Doris Duke Charitable The Jerome Robbins Habner The Dermot Company, Inc. Foundation Foundation Foundation, Inc. CompassRock Real Estate LLC Jean and Louis Dreyfus Amy Sherman-Palladino Jeanne Donovan Fisher Jonathan F.P. & Diana The Corinthian Foundation Foundation, Inc. Sills Family Foundation Judith R. & Alan H. Calthorpe Rose Constans Culver Foundation Carol & Roger Einiger Simon Sinek Fishman May and Samuel Rudin Crown Acquisitions Mallory & Elizabeth Factor Jean Stein Howard Gilman Foundation Family Foundation, Inc. Davis Polk & Wardwell Linda & Martin Fell Merryl H. & James S. Tisch Diane & Adam E. Max The Fan Fox & Leslie R. DeWitt Stern FirstService Residential Trust for Mutual Understanding The Andrew W. Mellon Samuels Foundation, Inc. Mark Diker & Deborah Colson Estate of Richard B. Fisher Turner Construction Company Foundation The Morris and Alma Andre & Stephanie Dua Fribourg Family Foundation United American Land The New York City Schapiro Fund Epstein Teicher Alvin E. 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39223-AD-BBPH.indd 1 12/14/15 12:20 PM BAM Supporters & Patrons

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BAM greatly appreciates all contributions in support of our work. We apologize for any inaccuracies. Please contact the Development Department at [email protected] with any corrections. BAM Board

Brooklyn Academy of Music David E.R. Dangoor Anna Kuzmik Sampas William Josephson Cheryl Della Rosa Alberto Sanchez Mary Kantor Chairman of the Board Dinyar S. Devitre Timothy Sebunya John Lipsky Alan H. Fishman Mark Diker Bartholomew A. Sheehan III Laurie Mallet Andre Dua Jessica Smith Cathy-Ann Martine-Dolecki Vice Chairmen of the Board Brendan J. Dugan Brian Stafford David L. Ramsay, M.D., M.Ed. William I. Campbell Thérèse Esperdy Axel Stawski Elaine Weinstein Adam E. Max Teri Everett Joseph A. Stern Hon. Franklin R. Weissberg Mallory Factor Pedro J. Torres Vaughn C. Williams, Esq. President Richard E. Feldman, Esq. John L. Usdan Katy Clark Steven G. Felsher Brigitte Vosse BAM Endowment Trust Chair Jeanne Donovan Fisher Nora Ann Wallace Timothy J. Ingrassia Secretary Barry M. Fox Veronica Westberg Joseph V. Melillo MaryAnne Gilmartin Adam Wolfensohn Vice Chair Robert M. Greenberg Claire Wood Gabriel Pizzi Treasurer Anoushka Healy Andrew Zolli James I. McLaren G. Penn Holsenbeck Treasurer Anne Hubbard Ex Officio Keith Stubblefield Presidents Emeriti Grant S. Johnson Gina Argento Karen Brooks Hopkins Daniel A. Klores Lori Luis Members Harvey Lichtenstein Philippe Krakowsky Laura Popa William A. Douglass III Edgar A. Lampert Steven G. Felsher Members Gary Lynch Chairmen Emeriti Elizabeth Holtzman Jonathan S. Auerbach Patricia E. Michels Neil D. Chrisman James I. McLaren Tony Bechara Ahrin Mishan Seth S. Faison Alberto Sanchez Fran Bermanzohn Donald R. Mullen Jr. Bruce C. Ratner Timothy Sebunya Gordon Bowen William A. Perlmuth R. Edward Spilka Linda Chinn David L. Picket Honorary Trustees Nora Ann Wallace Henry Christensen III Frances A. Resheske Robert L. Forbes Henry Christensen III, Ex Officio Pamela A. Codispoti Sarah C. Robertson Charles J. Hamm Thérèse Esperdy, Ex Officio Dr. Rudolph F. Crew Jonathan F.P. Rose Barbara B. Haws, C.A. Alan H. Fishman, Ex Officio

BAM Staff

Katy Clark, President Anita Goss, Volunteer Librarian Joseph Werner III, Asst. Carpenter, HT Bobby Arnold, Juan Lebron, Lead Joseph V. Melillo, Executive Connor Bowen, Regina Carra, John Manderbach, Head Auxiliary Guards Producer Jennifer Dixon, Kristen Iemma, Electrician, HT Marlon Desouza, Kevin Lemon, Alice Bernstein, Executive Vice Coral Salomon, Kendra Williams, Edward Donohue, Master of Teonia Smith, Andel Thomas, President Interns Properties, HT Michael Whyte, Attendant Guards Stephanie S. Hughley, Vice Alison Dabdoub, Sound Engineer, HT President of Education, GENERAL MANAGEMENT Tom Holler, Richard Wurzbach, CUSTODIAL SERVICES Humanities, Cinema & Cinématek Patrick J. Scully, General Manager Utility Men Ramon Cabassa, Custodial Supervisor John Lanasa, Vice President of Sara Danielsen, Assoc. General Ginger Blake, Wardrobe Supervisor Yossess Allen, Allan Boyce, Ludlow Marketing & Communications Manager, Fisher Building Chamberlain, Isaias Flores, Mayra Riccardo Salmona, Vice President Carrie W. Reynolds, Assoc. General ARTIST SERVICES Guillen, Ron Rathan, Akeon Thomas, for Institutional Advancement Manager Mary Reilly, Director of Artist Services Custodians Keith Stubblefield, Chief Financial Liz Zieminski, GM Budget Manager Stacey Dinner, Artist Services Manager Officer and iceV President of Jaclyn Bouton, Senior Project Jeannine Baca, Britney Polites, EDUCATION & HUMANITIES & Finance & Administration Manager Artist Services Representatives BAMCINÉMATEK Liana Agredo, Jessie Fairbanks, Sarah Silverblatt-Buser, Fisher Artist Shana Parker, Director of PRESIDENT’S OFFICE Project Managers Services Representative Operations for E&H Michael Doyle, Administrative Chris Mode, GM Coordinator, Jennifer Leeson, Operations Coordinator Budgets & Contracts THEATER MANAGEMENT Manager for E&H Samuel Denitz, Admin. Asst. & Christine M. Gruder, Theater Manager Jackie Katz, Education Assoc. ARTISTIC PROGRAMMING BAMshop Liaison John L. Jones, Assoc. Theater Victoria Collado , Education Asst. Stonie Darling, Department Manager Cady Knoll, FOH Representative, Manager Rebekah Gordon, Admin. Juan Pablo Siles, Coordinator of Fisher Sonia Clayton, Jacqueline David, Coordinator Artistic Planning Lucy Petropoulos, Intern Leroy Houston, Theater Staff Supervisors BAM ROSE CINEMAS PROGRAMS & CURATORIAL PRODUCTION Efi Shahar, Cinema Executive Nick Schwartz-Hall, Line Producer Neil Kutner, Director of Production BUILDING OPERATIONS Manager Amy Cassello, Assoc. Producer, Collin Costa, Dylan Nachand, Cameron Christensen, Director of Michael Katz, Projectionist Next Wave Festival Assoc. Production Managers Building Operations Adam Goldberg, Asst. Manager Darrell M. McNeill, Assoc. Producer, Paul Bartlett, Ryan Gastelum, Roger Davis, Security Manager Andreea Drogeanu, Brente Kelly, Music Jennifer Grutza, Brian Sciarra, Wendy Berot, Project Manager Davina Roberts, Anthony Rachel Katwan, Asst. Line Producer Production Supervisors Lynn Alexander, Facilities Manager Shields Jr., Head Floor Staff R. Michael Blanco, DanceMotion Danielle Colburn, Laura Williams, Kevin Cecil, Building USASM, Project Director Palmer Johnston, Production Operations Coordinator BAMCINÉMATEK Sarah Horne, DanceMotion USASM Coordinators Markee Glover, Mailroom Clerk Gabriele Caroti, Director Project Manager Heli Soell, Admin. Coordinator Robyn Goldstein, Mailroom Asst. Nellie Killian, David Reilly, Paige Haroldson, Jason Collins, Frances Caperchi, Intern Elaine Colon, Jean Smith, Building Programmers DanceMotion USASM, Project Services Assoc. Jesse Trussell, Programming Asst. Assts. STAGE CREW Steve McDowell, Auxiliary Technician Ryan Werner, Programmer at Large Petra Laohakul, DanceMotion Thomas Paulucci, Crew Chief Danny Jiang, CMMS Assistant USASM Intern Oscar Gruchalski, Head Carpenter, EDUCATION Danny Kapilian, Producer, R&B OH BUILDING MAINTENANCE Steven McIntosh, Director of Festival, MetroTech Paul McManus, Asst. Carpenter/ Anthony Shields, Maintenance Education & Family Programs Steven Serafin, Special Consultant & Flyman, OH Supervisor John P. Tighe, Asst. Director of Editor, BAM: The Complete Works James D’Adamo, Head Daniel Curato, Calvin Brackett, Education Electrician,OH Ronald Hunter, Maintainers Eveline Chang, Mikal Lee, Verushka ARCHIVES Amy Domjan, Asst. Electrician, OH Carl Blango, Asst. Maintainer Wray, Program Managers Sharon Lehner, Director of Archives Eric Saccoccio, Acting Asst. Cathleen Plazas, Program & Sarah Gentile, Digital Project Archivist Electrician, OH SECURITY Evaluation Coordinator Louie Fleck, Archives Manager Nicholas Varacalli, Master of Melvin Patterson, Manuel Taveras, Malcolm Jackson, Education Carmel Curtis, Mary Rhymer, Evelyn Properties, OH Supervising Attendant Guards Program Intern Shunaman, Processing Archivists Marc Putz, Sound Engineer, OH Kenneth Aguillera, Collie Dean, Nora Tjossem, Humanities and Jan Carr, Digital Content Writer James Kehoe, Head Carpenter, HT Senior Attendant Guards Education Events Intern BAM Staff

Anna Bennett, MSSW Evaluation Josephine Llorente, Digital INDIVIDUAL GIVING Brian Gee, Accounting Manager Intern Media Coordinator Barbara Cummings, Director of Iman Bance, Accounting Asst. Sarah Hayes, Digital Media Asst. Development Douglas Fischer, Yusuf Siddiquee, HUMANITIES William Lynch, Director of Fiscal Coordinators Violaine Huisman, Director of MARKETING Leadership Gifts Humanities Shannon Lacek, Director of Glenn Alan Stiskal, Director of GOVERNMENT & COMMUNITY Molly Silberberg, Humanities Marketing Major Gifts AFFAIRS Manager Raphaele de Boisblanc, Senior Gwendolyn Dunaif, Assoc. Dewonnie Frederick, Community Marketing Manager Director, Major Gifts & Patron Affairs & Bazaar Manager LEAD INSTRUCTORS Andrew Chan, Melanie Cherry, Programs Joshua Cabat, Young Film Critics Allison Kadin, Marketing Richard Serrano, Research Manager HUMAN RESOURCES Samara Gaev, Nsangou Glenn Managers Maayan Dauber, Patron Program Seth Azizollahoff, Director of Gordon, Arts & Justice Rhea Daniels, Marketing Coordinator Human Resources Jenny Rocha, Dancing into the Coordinator Travis Calvert, Project Coordinator, Samara Alexander, HR Manager Future Laura Scholl, Marketing Operations Major Gifts Cynthia Smith, Payroll Manager Michael LoMonico, Shakespeare Manager Alexis Boehmler, Benefits Teaches Teachers Britt Aronovich, Marketing INSTITUTIONAL GIVING Manager Revenue Manager Clemente Luna, Director of Bram McGinnis, Via Clemena, TEACHING ARTISTS Anna Troester, Marketing Asst. Institutional Giving HR Assts. Jennifer Armas, Brigitte Barnett- Kailin Husayko, Semra Ercin, Loftis, Rebecca Bliss, Mahogany AUDIENCE DEVELOPMENT & Institutional Giving Managers INFORMATION TECHNOLOGY Brown, Melissa Brown, Chia-Ti STRATEGIC PLANNING Stephanie Caragliano, Institutional William Allen Lee III, Director of Chiu, Darian Dauchan, Harris Molly Meloy, Director of Audience Giving Coordinator Information Technology Eisenstadt, Imani Faye, Kimani Development & Strategic Rebecca Russell, Intern Thomas Brown, Business Fowlin, Ingrid Gordon, Pat Hall, Planning Analytics Manager Mel House, Albert Iturregui- Joaquin Esteva, Advertising MEMBERSHIP Ira Sibulkin, Assoc. Director of IT Elias, Gwendolyn Kelso, Nicole Manager Claire Charlesworth, Director of Timothy Assam, Systems Kempskie, Abigail Levine, Spencer Claire Frisbie, Content Marketing Membership Administrator Lott, Farai Malianga, WT McRae, Manager Sarah Mischner, Membership Svetlana Mikhalevskaya, Database Michael Mullen, Kwesi Nkroma, Nathan Gould, Marketing Manager, Manager Developer Devin Norik, Pamela Patrick, Development Bruce Smolanoff, Telefund Jason Q. Minnis, IT Project Drew Petersen, Korey Phillips, Chris Tyler, Content Marketing Asst. Manager Manager Mike Ramsey, Gwenyth Reitz, Jen Sharlene Chiu, Customer Loyalty & Cheryl-Lyn Miller, Membership Matthew Taylor, Andrei Iliescu, Shirley, Marcus Smalls, Keomi Strategy Manager Coordinator Web Developers Tarver, Karen Thornton Daniels, Kate Rakowski, Telefund Assistant Jersy Rodriguez, Technical Adia Whitaker, Todd Woodard TICKET SERVICES Eva Marie Arena, Jessica Benton, Support Manager G. Scott Kubovsak, Director of Allison Bodwell, Lydia Cardenas, Tamar Audate, Tim Chawaga, BROOKLYN INTERNS FOR ARTS Ticket Services Aaron Feinstein, Kenneth Fitts, Technical Support Techs & CULTURE Kevin McLoughlin, Head Treasurer Melissa Krzywicki, Thomas Lawler, Susan Bishop, Admin. Coordinator Patrice Edwards, Toni Greenidge- Russell Grier, First Asst. Treasurer Emilie McDonald, Samantha Lucas Austin, Junior Desktop Aigle, Anabel Garcia, Patreece Victor Jouvert, Charlie Dolce, Asst. Osborne, Katherine Rehbeck, Analyst Jackman, Akiva Johnson, Treasurers Adrienne Reynolds, Deema Salem, Kory Longsworth, Ashanti Lyking, Royda C. Venture, Ticket Services Dakota Scott, Amanda Wilder, PROJECT MANAGEMENT Faith Newman, Tyriese White Manager Ramon Zubia, Membership Jeremy Dewey, Director, Project Georgina Richardson, Customer Representatives Management & Strategic MARKETING & Care Manager Planning COMMUNICATIONS Latasha McNeil, Asst. Manager PATRON SERVICES Ellen Leszynski, Project COMMUNICATIONS Ryan Mauldin, Ticket Services Ramzi Awn, Director of Patron Manager Sandy Sawotka, Director of Coordinator Services Communications Edward Raube-Wilson Senior Michael Kendrick, Manager of Sarah Garvey, Assoc. Director Ticket Services Representative Patron Services & Donor Audience Research & Analysis of Publicity Saul Almiachev, Kiana Bilal Mack, Relations George A. Wachtel Susan Yung, Senior Editorial Anaïs Blin, Lucca Damilano, Jessica Hindle, Patron Services Manager Justin Dash, Evan Dice, Robert Coordinator Bookseller Adriana Leshko, Senior Publicity Ebanks, Miranda Gauvin, Greg Alexander Jofe, Annie Steingold, Greenlight Bookstore Manager Garner, Sophie McNeill, Edgar Patron Services Assts. David Hsieh, Maureen Masters, Mendoza, Warren Ng, Elsie European Production Publicity Managers Pacella, Maura Roche, Angela PLANNED GIVING Representative Christian Barclay, Christina Romualdez, Allyson Steele, Stephanie Franco, Director of On Tour Ltd., Roger Chapman Norris, Publicists Noel Vega, Jalise Wilson, Ticket Planned Giving Hannah Thomas, Publicity & Services Representatives Film Buyer Marketing Assoc. SPECIAL EVENTS Adam Birnbaum James Sutton, Publications Asst. DEVELOPMENT Margaret Breed, Director of Sarah Sgro, Intern Lucile Hecht, Administrative Asst. Special Events Immigration Counsel to Vice President for Institutional Grace Eubank, James Vause, Jonathan Ginsburg, Fettman, CREATIVE Advancement Special Events Managers Tolchin and Majors, PC Andrew Sloat, Creative Director Kimberly Howard, Special Events Patrick Morin, Assoc. Director BOARD RELATIONS & and Major Gifts Assoc. Insurance Broker of Design ENDOWMENT Catherine Charnov, Special Events Dewitt Stern Ryan Rowlett, Senior Interactive Denis Azaro, Board Relations & Coordinator Designer Endowment Director Medical Consultants Katie Positerry, Interactive Alexandra Biss, Manager of Board VISUAL ART Ahmar Butt, MD Designer Relations Holly Shen, Curator of Visual Arts Anders Cohen, MD Kyle Richardson, Alison Mary Gordanier, Visual Arts Whitworth, Designers CORPORATE RELATIONS & Coordinator Restaurateur Benjamin Cohen, Assoc. Director SPONSORSHIP Olivia Jacobs, Intern Great Performances of Video Chantal Bernard, Director of Ben Katz, Video Production Manager Corporate Relations FINANCE & ADMINISTRATION Kaitlyn Chandler, Alexander Guns, Terrance Knox, Director of New CAPITAL PROJECTS Apr 15, 2016 Video Editors Business Development Jonathan Jones, Director, Capital Jenny Choi, Publications Manager Ashley Jacobson, Senior Corporate Projects Robert Wood, Senior Copywriter Relations Manager Laura Grady, Capital Projects Seán McKeithan, Copywriter Elizabeth Sarkady, Business Manager Shu Chun Xie, Creative Services Development Manager Assoc. Rebecca Carew, Corporate FINANCE Sponsorship Manager Kozue Oshiro, Controller DIGITAL MEDIA Katerina Patouri, Sponsorship Asst. Tameka White, Asst. Controller Aaron Weibel, Manager of Web Claudia Bailey, Adam Sachs, Production Assoc. Directors of Finance @BAM_Brooklyn #DanceAfrica

DanceAfrica: by Susan Yung Opening Doors DanceAfrica master class. Photo: Whitney Browne Since its founding in 1977, DanceAfrica has Salaam reflected on the nature of culture and continually been about the rich and variegated evolution. “The cultures of Africa and its diaspora tradition of African dance, and also the rites are dynamic, ever evolving, and ever searching. and heritage passed down through generations. A culture by its definition is an organic, living In that respect, this year’s festival will be a being that, if healthy, is forever reproducing new continuation, focusing on dance and culture from and vibrant offspring of itself.” the country of Senegal. It will, however, for the first time be under the sole artistic direction of Referring to what might be expected from Abdel R. Salaam, who succeeds festival founder DanceAfrica going forward, he said: “Keeping Baba Chuck Davis (who will make a guest the foundation and histories of its origins appearance). that are its traditions, and yet, at the same, producing new variations on its ancient past and Salaam founded his New York-based company, the contemporary realities of its present in an Forces of Nature, in 1981. The company attempt to design and create a better tomorrow. has since been a vital presence on the dance DanceAfrica was, is, and will be a manifestation scene, sharing Salaam’s unique, impressively of this reality!” dramatic vision. The repertory often concerns our relationship with the planet, the environment, As in years past, DanceAfrica will feature or our fellow creatures. Salaam—whose troupe companies from Africa or the African diaspora— has been a frequent presence in DanceAfrica— this year, from Senegal. Specifics will be brings his years of creating narrative through- announced shortly. Of course, live drumming lines and thought-provoking allegory to and music—an integral, viscerally exciting DanceAfrica. This year’s thematic subtitle is element of African dance—will accompany the Senegal: Doors of Ancient Futures. proceedings.

cont. @BAM_Brooklyn #DanceAfrica

This year’s DanceAfrica festival kicks off with a huge bang: two concerts by Senegalese superstar Youssou NDOUR in the Howard Gilman Opera House on May 20 & 21.

On May 21, the Tribute to the Ancestors takes place at Weeksville Heritage Center, which is one of the country’s first free African-American settlements, as well as DanceAfrica Community Day at Restoration, where the young dancers of the BAM/Restoration DanceAfrica Ensemble celebrate the visiting artists.

An important component of DanceAfrica since its founding has been the participation and encouragement of youngsters and the Salaam. Photo: Jack Vartoogian Abdel R. development of potential talent. A prime example Emerging Choreographer Fellowship, which is the BAM/Restoration DanceAfrica Ensemble, provides designated up-and-coming dancemakers a program organized in partnership with the Bed- support for travel to Africa and research. Stuy Restoration Corporation, which performs each year, including with international guest The festival, to be held around Memorial Day companies. weekend, as is tradition, will also feature the out-of-doors DanceAfrica Bazaar, full of food There are now two award programs affiliated and fun wares for the whole family; FilmAfrica, with DanceAfrica. The Samuel H. Scripps BAM wich screen as part of the proceedings at BAM Scholarship Fund provides assistance to select Rose Cinemas; a Late Night Dance Party in students to achieve the goal of a higher education the BAMcafé featuring DJ Tony Humphries; and in all artistic disciplines. The recipients have all workshops for both families and adults, held at participated in BAM’s arts education programs at the neighboring Mark Morris Dance Center. some point. New in 2015 was the Chuck Davis Susan Yung is Senior Editorial Manager at BAM.

DANCEAFRICA FESTIVAL 2016 FilmAfrica Senegal: Doors of Ancient Futures May 25—30 BAM Rose Cinemas* Artistic Director Abdel R. Salaam and Artistic Director Emeritus Chuck Davis Late Night Dance Party with Tony Humphries May 28 at 10pm, BAMcafé* Youssou NDOUR May 20 & 21, 8pm DanceAfrica Bazaar Howard Gilman Opera House* May 28, 12—10pm; May 29, 12—8pm; May 30, 12—8pm Tribute to the Ancestors Ashland Place (Hanson/Fulton) and Lafayette May 21 at 10am, Weeksville Heritage Center, 1698 Bergen St., Brooklyn Workshops Family workshop (all ages) DanceAfrica Community Day at Restoration May 30 from 10—11:15am May 21 at 1pm, Bedford Stuyvesant Resto- Adult workshop (intermediate to advanced) ration Plaza, 1368 Fulton St., Brooklyn May 30, 12—1:30pm Mark Morris Dance Center, 3 Lafayette Ave. DanceAfrica performances May 27 & 28 at 7:30pm; May 28 at 2pm; *Peter Jay Sharp Building, 30 Lafayette Ave. May 29 & 30 at 3pm Howard Gilman Opera House* Information at BAM.org