11/12 CREATE | PRESENT | CONNECT

OCT 6/7

Water Stains on the Wall – Cloud Gate Dance Theatre of Taiwan carolina performing arts 11/12 1 carolina performing arts 11/12 3 Welcome to the 11/12 season. As you have come to expect, this season includes new works by the world’s most inspiring and engaging artists, performers and ensembles. But this season also begins with incredibly good news: Carolina Performing Arts recently received a $750,000 grant from the Andrew W. Mellon Foundation for “The Rite of Spring at 100,” an upcoming project for the 2012-13 season that marks the centennial of this seminal and groundbreaking work. The Rite of Spring premiered in Paris in 1913, with music by Igor Stravinsky, choreography by Vaslav Nijinsky and performed by the Ballets Russes. Stravinsky and Nijinsky pushed the boundaries of artistic presentation with the use of complex and primitive rhythms, dissonance and shockingly unconventional choreography. Audience members expressed their contempt, and loud arguments drowned out the orchestra. Before long, a full-scale riot had broken out in the Théâtre des Champs-Élysées and police were called to subdue the mayhem. Through “The Rite of Spring at 100” project, we are commissioning 12 new works by 20 artists, by such luminaries as choreographer 2 Bill T. Jones and director Anne Bogart. French composer Marc-Andrew Dalbavie will write a new work for mezzo-soprano Magdalena Kožená and pianist Yefim Bronfman. Uzbek composer Dmitri Yanov-Yanovsky will write a new work for the Silk Road Ensemble with Yo-Yo Ma. More artists will be announced in the ensuing months and we’ll be sure to keep you informed. Like some of the sentiment at the 1913 premiere of The Rite of Spring, our 11/12 season may also include some work that you may find difficult to understand. Whatever

Paris audiences thought on that night in 1913, they witnessed the premiere of one of the 1 most important works of the 20th century. Just think, the performance you are seeing tonight may also share a similar legacy. Thank you for your support. Please enjoy the performances.

Sincerely, /

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

carolinaperformingarts.org // (919)843-3333 2011 11/12season / ACKNOWLEDGMENTS 11 12 Carolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Council, Student season Body Government and UNC News Services. Elite Coach is the official transportation provider for Carolina Performing Arts’ artists.

Administrative staff Emil J. Kang – Executive Director Kelly Boggs – Audience Services Manager Michelle Bordner –Director of Artist Relations Priscilla Bratcher – Director of Development Rebecca Brenner – Marketing & Communications Coordinator Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development Assistant Director of Campus & Community Engagement Reed Colver – 8 Deutsche Kammerphilharmonie Bremen Jennifer Cox – Administrative Assistant Mary Dahlsten – Box Office Manager with Stefan Litwin, piano Tiffany Dysart – Artistic Assistant Butch Garris – Production Manager 12 Allen Toussaint & Mavis Staples performing Erin Hanehan – Artistic Coordinator Kaitlin Houlditch-Fair – Campus & Community 16 Philadanco Engagement Coordinator 2 Anthony Dean Griffey, tenor, Ellen James – Marketing & Communications Manager 20 Matt Johnson – Production Manager with UNC Music Faculty Mike Johnson – Director of Operations Susan Marston – Accountant 24 Water Stains on the Wall – Dan McLamb – Tessitura Systems Administrator Cloud Gate Dance Theatre of Taiwan Mark Nelson – Director of Marketing & Communications Mark Steffen – Events Manager 28 Babel (words) – Eastman, Aaron Yontz – Production Manager choreography by Sidi Larbi Cherkaoui and Damien Jalet carolina 1 Memorial Hall student staff 32 Angélique Kidjo Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, House and 34 An Evening with Mary Chapin Carpenter Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success.

Advertisers Make This Book Possible This program book would not be possible without the 38 39

/ Donor Spotlight Board, Endowment, Society

advertisers who support it. Their patronage means this 40 Donors 47 Important Information 48 Student View arts information is available to you without cost to Carolina 50 The Last Word 51 Advertisers Index Performing Arts. We extend our gratitude and encourage you to thank them, as well.

The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Kristy Timberlake at (919) 834-9441 or [email protected] or [email protected].

carolina performing arts 11/12 5 2011 Not quite sure what you want? Sometimes you don’t know until you see it … Oct 16 | Angélique Kidjo Sept 7/8 | Deutsche Kammerphilharmonie11 Bremen /12

Still Black Still Proud Béla Fleck and the Cheikh Lô Christian McBride Alvin Ailey American Leif Ove Andsnes, Original Flecktones Dance Theater piano

High Energy DATE NIGHT

These shows are energetic and loud; come Looking for a fun and relaxing evening out? prepared to get up, stand up, and dance! Bring that special someone, then sit back and enjoy. n Allen Toussaint & Mavis Staples n Nutcracker – Carolina Ballet n Angélique Kidjo n Alvin Ailey American Dance Theater n Still Black Still Proud – An African Tribute to James Brown n Deutsche Kammerphilharmonie Bremen with Stefan Litwin, piano n Béla Fleck and the Original Flecktones n Leif Ove Andsnes, piano n Cheikh Lô n Christian McBride & Inside Straight

carolinaperformingarts.org // (919)843-3333 11Oct 9/10 | Babel (words)/1Mar 20/21 | Circa2

Four Electric Ghosts Teatr ZAR Snow White Cloud Gate Dance Shantala Göteborg Ballet Theatre of Taiwan Shivalingappa

BREAKTHROUGH GLOBAL VIEWS

These cutting edge, avant-garde Travel the globe without leaving performances are guaranteed to stir the Triangle. your soul. n Water Stains on the Wall – Cloud Gate n Babel (words) – Eastman, Dance Theatre of Taiwan choreography by Sidi Larbi Cherkaoui n Beckett’s Watt & Endgame – and Damien Jalet Gate Theatre (Ireland) n Four Electric Ghosts – n Shiva Ganga – Shantala Shivalingappa Mendi + Keith Obadike (India) n Teatr ZAR – Gospels of Childhood: n Circa (Australia) The Triptych n Göteborg Ballet (Sweden) n Snow White – Ballet Preljocaj

carolina performing arts 11/12 7 “A sense of spontaneous combustion and ever-dangerous living…” – The Times, U.K.

Deutsche Kammerphilharmonie Bremen with Stefan Litwin, piano ♥ Wednesday, September 7 and Thursday, September 8 at 7:30pm

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

carolinaperformingarts.org // (919)843-3333 classical ensemble sept 7/8 program Wednesday/Thursday, 7:30pm September 7 Program Symphony No. 49 in F minor (“La Passione”), Hob. I:49 ...... Franz Joseph Haydn Stefan Litwin Adagio (1732-1809) Born in Mexico City, Stefan Allegro di molto Litwin studied piano, Menuet e Trio composition and inter- Presto pretation in the U.S. and Switzerland with Christoph Wind Octet in E-flat major, Op. 103 ...... Ludwig van Beethoven Keller, Jürg Wyttenbach, Allegro (1770-1827) Herbert Brun, Walter Andante Levin and Charles Rosen. Menuetto He has appeared with Presto renowned orchestras under conductors including Christoph von Dohnányi, Michael INTERMISSION Gielen and Marek Janowski. In chamber music, he has partnered with Aurèle Nicolet, Piano Concerto No. 1 in C major, Op. 15...... Ludwig van Beethoven Bruno Canino, Kolja Blacher, Christian Tetzlaff, Allegro con brio (1770-1827) Irvine Arditti, Gustav Rivinius, Manuel Fischer- Largo Dieskau, Eduard Brunner, Ib Hausmann, Jörg Rondo – Allegro scherzando Widmann, Michael Riessler and the LaSalle, Arditti, Danel, Pellegrini and Minguet String September 8 Program Quartets, and he has performed lieder recitals Haydn Symphony No. 80 in D minor, Hob. I:80 ...... Franz Joseph Haydn with Roland Hermann, Henry Herford, Yaron Allegro spiritoso (1732-1809) Windmüller, David Moss and Salome Kammer. Adagio Litwin has performed numerous world pre- Menuetto mieres and has collaborated with composers Finale: Presto such as Luigi Nono, Luciano Berio, György

Kúrtag, Hans Zender, Dieter Schnebel, Verklärte Nacht (Transfigured Night) for String Orchestra, Op. 4 ...... Arnold Schoenberg Johannes Kalitzke, Jörg Widmann, Heinz (1874-1951) Holliger and Michael Gielen. Featured on television and radio broadcasts in Europe INTERMISSION and the U.S., he has recorded for Deutsche Grammophon, Auvidis/Montaigne, Arte Nova, Piano Concerto No. 3 in C minor, Op. 37...... Ludwig van Beethoven Cala Records, telos, cpo, col legno and häns- Allegro con brio (1770-1827) sler. Current composition projects include Largo a film music score for a UNC documentary Rondo – Allegro on Argentina’s “stolen children,” a work for the German Ensemble Ascolta, and a music theater project based on Heiner Müller’s play Deutsche Kammerphilharmonie Beethovenfest, Warsaw (2010), as well as Der Horatier. Bremen impressing a sold-out Royal Albert Hall with Stefan Litwin joined UNC-Chapel Hill in 2008 as their all-Beethoven concert at the 2010 BBC Under Artistic Director Paavo Järvi, Deutsche the George C. Kennedy Distinguished Professor Proms. They made a welcome return to Japan Kammerphilharmonie Bremen is one of of Music and also teaches contemporary music in 2010 giving a substantial nine-concert tour, Europe’s most distinguished chamber and interpretation at the Hochschule für Musik including performances with Dutch violinist orchestras. As a result of the unprecedented Saar, Germany. Last fall, he opened the first Janine Jansen. They also gave hugely success- critical acclaim for their Beethoven symphony season of his lecture-recital series at the Berlin ful Schumann symphony cycles at Izumi Hall, cycle recorded for Sony BMG, they have given Philharmonie, discussing and performing music Osaka and at Tokyo Opera City Concert Hall, major tours to Japan (2006, 2007 and 2010) by the New Vienna School and its relation- where they received great acclaim from audi- and Canada and the U.S. (2005, 2007, 2009 ship to the work of Gustav Mahler. He was a ences and press alike. More recently, Paavo and 2010) as well as numerous performances Distinguished Artist in Residence at Cambridge Järvi and the Deutsche Kammerphilharmonie throughout Europe. University’s Christ College, U.K. in 2005-06 and Bremen were invited by Valery Gergiev to per- a Fellow at the Wissenschaftskolleg Berlin from They have performed the entire Beethoven form their Schumann symphony cycle at the 2003-05. The Akademie der Künste Berlin has symphony cycle at the Théâtre des Champs- White Nights Festival in 2011. established a Stefan Litwin Archive of his com- Elysées, Paris (2009), the Salzburg Festival positions, recordings, writings, correspondence (2009), Bonn Beethovenfest (2009) and and original manuscripts. • carolina performing arts 11/12 9 carolinaperformingarts.org // (919)843-3333 on Deutsche Kammerphilharmonie Bremen

Felix Wörner

At the age of 22, Ludwig van Beethoven had successfully established himself as a rising star in the music world. A masterful piano player and very gifted in the art of musical improvisation, he was enabled to take leave from his services as court mu- sician in his hometown Bonn in order to pursue further studies in composition with Joseph Haydn in Vienna, one of the capitals of musical culture around 1800. The endeavor was supported by a generous scholarship awarded by Count Waldstein, one of the earliest supporters of Beethoven’s artistic career. When Beethoven departed from Bonn, Count Waldstein wrote in Beethoven’s auto- graph album: “The Genius of Mozart is mourning and weeping over the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him she wishes to form a union with another. With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands.” Indeed, after Mozart’s death, Haydn was hailed as the leading European composer, often called the Shakespeare of music. Since the 1760s, Haydn had transformed the most important musical genres such as the classical symphony or the classical string quartet, and his music was played and admired throughout the entire continent. With his numerous compositions, he was one of the leading forces in the development of the classical musical language. Already in his early symphonies, and even moreso in the later works, Haydn’s music speaks to the listener with great intensity. Today, the internationally renowned orchestra Deutsche Kammerphilharmonie Bremen belongs to the rare chamber orchestras that can convincingly bring the mu- sic to life, and can create the changing effects of joy, sorrow, surprise or glory, so that their performances stun the audience about the richness and the power of Haydn’s music. And certainly, the young Beethoven acquired the craft of composition from Haydn. What’s more, he was quick in developing his own compositional skills. In his Wind Octet in E-flat major, Op. 103, we witness Beethoven’s masterly command of musical language. The exquisite wind players of the Deutsche Kammerphilharmonie Bremen bring out the entire quality of the composition. In Vienna, however, Beethoven really skyrocketed, and his excellent skills as pianist propelled his reputation. His piano concertos were presented by himself as soloist to the Viennese audience. And just as these occasions turned into a revelation for the Viennese audience about what is possible in music, for us Stefan Litwin reveals through his playing the artistry of Beethoven’s piano concertos anew. As one critic wrote about Stefan Litwin’s extraordinary performances, one can almost believe Beethoven himself is sitting at the piano. Arnold Schoenberg’s Transfigured Night was originally set for String Sextet in 1899 and later published as an orchestral work. Here, Schoenberg makes full use of the richness of the orchestral sound and colors to paint the emotional conflict of the piece. The Deutsche Kammerphilharmonie Bremen presents this modern piece in the long tradition of the Viennese musical heritage. Felix Wörner is an Assistant Professor in the Department of Music at UNC. •

carolina performing arts 11/12 11 “The pure power of passion and emotion.” – Rolling Stone

Allen Toussaint & Mavis Staples

❉ Wednesday, September 14 at 7:30pm

carolinaperformingarts.org // (919)843-3333 roots sept 14 Wednesday, 7:30pm Allen Toussaint, piano Herman LeBeaux, saxophone Renard Poché, guitar Roland Guerin, bass

Mavis Staples, lead vocals Marmalade” and received a Grammy nomina- tion for 1977’s song of the year “Southern Yvonne Staples, background vocals Night,” performed by Glen Campbell. Donny Gerrard, background vocals With a career spanning 40 years and induction Stephen Hodges drums , into the Rock and Roll Hall of Fame, recent ac- Rick Holmstrom, guitar, colades include the Grammy-nominated pop/ background vocals vocal album of the year, The River in Reverse Vicki Randle, background vocals, – Toussaint’s collaboration with Elvis Costello. percussion Jeff Turmes, bass, guitar, Mavis Staples background vocals 2011 Grammy winner Mavis Staples is a Rock and Roll Hall of Famer, a Grammy Lifetime Program will be announced from stage. Achievement Award winner and a National Heritage Fellowship Award recipient. VH1 named her one of the 100 Greatest Women Allen Toussaint of Rock and Roll, and Rolling Stone listed her as one of the 100 Greatest Singers of All Time. 2010 Grammy nominee Allen Toussaint, one With her bold new album You Are Not Alone, of the most influential figures in New Orleans the legendary vocalist adds a remarkable new R&B, has produced, written for, arranged, had chapter to a historic career. his songs covered by, and performed with music giants The Judds, Paul McCartney, Paul Released more than 60 years after she Simon, Elvis Costello, Patti LaBelle, Dr. John, began singing with her groundbreaking Aaron and Art Neville, Joe Cocker, the original family group The Staple Singers, the album Meters, Glen Campbell, The Band, Little Feat, follows her 2009 Grammy-nominated Hope The Rolling Stones, Devo, Ernie K-Doe, Lee at the Hideout and We’ll Never Turn Back, Dorsey, Irma Thomas, Etta James, Ramsey her acclaimed 2007 collection of civil rights Lewis, Eric Gale and countless others. His movement songs. It stakes out surprising songs and productions have been featured new territory for Staples by matching her with in numerous films including Casino, Moulin producer Jeff Tweedy, who also leads Wilco. Rouge and Maid in Manhattan. Some of Tweedy’s choices, which would form the emotional core of You Are Not Alone, In his early 20s, he produced an amazing took Staples back to her earliest memories. string of hits for Minit Records, producing, She recalls her father, pioneering guitarist writing, arranging and performing on tracks Roebuck “Pops” Staples, playing such tradi- by Ernie K-Doe, Irma Thomas, Art and Aaron tional gospel songs as “Creep Along Moses” Neville, Chris Kenner and Benny Spellman, and “Wonderful Savior” on “those big ol’ 78 putting his signature New Orleans sound on records” for the family. “I couldn’t believe it,” the map. His solo career began with RCA. she says. “Those are songs I grew up with – I Two of his earliest tunes – “Java,” which never thought I would be recording them.” became a mega-hit for trumpeter Al Hirt, and They also chose songs by her late father, “Whipped Cream,” the Herb Alpert hit – be- songs by blues and soul icons Allen Toussaint, came standards. Toussaint then teamed up Little Milton and the Reverend Gary Davis with Lee Dorsey, often backed by The Meters, and pop masters Randy Newman and John turning out a string of hits including “Working Fogerty, and songs that Tweedy wrote for her. in the Coalmine,” “Holy Cow” and “Ride You Are Not Alone caps an incredible decade Your Pony.” “Working in the Coalmine” was for Mavis Staples, a resurgence that saw then recorded by The Judds, “Yes We Can” her receive Grammy nominations in blues, became a smash hit for The Pointer Sisters, gospel, folk and pop categories. and “Sneaking Sally Thru the Alley” was re- corded by Robert Palmer and by Ringo Starr. • Toussaint arranged Patti LaBelle’s hit “Lady

carolina performing arts 11/12 13 carolinaperformingarts.org // (919)843-3333 on Allen Toussaint & Mavis Staples

Chris Reali

A few years ago, as the keyboard player for an R&B band in New York, I discovered that many of the songs in our book were traceable to one “Crescent City” source: Allen Toussaint. “I Know,” “Lipstick Traces,” “I Like It Like That,” “Sneaking Sally Through the Alley” were all part of Toussaint’s “Hit Parade.” Of course, I was not familiar with the original recordings by Barbara George, Benny Spellmen, Chris Kenner, or Lee Dorsey, but the cover versions of these Toussaint written, or produced R&B classics. The New Orleans native best explained my initial failure to connect him with the afore- mentioned tunes: “I’m a producer, musician, studio sideman, and not a star performer.” Working in one of those capacities brought Toussaint in contact with Irma Thomas, Ernie K-Doe, The Meters (the house band for Sansu, Toussaint’s production company), LaBelle (“Lady Marmalade”), Dr. John (“Right Place, Wrong Time”), Elvis Costello (2006’s Grammy nominated The River in Reverse), Eric Clapton (2010’s Clapton), and the list goes on. Toussaint spent the early part of his career producing artists for the Minit label. His ability to mix the influences of New Orleans piano stalwarts Fats Domino and Professor Longhair proved successful. Toussaint’s piano playing marked these tracks with the unmistakable sound of New Orleans riffs and rhumba-infused grooves. Although his name may not be widely known, Toussaint’s contributions to New Orleans music, and pop music in general, earned him a spot in the Rock and Roll Hall of Fame class of 1998. In 2005, Toussaint paired with Mavis Staples, along with Irma Thomas, Ann Peebles, and Billy Preston for the album I Believe To My Soul. Like Toussaint, the career of Mavis Staples began in the 1950s. In 1951, Roebuck “Pop” Staples (1914-2000), formed a fam- ily gospel quartet with his children called The Staples Singers. Success for the group came in 1956 with the release of “Uncloudy Day.” By the mid-1960s, R&B and Soul influenced the groups’ sound, and they signed with Stax Records in 1967. In 1971, The Staples Singers achieved popular and critical success with the songs “Respect Yourself,” “I’ll Take You There,” and “Heavy Makes You Happy.” The ensuing years found the group working with Curtis Mayfield, Mavis recording for Prince’s label as a soloist, while Pops released acclaimed solo albums into the 1990s. In 1999, The Staples Singers were inducted into the Rock and Roll Hall of Fame. The gospel and blues roots of The Staples Singers runs deep. These roots are audible on Mavis’ 2010 album You Are Not Alone. Jeff Tweedy, from Wilco, produced, and co-wrote the title track for this Grammy nominated release. About Tweedy’s song selection, includ- ing Toussaint’s “Last Train,” Staples said, “It was a feeling of pure joy to be singing the songs I sang when I was young….I’m still here, and this is what Tweedy has really done for me – he gave me a chance to be a kid again.” There is no doubt that this evenings concert will be good for your soul! Chris Reali is a third-year doctoral musicology student at UNC. His research interests center around popular music, R&B and Soul music. •

carolina performing arts 11/12 15 “Fierce and sensuous…” – New York Magazine

Philadanco ♥ Friday, September 23 at 8pm

carolinaperformingarts.org // (919)843-3333 dance program sept 23 program Watching Go By, The Day Friday, 8pm Choreographer: Hope Boykin | Assistant to Choreographer: LaMar Baylor Lighting Designer: Albert Crawford | Costume Designer: Hope Boykin Composer: Ali Jackson | Performed by the Ali Jackson Quintet: James Burton, Xavier Davis, Ali Jackson, Bruce Williams, Ben Wolfe Joan Myers Brown – Commissioned by Carolina Performing Arts, Watching Go By, The Day was originally created for Founder and Executive Philadanco, The Philadelphia Dance Company, choreographed by Hope Boykin with an original Artistic Director score by Ali Jackson. | Phil. 4:13 PAUSE Dancers Rosita Adamo Bolero Too LaMar Baylor, Choreographer: Christopher L. Huggins | Music: Ravel Assistant to Choreographer: Kayoko Amemiya Janine Beckles Costume Design: Christopher Huggins | Costume Execution: Natasha Guruleva Heather Benson Lighting Design: Clifton Taylor Jeroboam Bozeman A full company piece, Bolero Too, according to choreographer Christopher Huggins, is “electric, Justin Bryant physical and sizzling.” Set to a powerful musical score by Ravel and carved by Mr. Huggins with a Chloé O. Davis choreographic Spanish flare style,Bolero Too speaks to relationships between men and women, who Tommie-Waheed Evans they are, how they interact with one another, and the trust factor. It’s sure to keep you on the edge of your seat. Jason Herbert, Lindsey Holmes INTERMISSION Joan Kilgore By Way of the Funk Alicia Lundgren Choreographer: Jawole Willa Jo Zollar Roxanne Lyst, Assistants to Ms. Zollar: Marjani Forté & Catherine Dénécy | Music: Parliament Funkadelics Ruka Hatua-Saar White Lighting Design: Clifton Taylor | Lighting Assistant: Melody Beal Costume Design & Execution: Anna-Alisa Belous Philadanco

How We Got to the Funk Philadelphia’s premiere modern dance An exploration of music and movement from the ’50s to the ’70s. company, Philadanco was created in 1970 to address the lack of opportunities for minor- Cool Baby, Cool ity dancers in the Delaware Valley. In the 41 Minimalism as only cool can embody. years since then, Philadanco has advanced By Way of the Drum from a small community-based company to This explores the hotter side of funk with hard-edged soul singers, revisiting the ’70s, concert style. an internationally renowned institution with a reputation for promoting new and emerging By Way of the Funk is a new work that harnesses the energy and culture of funk music. The music is dance talent. The Philadanco Instruction and the Funkadelics and Parliament. This four-part work is a joyous celebration of 40 years of Philadanco’s existence. As it says in the song, “funk not only moves, it removes, dig.” These words are emblematic of Training program has earned national recogni- the way funk music makes you want to get up out of your seat and dance and forget about your troubles. tion for providing world-class dance instruction This work uses the entire company as a way to honor the legacy of achievement taught by internationally renowned instructors of Joan Myers Brown and Philadanco. at nominal to nonexistent fees. In addition to Funding for this ballet was the co-commission of the Kimmel Center, Incorporated and the mentoring and promoting young dancers and August Wilson Center for African American Culture in Pittsburgh, Pennsylvania and funded choreographers, the company provides studio in part by the National Dance Project of the New England Foundation for the Arts, with lead space to small companies and independent funding from the Doris Duke Charitable Foundation. Additional funding provided by the Ford artists at low or no cost, and was the first Foundation, the Andrew W. Mellon Foundation and the Community Connections Fund of the company in Philadelphia to offer low-cost MetLife Foundation. housing to dancers. Philadanco’s dancers PAUSE receive exquisite training in a wide range of dance idioms, young predominantly African- Enemy Behind the Gates Choreographer: Christopher L. Huggins | Assistant to Mr. Huggins: Kayoko Amemiya American choreographers are cultivated and Music: Steve Reich | Costume Design: Christopher L. Huggins supported, and seasoned, critically acclaimed Costume Execution: Natasha Guruleva choreographic work is preserved through Lighting Design: William H. Grant, III | Lighting Execution: Melody Beal Philadanco’s programming. The resident mod- Enemy Behind the Gates was inspired by enemies within our midst. THEY LOOK LIKE YOU. THEY ern dance company of the Kimmel Center for ACT LIKE YOU. THEY LIVE LIKE YOU BUT, THEY ARE NOT ONE OF YOU. The Gate is not invincible but the Performing Arts, Philadanco is a pillar of it’s yours to secure. Set to the burning music of Steve Reich and danced by the explosive energy the Philadelphia arts community and one that of Philadanco. serves as a distinguished cultural ambassador around the globe. With all of the company’s The creation of Enemy Behind the Gates is sponsored by Altria Group, Inc. Additional funding from Dolfinger-McMahon Foundation and an anonymous donor also made this work possible. artistic achievements, Philadanco has never lost sight of its mission to “present the highest Philadanco is represented by Baylin Artists Management Inc., 196 West Ashland Street, Suite quality of professional dance performance and 201, Doylestown, PA 18901

carolina performing arts 11/12 17 improve the skills of emerging and professional dancers and choreographers in a nurturing en- vironment, while increasing the appreciation of dance among its many communities.”

Hope Boykin on Durham native Hope Boykin Philadanco studied with Jennifer Potts and Nina Wheeler and was a three-time recipient of the Marian Turner Hopkins American Dance Festival’s Young Tuition Scholarship. Philadanco is an amazing story of survival and success. It is a testament to the vision of While attending Howard one woman, Joan Myers Brown, a powerhouse in the world of modern dance. Ms. Brown University, she trained and is part of that elite circle of African-Americans such as Alvin Ailey and Arthur Mitchell of danced with Lloyd Whitmore, artistic director of Dance Theatre of Harlem. Their efforts have helped to develop an avenue for young black the New World Dance Company. In New York, dancers to achieve the same pinnacle of success as others in the dance world through she studied at The Ailey School, worked as as- performance opportunities and above all, superb training. sistant to choreographers Milton Myers and the late Talley Beatty, and was an original member I first heard of Philadanco many years ago as a young dancer. I was excited to find out of Complexions. She joined Philadanco in that modern dance for young black dancers was not only happening in New York with 1994, and in 1998, Hope was honored with a Alvin Ailey, it was happening in Philadelphia as well. As I think about it, trying to create Bessie Award. a dance company outside of the nucleus of the dance world, New York City, was auda- cious indeed. But Joan Myers Brown recognized a deep passion for movement and for Since joining Alvin Ailey American Dance Theater serious training in young African American community. This passion for movement is in 2000, she has presented choreography for indigenous to African-American culture. She tapped into it boldly and we see dancing Lincoln Center Outdoors Summer Festival, the that reminiscent of the passion one sees in the Ailey Dance Company performances. You Thelma Hill Performing Arts Center in Brooklyn, feel t is an energy that bursts forth out of need. It can only be expressed through dance. and E-Moves at Aaron Davis Hall in Harlem. Ms. Brown’s myriad roles as teacher, choreographer, mentor and, yes, mother at times, In collaboration with Matthew Rushing, Hope is the backbone of this company. Her herculean efforts have been the force which has presented the MOMENTUM Dance Project, been driving this company towards it half century mark which premiered in Sinoloa, Mexico in 2002. She collaborated with Mr. Rushing and Abdur- Joan Myers Brown’s relentless directing is a continual personal and hands on process Rahim Jackson on Acceptance In Surrender for that insures Philadanco’s growth and survival. Her company is a significant part of sus- Alvin Ailey American Dance Theater’s 2005 New taining the black tradition in modern dance. It is important that it is a repertory company. York City Center season. And in 2007, the Victory From the beginning, Ms. Brown invited the choreography of major African-American Over Parkinson’s concert, Ms. Boykin presented choreographers. This has had a two way impact. It has enriched the artistry of her danc- her work to the original symphony A Calendar of ers and given them a diverse learning experience. At the same time, it has insured that Dances by Greg Rice. traditional works survive and it supports the new works of emerging choreographers. A dancer in Philadanco can grow immensely as a result of learning the past works of Hope choreographed Go In Grace, a col- modern dance great, Talley Beatty as well as the awesome contemporary work of Jawole laboration with Grammy Award-winning Sweet Willa Jo Zollar. Honey In The Rock, for the Alvin Ailey American Dance Theater’s 50th Anniversary Celebration. At the core of these performances is the training. That is what makes Philadanco’s ath- She has also created works for Dallas Black leticism and technical mastery possible. Joan Myers Brown as well as Ailey and Mitchell, Dance Theatre, Minnesota Dance Theatre and have enjoyed their companies’ success because they have also invested in schools which Philadanco, the Philadelphia Dance Company. are attached to their companies. Hope Boykin is a product of Ms. Brown’s investment, and other teachers before her. She has come full cycle – a beautiful performer who Christopher L. Huggins is able to pass on the baton through teaching and successfully developing her unique voice as a choreographer. And she is able to give back to the company which nurtured Christopher L. Huggins her artistry. is a former member of the renowned Alvin Ailey Thankfully, it is a different world today where black dancers, thanks to Ms. Brown and American Dance Theater. others, have now proven their ability to compete and are able to dance with whatever Originally from Boston, company they choose. Dancers have emerged from the Philadanco experience, beauti- Huggins trained under fully trained and importantly, prepared to “SAY SOMETHING “ with their bodies, as Andrea Herbert Major, Modern dance pioneer, Doris Humphrey, wrote. Danny Sloan and Martha And Philadanco is speaking boldly to audiences of all peoples. Gray. He attended SUNY Purchase, The Julliard School, and was a fellowship student at The Marian Turner Hopkins is a lecturer of modern dance technique and history in the UNC Ailey School. Huggins appeared as a guest art- Department of Exercise and Sport Science. She is founder and faculty adviser for the UNC ist for several dance companies in the United Modernextension Dance Company. States an abroad. • carolinaperformingarts.org // (919)843-3333 As a master teacher and choreographer, he on using creative and collaborative approaches Horns in the Hood. He has hosted the Jammin’ works in Europe, Japan, Korea and throughout to community building and civic engagement. with Jackson young musicians series at Jazz at the United States. He has taught countless With FLY: Five First Ladies of Dance presented Lincoln Center’s Dizzy’s Club Coca-Cola and do- master classes and workshops at universi- by 651 Arts, Jawole was featured as a leading nated his time to hurricane relief performances ties and dance institutions including Howard influential dancer/choreographer on a program for NBC, CNN and Jazz at Lincoln Center’s Higher University in Washington, DC, Spelman College that included her mentor Dianne McIntyre, Ground Relief Concert. He is the voice of Duck in Atlanta, University of the Arts in Philadelphia, her collaborator Germaine Acogny, Carmen de Ellington, a character in the Penguin book series and Western Michigan University in Kalamazoo. Lavallade and Bebe Miller. Baby Loves Jazz, and appeared in Apple’s 2006 Huggins, a much sought-after choreographer, iPod Ad campaign Sparks. TV appearances has created ballets for numerous companies Ali Jackson, Jr. include Conan O’Brien with the Eldar trio, The View including Dallas Black Dance Theatre, Ailey Ali Jackson has performed with the Lincoln Center Jazz Orchestra and The Tonight Show II, Philadanco, Cleo Parker Robinson Dance, and recorded with some with Jay Leno. His playing is Bolden Broadway Dance Center of Tokyo and Oslo of the world’s finest art- also heard in , a film about the beginnings Two Men Dance Ensemble in Norway. He is a 2002 ists including Wynton of jazz. Recently, Ali was featured on With The Blues and 2008 recipient of the Ira Aldridge Award Marsalis, Jazz at Lincoln , a Blue Note release with Wynton for Best Choreography from the Black Theatre Center Orchestra, Dee Marsalis and Willie Nelson. Alliance in Chicago for his work Enemy Behind Dee Bridgewater, Aretha Ali won numerous recognitions and scholarships the Gates and Pyrokinesis. He also worked on Franklin, George Benson, as a child and was selected as soloist for the several projects for Disney in Orlando. Harry Connick Jr., KRS-1, Marcus Roberts, Cyrus Beacons Of Jazz concert honoring the legendary Huggins is a silver medalist from the Chestnut, Reginald Veal, James Carter, Joshua Max Roach at New School University. Following Seoul International Contemporary Dance Redman, Brad Mehldau, Vinx, conductor Seiji an undergraduate degree in music composition Competition, resident choreographer at Ozawa, Diana Krall and the New York City Ballet. at the New School University for Contemporary Duke Ellington High School for the Arts in His production talent is featured on George Music, he studied with Elvin Jones and Max Washington, DC, and served as Artist in Benson’s 2005 release Irreplaceable and he Roach. Committed to education for young Residence for The Ailey School in 2009. performs on the Wynton Marsalis Quartet’s people, he has been part of Young Audiences, He was the choreographer for the 50th The Magic Hour. He appears with the Wynton educating New York City youth about jazz. Anniversary Opening Night Gala for the Alvin Marsalis Quintet, the Ali Jackson Quartet and Ailey American Dance Theater and is currently • a faculty member at The Ailey School.

Jawole Willa Jo Zollar Born and raised in Kansas City, Missouri, Jawole Willa Jo Zollar trained with Joseph Stevenson, a student of the legendary Katherine Dunham. After earning her BA in dance from the University of Missouri at Kansas City, she moved to New York City in 1980 to study with Dianne McIntyre at Sounds in Motion. Four years later, she founded Urban Bush Women (UBW) in 1984 as a performance ensemble dedicated to exploring the use of cul- tural expression as a catalyst for social change. Jawole received her MFA in dance from Florida State University and is the Nancy Smith Fichter tenured professor in FSU’s dance department. In addition to the 33 works created for Urban Bush Women, Jawole’s choreography is part of the repertory of Alvin Ailey American Dance Theater, Philadanco and Dayton Contemporary Dance Company, among others. Jawole burst onto the scene and made an indel- ible mark on the field by challenging assump- tions about body types, styles of movement, appropriate content and the role of community in creation. Still dancing, she is an innovator in the vanguard of dance. Jawole was invited to par- ticipate in a meeting the White House convened

carolina performing arts 11/12 19 “Technique, musicianship and poetry in his soul…” – The Boston Globe

Anthony Dean Griffey, tenor Warren Jones, piano Leah Peroutka, violin Terry Ellen Rhodes, soprano Hugh Partridge, viola Richard Luby, violin Brent Wissick, cello ♥ Thursday, September 29 at 7:30pm Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

carolinaperformingarts.org // (919)843-3333 classical recital sept 29 program Thursday, 7:30pm September 29 Program Come again ...... John Dowland What if I never speed (1563-1626) Of Mice and Men Fine knacks for ladies in Carlisle Floyd’s with Opera Australia. Symphonic highlights include Mahler’s Eighth Symphony with the Orquesta Nacional Three Poems by Fiona MacLeod, Op. 11 ...... Charles T. Griffes de España, Britten’s War Requiem with the The Lament of Ian the Proud (1884-1920) Eugene Concert Choir, and recitals with the Art Thy Dark Eyes to Mine Song Festival in Berea, Ohio and with Music for a

The Rose of the Night Great Space in Greensboro, NC. Barcarolle, Op. 6, No. 1 Recordings include Britten’s Peter Grimes at the Metropolitan Opera (EMI Classics on Three Songs, Op. 10 ...... Samuel Barber DVD), Weill’s The Rise and Fall of the City Rain has fallen (1910-1981) of Mahagonny with the Los Angeles Opera Sleep now (Euroarts), Britten’s War Requiem with Saito I hear an army Kinen Orchestra and Seiji Ozawa, conductor, Deems Taylor’s Peter Ibbetson with the Seattle INTERMISSION Symphony, Mahler’s Symphony No. 8 with the San Francisco Symphony, Britten’s War On Wenlock Edge...... Ralph Vaughan-Williams Requiem with the London Philharmonic, André I. On Wenlock Edge (1872-1958) Previn’s A Streetcar Named Desire, Poulenc’s II. From far, from eve and morning Les Mamelles de Tirésias, Verdi’s I Lombardi III. Is my team ploughing with James Levine, Amy Beach’s Cabildo and IV. Oh, when I was in love with you Carlisle Floyd’s Of Mice and Men with the V. Bredon Hill Houston Grand Opera. VI. Clun Warren Jones, piano Anything You Can Do ...... Irving Berlin Named 2010’s Collaborative (1888-1989) Pianist of the Year by Musical America, Warren Without a Song ...... Vincent Youmans Jones performs with many (1898-1946) of today’s best-known art- ists including Stephanie Let’s Call the Whole Thing Off ...... George Gershwin (1898-1937) Blythe, Denyce Graves, and Ira Gershwin (1896-1983) Dame Kiri Te Kanawa, Anthony Dean Griffey, Ruth Ann Swenson, Bo Skovhus, Samuel Ramey, Over the Rainbow ...... Harold Arlen James Morris, John Relyea, Joseph Alessi and (1905-1986) Richard “Yongjae” O’Neill, and has partnered with such great performers as Marilyn Horne, Kathleen Battle and Barbara Bonney. He is Anthony Dean Griffey, tenor principal pianist for Camerata Pacifica. today’s pre-eminent conductors, including Four-time Grammy Award-winning Anthony Dean He has often been a guest artist at Carnegie Hall James Levine, Seiji Ozawa, André Previn, Griffey has captured critical and popular acclaim and in Lincoln Center’s Great Performers Series, Michael Tilson Thomas, Sir Andrew Davis, on opera, concert and recital stages around as well as in the festivals of Tanglewood, Ravinia Esa-Pekka Salonen, Alan Gilbert, Kurt Masur, the world. His beautiful and powerful lyric tenor and Caramoor. His travels have taken him to re- Donald Runnicles, Sir Colin Davis, Christoph voice, gift of dramatic interpretation and superb citals at the Salzburg Festival, Milan’s Teatro alla Eschenbach, Valery Gergiev, James Conlon and musicianship have earned him the highest praise Scala, the Maggio Musicale Festival in Florence, Charles Dutoit. from critics and audiences alike. the Teatro Fenice in Venice, Paris’ Théâtre des In 2011-12, Griffey makes several important role He has performed leading roles at the great Champs-Elysées and Opéra Bastille, Wigmore debuts: as Tichon in Janáček’s Katya Kabanová international opera houses including The Hall and Queen Elizabeth Hall in London, the directed by David Alden and conducted by Metropolitan Opera, Lyric Opera of Chicago, Konzerthaus in Vienna, Suntory Hall in Tokyo, Graeme Jenkins; as the Male Chorus in a new San Francisco Opera, Houston Grand Opera, the Cultural Centre in Hong Kong and theaters production of Britten’s The Rape of Lucretia Glyndebourne, Opéra National de Paris and throughout Scandinavia and Korea. Recent sea- at Houston Grand Opera; and as Lensky in Teatro Comunale di Firenze. He is a regular sons have included his debut with the Chamber Tchaikovsky’s Eugene Onegin with Opera guest of the world’s great orchestras and Music Society of Lincoln Center in a work Carolina. He will also reprise the role of Lennie festivals and has collaborated with many of commissioned for him and Stephanie Blythe: carolina performing arts 11/12 21 Covered Wagon Woman by Alan Louis Smith. In he studied with William Primrose, Partridge appearing in more than 20 nations in repertoire addition to performances with the Borromeo and won the position of principal violist with the spanning opera, oratorio, art song and musical Brentano Quartets, he has been heard at the Indianapolis Symphony Orchestra and joined theater. A native of Raleigh, NC, she has received New York Philharmonic in the Sextet of Ernst von the faculty of Butler University. In 1970, he was numerous grants and awards including a Fulbright Dohnanyi, and has participated regularly in the appointed Professor of Viola and Chamber Music Artist-in-Residence/Lecturer position at the annual Marilyn Horne Foundation gala festivities at Wichita State University, where he organized Conservatory of Music in Skopje, Macedonia at Carnegie Hall. and directed the internationally recognized Viola in 1993, an IAH Chapman Fellowship, an IAH Collective and served as principal violist of the Academic Leadership Fellowship and a Lilly grant. His extensive discography includes more than Wichita Symphony. 25 recordings, the latest a compilation of new Especially known for her work in the contem- songs by American composer Lori Laitman He has appeared as principal violist in many sum- porary music arena, she has premiered a on the Albany label. He can be heard on every mer music festivals including the Brevard Music number of works written specifically for her and major record label in repertory from Schubert Center and the Santa Fe Opera Orchestra, and has recorded two warmly received CDs on the and Brahms to the more esoteric compositions as a guest artist with the San Luis Obispo Mozart Albany label. She teaches and performs in Italy of Gretchaninoff, Clarke and Smit, as well as Festival, the Sun River Music Festival and the New every summer. As UNC Opera director, she has contemporary works by Harbison and others. Approach Chamber Players of Sarasota, Florida. furthered the cause of new music, producing In 2003, he received the Raleigh Medal of Arts in and directing a number of regional and world Richard Luby, violin recognition of his “extraordinary achievement in premieres. Under her tutelage, the group has the arts.” In 2005, he was awarded the Maxine performed more than 30 complete operas and Richard Luby has ap- Swalin Outstanding Music Educator Award in 17 scenes programs, with music ranging from peared as soloist with recognition of his service to the community as a the baroque to the contemporary. UNC Opera the Orquesta Sinfónica role model in music education, instilling a love for also performs in area public schools on a regu- de Xalapa of Mexico, music in children and inspiring students to reach lar basis. Dr. Rhodes holds the DMA and MM National Radio Orchestra high musical standards. from the Eastman School of Music and the BM of Poland, the Rochester from UNC-Chapel Hill. Philharmonic, the North Leah Peroutka, violin Carolina Symphony, the Brent Wissick, cello National Symphony, Leah Peroutka holds the Philadelphia Orchestra and the Detroit degrees from UNC-Chapel Brent Wissick is the Symphony. He has given recitals of the Hill (BM 2007) and the Zachary Taylor Smith complete works for violin and piano of Ives, Cleveland Institute of Distinguished Professor Prokofiev, Brahms and Stravinsky as well as Music (MM 2009). She is a of Music at UNC-Chapel the Sonatas for violin and harpsichord of J.S. substitute violinist with the Hill, where he teaches Bach and the Sonatas and Partitas of Bach, North Carolina Symphony cello, viola da gamba and on baroque and modern violin. His recording and performs regularly with early music ensembles. credits include two sets of Haydn Trios on the the Carolina Philharmonic, A member of Ensemble Arabesque label, Bach Concerti on Society Western Piedmont Symphony and others as Chanterelle and the Atlanta Records and Bach Sonatas and Partitas for well as maintaining an active chamber music Baroque Orchestra, he is a frequent guest Unaccompanied Baroque Violin recorded for schedule. Ms. Peroutka performs on baroque with the Dallas Bach Society Folger Consort, BBC broadcast by Meridian Records. violin throughout North Carolina. She has par- Concert Royal, Smithsonian Consort of Viols, ticipated in master classes with the Academy Boston Early Music Festival and American Bach Mr. Luby has performed throughout the of Ancient Music, Jordi Savall and members of Soloists as well as Collegio di Musica Sacra world as a member of the Orchestra of the Apollo’s Fire, among others. She is a founding in Poland. He was an NEH Fellow at Harvard, Eighteenth Century of Amsterdam, and as member of GEM Baroque, based in Greensboro, taught at the Aston Magna Academy at Yale and conductor/soloist with orchestras in Spain, NC. Her principal teachers have included David served as chair of Higher Education for Early Mexico, Cuba and the United States. He has Updegraff, Richard Luby and Joanne Bath, Music America. been a guest clinician at universities and con- and on baroque violin, Brent Wissick and Julie servatories throughout the United States and A former student of John Hsu at Cornell Andrijeski. She currently serves on the faculty Mexico, Spain, Cuba and People’s Republic of University, he has performed and taught at of UNC-Chapel Hill as a lecturer in violin per- China. His students have attended the Curtis many of the important schools, workshops and formance in addition to maintaining a private and Cleveland Institutes of Music, Juilliard, festivals in North America, Australia, Europe studio at her home in Chapel Hill. Rice, Indiana and Florida State, among others. and Asia. His recording of Sonatas and Cantatas by Bononcini was released by Centaur and his Terry Ellen Rhodes, soprano Hugh Partridge, viola online video article about them has been pub- Chair of the music depart- lished by the Journal of Seventeenth-Century Hugh Partridge has taught viola at UNC-Chapel ment, professor of music Music. He has also recorded for Albany, Titanic, Hill since 1996. He was principal violist with and opera director at UNC- Dux, Radio-Bremen and Koch International. the North Carolina Symphony for 30 years Chapel Hill (the latter for He is Past President of the Viola da Gamba (1976-2006) and is the artistic director of the the past 24 years), Terry Society of America, having served as President Philharmonic Association and conductor of the Ellen Rhodes has performed from 2000-04, and was chair of the 2007 Pan- Triangle Youth Philharmonic, the official youth throughout the US, Latin Pacific Gamba Gathering, of which he has been orchestra of the North Carolina Symphony. America and Europe, a board member since 1986. Upon graduation from Indiana University, where • carolinaperformingarts.org // (919)843-3333 on A nthony Dean Griffey

Andrea Edith Moore

“Are you nervous?” is the first question Anthony Dean Griffey asks his students as they stand up to sing for his master classes. Their answer is inevitably a shy, “Yes!” Mr. Griffey then asks a more difficult question: “Why?” The student usually waffles and then launches into the hesitations all singers feel about performance: self-consciousness, fear of being judged, embarrassment about friends, colleagues or a teacher being in the room, worry about being un- prepared, or any number of other butterfly-inducing emotions, including awe. “Mr. Griffey, you’re a world famous opera superstar!” Anyone who meets my friend and colleague, tenor “Tony” Griffey for the first time is inevitably impressed. He is, indeed, an “opera superstar,” one of the world’s finest interpreters of the music of Benjamin Britten as well as many of the best-known living American composers. He sings with the world’s finest singers and conductors. Despite all this, Tony remains the warmest, most generous of people. It is the com- bination of his towering stature and frank open demeanor that immediately strikes us. This great and famous performer admits that both as a singer and teacher, he still gets nervous. Singing lives at the core of the human spirit. To open the voice is to open a portal that travels into the depths of a soul. There are many singers in the world, celebrated singers, who, despite their technical prowess, don’t illuminate these depths. When I hear Tony sing, I have the sense that his voice is a light he is shining deep down, at times warm as a candle; at times dazzling, with a clarion brightness that floods us with light. His voice is always commanding yet has humane vulnerability. His whole body participates in every passionate word he sings, and sings openly and naturally.. Tony and I come from the same family of teachers: he studied with the late, brilliant Beverly Peck Johnson. I studied with her protégé Rita Shane. He recalls Mrs. Johnson fondly and often to students: “Sing to express, not to impress!” a signature phrase of hers. These mentoring words are a daily mantra for my own teaching and singing. When Tony came to hear my recent performance as the Governess in Britten’s Turn of the Screw, I found myself feeling the same fluttering pangs of nervousness that his students, my students, all artists experience. The premier interpreter of Britten’s oeuvre was out there waiting to hear me! After the show, backstage, as Tony gave me an enveloping teddy bear hug of congratulations, I felt wrapped in the same warmth that his singing gives all who hear him. Once again I realized the truth of a master’s advice. By singing to express, I had impressed a master. Now we are about to be given the gift of hearing Tony Griffey. We are in for a won- drous journey. A journey to the depths. But we have nothing to be nervous about. The commander of our ship is a master. Andrea Edith Moore, soprano, is a lecturer of voice in the Department of Music at UNC and an active singer in the U.S. and abroad. •

carolina performing arts 11/12 23 “Asia’s leading contemporary dance theatre.” – The Times (UK) Water Stains on the Wall – Cloud Gate Dance Theatre of Taiwan

m Thursday, October 6 at 7:30pm and Friday, October 7 at 8pm

photo credit: Dancers: KO Wan-chun TSAI Ming-yuan carolinaperformingarts.org // (919)843-3333 Performed by Cloud Gate Dance Theatre of Taiwan | Photo by LIU Chen-hsiang special event oct 6/7 Thursday, 7:30pm/Friday, 8pm cloud gate dance foundation Program Notes

Honorary Chairman The virtuosity of Cloud Gate’s dancers has Chairman prompted critics to ask, “When has one ever LEE Yuan-tseh SHEN Hsueh-yung seen a company with such magical and beauti- Board of Directors ful bodies?” (Neues Deutschland) and gasp HONG Min-hong HSU Chia-shih HSU Sheng-hsiung KO Wen-chang that they “possess a control and articulation Barry LIM LIN Hwai-min Stan SHIH TSAI Hong-tu TSENG Fang-churng that verge on the superhuman. These are per- WANG Chi-mei WANG Wing-hung WEN Huei-wen Diane YING formers who can make stillness every bit as Executive Director eloquent as animation…they have the power YEH Wen-wen to change your metabolism” (Chicago Sun Cloud Gate Dance Foundation Times). In his new work, Water Stains on the Founder /Artistic Director...... LIN Hwai-min Wall, Lin Hwai-min challenges his dancers with Associate Artistic Director ...... LEE Ching-chun the daunting task of dancing on a tilted stage Music Consultant/ Creative Assistant to Mr. Lin...... LIANG Chun-mei with an eight-degree inclination. Chi Kung Master...... HSIUNG Wei Internal Martial Arts Master...... Adam Chi HSU Covered with white Marley, the entire set looks Calligraphy Master...... HUANG Wei-jong like a blank piece of rice paper traditionally Ballet Teachers ...... LEE Shu-hui WU Ching-yin used by Chinese calligraphers and painters, Rehearsal Director...... CHOU Chang-ning onto which negative images of drifting clouds Rehearsal Assistants...... YANG I-chun HUANG Pei-hua TSAI Ming-yuan Medical Consultant...... CHOU Ching-long in different shades of black are projected. With Accompanists...... Holy CHANG KUO Tsung-han movements reminiscent of free-flowing ink, these ever-morphing clouds create exquisite Dancers spaces that are constantly shifting, bringing CHOU Chang-ning, HUANG Pei-hua, LEE Ching-chun, TSAI Ming-yuan CHIU I-wen, KO Wan-chun, LIN Chia-liang, LIU Hui-ling, SU I-ping Chinese landscape ink painting to life on stage. WANG Chih-hao, WONG Lap-cheong, YANG I-chun, YU Chien-hung Accompanied by the renowned contemporary HOU Tang-li, HUANG Mei-ya, LEE Tzu-chun, LIN Hsin-fang Japanese composer Toshio Hosokawa’s Zen- Apprentices like music using traditional Asian instruments, CHEN Mu-han, CHEN Wei-an, HSIAO Tzu-ping, KUO Tzu-wei Cloud Gate dancers whirl and leap high on LAI Chun-wei, LAI Hsing-lun, LEE Tsung-hsuan, YEH Yi-ping the slanted space with deceptive ease. Firmly Water Stains on the Wall grounded on the ramp at a height of 1.25 me- Concept, Set, Choreography...... LIN Hwai-min ters, yet appearing to be floating all the time, Music...... Toshio HOSOKAWA the dancers give the illusion of clouds and Lighting Design ...... Lulu W.L. LEE water as their light skirts are frequently “dyed” Costume Design...... LIN Ching-ju black by the projected shadows and reappear Projection Design...... Ethan WANG Set Design...... LIN Hwai-min in shining white light. Co-productions...... National Chiang Kai-Shek Cultural Center, R.O.C. (Taiwan) The title of the work derives from a legend- ...... Esplanade—Theatres on the Bay, Singapore ary conversation between two of the most ...... Movimentos Festwochen der Autostadt in Wolfsburg, Germany respected Chinese calligraphers from the Tang Premiere...... November 19, 2010 at National Theater, Taipei, Taiwan Dynasty (618–907): Music Credits “Where do you get inspirations for your Title...... CD reference # 1 wie ein atmen im lichte / Deep Silence...... WER6801 2 calligraphic style?” asked Yen Chen- 2 V. “Chinshi”, Seeds of Contemplation - Mandara / Works by Toshio Hosokawa...... FOCD9117 ching, whose signature style of Kai 3 “Fragmente” I / Works by Toshio Hosokawa...... FOCD9117 script brought Chinese calligraphy to 4 Sen VI / Toshio Hosokawa: Tabi-bito; Sen VI; Die Lotosblume...... STR33818 new heights. 5 I. Introduction, Seeds of Contemplation - Mandara / Works by Toshio Hosokawa...... FOCD9117 6 ATEM-LIED / Toshio Hosokawa: Birds Fragments...... STR33689 “I observe summer clouds that re- 7 Ferne-Landschaft II / Toshio Hosokawa...... 0012172KAI semble mountains with spectacular peaks,” replied Huai Su, the young The use of the above musical works are licensed by Schott Music Co. Ltd., Tokyo, monk who later became the most The recordings are used under the permission of WERGO, FONTEC, STRADIVARIUS and KAIROS (www.kairos-music.com) renowned master of wild cursive style. “The most exciting parts remind one of birds flying out of woods and snakes slithering into bushes….” “How about water stains on the wall?” asked Yen Chen-ching.

carolina performing arts 11/12 25 “Right on! You old devil!” exclaimed Huai Su. Lin Hwai-min, Founder gaining an international reputation and winning numerous awards and prizes including First In reality, water stains on the wall are the and Artistic Director Prize in the Composition Competition on the result of a long process of natural, organic and Lin Hwai-min studied occasion of the 100th Anniversary of the Berlin fluid evolution. The legend of the conversation Chinese opera movement in Philharmonic (1982), Rheingau Musikpreis established “water stains on the wall” as a his native Taiwan, modern (1998), Duisburger Musikpreis (1998) and mu- popular metaphor that represents the highest dance in New York, and clas- sica viva-Preises der ARD und BMW AG (2001). aesthetics of Chinese calligraphy. Inspired by sical court dance in Japan this metaphor, Lin Hwai-min and Cloud Gate’s and Korea. An internationally Hosokawa has served as composer in residence, dancers create an abstract work of spellbind- renowned choreographer, Lin guest composer or lecturer at major contempo- ing beauty and breathtaking technique that often draws from traditional Asian culture to create rary music festivals in Europe. As the winner stands sublimely on its own. works with innovative forms and contemporary of the 2008 Roche Commissions, awarded in relevance, receiving rave acclaims around the collaboration with the Lucerne Festival, the Cloud Gate Dance Theatre of Taiwan world. A two-time winner of the National Culture Cleveland Orchestra and Carnegie Hall, Toshio Woven Dreams According to legend, Cloud Gate is the name of and Art Foundation’s National Award for Arts in Hosokawa’s premiered in 2010 the oldest known dance in China, a ritual dance Taiwan, his international honors include the John D. at the Lucerne Summer Festival and in 2011 of some 5,000 years ago. In 1973, choreogra- Rockefeller 3rd Award, New York; the Joyce Award at Carnegie Hall. 2011 also sees the premiere Matsukaze pher Lin Hwai-min adopted this classical name of Chicago; the Ramon Magsaysay Award; the of his new opera , commissioned by for the first contemporary dance company in any “Nobel Prize of Asia”; Best Choreographer at Lyon La Monnaie (director: Sasha Waltz), and a new Chinese-speaking community. Cloud Gate’s rich Biennial Festival; and Chevalier of the Order of Arts horn concerto co-commissioned by the Berlin repertoire has its roots in Asian myths, folklore and Letters from France’s Ministry of Culture. He Philharmonic, London’s Barbican Centre and Time and aesthetics, but it brings to these age-old was celebrated by magazine as one of “Asia’s Amsterdam’s Concertgebouw. beliefs and stories a contemporary and universal Heroes” in 2005. In 2009, he was awarded the Since 2001, he has served as music director perspective. The company is made up of two Lifetime Achievement Award from the International for the Takefu International Music Festival. He dozen dancers whose training includes chi kung, Movimentos Dance Prize, Germany. was Composer in Residence with Deutsches meditation, internal martial arts, modern dance, Lin Hwai-min has been the subject of sev- Symphonie Orchester Berlin in 2006-07 and with ballet and calligraphy. eral television documentaries. His works have WDR Rundfunkchor Köln from 2006-08. Since Cloud Gate has toured extensively around been restaged by dance companies and uni- 2004, he has been a guest professor at Tokyo the world. In 2003, the company opened the versities in the US and Europe and his opera College of Music. A resident of Berlin, Hosokawa Rashomon Melbourne International Arts Festival with direction credits include in Austria has been a member of the Academy of Fine Tosca Cursive II, winning the Age Critics’ Award and the and in Taiwan. An acclaimed writer, his Arts (Akademie der Künste) since 2001 and a Cicada Patrons’ Award. In New York, Moon Water was 1969 novella enjoys rare longevity in Fellow of the Berlin Institute for Advanced Study named best dance of the year by The New York Taiwan and several of his short stories have (Wissenschaftskolleg zu Berlin) since 2006. Times Cursive: A Trilogy been published in the US. His biographies, . In 2006, was named This tour is made possible by grants from Ballet- Legend of Lin Hwai-min and Cloud Gate and best dance choreography of the year by the Council for Cultural Affairs, Taiwan and Tanz Theaterheute Hwai-min as a Young Man, are popular sellers and . the Ministry of Foreign Affairs, Republic of in Chinese-speaking communities. At home, Cloud Gate also enjoys high acclaim China (Taiwan). and popularity. It performs throughout Taiwan, in Lin founded the department of dance at venues ranging from the lavish National Theater Taipei National University of the Arts in 1983 in Taipei to mid-sized cultural centers in various and served as its chairman for five years. In 1993-94, he was the founding dean of the cities. The company also gives free outdoor performances several times a year, drawing audi- University’s graduate dance program. In 1999, ences of up to 60,000 per performance. To tour he gave workshops in Cambodia assisting campuses and grass-roots communities and to local dancers organize teaching materials of Khmer classical dance for children. Since foster young choreographers, Cloud Gate 2 was Water Stains on the Wall is a co-production by: founded in 1999. Cloud Gate Dance School was 2000, Lin has served as artistic director of the founded in 1998. In 2003, in recognition of Cloud Novel Dance Series, introducing internation- Gate’s cultural contributions, the Taipei City ally renowned groups and artists to dance Government proclaimed August 21, the premiere lovers in Taiwan. day of Cloud Gate’s 30th anniversary season, as “Cloud Gate Day” and named Fu-Hsing North Toshio Hosokawa, Composer Road Lane 231, home of Cloud Gate’s office, as Japan’s best-known liv- “Cloud Gate Lane.” This was the first time Taiwan ing composer, Toshio had bestowed the honor of naming a day and Hosokawa won First Prize place after a living artist and/or artistic group. In in the Valentino Bucchi Exclusive North American 2010, an asteroid discovered by Taiwan’s Lulin Composition Competition Tour Representation Observatory of National Central University was in Rome and partici- Rena Shagan Associates, Inc. officially named after Cloud Gate. pated for the first time in the 16A West 88th Street New York, NY 10024 Most of Cloud Gate’s productions are available Internationale Ferienkurse (212) 873-9700 FAX (212) 873-1708 on DVD. für Neue Musik in Darmstadt. Since then, he has presented his works in Europe and Japan, www.shaganarts.com • carolinaperformingarts.org // (919)843-3333 carolina performing arts 11/12 27 Babel (words) – Eastman choreography by Damien Jalet and Sidi Larbi Cherkaoui ❖ Sunday, October 9 and Monday, October 10 at 7:30pm

“The most fiercely resonant dance theatre of the decade…” – The Guardian (UK)

photo credit: Koen Broos

Official Artist Representative carolinaperformingarts.org // (919)843-3333 dance oct 9/10 Sunday/Monday, 7:30pm Choreography: Sidi Larbi Cherkaoui and Damien Jalet Gormley to embark upon a new journey. And Visual design: it was in the swirling maelstrom of identity, Antony Gormley nationhood and culture that they found their in- Assistant choreographer: spiration. Where language is both verbal and physical, where it unites and divides, makes Nienke Reehorst communication both possible and impossible, Costume design: and is loaded with meaning at the same time as Alexandra Gilbert being profoundly meaningless. Light design: Both in process and production, what grew was a city of multiplicity, a network of possibilities, Adam Carrée where Gormley’s huge three-dimensional frames Dramaturg: are raised, knocked down and transformed, as if Lou Cope made of nothing but our thoughts. Space is dis- sected and appropriated, creating territories, axes Performed by: and borders that hint at the often random but Navala Chaudhari, Francis Ducharme, sometimes deadly geo-political divisions of land, Darryl E. Woods, Damien Fournier, as well as evoking the boundaries and limitations Mohamed Toukabri, we impose on ourselves and each other. But, of Paea Leach, Christine Leboutte, course, by also offering shelter and relief in a Ulrika Kinn Svensson, Kazutomi Kozuki, landscape of chaos and complexity, structures Sandra Porcel Delgadillo, Paul Zivkovich, Igal Furman, Ben Fury enable tender, private and intimate moments, without which none of us could survive. Music: The city is not dissimilar to the landscape French Patrizia Bovi, Mahabub Khan, Sattar Khan, philosopher Michel de Certeau strolls through in

Gabriele Miracle, Kazunari Abe his work The Practice Of Everyday Life, where Traditional Turkish musical wanderers wander blindly, taking decisions by the millisecond, knowing not what they do, nor counsellor: Fahrettin Yarkin why they do it, what it means or where it will lead. People stumble into choices of belief, community Technicians: Bert Van Dijck, Bart Van Hoydonck (SLP), Mathias Batsleer (SLP), and identity that, as well as giving support, close Jens Drieghe (SLP), Kim Rens (SLP) doors, build boundaries and set limits.

And of course they build ivory towers, not just as Dresser: Elisabeth Kinn Svensson a demonstration of status and wealth, but also

Production Manager: in search of some kind of higher knowledge and enlightenment. The aerial view of, and distance Maarten Verbeuren from, those silent patterns far down below bring Tour Manager: Sofie De Schutter feelings of comfort, control and order, because as the old sign at the top of the World Trade Center Production assistants: Lies Doms once read, “It’s hard to be down when you’re up!” Indeed Cherkaoui and Jalet’s journey was Executive director: Karen Feys informed by their own profound “belief in the belief that something matters” and their joint Program Notes search for what that something might be. During the process, the show revealed to its makers that BABEL words ( ) takes as its starting point the what they were doing was turning the Tower of specific moment in the tale of the Tower of Babel Babel upside down: what mattered was not the when God punishes those who built a tower in external multiplicity of our (regional, spiritual, his name, causing chaos by splintering them into linguistic, physical…) differences, but the under- different languages, cultures and lands. That is lying bond of what unites rather than divides us, to say that on Day 1 of rehearsal, a microcosm and therefore the responsibilities we all share. of 18 performers from 13 countries with 15 languages, seven religious backgrounds and Thus, just as the piece spirals towards some numerous performance modes between them, kind of omega point, we see a peeling away joined choreographers Sidi Larbi Cherkaoui of the artificial boundaries, structures, defini- and Damien Jalet as well as visual artist Antony tions and technologies we seek to impose on carolina performing arts 11/12 29 our geographical, virtual, political or spiritual harbor city of Antwerp, Eastman forms the Apocrifu (Apocrypha) for La Monnaie; Origine worlds. We are left with something more primi- central point for all of Cherkaoui’s work. for Toneelhuis; and Sutra with Antony Gormley, tive, transcendent and unified. We are left With thanks to: Asano Taiko, Marek Pomocki, Szymon Broska and monks from China’s with each other. Chained together, as neuro- seniz Karaman, raad van bestuur Eastman, Shaolin Temple. scientist V.S. Ramachandran’s words tell us in De munt, lise uytterhoeven, Assaf Hochman, Sutra won him a Best Choreographer (Modern) the performance, entirely and literally by our Casey Spooner, Alistair Wilson (Push 4) Antony nomination at the 2009 National Dance Awards neurons and separated only by our skin. Gormley studios, Juliette Van Peteghem, Milan in Britain and the 2009 Ballettanz Award for - Lou Cope, April 2010 ‘Mino’ Herich, Sven Bahat, Hisashi Itoh, Kodo Best Production of the Year. In 2008, Ballettanz Ensemble (Melanie Taylor), Rakesh Mps, named him Outstanding Choreographer of the Dancers Karthika Nair, Frederik Verrote Year and Sadler’s Wells, London named him Original Cast – Created and Interpreted by: Production: Eastman vzw and Theatre royal de an Associate Artist. In 2009, he received the Kairos European Cultural Prize endowed by the Navala Chaudhari, Great Britain la Monnaie Alfred Toepfer Stiftung. Francis Ducharme, Canada Coproducers: Fondation d’entreprise 2009 brought his first commissioned work for an Darryl E. Woods, United States Hermès, Etablissement Public du Parc et de American company: Orbo Novo (The New World), Jon Filip Fahlstrom, Norway la Grande Halle de la Villette (Paris), Sadler’s Wells (London), Theaterfestival Boulevard choreographed for Cedar Lake Contemporary Damien Fournier, France (Den Bosch, the Netherlands), Festspielhaus Ballet and premiered at the historic Jacob’s Pillow Ben Fury, Morocco Faun (St. Pölten), Grand Théâtre of Luxembourg, dance festival. He choreographed for James Paea Leach, Australia International Dance festival Switzerland - Migros O’Hara and Daisy Phillips as part of Sadler’s In the Spirit of Diaghilev Moya Michael, South Africa Culture Percentage, Fondazione Musica Wells’ collective evening , and won acclaim with Dunas, his encounter with Christine Leboutte, Belgium per Roma (Rome) and the Ludwigsburger Schlossfestspiele (Allemagne). Babel (words) flamenco legend María Pagés. He also presented Ulrika Kinn Svensson, Sweden Play kuchipudi is co-commissioned by Dash Arts 2010 a sneak preview of with danseuse Kazutomi Kozuki, Japan programme on Arabic Arts. Shantala Shivalingappa. In 2010, he launched James O’Hara, Australia his company Eastman, premiered Babel (words), Helder Seabra, Portugal Eastman vzw is company in residence at choreographed Guy Cassier’s vision of Wagner’s Toneelhuis (Antwerp), in association with Das Rheingold at La Scala in Milan, and created Second Cast – Interpreted by: deSingel International Arts Campus (Antwerp) Play, a duet with Shantala Shivalingappa. Sandra Porcel Delgadillo, Bolivia and supported by Asano Taiko (Japan) Igal Furman, Israel With the support of: Damien Jalet Elias Lazaridis, Greece Garrick Charitable Trust In 2000, French-Belgian Valgerdur Runarsdottir, Iceland dancer/choreographer Mohamed Toukabri, Tunisia Damien Jalet began his artistic partnership with Paul Zivkovich, Australia Sidi Larbi Cherkaoui for Musicians Tour Producer for North America Les Ballets C de la B, and Canada: creating Rien de Rien Original Cast: Foi Sunny Artist Management (2000), (2003), Shogo Yoshii (kodo), Japan Tempus Fugit Myth Ilter Ibrahimof, Director (2004) and (2007). In Patrizia Bovi, Italy D’avant www.sunnyartistmanagement.com 2002, he created in collaboration with Mahabub Khan, India Cherkaoui, Luc Dunberry and Juan Kruz Diaz Sattar Khan, India Sidi Larbi Cherkaoui de Garaio Esnaola. In 2005, he created the Gabriele Miracle, Italy short film The Unclear Age, co-directed with Sidi Larbi Cherkaoui’s Erna Ómarsdóttir and Dumspiro. With Erna Second Cast: Rien de works include Ómarsdóttir, Gabriela Fridriksdóttir and Raven Kazunari Abe, Japan Rien with Damien Jalet he created the Ofaett (Unborn) for the Theatre Miriam Andersen, Sweden for Les Ballets C de la National de Bretagne. Fadia El Hage, Lebanon B; Ook; D’Avant with Aleko Enea Sorini, Italy Damien Jalet and danc- In 2006, he created the duet for the Leah Stuttard, United Kingdom ers from the Sasha Waltz Museum of Contemporary Art of Aomori, Japan company; Foi; Tempus in collaboration with Cherkaoui and Alexandra Eastman Fugit for Les Ballets C de la B; In Memoriam for Gilbert. He collaborated with French director Founded in January 2010, Eastman was set Les Ballets de Monte Carlo; Loin for the Ballet Arthur Nauzyciel and actress Anne Brochet L’image of Samuel Beckett up to produce and spread the works of artistic du Grand Théatre de Genève; Zero Degrees on for Beckett’s director/choreographer Sidi Larbi Cherkaoui. with Akram Khan; Ik hou van jou/je t’aime tu centenary in Dublin, and choreographed Il Cherkaoui’s work provides the audience with sais with Damien Jalet for België danst; Corpus Stefano Scodanibbio’s contemporary opera cielo sulla terra a vast array of projects and collaborations Bach with Nicolas Vladyslav; Mea Culpa for the Opera of Stuttgart. In Men in Tights ranging from contemporary dance, theater, for Les Ballets de Monte Carlo; End for the 2008, he directed the video with ballet, opera, musicals and other forms of Cullberg Ballet; Myth for Toneelhuis; L’homme Nick Knight and Bernhard Willhelm and cho- Caesar performance. His non-hierarchical thinking on de bois for dancers from the Royal Danish reographed for the American Repertory Ordet movement, body language and culture is the Ballet; the 3D video installation La Zon Mai Theater, Boston and for the Festival Three Spells basis of his artistic approach. Set in his native with photographer/film-maker Gilles Delmas; d’Avignon. He premiered at the carolinaperformingarts.org // (919)843-3333 Tokyo International Arts Festival and worked with Cherkaoui on In Memoriam for Les Ballets de Monte Carlo, Loin for the Ballet du Grand Théatre de Genève, End for the Cullberg Ballet and Sutra with monks from China’s Shaolin Temple. In 2009, he appeared in Marie Darrieussecq’s Le musée de la mer for the National Theater of Reykjavík, co-directed Transaquania – Out of the Blue in collaboration with Erna Omarsdottir and visual artist Gabriela Fridriksdottir for the Icelandic dance company Cie, and co- directed with Omarsdottir Black Marrow for the Australian dance company Chunky Move. He stars with Alexandra Gilbert in the Editors video You Don’t Know Love.

Antony Gormley Over the last 25 years, Antony Gormley has revitalized the human image in sculpture through a radical inves- tigation of the body as a place of memory and transformation, using his own body as subject, tool and material. Since 1990, he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations like Another Place, Domain Field and Inside Australia. His recent work increasingly engages with energy systems, fields and vectors rather than mass and defined volume, evident in works like Clearing, Blind Light, Firmament and Another Singularity. His work has been exhibited extensively, with solo shows throughout the U.K. in venues such as the Whitechapel, Tate and Hayward galleries, the British Museum and White Cube. His work has been exhibited internationally at museums including the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, the Irish Museum of Modern Art in Dublin, Malmö Konsthall, the Moderna Museet in Stockholm, and the Kölnischer Kunstverein in Germany. Blind Light, a major solo exhibition of his work, was held at the Hayward Gallery in 2007. Antony Gormley has participated in major group shows such as the Venice Biennale and the Kassel Documenta 8. His work Field has toured America, Europe and Asia. Angel of the North at Gateshead, Quantum Cloud on the Thames in London and Another Place, now permanently sited on Crosby Beach near Liverpool, are amongst the most celebrated examples of contemporary British sculpture. •

carolina performing arts 11/12 31 “Global-diva credentials.” – Los Angeles Times Angélique Kidjo

Derek Williams – tour manager Magatte Sow - percussion and Front of House Dominic James – electric & acoustic guitar Itaiguara Brandao - bass Daniel Freedman - drums ❉ Sunday, October 16 at 7:30pm

carolinaperformingarts.org // (919)843-3333 world music oct 16 Sunday, 7:30pm

on

Program will be announced from stage. Angélique Kidjo

Ali Colleen Neff Angélique Kidjo

One of the greatest forces in African music, Angélique Kidjo’s is a voice that carries worlds. The rich textures of forty years’ pro- Angélique Kidjo has 11 international albums fessional exploration and experience unfurl from her beginnings in the West African to her name. In 2007, her album Djin Djin musical theatres of Benin and into the jazz schools of Paris, recording studios of Brazil, received a Grammy Award. In 2010, she and dance clubs of enthralled global audiences. Always on the move, Kidjo’s music shared the stage with Alicia Keys, John Legend resonates with the worlds of Yoruba balladry, Bollywood melodrama, Jamaican rhythm and Shakira for the FIFA World Cup Opening and Atlanta funk. An archive of influences hangs together in her compositions as Kidjo’s Ceremony in South Africa. masterful voice sings amongst these many languages, poetic forms, and multicultural Her most recent release, Oyo, featuring flourishes. This is how Kidjo holds center stage in contemporary global music. John Legend, Bono and Dianne Reeves, is a While the biggest names in pop weave fashionable African rhythms and vocalizations measure of her maturity. The album is deeply into their work, Kidjo’s self-authorship and musical mobility represent the global founda- introspective, reflecting on the events that tions of African music itself. Her talent for collection, curation and exploration coalesce have brought Kidjo to this point. Born in the in her impressive catalog of international hits—starting with her “Agola”, which has been West African state of Benin, Kidjo is a tireless sampled for scores of dance hits—and collaborations with Peter Gabriel, John Legend, campaigner for women’s health and education DJ Spooky and Branford Marsalis. As she archives these cross-cultural conversations, in Africa, a UNICEF Peace Ambassador and a Kidjo grounds her work in the sounds and styles of Benin: interlocking harmonies, prolific songwriter. dramatic storytelling, local rhythms and refined vocal techniques. She writes most of “When your history is not written, you count her songs in a series of African mother tongues that surrounded her education in musi- on storytellers and traditional singers in Africa cal poetry: Fon, Yoruba, and Swahili, interspersed with French and English choruses. to tell you who you are, what your family’s Audiences who do not speak these languages are carried by the universal poetries of about and what is going on in your society. bodily groove and vocal power. This is what I do with my music, because In Beninoise culture, as well as that of much of surrounding West Africa and throughout I am a witness of my time.” Between 1972 the Black diaspora, women’s song is central to community life, and women vocalists and 1989, Benin was run as a Marxist state occupy a special place in the social spectrum. Through song, master practitioners sug- under Mathieu Kérékou, who took over in a gest political action, correct misdeeds, and co-imagine a bountiful future. Kidjo’s global military coup d’état. Kidjo was forced into ex- project places her in immediate proximity with classic South African vocalist/activist ile in order to avoid imprisonment. Her friend Miriam Makeba, to whom she is often compared, but her experimentation with eclectic and mentor Miriam Makeba was a constant form and style also evidence her kinship with the acoustic textures of John Coltrane; the source of guidance. subtle lyrical turns of Curtis Mayfield; and the call-and-response of the gospel shout- With Oyo, Kidjo digs into roots that reach far ers. To these add her ability to craft undeniable contemporary dance hooks, which beyond her homeland, roving across boundar- place Kidjo’s work in the discotheque as well as the concert hall. Her eight albums ies, genres and ethnicities, finding the connec- offer a carefully-composed chronicle of global Blackness, each a series of successful tions that link musical forms from every part collaborations across this spectrum. Her 2010 album, Õÿö, is manifest in a stage show of the world while still bonding closely with her featuring a full African choir, a string quartet, and a team of dancers from the Broadway own traditions. The songs on Oyo embrace musical Fela!. With this latest project, Kidjo has leverage her education in West African rhythm & blues, soul music, jazz and Beninese drama, dance and storytelling to earn herself a reputation as “Africa’s premiere diva.” melodies as well as a trio of her original works. As an activist and UNICEF Goodwill Ambassador, Kidjo advocates big changes on the Growing up in the port city of Cotonou, she behalf of broad groups of people: young female students, HIV-positive mothers, the was exposed to a far-ranging array of music urban poor; even as she retains her commitments to her to local African community. All and dance. West Africa in the 1960s had an of this is articulated through Kidjo’s voice: in its meandering moments we can hear the omnivorous appetite for international pop interplay of masterful control and improvisation with breath and throat; the textures of music, and Kidjo was intensely familiar with the skill and schooling. In its fullest registers, Kidjo’s voice resonates to the rafters, down music of James Brown, Otis Redding and Carlos the aisles, and back home with a call to her fellow African artists to step forward from Santana, among others. The music of her youth the pop-musical background and into a light of their own. is the theme of Oyo’s mesmerizing tracks. Ali Colleen Neff is a writer, filmmaker and doctoral student in Communication and • Cultural Studies at UNC who has worked extensively with the blues communities of Mississippi and women praise poets of Senegal. • carolina performing arts 11/12 33 “A dashboard light for life’s dark roads.” – Entertainment Weekly An Evening with Mary Chapin Carpenter ♥ Tuesday, October 18 at 7:30pm

carolinaperformingarts.org // (919)843-3333 special event oct 18 Tuesday, 7:30pm

Mary Chapin Carpenter, lead vocals, guitar John Jennings, electric guitar, acoustic guitar, vocals Jim Henry, electric guitar, acoustic guitar, mandolin, dobro, vocals Jon Carroll, piano, organ, vocals Don Dixon, bass guitar, vocals Vince Santoro, drums, vocals

Program will be announced from stage.

Mary Chapin Carpenter Five-time Grammy Award-winner Mary Chapin Carpenter offers a snapshot of her life on her latest release, the critically ac- claimed The Age of Miracles, which she calls a personal exploration of regret and resilience. While writing, Carpenter looked inward to try to answer the unavoidable question, “What now?” The outcome is a collection of songs that blends personal tales of discovery and experience with more distant and imagined stories of one’s purpose and relationship to the universe. By combining folk, country, acoustic, rock and blues, the conventional boundaries of the music business disappear for Carpenter, who has always professed a love for all kinds of music. Carpenter was born in Princeton, NJ in 1958 and lived in Japan from 1969-71 before moving to Washington, DC. Her early musical loves included The Mamas long-time collaborator. A demo tape led of Americana Free Speech in Music Award, & the Papas, Woody Guthrie, The Beatles to a deal with Columbia Records, where which recognizes artists who have used and Judy Collins. She grew up playing the she spent nearly 20 years and sold over their work to raise awareness and promote guitar, and between college years at Brown 13 million albums. Carpenter signed with free speech. Past recipients include Johnny University she played local bars and clubs Rounder Records in 2006 and released Cash, Kris Kristofferson, Judy Collins and in the Washington, DC area. The Calling in 2007, garnering her 15th Joan Baez. After graduating from Brown, she continued Grammy nomination. In 2008, she released Come Darkness, Come Light • being a part of Washington’s music scene, . where she met guitarist John Jennings, Recently, Carpenter was honored with The who would become her co-producer and Americana Association’s esteemed Spirit

carolina performing arts 11/12 35 carolinaperformingarts.org // (919)843-3333 on M ary Chapin Carpenter

L. J. Toler

Emotions run rampant through Mary Chapin Carpenter’s songs, but they aren’t just country, or just about the blues. Consider the jambalaya-flavored “Down at the Twist and Shout,” her breakaway hit that won the Best Female Vocal Performance/ Country Grammy in 1991, beginning Carpenter’s four-year ownership of the cat- egory. And the plucky, irreverent “I Feel Lucky,” about determined daring to defy a discouraging horoscope, mirrored later on multiplatinum “Come On, Come On” (1992) by “I Take My Chances.” In 1995, at the apex of Carpenter’s reign in the spotlight, the newspaper where I worked assigned me to profile her. Overwhelmed, I listened to her records, studied her bio. Today, she has five Grammys, plus two Grammies with other artists, and multiple awards from the Country Music Association and Academy of Country Music. She has performed at the White House, the Super Bowl, the Grand Ole Opry. Though you seldom hear her classics on country radio anymore, Carpenter still draws a crowd. In January, she played Lincoln Center’s American Songbook series. The New York Times called it “a quietly spellbinding concert,” rendered “in the low, steady voice of someone confiding her thoughts in a journal.” I cannot help but wonder now whether the deep and romantic love she describes in her songs – and the loss thereof –eludes her still. The Times reviewer wrote that she “introduced ‘I Have a Need for Solitude,’ a song from her recent album, ‘The Age of Miracles’ (Rounder), by describing her life in the Blue Ridge Mountains of Virginia with six dogs and four cats.” But she’s hardly a recluse. Besides her tours, Carpenter gives a chunk of her life to favorite causes. She promoted CARE contributions on her 1994 album “Stones in the Road.” She’s been active with AIDS charities, women’s social services, the Vietnam Veterans of America Foundation, Campaign for a Landmine-Free World, Voters for Choice and more humanitarian groups, also performing on USO tours. Born in Princeton, N.J., Carpenter lived with her family in Japan when she was 11- 13. Back in the states, she began songwriting after her parents divorced when she was 16. “It was an escape hatch,” she told US magazine. “A way to feel things and say things without actually having to say them.” She graduated from Ivy-League Brown University in 1981, moved to Washington, D.C., and began playing clubs, winning 30 Washington Area Music Awards from 1986-1992. Discovering her soul-stirring lyrics back in ‘95, I wore out her CDs. Carpenter’s soar- ing, sinking, resonant alto is just gravy, my story began. The woman is a poet. And then she called. Columbia Records, her label for 20-plus years before Rounder, had granted me an interview. Answering questions with a best-girlfriend lack of pretention, even she could not classify her music: “I can tell you what people tell me in their letters, and what they say after concerts – simply that they feel a sense of resonance from the songs in their own lives ... I’ve received some letters that have humbled me beyond belief.”

L. J. Toler is the Arts and Humanities Editor for UNC News Services and once covered music for the Poughkeepsie Journal and Gannett News Service, including Woodstock ’94. • carolina performing arts 11/12 37 spotlight Meet Dan McLAMB

The ticket-buying experience has existed for all our important software and equipment is With that in mind, he brought daughter Sara to hundreds of years, but only in the last few only part of Dan’s job. Last year, with the guid- The Nutcracker in December for her first live has technology improved the process. Online ance of Paul Friga from UNC’s Kenan-Flagler performing arts experience. She sat on his lap purchases, quick price calculations for Business School, he took on the leadership of mesmerized. After it ended, she turned to her complicated packages, print-at-home tickets our staff-initiated strategic planning process. Dad and said, “I want to watch it again.” Luckily, -- it’s all so common that we rarely give it much He has skillfully guided the Lead Team through she’ll get her chance in a few months. thought. But behind the magic at CPA is one months of meetings and document develop- As for Dan’s favorite moments at CPA, the 2009 essential person, Dan McLamb, our Tessitura ment, helping Carolina Performing Arts move Bolshoi Ballet ranks at the top. But his first per- Applications Analyst. Dan joined the Carolina from “startup” to a sustainable cultural force formance was Dance Brazil and the experience Performing Arts team 4 years ago and his job in our region, state and nation. The work has had a profound impact on him. “I hadn’t seen is to manage and troubleshoot our IT needs been time-consuming, sometimes frustrating a lot of dance and it had been about a decade as well as Tessitura, our complex and sophisti- but ultimately rewarding; and it has given Dan since I’d been involved in the arts,” he said. “It cated computerized ticketing system which we the opportunity to contribute not only to how we was overwhelming. The passion and precision share with PlayMakers Repertory Company and are wired together, but to where we are going of the dancers, their youth and enthusiasm the Carolina Union. From hardware to software, and how we are going to get there. Dan says impressed me.” Dan is our champion in all things technology. he’s also benefited from the assignment. “I’ve gained knowledge of myself and my colleagues Dan is one of many CPA and University staff And in finding Dan, we were very lucky. Since that I never would have achieved any other and faculty who make gifts to support our work. childhood when he played the clarinet at school way,” he said. Why? “I recognize the need,” he said simply. “I and sang with his family at frequent gatherings also recognize the tremendous power CPA has in Benson, he has had two passions: music in delivering experiences of deep impact on and technology. In high school he became those who choose to partake. The role of the very focused on college, taking a full load of it has given Dan arts at UNC is very distinguished and I want AP courses and studying for exams. He was them to continue to thrive. so busy, he forgot to mention to his family that the opportunity to he was in a musical during the spring of his We are stewards of the arts; we inherited them senior year, and only at the performance did contribute not only from those who came before us. Someday, we his parents read that he was playing a lead role to how we are wired will pass them on to those who come after in Little Shop of Horrors, the carnivorous and us. Our responsibility during our brief time is demanding Audrey II. For those of us who work together, but to to nurture and support the arts, and, in the with Dan now, we can honestly say that this had process, enhance and ensure a higher quality to be a case of pure character acting talent. where we are going of life,” he said. In college, Dan was still torn between music and how we are Dan is very excited by what the future holds for and technology. While earning a master’s in CPA, especially the 2012-13 season. At that music theory at UNC-Greensboro, he worked going to get there time, CPA will celebrate the centennial of the in the computer lab, but when he went on to riotous Paris premiere of the then-shocking teach music at a Winston-Salem charter school, Stravinsky-Nijinsky ballet The Rite of Spring. The he couldn’t resist night classes in technology. season promises world-class artists premiering The father of two young children (aged 3 and Eventually, he found his way to UNC, where he CPA- commissioned work celebrating the spirit 1), Dan is committed to exposing them to the landed his dream job, combining performing of the original. arts at early ages. There’s music at home; his arts and technology. “This is a great time for Dan looks forward to sharing another won- daughter has a little guitar and the two play the arts at the University,” Dan said, “and I’m drous experience in Memorial Hall with you, together and make up songs or perform favor- thrilled to be part of it.” with ticket in hand. ites. “I’m looking forward to exposing the whole But taking care of our website, our ticket family to the arts as they grow up.” system, our PC’s, laptops, smartphones and • carolinaperformingarts.org // (919)843-3333 . Maybe you are a scholar, student, or seasoned patron of the arts who appreciates the value of this exceptional university venue and embraces our commitment to keeping performing arts as one of the pillars of the educational experience at Carolina. Whatever your relationship with Carolina Performing Arts may be, there are many important ways in which you can help sustain this special place and its programs for future generations. Since its founding in 2005, Carolina Performing Arts has benefited from the generosity of countless benefactors who have chosen to support the arts at Carolina. Your gift will help us carry on to inspire future generations. Ticket revenues account for only 45% of the total cost of putting on a performance. The University continues to generously support us, but act state funds continue to shrink and competing priorities continue to grow. To provide the same level of programming – you’ve come to enjoy, we need your support. We need you to join the friends and supporters listed on the pages that follow in making a gift to Carolina Performing Arts. Make an impact today.

I m p One Today. Make You make a living by what you get. You make a life by what you give. – Winston Churchill spotlight NATIONAL ADVISORY BOARD CAROLINA PERFORMING ARTS SOCIETY The Carolina Performing Arts National Advisory The Carolina Performing Arts Society supports the University’s commitment to invite outstanding profes- Board of alumni and friends guides and champi- sional artists to perform and to teach; to foster a deep appreciation of a wide variety of the performing ons a shared vision of Carolina as the nation’s arts in the University, in the local community, and throughout the region; and to establish Carolina as a leading university in the arts. It is with profound national leader in the performing arts. gratitude that we thank these outstanding and Society members enjoy a variety of special privileges. Annual membership begins at $125. We want to generous volunteers. make your Carolina experience richer, more convenient, and more fun! Thomas F. Kearns Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Undergraduate and Graduate Member: $35 W. Hodding Carter III, Chapel Hill • All benefits and privileges afforded to Sponsoring Members G. Munroe Cobey, Chapel Hill Sponsoring Member: $125-$999 Peter D. Cummings, Palm Beach Gardens, FL • Advance notice of season and individual tickets • Priority subscription processing James Heavner, Chapel Hill • An invitation to an annual Society event Cheray Z. Hodges, Chapel Hill • Member recognition in our program book for all Carolina Performing Arts events Joan C. Huntley, Chapel Hill Silver Tier: $1,000-$2,499 Sally C. Johnson, Raleigh All benefits listed for Sponsoring Members, plus: Emil Kang, Chapel Hill, ex-officio • Opportunity to purchase single tickets in advance of the general public Betty P. Kenan, Chapel Hill • Complimentary parking passes for nearby lot Anne C. Liptzin, Chapel Hill • An invitation to the season preview reception • Priority seating for subscriptions to Carolina Performing Arts Scott Maitland, Chapel Hill Sara McCoy, Chapel Hill Gold Tier: $2,500-$4,999 James Moeser, Chapel Hill All benefits listed for Silver Tier, plus: Patricia Morton, Charlotte • Complimentary reserved parking Josephine Patton, Chapel Hill • Receptions in the Pamela Heavner Gallery during intermission at each Carolina Performing Arts series performance Earl N. Phillips, Chapel Hill • Private tours • Exclusive travel opportunities Wyndham Robertson, Chapel Hill Barbra Rothschild, New York, NY Platinum Tier: $5,000-$9,999 All benefits listed for Gold Tier, plus: Sharon Rothwell, Ann Arbor, MI • Use of the Pamela Heavner Gallery for your own private reception Chancellor Holden Thorp, Chapel Hill, ex-officio • Opportunity to name a seat in Memorial Hall Douglas Zinn, Chapel Hill Priscilla Bratcher, Chapel Hill, Staff Liaison The David Lowry Swain Society: $10,000-$14,999 The David Lowry Swain Society offers first class benefits throughout the year to those donors who gener- CAROLINA PERFORMING ously contribute $10,000 or more to the Carolina Performing Arts Society annually. All benefits listed for Platinum Tier, plus: ARTS ENDOWMENT • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area Through a generous $5 million challenge grant reserved for Swain Society members only from the William R. Kenan, Jr. Charitable Trust • Access to exclusive VIP/Stage Door entrance made in 2005 and the inspirational leadership • Personal coat check at the VIP/Stage Door entrance • Opportunity to name two seats in Memorial Hall of the Carolina Performing Arts Society National • A performance dedicated in your honor or in honor of a person of your choosing Advisory Board, generous donors enabled us to • Exclusive access to the Swain Society Concierge Desk at (919) 843‑1869 for assistance meet that challenge by the challenge deadline with difficult-to-acquire tickets for all Carolina Performing Arts performances in 2007. • Assistance with requests for special tours and rental of Memorial Hall for special functions Carolina Performing Arts has pressing needs to Performance Benefactor: $15,000 and above fund the difference between our ticket income The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for and the actual cost of presenting our series. individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or Right now, tickets provide only about 45% of the family who has the opportunity to select a particular performance, dedicated to you. Carolina Performing total cost of presenting artists on our stages. The Arts will thank you for your generous gift by providing: best way to ensure financial viability is to build a • All Carolina Performing Arts Society benefits including valet parking and invitations to permanent source of future funding through our special events throughout the season, as described above in The David Lowry Swain Society endowment. Whether it’s through naming a seat • Recognition in the season ticket brochure distributed throughout the year ($5,000 gift), creating a named fund ($100,000 • Eight complimentary tickets to your selected performance, with valet parking and reception privileges for your guests during the selected performance minimum) or making a deferred estate commit- • Acknowledgment in the donor list for the season and an insert in the performance program ment, your endowment gift will guarantee the that evening excellence, variety and breadth of programming, • Opportunity to meet the artist following the performance (when the artist is available) the student outreach, and the investment in new creations that have become the hallmark of Gifts made at these specified levels automatically entitle you to all respective benefits and privileges afforded to University donors in all Annual Giving Leadership programs. Carolina Performing Arts. carolina performing arts 11/12 39

2011/12 11/12 season donors

ENDOWMENT GIFTS Garry and Sharon Snook Carol and Rick McNeel Top of the Hill Restaurant and Brewery Francine and Benson Pilloff Leadership Gifts and Pledges Elizabeth Willis Crockett Wyndham Robertson ($500,000 and above) Mr. and Mrs. Robert F. Murchison Mrs. Sidney Siegel Dr. Charles B. Cairns & The Family Charles Weinraub and Emily Kass William R. Kenan, Jr. Charitable Trust Kimberly Kyser Mark W. and Stacey M. Yusko Ellison Family Foundation Amanda Kyser Mr. and Mrs. James Heavner* Platinum Tier Luther and Cheray Hodges* Drs. Michael and Christine Lee ($5,000 - $9,999) Tom Kearns Anne and Mike Liptzin William and Sara McCoy Deborah and Ed Roach Peter D. and Julie Fisher Cummings Anonymous Lee and Myrah Scott Eleanor and James Ferguson Crandall and Erskine Bowles Lowell M. and Ruth W. Hoffman Named Endowed Funds Jaroslav F. Hulka and Barbara S. Hulka *Irrevocable deferred gift ($100,000 and above) Mrs. Frank H. Kenan Patricia and Thruston Morton The Hamlet Family Performing Arts Student Josie Ward Patton Enrichment Fund supporting student CAROLINA PERFORMING Mary and Ernie Schoenfeld engagement with artists. ARTS SOCIETY Charles M. Weiss ANNUAL GIFTS Douglas and Jacqueline Zinn The William D. and Dr. Sally C. Johnson Contributions received July 1, 2010 Music Enrichment Fund supporting to June 30, 2011 as of date Gold Tier collaborations with the Department of of printing. ($2,500 - $4,999) Music, and also supporting The 10x10 Commissioning Series. Betsy and Fred Bowman Performance Benefactor J. Matthew Brittain ($15,000 and above) The James Moeser Fund for Excellence Cliff and Linda Butler in the Arts supporting artists’ fees Jane Ellison Hodding Carter and Patricia Derian for the world’s most recognized and Thomas F. Kearns Castillo-Alvarez Fund of outstanding performers. William and Sara McCoy Triangle Community Foundation Wyndham Robertson Michael and June Clendenin The Mark and Stacey Yusko Performing Charles Weinraub and Emily Kass Jane and Frederic Dalldorf Arts Fund supporting Carolina student Shirley Drechsel and Wayne Vaughn arts experiences. David Lowry Swain Society Frank H. Dworsky ($10,000 - $14,999) Jane Ellison The Abram Family Eugene and Paula Flood Major Gifts and Pledges Mimi and James Fountain ($25,000 and above) Rebecca and Munroe Cobey Sophia S. Cody Dr. Harry Gooder and Ms. Sally Vilas Blanche Hamlet Ellison Family Foundation Susan Gravely and Bill Ross Anonymous Mr. and Mrs. James Heavner Mr. and Mrs. William H. Grumbles, Jr. John W. Hughes III Luther and Cheray Hodges Dr. and Mrs. Joseph Gulla Florence and James Peacock Dr. Joan C. Huntley Nancy Joyner William D. and Dr. Sally C. Johnson Tom Kearns Dr. Marcia Anne Koomen Wyndham Robertson Mr. Thomas S. Kenan III Diana and Bob Lafferty Dr. Joan C. Huntley William R. Kenan, Jr. Charitable Trust Dayna and Peter Lucas Professors Emeriti Charles M. Kimberly Kyser Keith Mankin and Julia Fielding and Shirley F. Weiss* Amanda Kyser D.G. and Harriet Martin Shirley J. Berger Burton and Kathleen Goldstein David Kent Medlock Bobby and Kathryn Long William and Sara McCoy Charles and Valerie Merritt Paul and Sidna Rizzo John A. McLendon James and Susan Moeser

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Paul D. and Linda A. Naylor John and Martha Hsu William Whisenant and Kelly Ross Earl N. Phillips, Jr Deborah Hylton and Leland Webb Jesse L. White, Jr. Paula Rogenes and John Stewart Mr. and Mrs. Dick Kahler John and Ashley Wilson Coleman and Carol Ross Lisa and Emil Kang Anonymous Lisa and Theodore Kerner, Jr., M.D. Sponsoring Member Jane McKee Slater Mack and Hope Koonce ($125 - $999) Lynn Smiley and Peter Gilligan Melissa LeVine Brigitte Abrams and Francis Lethem Michael and Amy Tiemann Alice and Sid Levinson Ed Adkins and Hulene Hill Brad and Carole Wilson Judith Lilley in memory of Al Lilley Anonymous Harriet and Frank Livingston Cutler and Cristin Andrews Silver Tier Donald E. Luse Pete and Hannah Andrews ($1,000 - $2,499) Stephen J. and Karen S. Lyons Robert Antonio Mr. and Mrs. Louis Albanese Stanley R. Mandel Nancy Appleby James and Delight Allen Betty Manning Nina Arshavsky Michael Barefoot and Tim Manale Alice Dodds May Ingram and Christie Austin Neal and Jeanette Bench Anne and Bill McLendon Katherine Baer Robert Benson Esteban and Dana McMahan Peter Baer Dolores Bilangi Dr. and Mrs. Travis A. Meredith Larry and Vicky Band Josef and Eva Blass Adele F. Michal Linda J. Barnard Kerry Bloom and Elaine Yeh Anonymous Judith and Allen Barton M. Robert Blum Jonathan and Dina Mills James and Mary Beck William Bolen Mary and Ted Moore John W. Becton and Nancy B. Tannenbaum Priscilla Bratcher William Morton Donna Bennick and Joel Hasen Robert W. Broad and Molly Corbett Broad Michele Natale Pat and Thad Beyle James and Betsy Bryan Paula Davis Noell James and Martha Bick Timothy Bukowski and Naomi Kagetsu Karl Nordling Sue Bielawski Leigh Fleming Callahan Dr. Etta D. Pisano and Jan Kylstra Blythe Family Fund Michael and Diana Caplow Cathy and William Primack Jack and Jennifer Boger G. Curtis and Sarah Clark Jolanta and Olgierd Pucilowski Bollen Family Anonymous Robin and Harold Quinn Natalie and Gary Boorman Luther Dafner and Virginia Wittig Elizabeth Raft Thomas and Betty Bouldin Jo Anne & Shelley Earp Bryna and Greg Rapp Donald Boulton Dr. Glen Elder, Jr. and Ms. Sandy Turbeville David and Susan Rosenberg Family Terrell Boyle Pat and Jack Evans Foundation of the Triangle Joan Brannon Maryann Feldman Community Foundation Craig and Catherine Briner Diane Frazier Andrew and Barbra Rothschild Drs. Ben and Inger Brodey Ray and Marcia Freeman Lies Sapp Lois Bronstein David G. Frey Patricia Shaw Ken and Margie Broun Paul Fulton Robert and Helen Siler Raymond Brown Dr. Rebecca Goz Mr. and Mrs. Alan C. Stephenson Betsy Bullen Frances C. Gravely and Haig Khachatoorian Frank and Geraldine Stutz Dr. Leslie Anne Bunce William and Elizabeth Greenlee Dr. Kenneth and Mary H. Sugioka Thomas W. and Gail W. Bunn Robert and Dana Greenwood Kay and Richard Tarr Mr. and Mrs. Edmund S. Burke Leesie and Bill Guthridge Patti and Holden Thorp Bob Cantwell and Lydia Wegman Jim and Ann Guthrie Denise and Steve Vanderwoude Byron Capps Roberta Hardy and Robert Dale Diane Vannais and Charles Waldren Philip and Linda Carl Richard Hendel Kay and Van Weatherspoon Erin G. Carlston and Carisa R. Showden Charles House Alan Harry Weinhouse Carolina Home Mortgage

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Catharine Carter Wade and Sandra Hargrove Anonymous Michael Case and Lewis Dancy Anthony Harris G. Leroy Lail Steve and Louise Coggins Robert S. and Leonne Harris Barbara and Leslie Lang Thomas Cole Martha Liptzin Hauptman Annette Langefeld Walter and Renate Coleshill in honor of Mike & Annie Liptzin Clara Lee Donna Cook and Matthew Maciejewski Clark and Karen Havighurst Ken and Frankie Lee Brian Conlon Charles S. Head Amy and Alan Levine Carolyn M. Conners David and Lina Heartinger Steven and Madeline Levine Jay and Barbara Cooper Gerardo and Jo Heiss in honor of Mark Sidell Joanne and Michael Cotter Hill Family Fund 2 of Triangle Robert M. Lewis, Jr. Adrienne Cox Community Foundation Joan Lipsitz and Paul Stiller Andrew Cracker in memory Carol Hogue Robert Long and Anne Mandeville-Long of Deborah Ann Cracker Joan and David Holbrook Richard Luby and Susan Klebanow-Luby Anne-Marie Cuellar in honor of Professor Marvin Saltzman Mary R. Lynn William and Barbara Dahl Susan Hollobaugh and Richard Balamucki Samuel Magill Arthur S. and Mignon R. DeBerry Paul Holmes Edwin H. Mammen Christianna Williams and Henrik Dohlman William and Mary Holmes Richard Mann Mr. and Mrs. Michael J. Donoghue Beth Holmgren and Mark Sidell Anonymous Mike and Linda Dore Elizabeth M. Holsten Randall Martin Steven Dubois and Kathleen Barker W. Jefferson Holt and Kate Bottomley Mr. and Mrs. Uzal H. Martz, Jr. Sam and Angela Eberts Andrew and Charlotte Holton Karol Mason Susan Egnoto James and Elizabeth Hooten Bill and Sue Mattern Mrs. Frederick A. Fearing Mitchell and Deborah Horwitz James O. May, Jr. Rabbi Frank and Patricia Fischer David and Sarah Hubby A. Gramling McGill Dr. and Mrs. E.S. Fishburne Gayle Hyatt Tim and Roisin McKeithan Jaroslav and Linda Folda Marija Ivanovic Daniel D. McLamb Milton and Emerita Foust Christopher and Betsy James Dr. and Mrs. Robert McLelland Linda Frankel and Lewis Margolis Nancy J. Farmer and Everette James The Lawrence and Sylvia Mills Family Fund Douglas and Judy Frey Drs. Konrad and Hannelore Jarausch John Morrison and Barbara Archer Beth Jonas and Michael Fried Donald and Debra Jenny Benny and Ann Morse James and Marcia Friedman Kathryn E. Johnson Charles Mosher and Pamela St. John Jeffrey Funderburk Dr. Norris Brock Johnson Christopher and Helga Needes Mr. and Mrs. J. Rex Fuqua in honor of Ms. Beatrice Brock John and Dorothy Neter Maeda Galinsky Carrilea McCauley Joy Elisabeth and Walter Niedermann Greg Gangi Michael and Judy Kadens Patrick and Mary Norris Oglesby The Joseph and Anna Gartner Foundation Fred Kameny Newland and Jo Oldham Susan Gerard Harry Kaplowitz Vickie Owens Ann and David Gerber Hugon Karwowski Bob and Joan Page Leonard and Ann Gettes John and Joy Kasson Michele Pas Mike and Bonnie Gilliom Joan and Howard Kastel Pamela and Gene Pease Johanna Gisladottir Thomas and Janet Kean Dick and Jean Phillips Lallie M. and David R. Godschalk Donna B. Kelly Raymond Phillips, Jr. Dr. James E. Godwin and Dr. E.A. Campbell in memory of Georgia Carroll Kyser Kaola and Frank Phoenix Dick and Barbara Gordon Andrei Khlystov and Irina Lebedeva Joel and Victoria Pineles Mr. and Mrs. Walter Gordon Moyra and Brian Kileff Carlyn and Ivan Pollack Charles and Karen Goss in honor of Caroline Borham David and Peggy Poulos Steve Gravely J. Kimball King Dr. and Mrs. Thomas E. Powell III Paul E. Green, Jr. Lynn Knauff Lilian and James Pruett Albert and Mary Guckes Gary Koch Teresa Prullage Barbara and Paul Hardin Barncy and Betsi Koszalka Steve Prystowsky M.D.

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Susan Rao Sue Anne Wells PhD Martha Alexander Ivan Remnitz Wellspring Fund of Triangle Jenna Alexy Barbara Rimer Community Foundation Amber Kathleen Alsobrooks Gerry Riveros and Gay Bradley Marlene and Roger Werner Katelyn Ander Dr. Michael and Sandra Roberts Barbara Smith White James and Susan Anthony Stephen and Patricia Roberts Buck and Anne Williams Denise Porterfield Ashworth Russell and Ann Robinson John W. Williams, Jr. and Margaret Gulley Mr. Baird Stephen and Esther Robinson Louise B. Williams and Richard Silva O. Gordon Banks Andrea Rohrbacher Glenn and Helen O. Wilson Arnold Barefoot, Jr. Margaret Rook Ron and Beverly Wilson Zane Beckwith Richard Rosenberg Bill and Amy Wofford Danny Bell Brian and Linda Sanders Eliza M. Wolff Barbara E. Bergquist John Sarratt and Cynthia Wittmer John and Joan Wrede Aditi Bhattacharjee Robert Schreiner Anna Wu and George Truskey Mr. and Mrs. D.A.Birnbaum John and Anna Schwab Virginia Lee Wu Marcus Blakely Ms. Marjorie Moses Schwab David and Heather Yeowell Robert Blank Carol and David Sclove in honor of Tom Kearns Kelly Stowe Boggs Jennifer and Bill Selvidge David and Dee Yoder Michelle M. Bordner Robert and Pearl Seymour Betty York Renae Braddy Robert Shipley Ann B. Young Michael Brady Class of 2010 David and Jacqueline Sices Hope Breeze Mr. and Mrs. Keith Silva Undergraduate and Graduate Robert Brinkley Mark and Donna Simon Student Members David Brown Charles Simpson ($35) Amy Buchan Rosemary Simpson Lauren Alexander Class of 2011 Aimee Peden Burke Kathy and Paul Singer Madalyn Alexander Class of 2011 Steven Cann David Sink Fernando D. Chague Jennifer Carbrey Anne H. Skelly Keith Glassbrook Margaret Carmody Dana L. Smith Adrian Greene Dulce Castillo Charles and Judith Smith Laura Hamrick Dr. Gillian T. Cell Jonathan and Martha Smith Katie Harris Drs. John and Barbara Chapman Wiley Smith Amy Soyeon Kim Ms. Marianne Na-Lee Cheng Claude and Sarah Snow Charles McLaurin Jooyeon Chon Stuart and Harriet Solomon John D. Millett James and Brenning Cheatham in memory of Ann Swern Katey Mote John Sung Choi Daniela Sotres Anne Ruff Sandra Cianciolo John and Carol Stamm Lauren Schultes James A. Cobb, Jr. Gary and Anne Leslie Stevens Evan Shapiro Bob Coleman Ron Strauss and Susan Slatkoff Emily Simon George Collias Leslie and Paul Strohm David Spanos Linda Convissor James and Sandra Swenberg Brendan and Tamara Watson Scott Cooley Sumner and Charlotte Tanson Christopher Wright Kerry-Ann da Costa Sally and Nick Taylor Jennifer Cox Colin G. Thomas, Jr. OTHER CONTRIBUTIONS Dr. and Mrs. Mason Cox Jr Rollie Tillman (Less than $125) Richard Allen Cox Aubrey and Jeanette Tolley Richard Craddock M.E. Van Bourgondien Anya Abashian Class of 2011 Laura Crane G. Burkhard Mackensen and Stephen Abdo Michael Crosa Jutta Von Stieglitz Tanya Adderson-Davidson Cynthia Crummey Susan Wall Dede Addy Daniel and Elizabeth Deacon

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Dr. and Mrs. James W. Dean, Jr. Kathleen Hopkins Dr. Patrick T. and Elaine L. Malone John and Jill DeSalva Julia Howland-Myers Sara K. Mamo Robert and Nancy Deutsch Marc Howlett Emily Turner Marsland Class of 2010 Doris Downing Meghan Hunt Class of 2011 Anuja Mathur John Duckett Kelsey Hyde Kevin and Karen Mattingly in memory of Ralph B. Garrison Dr. Christopher and Michelle Ingram Paul McCarthy Noel and Shelby Dunivant Ms. Elizabeth Crawford Isley Emily McCloy Ramona Dunlap Jeanine Manes Jackson Deborah McDermott Ryan Ebright Joy Javits Harriet McGraw H. Jack and Betsy Edwards Charles Jeffers William and Donna McHenry Anonymous Mike Johnson John McKeever Paul and Patricia Elstro Chip Johnston Elizabeth McKenna Peter and Susan Erkkinen Felipe Jolles Shirley McLean in memory of Lillian Chason Rebecca Jones Robert McLeod Jerry and Adelia Evans Lauren Josey Class of 2011 Faith Leshea McNeill Judith Ferster Charles Kahn Soukaina Mehdaoui Elisabeth Fox James Kalagher Andrew Miklos Matthew Franke Phyllis Kammer Julie Mikus Ben Fuller Class of 2011 Jason Kang Taylor Miles Susan Gallinari Michael Everett Kelly Charles Miller O. Ganley Eliza Kern Robert Millikan Debra Garcia Sharon May Kessler Solon Minton III Bob Garner Anonymous Christian Moe Butch Garris in honor of Mrs. Anne C. Liptzin Coolie and Thad Monroe William D. George Jr. Deborah C. Klein Margaret Moore Durral Gilbert Martha Knieriem and Sandra Dennis Grant Morine Natasha Gillyard Diana Knechtel Barry Nakell David Goodman Leslie Kreizman Paul and Barbara Nettesheim Lynne Graham Ted and Debbie LaMay Laura Newman Chauntel Graves John Langstaff Michael Nutt Kelsey Greenawalt Joel Laskey Thomas Wright O’Brien Douglas Griffin Jeffrey Lawson Ryan and Hannah Ong Ephraim Gur Constance Lazakis Elizabeth Pack Ayca Guralp Samuel Lebowitz Robert and Martha Paterson Jerry and Kathryn Gurganious Joycelyn Powell Leigh Bettina Patterson Frank and Alma Haluch Sharon Leonard Susan Pelletier Douglas Nathaniel Harris Nate Lerner Jeremy Peterman Wade Harrison Margot Lester Phyllis Post Lauren Heath Alison Linas Joshua Price Timothy Hefner David Lindquist Mallorie Price in honor of Shelby Bond Ray and Mary Ann Linville Michelle Pujals Olivia Lawton Henderson Peizhu Liu Catalina Ramirez and D.J. Dore Susan Henley Monique Lockett Patricia Ramos Class of 2010 Joyce Williams Hensley Elizabeth Lokey David Rathel Brian Edward Hill Melissa Lomax Venu Ravi Gary P. Hill Susannah Long Class of 2011 Mr. and Mrs. William Ray Jonathan Hill Richard Lupton Jacob Reardon Elise Hobbs Class of 2011 in memory of Mildred C. Lupton, M.A. 1969 Robert Reed Tyler Hoke Young Kyung Lyoo Mary Regan

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Suzanne Reiss Wheaton Family Booster in memory of Charles Colver Dr. Derek and Louise Winstanly ($2,000 - $4,999) Matthew Reyes Class of 2011 Merrill Wolf Elizabeth Bennett M. Burdette Robinson Adrienne Wollman Class of 2011 Terrell Boyle Peter Robson Jennifer Cantwell Wood Patti and Eric Fast H. Daniel Rogers, Jr. Manuel and Karen Wortman Paula Flood Eric McKinley Sain Lindsay Wrenn Dorothy Shuford Lanier Margie Satinsky Duncan Yaggy Kay and Van Weatherspoon Leah Schinasi and Ghassan Hamra Victor Yamaykin Eric Schlotterbeck Sarah Younger Class of 2010 Donor Marisa Sears Sherrie Zweig and Richard Vinegar (Less than $2,000) David and Linda Seiler Carolina Performing Arts Hannah Kennedy Albertson Christy and Joel Shaffer Staff Contributions Suraj S. Shah E. Jackson Allison, Jr., MD Kelly Stowe Boggs Tatjana Shapkina K. Dean Amburn Michelle M. Bordner Page Smith Steven B. and Elizabeth A. Ayers Priscilla Bratcher Dr. Patrick Carlsten Smith Linda Barnard Jennifer Cox Simone Smith Allen and Judith Barton Butch Garris Gina Song Pat Beyle Mike Johnson Jacob Spencer Susan Bickford Emil Kang Timothy Spitzer Dolores Bilangi Daniel D. McLamb Mark Steffen Lewis Niles Black Mark Z. Nelson Jane Stein Robin Lenee Broadnax Mark Steffen Lauren Stevens Roy Burgess Brock Josephine Stipe Maria Browne Cheryl Stone SPECIAL THANKS Meredith Bryson Stuart Lee Stroud TO OUR SPONSORS in honor of Sandra Hardy Bryson Xiaowu Sun Elite Coach Leslie Anne Bunce Thor Svendsen University Florist Aimee Peden Burke Ellyn and Jimmy Tanner Donald Capparella Hodding Carter and Patricia Derian Shaw Terwilliger STUDENT TICKET ANGEL John Thomas Drs. John F. and Barbara H. Chapman FUND CONTRIBUTIONS General and Mrs. Arthur W. Clark Franklin and Janice Thompson Received as of June 30, 2011. Rod Thompson James A. Cobb, Jr. Claire J. Thomson Angel Richard Craddock Gregory Timmons ($25,000 and above) Dr. James W. Crow Robert Marion Daniel Charleton Torrence III Robert and Mary Ann Eubanks Elizabeth Chewning Deacon John Trexler Joseph and Beatrice Riccardo Robin Dial Carol Tyndall Mark W. and Stacey M. Yusko Lindsey Utrata M’Liss and Anson Dorrance Barbara Vance Patron Woody and Jean Durham Jay and Leslie Walden ($5,000 - $9,999) Judith Eastman David Walker Elizabeth H. T. Efird Tom Kearns Jane Ellison Sheila Reneau Ward Mr. Thomas S. Kenan III Julie Warshaw Sharon M. Emfinger James Wasson Nancy J. Farmer and Everette James in memory of Annie Pearl Shaw Mrs. Frederick A. Fearing

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Eleanor and James Ferguson Solon and Joy Minton Charles M. Weiss Susan Ferguson Melanie Ann Modlin Alan Welfare Sandra Strawn Fisher Michele Natale Barbara Smith White in honor of William Beecher Strawn Mark Z. Nelson Dr. Judy White Mimi and James Fountain Ellen O’Brien Ronald White George Fowler Stephen Andrew Oljeski Tom and Lyn White John W. Fox Josie Ward Patton Eliza M. Wolff Linda Frankel Florence and James Peacock Ruth Ann Woodley William Friday John Atlas Pendergrass Douglas and Jacqueline Zinn Harry Garland Kenneth Lawing Penegar *Scott Garcia and Debbie McDermott Rose Marie Pittman Gillikin Earl N. Phillips, Jr. Joan Heckler Gillings S. Davis and Katherine Phillips *deferred gift Jonathan and Deborah Goldberg Cathy and William Primack Carolyn Bertie Goldfinch Teresa Prullage Don Gray John Allen Quintus Wade and Sandra Hargrove Charles Ratliff, Jr. Tim Hefner Anonymous Joyce Williams Hensley Margaret Ferguson Raynor Sara Hill Deborah and Ed Roach George R. Hodges and Wyndham Robertson Katherine W. Hodges Mr. and Mrs. Vernon Rosen Elizabeth Myatt Holsten in honor of Wyndham Robertson and William James Howe in memory of Josie Robertson John and Martha Hsu Rebecca and Rick Rosenberg Dr. Joan C. Huntley Andrew and Barbra Rothschild Donald and Debra Jenny Carrie Sandler Mrs. Frank H. Kenan Bev Saylor Sharon May Kessler Mary and Ernie Schoenfeld Anonymous Ms. Marjorie Moses Schwab Kimball and Harriet King Evan Shapiro Debby Klein Foy J. Shaw Gary Koch Thomas Edward Sibley Dr. Marcia Anne Koomen Mark Sidell Gregg and Leslie Kreizman Mrs. Sidney Siegel John and Katherine Latimer Jane McKee Slater Jocelyn Leigh Harriet and Stu Solomon Dawn Andrea Lewis Gina Song W. Cooper and Lorie Lewis Alan Clements Stephenson Judith Lilley Laurence Stith, Jr. Anne and Mike Liptzin Warren and Sara Sturm Walker Long Dr. Lara Surles Dayna Lucas John and Joe Carol Thorp Richard B. Lupton Patti and Holden Thorp Knox Massey Family Mr. and Mrs. John L. Townsend III Catherine Mast Caroline Ward Treadwell Carol and Kenton McCartney David Venable William and Sara McCoy Shirley Warren G.W. McDiarmid and Robin Rogers in memory of Harold E. Warren Adele F. Michal Jay and Leslie Walden

carolinaperformingarts.org // (919)843-3333 2011/12 important information

Memorial Hall Box Office Hours No Smoking • Monday-Friday: 10:00am - 6:00pm • Smoking is prohibited inside Memorial Hall and on the UNC campus. • Weekday events: 10:00am - intermission • Weekend events: 12 noon - intermission No Electronic Devices Memorial Hall Box Office • Use of cell phones, beepers and alarms of any kind is prohibited during performances. Please remember to turn these items off The University of North Carolina at Chapel Hill before the performance begins. CB#3276, 114 East Cameron Avenue • Photography, videography and recording devices of any kind are Chapel Hill, NC 27599-3276 prohibited during performances. P: (919) 843‑3333; F: (919) 843‑2012 E-mail: [email protected] Ticket Policies House Policies • Tickets may be purchased by phone, fax, mail, in person or online. • Forms of payment accepted: Visa, MasterCard, UNC OneCard, Late Arrivals cash, personal checks, and travelers’ checks. • Patrons arriving after the start of a performance will be seated at All phone, fax and online orders must be charged by credit card as tickets the discretion of the house staff, typically in between works. will not be held without payment. All sales are final. No refunds or exchanges are allowed. Tickets that go Coat Check unused may be returned to the Box Office no later than one week prior to • This service is available for patrons seasonally and is located on the performance and will be considered a tax-deductible donation. the left side of the main lobby. Memorial Hall is not responsible for A receipt for the donation will be issued. If a performance is cancelled, lost, stolen or damaged items. patrons will be refunded the face value of the ticket. Lost and Found All tickets, other than those purchased in person, will be mailed. Please allow 7-10 days for delivery. All tickets purchased less than seven days • For lost items, please contact the Box Office. For found items, prior to the performance will be held at Will Call. Patrons must present please notify an usher. photo identification to pick up tickets at Will Call. Accessibility Services All persons, regardless of age, must have a ticket for admission to performances. • If a patron has special needs, the Box Office staff should be notified by the patron in advance and arrangements will be made A current mailing address, e-mail address and phone number are required for accommodations. Special needs include, but are not limited when purchasing tickets. to, hearing or sight impairment, the use of a wheelchair, etc. All programs, dates, times and prices are subject to change.

Concessions • Concessions are available for purchase in the lobby prior to the performance and during intermission. • No outside food or beverage is allowed to be brought into Memorial Hall. • No food or beverage is allowed inside the auditorium.

carolina performing arts 11/12 47 2011/12 VIEW Lindsay Stewart

As a daughter of two classical musicians, life. The shockingly small price for any My passion is dance and Carolina being immersed in the classics has performance is just one way in which CPA Performing Arts has not only given me the shaped my upbringing. While I often be- integrates itself on campus. In addition to chance to see some of the world’s best grudged my parents’ insistence for me to making attendance much more feasible, dancers perform on stage but also gave attend concerts and performances I now the $10 student ticket price also encour- me the opportunity take master classes understand what a gift it is to experience from these talented individuals. Through the arts on stage. the master classes, I was instructed by My first experience with Carolina the $10 student dancers from the Alvin Ailey American Performing Arts was seeing Swan Lake Dance Theater and Nederlands Dans performed by the Bolshoi Ballet, one of ticket price also Theater. It was truly an awesome and the premiere ballet companies in the unforgettable experience and I look world. It was the summer before my senior encourages students forward to future master classes offered throughout the upcoming season. year of high school and I to not only attend knew seeing such extraordinary dancers This year I am challenging myself to at- and hearing my favorite musical work the performances tend as many performances as possible come alive would be a once-in-a-lifetime and am particularly excited for shows experience. As such, I had high expecta- that initially catch by Allen Toussaint and Mavis Staples in tions, and yet the music’s repertoire September, Gil Shaham in October, and did not include my favorite movement, their interest, but Orchestre Révolutionnaire et Romantique and the final scene was not the climatic also to experiment in November. intensity that I had envisioned. Still, the I feel a connection to the arts because it performance was ultimately a demonstra- with works they might is a reminder of both our shared humanity tion that the end of an artistic experience and the value of our different perspec- is not perfection, but materializing feel- have not attended tives… what could be better to have on a ings that cannot be put into words. Such college campus? as Tchaikovsky’s violin solo in Swan Lake otherwise Lindsay Stewart (‘14) has been dancing that conveys a sense of hopelessness and since 6th grade, was very involved in the defeated sorrow. modern dance department and dance Seeing the Bolshoi Ballet perform in ages students to not only attend the team at her high school and is now a Chapel Hill’s Memorial Hall was a major performances that initially catch their member of Inversions modern dance attraction for me in applying toUNC. It was interest, but also to experiment with works company at UNC. certainly a selling point to know that the they might have not attended otherwise. • arts hold an important place on campus, CPA provides the opportunity for me to with the works performed on Memorial challenge my artistic tastes. Hall’s stage woven in the fabric of student

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carolina performing arts 11/12 49 carolina performing arts word niklaus steiner

A few years ago, some colleagues and I Within four months of our conversation, As a way to explore the wonderfully complex were commiserating about how we found we had organized the unconventional and historically deep interaction between it difficult to engage our students on the Visualizing Human Rights forum that the South and the world, I recently dis- topic of human rights. We feared that part brought together painters, photographers, cussed with Emil Kang an effort to combine of the problem was that our disciplines -- writers, poets, filmmakers, and printmak- academic discussions with musical perfor- political science and law – just weren’t the ers to perform, present, discuss, create, mances. And those of you who know Emil most creative way to reach our students. and teach. We were delighted by the won’t be surprised to hear that he loved So we asked ourselves “What would be the creative energy generated by this anti- the idea; immediately his mind raced from opposite of a roomful of political scientists conference, which drew many students Afro-Celtic music to the origin of the banjo and lawyers discussing human rights?” – and even some political scientists and to Elvis impersonators from Japan. Carolina lawyers. This fall, we will hold the fourth an- Answer: Artists! Performing Arts provides an opportunity

The arts provide compelling, meaningful, and inspiring ways of looking at this field; in short, the arts put a human face on human rights.

With human rights, there’s regrettably no nual Visualizing Human Rights Conference every season to explore the globe right here lack of material for artists to tackle. Every here at UNC. Thanks to the arts, we struck in Chapel Hill – giving us a chance to ex- day ordinary people at home and abroad a chord for global human rights. plore those global connections through the struggle to maintain their human dignity Another rewarding experience of blending performing arts. in the face of hunger, lack of adequate global work with the ar ts is UNC’s Global housing and health care, and the repres- Niklaus Steiner is the Director of the Center American South project that explores sive and neglectful actions and omissions for Global Initiatives at UNC. A native of the changing face of our region due to of their governments. What do these hu- Switzerland who moved to the U.S. in his globalization. No other region of America man rights abuses look like? How do they youth, Steiner earned a B.A. with Highest intrigues the world as much as the South feel? How are human rights and wrongs Honors in International Studies at UNC and does, and what the world knows best experienced in personal terms, and what a Ph.D. in Political Science at Northwestern about us is our art. Especially our music difference do they make to our lives? The University. His research and teaching inter- has shaped the world, but of course the arts provide compelling, meaningful, and ests include migration, refugees, national- world’s music has also shaped us. inspiring waysof looking at this field; in ism, and citizenship. short, the arts put a human face on hu- • man rights.

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