2009 Next Wave Festival

Adam fuss, For Allegra, 2009

BAM 2009 Next Wave festival is part of New Works and Diverse Voices at BAM sponsored by:

ENCOREThe Performing Arts Magazine TlmeWarner I ~AMbill Sep 2009 Contents

Lipsynch Robert Lepage crosses many borders by Jacob Gallagher-Ross 12 ~~ '.'..' .... , The Long Count '" Upsynch. Baseball and Mayan mythology in Photo: Erick Labbe a ri ch visual and aural mix by Susan Yung 14 1962 BAMcinematek focuses on an array of films from a year without awards by Aisling Yeoman 18

Anouk Aimee in Lola, in BAMcinematek's 1962 series. Upcoming Events 20 Photo: Photo!est Program 22 BAM Directory 34

Cover Artist Adam Fuss was born in London in 1961, and grew up in rural England. He became interested in the naturalistic surround ings and was soon documenti ng them through photography. Since 1982, he has lived and worked in New York City and has shown extensively internationa lly since his first one person exhibiti on in New York in 1985. It was during this pe ri od when Fuss bega n experimenting with unconventiona l photography and eventua lly abandoned the camera. His work is distinctive for its contemporary re-interpretation of photography's earliest techniques, par­ ticu larly the camera-less techniques of daguer-reotype and photogram . Exploring themes of life, death, and transcendence Fuss states that in order for any photographic technique to work, it should be personal- ized and transfigured into a greater metaphor, engaging processes that take place in the natural world . Fuss has exhibited widely including Adam Fuss solo shows Focus: Adam Fuss, Modern Art Museum of Fort Worth , TX For Allegra, 2009 (2006); and Museum of Fine Arts, Boston (2002). Group shows include Pigment Print, 88" x 60" Picturing Eden , George Eastman House, New York (2006); Closer to Courtesy of the artist and Home, 48th Corcoran Biennial, Corcoran Gallery, Washington , DC Cheim and Read Gallery, New York (2005); Visions of America: Photographs from the Whitney Museum of American Art 1940-2001, Whitney Museum of American Art, New York (2002). His work is represented in many American and interna­ Proceeds from the sale of this work tional collections including the Metropolitan Museum of Art, New York; benefit BAM. For information on this Museum of Modern Art, New York; Whitney Museum of American Art, and other BAMart offerings, contact New York; Los Angeles County Museum of Art, Los Angeles; and the David Harper at 718.636.4101 or Victoria and Albert Museum, London. His work features in monographs [email protected]. including Adam Fuss, Arena Editions (2004), and My Ghost, Twin Palms Publishers (2002). 11 Lipsynch

Crossing Borders By Jacob Gallagher-Ross

"Crossing geographic borders," theatrical auteur Robert Lepage once aphorized, "is also a way of crossing artistic borders." These two imperatives have defined the director's cosmopolitan life and restlessly innovative work. His epic creations traverse continents and epochs: The Dragons' Trilogy (1985) traces the troubled history of Canada's Chinese communities, wending its way across the nation from Quebec City to Vancouver; The Seven Streams of the River Ota (1994) meditates on the 20th century's litany of ca lamities, beginning with Hiroshima, and rippling outward to encompass the Holocaust and AIDS. Lepage last visited BAM in 1999 with The Geometry of Miracles, a piece that juxtaposed Frank Lloyd Wright's sou lfu l architecture with mystic Georgei Gurdjeff's attempts to sketch the architecture of the soul. (Throughout his career, BAM has been Lepage's artistic pied a terre in New York, also hosting Needles and Opium, Seven Streams, Polygraph, and a number of his opera stagings) . He returns to BAM's Harvey Theater this fall with Upsynch, from Oct 3-1l.

Looking at periods of mass migration, mass destruction, and mass communication, Lepage stubbornly asserts the value of personal experience in a widening world. He bounds his world-historical interests within the nomadic trajectories of individuals linked by accidents of fate. For Lepage, journeys through time and space are also voyages into the self-his figures find themselves by losing their bearings. This double vision-seeing networks of contingent lives against the broadest possible historical and cu ltural backdrops-makes Lepage an artist for our interconnected era, as electronic media, interlaced economies, and cross-border travel erode distinctions between the local and the global.

Such vast narratives demand equally expansive stagings-both the Dragons' Trilogy and Seven Streams were more than six hours long in their final versions; Upsynch exceeds both at eight-and-a­ half hours (it will be presented in three successive weeknight performances, as well as in marathon weekend performances; see BAM .org for details). During these marathon presentations, which include four intermissions and a dinner break, performers and audience members undertake an expedition together. Removed from habitual expectations of duration and resolution, spectators are freed from time's fetters-visiting Lepage's theatrical landscapes without a map. Like his itinerant characters, they are loosed from everyday life, immersed in unaccustomed sights. 12 Lipsynch Lepage's peripatetic career path flouts disciplinary boundaries. In addition to original theatrical pieces devised with a rotating constellation of international collaborators, he has directed feature filrns, classics in Europe's national theaters, and operas (he is about to ernbark on a staging of Wagner's Ring cycle for the Met). He conceived a large-scale theater work for Cirque de Solei I in Las Vegas, radically different frorn the troupe's other works, and scored the spectacular aspects of Peter Gabriel's concerts.

Touring is an intrinsic part of Lepage's creative rnethod; his creations are transforrned by the kind of globetrotting journeys they depict. At each stop, Lepage absorbs criticisrn and approbation, rnodulating his work accordingly. Renowned for his revisions, the director refuses to set a script until the last possible moment-no show is finished until its run is over. Characters and plotlines disappear and resurface in changed form . Pieces appear in multiple versions, sometimes doubling or even tripling in length. "I don't think about rehearsing a show," Lepage explains. " ... Over a period of time the show gradually reveals itself to us."

A Quebecois from Anglophone-majority Canada, Lepage's background gives him a unique perspective on the fusions and confusions of our globalized world. Navigating between cultures, he has always been attuned to language's political dimensions. His polyglot pieces often feature dialogue in multiple tongues, embodying the links between native speech and identity-the ways in which our language speaks us. With productions in repertory across the planet, he continues to develop his work at La Caserne, a renovated firehouse turned technological wonderland in his hometown of Quebec City.

Perhaps more than any other director of the last 20 years, Lepage has helped bring theater into the media age. Recognizing that today's spectators are fluent in the narrative idioms of commercials, movies, and music videos, he employs filmic storytelling techniques-jump-cutting, cross-fading, and flashing forward. Celebrated for his technical wizardry, he uses electronic devices-projections, video feeds, protean machinery, digital soundscapes-to create startling onstage transformations and lyrical visual metaphors. In Upsynch, the assembly of a seamless filmed sequence from disparate onstage components evokes the human capacity to synthesize meaning from diverse sensory data.

Five years in the making, Upsynch has been refined during recent visits to Newcastle, London, and Toronto. The piece's point of departure is the most intimate of journeys-the route of the human voice from sound to meaning. "The voice," writes Lepage, "is internal machinery that finds its ultimate expression outside the body." In nine segments joining a host of characters across frontiers and generations-from WWII Vienna to latter-day London-Upsynch plays variations on the tension between artifice and authenticity in oral communication. Scenes revolve around the manifold ways that vocal noise becomes sense or music: operatic song and percussive rap, dubbed dialogue, voiceover narration, overlapping tracks, advertising pitches, speech therapy for aphasics. These layers and manipulations remind us that saying even the simplest thing requires crossing multiple borders­ between thought and word, sound and meaning, interior and exterior, speaker and listener. The perishable instant of human understanding completes the most remarkable voyage of all. _

Jacob Gallagher-Ross is a DFA candidate at the Yale School of Drama, and an associate editor of Theater magazine. 13 The Long Count

Mayan Mythology & Baseball

by Susan Yung

The themes informing the multimedia performance work The Long Count are as rich and varied as the collaborators and performers themselves. It was conceived and executed by visual artist Matthew Ritchie and musicians and twin brothers Bryce and Aaron Dessner (The National, Clogs), and features fellow twins Kim and Kelley Deal of The Breeders, and singers Shara Worden (My Brightest Diamond) and Matt Berninger (The National) . For example, two central motifs-the Mayan creation myth of Popul Vuh, featuring multiple sets of twins, and the late 1970s domination of baseball's Cincinnati Reds-may seem at first glance an unlikely pa iring, but upon further investigation illuminates the personal and creative symbiosis of the three lead collaborators. The Long Count will be performed from Oct 28-31 as part of BAM's 2009 Next Wave Festival.

As the Dessners explained before a recent rehearsal at BAM, "When Matthew started ta lking about the Mayan story, we were looking for a personal connection to it, which is how baseball came up." Bryce and Aaron were born in 1976 in Cincinnati, the year of the Reds' World Series victory over the Yankees; they now reside in Brooklyn . They collected baseball cards and memorabilia as boys, and still have in their old room a signed picture of Pete Rose diving head long into home plate. The concept of twins also resonated. "In the Mayan story, there are multiple sets of twins," Bryce said. "Twin brothers playa ball game, so that's the clearest reference."

Ritchie asked the Dessners to collaborate with him on an architectural installation called Morning Line in Spain and a show called Ghost Operator at The White Cube gallery in London. About The Long Count, Ritchie noted, "It seemed immediately obvious that we would not attempt to literally tell the story of the Popol Vuh, any more than we would literally replay the 1975 and 1976 World Series but the basic dialogue between us was established-twins, mirror sequences, fatal games, and broken symmetries, picture or semasiographic languages, like music. I provided a script that was 14 The Long Count adapted by the musicians for their songs. Then I made a film of animated drawings inverting the traditional sequence of the scoring to film . Hopefully the audience will feel they have entered the sha red creative space before time has begun. Nothing has been determined-but all the possibilities of time and space, atoms and forests, cities and floods, can already be glimpsed ." Adds the artist, who has a rare gift for distilling cosmic ideas into a thimble, "Mayan cosmology is fourfold, quartered from the center, a diamond with a pitcher's mound. Most appealingly of all, the Mayan foundational myth involves a pair of ball players known as 'the hero twins.' And of course, Aaron and Bryce are identical twins."

Twins have a unique perspective from a musical performance standpoint. "Ultimately, this idea of twins-there is both the musical analogy, because there's a lot of mirroring happening in the piece, in terms of interlocking art-it's very much the basis of how we play, whether it's in our rock band, or in other kind of composed music," said Bryce. "There are often tightly locked rhythms and harmonies in the guitars, and then those ideas are spread out through the entire ensemble and even to the singers. So there are echoes and echoes of things, reverberations of similar ideas."

Further underscoring the concept of twins, Kim and Kelley Deal, celebrated musician/twins (The Breeders) and also from Ohio, will perform. Aaron talked about collaborating with the Deals. "We have this kind of non-verbal communication, and they do also. And musically, a lot of things are unsaid­ it's just kind of sensed," Aaron said of playing with Bryce. "We have function and dysfunction in the way that we work, and I think that probably they do too."

The National (whose lead vocalist Matt Berninger performs in The Long Count, plus Shara Worden of My Brightest Diamond) has a dedicated fan base , as does Clogs, if considerably different. Then where does The Long Count fall musically, genre-wise? "There are two major instrumental movements, and several songs with different singers, and the music itself-actual interstitial scoring in between pieces, and then a whole other layer of it is sound design by David Sheppard. It's hard to quantify in terms of where it sits as far as classical, or popular. .. certainly it's experimental," said Bryce. "But there are definitely verses and choruses of songs and things like that. It's been exciting because we've been able to do songwriting and scoring, and it's a really unique venue for that. So the songs don't have the usual internal narrative that you might normally have ... We're trying to create a longer arc so the songs interrelate, and we've built it out so that they're like chapters in a book." Aaron added, "I think the music that we've written, at times has a gothic feeling to it, or a dark intensity."

There are many motifs to trace, but most likely, pinning The Long Count to any predictable narrative thread is sure to be less satisfying than simply experiencing it and absorbing its abundant visual and sonic gifts. ,.

17 BAMcinematek-1962

1962-Lost Year, Found

by Aisling Yeoman

Traditionally, the prestigious New York Film Critics Circle convenes to honor the best films and performances each year. Last year, they awarded Gus Van Sa nt's Milk best picture, Sean Penn best actor for the same film, and Sally Hawkins best actress for the British film Happy Go Lucky, illustrating both the group's tendency to name future Oscar winners, as in the case of Penn, or to spotlight foreign fare most likely to be ignored by the Academy, as in the case of Hawkins. The Critics Circle was founded in 1935 in part as a response to a history of questionable Oscar winners, and foreign films were awarded Best Picture honors by critics in New York before they were by the industry in Hollywood. A sampling of notable Critics Circle Best Picture award winners that failed to win the reciprocal Oscar includes Orson Welles' Citizen Kane, Stanley Kubrick's A Clockwork Orange, Fran<;ois Truffaut's Day for Night, and Martin Scorsese's Goodfellas.

In 1962, however, no awards were given. A newspaper strike, beginning at the Daily News and spreading to include the New York Times, New York Post, and New York Herald Tribune, among others, destabilized the city's newspaper industry that year. This year marks the NYFCC's 75th anniversary, a milestone that BAMcinematek will celebrate from Oct 23-Nov 9 with a series of twelve films from 1962 programmed in collaboration with current New York Critics Circle Chairman Armond White (lead critic for New York Press). This series unites famous films with rarities, many of which will be introduced by member critics from a variety of New York publications. Watching these films allows the viewer to take the pulse of a precise moment in time, as each example crystallizes transitions that were happening socially, politically, and aesthetically as reflected in the year's films.

One of the key film movements of the time is represented in four titles, all of which display the independent, rebellious, and playful sensibility associated with the French New Wave or nouvelle vague (approximately 1959-1964). This generation of directors experimented with low-budget filmmaking, shooting on location with hand-held cameras, incorporating unconventional editing and references to other films.

18 BAMcinematek- 1962

For examples of this ground breaking movement, see two films by Fran<;ois Truffaut. Both Jules and Jim, about a complicated love triangle featuring Jeanne Moreau, and Shoot the Piano Player, an homage to the gangster film starring French crooner Charles Aznavour, were wildly innovative in style and content. Agnes Varda's Cleo from 5 to 7 brings a strong feminist perspective as it follows a pop singer protagonist as she waits for results of medical test, questioning how she is perceived by others. Varda's husband Jacques Demy, known for subverting the Hollywood musical and melodrama forms, directed the bittersweet Lola, the story of a single mother and dance hall girl trying to find the father of her child , a narrative that he would also elaborate on in The Umbrellas of Cherbourg. These films would prove to be enormously influential on international cinema and popular culture.

John Ford's The Man Who Shot Uberty Valance and Samuel Peckinpah's Ride the High Country capture a shift in one of the most popular, most recognizable, and most quintessentially American genres, the western. Both feature icons self-consciously playing against type-John Wayne's aging gunfighter is an anachronism in a rapidly modernizing west, while Randolph Scott intends to break laws his characters would normally believe in. The overt pessimism and elegiac tone of these examples hints at the end of the traditional western, the kind that clearly demarcated good guys from bad, as the earnest interpretations typified in Ford's early films were replaced by darker, more violent visions as the decade progressed . In the work of Peckinpah and Sergio Leone (The Good, the Bad, and the Ugly) , outlaws would later become heroes, their actions more morally ambiguous, indicative of widespread unrest over the Vietnam War and vast social upheaval in the 60s.

One of the pleasures of this series is seeing many of these classic films the way they were meant to be shown, in their original widescreen formats , a technological innovation popularized at the time meant to draw people away from television and back into movie theaters. The definitive example is David Lean's Lawrence of Arabia, a three-and-a-half-hour epic that exploits the Cinemascope frame to great effect. Lean juxtaposes vast landscapes with small figures to create a unique, engrossing cinematic experience that essentially defined the blockbuster for years to come .

In addition to the well-known films, there are plenty of unusual movies to discover, the kind of off­ beat pictures the Critics Circle might have picked. Try The Errand Boy , a zany Jerry Lewis comedy in which he investigates thieving around a movie studio ; Robert Aldrich 's creepy cult classic Whatever Happened to Baby Jane? starring Bette Davis and Joan Crawford , or George Cukor's The Chapman Report, a movie based on the '50s Kinsey reports in which a doctor attempts to cure women (including Shelley Winters and Jane Fonda) of sexual problems. The lack of awards for 1962 is a good reason to celebrate such a rich array. _

Aisling Yeoman is BAMcinematek's Marketing & Publicity Associate.

19 Upcoming Events Next Wave Festival Featuring Meredith Monk & Vocal Ensemble and The Todd Reynolds String Quartet ADVENTUROUS ARTISTS. ADVENTUROUS AUDIENCES. Oct 21-24 at 7:30pm; Oct 25 at 3pm Lipsynch Oct 22, post-show-Artist Talk: Meredith Monk Ex Machina / Theatre Sans Frontieres with Bonnie Marranca Directed by Robert Lepage Oct 3, 4, 6-8, 10, 11 (info at BAM.org) The Long Count Bryce Dessner, Aaron Dessner, and Oct 5, 6:30pm-Artist Talk: Robert Lepage and John Matthew Ritchie Ralston Saul on Cultural Identity Oct 28, 30, 31 at 8pm Decreation Oct 31, 6pm-Artist Talk: Bryce Dessner, Choreography by William Forsythe Aaron Dessner, Matthew Ritchie Oct 7-10 at 7:30pm Oct 8, post-show-Artist Talk: William Forsythe with Jonah Bokaer

Imaginary City Written and performed by .§ S6 Percussion c: Oct 14-17 at 7:30pm ::;;'" -'" Oct 15, post-show-Artist ."E S6 Percussion with 8 Joseph V. Melillo .r::~

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board William I. Campbell , Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board

Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer

Presents In-I Approximate BAM Harvey Theater running time : Sep 15, 17-19,22-26, 2009 at 7:30pm one hour and Sep 16 at 7pm (2009 Next Wave Festival Gala); Sep 20 at 3pm 10 minutes, no intermission Directed and performed by Juliette Binoche and Akram Khan

Set design by Anish Kapoor

Lighting design by Michael Hulls

Music by Philip Sheppard

Costume (Juliette Binoche) by Alber Elbaz

Costume (Akram Khan) by Kei Ito

Sound design by Nicolas Faure

Co-produced by Fondation d'entreprise Hermes; National Theatre, London; Theatre de la Vi lle, Paris; Grand Theatre de Luxembourg; Romaeuropa Festival and Accademia Filarmonica Romana, Rome; La Monnaie, Brussels; Sydney Opera House, Sydney; Curve, Leicester

World Premiere: September 18, 2008, Lyttleton, National Theatre, London

BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by Time Warner Inc.

Leadership support for the Next Wave Festival is provided by The Ford Foundation.

Support for In-I is provided by the Cultural Services of the French Embassy and FACE.

Major support for BAM dance is provided by The Harkness Foundation for Dance and The SHS Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation.

The In-I global tour is sponsored by Societe Generale and Fondation d'entreprise Hermes, and supported by CulturesFrance. 10-1

Producer Farooq Chaudhry Associate Producer Bia Oliveira Rehearsal Director/Dance Coach (Juliette Binochel Su-Man Hsu Dramaturg Guy Cools Tour Manager Christina Paul Technical Director Fabiana Piccioli Sound Designer Nicolas Faure Technical Coordinator Sander Loonen

Produced by Khan Chaudhry Productions & Jubilation Productions Managed by Akram Khan Company

Exclusive North American Tour Direction 2Luck Concepts John Luckacovic/Eleanor Oldham [email protected] http://www.2 Iuck.com

Juliette Binoche's makeup by Lancome Paris, hair by I.:Oreal Professionnel for PR and events. Early research supported by Jerwood Studio at Sadler's Wells.

PRODUCTION CREDITS Juliette Binoche and Akram Khan would like to thank acting coach Susan Batson : "You embrace work like no one else, your vision is a commitment to the human beings you 're working with, but also to the art. You know how to transform us, you see beyond, ready to share your discoveries with your heartful sensibility. Thank you Susan, you are a true inspiration."

Juliette Binoche would like to thank Su-Man Hsu: "She made this adventure possible. Intuition takes you by surprise and I think that she knew how to create this encounter by just imagining before anyone. You make in people the joy of transformation come true. Your faith on this project is my path. Thank you for your love and commitment."

Also special thanks to: Dr. Bobola , Brigitte Parnet-Evans, Christopher Hornzee-Jones, Marguerite Kardos , Mr. and Mrs. Khan, Fanny Aubert Malaurie, Olivier Meyer, Louise Pascal, Jean-Louis Rodrigue, Marianne Rosenstiehl, Francois Samuelson, Marion Stalens, Nikoleta Rafael isova , and Shanell Winlock. tn-t is supported by Arts Council England, The Bell Cohen Charitable Foundation , Theatre de l'Ouest Parisien - Boulogne Billancourt, CULTURESFRANCE

SOCIETE CENERALE 'O_IIOH- D'UiTlltffiilf "tllMh Who's Who

gc c ~ E -Bl ~ ~ ______~~~.i~Jllliiil"IIIIII"II"IIIII~ Juliette Binoche (co-director and performer) Le Toit). She won an Oscar for Best Supporting Oscar-winning actress Juliette Binoche is one of Actress in 1996 for her role in Anthony Mi ng­ the most celebrated actresses in France, where hella's The English Patient. In 2000 she starred she is referred to affectionately as "La Binoche." in the hit film Chocolat, a role she prepared for Born in Paris to a sculptor/theater director and by learning to make chocolate at a popular Paris an actress, she studied at the National School of sweet shop. The film was a huge success and she Dramatic Art of Paris and after graduation became was nominated for Best Actress awards across a stage actress, occasionally taking small parts the globe. She followed this with Code Unknown in French feature films. She first earned recogni­ (Code Inconnu), Michael Haneke's film about in­ tion in 1985 in Jean-Luc Godard's controversial tersecting lives, and worked with the same direc­ Hail Mary (Je vous salue, Marie). Her position tor in 2005 on Hidden (CacM). Other recent films as a French film star was further confirmed by include Abel Ferrara's Mary opposite Matthew her acclaimed performance in Andre Techine's Modine and Forest Whitaker (2005); Anthony Rendez-Vous . Her international breakthrough Minghella's Breaking and Entering opposite Jude came in 1988 when she played Tereza in Philip Law (2006), and Hou Hsao-Hsien's Flight of the Kaufman's The Unbearable Ughtness of Being, Red Balloon (Le Voyage du Balian Rouge). Her which was followed by another widely acclaimed most recently completed film is Summer Hours lead role in Les Amants du Pont Neuf directed (L'Heure d'ete) directed by Olivier Assayas. by Leos Carax in 1991. Another film which Juliette Binoche lives in France with her two brought her to a wider audience was Louis Malle's children. Damage in 1992. This was followed by the lead role in Krzysztof Kieslowski's Three Colors: Blue. Akram Khan (co-director and performer) Juliette Binoche returned to the screen in 1995 Akram Khan is one of the most acclaimed cho­ with The Horseman on the Roof (Le Hussard sur reographers of his generation working in Britain Who's Who today. Born in London in 1974, into a family of Anish Kapoor (set designer) Bangladeshi origin , he began dancing at the age Anish Kapoor was born in Bombay in 1954 and of seven and studied with the great Kathak dancer has lived in London since the early 70s when he and teacher Sri Pratap Pawar. He began his stage studied at Homsey College of Art and Chelsea career aged fourteen, when he was cast in Peter School of Art Design. Over the past 20 years he Brook's legendary production of Mahabharata (at has exhibited extensively in London and all over BAM in 1987), appearing in the TV version in the world. His solo shows have included venues 1988. After later studies in contemporary dance, such as Kunsthalle Basel , Tate Gallery and Hay­ he began presenting solo performances of his ward Gallery in London, Reina Sofia in Madrid , work in the 1990s, maintaining his commitment CAPC in Bordeaux, and most recently Haus to the classical kathak repertoire as well as mod­ der Kunst in Munich . He has also participated ern work. Among his best-known solo pieces are: internationally in many group shows including the Polaroid Feet (2001), Ronin (2003), and Third Whitechapel Art Gallery, The Royal Academy, and Catalogue (2005). In August 2000, he launched Serpentine Gallery in London; Documenta IX in his own company, and among his most notable Kassel; Moderna Museet in Stockholm; and Jeu company works are Kaash (2002), a collabora­ de Paume and Centre Georges Pompidou in Paris. tion with artist Anish Kapoor and composer Nitin Anish Kapoor was awarded the Premio Duemila Sawhney; ma (2004), winning a South Bank at the Venice Biennale in 1990, the Turner Prize Show Award (2005); zero degrees (2005), a in 1991 , an Honorary Fellowship at the London collaboration with dancer Sidi Larbi Cherkaoui, Institute in 1997, and was made a CBE in 2003. sculptor Antony Gormley, and composer Nitin He is represented by the Lisson Gallery, London ; Sawhney, which premiered at Sadler's Wells and Barbara Gladstone Gallery, New York; and Galleria was nominated for an Olivier Award in 2006. zero Continua and Galleria Massimo Minini , Italy. degrees won Best Choreography in a Ballet or Dance Work and Akram Khan won the award for Philip Sheppard (composer) Best Male Dancer in the prestigious annual Help­ Philip Sheppard trained in Cello and Composi- mann Awards held in Sydney, Australia in 2007 . tion at the Royal Academy of Music, specializing Sacred Monsters , a major new work featuring in contemporary music. He worked closely with ballerina Sylvie Guillem , with additional choreog­ Hans Werner Henze, Sir Michael Tippett, and Lu­ raphy by Taiwanese choreographer Lin Hwai-min ciano Berio during this time, as a founder member premiered at Sadler's Wells in September 2006. of The Kreutzer Stri ng Qua rtel. Wh i Ie a student, Another of his most recent projects is Variations , a he made weekly appearances at The Spitz night­ collaboration with London Sinfonietta to celebrate club, playing entirely improvised concerts, some­ the 70th birthday of Steve Reich, which pre­ times featuring his Piano Quintet, formed with miered in Cologne in March 2006, and toured to Keith Tippett. He collaborated with pianist Abdul­ Europe and America, including BAM . Akram Khan lah Ibrahim , who encouraged him to move away was also invited by Kylie Minogue in 2006 to from a conventional musical environment, and choreograph a section of her new Showgirl concert pursue his composition . He went on to pioneer which opened in Australia in November 2006, electro-acoustic improvization, joining the Smith and toured to the UK (London and Manchester) Quartet and appearing regularly with the London in January 2007. A new work, bahok, a unique Sinfonietta . After completing a Fellowship, he was collaboration with the National Ballet of China made a Professor at the Royal Academy of Music and choreographed by Akram Khan , had its world where he is now a Senior Lecturer. His early solo premiere in Beijing in January 2008 and its UK albums, The Glass Cathedral and The Diver in the premiere in March at the Liverpool Playhouse. Crypt, featured new compositions devised for site­ bahok is currently touring worldwide. Akram Khan specific performance. The albums received rave was awarded an MBE for his Services to Dance in reviews and are regularly played on Radio 3. The 2005. He is married and lives in London. tracks feature a specially commissioned electric Who's Who cello that has become a cornerstone of many of being at the Herod Atticus Theatre in the shadow Philip Sheppard's compositions. The albums at­ of the Parthenon. tracted the attention of Scott Walker, who invited him to play at his South bank Centre Meltdown Michael Hulls (lighting designer) Festival. They collaborated again on Pulp's album Michael Hulls first worked with Akram Khan on We Love Ufe , with Jarvis Cocker, and after that on the pieces Fix and Rush and has also previously Walker's critically acclaimed album The Drift. He collaborated on a dance piece with Anish Kapoor. has also arranged songs for Cocker's solo album Trained in dance and theater at Dartington Col­ Jarvis, David Bowie, and Suzanne Vega. His first lege of Arts and in 1992, Hulls was awarded a orchestral soundtrack was commissioned for the bursary by the Arts Council to attend dance light­ documentary feature , In the Shadow of the Moon , ing workshops with Jennifer Tipton in New York which won major awards at the Boulder, Florida , and Paris. Since then he has worked exclusively Indianapolis, and Sedona film festivals , as well as within dance and is best known for his long term the Audience Award at Sundance Film Festival. collaboration with the choreographer Russell Mali­ The soundtrack was released on Lakeshore phant, particularly their recent works made for Records . Sheppard regularly collaborates with Sylvie Guillem. Amongst other major awards, their James Lavelle and UNKLE. They have recently works have twice won both the Olivier Award for written and produced the forthcoming album End Best New Dance Production and The South Bank Titles .... Stories For Film (with Gavin Clark, Josh Show Dance Award. In 2006 Channel Four com­ Homme, Chris Goss, and Pablo Clements), follow­ missioned Ught and Dance , a documentary about ing the success of the recent album War Stories . their collaboration . Hulls has also regularly worked Sheppard has been commissioned to write and with Javier de Frutos, Jonathan Burrows, Laurie produce the music for the Olympic Handover Booth, with Meg Stuart on her works for Deutsche Ceremony at this year's Beijing Olympics, and to Oper Ballett, and for Mikhail Baryshnikov. In arrange and direct the British national anthem 2001 Hulls created an installation, ShadowSpace, for these events. He has produced the music for at the Ikon Gallery and in 2003 was awarded two recent BBC TV live events: The Manchester a Wingate Scholarship for research on lighting Passion and The Uverpool Nativity. These have design. In 2004 he was made an Associate Artist won numerous awards, including the BBC award at The Place Theatre and in 2006 was nominated for Best Music Production of the year, which was for the Time Out Award for Outstanding Achieve­ awarded to Philip Sheppard, together with the ment in Dance. He is currently working on a writer Stephen Powell. He has completed a suite collaboration between Robert Lepage, Russell for piano, strings, and electronics that forms the Maliphant, and Sylvie Guillem. soundtrack for Robert Winston's new series, Medi­ cal Frontiers , to be shown on BBC1 th is season. Alber Elbaz (costume designer, Juliette Binoche) He is also currently writing a set of pieces for Viol Alber Elbaz has been Artistic Director of Lanvin Consort, to be recorded on location, that will form since 2001. His marvellous talent and creations the soundtrack for Dr. David Starkey's forthcoming have made Lanvin one of the world 's most influ­ series on Henry VIII. Sheppard is proud to have ential and prestigious labels. In 2005, he received had a long and fruitful professional relationship the International Fashion Award from the world­ with Akram Khan. He first joined Khan as an renowned CFDA (Council Fashion Designers of improvising cellist in the Kathak projects Third America) while Time Magazine ranked him among Catalogue and Ronin , collaborating with Hanif the 100 most influential personalities of 2007. He Kureish i and the Akram Khan Company for The was awarded the order of Chevalier de la Legion God of Small Tales . In 2006, he was commis­ d'Honneur by France's president in April 2006. sioned to write Sacred Monsters for Akram Khan The encounter between Alber and Juliette was and Sylvie Guillem . He toured with the production natural , like love at first sight- with a common until the summer of 2007, his final performance vocabulary and shared emotion . Who's Who

Kei Ito (costume designer, Akram Khan) pianos (2006), and for Akram Khan and Sylvie Kei Ito started working in Tokyo as a graphic Guillem (Sacred Monsters, 2006) . designer and then switched to fashion design, first studying at the Women's College of Art, Tokyo, Guy Cools (dramaturg) and then Central St. Martins, London. For the last After having trained as a dramaturg, Guy Cools fourteen years Kei Ito has run her own fashion became involved with the new developments in and costume studio and in 1998 she established dance in Flanders from the 1980s, initially as a an accessory label called Always Sky Above. Her dance critic and, from 1990 onwards, as theater exhibitions include Ruthin Craft Centre (1999), and dance director of Arts Centre Vooruit in Ghent. Decadence; Crafts Council (1999), On Paper; In that capacity he was responsible for a large Crafts Council (2000), Double Vision; Japan number of co-productions and collaborations with Embassy (2003), Import Export; British Council, a variety of international dance companies. As V&A (2004); Centro de Artesania e Deseno, Spain vice-president of the Dance Council he contributed (2005); Avantcraft, Spain (2007); Crafting Beauty to the cultural policy towards dance of the Flemish Showcase, British Museum (2007), Supernatural; Community. He curated dance events in Frankfurt, Queens Nails Annex, San Francisco (2007); and Dusseldorf, Venice, and Montreal. He is still work­ The Fabric of Cultures, Museum of Craft & Folk ing as an artistic consultant for, among others, Art, CA (2008). Costume designs have been pro­ Place des Arts-Montreal. He left Vooruit to dedi­ duced for Yolande Snaith Theatre Dance, Calypso cate himself full time to production dramaturgy Theatre Company Dublin, Temenos Project, Story with, among others, Koen Augustijnen (Les Ballets Tellers Theatre Company, Akram Khan-zero C. de la B.), Sara Woo key (Amsterdam-LA), Lia degrees (2005) and Variation for vibes, strings & Haraki (Cyprus) , Daniele Desnoyers (Montreal), Who's Who

Akram Khan , Sidi Larbi Cherkaoui , Sylvie Guillem business models for Akram Khan's artistic ambi­ (London), and to return to his old passions of tions as well as offering creative support during teaching, writing, giving workshops, lecturing and the development of Akram Khan's projects; he is publishing in Belgium, Canada , United Kingdom , currently the company producer. He is a "project Germany and Greece. Since 2004, he has lived in champion" for Arts Council England's Cultural Montreal , Canada. Leadership programme and a member of Dance UK's Board. He was recently acknowledged in a Su-Man Hsu (rehearsal director and dance coach , new publication by the French Ministry of Foreign Juliette Binoche) Affairs in a list of the world 's top hundred cultural Su-Man was born in Taiwan. She studied dance actors and entrepreneurs. at the National Institute of the Arts in Taipei, continuing her dance education at the school of Bia Oliveira (associate producer) Pina Bausch-the Folkwang Hochscule in Essen , Originally from Brazil, Bia Oliveira joined Akram Germany. Her first professional engagement was Khan Company in 2007 as Associate Producer with the Ulmer Ballet after which she joined the through a Creative Leadership Award working world reknowned Belgian dance company, Rosas. on bahok. She was previously at London-based She was a company member for five years . In her Artsadmin , where she worked with arts projects last year with Rosas she became the company for five years, with a seven-month stint as Theatre rehearsal director. On finishing her dance career Officer at Arts Council England. Bia Oliveira has she undertook extensive professional training as been involved with performance for over 20 years a shiatsu therapist. She augmented her training as a performer, producer, and director, and in the with certificated studies in Pilates (mat work) and last five years has focused on producing, touring, Japanese Facial massage. She has a busy practice and management of arts projects, working across in London with an illustrious client list. In 2005 the spectrum of theater, visual arts, dance, live she was listed in the London Evening Standard as art, and performance. She has a Masters degree one of the five top facials in London. She started in Contemporary Performing Arts at Middlesex working with Juliette Binoche as her body thera­ University and a Post-graduate Diploma in Arts pist in 2006. In 2007 she was asked by Akram Management and Policy at Birkbeck. Khan to spend a year training Juliette Binoche to dance in preparation for In-I. She continues to Christina Paul (tour manager) work for this production as rehearsal director. Christina Paul grew up between London and Hong Kong. She studied World Theatre and Visual Arts Farooq Chaudhry (producer) at the United World College, HK, and graduated Farooq Chaudhry was born in Pakistan. He from Oxford University with first class honors graduated from the London Contemporary Dance in Japanese and Chinese Studies in 2006. She School in 1986. As a professional dance artist he previously won a scholarship to attend the Mount­ worked in a variety of dance mediums in various view Theatre School in London , and has recently European countries, the highlight being his time graduated from London Contemporary Dance as a company member of the Belgian modern School where she studied Kathak with Gauri dance company Rosas during the mid-90s. In Tripathi. Paul joined the Akram Khan Company in 1988 he received an Asian Achievement Award July 2007 as interpreter and later tour manager for his work as a dancer. He retired from dancing for bahok. in 1999 after which he completed an MA in Arts Management from City University in London. As Fabiana Piccioli (technical director) a freelance dance manager he teamed up with Fabiana Piccioli studied Philosophy at Univerity Akram Khan in 1999. A year later they co-found­ La Sapienza di Roma . From 1999 to 2002 she ed the Akram Khan Company. Farooq Chaudhry worked as a dancer in Rome and Brussels. She has played a key role in forming innovative was then Technical Coordinator and Production Who's Who

Manager at the Romaeuropa Festival from 2002 a lamp cleaner in 1991 and ever since then to 2004. She joined Akram Khan Company as has been working as a technician and lighting technical manager in 2005. Fabiana Piccioli was designer. In 1997 he was a trainee in the Rot­ the lighting designer for two Akram Khan Com­ terdamse Schouwburg in the Netherlands, leaving pany productions, Variations for Vibes, Strings six years later as one of the in-house lighting and Pianos-a collaboration between Akram Khan designers. After two years working in Brazil, he Company and the London Sinfonietta (2006), and returned to Holland to be one of the founding bahok, a collaboration with the National Ballet of members of DENZO, a company that provides China (2008). She also co-designed the set for technical support for art-related projects. He has bahok. worked with Meg Stuart/damaged goods, Emio Greco PC, Waterhuis, Peter Sonneveld, and many Nicolas Faure (sound designer) other companies. Sander Loonen has worked Nicolas Faure studied wave mechanics, acous­ with Akram Khan Company since 2007. He co­ tics, and techniques of sound broadcasting at the designed the set and was a technical co-ordinator University of La Metare Saint-Etienne. From 2004 on Akram Khan's latest ensemble project, bahok, to 2008, he worked as sound director at Les Nuits a collaboration with the National Ballet of China de Fourviere Festival in Lyon, France. Nicolas (2008). Faure has previously worked with Akram Khan as a sound engineer for his shows zero degrees and Sacred Monsters.

Sander Loonen (technical co-ordinator) Sander Loonen started working in theater as