W in T E R /S Pr in G S E a S O N Mar 2 0

MAR 2019MAR WINTER/SPRING SEASON WINTER/SPRING

Season Sponsor: Farah Al Qasimi, Self-Portrait in Red, 2016 2019 Winter/Spring Season

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace David Binder, BAM Board Vice Chairs Artistic Director

Musical advisor Nadav Barnea Assistants to Ohad Naharin and Eri Nakamura Ariel Cohen

Dancers instructor Natalia Petrova Assistant Omri Mishael Venezuela Thanks to The Israeli Ballroom Dancing Fund

Batsheva Dance Company By Ohad Naharin

BAM Howard Gilman Opera House Mar 27—30 at 7:30pm

Running time: approx. one hour and 20 minutes, no intermission

Lighting design by Avi Yona Bueno (Bambi) Soundtrack design and edit by Maxim Waratt Costume design by Eri Nakamura

2019 Winter/Spring is programmed by Joseph V. Melillo.

Season Sponsor:

Leadership support for dance at BAM provided by The Harkness Foundation for Dance

Major support for dance at BAM provided by The SHS Foundation

Support for the Signature Artists Series provided by the Howard Gilman Foundation Venezuela

BATSHEVA DANCE COMPANY Etay Axelroad Eri Nakamura Billy Barry Nitzan Ressler Yael Ben Ezer Kyle Scheurich Matan Cohen Maayan Sheinfeld Ben Green Yoni (Yonatan) Simon Chiaki Horita Hani Sirkis Chunwoong Kim Amalia Smith Rani Lebzelter Imre van Opstal Hugo Marmelada Erez Zohar

ADDITIONAL PRODUCTION CREDITS

Musical advisor Nadav Barnea Assistant to Ohad Naharin and Eri Nakamura Ariel Cohen Dancers instructor Natalia Petrova Assistant Omri Mishael

MUSIC

“Coma” by Converter/Scott Sturgis, “Ae Ajnabi” (From “Dil Se”) by A. R. Rahman & Sampooran Singh Gulzar, “Bullet in the Head” by Rage Against the Machine, “Mirage” by Biz, “The Wait” (from “Another Happy Day”) by Olafur Arnalds, “One Large Rose” by Phill Niblock, “Dead Wrong” by Christopher Wallace (Notorious B.I.G.), “Kyrie fons bonitatis, Litany” (from “Songs of the Spirit”) - anonymous Gregorian chant, “Beata Viscera” (from “Songs of the Sprit”) - anonymous Gregorian chant, “Offer- torium: Jubulate Deo Universa Terra” - anonymous Gregorian chant, “O Euchari” by Hildegard von Bingen, “De Profundis” - anonymous Gregorian chant, “Alma Redemptoris” - anonymous Gregorian Chant, “Alma Redemptoris Mater” - anonymous Gregorian Chant, “Easter Vigil: Litany” - anonymous Gregorian chant

Produced by Batsheva Dance Company Co-producers: Chaillot National Theater, Paris; Hellerau – European Center for the Arts, Dresden

Special support provided by the Dalia and Eli Hurvitz Foundation, as well as the New Works Funds of Batsheva and the American Friends of Batsheva.

Thanks to The Israeli Ballroom Dancing Fund

North American Production Management Pomegranate Arts Linda Brumbach, Founder and Director Venezuela

ETAY AXELROAD BILLY BARRY YAEL BEN EZER

MATAN COHEN BEN GREEN CHIAKI HORITA CHUNWOONG KIM

RANI LEBZELTER HUGO MARMELADA ERI NAKAMURA NITZAN RESSLER

KYLE SCHEURICH MAAYAN SHEINFELD YONI (YONATAN) SIMON HANI SIRKIS

AMALIA SMITH IMRE VAN OPSTAL EREZ ZOHAR Batsheva Dance Company

House Choreographer Ohad Naharin Artistic Director Gili Navot Executive Director Dina Aldor Assistant to the Artistic Director Kelvin Vu

Company & Stage Manager Yaniv Nagar Senior Rehearsal Director Luc Jacobs Deputy Director, Content and Communications Noa Ron

Head of International Touring Amit Hevrony International Touring Producer Dana Guti Director, International Development Lisa Preiss Fried International Development Coordinator Sarah Rosen

Chief Technical Director Roni Cohen Technical Director on Tour Yuval Glickman Lighting Eliav Refaely Sound Dudi Bell Stagehand Gilad Bonneau Wardrobe Maya Lavi Physiotherapist Gal Kalmi Photo: Ascaf Who’s Who

BATSHEVA DANCE COMPANY has been criti- in Mizra, Israel. His mother is a choreographer, cally acclaimed and popularly embraced as one dance teacher, and Feldenkrais instructor, and of the foremost contemporary dance companies his father was an actor and psychologist. He in the world. Together with Batsheva – The joined Batsheva Dance Company in 1974 Young Ensemble, the company boasts a roster of despite having little formal training. During his 34 dancers drawn from Israel and abroad. Bat- first year, guest choreographer Martha Graham sheva Dance Company is Israel’s biggest dance invited him to join her own company in New company, maintaining an extensive performance York. Between 1975 and 1976, Naharin studied schedule locally and internationally with over at the School of American Ballet, The Juilliard 250 performances and circa 100,000 spectators School, and with Maggie Black and David How- every year. Batsheva has performed at BAM ard. He then joined Maurice Béjart’s Ballet du numerous times, most recently with Last Work XXe Siècle in Brussels for one season. (2017), Sadeh21 (2014), and Hora (2012). Naharin returned to New York in 1979 and Hailed as one of the world’s preeminent con- made his choreographic debut at the Kazuko Hi- temporary choreographers, Ohad Naharin was rabayashi studio the following year. From 1980 appointed artistic director in 1990, and propelled until 1990, Naharin presented works in New the company into a new era with his adven- York and abroad, including pieces for Batsheva turous curatorial vision and distinctive choreo- Dance Company, the Kibbutz Contemporary graphic voice. After almost 30 years of leading Dance Company, and Nederlands Dans Theater. Batsheva, Naharin stepped down as artistic At the same time, he worked with his first wife, director in 2018, and continues to serve as the Mari Kajiwara, and a group of dancers in New company’s house choreographer. In September York. Naharin and Kajiwara continued to work 2018 Gili Navot assumed the role of Batsheva’s together until she died from cancer in 2001. artistic director. In 1990, Naharin was appointed artistic director Naharin is also the originator of the innovative of Batsheva Dance Company, and in the same movement language, Gaga, which has enriched year, he established the company’s junior divi- his extraordinary movement invention, revolu- sion, Batsheva – The Young Ensemble. He has tionized the company’s training, and emerged as since created over 30 works for both companies. a growing international force in the larger field After almost 30 years of leading Batsheva, Na- of movement practices for both dancers and harin stepped down as artistic director in 2018, non-dancers. and continues to serve as the company’s house choreographer. The Batsheva dancers take part in the creative processes in the studio and create their own In addition to his stage work, Naharin also works in the annual project “Batsheva Dancers developed Gaga, an innovative movement Create” supported by the Michael Sela Fund for language based on research into heightening Cultivation of Young Artists at Batsheva. sensation and imagination, becoming aware of form, finding new movement habits, and going Batsheva Dance Company was founded as a beyond familiar limits. Gaga is the daily training repertory company in 1964 by the Baroness of Batsheva’s dancers and has spread globally Batsheva de Rothschild who enlisted Martha among both dancers and non-dancers. Graham as its first artistic advisor. Since 1989, Batsheva Dance Company has been in residence Naharin trained in music throughout his at the Suzanne Dellal Centre in Tel Aviv. childhood and continues to infuse his work with a unique musicality. He collaborated with the OHAD NAHARIN (House Choreographer) is Israeli rock group, The Tractor’s Revenge (Kyr, a choreographer and the creator of the Gaga 1990), Avi Balleli and Dan Makov (Anaphaza, movement language. Naharin was born in 1952 1993), Ivri Lider (Z/na, 1995), and Grischa Who’s Who

Lichtenberger (Last Work, 2015). Under the PERFORMERS pseudonym Maxim Waratt, he composed music for MAX (2007) and edited and mixed the ETAY AXELROAD was born in 1995 and soundtracks for Mamootot (2003), Hora (2009), graduated from Blich High School in Ramat Gan. Sadeh21 (2011), The Hole (2013), Last Work He attended in the American Academy of Ballet (2015), and Venezuela (2017). Summer Course (2012), Peridance School in New York (2013), and SIBA in Salzburg under Naharin’s work has also been featured in full scholarships. Axelroad was a recipient of the several films. In his 2007 documentary, Out America-Israel Cultural Foundation Scholarship of Focus, director Tomer Heymann filmed the in 2013—14, and served in the Israeli Defense process of restaging Decadance with Cedar Forces (IDF) as an outstanding dancer. He joined Lake Contemporary Ballet. And in 2015, the Batsheva – The Young Ensemble in 2014, after Heymann Brothers released their comprehensive completing a year as an apprentice. He joined documentary about Naharin, Mr. Gaga, to critical Batsheva Dance Company in 2017. and audience acclaim. BILLY BARRY was born in 1989 in New York. A citizen of both Israel and the US, Naharin He graduated from Juilliard in 2011 and per- currently lives in Israel with his wife, dancer formed with Gallim Dance and Keigwin + Co. and costume designer Eri Nakamura, and their He joined Batsheva – The Young Ensemble in daughter, Noga. 2011 and Batsheva Dance Company in 2012.

GILI NAVOT (Artistic Director) is a dancer, YAEL BEN EZER was born in 1995 in Tel Aviv. choreographer, teacher, and the artistic director She studied at the Tel Aviv School of the Arts of Batsheva Dance Company. Navot grew up in and graduated from Alon High School’s dance Haifa, Israel, where she began her dance training department. She participated in the Excellence at Reut School of the Arts. In 1999, Navot Programs of both Batsheva Dance Company joined Batsheva – The Young Ensemble under and the Kibbutz Contemporary Dance Company. the direction of Ohad Naharin, and advanced to During the summer of 2010 Ben Ezer participat- Batsheva Dance Company two years later, where ed in the Dance Is Culture (Israel/Italy) project she performed works by Naharin, Sharon Eyal, directed by Adi Salant and Mauro Astolfi. She and Mats Ek. In 2006, she won the Yair Shapira joined Batsheva – The Young Ensemble in 2013 Award for Excellence in Dance. After leaving and Batsheva Dance Company in 2016. Batsheva in 2008, Navot continued to work with Naharin, teaching Gaga and restaging his works. MATAN COHEN was born in Haifa in 1993, She also assisted in the restaging of William and studied at the dance department of the Wizo Forsythe’s Double/Single for the Opera Project High School for the Arts. He graduated from the in Tel Aviv. As an independent choreographer, training program of Bikurey Ha’Itim under the Navot created Raft (2009), Check In (2010), direction of Naomi Perlov and Ofir Dagan. Cohen Subject to Change (2011), and May Contain served in the IDF as a privileged outstanding Nuts (2012). In 2016, Navot graduated with dancer. Cohen joined Batsheva – The Young En- honors from the Kibbutzim College of Education, semble in 2013 and Batsheva Dance Company Technology, and the Arts with a BA and teaching in 2016. certificate in dance education. A practitioner of yoga, BMC, and tai chi and a certified ballet BEN GREEN was born in the US in 1996. He teacher, Navot currently lives with her husband, studied at the Kibbutz Contemporary Dance Raz, and their three children in Tel Aviv. Company in 2014, and graduated from the Who’s Who

Las Vegas Academy of the Arts. He has also he graduated in 2006. Marmelada has been participated in workshops and programs with working since with various dance companies Crystal Pite, Johannes Wieland, Tom Weinberger, and choreographers such as Compagnie Alias, and Batsheva Dance Company’s Gaga. Alongside Amanda Miller, André Mesquita, Ariadna his own choreographic works for the Las Vegas Montfort, Bounce Streetdance Company, Oslo Academy of Arts and for KCDC Emerging Chore- Dance Ensemble, and the Norwegian National ographer’s show, he has worked with choreogra- Ballet. With It Dansa Company he performed phers Jiří Kylián, Bryan Arias, and with the New works by Naharin, Kylián, and Rafael Bonachela, Dialect Dance Company. He joined Batsheva among others; With Company Carte Blanche he – The Young Ensemble in 2016 and Batsheva performed works by Hooman Sharifi, Sharon Dance Company in 2017. Eyal, Crystal Pite, and more. He joined Batsheva Dance Company in 2017. CHIAKI HORITA was born in Japan 1989. She studied at the Ikemoto Ballet School in Hiroshi- ERI NAKAMURA was born in Japan in 1984. In ma, Japan and then completed a traineeship at 2002 she graduated from the Australian Ballet Jo Kanamori’s company, Noism. She later joined School in Melbourne. From 2003—07 she Nederlands Dans Theater ll from 2008—11 danced with the Victor Ullate Ballet Company and then the GöteborgsOperans Danskompani in Madrid and between 2007 and 2008 with from 2011—14. She joined Batsheva – The Les Grands Ballet Canadiens de Montréal in Young Ensemble in 2015 and Batsheva Dance Canada under the artistic direction of Gradimir Company in 2018. Pankov. Nakamura danced with Batsheva Dance Company between 2011—15 and rejoined in CHUNWOONG KIM was born in South Korea in 2016. She designed the costumes for Last Work 1994 and graduated from Jeunju Fine Arts High and Venezuela by Ohad Naharin and And Still by School. He studied at the Korea National Uni- Danielle Agami. versity of the Arts from 2013—15. During those years, he danced with Hee Eun Dance Com- NITZAN RESSLER was born in Jerusalem in pany and K’art Dance Company. At age 18 he 1992. During her younger years she danced placed third in the 9th Seoul International Dance with Hora Jerusalem and studied at the Je- Competition, and at age 20 placed second in the rusalem Academy for Music and Dance High 51st Shinin Dance Competition. Chunwoong Kim School. Ressler is the recipient of the 2008—10 joined Batsheva - The Young Ensemble in 2015 Israel-America Cultural Foundation education and joined Batsheva Dance Company in 2017. scholarship. She joined Batsheva – The Young Ensemble in 2010 and Batsheva Dance RANI LEBZELTER was born in Israel in 1989. Company in 2012. She studied at the Bustan School for the Performing Arts in Netanya. During 2009—10 KYLE SCHEURICH was born in 1992 in New Lebzelter trained at the dancer’s workshop in York. In 2010 he graduated from LaGuardia Kibbutz Ga’aton. Between 2009—11 she took High School for Music & Art and the Performing part in the dance training course under the di- Arts. During his time at LaGuardia High School rection of Naomi Perlov and Ofir Dagan. In 2010 he also studied at Manhattan Youth Ballet under she participated in the Batsheva Dance Company the direction of François Perron. He graduated Excellence Program directed by Hillel Kogan. She from The Juilliard School and joined Batsheva – joined Batsheva – The Young Ensemble in 2012 The Young Ensemble in 2014. He joined and to Batsheva Dance Company in 2014. Batsheva Dance Company in 2016.

HUGO MARMELADA was born in Portugal in MAAYAN SHEINFELD was born in 1992. She 1987. He started hip-hop dancing at the age of graduated from the Thelma Yellin High School for 11, and three years later joined the Academia the Arts. She is the recipient of the 2007—10 de Dança Contemporânea de Setúbal, where Sharet Fund scholarship. Sheinfeld participated Who’s Who in summer dance courses in Prague, Salzburg, IMRE VAN OPSTAL was born in the Nether- and New York’s Juilliard School, and joined lands and started dancing at the Vooropleiding Batsheva – The Young Ensemble in 2010 and Dans in Venlo. After graduating from Rotterdam Batsheva Dance Company in 2012. Dance Academy Codarts, she joined the Norwe- gian National Company of Contemporary Dance YONI (YONATAN) SIMON was born in 1995 (Carte Blanche) in 2011—12. In 2012 she and is a graduate of the dance department at joined Nederlands Dans Theater 2 and, in 2015, the Ironi Alef High School in Tel Aviv. During his Nederlands Dans Theater. Van Opstal formed a studies, he participated in a student exchange choreographic duo with her brother Marne van program with the De Kunsthumaniora School Opstal and they choreographed works in 2014, in Belgium. Simon participated in the Batsheva 2015, and 2017 for Nederlands Dans Theater Excellence Program in 2011—14 as well as in 2. In 2014 she won an incentive award from the KCDC Excellence Program in 2011—12. Dansersfonds ‘79 and was nominated for the He was the recipient of a full scholarship to the Piket Art Awards. She was recently nominated American Academy of Ballet Summer Course in for a Swan Award. She joined Batsheva Dance 2013. Simon served in the IDF as a privileged Company in 2017. outstanding dancer. He joined Batsheva – The Young Ensemble as an apprentice in 2014 and EREZ ZOHAR began his dancing career as a as a dancer in 2015. He joined Batsheva Dance member of the Georgian Dance Company, Hora Company in 2016. Jerusalem Dance Company, and Jerusalem Tap Dance Company. He won scholarships from the HANI SIRKIS was born in 1998 in Israel. She American-Israeli Cultural Foundation and an graduated with honors from the Thelma Yellin Outstanding Dancer grant from the Ministry of High School of the Arts dance program. In Culture and Education. In 2002, after graduat- 2013—14 she received the America-Israel Foun- ing from the Jerusalem Academy of Music and dation Scholarship, and in 2015 she received Dance High School, he joined Batsheva – The an award in the Jeannette Ordman competition. Young Ensemble, and in 2005 the Batsheva In 2015 she participated in the Salzburg Ballet Dance Company where he danced until 2012. Summer Course with a full scholarship. In 2014 Between 2012—14 Zohar was co-director of the and 2016 she participated in the Batsheva Bye Bye Ballet School of Contemporary Dance in Excellence course. She joined Batsheva – The St. Petersburg. From 2012 he was assistant to Young Ensemble in 2016 and Batsheva Dance Ohad Naharin, restaging his works abroad; and Company in 2018. worked with various companies and institutes such as Introdans, Leipzig Ballet, National Ballet AMALIA SMITH was born on the west coast of Portugal, Polish Dance Theatre, National of Canada in 1994 and grew up on Salt Spring Theatre of Prague, Berlin State Ballet, IT Dansa Island, BC. In 2010 she moved to Vancouver to Barcelona, Royal Ballet of Flanders, and the join the Arts Umbrella Dance Company and its English Royal Ballet. He has been teaching Gaga school. In 2012 Smith was introduced to Gaga since 2003. He is also a certified therapist of the at the San Francisco Conservatory of Dance. She Ilan Lev method. Zohar rejoined Batsheva Dance joined Batsheva – The Young Ensemble in 2014 Company in 2017. and joined Batsheva Dance Company in 2017. Who’s Who

POMEGRANATE ARTS hopes to continue to build a community of insti- For the past 20 years, Pomegranate Arts has tutions and individuals that are inspired by artists worked in close collaboration with a small group that help bring beauty and truth into the world, of contemporary artists and arts institutions to ask important questions, and take bold risks. bring bold and ambitious artistic ideas to fruition. Founder and Director Linda Brumbach, along North American Representation for with Managing Director Alisa E. Regas, produced Batsheva Dance Company: the Olivier Award-winning revival of Einstein on the Beach (2012 Next Wave), the multi-award Pomegranate Arts winning production of Taylor Mac’s A 24-Decade pomegranatearts.com History of Popular Music, and the Drama Desk [email protected] Award-winning production of Charlie Victor Romeo. Since its inception, Pomegranate Arts Founder and Director Linda Brumbach has produced over 30 major new performing arts Managing Director, Creative Alisa E. Regas productions and tours for Philip Glass, Laurie Business Manager Adam Thorburn Anderson, Lucinda Childs, Dan Zanes, London’s General Manager Rachel Katwan Improbable, Sankai Juku, Batsheva, and Bassem Production Manager Jeremy Lydic Youssef and collaborated on new productions Office Manager Brit Katke with the Kronos Quartet, Leonard Cohen, Robert Production Assistant Willa Folmar Wilson, and Frank Gehry. Pomegranate Arts

Batsheva would like to thank all our supporters in the USA and the members of the board of the American Friends of Batsheva who work tirelessly to sustain us.

Nurit Amdur – President Nathan Hevrony – Past President Mary Hagan Sanders – Treasurer Saul Sanders Tamar Sela Dr. Andrew Shiva

For more information about the American Friends of Batsheva, please contact:

Lisa Preiss Fried, [email protected] or call 212.545.7182 BAM Directory

STAY CONNECTED BAM Box Office Patron Services BAM.org Peter Jay Sharp Building For donors who make an annual Mon–Sat: 12–6pm; closed holidays contribution of $1,500 or more: BAMwifi_forBK Sun: 90 minutes prior to first 718.636.4182 @BAMstage curtain on performance days [email protected]

@BAM_Brooklyn BAM Harvey Theater and BAM Lost & Found YouTube.com/BAMorg Fisher box offices open 90 minutes 718.636.4150, Mon—Fri: 9am—5pm prior to curtain on performance BAM.org/blog days (same-date ticket sales and Restrooms LOCATIONS pick-up only). BAM Howard Gilman Opera House: mezzanine and balcony level PETER JAY SHARP BUILDING BAM Rose Cinemas (handicapped accessible: 30 Lafayette Ave Advance Ticket Sales: orchestra level and BAMcafé) BAM Howard Gilman Opera House Lepercq Space/BAMcafé BAM.org/#Film BAM Harvey Theater: BAM Rose Cinemas Info: 718.636.4100 Hillman Attic Studio lobby and gallery level Box office opens 30 minutes before BAM HARVEY THEATER the first screening of the day. BAM Fisher: 651 Fulton St lower lobby, 4th floor, and 7th floor BAM Rose Cinemas is wheelchair accessible. Infra-red headsets for Headphones BAM FISHER the hearing impaired are available; BAM offers infra-red listening devices 321 Ashland Pl inquire at the box office. for the hearing impaired; please Fishman Space inquire at the coat check. Hillman Studio Student Rush Info Rooftop Terrace and Stutz Gardens www.BAM.org/student-rush Leavitt Workshop OTHER Late Seating Brooklyn, NY 11217 Administrative Offices Late seating is solely at the discre- [email protected] 718.636.4111 tion of management. Ticketed seats are not guaranteed past curtain time. Rental Information TICKETS 718.636.4198 | [email protected] BAM Ticket Services BAM.org/rentals Performance tickets and info SERVICES 718.636.4100 Membership BAM Visual Art [email protected] 718.636.4194 718.636.4101 | [email protected] [email protected] BAM.org/BAMVisualArt Group Sales Level 5 special access to orchestra seats, Questions and Comments For ticket orders of 10 or more call Ticket Services at 718.636.4100 [email protected] 718.623.7885 | [email protected] BAMcafé BAM.org/contactus Reservations/info: 718.623.7811

Please Note

Warning The photographing, the safety of others by lighting Music, Inc. © Brooklyn Academy of videotaping, or sound recording of matches or smoking in prohibited Music, Inc. 2018. any performance without written areas during the performances and permission of the management, is intermissions. This violates a New BAM theater managers and press prohibited by law. Violators may be York City ordinance and is punishable agents are represented by the punished by ejection and may be by law. —Fire Commissioner Association of Theatrical Press Agents liable for money damages. and Managers, BAM backstage employees Local #18032, Fire Notice The exit indicated by a are represented by the IATSE, AFL-CIO. red light and sign nearest to the seat International Alliance of you occupy is the shortest route to Theatrical Stage Employees BAM is a charter member of the the street. In the event of fire or other (I.A.T.S.E.). League of Historic American Theaters emergency, please WALK TO THAT and an affiliate member of the League EXIT, FOLLOWING THE DIRECTIVES BAM®, Brooklyn Academy of MusicTM, of American Theaters and Producers. OF THE HOUSE STAFF. Thoughtless Next Wave®, and Teknopolis® are Children under five not admitted persons annoy patrons and endanger trademarks of Brooklyn Academy of unless explicitly noted. @BAM_Brooklyn Merce Cunningham—Night of 100 Solos

Merce Cunningham Dance Company

Merce Cunningham in Walkaround Time, 1970. Photo: James Klosty

Merce Cunningham Dance Company has Following are highlights from the Merce appeared at BAM about three dozen times in Cunningham Dance Company’s long history at shows, talks, and celebrations starting in 1954, BAM over the decades. a year after Cunningham founded his troupe at Black Mountain College. At the Howard Gilman Jan 20, 1954, Carey Playhouse Opera House on April 16—what would have Dances set to music for magnetic tape, been his 100th birthday—BAM presents Night of composer: Christian Wolff; Septet to music for 100 Solos: A Centennial Event. The Barbican in 4-handed piano, composer: Satie, performed London and the Center for the Art of Performance by John Cage and David Tudor; Dime a Dance, in Los Angeles will also participate. created at Black Mountain College with dancer Paul Taylor in his final appearance for MCDC At each venue, 25 dancers perform 100 before leaving to found his own company (Taylor different Cunningham solos in 75-minute and Cunningham had both danced for Martha Events, accompanied by live music and with Graham). It was the first Cunningham program special set designs. The selections range from at BAM. 30 seconds to four minutes each. More than a dozen of Merce’s own solos will be included. Dec 8, 1954, Carey Playhouse The performances will be live-streamed for free Minutiae, set design by Robert Rauschenberg public access. was the first of his combines; costumes by Remy Charlip, who also danced with the troupe. Cunningham described his signature Events: “Presented without intermission, Events consist Apr 23, 1966, Carey Playhouse of excerpts of dances from the repertory and new Suite for Five, Antic Meet (both composed sequences arranged for the particular performance by Cage); Winterbranch (composed by and place, with the possibility of several separate LaMonte Young). The company also gave a activities happening at the same time.” demonstration of modern dance for members of the Bolshoi Ballet. @BAM_Brooklyn Merce Cunningham

Oct 14—18, 2003, MCDC: 50th Anniversary Season, Opera House Split Sides, composed by Radiohead and Sigur Rós. Each night a dice roll determined the order of the program.

Apr 16—19, 2009, Merce Cunningham at 90, Opera House Nearly Ninety, composed by John Paul Jones, Takehisa Kosugi, and Sonic Youth, with decor by Benedetta Tagliabue and costumes by Romeo Gigli.

Carolyn Adams in Winterbranch, 1966. Photo: Jack Mitchell

May 15—26, 1968, Opera House Eight different programs, including RainForest (decor by Warhol) and Walkaround Time (decor by Jasper Johns after Marcel Duchamp).

Oct 7—12, 1986, Opera House The US premiere of Roaratorio (composed by Cage), a full-length work taking kinetic and sonic Nearly Ninety, 2009. Photo: Stephanie Berger cues from Ireland and James Joyce’s Finnegans Wake. Dec 7—10, 2011, The Legacy Tour, Opera House A three-part program over four days. Second Hand, Roaratorio, Split Sides. The event led to the final company performance on Dec 31 at the Park Avenue Armory.

RainForest, performed in 2011. Photo: Stephanie Berger

Oct 14—19, 1997, Cunningham Merce: Forward & Reverse, Opera House Rondo; Scenario (costumes by Rei Kawakubo, composed by Takehisa Kosugi); BAMevents (composed by Kosugi, Thurston Moore & Jim O’Rourke from Sonic Youth).

Oct 1997: BAMdialogues around Merce on these topics: Beach Birds for Camera Installation; A Conversation with Merce Cunningham; Hand Drawn Merce; Writing about Merce; Visual Arts and Design. Scenario, 1997. Photo: Dan Rest

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BAM_5.25x8.375_Bleed.indd 1 9/6/18 11:11 AM Securing BAM’s Future

BAM Endowment A great institution is built upon on a secure future. At BAM, a robust endowment is the foundation for our adventurous programming and archival, community, and educational initiatives. BAM sincerely thanks those listed below for their generous support of the BAM Endowment. $5,000,000 and above Charles J. & Irene F. Hamm Ide & David Dangoor Richard B. Fisher & Jeanne Stephanie & Tim Ingrassia Thérèse M. Esperdy & Robert G. Donovan Fisher Maribelle & Stephen Leavitt Neborak The Howard Gilman Foundation Mary & Jim Ottaway Jr. in honor of Madison S. Finlay The Peter Jay Sharp Foundation Ruth Blackburne Ottaway Forest City Ratner Companies Lila Wallace-Reader’s Digest Rockefeller Brothers Fund Francena T. Harrison Performance Endowment Fund for Community, Jonathan F.P. & Diana V.C. Rose Fund Educational, & Public Affairs Martha A. & Robert S. Rubin Rita K. Hillman Programs Nora Ann Wallace & Jack Nusbaum HSBC Bank USA, N.A. Goldman Sachs Gives at the $1,000,000 to $4,999,999 $250,000 to $499,999 recommendation of Anne Hubbard Altria Group, Inc./Next Wave The Bohen Foundation & Harvey Schwartz Forward Fund The Charles & Valerie Diker Dance Richard Hulbert BAM Fund to Support Emerging Endowment Fund Independence Community Bank and Local Musicians The Horace W. Goldsmith Foundation Miriam Katowitz & Arthur Radin Brooklyn Community Foundation Michael Bancroft Goth Endowed Mr. & Mrs. Edgar A. Lampert The Campbell Family Foundation Annual Performance Fund Annie Leibovitz & Studio The Irene Diamond Fund William Randolph Hearst Leo Burnett, USA Doris Duke Charitable Foundation Endowment for Education and James McLaren & Lawton Fitt Emily H. Fisher Humanities Programs Sarah G. Miller & Frank L. Coulson Judith R. & Alan H. Fishman The Rita & Alex Hillman Foundation The Morgan Stanley Community The Ford Foundation Fund to Carole & Irwin Lainoff and Educational Fund Support Collaborative Creativity Maxwell Family Fund in Community J.P. Morgan & Co. Incorporated Among U.S. Artists Funds, Inc. Nash Family Foundation Diane & Adam E. Max The Jessica E. Smith and Kevin R. The Jerome Robbins Foundation, Inc. The Andrew W. Mellon Foundation Brine Charitable Trust May & Samuel Rudin Family Fund For Opera & Music-Theater The Geraldine Stutz Trust, Inc. Foundation Bruce C. Ratner Anonymous Edward Spilka William Boss Sandberg Axel Stawski & Galia Meiri The Peter Jay Sharp Fund for Opera $100,000 to $249,999 Mr. & Mrs. Ame Vennema and Theater Michael Bailkin, Marvin Levine, Verizon Communications The SHS Foundation Jesse Masyr, David Stadtmauer The Isak and Rose Weinman The Starr Foundation Robert & Joan Catell Fund for Foundation in honor of Madame The Thompson Family Foundation Education Programs Lilliana Teruzzi Charina Endowment Fund The Winston Foundation $500,000 to $999,999 Neil D. & Kathleen M. Chrisman Anonymous The Devitre Fund Mr. & Mrs. Henry Christensen III As of November, 2018

For more information on the BAM Endowment please contact Bill Kramer, Vice President for Development at 718.724.8261 or [email protected]. TBHC was founded in 1845 and BAM was founded in 1861. Together, we share more than 325 years of serving Brooklyn!

TBHC is the Official Healthcare Provider of BAM. Securing BAM’s Future

Planned Giving You can help BAM prepare for the future by making a provision in your estate plans. In doing so, your legacy giving will support BAM programs and initiatives for many years to come. Options for planned giving include making a bequest in your will and naming BAM as a beneficiary in your retirement plan or insurance policy. We are deeply grateful to the partners below, our BAM Angels, who have made planned gifts to BAM.

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Contents

Diary of One Who Disappeared Merce Cunningham

Photo: Jan Versweyveld By Steven Jude Tietjen On the Reluctant Muse: Kamila Stösslová and Merce Cunningham in Walkaround Time, 1970. Photo: James Klosty Janá ek’s Diary of One Who Disappeared č Night of 100 Solos celebrates the centennial of Merce Cunningham’s birth. A look back at some of Film—Claire Denis the company’s many highlights at BAM. By Shelley Farmer A series of 12 films by Claire Denis shows the delicate balance of contradictions in her oeuvre.

BAMbill Cover

Farah Al Qasimi (b. Abu Dhabi, 1991) is an artist working in photography, video, sound, and performance. Al Qasimi received an MFA in photography from the Yale School of Art in 2017, and recently completed residencies at the Skowhegan School of Painting and Sculpture in Maine and at the Delfina Foundation in London. She is the recipient of the 2018 NADA New York Artadia Award and the 2018 Individual Photographer’s Fellow- ship from the Aaron Siskind Foundation, and currently teaches at the Rhode Island School of Design and at Pratt Institute. Upcoming exhibitions include solo presentations at the Jameel Arts Centre and at The Third Line, both in Dubai.

Farah Al Qasimi Self-Portrait in Red, 2016 Archival Inket Print 34.25 x 27.17 inches Courtesy of the artist and Helena Anrather, New York @BAM_Brooklyn Diary of One Who Disappeared Reluctant Muse

by Steven Jude Tietjen

Photo: Jan Versweyveld

The Reluctant Muse: Kamila Stösslová and quiet power as Janáček’s reluctant muse. Janáček’s Diary of One Who Disappeared Immediately after meeting Stösslová, Janáček initiated a correspondence with her that would “I am only writing to you because of the last until the end of his life 11 years later. memories of the most beautiful day in Janáček would immortalize Stösslová, or his Luhačovice in 1917. I have nothing but idealized image of her, in nearly every work memories now—well, I live in those,” wrote Leoš he wrote after 1917. She is encoded in the Janáček, one of the 20th century’s most original melodies of his final string quartet, “Intimate composers, to Kamila Stösslová in September Letters,” and was the model for the leading 1918. Janáček had become transfixed by soprano roles in three of his four final operas: Stösslová the previous summer when they were Kat’a Kabanova, The Cunning Little Vixen, and both staying at Luhačovice, a resort town in the The Makropulos Case. In Diary of One Who Moravia region of present-day Czechia. Janáček Disappeared, he transformed her into Zefka, the had just turned 63 years old and was unhappy object of obsession and symbol of liberation. in his marriage, while Stösslová was a happily married 26-year old mother of two. For Janáček, Janáček began composing Diary of One Who who had recently achieved long-awaited success Disappeared, a song cycle for tenor, alto, three with his opera Jenůfa, the encounter reignited female voices, and piano, a month after meeting his creative flame. Stösslová. The work is a setting of 22 poems that appeared in Brno’s daily newspaper Lidové Diary of One Who Disappeared, a one-sided noviny in May 1916. Presented as excerpts account of yearning and escape, was the first of from the diary of a local boy, Janíček, who fell several works fueled by Janáček’s infatuation in love and ran away with a Romani girl, Zefka, with Stösslová. Ivo van Hove’s staging of Diary the poems were later revealed to be the work of of One Who Disappeared, in collaboration with Czech poet Ozef Kalda. Muziektheater Transparant and with additional music by Annelies Van Parys, reimagines the The connection between Stösslová and Zefka song cycle by giving a stronger voice to the is emphasized in letters Janáček wrote to her Romani girl Zefka and emphasizing Stösslová’s while he was composing the cycle. He frequently @BAM_Brooklyn Diary of One Who Disappeared referred to Stösslová’s “Gypsy-like” features—her Van Parys weave into Janáček’s score five poems dark complexion, dark hair, and dark eyes—and by Romani women from around the time of the often called her his “Gypsy girl.” (Stösslová work’s composition, giving Zefka a stronger voice was not Romani, but a Czech Jew.) In Diary of and restoring her agency in her own love story. One Who Disappeared, Janaček saw his own desires reflected in the local boy’s love for an In the last years of their correspondence, unattainable woman. He yearned to be freed Stösslová asked Janáček to burn some of her from the “bitter fate” of his unhappy marriage letters after reading them, deliberately muting and middle class banality. Kamila was his Zefka, her own voice in the story of Janáček’s life. who might one day help him escape his fate. Nonetheless, Janáček’s memory of their first meeting in Luhačovice blazed strong until Stösslová was a blank slate upon which Janáček his death, and he acknowledged his debt to could project his fantasy. The 700 letters Stösslová by bequeathing her the royalties from Janáček wrote her, when compared to the 49 four of his works, including Diary of One Who she wrote him, reveal more about his obsession Disappeared. In the song cycle, Janíček escapes than they reveal about Stösslová’s reticence. He fate by running away with Zefka; in reality, would sometimes write her multiple letters in a Janáček escaped by living in memories and day, suggesting that the letters were more like composing fantasies. In his music, he created Janáček’s diary than a true correspondence. distorted reflections of Stösslová as the woman he wanted her to be, and not as the woman she Just as Stösslová’s voice is often silent in her truly was. correspondence with Janáček, Zefka is a minor character in Diary of One Who Disappeared. Steven Jude Tietjen is a New York City-based In the original text, her words are heard only writer specializing in opera and classical music. through Janíček’s recollections. Janáček set He has written for Opera News, Opera America, Zefka’s words for an alto soloist, but she still Edible Manhattan, and for opera companies appears as a distant, almost otherworldly, voice. nationwide. For this production, dramaturg Krystian Lada and © 2019 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Jan Versweyveld BAM

Salutes @BAM_Brooklyn Claire Denis

By Shelley Farmer Denis’ Delicate Balance Descas in 35 Mati Diop, Alex , courtesy Photofest Shots of Rum Beloved by both critics and fellow filmmakers Her interest in colonial legacies pulses through (Barry Jenkins, David Lowery, and Greta Gerwig many of her films, including her second feature, are self-proclaimed fans), French filmmaker a cockfighting drama set among Caribbean immi- Claire Denis has claimed her place as one of grants, No Fear, No Die (1990), screening with contemporary cinema’s most important artists, the short For Ushari Ahmed Mahmoud (1991); with an oeuvre of 12 features that are themat- her masterful, poetic update of Herman Melville’s ically diverse and aesthetically unmistakable. Billy Budd, Beau Travail (1999), starring Denis From March 29 through April 9, BAM will host Lavant and regular collaborator Grégoire Colin, the most comprehensive retrospective of her set among the existential ennui and empty rituals work ever presented in the US, followed by a run of the French Foreign Legion in Djibouti; and of her critically acclaimed new feature, the poetic White Material (2009), in which Isabelle Hup- science fiction film High Life (2018), starring pert, in an unnamed African country, stubbornly Robert Pattinson, Juliette Binoche, Mia Goth, refuses to abandon her coffee plantation as civil and Outkast’s Andre Benjamin. war erupts around her.

Denis’ work is a delicate balance of contra- Denis works in a variety of genres, though her dictions: her films are beloved, yet elusive; approach to them is so elastic and varied that influential, yet singular; grounded in corporeality, genre labels feel insufficient. Let the Sunshine but with a shifting relationship with temporality. In (2017), starring Juliette Binoche, could be Born in France, raised in colonial Africa where labelled a romantic comedy in a pinch, though it her father was a civil servant, and eventually deftly vacillates between modes of high romance, returning to France as a teenager, much of Denis’ ironic detachment, anti-bourgeois satire, and work subtly explores race and colonial relation- melancholic drama in a way that separates it ships, as in her feature debut Chocolat (1988), a from a traditional rom-com. The controversial semi-autobiographical work about a white French cannibal film Trouble Every Day (2001), starring woman’s complex relationship with a Cameroo- Vincent Gallo and Beatrice Dalle, showcases nian man, her family’s household servant. gore as shocking as any mainstream body horror, but is elevated by dreamy, elliptical rhythms

cont. @BAM_Brooklyn Claire Denis and a heart of pained erotic longing. The noir bration of female filmmakers in April. In fact, Bastards (2013) achieves a level of bleakness all of the films showcased in April’s repertory that would put most Hollywood noir to shame, programming are directed by women. Following and The Intruder (2004), starring Michel Subor, the Denis series, BAM will explore the work of pi- defies genre altogether—the ultimate expression oneering Czech filmmaker ĕV ra Chytilová; screen of Denis’ elliptical filmmaking. Kenyan director Wanuri Kahiu’s courageous, groundbreaking queer love story Rafiki (2018); Ultimately, Denis’ primary interest is human and present a new restoration of trailblazing interaction, both emotional and physical. She ex- American independent director Nina Menkes’ plores the bonds between fathers and children in subversive feminist drama Queen of Diamonds. the delicately observed 35 Shots of Rum (2008), This month reflects the BAM film program’s on- a riff on Ozu’s Late Spring starring Denis regular going mission to expand the traditionally straight, Alex Descas and actress-filmmaker Mati Diop; white, male-centric cinematic canon. families bound by blood and disrupted by vio- lence in I Can’t Sleep (1994) and Nenette and As associate vice president of cinema Gina Boni (1996); and pure romance and eroticism Duncan said to IndieWire, her goal is “to have in the sensually rendered Friday Night (2002), a nimble, responsive, socially engaged film starring Valérie Lemercier and Vincent Lindon. program.” As women filmmakers worldwide continue to push for parity in job opportunities The series will also include lesser-known works, and distribution, BAM’s April programming—cel- including a TV documentary chronicling the life ebrating influential masters, unjustly overlooked of the great French filmmaker in Jacques Rivette pioneers, and the new generation of female film - Le veilleur (1990); the semi-autobiographical artists—makes good on that goal. television film U.S. Go Home (1994), screening with the short Keep It for Yourself (1991); a Information at BAM.org/Film program of rare shorts; and more. Shelley Farmer is film publicity manager at BAM. The Denis retrospective is not the only cele- © 2019 Brooklyn Academy of Music, Inc. All rights reserved. Nenette and Boni , courtesy Photofest Alice Houri in BAM Supporters & Patrons

BAM is deeply grateful to the supporters and patrons listed below for their vital gifts to BAM over the last year. (List represents gifts between July 1, 2017—August 30, 2018)

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Season Sponsor: Official Airline of BAM: BAM 2019 Season supporters: Rose M. Badgeley Residuary Charitable Trust; brigittenyc; Citi Foundation; Con Edison; The Gladys Krieble Delmas Foundation; The Dutch Performing Arts Fund NL; Official Healthcare Provider of BAM: Epstein Teicher Philanthropies; Estate Leadership support for every season Of Howard Pitsch; The Fan Fox & Leslie provided by the BAM Board of Trustees, R. Samuels Foundation, Inc.; Forest City led by Adam E. Max, Chair & William New York; The Francena T. Harrison I. Campbell, Vice Chair, and Nora Ann Foundation Trust; The Rita and Alex Wallace, Vice Chair. Hillman Foundation; The Andrew W. Mellon Foundation; MetLife Foundation; Leadership support for low-priced tickets Major Sponsor of BAM The Ambrose Monell Foundation; Henry provided by: Community Programs: and Lucy Moses Fund, Inc.; National Grid; Stavros Niarchos Foundation; The Barbro Osher Pro Suecia Foundation; The Reed Foundation; Lead Sponsor of Teknopolis: The Jerome Robbins Foundation, Inc.; Major Sponsor: The SHS Foundation; The Morris and Alma Schapiro Fund; The Scherman Foundation, Inc.; The Shubert Leadership support for dance at BAM Major support for Discounted Foundation, Inc.; The Harold and Mimi provided by: Ticket Initiatives provided by Steinberg Charitable Trust; Trust for the Jerome L. Greene Foundation Mutual Understanding; and Viacom

Support preserving the vitality of BAM programming provided by the Major support for Rameau, maître à Lichtenstein family and generous donors Leadership support for dance in the BAM danser provided by Anne H. Bass to the BAM Harvey Fund Harvey and BAM Fisher provided by: Support for the Winter/Spring Season and Support for adventurous programming the Signature Artist Series provided by: at BAM provided by generous donors to the BAM Joseph V. Melillo Fund for Artistic Innovation.

Onassis Programs at BAM supported by Support for dance at the BAM Leadership support for archival, cinema, Fisher provided by the Mertz community, and education programs Gilmore Foundation at BAM provided by The Thompson Family Foundation

Official Piano of BAM: Leadership support for opera at BAM provided by: Aashish & Dinyar Devitre The Andrew W. Mellon Foundation

Leadership support for BAM Visual Art provided by Agnes Gund and Toby Devan Lewis

BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery.

The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; Cultural Affairs Commissioner Tom Finkelpearl; the New York City Council including Council Speaker Corey Johnson, Finance Committee Chair Daniel Dromm, Cultural Affairs Committee Chair Jimmy Van Bramer, Council Member Laurie A. Cumbo, and the Brooklyn Delegation of the Council; and Brooklyn Borough President Eric L. Adams.

Your tax dollars make BAM programs possible through funding from: BAM Supporters & Patrons

Cedomir Crnkovic & Valerie Ann & James Hanbury Seen Lippert & Frederick Antonia Pew Shirley Staples & Donald Rubsamen Amelia Hancock & Steve Landman Andrew Pinkowitz & Mary Vangel Allison Cromwell & Craig Klise Neil & N. Lipuma Pinkowitz Sarah Stasny Falls Kenneth V. Handal & Mary Tina Liu Anne Pollack Jillian Steadman Sebastian Cucullu Francina Golden Keith Lloyd Richard Porteous & Sara Gillian Steel Ellen & John Curtis Anna & Raja Harb Rachel Loeb & Zach Block Meadows Joshua Sternoff & Rebecca The Cygnet Foundation Layne & Tiffany Harris Ann Longmore Sandra Pierson Prior Gradinger Nicole Dale Joyce & Ira Haupt II Matthew Lopez & Brandon Erik Quarfordt Christopher Stewart Karen Dauler & Gaston Silva Douglas & Jessica Healy Clarke Kent Rahman Felicia Stingone & Phillip Jacqueline Z. Davis Drew & Amy Hearon Gabriel Luci & Chelsea Plumb Zach Rait Rutherford Megan P. Davis Isaac & Sheila Heimbinder Kristine S. 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Sharp Andrea Wolfe & Kirk Lipsey Gregory Gilmartin Rob Krulak Netherlands in New York Brian & Lindsay Shea Doug Wolff Lauren C. Glant & Michael Roberta Krumholz Maury Newburger George Sheanshang Dan Wonderly J. Gillespie Judith & Douglas Krupp David E. Newman & Ted & Mary Jo Shen Nancy Workman & Virginia Gliedman Mr. Abby Kushner & Mr. Stephanie Lazar Gil Shiva Jonathan Miller Karen & Andrew Goldberg Glen Kushner Christine Noble Richard Sime Simon Yates Peter Goldfarb Edward & Phyllis Kwalwasser Marguerite Nougué-Sans Harry Simino Nancy Zamudio I. Michael Goodman & Helen & James Lally Empire Educational Services John & Helen Simonson Micha Ziprkowski Judith Uman Judith A. Langer Daniel & Rebecca Okrent Meredith Singer-Crew & Anonymous Bindhu Gopalan Robert S. Langley Barry Michael Okun Jason Crew Hayley Gorenberg & George Drs. John & Judie LaRosa Roger W. Oliver Elaine Sloan For more information on Sands Marcelle Lashley-Kabore & Lena Opper Sasha Slorer supporting BAM, please Erwin Gorostiza Sougrinoma Kabore Jane Ormerod & Peter Darrell Amy Smith & Jeremy contact the office of Bill David & Elaine Gould Jess Latham Jon Otis Mindich Kramer, Vice President Andre Gouvea Raymond Learsy Joanne Ottaviano Stephen R. Smith & Ford of Development, at Stephen R. Greenwald & Matthew & Sabrina Leblanc Lois Ottombrino Rogers 718.724.8261 or Rebecca A. Sullivan Danielle Ledford Kathleen Owens & Morse Angela Solomon & Joel [email protected] The Green-Wood Cemetery Michael Lee Wilkenfeld Solomon Mimi & Bill Grinker Almudena & Pablo Legorreta Ilana Pachter & William Wynn Richard & Mimi Somerby Bill Grogan Sue Lehmann Meredith Palmer John Sorensen-Jolink & December 2018 Mark Groves & Ross Nehm Bruce Leibstone Cheryl Paradis & Gene Fabien Dubuet Gunilla Haac Susana Leval McCullough Greg Soros Helen & Peter Haje Michael Levesque Kirk & Sue Patrick Jonathan & Jennifer Soros Patricia Hallstein & Axel Dominique Levy Steven Pavlakis & Bonnie Ellen Sorrin Kramer Marcia & William Levy Messing André Spears & Anne Rosen Cynthia Hammond & Marley Lewis Martin H. Peretz David Spears Joseph Samulski Alexandra & Frederick Peters Joseph Spiegel

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

Diary of One Who Disappeared. Photo: Jan Versweyveld 2019 WINTER/SPRING BAMCAFÉ LIVE

Brooklyn Academy of Music Members Philippe Krakowsky Ex Officio John Lipsky Jonathan S. Auerbach Edgar A. Lampert Hon. Bill de Blasio Laurie Mallet Chair of the Board Tony Bechara Lorraine Lynch Hon. Corey Johnson Cathy-Ann Martine-Dolecki Adam E. Max Fran Bermanzohn Adam E. Max Hon. Eric L. Adams David L. Ramsay, M.D., M.Ed. Gordon Bowen Scott McDonald Hon. Tom Finkelpearl Hon. Franklin R. Weissberg Vice Chairs of the Board William I. Campbell James I. McLaren Emma Wolfe, Rep. for Hon. William I. Campbell Natalia Chefer Ahrin Mishan Bill de Blasio BAM Endowment Trust Nora Ann Wallace Linda Chinn David L. Picket Lori H. Luis, Rep. for Hon. Chair Katy Clark Frances A. Resheske Eric Adams Gabriel Pizzi President Dr. Rudolph F. Crew Jonathan F.P. Rose Chris Coffey, Rep. for Hon. Katy Clark Suzy Franczak Davis Anna Kuzmik Sampas Corey Johnson Treasurer Cheryl Della Rosa Timothy Sebunya Keith Stubblefield Artistic Director Dinyar S. Devitre Bartholomew A. Sheehan III Chairmen Emeriti David Binder Mark N. Diker Brian Stafford Neil D. Chrisman Members Yrthya Dinzey-Flores Axel Stawski Seth S. Faison * William A. Douglass III Secretary Andre Dua Doug Steiner Alan H. Fishman Steven G. Felsher Mark H. Jackson Thérèse M. Esperdy Joseph A. Stern Bruce C. Ratner Alan H. Fishman Richard E. Feldman Alexa Davidson Suskin Elizabeth Holtzman Treasurer Steven G. Felsher Pedro J. Torres Honorary Trustees Marcel Przymusinski James I. McLaren Jeanne Donovan Fisher John L. Usdan Beth Rudin DeWoody Alberto Sanchez Barry M. Fox Brigitte Vosse Mallory Factor Timothy Sebunya Presidents Emeriti Roberta Garza Medina Nora Ann Wallace Robert L. Forbes R. Edward Spilka Karen Brooks Hopkins MaryAnne Gilmartin Adam Wolfensohn Charles J. Hamm Nora Ann Wallace Harvey Lichtenstein * Robert M. Greenberg Claire Wood Barbara B. Haws Adam E. Max, Ex Officio Anne Hubbard William Josephson James I. McLaren, Ex Officio Executive Producer Emeritus Mary Kantor *in memoriam Joseph V. Melillo

BAM Staff

Katy Clark, President Anita Goss, Volunteer Librarian Johanie Olivero, Project Supervisor Collie Dean, Supervising Attendant David Binder, Artistic Director Denis Azaro, Volunteer Earline Stephen, FOH Rep/Rentals Guard Coco Killingsworth, Vice President Asst., BAM Fisher Kenneth Aguillera, Michael Whyte, of Education & Community BAM ROSE CINEMAS Senior Attendant Guards Engagement Gina Duncan, Assoc. Vice PRODUCTION Juan Lebron, Lead Guard Bill Kramer, Vice President of President, Film Dylan Nachand, Production Manager Vinroy Anglin, Marlon Desouza, Development BAM FILM Collin Costa, Production Manager, Yasmin Diaz, Kevin Lemon, Teonia John Lanasa, Vice President of Ashley Clark, Senior Repertory & Fisher Building Smith, Andel Thomas, Kelly Marketing & Communications Specialty Film Programmer Paul Bartlett, Senior Production Wheaton, Attendant Guards Patrick J. Scully, Vice President & Jesse Trussell, Repertory & Specialty Supervisor General Manager Film Programmer Ryan Gastelum, Olivia O’Brien, THEATER MANAGEMENT Keith Stubblefield,Chief Financial Ryan Werner, Programmer at Large Brian Sciarra, Courtney Wrenn, Christine M. Gruder, Theater Manager Officer and iceV President of Natalie Erazo, Coordinator, Repertory Production Supervisors John L. Jones, Assoc. Theater Finance & Administration & Specialty Film Programs Tony Crawford, Palmer Johnston, Manager CINEMA OPERATIONS Laura Williams, Production Sonia Clayton, Jacqueline David, PRESIDENT’S OFFICE Efi Shahar, Cinema Exec. Manager Coordinators Leroy Houston, Theater Staff Michael Doyle, Manager Jesse Green, BAM Cinema Bianca Davies, Admin. Coordinator Supervisors Andrea Montesdeoca, Admin. Asst. Technical Manager Nadine Mahmoud, Production Intern Michael Katz, Projectionist EDUCATION AND COMMUNITY BOARD RELATIONS Adam Goldberg, Asst. Manager STAGE CREW ENGAGEMENT Alexandra Biss, Director of Board Sashawna Donaldson, Andreea Thomas Paulucci, Crew Chief Brandi Stephney, Admin. Asst. Relations Drogeanu, Anthony Shields Jr., Alison Dabdoub, Head of Sound & to VP of Education and Camille Lawrence, Board Relations Patrece Stewart, Head Floor Staff Video, HT Community Engagement Asst. Jeffrey Gabel, Print Trafficker Edward Donohue, Property Master, HT OPERATIONS HUMAN RESOURCES HUMANITIES Oscar Gruchalski, Head Carpenter, Shana Parker, Director of Operations Seth Azizollahoff, Assoc. Vice Molly Silberberg, Assoc. Director, OH Jennifer Leeson, Senior Operations President, HR Humanities John Manderbach, Head Electrician, Manager Samara Alexander, Assoc. Director, Lucy Petropoulos, Humanities Asst. OH Sommer McCoy, Operations Manager HR Nicholas Varacalli, Property Leo Paredes, Operations Coordinator Alexis Boehmler, Benefits Manager VISUAL ART Master, OH Sofia Franklin, Intern Cynthia Smith, Payroll Manager Alli Arnold, Visual Arts Development Marc Putz, Head of Sound & Courtney Best, Admin. Asst. & Sales Manager Video, OH COMMUNITY ENGAGEMENT Morgan King, Program Asst. James Kehoe, Head Carpenter, HT Schawannah Wright, Director of ARTISTIC PROGRAMMING Morgan Hayes, Intern Chris Wilenta, Head Electrician, HT Community Programs Stonie Darling, Assoc. Director, Wayne Brusseau, Fly Person, OH Dewonnie Frederick, Community Artistic Programming Dept. GENERAL MANAGEMENT Heather Gallagher, Asst. Affairs & Bazaar Manager Juan Pablo Siles, Manager of BUDGETS AND CONTRACTS Electrician, OH Patricia Fogah, Community Affairs Artistic Planning Liz Zieminski, Director, GM Sean Kelly, Asst., Sound & Video & Bazaar Asst. Michelle Lapadula, Admin. Asst. Budgets & Contracts Joseph Werner III, Asst. Carpenter, HT, Ashanti Lee, Community Programs Jimmy Walden, Budget & Contract Tom Holler, Richard Wurzbach, Intern PROGRAMS & CURATORIAL Manager Utility People Amy Cassello, Producer Samuel Denitz, GM Supervisor Ginger Blake, Wardrobe Supervisor EDUCATION AND FAMILY Danny Kapilian, Producer, R&B Sarah Kelly Konig, Admin. Asst. PROGRAMS Festival, MetroTech ARTIST SERVICES Steven McIntosh, Director of Steven Serafin,Special Consultant; EVENT & VENUE OPERATIONS Mary Reilly, Director of Artist Services Education & Family Programs Editor, BAM: The Complete Works Jaclyn Bouton, Director of Event & Stacey Dinner, Artist Services Manager Ava Kinsey, Assoc. Director of & BAM: The Next Wave Festival Venue Operations Britney Polites, Artist Services Education Alexander Orbovich, Assoc. Representative Mikal Lee, Verushka Wray, Program ARCHIVES General Manager Managers Sharon Lehner, Director of Archives Liana Agredo, Senior Project SECURITY Mecca Madyun, Education Louie Fleck, Archives Manager Manager Scott Shaw, Security Director Manager Evelyn Shunaman, Processing Cady Knoll, Operations & Rentals Bobby Arnold, Asst. Security Manager Sasha Metcalf, Program Analyst | Archivist Manager, BAM Fisher Shaunte Snipes, Admin. Coordinator Mellon/ACLS Public Fellow BAM Staff

Patreece Jackman, Intern Alisha Bhowmik, Nandi Piper, Ramzi Awn, Director of Patron Yossess Allen, Ludlow Chamberlain, Program Coordinator Digital Media Assts. Services Isaias Flores, Ron Rathan, Quincy Simmons, Education Barbara Cummings, Director of Akeon Thomas, Jerry Wright, Asst. | BOLD Fellow AUDIENCE DEVELOPMENT & Major Gifts and BAMtravel Custodians MARKETING Maayan Dauber, Director, Patron LEAD INSTRUCTORS Charlotte Levitt, Director of Audience Programs and Major Gifts FINANCE Jennifer Armas, Mtume Gant, Development & Marketing William Lynch, Director of Jennifer Anglade, Associate Vice Arts & Justice Raphaele de Boisblanc, Assoc. Leadership Giving & Special President, Finance Jenny Rocha, Dancing into the Director of Marketing Projects Kozue Oshiro, Controller Future Sam Polcer, Assoc. Director of Michael Kendrick, Senior Tameka White, Asst. Controller Lonnie Woods III, Brooklyn Interns Content Strategy Manager of Patron Services & Claudia Bailey, Adam Sachs, for Arts & Culture Instructor Sharlene Chiu, Senior Manager, Donor Relations Assoc. Directors of Finance Audience Development & Deema Salem, Senior Manager, Brian Gee, Accounting Manager TEACHING ARTISTS Insights Patron Programs Tyler Cleveland, Staff Accountant Raquel Almazan, Gideon Bautista, Allison Kadin, Senior Marketing Jessica Hindle, Patron Services Heli Soell, Budget Analyst Morris Beasley, Rebecca Bliss, Stacey Manager Manager Chaya Coppersmith, AP Bone Gleason, Mahogany Brown, Lori Zakalik, Senior Cinema Jesse Rose-Pulitzer, Major Gifts & Administrator Melissa Brown, Chia-Ti Chiu, Darian Marketing Manager Patron Programs Asst. Meaghan McLaughlin, Finance Dauchan, Harris Eisenstadt, Imani Vilina Phan, Marketing Manager Kayte Zhang, Patron Services Asst. Coordinator Faye, Okai Fleurimont, Kimani Fowlin, Andrew Rubenbauer, Marketing Meredith Kelly, Patron Services Paige Haroldson, Finance Asst. Samara Gaev, Ingrid Gordon, Pat Hall, Manager, Development Intern Chelsea Harrison, Mel House, Albert Akornefa Akyea, Content INFORMATION TECHNOLOGY Iturregui-Elias, Devin Kawaoka, Abigail Marketing Coordinator MEMBERSHIP & DEVELOPMENT William Allen Lee III, Assoc. Levine, Spencer Lott, GV Maldonado, Lindsay Brayton, Marketing & OPERATIONS Vice President of Information Farai Malianga, WT McRae, Anthony Publicity Asst. Claire Charlesworth, Director of Technology Merchant, Elia Monte Brown, Michael Taylor Peterson, Drew Wesley, Membership & Development Jason Q. Minnis, Assoc. Director, Mullen, Janet Onyenucheya, Pamela Marketing Interns Operations IT Development Patrick, Mike Ramsey, Gwenyth Reitz, J Olson, Assoc. Director, Ira Sibulkin, Assoc. Director, IT Efeya Sampson, Victor Sanchez, Jashua TICKET SERVICES Development Operations & Technical Services SaRa, Billy Schultz, Lauren Sharpe, G. Scott Kubovsak, Director of Analytics Svetlana Mikhalevskaya, Jen Shirley, Elizabeth Simmons, Ticket Services Bruce Smolanoff, Assoc. Director, Database Manager Marcus Smalls, Šara Stranovsky, Kevin McLoughlin, Head Treasurer Telefund Manager Matthew Taylor, Senior Web Taylor Steele, Karen Thornton-Daniels, Russell Grier, First Asst. Treasurer Elizabeth Sarkady, Assoc. Developer Jono Waldman, Sarah Wansley, Adia Victor Jouvert, Charlie Dolce, Kyle Director, Donor Recognition Gabriel Dekoladenu, Benjamin Whitaker, Todd Woodard Williams, Asst. Treasurers Travis Calvert, Senior Manager, James, Web Developers Royda C. Venture, Assoc. Director, Budget & Operations Jersy Rodriguez, Technical MARKETING & Ticket Services Cheryl Miller, Membership Support Manager COMMUNICATIONS Georgina Richardson, Customer Manager Tamar Audate, Technical Support Ece Ozaman, Admin. Asst. to VP of Care Manager Richard Serrano, Research Manager Tech Marketing & Communications Latasha McNeil, Asst. Manager Steven Knudsen, Development Susan Bishop, Admin. Coordinator Britt Aronovich, Marketing Ryan Mauldin, Ticket Services Operations Coordinator Kenneth Flores, Senior Desktop Revenue Manager Coordinator Emily Searles, Membership Asst. Analyst Frank Marsilio, Marketing Miranda Gauvin, Ticket Services Lucas Austin, Rafael Iglesias, Operations Manager Senior Representative SPECIAL EVENTS Desktop Analysts Saul Almiachev, Wendy Berot, James Vause, Director of Special INSTITUTIONAL ADVOCACY COMMUNICATIONS Anaïs Blin, Shadell Brown, Lucca Events Ellen Leszynski, Senior Manager Sandy Sawotka, Director of Damilano, Justin Dash, Robert Grace Eubank, Special Events Katerina Patouri, Manager, Communications Ebanks, Greg Garner, Matthew Manager Institutional Advocacy & Sarah Garvey, Assoc. Director McKenna, Warren Ng, Edward Hector Rios, Special Events Capital Projects of Publicity Raube-Wilson, Angela Romualdez, Coordinator Susan Yung, Senior Editorial Allyson Steele, Noel Vega, Ticket Manager Services Representatives FINANCE & ADMINISTRATION Bookseller | Greenlight Bookstore David Hsieh, Cynthia Tate CAPITAL PROJECTS European Production Representative Publicity Managers DEVELOPMENT Jonathan Jones, Director, Capital On Tour Ltd., Roger Chapman Shelley Farmer, Publicity Olivia Jacobs, Admin. Asst. to Projects Film Buyer | Adam Birnbaum Manager, Film the VP of Development Daniel Costa, Capital Projects James Sutton, Publications Asst. Manager Immigration Counsel Andreas Yung Chih Huang, Intern CORPORATE RELATIONS & Jonathan Ginsburg, Fettman, SPONSORSHIP FACILITIES MANAGEMENT Tolchin and Majors, PC CREATIVE SERVICES Chantal Bernard, Director of James Boese, Director of Facilities Andi Floyd, Blue Skies Andrew Sloat, Creative Director Corporate Relations & Lynn Alexander, Facilities Manager Immigrations Services, LLC Patrick Morin, Assoc. Director Sponsorship Danny Jiang, Engineering Project Insurance Broker | Dewitt Stern of Design Rebecca Carew, Associate Director Manager Medical Consultant | Ahmar Butt, MD Joseph Kaplan, Kimberly Lum, of Corporate Partnerships & Markee Glover, Logistical Services Alison Whitworth, Designers Sponsorships Coordinator General Counsel | Mark Jackson Ben Katz, Video Producer Mari Ogino, Corporate Relations & Ronald Jones, Admin. Coordinator Restaurateur | Great Performances Kaitlyn Chandler, Video Editor & Sponsorship Manager Joshua Allen, Ahmad Ghany, Raul Motion Designer Clara Hung, Sponsorship. Asst. Gotay, Anthony Sam, Building Feb 1, 2018 Joseph Barglowski, Video Editor Services Assocs. Dorothea Trufelman, Asst. Video INSTITUTIONAL GIVING Editor Clemente Luna, Director of BUILDING MAINTENANCE Jenny Choi, Publications Manager Institutional Giving Anthony Shields, Maintenance Charity Coleman, Copywriter Kailin Husayko, Assoc. Director Supervisor Kati Rehbeck, Creative Services of Institutional Giving Steve McDowell, Lead Project Coordinator Stephanie Caragliano, Institutional Maintenance Technician Annie Heath, Creative Services Asst. Giving Manager Allan Boyce, Calvin Brackett, Sara Mon, Intern Emma Kilroy, Institutional Ronald Hunter, Maintainers Giving Asst. Carl Blango, Asst. Maintainer DIGITAL MEDIA Emma Gold, Intern Aaron Weibel, Director of Digital CUSTODIAL SERVICES Production MAJOR GIFTS & PATRON Ramon Cabassa, Custodial Alison Kozol, Manager of Digital PROGRAMS Supervisor Operations Stacy Margolis, Assoc. VP of Derrek Demary, Jean Smith, Lead Major Gifts & Patron Programs Custodians A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

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