Photos by Julietta Cervantes

CAP UCLA Presents Ronald K. Brown/ EVIDENCE Grace@20

Thu, Nov 12 - 14, 2020 Prerecorded at Bard College, NY ART MATTERS NOW MORE THAN EVER

WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE

UCLA’s Center for the Art of Performance (CAP UCLA) is the public facing research and presenting organization for the performing arts at the University of California, Los Angeles—one of the world’s leading public research universities. We are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. The central pursuit of our work as an organization is to sustain the diversity of contemporary performing artists while celebrating their contributions to culture. We acknowledge, amplify and support artists through major presentations, commissions and creative development initiatives. Our programs offer audiences a direct connection to the ideas, perspectives and concerns of living artists. Through the lens of dance, theater, music, literary arts, digital media arts and collaborative disciplines, informed by diverse racial and cultural backgrounds, artists and audiences come together in our theaters and public spaces to explore new ways of seeing that expands our understanding of the world we live in now.

cap.ucla.edu #CAPUCLA Photos by Julietta Cervantes

CAP UCLA Presents Ronald K. Brown/ EVIDENCE Grace@20 Thu, Nov 12 at 7PM PST | GRACE; Online Screening and Post show discussion Prerecorded at Bard College, NY Approximate run time: 60 minutes, no intermission

Fri, Nov 13 at 3PM PST | Virtual Community Class Approximate run time: 90 minutes

Sat, Nov 14 at 3PM PST | Let’s Say Grace and Talk About It After! Approximate run time: 60 minutes

Funds provided by the Doris Duke Charitable Foundation Endowment Fund and the National Endowment for the Arts Challenge Grant Endowment. MESSAGE FROM THE ARTIST

“Grace,” the dance was commissioned and performed by Alvin Ailey American Dance Theater and premiered in 1999 at NY City Center. The work became a part of the Evidence, A Dance Company Repertory in 2001. The Grace@20 Workshop gives participants a chance to view the work, learn some of the movement from the piece and have a conversation to learn how each of us thinks of grace in our lives and work.

When Judith Jamison, former Artistic Director of AADT, contacted me to discuss the possibility of me creating a work on Ailey there were several immediate responses. One was the memory of going on a school trip to see the Ailey Company when I was in the 2nd grade and going home and making a dance. I also remembered my mother taking me to a dance studio at Bedford-Stuyvesant Corporation in Brooklyn, NY after that trip and I recall my 8-year-old self telling my mom “there are 80 girls.” There weren’t but as the only guy I felt that way and did not think dance was an option for me until I began studying seriously at 16. I founded Evidence in 1985 and believed that I needed to make space for Evidence, the kind of work that I believed was my purpose to create. After speaking to Ms. Jamison, my heart was full and I wondered how do I say thank you to Mr. Ailey, a choreographer and legend who inspired my first work when I was a child and who let me know, through his work and example, that it was possible and necessary to have a dance company that reflected the human condition.

I knew that Mr. Ailey was fond of Duke Ellington, so I turned to Ellington’s Sacred Concerts and discovered over a hundred versions of Come Sunday, a song that became the opening and closing of Grace. During the Grace@20 Workshop participants will learn about the other music that is in “Grace” and the reasons for their inclusion in the piece. For the 20th Anniversary of “Grace,” Evidence performed the work for the first time with live music and an expanded cast at Bard College in July 2019.

I look forward to the screening of “Grace,” the movement classes and the conversation, especially during these current times when so many of us are in search of grace.

~ Ronald K. Brown ABOUT THE COMPANY

Thu, Nov 12, 2020 at 7PM PST | Online Screening of GRACE

Video by Nel Shelby Productions, courtesy of the Fisher Center at Bard Following the stream will be a live discussion with choreographer Ronald K. Brown and Barry Brannum.

Choreography: Ronald K. Brown Original Lighting for Alvin Ailey American Dance Theater: William H. Grant Original Lighting for EVIDENCE: Brenda Gray Lighting Re-creation & Technical Director: Tsubasa Kamei Costumes: Omotayo Wunmi Olaiya Music Supervision: Peven Everett Sound Design and Engineering: Dave Wegner Dancers: Michael Battle, Arcell Cabuag, Stephanie Chronopoulos, Joyce Edwards, Valeriane Louisy Louis-Joseph, Annique Roberts, and Keon Thoulouis Guest Artists: Kirven Douthit-Boyd, Hannah Alissa Richardson, Randall Riley (courtesy of TU Dance), and Matthew Rushing (courtesy of Alvin Ailey American Dance Theater) Apprentices: Paris Jones and Elaisa van der Kust Live Music performed by: Peven Everett and Gordon Chambers Musicians: Mario Abney, trumpet; Chris Bruce, guitar; Dan Chmielinski, bass; Peven Everett, keys; Julius Rodriguez, keys; Abraham Rounds, percussion; Jake Sherman, keys; Corey Wallace, trombone Music Credits: Come Sunday by Duke Ellington, Gabriel by Roy Davis Jr. & Peven Everett Licensed from Large Music LLC 1996 All Rights Reserved, Bless It & Rock Shock by Roy Davis Jr., and Shakara by Fela Kuti

Grace was originally choreographed for the Alvin Ailey American Dance Theater in 1999. Grace became a part of the EVIDENCE repertory in 2003.

Fri, Nov 13, 2020 at 3PM PST | Virtual Community Class This class will be taught by master teachers Ronald K. Brown & Arcell Cabuag and is welcome to all levels, participants should dress in loose fitting clothing. No dance experience needed, just an open heart.

Sat, Nov 14, 2020 at 3PM PST | Let’s Say Grace and Talk About It After! An online community conversation with Ronald K. Brown and special guests Artist and Filmmaker Arthur Jafa, Associate Professor: UCLA School of Nursing MarySue Heilemann, Artist and Social Justice Advocate Theo Bonner- Perkins and CAP UCLA’s Executive and Artistic Director Kristy Edmunds. Moderated by CAP UCLA’s Director of Education Meryl Friedman, the discussion will explore both the aesthetic forms of Grace as a way of artistic expression and the human forms of grace as a source of healing, honoring and empowerment. ABOUT THE COMPANY

Founded by Ronald K. Brown in 1985 and based in Brooklyn, EVIDENCE, A DANCE COMPANY focuses on the fusion of African dance with contemporary choreography and spoken word. This work provides a unique view of human struggles, tragedies, and triumphs. Brown uses movement as a way to reinforce the importance of community in African American culture and to acquaint audiences with the beauty of African forms and rhythms. EVIDENCE tours to some 30 communities in the United States annually. The company has traveled to Cuba, Brazil, England, France, Greece, Hungary, Hawaii, Ireland, Holland, Mexico, Colombia, South Africa, Nigeria, Senegal, and in 2010 joined the U.S. State Department’s DanceMotion USASM tour to perform works, teach master classes, and conduct demonstrations. Annually, the company reaches an audience of more than 30,000. Photos by Julietta Cervantes

EVIDENCE, A DANCE COMPANY works in partnership with RestorationART & The Joyce Theater.

Special thanks to Linda Shelton, Aaron Mattocks, Margaret Hollenbeck, Jean Ross, Ross LeClair, Meghan Rose Murphy, Andy Sheagren, and the board and staff of The Joyce Theater. Additional special thanks to the Bedford Stuyvesant Restoration Corporation, RestorationART, The Billie Holiday Theatre, Colvin Granum, Dr. Indira Etwaroo, and the RestorationART team. Ongoing appreciation to Pierre Apraxine, Torya Beard, Ayodele Casel, Elena Comendador, Janet Cox, Pamela M. Green, Fatima Jones, Sharon Luckman, Mary McCormick and the Fund for the City of New York, Larry Satterfield, Alvin Addell, Joyce Mullins Jackson, Zaid Abdul Aleem, Joanne Hill, Lola West, Monica Azaire, Bruce Gordon and Tawana Tibbs, Reginald Van Lee, and Vera Wells.

Key support provided by Doris Duke Charitable Foundation, Howard Gilman Foundation, The New York Community Trust, Mertz Gilmore Foundation, The Bay and Paul Foundations, Joseph and Joan Cullman Foundation for the Arts, Select Equity Group Foundation, and GE Foundation. Additional key support provided by Amit Wadhwaney, Lisa Walker, Robert-Kristoffer Haynes, Ed Henry and Susan Monk, Susan Jacobson and David Moskovitz, Sharon Luckman and Paul Shapiro, Kerry Wingo, and the EVIDENCE Circle of Friends. ABOUT THE ARTISTS

RONALD K. BROWN (Founder/Artistic Director) from Brooklyn, NY founded EVIDENCE, A Dance Company in 1985. He has worked with Mary Anthony Dance Theater, Jennifer Muller/ The Works and other choreographers and artists. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispánico, TU Dance, and Malpaso Dance Company.

Ron is the recipient of the 2020 Jacob’s Pillow Dance Award. He has also won an AUDELCO Award for his choreography in Regina Taylor’s award-winning play Crowns, received two Black Theater Alliance Awards, and a Fred & Adele Astaire Award for Outstanding Choreography in the Tony Award winning Broadway and national touring production of The Gershwin’s Porgy and Bess, adapted by Suzan Lori Parks, arrangement by Diedre Murray and directed by Diane Paulus.

Brown was named Def Dance Jam Workshop 2000 Mentor of the Year and has received; the Doris Duke Artist Award, NYC City Center Fellowship, Scripps/ADF Award, John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, a New York Dance and Performance “Bessie” Award, Dance Magazine Award and The Ailey Apex Award.

Brown is Co-Artistic Director of RestorationART Youth Arts Academy Pre- Professional Training Program / Restoration Dance Youth Ensemble, on the faculty of The Juilliard School and a member of Stage Directors & Choreographers Society.

ARCELL CABUAG (Associate Artistic Director) is a first generation Filipino American who is a native of San Jose, California. In 1995, he moved to New York and attended the Alvin Ailey American Dance Center where he was first introduced to Ronald K. Brown. His professional experiences include: Rock the House for Paramount Pictures (California), The Shoji Tabuchi Show (Branson, MO), and the Richard Rodgers Centennial Production of The King and I. Arcell can be seen in the episode “Choreographed” on Law and Order SVU, and a Codorinu commercial with PILOBOLUS, shot and aired in Barcelona. He serves his community as dance professor at Long Island University (Brooklyn Campus), the Co-Artistic Director of RestorationART Youth Arts Academy Pre-Professional Training Program / Restoration Dance Youth Ensemble, and a master class instructor locally and abroad. Cabuag has also set EVIDENCE repertory at NYU TISCH, UMASS, Boston Arts Academy, the Peridance Certificate Program, The Ailey Fordham BFA Program, University of the Arts, Kent State, DeSales University, Coker College, Marymount Manhattan College, and Boston Conservatory. Cabuag has assisted Brown in creating repertory on Philadanco Dance Company, MUNTU, TU Dance, Ballet Hispánico, the Alvin Ailey American Dance Theater, Malpaso Dance Company of Havana, Cuba, and was the associate choreographer for the Tony Award winning Broadway and National touring production of The Gershwins’ Porgy and Bess. Arcell was the first EVIDENCE apprentice in 1996, joined the company in 1997, was appointed to be the associate artistic director in 2003 and won a New York Dance and Performance “Bessie” Award in 2004.

PEVEN EVERETT (Music Supervisor for Grace) is an artist of many talents whose work alternately covers the territories of house, R&B, jazz, and hip- hop. Everett, who was born in Harvey, IL, received a scholarship to Berklee College of Music at the age of 17. However, he ended up leaving to perform live with the likes of Betty Carter, Branford Marsalis, and Winton Marsalis. His first performance was at Carnegie Hall. Since then, the multi-instrumentalist has played trumpet on a handful of jazz recordings (including Curtis Lundy’s Against All Odds) and has become a prominent figure in the International house and R&B communities. He plays over 13 instruments. Peven performed and produced Gabriel, a massive hit on UK Garage and pop charts. This song was later featured in Ron K. Brown’s Grace for Alvin Ailey Dance Theater. Though he had a number of 12” solo releases prior to 2002, that year was an extremely prolific one for Everett as an artist; in addition to releasing one of the most loved deep house records of the year with I Can’t Believe I Loved Her, Everett issued another excellent 12” (Soul Tempura), as well as a pair of soul-driven albums on his Studio Confession label (Speed of Light, Latest Craze, The Realness, My Brazil, Easy Living , Power Soul, King of Hearts, We Need House, Pinup Jazz, Thank You James and Kissing Game). A third Everett solo album was later released called Studio Confessions. In addition to leading his own groups— Peven Everett Quartet and big band, The Peven Everett Review— he boasts a library of recorded music exceeding 5,000 records. Peven is also lead singer for Damon Albarn’s Gorillaz and has toured with them for over two years, performing for over two million people with other show collaborators including Pusha T, De La Soul, George Benson, Vince Staples. Peven is now poised for his new LP and much more in 2019, collaborating with some of the biggest stars of hip-hop to date. As one of the few artists in history able to perform and produce an entire record alone, he holds a reputation as a musical skeleton key. ABOUT THE SPECIAL GUESTS Thu, Nov 12 at 7PM PST Post show discussion with Ronald K. Brown and Barry Brannum

BARRY BRANNUM (Dance artist) is a performer, teacher, choreographer, researcher (both scholarly and artistic), writer, and sound designer. He was born in Anchorage, Alaska, where he began training in classical ballet. Moving to the east coast brought intensive study in modern techniques including Horton, Cunningham, and Graham. Since relocat- ing to Los Angeles, Barry has cultivated a dance practice rooted in improvisation; his work engages release techniques, perception-based performance practices, and other somatic modes. Barry has worked with several LA-based performance makers, including Dorothy Dubrule, Jennie Mary-Tai Liu (Grand Lady Dance House), Lionel Popkin, Eliott Reed, Nickels Sunshine, Kristianne Salcines, Alexx Shilling, and Kevin Williamson. He appeared as a guest artist with Cullberg Ballet in Deborah Hay’s Figure a Sea, and performed in the Los Angeles iteration of the Merce Cunningham Trust’s Night of 100 Solos: A Centenary Event in April 2019. He has shown his own choreography at Highways Performance Space, the Electric Lodge, Pieter, and NAVEL, among other venues. An alum of the South Carolina Governor’s School for the Arts and Humanities (Dance, 2009), Barry graduated from Princeton University in 2013 (AB cum laude, English; Certifi- cate, Dance) and is currently a PhD candidate (ABD) in UCLA’s Department of World Arts and Cultures / Dance.

Photos by Julietta Cervantes Sat, Nov 14, 2020 at 3PM PST Let’s Say Grace and Talk About It After!

ARTHUR JAFA (Filmaker, Cinematographer) Across three decades, Jafa has developed a dynamic practice comprising films, artifacts and happenings that reference and question the universal and spe- cific articulations of black being. Underscoring the many facets of Jafa’s practice is a recurring ques- tion: how can visual media, such as objects, static and moving images, transmit the equivalent power, beauty and alienation embedded within forms of black music in US culture?

Jafa’s films have garnered acclaim at the Los Angeles, New York, and Black Star Film Festivals and his artwork is represented in celebrated collections worldwide including at The Metropolitan Museum of Art, Museum of Modern Art, Tate Modern, San Francisco Museum of Modern Art, The Studio Museum in Harlem, High Museum of Art, Dallas Museum of Art, MCA Chicago, The Stedelijk Museum Amsterdam, Luma Foundation, Pérez Art Museum Miami, Museum of Contemporary Art, Los Angeles, Smithsonian’s Hirshhorn Museum and Sculpture Garden and at the Smithsonian American Art Museum, among others.

MARYSUE V. HEILEMANN (PhD, RN, FAAN) is an associate professor at the UCLA School of Nursing and an Associate Director of the UCLA National Clinician Scholars Program. Dr. Heilemann has been a groundbreaker in the use of transmedia in health interventions related to mental health and was a delegate to the United Nations-Commission on the Status of Women in 2018 where she spoke on the topic. Transmedia involves the use of storytelling over multiple digital platforms accessible on smart phones, tablets, or computers via the Internet. Dr. Heilemann’s current work involves Hollywood quality, data-informed, sto- ry-based, character-driven transmedia interventions to reduce symptoms and increase help seeking among Latinas struggling with depression and/or anxiety. As an expert in Grounded Theory methodology informed by Construc- tivism and Pragmatism, she has mentored graduate students, post-doctoral scholars, and young faculty in qualitative research at UCLA and internation- ally. She is the 2020 recipient of the UCLA Distinguished Teaching Award-Dis- tinction in Teaching at the Graduate Level for Senate Faculty. She has also sought to improve the accuracy of portrayals of nurses in film and television through collaboration, consulting, and speaking. She was chosen to give the June 2015 National Institute of Nursing Research Director’s Lecture entitled, “From the Silver Screen to the Web: Media Portrayals of Nursing” and has led national symposiums in both 2011 and 2012 at UCLA focused on Media Repre- sentations of Nurses, bringing together over 300 filmmakers, nurses, adminis- trators, producers, journalists, screen writers, directors, activists, faculty, and students.

THEO BONNER-PERKINS (Artist/Artistic Director) is the founder and Artistic Director of the Elizabeth Youth Theater Ensemble (EYTE), a not for profit social justice arts organization whose mission is centered upon strengthening the voices of young artists within communities. EYTE’s major initiative is Walking the Beat: a devised theater program for youth of the Global Majority and police officers both in Los Angeles and New Jersey. For his work, Theo was honored by the Union County Urban League Young Professionals of New Jersey, recently featured in Oxygen Network’s 2020 Unsung Heroes, and is a 2020 AEA Paul Robeson Award nominee. As an actor, his television credits include guest star appearances on Fox, TNT, and CBS. On stage, he has performed on Broadway and regionally at NJPAC, Kirk Douglas Theatre, International City Theatre, Boston Court Theater and the Fountain Theatre, where he serves as member of the Board of Directors. Theo is a graduate of Morehouse College, UCLA’s MFA Acting program and the Executive Arts Lead- ership Program at the University of Southern California. Theo currently works on staff at UCLA’s Center for the Art of Performance as an Arts Coordinator, where he advises the Student Committee for the Arts. 2020-21 Season FAQ Support CAP UCLA CAP UCLA Membership Art in Action Design for Sharing Artist Commissions Creative Development Initiatives Executive Producer Council CAP UCLA Staff Listing CAP UCLA LEAD SUPPORTERS

UCLA’s Center for the Art Roslyn Holt Swartz & Carolyn & Lester Stein of Performance gratefully Allan J. Swartz Carol & Joseph Sullivan acknowledges our donors, Joseph Walker Douglas Upshaw sponsors and members whose Leslie White & Al Limon Debra Vilinsky & Michael Sopher gifts directly support the art of Bonnie & Paul Yaeger/ performance and arts education at UCLA. Thank you! $5,000 - $9,999 Yaeger Family Foundation Anonymous $500,000 AND ABOVE Judy Abel & Eric Gordon $1,000 - $2,499 Anonymous Barry Baker Anonymous (3) The Andrew W. Mellon Foundation California Community Foundation George C. Allen Jr. Cindy Miscikowski/ Jennifer's Fund Robert Anderson The Ring Foundation Roberta Conroy Diane & Noel Applebaum Susan Nimoy Beth Dewoody & Firooz Zahedi Ruth Bachofner Billie & Steven Fischer Digna & Scott Beasley $50,000 - $499,999 Adam Grancell/ I. 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ENDOWMENTS Over time, many generous individuals have initiated leadership gifts to establish endowments that support the performing arts at UCLA in perpetuity.

Arthur E. Guedel Memorial Lectureship Fund Mimi Perloff Endowment for Design for Sharing Barbara and Bruce Dobkin Endowment Fund Mimi & Werner Wolfen Endowment at Design for Sharing for Design for Sharing Beatrix F. Padway Endowed Fund for Design National Endowment for the Arts for Sharing Challenge Grant Endowment Design for Sharing Endowment Plitt Theaters Fund for Design for Sharing Doris Duke Charitable Foundation Endowment Fund Roslyn Holt Swartz & Allan J. Swartz Endowment Evelyn & Mo Ostin Endowment for the Performing Arts for the Performing Arts Royce Center Circle Endowment Fund Ginny Mancini Endowment for Vocal Performance Royce Gala Endowment Henry Mancini Tribute Fund Sally & William A. Rutter Endowment James A. Doolittle Endowment for the Performing Arts José Luis Nazar Endowment for the Performing Arts Shirley & Ralph Shapiro Director’s Discretionary Fund Kevin Jeske Young Artists Fund Shirley & Ralph Shapiro Endowment for Design for The Lloyd E. Rigler Emerging Arts Fund Sharing Merle & Peter Mullin Endowment for the Performing Arts Kronos Quartet Booking Direction - David Lieberman Artists Representatives

MESHELL NDEGEOCELLO Chapter and Verse: The Gospel of James Baldwin Sep 15 - Dec 31, 2020

Inspired by the writing of James Baldwin Created by Meshell Ndegeocello; In collaboration with Charlotte Brathwaite Featuring the contributions of Staceyann Chin, Suné Woods, Nicholas Galanin, and others to be announced

A free, multimedia, community-based ritual tool kit for justice in the 21st century. Inspired by The Fire Next Time, Baldwin’s seminal treatise on justice in America, Chapter and Verse has been adapted from its orignial stage version to accommodate the social distancing realities of the world-wide pandemic. This three- part work is an accessible interactive experience.

Learn more at cap.ucla.edu/Baldwin

A Co-Production of Bismillah, LLC and Fisher Center at Bard. Co-Commissioned by Fisher Center at Bard, UCLA’s Center for the Art of Performance, MCA Chicago, and Festival de Marseille.