DOCSLIB.ORG

The Politics of Quiet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Politics of Quiet t:1AIVlb111 Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" The Politics of Quiet BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents The Politics of Quiet BAM Carey Playhouse Thursday, October 10, 1996 at 7 pm Friday and Saturday, October 11 and 12 at 8 pm Sunday, October 13 at 3 pm Running time: Conceived, directed and composed by Meredith Monk approximately ninety Choreography Meredith Monk in collaboration with the Ensemble minutes; there will be Associate Director Pablo Vela no intermission. Lighting Design Tony Giovannetti Sound Design David Meschter/Applied Audio Technologies Costume Design Carol Ann Pelletier Visual Design Paul Krajniak Object Design Debby Lee Cohen Performers (in order of appearance) Thomas Bogdan Stephen Kalm Janis Brenner Katie Geissinger Carlos Arevalo All ison Easter Ching Gonzalez Randall Wong Dina Emerson Theo Bleckmann Musicians Harry Huff: keyboards, voice Allison Sniffin: keyboards, french horn, violin, bowed psaltry, voice Children Clifford Lasky Emma Skove-Epes American companies participating in the Next Wave are sponsored by AT&T. The Politics of Quiet was co-commissioned by The House Foundation for the Arts, Inc., Lied Center for the Performing Arts, Pittsburgh Dance Council, Three Rivers Arts Festival and Walker Art Center. It is a privilege to work with these exceptional performers and associates, many of whom have distinguished careers of their own. I am deeply grateful for their generosity, patience and dedica­ tion in the process of creating The Politics of Quiet. This work would not have been the same without each artist's individual contribution. -Meredith Monk Photo by Brigitte Lacombe Production Manager Abbie H. Katz Production Coordinator Amy Santos Dramaturg/Assistant to the Director Maevefiona Butler Musical Director Harry Huff Production Assistants Seth Santoro, Katie Thompson Understudy Louis Meagley Apprentices Mercedes Bahleda, Maurice Richard Opening Chaos David Meschter/Applied Audio Technologies Children's Dance Sequence Dina Emerson Slide Photographer Roy Gumpel Photographer's Assistant Amy Silverman BAM Lobby Foyer Installation BAM Carey Playhouse Program Prayer 1; Meeting Songs; Demon Meditation; Folk Dance II Ancestors Chorale 1; Obsolete Objects; Ancestors Chorale 2 III Night (Elegy); Prayer 2/ Prayer 3 IV Time Pavanne; Birth of the Stars Music ©1996 Meredith Monk except Prayer 2/Prayer 3 solos (traditional) Sponsors The commissioning of The Politics of Quiet was made possible with funding from: Mary Flagler Cary Charitable Trust; Meet The Composer/Reader's Digest Commissioning Program, in partnership with the National Endowment for the Arts and the Lila Wallace-Reader's Digest Fund; National Endowment for the Arts; and New York State Council on the Arts. AT&T Foundation provided major corporate sponsorship. Additional support was provided by The Aaron Copland Fund for Music, The Gladys Krieble Delmas Foundation, The Harkness Foundations for Dance, Heathcote Art Foundation, The Rockefeller Foundation and The Andy Warhol Foundation for the Visual Arts. Meredith Monk is one of the most versatile, innovative and accom­ plished artists in this country. A pioneer in extended vocal technique, Monk is a vocal archeologist, composing music that digs down to the most fundamental human utterances. Most of the music she writes for the voice uses phonemes instead of text. Because words point to a particular meaning, she prefers word-less vocalizations in which the emotional weight is carried by the singer's naked voice. She has said, "To me, the voice itself is a language that is more eloquent than words. Within it are limitless landscapes, characters, textures, and colors." Monk composed, directed and choreographed her latest production, The Politics of Quiet, especially for her extraordinary vocal ensemble. Photo by Brigitte Lacombe She has assembled some of the finest and most adventurous performers active in new music and performance. The Politics of Quiet is a non-narrative work that echoes the structure of an oratorio or service, presenting an evening of music with images and move­ ment. Performed by a cast of ten singer/dancers, two instrumentalists and two children, the piece poses the question, "How do we find a contempla­ tive performance form for this time of speed and fragmentation in the Twentieth Century?" Music driven, The Politics of Quiet also explores the light and dark side of community and ancestral legacy. In its meditative mood and ritualistic struc­ ture, the piece contemplates the flow of time with wonder. The process of making the piece began with Monk's interests in Willa Cather's writings on the Nineteenth Century, Buddhist thought, and the development and consequences of technology. But The Politics of Quiet has evolved into a series of poetic transparencies that present a contemporary community who eschew character and situation to reveal the individual unadorned human being. When she began work on this piece, Monk considered how rapidly changing technology is impacting our lives. In the "Time Pavanne" section ofthe piece, she turned to an ecological metaphor, a primordial technology that has kept pace with the future. Bee colonies and hives offered a prototype community, they work with a complex technology that has transcended time; and bee's wax is used as a preservative. Children don bee-keeping costumes and boiling bee's wax is used to preserve and enshrine contemporary objects that may soon become relics of our own time. The Politics of Quiet recognizes the power of community and spirit of coop­ eration. In Monk's own words, "The Politics of Quiet is about slowing down enough to experience the moment; it's about shadow and light coexisting. Ultimately, it's about listening." Meredith Monk is a composer, singer, filmmaker, by Meredith Monk & Vocal Ensemble entitled choreographer and director. Since graduating from Volcano Songs. Sarah Lawrence College in 1964, she has forged a singular vision of performance, seamlessly In 1991 ATLAS: an opera in three parts was crossing the traditional barriers between mediums, co-commissioned by The Houston Grand Opera, creating more than 100 works. A fourth genera­ Hancher Auditorium, Walker Art Center and The tion singer in her family, she is a pioneer in what American Music Theater Festival. It toured is now called extended vocal technique and domestically, and in Europe, culminating with interdisciplinary performance. the New York premiere at the Brooklyn Academy of Music in 1992. The two disk recording is Monk has received numerous awards, including available on the ECM label. the prestigious MacArthur Foundation Fellowship, the Samuel H. Scripps American Dance Festival Ms. Monk has been a pioneer in site-specific Award, two Guggenheim Fellowships, three Obies performance, creating Juice (1969) for the for theater, a Bessie for Susta ined Creative Guggenheim Museum and Minor Latham Achievement, the National Music Theater Award Playhouse, Needle-Brain Lloyd and the Systems in opera, a Brandeis Creative Arts Award, the Kid: A Live Movie (1970) for the American Dance Venice Biennale First Prize in Music Theater, Festival at Connecticut College, and American sixteen ASCAP Awards for musical Composition, Archeology # 1: Roosevelt Island (1994). the Dance Magazine Award, the Rockefeller Fellowship for Distinguished Choreography and Monk has experimented with film in her works First Prize for Performance Programming from since the mid 1960s, ranging from 16 Millimeter The Corporation for Public Broadcasting. Earrings (1966) to her critically acclaimed solo Volcano Songs (1994). She has explored the In 1968, she formed The House, a company medium more fully in a series of award winning dedicated to the interdisciplinary approach to films including Ellis Island (1981), which won the performance. In 1978, she founded Meredith CINE Golden Eagle Award, and her first feature, Monk and Vocal Ensemble to perform her unique Book Of Days (1988), which was aired on PBS, vocal compositions. She has also mounted her released theatrically, and selected for the Whitney work with outside companies such as The White Museum of American Art's 1981 Biennial. Oak Dance Project, The SchaubOhne Ensemble, Pacific Mozart Ensemble and the San Francisco During a career that spans 30 years, she has been Sym phony Choi r. acclaimed by audiences and critics as a major creative force in the performing arts. "When the Since 1965, Monk has worked as a composer, time comes, perhaps a hundred years from now, exploring the potential of the human voice. She to tally up achievements in the performing arts began working with her own instrument, trying during the last third of the present century, one to discover the myriad characters, landscapes, name that seems sure to loom large is that of colors and textures within her three octave range, Meredith Monk. In originality, in scope, in depth, and then formed Meredith Monk and Vocal there are few to rival her." (Alan M. Kriegsman, Ensemble to play with more complex musical Washington Post). possibilities. She has made more than a dozen recordings, most of which are with ECM New Series. Dolmen Music (ECM New Series) and Our Lady of Late: The Vanguard Tapes (Wergo) were both honored with the German Critics Prize for Best Records of 1981 and 1986. Catalyst Records recently released Musica Sacra's new compact disk Monk and the Abbess: The Music of Meredith Monk and Hildegard von Bingen. In early 1997, ECM will release a new recording Carlos Arevalo is a native of Panama City. He Janis Brenner, dancer/ choreographer/singer/ made his professional debut in 1981 at the teacher, is Artistic Director of Janis Brenner & Festival International du Theatre in Nancy, France Dancers in NY. Recent awards: Leach Fellowship with Blondell Cummings. He has performed in for Outstanding Achievement in the Performing operas, solo recitals, film and dance/theater pieces Arts, 1996 Lester Horton Award for Choreography at Dance Theater Workshop, Jacob's Pillow, The in Los Angeles.
Load more

Recommended publications
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • Spring 2014 Commencement Program
    TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2014 May 12 - 16, 2014 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements.
    [Show full text]
  • A. Mihalyi: Meredith Monkl, WAM Casopis, Recenzije, Glazba, Classical
    MAGIJA VOKALA MEREDITH MONK Aleksandar Mihalyi Ako bi smo odabrali kreativno uspješnu i jedinstvenu skladateljicu i vokalisticu temeljem uspješnosti njezinog dosadašnjeg djelovanja te glasovnih mogućnosti koje izmiču uobičajenim klasifikacijama, onda bi se Meredith Jane Monk nametnula kao prvi izbor. Dodatni povod je i obilježavanje njezinog 70. rođendana ove godine – rođena je 1942. godine u New Yorku, SAD. Njezina pozicija vodeće umjetnice u američkoj avangardnoj glazbi traje od Karijeru je započela kasnih šezdesetih kao plesačica i koreograf kada je samih početaka minimalizma, a već i tada je imala izdvojenu poziciju jer je izučila umijeće poniranja do esencijalne ekspresivnosti pokretom, te nedugo vokalnu tehniku temeljila na istočnjačkim tradicijama (tzv. ekstenizirani glas zatim i glasom prije nego riječima. Monk u ovom kontekstu ističe da se – ponajprije upotrebom posebnih tehnika disanja) te u ponavljanju kratkih riječima štitimo od direktnog iskustva – tijelo treba pustiti da se fraza sličnim mantri (što su činili i ostali minimalisti). Na tu njenu izdvojenu izražava/reagira glasom (vokalizama) i pokretom. Potom, u vrijeme poziciju ponajviše je utjecalo njezino rano pohađanje škole euritmije koje tolerantne klime za diletantizam kada otkriva u sebi: „.. snažniji kreativni joj je potom i usmjerilo karijeru, odnosno interese ka povezivanju glazbe sa od interpretativnog impulsa“, ona započinje i svoju glazbenu karijeru kao pokretom s ciljem da glazbi scenom i koreografijom doda mitsko i povijesno pjevačica (inače ima izniman lirski sopran širokog raspona) i skladateljica, tumačenje. No, teško se kod nje ne može govoriti o eklekticizmu budući da kompletirajući tako autorstvo svojim scenskim djelima, koja se, uz neke Monk ponajprije asimilira ono što drži potrebnim za tehnički aspekt njezinih ograde, mogu svrstati u glazbeni teatar.
    [Show full text]
  • University of California Santa Cruz
    UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • Climate Change, Federalism, and the Constitution
    CLIMATE CHANGE, FEDERALISM, AND THE CONSTITUTION Daniel A. Farber* Federal climate change legislation seems increasingly likely, but at least some states are likely to continue pursuing independent initiatives. Courts, state governments, and EPA will then be faced with the question of how much room remains for state climate regulations. This Article argues for a bifurcated approach to the constitutional authority of states to pursue climate change mitigation. Courts should reject regulations that violate clear statutory preemption clauses, discriminate against interstate commerce, ban transactions under federal cap-and-trade schemes, or directly interfere with international agreements. In the remaining cases, this Article advocates adoption of a strong presumption of validity for state climate change regulation. INTRODUCTION Climate change is a global problem, and there is little doubt about its seriousness and the challenges it poses for our society. As the Intergovernmental Panel on Climate Change’s (IPCC) 2007 report explains, scientists agree that concentrations of greenhouse gases (GHGs) “now far exceed pre-industrial values.”1 Moreover, climate change is already upon us. Its effects are already * Sho Sato Professor of Law and Faculty Director of the California Center for Environmental Law and Policy, University of California, Berkeley. This Article appears in Volume 50 Number 3 of the Arizona Law Review, which collects papers originally presented at the William H. Rehnquist Center on the Constitutional Structures of Government Conference: Federalism and Climate Change: The Role of the States in a Future Federal Regime, hosted in Tucson, Arizona on February 11, 2008. I would like to thank Ann Carlson and Alice Kaswan for helpful comments on an earlier draft, as well as participants at the Rehnquist Center’s Conference on Federalism and Climate Change.
    [Show full text]
  • Buster Williams Buster Williams
    HASAAN IBN ALI’S LOST ALBUM • ANNUAL SUMMER JAZZ PROGRAMS GUIDE APRIL 2021 The Low-End Griot BUSTERBUSTER WILLIAMSWILLIAMS Is Now on Film MORGAN GUERIN Instrumental Polymath EDDIE HENDERSON His Brightest Moments THEO BLECKMANN Meets THE WESTERLIES BASS SPECIAL RON CARTER JOHN CLAYTON SANTI DEBRIANO JORGE ROEDER jazztimes.com BRIAN BROMBERG CONTENTS APRIL 2021 ♦ VOLUME 51 ♦ NUMBER 3 In every issue Features 3 JT Notes 4 Opening Chorus Hasaan Ibn Ali’s second album sees BUSTER WILLIAMS release at last, 55 years after it was 18 He’s been a first-call bassist for decades, an indispensable support player, recorded; Jorge Roeder, bassist of but his time to take center stage is finally here courtesy of Adam Kahan’s choice; Brian Bromberg is blessed insightful new documentary Bass to Infinity. Ted Panken discusses the with the curse of diversity; and fare- film and the career it traces with Kahan, George Colligan, Kenny Barron, wells to Bobby Few, Mario Suraci, Christian McBride, Lenny White, and Williams himself. Howard Johnson, Sammy Nestico, Junior Mance, and Jonas Gwangwa MORGAN GUERIN 10 Chronology CHARLES LLOYD & THE MARVELS DR. LONNIE SMITH JOE CHAMBERS 24 The three albums that Morgan Guerin has released so far as a leader Ethan Iverson on Ron Carter TONE POEM BREATHE SAMBA DE MARACATU are all called parts of a “saga,” and adding to their epic nature is the 12 Before & After Sax master covers of Ornette Coleman, Leonard B3 organ legend live at Jazz Standard with a septet A stalwart of progressive mid-60s Blue Note classics, fact that he plays nearly every instrument on them.
    [Show full text]
  • Domicil40! 1969 – 2009 Jazz World Music Avantgarde in Dortmund Impressum Mitglieder Inhalt
    1 domicil40! 1969 – 2009 jazz world music avantgarde in dortmund impressum mitglieder inhalt 40 Jahre domicil – Die Jubiläumszeitung Aktive Mitglieder 3 grußworte domicil Dortmund e.V. Christoph Aderholz, Gürcan Alev, Susann Bach, Maryam Hansastraße 7 – 11, 44137 Dortmund Baghery, Heinz-Joachim Bahr, Michael Batt, Michael Rainer 4 wie alles anfing 26 dienstleister domicil Berger, Karin Blöcher, Stefan Blohm, Jesper Boenke, Ralph Vorstand Udo Wagener (1. Vorsitzender) parallele welten 29 Brix, Ute Brüggemann, Jürgen Brunsing, Franziska Burkhard, 7 mal tacheles Telefon 0231 – 862 90 30 (Büro gGmbH) Dorothea Dannert, Aysun Demir, Karl-Heinz Deyer, Maksim www.domicil-dortmund.de 8 bühne frei für‘s ehrenamt 30 shake your booty, baby Diagilew, Nicola Dornseifer, Doris Feindt, Ulrike Flaspöhler, V.i.S.d.P. Udo Wagener Astrid Fliedner, Uwe Forsthövel, Uwe Geitner, Dr. Vera Gerling, 10 vierzig gründe, das domicil zu mögen 32 kunstausstellungen im domicil Jörg Gerlings, Michael Gremmelmaier, Stu Grimshaw, Michael Idee und Konzept Günter U. Maiß Gründel, Julia Haase, Andreas Heuser, Achim Kämper, Markus 12 ein musikmöbel mit profil 34 lebe wohl leopoldstraße! hallo hansastraße! 2Chefredakteur Ralph Brix Keil, Anke Klusmeier, Stefan Kronenberg, Sebastian Kruse, Mario Küchler, Dr. Klaus Kwetkat, Ludger Lammers, Jürgen 14 domicil milestones 37 hansastraße und co. Redaktion (Konzept, Text, Bild) Leuchtmann, Gerald Linning-Droste, Jeannette Lochny, Günter Günter U. Maiß, Andre Noll, Frank Scheele 17 wer vor stand 38 mehr als nur ein kurzer auftritt Maiß, Gabriele Maleike, Petra Mecklenburg, Torsten Michael, Autoren Michael Batt (mb), Ralph Brix (rab), Gün- Crispin Müller, Elke Nachtigall, Andre Noll, Hans-Joachim 18 montag? – da is‘ domicil! 40 pinnwand ter U.
    [Show full text]
  • OOT 2020 Packet 10.Pdf
    OOT 2020: [The Search for a Middle Clue] Written and edited by George Charlson, Nick Clanchy, Oli Clarke, Laura Cooper, Daniel Dalland, Alexander Gunasekera, Alexander Hardwick, Claire Jones, Elisabeth Le Maistre, Matthew Lloyd, Lalit Maharjan, Alexander Peplow, Barney Pite, Jacob Robertson, Siân Round, Jeremy Sontchi, and Leonie Woodland. THE ANSWER TO THE LAST TOSS-UP SHOULD HAVE BEEN: Henry Packet 10 Toss-ups: 1. Rana Sweid and Eyal Goldman attend this tournament in the experimental film Strangers. The manager of one team in this tournament said after one match that ‘Jesus Christ may be able to turn the other cheek, but [one player] isn't Jesus Christ’. Another player was called ‘the most hated man in Trinidad and Tobago’ after pulling Brent Sancho’s dreadlocks before scoring a header for England in this tournament. Valentin Ivanov handed out four red cards and sixteen yellows during a match in this tournament between Portugal and the Netherlands called ‘the Battle of Nuremberg’. David Trezeguet missed the only penalty in its final. Zinedine Zidane was sent off for head-butting a player in the final of, for 10 points, what football tournament hosted by Germany? ANSWER: 2006 FIFA World Cup [prompt on World Cup with ‘which year?’] <GDC> 2. A hypothesis named for a thinker from this country claims that scientific advancement is mainly the result of the work of mediocre researchers. One thinker from this country tried to resolve the conflict between experience and reason by developing the concept of ‘ratio-vitalism’. That thinker from this country argued for a life lived nobly as opposed to as a ‘mass-man’ in their work The Revolt of the Masses.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • Meredith Monk / the House Foundation for the Arts
    Meredith Monk / Meredith Monk & Vocal Ensemble 2015-2016 COMPANY INFORMATION PIECE: On Behalf of Nature A new music theater work by Meredith Monk NUMBER OF PEOPLE: 8 performers and 5-6 staff/crew - Total 13-14 SET UP: Two days before first performance STAGE SIZE: Proscenium opening 44’ wide; 16’ wing space left and right; 66’ from plaster line to rear theatre wall including on-stage crossover; Orchestra pit with lifts or platforms for leveling. RECENT VENUES: On Behalf of Nature premiered January 18th, 2013 at Center for the Art of Performance at UCLA, Los Angeles, CA with additional performances at the Clarice Smith Performing Arts Center at the University of Maryland, the Edinburgh International Festival, Krannert Center at the University of Illinois, and this season at the Brooklyn Academy of Music and Yerba Buena Center for the Arts. ADDITIONAL INFORMATION: For her newest music-theater work, Meredith Monk offers a poetic meditation on our intimate connection to nature and the fragility of its ecology. Within this world, Monk evokes the Buddhist notion of the existence of different realm categories—the idea of joining heaven and earth by way of human beings. Drawing additional inspiration from writers and researchers who have sounded the alarm on the precarious state of our global ecology, Monk and her acclaimed Vocal Ensemble create a liminal space where human, natural and spiritual elements are woven into a delicate whole, illuminating the interconnection and interdependency of us all. The Vocal Ensemble consists of multitalented singers / performers / instrumentalists Sidney Chen, Ellen Fisher, Katie Geissinger, Bohdan Hilash, John Hollenbeck, Bruce Rameker and Allison Sniffin.
    [Show full text]
  • Dellecave Dissertation Draft3
    UNIVERSITY OF CALIFORNIA RIVERSIDE The Againness of Vietnam in Contemporary United States Antiwar Choreography A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Jessica Spring Dellecave August 2015 Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Jens Richard Giersdorf Dr. Anthea Kraut Copyright by Jessica Spring Dellecave 2015 The Dissertation of Jessica Spring Dellecave is approved: Committee Chairperson University of California, Riverside Acknowledgements I extend my deepest gratitude to the persons and institutions that made this project possible. Without the life changing funding from the United States Department of Education, Jacob K. Javits Fellowship, this would not have happened. Additional support from University of California Riverside’s Chancellor’s Distinguished Fellowship, Gluck Fellowship, Humanities Graduate Student Research Grant, Graduate Student Research Association, GradSuccess Dissertation Retreat, and Mellon Dance Studies in/of the Humanities greatly contributed to my success. A huge thank you is extended to the artists that generously shared their stories, processes, and artistic materials with me—Yvonne Rainer, Wendy Rogers, Ann Carlson, Miguel Gutierrez, Victoria Marks, Jeff McMahon, and Krissy Keefer—without your passionate contributions this project would not exist. Thank you to the New York Performing Arts Library, Getty Research Institute, Twyla Tharp Dance Foundation for granting me access to archival materials. I acknowledge and thank my committee chairperson, Dr. Jacqueline Shea Murphy, for her immense guidance, support, and belief in this project and in me. Jacqueline, your ability to flow with the struggle of me working through many large ideas about the world taught me and will continue to teach me numerous valuable skills and techniques.
    [Show full text]