DOCSLIB.ORG

ENCORE Is Sponsored By: Altria 2003 ~Ext Wave Fesfulaj'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ENCORE Is Sponsored By: Altria 2003 ~Ext Wave Fesfulaj' September / October 2003 BAM 2003 Next Wave Festival Roy Kortick, ear arch with fountain, 2003 BAM 2003 Next Wave Festival ENCORE is sponsored by: Altria 2003 ~ext Wave FesfuLaJ'-.---- Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Sleeping Beauty and Other Stories Susan Marshall & Company Approximate BAM Harvey Theater running time: Oct 21-25, 2003 at 7:30pm 1 hour and 35 minutes with Choreographer and artistic director Susan Marshall one intermission Lighting design by Mark Stanley Set design by Douglas Stein Costume design by Kasia Walicka Maimone Sound design by Jane Shaw Dancers Rachel Shao-Lan Blum Mark DeChiazza Kristen Hollinsworth Jill A. Locke Luke Miller Petra van Noort Darrin M. Wright BAM 2003 Next Wave Festival is sponsored by Altria Group, Inc. Next Wave Dance support is provided by The Harkness Foundation for Dance. The opening night reception is supported by The Brooklyn Brewery. ErogffiillL---- , Kristen Hollinsworth in Sleeping Beau/y. Photo, Paul H. Taylor Sleeping Beauty (New York Premiere) Choreography Susan Marshall in collaboration with the Company Lighting design Mark Stanley Set design Douglas Stein Costume design Kasia Walicka Maimone Music composition David Lang and Annie Gosfield Remixing, additional music composition, and Sound design Jane Shaw Compositions by Annie Gosfield include excerpts from "Nickolaievski Soldat" and "The Manufacture of Tangled Ivory" from her CD Burnt Ivory and Loose Wires (Tzadik 7040), and "EWA7" from her CD Flying Sparks and Heavy Machinery (Tzadik 7069). David Lang's composition "Stick Figure" can be found on the CD Child performed by Sentieri Selvaggi (Cantaloupe Records). Dancers Kristen Hollinsworth with Mark DeChiazza, Petra van Noort, Rachel Shao-Lan Blum, Luke Miller, Jill A. Locke, Darrin M. Wright -Intermission- Jill Locke and Mark DeChiaua in Other Stories, photo by Paul H. Taylor Other Stories (New York Premiere) Choreography Susan Marshall in collaboration with the Company Lighting design Mark Stanley Set design Douglas Stein Costume design Kasia Walicka Maimone Original music composition and Sound design Jane Shaw Many thanks to Danny Blume, Chris Kelly, and Liminal for the use of their piece "MPC Reworked." Music also includes excerpts of "Thinvette" from Tin Hat Trio's CD Memory is an Elephant (Ropeadope Records); "No Bavarean" ("Kein Boarischer") from Die Knodel's album Overcooked Tyroleans (Koch International L.P.); and "Rhino Jockey" from Amon Tobin's Supermodified (Just Isn't Music). Used by permission pending. All rights reserved. Dancers Rachel Shao-Lan Blum, Mark DeChiazza, Kristen Hollinsworth, Luke Miller, Petra van Noort, Jill A. Locke, Darrin M. Wright Sleeping Beauty and Other Stories has been commissioned by Brooklyn Academy of Music and has been made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Ford Foundation, the Andrew W. Mellon Foundation, and Altria Group, Inc. 'JMJo's Wb~o _ Susan Marshall & Company, celebrating its choreographed and directed Les Enfants 20th anniversary season this fall, has Terribles, in collaboration with composer Philip performed the work of Artistic Director/ Glass in 1996, and has also created dances for Choreographer Susan Marshall in theaters the Lyon Opera Ballet, Frankfurt Ballet, Boston throughout the United States, Europe, and Ballet, and Montreal Danse. Her signature Japan. International festivals at which the aerial duet, Kiss, is in the current repertory of company has performed include the Edinburgh Hubbard Street Dance Chicago. She has International Festival, the Festival International collaborated with director Francesca Zambello de Nouvelle Danse in Montreal, Spoleto on operas staged for the Los Angeles Music Festival, the Los Angeles Festival, Vienna Tanz, Center and the New York City Opera. A 2000 Springdance Festival (The Netherlands), recipient of a MacArthur Fellowship, Marshall Pepsico Summerfare, and has appeared has also received a Dance Magazine Award, a frequently at BAM's Next Wave Festival. Guggenheim Fellowship, a Brandeis University Members of Susan Marshall & Company Creative Arts Citation, and the American traveled and performed in Les Enfants Choreographer Award. She has received five Terribles, a dance/opera choreographed and National Endowment for the Arts Fellowships, directed by Marshall in collaboration with two New York Foundation for the Arts composer Philip Glass and produced by Fellowships, and two New York Dance and International Production Associates. Les Performance Awards (Bessies) for Outstanding Enfants toured to sixteen cities in Europe and Choreographic Achievement. The first Bessie 21 cities in the U.S. including its presentation came in 1985 following the company's premiere as part of BAM's Next Wave Festival in the fall concert at Dance Theater Workshop, and the of 1996. In the early 1990s, Arts America second came in 1997 for her collaboration sponsored a five-week tour of the company to with Philip Glass on Les Enfants Terribles. Eastern Europe, Cyprus, and Turkey, and Alive From Off Center commissioned the creation of Rachel Shao-Lan Blum (dancer) joined Susan the fi Im Contenders from the com pa ny, bri ngi ng Marshall & Company in 2002. Prior to that, in Mark Obenhaus to direct and collaborate on she worked with Janis Brenner & Dancers, the translation of this stage work for film. JoAnna Mendl-Shaw, and Tanz Theater Marshall, her artistic collaborators and compa­ Darmstadt in Germany. Blum's own work has ny members have received a total of nine New been presented in New York, New Jersey, and York Dance and Performance Awards (Bessies) Chicago. She also directs community dance for their artistic achievements. projects with performers of mixed abilities. Susan Marshall (artistic director/choreographer) Mark DeChiazza (dancer) has been a member has created more than 27 dance works in of Susan Marshall & Company since 1993. collaboration with the dancers of Susan He has also performed and toured with other Marshall & Company including One and Only groups including John Jasperse, Jennifer You, The Most Dangerous Room in the House, Muller/The Works, Via Theater, and the Spectators at an Event, Fields of View, Arms, Metropolitan Opera. Most recently he appeared Interior with Seven Figures, and Kiss. in New York Theatre Workshop's revival of Marshall's collaboration with the dancers of Martha Clarke's Vienna: Lusthaus. DeChiazza Susan Marshall & Company has been the received his BFA from North Carolina School of ma in infl uence on the development of her the Arts. choreographic process and work. Marshall Loreen Domijan (production stage manager) Her collaborative work includes three projects has worked with Ohio Ballet, Kansas City with choreographer Lea Wolf and a project with Ballet, Hartt Dance at University of Hartford, Mark DeChiazza that was presented in San Pacific Northwest Ballet, and most recently Francisco, Cape Cod, and New York. with New York City Ballet. Other stage management credits include extensive work David Lang (composer) is co-founder and with Walt Disney World in Orlando and small co-artistic director of New York's legendary stints off-Broadway in NYC. Originally from music festival, Bang on a Can, and Composer­ Norwich, CT, Domijan holds a BFA degree in in-Residence at the American Conservatory stage management from North Carolina School Theater in San Francisco. In addition to collab­ of the Arts. orating on Sleeping Beauty, he has composed the scores for Susan Marshall's The Descent Annie Gosfield (composer) is based in down­ Beckons, and The Most Dangerous Room in town New York. Her music has been performed the House, the latter for wh ich he received a worldwide by her own ensemble and by the Bessie Award. Recent projects include the Bang on a Can All-Stars, Newband/The Harry amplified orchestra piece The Passing Measures; Partch instruments, Agon Orchestra, The West The Difficulty of Crossing a Field-an opera Australian Symphony Orchestra New Music for the Kronos Quartet with libretto by Mac Group, FLUX Quartet, Raw Fish Quartet, Wellman and direction by Carey Perloff; the Silesian String Quartet, Rova, Present Music, opera Modern Painters about the curious and Zeitgeist, cellists Joan Jeanrenaud and Felix tragic life of art critic John Ruskin; the evening­ Fan, and many others, at festivals including length piano solo Psalms without Words, and Warsaw Autumn, ISCM World Music Days, the comic book opera The Carbon Copy the Bang on a Can Marathon, The Santa Fe Building, with cartoonist Ben Katchor, Bob Chamber Music Festival, Festival Musique McGrath and the Ridge Theater, and composers Actuelle in Victoriaville, Wien Modern, Michael Gordon and Julia Wolfe. Lang holds OtherMinds, Company Week, and three degrees from Stanford University and the "Radical New Jewish Culture" festivals curated University of Iowa, and received his doctorate by John Zorn. Her discography includes two from the Yale School of Music in 1989. He has solo releases on the Tzadik label, and CDs on studied with Jacob Druckman, Hans Werner Sony Classical, CRI, Harmonia Mundi, Wergo, Henze, and Martin Bresnick. His work is Caprice, Cantaloupe, Rift, EMF, Innova, recorded on the Sony Classical, BMG, Point, Atavistic, ORF, and Starkland. Chandos, Argo/Decca, CRI and Cantaloupe labels. Lang's music is published by Red Poppy Kristen Hollinsworth (dancer) has worked (ASCAP) and distributed by G. Schirmer, Inc. with Susan Marshall since 1994. She has also danced with the Metropolitan Opera since Tia Tibbitts Levinson (managing director) has 1998 in numerous productions. In New York, provided management for Susan Marshall & she has had the pleasure of working with Company since 1998. She worked at New Karen Graham, Cherylyn Lavagnino, Doug York's Dance Theater Workshop for ten years, Varone, and in San Francisco with Cheryl as Managing Director and Director of Artists Chaddick and Della Davidson.
Load more

Recommended publications
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • John Zorn Artax David Cross Gourds + More J Discorder
    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • ANNIE GOSFIELD, Whom the BBC Called “A One Woman Hadron
    ANNIE GOSFIELD, whom the BBC called “A one woman Hadron collider,” lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. Her music is often inspired by the inherent beauty of found sounds, noise, and machinery. She was dubbed “a master of musical feedback” by The New York Times, who wrote “Ms. Gosfield’s choice of sounds — which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy — are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues.” In 2017 Gosfield collaborated with Yuval Sharon and the Los Angeles Philharmonic on the multi-site opera “War of the Worlds.” This large-scale, citywide collaborative performance was a powerful engagement with public life, bringing opera out of the concert hall and into the streets. Three defunct air raid sirens located in downtown Los Angeles were re-purposed into public speakers to broadcast a free, live performance from Walt Disney Concert Hall. The sirens also served as remote sites for singers and musicians to report back to the concert hall from the street. The notorious 1938 radio drama created by Orson Welles came to new life, directed by The Industry’s Yuval Sharon, conducted by Christopher Rountree and narrated by Sigourney Weaver.
    [Show full text]
  • Commartslectures00connrich.Pdf
    of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • John Zorn Marathon Royce Triple Threat Featuring Abraxas, Secret Chiefs 3 & Bladerunner & the Hermetic Organ
    John Zorn Marathon Royce Triple Threat featuring Abraxas, Secret Chiefs 3 & Bladerunner & The Hermetic Organ Sat, May 2 ROYCE TRIPLE THREAT 8pm – Abraxas: Psychomagia Royce Triple Threat Aram Bajakian Guitar Royce Hall Eyal Maoz Guitar 8pm Kenny Grohowski Drums RUNNING TIME: Shanir Blumenkranz Gimbri Approximately 3 hours; Two intermissions Intermission The Hermetic Organ 9pm – Secret Chiefs 3: Masada Book Two Royce Hall Trey Spruance Guitar Midnight Eyvind Kang Violin Ches Smith Drums RUNNING TIME: Approximately 45 minutes; Jason Schimmel Guitar No intermission Matt Lebofsky Keyboards Toby Driver Bass PRE-SHOW TERRACE EVENT: Round-Robin Duets: Intermission A Musical Improvisation 6:30 pm 10pm – Bladerunner Inspired by John Zorn’s improvisational John Zorn Sax techniques, a group of UCLA student Bill Laswell Bass musicians play a round-robin of s Dave Lombardo Drums pontaneous duets, culminating in a group imrov-jam session. THE HERMETIC ORGAN John Zorn Solo Organ Improvisations CAP UCLA SPONSOR: Supported in part by the Andrew W. Mellon Foundation ABOUT THE PROGRAM Although organ was Zorn’s first instrument (he often credits Lon Chaney MEDIA SPONSOR: in The Phantom of the Opera as a primal influence), in 2011 the saxophone great surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. The music is breathtaking, and distinguished by a spiritual mood that only a huge pipe organ like Royce Hall’s Skinner can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, this performance reveals the composer’s mind at work in all its permutations.
    [Show full text]
  • Philip Glass Remixed) by Snibbe Studio
    BLOG MAGAZINE EVENTS JOBS SHOP LOG IN / MEMBERSHIP FILTER CONTENTS CINDER, IOS Published on 13/12/2012 comment 1 REWORK (Philip Glass Remixed) by Snibbe Studio written by Filip Visnjic Snibbe Studio’s biggest project since the Björk Biophilia, REWORK is a full-length app album treatment for the Beck/Philip Glass collaborative remix album featuring artists like Amon Tobin and Cornelius now available for the iPhone and iPad. The studio has built a REWORK app that includes interactive visualizations corresponding to 11 of the remix songs with visuals that range from three-dimensional landscapes to shattered multicolored crystals and vibrating sound waves. The app also includes an interactive “Glass Machine” that allows users to create their own music inspired by Philip Glass’ early works by simply sliding two discs around side- by-side, generating polyrhythmic counterpoints between the two melodies. “This is a way for people who don’t have the experience of manipulating music material to see what it’s like” Glass. The artists include Tyondai Braxton, Amon Tobin, Cornelius, Dan Deacon, Johann Johannsson, Nosaj Thing, Memory Tapes, Silver Alert, Pantha du Prince, My Great Ghost and Peter Broderick. The album is out now on Orange Mountain Music/Ernest Jenning Record Co./The Kora Records and is available at Philip Glass’ website as well as via the iTunes store and Amazon.com. The app was created using Cinder with the help from David Wicks who did most of the visualization work for the eleven songs using Bloom’s GLKit extension and working with Graham McDermott and Ahna Girshick from Snibbe Studio.
    [Show full text]
  • Dreamscapes and Dark Places / Music Video Spawned From
    Johannes Goebel, Director Kathleen Forde, Curator, Time-Based Arts Dara Greenwald, Research Assistant Shannon Johnson, Web Director Hélène Lesterlin, Associate Curator, Dance Jason Steven Murphy, Project Manager Elizabeth Palazzo, Business Coordinator Todd Vos, 3rd Floor Elf www.empac.rpi.edu UPCOMING EMPAC EVENTS: DANCE MOViES 3: ICE BREA K E R :: Salute the end of winter with one last snowy romp through an international line-up of new dance films and experimental videos! :: Thurs 03.23.2006 :: 7:30 PM :: Location :: Academy Hall, Rensselaer Campus DANCE MOViES 4: STREET WISE:: A sassy collection of short films featuring dancing in the streets, alleys, delis and various cramped quarters of cities all over the world. :: Thurs 04.20.2006 :: 7:30 PM (7:00 PM Pre-show video) :: Location :: Sage 3303, Rensselaer Campus MUSIC VIDEOS SPAWNED FROM SURREALISM Fortress Music: Pinback In the 1920’s, artists like Andre Breton, Salvador Dali and Man Ray Director: Elliot Jokelson w/ Loyalkaspar mashed bizarre imaginary happenings with the “real world” on Courtesy: Touch and Go film and called it surrealism. Today artists use computer generated animation and recent digital technologies to integrate the physi- 4 Ton Mantis Music: Amon Tobin cal world with layers that are much more fantastic. Now we call it Director: Floria Sigismondi augmented reality, virtual reality or perhaps even magical realism. Courtesy: Ninja Tune But frankly, we’re all getting at the same thing... the seduction of the dream world and other dark subconscious places is never going to go out of style as long as human nature still exists. In the past decade, the structure of the short snappy music video has not only become fodder for the likes of the commercial MTV set, but a gold mine for major artists and film directors to work with - and within - the limitations of the specific structure of the music video clip.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • ADF-Timeline.Pdf
    Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts.
    [Show full text]
  • National Endowment for the Arts (4)” of the John Marsh Files at the Gerald R
    The original documents are located in Box 38, folder “Transition Reports (1977) - National Endowment for the Arts (4)” of the John Marsh Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 38 of The John Marsh Files at the Gerald R. Ford Presidential Library Attachment E: Advisory Panels & Staff NATIONAL ENDOWMENT FOR THE ARTS ADVISORY PANELS FY 77 Listed on the following pages are the men and women who serve on Endowment Advisory Panels. Panelists are appointed to a specific Panel where they review grant applications, evaluate past programs, and advise Endowment staff and the National Council on the Arts as to the direction of future programs. Panel reconunendations are presented to the National Council on the Arts which is responsible for final reconunendations to the Chairman. Not found in this listing are the many experts who serve on ad hoc panels formed for the Architecture + Environmental Arts and Visual Arts Programs.
    [Show full text]
  • Thesis Submitted for the Degree Of
    THE UNIVERSITY OF HULL School of Arts How do electronic musicians make their music? Creative practice through informal learning resources. being a Thesis submitted for the Degree of MA in Music by Research (25004) in the University of Hull by Wai Kuen Wan (BEng University of Leeds, BA Leeds Metropolitan University) June 2017 Contents Abstract iv Introduction 1 Context and literature review 7 1. Compositional approaches 16 1.1 Curation 17 1.1.1 Context of materials 17 1.1.2 Juxtaposition 19 1.1.3 Assemblage 20 1.1.4 Personal sound archive 22 1.2 Sound manipulation 24 1.2.1 Custom modular tools 25 1.2.2 Destruction and degradation 28 1.2.3 Manipulating recorded performance 30 1.3 Indeterminacy and serendipity 31 1.4 Specificity of objectives 34 2. Conditions for creativity 40 2.1 Motivation 41 2.1.1 Self-serving 42 2.1.2 Enthusiasm 44 2.1.3 Commercial success 46 2.1.4 Reactionary responses 50 2.2 Personal growth 53 2.2.1 Exploratory learning 53 2.2.2 Early experiences 56 2.3 Discography for reflection 59 ii 2.4 Duration and nature of composition 61 2.4.1 Intensive work practice 62 2.4.2 Promoting objectivity 65 2.4.3 Learning vs making 66 3. Technological mediation 70 3.1 Attitudes to technology 70 3.1.1 Homogenisation of technologies 71 3.1.2 New ideas do not require new technologies 74 3.1.3 Obsessing and collecting 76 3.2 Tools for realisation 80 3.2.1 Proficiency and fluency with instruments 83 3.2.2 Opacity and affordance - enslaved to the (quantised) rhythm 86 3.3 Redefining technology 89 3.3.1 Subversion – extending the lexicon 90 3.3.2 Active Limitation 94 3.4 Instruments and their influence 97 3.4.1 Resisting conformity 98 3.4.2.
    [Show full text]