UCSB Arts & Lectures - Spring Program 2019

Spring Program 2019

wine country cuisine in the heart of the Historic Arts District Fresh, local ingredients, prepared with care.

Excellent wines that reflect the quality and character of our region and work in concert with the cuisine.

Warm, inviting ambience with engaging service at a relaxed, leisurely pace. This is bouchon.

dinner nightly Sunday-Thursday 5-9pm | Friday-Saturday 5-10pm

bouchon 9 west victoria street

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805.730.1160

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bouchonsantabarbara.com

Local Photographer: David Bazemore

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Dear Arts & Lectures’ Friends and Family, Thank you again for your part in making Santa Barbara a place that thinks broadly and feels deeply, that reads and writes and laughs. Already this year – our 60th Anniversary Season! – we have been making a difference in the world and getting blissful about the sheer joy of great music and dance.

Please join us this spring for the culmination of our 60th with a collection of events that weaves together Arts & Lectures’ diverse activity in our community: the Courthouse film series, the Thematic Learning Initiative, free concerts for schoolchildren, ¡Viva el Arte de Santa Bárbara! community concerts, nonpartisan conversations, an Art & Architecture-inspired film series, and a true highlight, the world premiere of a new work by Silkroad Ensemble (Apr. 26), co-commissioned by Arts & Lectures.

Then there’s our signature offerings, exquisite performances like Ballet Preljocaj (Apr. 16), the French company whose excellent choreography is made real by their gorgeous dancers, Anoushka Shankar (Apr. 17), superstar of Indian classical music for a new generation, and Alan Cumming (Apr. 18), the brilliant, witty, Broadway star whose evening of song and stories promises over-the-top entertainment.

Just another three days in the world of Arts & Lectures – your world, and our world.

Which brings us to my personal highlight, a special talk with musical illustration by cellist, citizen musician and dear friend, Yo-Yo Ma (Apr. 27) whose presentation Culture, Understanding and Survival speaks to the heart of his #CultureConnectsUs global movement. Who better to address such a topic?

I hope you’ll join us often, and share our celebration.

Corporate Season Sponsor

Community Partners

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

& Lou Buglioli

Arts & Lectures Celebrates 60 Years!

Access for ALL

All ages. All over town. All the time.

Celebrating our diverse and extensive community engagement.

Join us!

FREE Summer Cinema

FREE Arts Adventures Thousands of SB County schoolchildren are bussed to The Granada for educational demos with leading artists like Wynton Marsalis.

A local favorite! Thousands come out to the County Courthouse for movies and picnics under the stars. Look out for a special spring screening!

Community Classes Multidisciplinary sessions from dance classes to lecture demonstrations enable the community to participate and connect.

Platforms for Civil Discourse We believe that civil discourse yields an engaged, resilient community. Join us for thought-provoking events like KCRW’s Left, Right & Center.

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FREE

FREE UCSB Performances UCSB students get big discounts and free access to select A&L campus events, like ukulele wizard Jake Shimabukuro.

Yo-Yo Ma #CultureConnectsUs

FREE

Cellist and citizen musician Yo-Yo Ma will host a special lecture event – Culture, Understanding and Survival – and a free public master class.

High-quality programming that represents the unique cultural heritage of our region.

FREE Book Giveaways

A two-day film festival celebrating today’s contemporary art makers, downtown at Paseo Nuevo Cinemas.

Each quarter books by A&L speakers are distributed at no charge to the community as part A&L’s Thematic Learning Initiative.

FREE Master Classes SB County youth, high school and college students are coached by today’s master artists in music, dance and more.

Commissions and World Premieres We’re dedicated to fostering new work. This spring’s World Premiere

by Silkroad Ensemble was created with support from A&L and will tour the world.

What is it? Arts & Lectures’ Thematic Learning Initiative

extends the conversation from the stage into the community, inspiring lifelong learning opportunities that initiate change and empowerment. Join A&L and other knowledge seekers like you who want to learn more, know more and do more to improve ourselves and the world around us. Connect with others at intimate salon-style discussions, film screenings and added special public events. Receive online educational resources, sign up for book giveaways and more!

What does it cost? It’s FREE! Who participates? More than 2,000 community

members like you and local organizations like social services, health and wellness providers and civic organizations.

Get Involved! Visit www.Thematic-Learning.org or

email TLI@ArtsAndLectures.UCSB.edu to get updates and more information.

Winter 2019 Book Selection Each quarter, we select a book written by an A&L speaker that expands on one of the season’s themes, and provide free copies for the community.

Dopesick: Dealers, Doctors and the Drug Company that Addicted America

by Beth Macy “Harrowing, infuriating, eye-opening.” Star Tribune FREE copies of Dopesick will be available beginning March 20 at Arts & Lectures’ Campbell Hall Box Office at UCSB and the Santa Barbara Central Library (40 E Anapamu St). Books available while supplies last.

Beth Macy public lecture, Apr. 7 at Campbell Hall (p.19)

photo: Grace Kathryn Photography

RELATED EVENT

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Note new A&L Box Office location in Campbell Hall

With thanks to our visionary partners, Lynda Weinman and Bruce Heavin, for their support of the Thematic Learning Initiative A&L Council Member Lynda Weinman & A&L Program Advisor Bruce Heavin with photographer Annie Leibovitz

@ArtsAndLectures

2018-2019 Themes

Health Matters | Borders & Bridges

FREE EVENTS

Apr 7 Beth Macy Public Lecture (p. 19)

Dopesick: Dealers, Doctors and the Drug Company That Addicted America 3 PM / Campbell Hall BOOK GIVEAWAY

The first 50 attendees will receive a copy of Dopesick

Apr 10 Jennifer L. Eberhardt Public Lecture (p. 22)

Biased: Uncovering the Hidden Prejudice That Shapes What We See, Think and Do 7:30 PM / Campbell Hall

Apr 11 Race, Representation and Asian/America

in Western Art Forms

Presentation by violinist Jennifer Koh 2 PM / UCSB MultiCultural Center

Related Event: Jennifer Koh, violin, Apr 12 (p.23)

Apr 17 Indian Dance Class with UCSB Dhadkan 7 PM / Campbell Hall

Related Event: Anoushka Shankar, Apr 17 (p.32)

Apr 30 FILM: El Norte (35th Anniversary Screening)

Gregory Nava’s groundbreaking film about immigrants crossing the border 7:30 PM / Campbell Hall

May 2 The 2019 Arthur N. Rupe Great Debate

Immigration: A Boon or Burden to U.S. Society 7:30 PM / Campbell Hall

May 4 The Unending Hunger: Tracing Women

and Food Insecurity Across Borders

Presentation by medical anthropologist and author Megan Carney 5 PM / Santa Barbara Central Library*

May 8 FILM: Far From the Tree

Based on the book by Andrew Solomon 7 PM / Santa Barbara Central Library*

Related Event: Andrew Solomon in conversation with Pico Iyer, May 16 (p. 62)

*Online registration recommended: www.Thematic-Learning.org

www.Thematic-Learning.org

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Hot Club of Cowtown & Dustbowl Revival

Across the Great Divide: A Celebration of the 50th Anniversary of The Band Tue, Apr 2 / 8 PM / Campbell Hall

photo: Talley Media

Program will be announced from the stage.

There will be one intermission.

Hot Club of Cowtown Elana James, violin Whit Smith, guitar Jake Erwin, bass Dustbowl Revival Z. Lupetin, guitar, vocals Liz Beebe, vocals, ukulele Daniel Mark, mandolin Connor Vance, fiddle Matt Rubin, trumpet Ulf Bjorlin, trombone Yosmel Montejo, bass Joshlyn Heffernan, drums Hot Club of Cowtown Since 1998, the Western swing/hot string jazz trio Hot Club of Cowtown has traveled the world bringing their own brand of magical musical chemistry to audiences far and wide. Along with Elana James, guitarist Whit Smith and bassist Jake Erwin are equal partners in this original

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Event Sponsor: Anne Towbes marriage of European hot jazz inspired by the music of Django Reinhardt ‒ which accounts for the “Hot Club” portion of their name – with the hoedowns, traditional tunes and Western swing-inspired music of Bob Wills and the Texas Playboys – represented in the “Cowtown” of their name. They have created a legacy of the preservation of musical traditions that have often been overlooked by the mainstream and alternative music worlds. Even Americana and roots enthusiasts have only scratched the surface of the multitude of musicians, past and present, who continue to inspire the Hot Club of Cowtown.

“This music may be more prevalent now than 15 years ago,” says James. “I don’t think as much of this was going on when we first got together – the seamless blending of Western swing tunes and hot jazz standards a la Django Reinhardt and Stephane Grappelli.” While the merging of gypsy jazz with Western swing sounds natural when listening to Hot Club of Cowtown, in the beginning the fusion of the two styles seemed more unorthodox than it does now.

“We just have always listened to old recordings and get inspired by that endless trove of astonishing performances.

Mixing these genres together has always just been such a natural fit. Over the years other ‘hot club’ bands come and go but I guess generally we may be the most visible touring Western swing power trio out there.”

The band has a long list of accomplishments since their first album, Swingin’ Stampede, first appeared in 1998 on HighTone records. Most notably, they marked their 20th anniversary during the 2017-2018 touring season.

They have released nine studio albums and are among

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the youngest members ever to have been inducted into the Texas Western Swing Hall of Fame – a considerable accomplishment for a band that migrated their way from New England and the Midwest by way of New York City.

They were most recently named Western Swing Group of the Year at the 2015 Ameripolitan Music Awards (a new genre created by Dale Watson to recognize roots-influenced bands). In 2015, James won for Western Swing Female as well. The band has also represented the U.S. State Department as musical ambassadors in places as diverse as Azerbaijan, Algeria, Armenia, the Republic of Georgia and the Sultanate of Oman. Their festival appearances have been as diverse as they’ve been numerous, including jazz, bluegrass and country festivals throughout the U.K., Europe, Japan, Australia and North America.

In 2004, the Hot Club of Cowtown gained a special fan in Bob Dylan when they were invited to open a monthlong tour of minor league ballparks with Dylan and Willie Nelson. James sat in with Dylan’s band often on that tour and in the following year was hired to play briefly in Dylan’s touring band – the first dedicated female instrumentalist to join his road band since Scarlet Rivera some 30 years before.

Adapted from “The Chemistry and Magic of Hot Club of Cowtown” by Terry Roland, No Depression, January 14, 2015

They received a big wave of attention with their music video “Never Had to Go,” which featured famous actor Dick Van Dyke and garnered over 10 million cumulative views. That video recently aired in the HBO documentary If You’re Not in the Obit, Eat Breakfast starring Van Dyke and Jerry Seinfeld.

While the band has been known for their old-time and bluegrass roots, they have departed from those styles and evolved more into modern soul music. Now, with Grammy Award-winning producer Ted Hutt (Old Crow Medicine Show, Gaslight Anthem), who collaborated on their recent album, Dustbowl brings it on in the good company of neo-soul contemporaries such as Nathaniel Rateliff & The Night Sweats. The album delivers 11 hot tracks, dominated by love-triangle funk and soul and tenderized with a nod to the unlikely possibility of true love – i.e. “Honey I Love You,” featuring Grammy-winning blues artist Keb’ Mo’.

From an Outside Lands Music Festival review, Rob Sheffield, in Rolling Stone, hailed them as a great band “whose Americana swing was so fun I went back to see them again the next day.”

Special thanks to

Dustbowl Revival Dustbowl Revival is an Americana soul band with eight full-time members who mash the sounds of New Orleans funk, soul, blues and roots music into a genre-hopping, time-bending dance party that coaxes new fire out of familiar coal. Dustbowl is touring behind their self-titled, fourth studio album which spent three weeks on Billboard charts, hit No. 1 on Amazon Americana-Alt-Country and No. 2 on Amazon Folk, spent 16 weeks on the Americana radio chart, peaking in the Top 20, and spent one straight year on the Folk radio chart.

The band was founded in 2008 in the bohemian enclave of Venice Beach, Calif. Over the last five years Dustbowl has become known for their free-flowing and joyous live shows, combining their funk rhythm and brass section with a fast-picking string band section – opening for bands as diverse as Lake Street Dive, Trombone Shorty and Preservation Hall Jazz Band, touring China as a guest of the State Department and headlining festivals like Delfest, Floydfest, Bergenfest (Norway) and Tonder Festival (Denmark).

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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George Hinchliffe’s

Ukulele Orchestra of Great Britain Thu, Apr 4 / 8 PM / Campbell Hall

photo: Allison Burke

Program will be announced from the stage.

There will be one intermission.

Event Sponsor: Patricia Gregory, for the Baker Foundation

Performers: Jonty Bankes Peter Brooke-Turner Hester Goodman Leisa Rea Ben Rouse Ewan Wardrop Richie Williams Musical Director: George Hinchliffe Manager: Jodi Cartwright Sound: Doug Beveridge About the Orchestra The Ukulele Orchestra of Great Britain is “sheer fun and outright daffiness tied to first-rate musicality and comic timing,” raves The New York Times. When the Ukulele Orchestra of Great Britain puts on a show, there are no drums, pianos, backing tracks or electronic trickery. Instead, audiences can look forward to lots of catchy, foot-stomping tunes on ukuleles, a bit of comedy and sheer fun.

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The orchestra is renowned for witty entertainment and novel interpretations of music and songs from across all genres. Expect anything from Tchaikovsky to Nirvana via Otis Redding, EDM and Spaghetti Western to go through the ukulele orchestra blender and emerge as a stomping, uplifting and thought-provoking show. The group is “virtuosic,” raves Guitar Magazine.

Founded in 1985, the orchestra’s first gig instantly sold out.

A working band, playing an outsider instrument that has become an international institution, most of the current group has been performing together more than 20 years, delivering standing-room-only concerts around the world.

The ensemble has played at prestigious venues such as the Sydney Opera House, the Royal Albert Hall and New York’s Carnegie Hall. They also had the honor to perform, by invitation of The Prince of Wales, at the private 90th birthday party of Her Majesty the Queen at Windsor Castle. The orchestra is “frighteningly talented and awesome!” proclaims Time Out magazine.

The Ukulele Orchestra has released CDs and DVDs on their own independent label. The latest studio album By Request: Songs from the Set List features previously unrecorded songs by the orchestra that are most requested by fans. The orchestra’s music has been used in films, plays and commercials.

The Independent praised, “Impressive solo voices and an absolute mastery of strum, pluck and twang ensured the sheer joy and beauty of the music was never lost in the comedy.

Perfectly polished professionalism.”

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About the Performers Jonty Bankes The member of the orchestra who in addition to playing the bass ukulele, whistles virtuosically. Born in Branston, Lincolnshire. Grew up Lincolnshire. Started playing the ukulele as a youngster playing George Formby. Joined the Ukes in 1992. Has worked with Ray Davis, John Mayall, Lousiana Red and Chuck Berry and has appeared on numerous CDs with other artists. Was a London Bus driver.

Lives in Hamburg.

Peter Brooke Turner The tallest member of the orchestra. Born in Lisbon, Portugal. Grew up in the Soviet Union, Brazil, the United States, Finland and Italy. Started playing the ukulele in 1989. Joined the Ukes in 1995. Has worked with Des O’Connor, Jules Holland, Shaking Stevens and Vic Reeves.

Lent his ukulele to Tiny Tim for a London gig. Fronted his own Ukulele Kings uke rock group. Has released several solo CDs. Lives in Kent.

Hester Goodman The member of the orchestra whose ukulele-playing father met her piano-playing mother at Cecil Sharp house in the 1950s (where the Ukes had a residency decades later). Born in Kent. Grew up in Totnes, Devon. Studied in London.

Started playing the ukulele in 1980. Joined the Ukes in 1990. Has worked with The Hairy Marys, Charmian Hughes and Elvenbitch and appeared on TV as an actress.

Wrote original music for the Ukes’ film show, Ukulelescope.

Has released a solo CD. Lives in Dorset.

TV. Works as a solo performer and also teaches the ukulele, runs workshops and arranges classical pieces for publication. Has released his first ukulele solo album Love of Rin. Lives in Hampshire.

Ewan Wardrop The newest addition to the orchestra. Born and raised in Sidmouth, Devon. Started playing the ukulele in 1998 but also plays mandolin, guitar and the penny whistle. Trained as a ballet dancer and appeared in a record-breaking run of Matthew Bourne’s Swan Lake on Broadway. Performs a self-written one-man show based on the life of George Formby. Has a Morris dance group called The Bo Diddlers.

Lives in Sussex.

Richie Williams One of the original members of the orchestra. Born in Bootle. Grew up and studied in Liverpool. Started playing the guitar at age 6. Played at the Cavern Club. Joined the Ukes in 1986 and again in 2003. Has worked with Mary Wells, Martha Reeves, Edwin Starr, Ben E. King, Snake Davis and the Alligator Shoes. Worked with many other bands including his Three Men and a Bass. Has his own recording studio and a collection of vintage guitars. Lives in Dorset.

Leisa Rea The member of the orchestra who first trod the boards at the age of 5 as an Andy Capp impersonator. Born and raised in Manchester. Educated in Wales and Yorkshire.

Started playing the ukulele last century. Joined the Ukes this century in 2006. Has straddled the worlds of comedy, theater and music (winner of the 2009 Musical Comedy Awards). Written for and performed on stage, TV and radio, including BAFTA-nominated BBC comedy Miranda.

Lives in London.

Ben Rouse The member of the orchestra most likely to be caught pulling ukulele rock poses. Born in Truro, Cornwall. Grew up in Gosport, Hampshire. Started playing the ukulele in 2011 after playing the guitar since he was 11. Joined the Ukes in 2015. Bought his first ukulele after watching the Ukes on

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Sō Percussion Amid the Noise

photo: Evan Chapman

Sat, Apr 6 / 8 PM / Campbell Hall

Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting

Presented in association with the UCSB Department of Music

Program Vijay Iyer: Torque Suzanne Farrin: a diamond in the square Donnacha Dennehy: Broken Unison ◆ Intermission ◆ Jason Treuting: Amid the Noise

About the Program Vijay Iyer (b. 1971): Torque (2018) At the piano, I listen for how the contortions of the hand can suggest the surges of a body in motion. In my trio music, I’m often evolving rhythmic shapes, shaping gestural patterns with an embodied resonance and striving to evoke specific qualities of movement with our performed rhythms. Someone once compared us to the Flying Karamazov Brothers, with their coordinated, cyclical, antiphonal actions. I see the work of the rhythm section as a ritual of collective synchrony, aiming above all to generate a dance impulse for everybody in the room.

Torque, a twisting force on a body, seems to appear for the listener at music’s formal boundaries, when one movement type gives way to another. This piece for Sō Percussion

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invites them to perform transformations that twist the music’s temporal flow, bringing the micro-relational art of the rhythm section to this virtuosic quartet.

– Vijay Iyer Commissioned by Andrew W. Siegel

Suzanne Farrin (b. 1976): a diamond in the square (2019) The diamond in the square is a quilting pattern consisting of two objects. The inner square is rotated 45 degrees to become a diamond while the other forms its border. In Amish communities, the colors are usually bold and solid, giving way to intricate, nearly invisible stitching patterns that loop and connect the entire piece. The thread seems to create an invisible language whose contrasts are created through subtle changes in texture rather than color or pattern. You must adjust your eyes to see them. Diamonds in the square are found all over American folk art quilting. Probably like many of you, I recognized the image before I knew how to name it.

And perhaps also like you, I was raised in the atmospheres of women’s work. The body hunched over a piece, the collecting and discussion of fabrics, yarn and needles, the meditation of the mind over repetitive tasks. I loved to participate in these projects, though I did not have nearly the skills of the women in my family. They could mend, create and transform objects (and people) through interwoven fibers. In this work, the fibers are given sound. A collection of strings, from yarns to lobster cord, move through the piano as if on a loom. The workers are hunched over their art

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and slowly separating from their physical bodies, which is exactly what I saw my grandmothers do as they sat in the evenings with their crochet, their knitting, their quilting, their…

– Suzanne Farrin Co-commissioned by University of Colorado-Colorado Springs, The National Gallery and The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature

Donnacha Dennehy (b. 1970): Broken Unison (2017) With Broken Unison, I took the opportunity – joyfully, I might add – to re-engage with questions of abstract compositional technique after a period writing more semantically charged music for operas and kind-of-operas.

The work is full to the hilt with various ways of disrupting unisons, from antiphonal interchanges through staggered chorales to a fairly dizzying use of canons of various hues, from the airily spaced to the breathily close, so close that they veer towards a kind of fractured unison at times. I became even more ambitious with some of these ferociously close canons after hearing how well the Sō Percussion players executed them while I was trying out early drafts of the piece! Paradoxically, perhaps, as the music tends more towards actual unisons in its latter parts, its mood becomes progressively broken and dark. Maybe there is a semantic undertone after all.

I think of the dialogue between pattern and texture in this piece as a kind of magic realism. I limited myself strictly to equal-tempered pitched instruments, despite the fact that much of my recent music plays with microtones to create a kind of harmony/timbre based on the overtone series.

Here instead the very close canons transform in and out of something akin to a jingly-jangly pulsating resonance, the overtones spilling over each other.

Strictly in nine sections, the piece really separates into three larger parts – each accumulatively made up of a greater number of smaller sections (2, 3 and 4 respectively) – and each demarcated by the varied iteration of a type of material defined by the employment of very bright, close canons starting in C and then slipping away semi-tonally in a manner influenced by the harmonic language of Gesualdo’s later music.

– Donnacha Dennehy Co-commissioned by Carnegie Hall and Cork Opera House

Jason Treuting (b. 1977): Amid the Noise (2006) “Go placidly amid the noise and haste, and remember what peace there may be in silence.”

– Max Ehrmann’s “Desiderata” Amid the Noise began as a soundtrack, which morphed into our third album and then into a flexible set of live music. Now it is a communal music-making project that can occur with a flexible number of musicians in almost any combination.

The musical ideas in Amid the Noise are abstract: drones, melodies, rhythms, textures, patterns. Originally, Sō Percussion orchestrated them on the instruments we had in our studio, but we’ve since discovered that accordion, organ or tuba might play a satisfying drone as well as bowed vibraphone!

Like Terry Riley’s In C, this work maintains its identity and integrity even through wildly different realizations. This modular concept allows us to conduct residencies that reach beyond percussion departments. Many kinds of students at a music school or conservatory can participate in Amid the Noise: vocalists, string quartets, wind and brass players, guitarists, and of course percussionists.

– Jason Treuting

Sō Percussion With innovative multi-genre original productions, sensational interpretations of modern classics, and an “exhilarating blend of precision and anarchy, rigor and bedlam,” (New Yorker), Sō Percussion has redefined the scope and vital role of the modern percussion ensemble.

Sō’s repertoire ranges from classics of the 20th century, by John Cage, Steve Reich and Iannis Xenakis, et al., to commissioning and advocating works by contemporary composers such as David Lang, Julia Wolfe, Steve Mackey and Caroline Shaw, to distinctively modern collaborations with artists who work outside the classical concert hall, including Shara Nova, the electronic duo Matmos, the choreographer Susan Marshall, Wilco’s Glenn Kotche, Bryce Dessner and many others.

Sō Percussion also composes and performs their own works, ranging from standard concert pieces to immersive multi-genre programs – including From Out a Darker Sea, Imaginary City, Where (we) Live, and A Gun Show, which was presented in a multi-performance presentation as part of the Brooklyn Academy of Music (BAM) Next Wave Festival in 2016. In these concert-length programs, Sō Percussion employs a distinctively 21st century synthesis of original music, artistic collaboration, theatrical production values and

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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visual art, into a powerful exploration of their own unique and personal creative experiences.

In 2018-19, Sō Percussion collaborates with a range of incredible artists, working to bring original work to audiences around the world. Sō tours a brand-new percussion quartet by the phenomenally talented composer/pianist Vijay Iyer; performs Caroline Shaw’s Narrow Sea with Dawn Upshaw and Gil Kalish at Ravinia; and returns to David Lang’s man made at the Chautauqua Festival. Looking forward, Sō premieres new percussion quartets by Angélica Negrón, Suzanne Farrin and Julia Wolfe (co-commissioned

by Carnegie Hall and the LA Phil), performs at the National Gallery of Art in Washington, D.C., UC Berkeley and Stanford Live, plays Steve Reich’s complete Drumming for the Celebrity Series of Boston – and much more.

Recent highlights include the New York premiere of David Lang’s man made with Louis Langrée and the Mostly Mozart Festival Orchestra; performances of an acclaimed Trilogy portrait at the Lincoln Center Festival; Narrow Sea, a new work by Caroline Shaw with Dawn Upshaw and Gil Kalish, at the Kennedy Center, San Francisco Performances, UCLA, Penn State, Ravinia and elsewhere; returns to Carnegie Hall with the JACK Quartet in a program of new works

by Donnacha Dennehy and Dan Trueman; appearances at Bonnaroo, the Eaux Claires Festival, MassMoCA and TED 2016; tours to Poland and Ireland; man made with Gustavo Dudamel and the LA Phil; Bryce Dessner’s Music for Wood and Strings at the Barbican in London; and an original score for a live performance and broadcast of WNYC’s Radiolab with Jad Abumrad and Robert Krulwich at BAM. Rooted in the belief that music is a social bond and an effective tool in creating agency and citizenship, Sō Percussion enthusiastically pursues a growing range of social and community outreach. Examples include their Brooklyn Bound presentations of younger composers; commitments to purchasing offsets to compensate for carbon-heavy activities such as touring travel; and leading their Sō Percussion Summer Institute (SōSI) students in an annual food-packing drive, yielding up to 35,000 meals for the Crisis Center of Mercer County through the organization EndHungerNE. This season, Sō Percussion celebrates its fifth year as the Edward T. Cone Ensemble-in-Residence at Princeton University. Through this residency, Sō presents an annual series of concerts, collaborates closely with University faculty and students and offers performances throughout the community. They also run the annual Sō Percussion Summer Institute (SōSI, which marked its tenth anniversary in 2018), providing college-age composers and percussionists an immersive exposure to collaboration and project development.

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Why “Sō?”

One of the first things any group needs is a name. When our group was founded in 1999, we cast far and wide among our friends and family for suggestions. The winner was this simple, short word offered by Jenise Treuting, Jason’s sister.

Jenise has been living and working in Japan as an EnglishJapanese translator for 20 years. The word “Sō” was punchy, enigmatic and memorable.

“The Sō in Sō Percussion comes from 奏, the second character in the compound Japanese word 演奏 (ensou), to perform music. By itself, so means ‘to play an instrument.’ But it can also mean ‘to be successful,’ ‘to determine a direction and move forward’ and ‘to present to the gods or ruler.’ Scholars have suggested that the latter comes from the character’s etymology, which included the element ‘to offer with both hands.’ 奏 is a bold, straightforward character, but lends itself to calligraphy with a certain energy that gives so a springy, delicate look.”

– Jenise Treuting

Support Sō Percussion’s 2018-2019 season is supported in part by awards from: • The National Endowment for the Arts.To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov • The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature • The New York City Department of Cultural Affairs in partnership with the City Council • The Aaron Copland Fund for Music, Inc • The Alice M. Ditson Fund of Columbia University • The Amphion Foundation • The Brookby Foundation • The Fan Fox and Leslie R. Samuels Foundation • The Howard Gilman Foundation • New Music USA’s NYC New Music Impact Fund, made possible with funding from The Scherman Foundation’s Katharine S. and Axel G. Rosin Fund Sō Percussion uses Vic Firth sticks, Zildjian cymbals, Remo drumheads, Estey Organs and Pearl/Adams instruments. Sō Percussion would like to thank these companies for their generous support and donations.

@ArtsAndLectures

Beth Macy

Dopesick: Dealers, Doctors and the Drug Company That Addicted America Sun, Apr 7 / 3 PM Campbell Hall / FREE photo: David Hungate

Presented in association with UCSB Student Health Alcohol & Drug Program, Life of the Party and Gauchos for Recovery Thematic Learning Initiative Event

Beth Macy is the author of the critically-acclaimed New York Times-bestselling books Factory Man and Truevine.

Her third nonfiction narrative is Dopesick: Dealers, Doctors and the Drug Company That Addicted America (2018).

Growing out of three decades of reporting from the same Virginia communities, as her prior books did, Dopesick unpacks one of the most intractable social problems of our time: the opioid crisis, set against a landscape of job loss, corporate greed and stigma, along with the families and first responders who are heroically fighting back. Overdose deaths are now the equivalent of a jetliner crashing in our country every day, and yet the government response to the epidemic remains – in a word – impotent.

Dopesick is, in many ways, the sequel to Macy’s first book, Factory Man. It lays out exactly how the jobless “other America” ended up couch-surfing with the likes of surgeons’ daughters and civic leaders’ kids who fall prey to prostitution, jail and even death. Tom Hanks describes Dopesick as “a deep – and deeply needed – look into the troubled soul of America.” Stanford addiction medicine specialist and author Dr. Anna Lembke calls it the first book to capture the entirety of the epidemic, “with a fastpaced narrative, colorful and inspiring characters, vivid historical detail and a profound sense of place.”

A longtime reporter who specializes in outsiders and underdogs, Macy has won more than a dozen national journalism awards, including a Lukas Prize for Factory Man, multiple shortlist and best-book-of-the-year honors for Truevine and a Nieman Fellowship for Journalism at Harvard for her newspaper writing.

A frequent speaker, teacher and essayist, Macy has been published in The New York Times, Wall Street Journal, The New Yorker, Oprah magazine and Parade. Her approach to storytelling: Report from the ground up, establish trust, be patient, find stories that tap into universal truths. Get out of your ZIP code. To do good journalism, be a human first.

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Monterey Jazz Festival on Tour Mon, Apr 8 / 8 PM / Campbell Hall

photo: R. R. Jones

Program will be announced from the stage.

Cécile McLorin Salvant, vocals Bria Skonberg, trumpet Melissa Aldana, tenor saxophone Christian Sands, piano, music director Yasushi Nakamura, bass Jamison Ross, drums About the Program The Monterey Jazz Festival (MJF), the longest continuously-running jazz festival in the world, is pleased to present its fifth national tour – a 60th anniversary celebration featuring some of the most critically-acclaimed, Grammy Award-winning and Grammy Award-nominated jazz artists of their generation, including three winners of the Thelonious Monk International Jazz Competition.

In addition to having three unique and talented vocalists on the tour, and an equal balance of men and women, the show features renditions of classic jazz standards along with originals penned by the members. Each musician is an outstanding representative of the next generation of jazz artists and educators, and each has a close relationship with Monterey that represents both its musical excellence and jazz education activities – core components of Monterey Jazz Festival’s mission statement.

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To celebrate the Festival’s 60th anniversary of its inception in 2018, Artistic Director Tim Jackson put together an all-star band that represented the future of jazz in a nationwide tour. Previous incarnations include a 50th anniversary tour in 2008 and additional national tours in 2010, 2013 and 2016, with a collective 163 performances for more than 115,000 fans across the country.

About the Artists One of the most acclaimed vocalists of her generation, Cécile McLorin Salvant is the winner of the 2010 Thelonious Monk International Jazz Competition. Other honors include selection for Jazz Album of the Year by the DownBeat International Critics Poll and NPR, as well as Up-and-Coming Jazz Artist of the Year and Top Female Vocalist from the Jazz Journalists Association. Salvant grew up in a bilingual household in Miami and traveled to Aix-en-Provence to pursue a degree in French law while training as a classical and baroque singer before switching to jazz. “If anyone can extend the lineage of the Big Three – Billie Holiday, Sarah Vaughan and Ella Fitzgerald – it is [her],” wrote the New York Times. Her last three Mack Avenue releases, For One to Love, Dreams and Daggers and The Window each won Grammy Awards for Best Jazz Vocal Album. Her newest album, The Window, is a series of duets with pianist Sullivan Fortner, released in September 2018.

Rolling Stone describes Salvant as “one of the greatest jazz singers of her generation, but that label sells her short.”

Salvant made her Monterey Jazz Festival debut in 2014.

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Canadian singer, trumpeter and songwriter Bria Skonberg has been described as one of the “most versatile and imposing musicians of her generation” by the Wall Street Journal, recognized as one of 25 for the Future by DownBeat magazine and cited as a millennial “shaking up the jazz world” by Vanity Fair. Signed to Sony Music Masterworks’ OKeh Records, Skonberg released her eponymous major label debut in 2016, winning a Canadian JUNO award and making the Top 5 on Billboard jazz charts. Her many accolades include Best Vocal and Best Trumpet awards from Hot House Jazz magazine, Outstanding Jazz Artist at the New York Bistro Awards and DownBeat’s Rising Star award. In addition to performing at jazz festivals around the world, Skonberg is an avid educator and supporter of public school opportunities, giving numerous workshops and concerts for students of all ages. She debuted at the Monterey Jazz Festival in 2016.

Tenor saxophonist Melissa Aldana was born in Santiago, Chile, and in 2013 she became the first female instrumentalist and the first South American ever to win the Thelonious Monk Competition. Aldana attended the Berklee College of Music, studying with George Garzone, Danilo Pérez and Patricia Zarate, while hitting the clubs with Greg Osby and George Coleman, among others. She is also a recipient of the Martin E. Segal Award from Jazz at Lincoln Center and a double recipient of the Altazor Award, Chile’s highly prestigious national arts prize. She has released four albums as a leader, including her latest, Back Home, on Concord. Aldana “balances technical bravura with musical depth, a hallmark of her playing,” writes the Chicago Tribune. She made her Monterey Jazz Festival debut in 2014.

Pianist Christian Sands is a five-time Grammy Award nominee. As a child in New Haven, Conn., he began music classes at age 4, started playing professionally at the age of 10 and received his bachelor of arts and master’s degrees from the Manhattan School of Music. A protégé of Dr. Billy Taylor, Sands began a six-year association with bassist Christian McBride in 2009, touring jazz festivals and clubs worldwide. Sands has followed in Taylor’s footsteps by encouraging, inspiring and advocating for the preservation and history of jazz, teaching young people as well as adult audiences. In 2015, he started the Jazz Kids of Montmartre in Copenhagen, Denmark; he also teaches at Jazz in July, where he is an alumnus. His recent debut for Mack Avenue, Reach, “showcases his significant talents as an imaginative composer, a clever arranger and a skillful technician with a fluid style,” (DownBeat). His new Mack Avenue release, Facing Dragons, was released in September 2018 and was reviewed by NPR as a “crisply assured new album... that ex-

presses new ideas without abandoning the old.” Sands has performed several times at the Monterey Jazz Festival with Christian McBride, as was a featured performer in Geri Allen’s Erroll Garner Project at MJF58 in 2015.

Grammy-nominated drummer and vocalist Jamison Ross won the Thelonious Monk International Jazz Competition in 2012. A Jacksonville, Fla. native, Jamison received his bachelor of arts in Jazz Studies from Florida State University and his master’s from the University of New Orleans. He has toured internationally and recorded with a variety of esteemed jazz artists including Cécile McLorin Salvant, Jon Batiste, Dr. John, Jon Cleary, Christian McBride and Carmen Lundy. His debut album, Jamison, was released on Concord Records and was nominated for a Best Jazz Vocal Album Grammy in 2015. He released his latest album, All for One, in January 2018. Jamison’s “roots in jazz and gospel give him thrilling chops and unfailing feel,” writes NPR. Jamison made his MJF debut in 2016.

Bassist Yasushi Nakamura is one of the most commanding voices on bass today. Born in Tokyo, Nakamura moved to Seattle, Wash., eventually receiving his bachelor’s in jazz performance from Berklee College of Music and an artist diploma from The Juilliard School. He has recorded or performed around the world with Wynton Marsalis, Wycliffe Gordon, Toshiko Akiyoshi, Hank Jones, Dave Douglas and many others. As an educator, Nakamura has led master classes and summer intensive courses at Juilliard, The New School, Koyo Conservatory, Osaka Geidai and Savannah Swing Central. Nakamura made his highly-anticipated album debut as leader in late 2016 with A Lifetime Treasure, followed by Hometown in 2017. Nakamura first appeared at MJF in 2004.

The MJF on Tour 60th Anniversary Celebration is produced by Danny Melnick for Absolutely Live Entertainment (ALE), which also produced two previous MJF tours, in 2013 and 2016.

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Jennifer L. Eberhardt Biased: Uncovering the Hidden Prejudice That Shapes What We See, Think and Do

photo: Nana Kofi Nti

Wed, Apr 10 / 7:30 PM Campbell Hall / FREE

Dr. Jennifer Eberhardt is a professor of psychology at Stanford. She has a doctorate from Harvard and is the recipient of many prestigious awards, including a 2014 MacArthur “Genius” Award. She has been elected to the National Academy of Sciences and the American Academy of Arts and Sciences and was named one of Foreign Policy’s 100 Leading Global Thinkers. She is widely considered one of the world’s leading experts on racial bias.

Eberhardt was one of the first social science researchers to apply her research on implicit bias to law enforcement, and President Obama’s Task Force on 21st Century Policing quoted her testimony in its call for implicit bias training at all levels of law enforcement.

She is co-founder and co-director of SPARQ (Social Psychological Answers to Real-world Questions), a Stanford Center that brings together researchers and practitioners to address significant social problems. SPARQ not only addresses social problems in the area of criminal justice, but also in health, education and business.

With SPARQ, Eberhardt has worked with the Oakland Police Department on improving police-community relations. California’s former attorney general, Kamala Harris, and the Department of Justice used pilot versions of her trainings on implicit bias to develop a statewide training program for law enforcement officials. Eberhardt is also part of a federal monitoring team overseeing the New York City Police Department’s reform efforts in the aftermath of a judge’s ruling to end controversial “stop and frisk” practices.

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Presented in association with the UCSB Department of Asian American Studies and the UCSB Department of Chican@ Studies Thematic Learning Initiative Event

She has consulted for Airbnb, Nextdoor and other businesses who have read her research and reached out to see how social science can be applied to reduce bias in the business world.

The hallmarks of her work are: unsettling research revealing the long, pernicious reach of unconscious racial bias and an unrelenting commitment to use her findings to develop positive solutions in our contemporary world.

Interest has built in Eberhardt’s work through media coverage of her research in The New York Times, Los Angeles Times, The Washington Post, The Wall Street Journal, The Economist, Discover Magazine, WIRED, Vox and Slate. Her work has been featured on the BBC, PBS and NPR as well as in popular books, such as NPR correspondent Shankar Vedantam’s The Hidden Brain and Michelle Alexander’s The New Jim Crow.

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

@ArtsAndLectures

Jennifer Koh, violin Shared Madness 2

photo: photo: Juergen Frank

Fri, Apr 12 / 7 PM / St. Anthony’s Chapel

Presented in association with the UCSB Department of Asian American Studies and the UCSB Department of Music Related Thematic Learning Initiative Event (see page 11)

Program

About the Program

Marc Neikrug (b. 1946): Flash

Shared Madness is a project that tells the story of an amazing and generous community of fellow artists and friends who came to my aid at a time when I desperately needed their support and help. Many of them witnessed the eight years during which I tried to raise funds in order to purchase a violin I could perform on for the remainder of my life. When Elizabeth and Justus Schlichting, supporters of new music, stepped in to relieve a great deal of my debt and agreed to accept music commissions as payment instead of funds, my fellow community of artists came rushing to help. These composers have given me the great gift of writing a new work for me to help support this project and they come from a community of colleagues and friends with whom I have worked over the years.

Shared Madness celebrates the support of these friends, encapsulates the intensity of the creative process shared between composer and performer, and ultimately reveals the incredible support network that exists between artists.

Philip Glass (b.1937): Sarabande in Common Time Phil Kline (b. 1953): Bedeviled David Ludwig (b. 1974): Moto Perpetuo David Lang (b. 1957): low resolution David Bruce (b.1970): Marzipan James Matheson (b.1970): Capriccio Matthew Aucoin (b. 1990): resolve Christopher Cerrone (b. 1984): Shall I Project A World?

Sean Shepherd (b. 1979): wideOPENwide Bryce Dessner (b. 1976): Gift Derek Bermel (b.1967): Twenty Questions Anthony Cheung (b. 1982): Character Studies Andrew Norman (b. 1979): Still Life Christopher Rountree (b. 1983): because I left it there Kaija Saariaho (b. 1952): Sense

Each composer has offered to write a solo violin work exploring the relationship between the violinist and the instrument. While Paganini wrote a landmark set of 24 caprices that explored the relationship of virtuosity on the violin at the beginning of the 19th century, this group of composers will explore the meaning of virtuosity in the 21st century. This new body of work was premiered under the auspices of the New York Philharmonic’s 2nd Biennial in June 2016.

Jean-Baptiste Barrière (b. 1958): Palimpsest Capriccio

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I cannot find words to express my gratitude for my fellow artists’ incredibly moving acts of generosity and support and only hope that I can show thanks through dedicated performances and a continued advocacy of their music.

As an extension of the idea of community that created Shared Madness, I hope to pay it forward by continuing to offer free performances of the composers’ works within the communities in which we work and live; and educational workshops for student composers and instrumentalists which encourage and support the intense relationship between composers and performers so that our “shared madness” will continue to inspire the next generation of artists.

– Jennifer Koh

Jennifer Koh Violinist Jennifer Koh is recognized for intense, commanding performances, delivered with dazzling virtuosity and technical assurance. A forward-thinking artist, she is dedicated to exploring a broad and eclectic repertoire, while promoting diversity and inclusivity in classical music. She has expanded the contemporary violin repertoire through a wide range of commissioning projects, and has premiered more than 70 works written especially for her. Her quest for the new and unusual, sense of endless curiosity, and ability to lead and inspire a host of multidisciplinary collaborators, truly set her apart.

Koh continues her critically-acclaimed series, including The New American Concerto, Limitless, Bach and Beyond, Shared Madness and Bridge to Beethoven this season.

The New American Concerto is an ongoing, multi-season commissioning project that explores the form of the violin concerto and its potential for artistic engagement with contemporary societal concerns and issues through commissions from a diverse collective of composers. Two concertos have thus far been premiered as part of the project: Vijay Iyer’s Trouble (2017) and Chris Cerrone’s Breaks and Breaks (2018). This season she performs Trouble with the Louisiana Philharmonic and Vermont Symphony Orchestras. She also performs a broad range of concertos that reflects the breadth of her musical interests, from traditional repertoire to music of this millennium, with such ensembles as the Philadelphia Orchestra, Los Angeles Chamber Orchestra, Camerata Salzburg and Gothenburg Symphony Orchestra, in addition to the Los Angeles Philharmonic.

commissioned as part of this project exploring the relationship between composer and performer through duo works played by Koh and the composers themselves; Bridge to Beethoven, in which she joins pianist Shai Wosner in pairing Beethoven’s violin sonatas with new works inspired by them; Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s sonatas and partitas to pieces by 20th- and 21st-century composers; and Shared Madness, comprising short works that explore virtuosity in the 21st century, commissioned from more than 30 composers.

Koh is an active lecturer, teacher and recording artist.

She has residencies this season at Cornell and Tulane Universities, during which she will perform, give master classes and speak on topics from diversity to contemporary composition. Her album of works by Kaija Saariaho, a close collaborator whose music she has long championed, was released by Cedille in November.

Named Musical America’s 2016 Instrumentalist of the Year, Koh has won the International Tchaikovsky Competition in Moscow, Concert Artists Guild Competition and an Avery Fisher Career Grant. She has a bachelor of arts in English literature from Oberlin College and studied at the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. She is the artistic director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us. www.jenniferkoh.com

Koh also performs music from her Limitless project with pianist Vijay Iyer and percussionist Tyshawn Sorey, both

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@ArtsAndLectures

The Gloaming Sun, Apr 14 / 7 PM / Campbell Hall

Martin Hayes, fiddle Caoimhin Ó Raghallaigh, hardanger d’amore Iarla Ó Lionáird, vocals Thomas Bartlett, piano Dennis Cahill, guitar photo: Rich Gilligan

Program will be announced from the stage.

It’s too late to stop now. What began as an experiment has turned into something truly compelling, enthralling and thrilling. Something which never fails to lift the heart or lift a roof. Something which connects you to old souls and wild ways and fierce times. Something which certainly didn’t exist before, but which often feels as if it has been part and parcel of the furniture forever.

In many ways, The Gloaming began with a question: What would happen if you amplified and enhanced traditional Irish music’s rich, melancholic, soulful tones with modern hues of jazz, contemporary classical and experimental music? In many ways, the musicians who started out on this odyssey are still answering that question every night they go onstage to play another sold-out show in some of the most prestigious concert halls around the world. It’s an answer without a full stop in sight.

from Arvo Pärt to Sigur Rós. Still very much an East Clare fiddler, Hayes has brought this age-old sound into a modern setting without losing any of its essence.

Hayes’ fellow fiddler is Dublin-born Ó Raghallaigh, whose head was turned by minimal, experimental sounds. His ability to mine the space and texture between the notes with his customized fiddle, part Norwegian Hardanger and part viola d’amore, has produced a mesmerizing body of groundbreaking solo and collaborative work. As a player, Ó Raghallaigh is fearless and peerless when it comes to following a musical hunch or nudge across the fields and hills.

The Gloaming brings together five musical masters.

Steeped in traditional Irish music since birth, fiddlers Martin Hayes and Caoimhin Ó Raghallaigh and sean-nós singer Iarla Ó Lionáird are joined by New York pianist Thomas Bartlett (Doveman) and Chicago-born guitarist Dennis Cahill. They are guided adroitly by their musical director Matt Purcell.

Ó Lionáird hails from West Cork, where sean-nós singing – solo singing unaccompanied by any instrument – is the lingua franca. Passed down the generations like a field with road footage, the songs cover a multitude of material: historical events, love poems or bittersweet accounts of loss and emigration and, of course, songs about drinking and devilment. An exponent of this dark, passionate and ancient art, Ó Lionáird has taken a unique, indelibly Irish voice and lyrics drawn from Irish literature into new terrain. He has recorded a number of albums for Real World Records and become a choice collaborator for composers like Nico Muhly, Gavin Bryars and Donnacha Dennehy.

The backgrounds of The Gloaming’s three Irish members show the strength, diversity, history and color of the traditional music ecosystem. Hayes hails from County Clare, where a slow, contemplative and melancholic sweep of fiddle music holds sway amongst its musicians. A move to America burnished his sound with new idioms, ranging

The cast of The Gloaming has found new depth and width with the addition of guitarist Cahill, an American from Dingle, County Kerry stock and producer/pianist Bartlett, who has worked with Antony and the Johnsons, Sufjan Stevens, The National and many more. With Cahill and Bartlett’s musical dexterity and shaping, The Gloaming’s

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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reels and jigs attain new and exhilarating heights. It’s a bold and brave combination that creates the distinctive, bracing sound of music then and now, perfectly in tune.

The Gloaming’s debut album was widely considered as one of the finest recordings of 2014, featuring on many yearend best lists including Mojo, NPR Music and The Irish Times and selected by The Guardian as The One Album You Should Hear This Week. It won a BBC Radio 2 Folk Award in the U.K. and the prestigious Choice Music Prize for Album of the Year in Ireland.

Santa Barbara Premiere

Alan Cumming Legal Immigrant

The band’s second album, 2, was released in February, 2016.

Recorded over one inspired week at Real World Studios, 2 again received a ticker-tape parade of positive reviews: “An exquisite album from a virtuoso band,” (The Guardian); Best Traditional Album, (The Irish Times); Best Folk Music, (The Daily Telegraph); and “The coolest supergroup since the Million Dollar Quartet,” (The Irish Independent).

In the last number of years, the band has played an annual run of sold-out shows at Dublin’s National Concert Hall, each series selling out quicker than the previous one and faster than new shows can be added. Away from home, their international touring schedule has been equally impressive, including such notable nights out as the Ceiliúradh at London’s Royal Albert Hall (a celebration of the Irish president’s first-ever state visit to Britain), Sydney’s Opera House, New York’s Lincoln Center, Hamburg’s Elbphilharmonie, Mexico City’s Teatro de la Ciudad and Philharmonie de Paris.

In March, 2018, the band performed seven sold-out shows at Dublin’s National Concert Hall, their only live appearances of the year. To mark this occasion, they released Live at the NCH, a live album recorded at the venue which has become their home from home. The album was again met with universal acclaim. In its five-star review, The Arts Desk called the release “one of the great live recordings, in any genre” and album track “The Sailor’s Bonnet” was also highlighted in the New York Times’ Playlist.

The Gloaming released their newest studio recording, The Gloaming 3, on February 22.

Adapted from Jim Carroll, December 2018 www.thegloaming.net Facebook: @TheGloamingOfficial | Twitter: @TheGloaming1 Artist Management: Foye Johnson, BARQUE LLC | www.barquemgmt.com North American Booking: Elizabeth Roth, Roth Arts | www.rotharts.com

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“He’s an icon to behold. He is unapologetically himself, and with a talent like that, he has no need to apologize.” Billboard

Event Sponsors: Marcy Carsey Audrey & Timothy O. Fisher

Thu, Apr 18 / 8 PM Granada Theatre (See page 34)

@ArtsAndLectures

photos: Theo & Juliet (Dan Buettner); David McLain

Dan Buettner and David McLain The Search for Longevity

Mon, Apr 15 / 7:30 PM / Campbell Hall

Event Sponsors: Nicole & Kirt Woodhouse

Dan Buettner

David McLain

Dan Buettner is an explorer, National Geographic Fellow, award-winning journalist and producer and New York Times bestselling author. He discovered the five places in the world – dubbed Blue Zones – where people live the longest, healthiest lives. His articles about these places in The New York Times Magazine and National Geographic are two of the most popular for both publications.

I built my chops the old fashioned way, shooting feature length assignments around the world for National Geographic magazine. The stories varied but the mandate was always the same: Work with every kind of person under any kind of condition and create timeless yet contemporary images for a client with the highest visual standards on earth.

Buettner now works in partnership with municipal governments, large employers and health insurance companies to apply lessons from the Blue Zones to entire communities by focusing on changes to the local environment, public policy and social networks. The program has dramatically improved the health of more than 5 million Americans to date.

His books, The Blue Zones: Lessons for Living Longer from the People Who’ve Lived the Longest, Thrive: Finding Happiness the Blue Zones Way and The Blue Zones Solution: Eating and Living Like the World’s Healthiest People, were all national bestsellers. Buettner has appeared on The Today Show, Oprah, NBC Nightly News and Good Morning America and has keynoted speeches at the National Academies of the Sciences, World Economic Forum, Aspen Ideas Fest, Bill Clinton’s Health Matters Initiative and Google Zeitgeist. His TED talk has garnered more than 3 million views.

His newest book, Blue Zones of Happiness: Lessons from the World’s Happiest People, reveals the surprising secrets of the world’s happiest places – and shows how we can all apply the lessons of true happiness to our lives.

Over the past decade, I have become increasingly interested in cinematography through an ongoing collaboration with colorist Jerome Thelia. Together we co-own the boutique production company MERGE and recently finished BOUNCE, our first feature documentary, which premiered at SXSW. At home, I live with my wife and two children in a 220-yearold farmhouse and work out of a post beam barn on two beautiful acres just outside of Portland, Maine. My family, my home and Maine ground me and fuel the boundless sense of possibility and hope I bring to my work.

I continually marvel at how endless the opportunities are.

Now is the time to start exploring them. You can see more of my work at www.davidmclain.com.

– David McLain Books by Dan Buettner are available for purchase in the lobby and a signing follows the event

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Ballet Preljocaj

Angelin Preljocaj, Artistic Director

La Fresque (The Painting on the Wall)

photo: Jean-Claude Carbonne

Tue, Apr 16 / 8 PM / Granada Theatre

Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg, Irma & Morrie Jurkowitz, Barbara Stupay Additional Support: Albert and Elaine Borchard Foundation

Presented in association with the UCSB Department of Theater and Dance

La Fresque (The Painting on the Wall) (2016) From the traditional Chinese tale The Painting on the Wall Choreography: Angelin Preljocaj Music: Nicolas Godin, with the collaboration of Vincent Taurelle for some music tracks Costumes: Azzedine Alaïa Set Design and Video: Constance Guisset Studio Lighting: Éric Soyer Dancers: Déborah Casamatta, Margaux Coucharrière, Verity Jacobsen, Kelvin Mak Cheuk Hung, Tommaso Marchignoli, Simon Ripert, Fran Sanchez, Redi Shtylla, Anna Tatarova, Cecilia Torres Morillo Assistant, Deputy to the Artistic Direction: Youri Aharon Van den Bosch Rehearsal Assistant: Cécile Médour Choreologist: Dany Lévêque Masks Creation: Michèle Belobradic

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Scenery Construction: Atelier du petit chantier Technical Director: Luc Corazza General Production and Sound Manager: Martin Lecarme Lighting Manager: Pierre Lafanechere Stage Manager: Mario Domingos Stagehand: Juliette Corazza Wardrobe Manager: Nina Langhammer La Fresque is a production of Ballet Preljocaj. It is a co-production with the Grand Théâtre de Provence, Maison des Arts de Créteil, Théâtre de la Ville Paris / Chaillot - Théâtre national de la danse, Scène Nationale d’Albi, National Taichung Theater (Taïwan).

Performed in memory of Cléo Thiberge Edrom.

The Ballet Preljocaj, National Choreographic Centre is subsidized by the Ministry of Culture and Communication – DRAC PACA, Region Sud ProvenceAlpes-Côte d’Azur, Bouches-du-Rhône Department, Aix-Marseille Provence Metropolis / Aix Regional Territory, City of Aix-en-Provence, supported

by Groupe Partouche – Casino Municipal d’Aix-Thermal, individuals and company sponsors, and private partners.

This tour of Ballet Preljocaj is supported by the French Institute.

@ArtsAndLectures

About the Program

About Ballet Preljocaj

Might there be a secret passage that allows us to access the essence of a picture that fascinates us?

National Choreographic Centre

Did Francis I, one day in Ambroise, search for the path that would lead him to Mona Lisa?

Did the Prince of Liechtenstein, when he acquired a canvas dating from the 16th century, believe that, if he looked at it assiduously, his imagination would acquire the power to teleport his body to Cranach’s Venus?

The Painting on the Wall, inspired by the famous eponymous Chinese story, tells us about this journey into another dimension where the picture becomes a place of transcendence and physical being enters into a relationship with the picture.

This question of the picture is at the heart of our investigation. It also evokes Plato’s cave and its shadows, which question our existence.

The ballet seeks to explore the mysterious relations between representation and reality, sites at which the dance creates the bonds that link the fixed image and movement, instantaneity and duration, the live and the inert.

This metaphor running through the Chinese tale raises the question of representation in our civilization. It speaks to us of the place of art in today’s society.

– Angelin Preljocaj Once upon a time, there were two travelers, one called Chu and the other Meng. On a rainy, windy day, they arrived at a small temple. In this peaceful place where the silence was disrupted only by squalls of rain, a hermit who lived there invited the two travelers to look at a magnificent fresco painted on a temple wall. The fresco showed a group of girls in a copse of parasol pines. One of them was picking flowers.

She was smiling sweetly, her lips were as bright as the flesh of cherries, and her eyes were bright. Chu was fascinated by her long, loose dark hair, the symbol of young girls and single women. He stared at the girl so intensely for such a long time that he felt as if he was floating in the air and was transported inside the painting. The adventure lasted for several years, years of idyll and happiness, until one day some warriors chased Chu out of the world of the fresco. When he returned to the real world, his friend Meng had only been looking for him for a few minutes. The two friends looked at the fresco.

The girl was still there, but her hair was now in a magnificent chignon, the symbol of married women.

Created in 1985 in Champigny-sur-Marne, the Ballet Preljocaj has been based in Aix-en-Provence, South of France, since 1996. Since founding his company, now composed of 24 dancers, Angelin Preljocaj has created 52 choreographic works, ranging from solo to larger formations. The Ballet performs approximately 110 dates per year on tour, in France and abroad.

In addition to its repertory performances, the Ballet Preljocaj has been expanding its local activities in order to share its passion for dance with the broader public with public rehearsals and workshops – all means of viewing and understanding dance from different perspectives.

Since 2006, the Ballet Preljocaj has called the Pavillon Noir, designed by the architect Rudy Ricciotti, its home.

Performances are programmed year-round, featuring Angelin Preljocaj’s creations and performances from invited companies.

About the Artists Angelin Preljocaj, Artistic Director and Choreographer Angelin Preljocaj was born in Paris, France and began studying classical ballet before turning to contemporary dance, which he studied with Karin Waehner, Zena Rommett and Merce Cunningham, and later with Viola Farber and Quentin Rouillier. He then joined Dominique Bagouet before founding his own company in December 1985. He works regularly with other artists, including Enki Bilal, Goran Vejvoda, Air, Granular Synthesis, Fabrice Hyber, Karlheinz Stockhausen, Jean Paul Gaultier, Laurent Mauvignier, Natacha Atlas and Azzedine Alaïa. His productions are now part of the repertoire of companies around the world, many of which also commission original productions from him, including New York City Ballet, La Scala of Milan, Staatsoper Berlin and Paris Opera Ballet.

He has also directed and collaborated on several films of his own choreographic work. Preljocaj has received numerous awards, including the Benois de la Danse in 1995, a Bessie Award in 1997, les Victoires de la Musique in 1997, a Globe de Cristal for Snow White in 2009 and the Samuel H. Scripps/American Dance Festival Award in 2014.

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Nicolas Godin, Music

Dancers

After seven albums as half of celebrated musical duo Air, Nicolas Godin’s first solo album, Contrepoint, reached back in time to move further forward. Four years in the making, Contrepoint is a dazzling recording that conjoins Godin’s habitual musical fusions – drawn from modern pop, film soundtracks and retrospective pop (soft rock, exotica, ’80s Eurodance, Yé-yé) – with the classical forms of Johann Sebastian Bach. In 2003, Nicolas Godin created Angelin Preljocaj’s music spectacle Near Life Experience in conjunction with Air.

Verity Jacobsen (dancer) was born in 1987 in Sydney, Australia. She studied at the New Zealand School of Dance and graduated with a National Diploma in Dance Performance. She has worked with Daniel Belton, Dean Walsh, Vicki Van Hout, Fiona Malone and Malia Johnson, as well as with Good Company Arts and with the Royal New Zealand Ballet as a movement coach. She has toured with Empire of the Sun and danced in The Nights by Angelin Preljocaj. She joined the Ballet Preljocaj in 2015.

Azzedine Alaïa, Costumes A graduate of the Beaux-Arts in Tunis, Azzedine Alaïa came to Paris in the 1950s and met Louise de Vilmorin, Simone Zehrfuss and Arletty. He has worked for Cécile de Rothschild, Claudette Colbert and Greta Garbo. In the 1980s, he presented his first ready-to-wear collection and opened his first store. He designed Jessye Norman’s famous dress for the bicentenary of the French Revolution and dedicated a dress to Tina Turner. Azzedine Alaïa has become the spokesperson for modernity in tradition, elevating women with skillful design and unusual combinations of fabric.

Constance Guisset, Stage Design After studying at the ESSEC Business School, Institute of Political Science in Paris and spending a year in the Tokyo parliament, Constance Guisset graduated from the Ecole Nationale Supérieure de Création Industrielle before establishing her own studio. She has won several prestigious awards, including the Grand Prix du Design from the City of Paris, the Public Prize at the Design Parade festival in Hyères in 2008, the Audi Talent Award in 2010 and the best stage design award at Designer’s Days in 2011. She has created for Louis Vuitton and Christian Dior Parfums.

Éric Soyer, Lighting After studying ephemeral architectures at the École Boulle, Éric Soyer has designed stage sets and lighting for many directors and choreographers. He worked with the writer-director Joël Pommerat in 1997, who has worked on the creation of a repertoire of twenty repeated shows by the Louis Brouillard Company. Soyer has been responsible for 10 projects since 2006 with Hermès. His activities also extend from street art to music and contemporary opera.

He received the French journalistic critic prize for his work in 2008 and 2012.

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Redi Shtylla (dancer) was born in Albania in 1994. He joined the Albanian National Ballet School in 2004 and danced with the Albanian Opera Ballet. After spending time in Athens in 2012, he joined the Rosella Hightower Superior Dance School in Cannes in 2013. He has danced for Jiří Kylián, Jean-Christophe Maillot, Davide Bombana, Hervé Koubi, Jean-Claude Gallotta and Jean-Charles Gil. He joined the Ballet Preljocaj in 2015.

Cecilia Torres Morillo (dancer) was born in Spain in 1990.

She began studying classical dance at the Conservatory of Córdoba. In 2008, she joined the Andaluz Dance Center, led

by Blanca Li, and specialized in contemporary dance. In 2010, she joined the Company La Imperdible. In 2011, she entered the Conservatoire of Madrid and worked with the Company CaraBdanza. She joined the Ballet Preljocaj in 2013.

Anna Tatarova (dancer) was born in Russia in 1986. She was awarded a Tatiana Galtseva High School Diploma with highest honors from the Moscow Dance School. She joined the Bolshoi Theatre in 2003. Trained by Svetlana Adyrkhaeva, she danced in many Bolshoi ballets, including Coppélia, Giselle and Cinderella. In 2009, she worked with Angelin Preljocaj while at the Bolshoi Theatre; she joined the Ballet Preljocaj in 2011.

Margaux Coucharrière (dancer) was born in France in 1988.

She studied classical dance in Biarritz. In 2008, she entered Epsedanse, a professional training center in Montpellier, and worked with choreographers such as Gil Roman, Isabelle Sissmann, Bruno Agati, Claude Brumachon and Benjamin Lamarche. She joined the Ballet Preljocaj in 2009.

Simon Ripert (dancer) was born in France in 1988. He trained at the National Ballet School of Marseille from 2001 to 2006. He then joined the Conservatoire National Supérieur of Lyon and the Lyon Jeune Ballet in 2008. From 2009 to 2012, he danced with the Ballet de Chemnitz under the direction of Lode Devos. In 2013, he created his own dance and art festival in the Lubéron region. He joined the Ballet Preljocaj in 2013.

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Fran Sanchez (dancer) was born in Spain in 1988. He began studying jazz dance in 2004 in Madrid; he also attended ballet classes at the Victor Ullate Dance Center for two years. He then worked with Juan Carlos Santamaria’s company, Santamaría Compañía de Danza, for two years, in addition to working with Thomas Noone’s company, Thomas Noone Dance, for the piece Bound. He joined the Ballet Preljocaj in 2009.

Déborah Casamatta (dancer) was born in 1985. She joined the Jeune Ballet Corse in 1998, and in 2001, she joined Ballet Studio Colette Armand. She continued her training at Epsedanse Montpellier. She works with different companies, including Ccandance, Anne Marie Porras, La Licorne and La Parenthèse. In 2010, she created the Doublefil Company. She joined the G.U.I.D. in 2007, in addition to touring with the Ballet Preljocaj.

Kelvin Mak Cheuk Hung (dancer) was born in 1993. He studied at the Hong Kong Academy for Performing Arts, where he completed the Gifted Young Dance Programme and received several scholarships. He participated in various local and overseas dance competitions before joining City Contemporary Dance Company (CCDC) in 2013. He received the Hong Kong Dance Award in 2017 and was also nominated for this award in 2016 for his performance in Soledad.

Tommaso Marchignoli (dancer) was born in Italy in 1998.

He trained at the Rosella Hightower School of Dance in Cannes, studying both classical and contemporary dance.

At the age of 15, he entered the Staatliche Ballettschule Berlin, from which he graduated in 2017. He has worked with Marco Goecke, Paolo Mangiola, Catarina Carvallho and Jose Agudo. He joined the Ballet Preljocaj in 2018.

Cécile Médour, Rehearsal Assistant Cécile Médour graduated from the National Conservatory of Music and Dance of Paris in 2010. She also holds a State Diploma in Jazz Dance. Trained as a dancer for Raza Hammadi, she first joined the Krefeld Und Mönchengladbach Theater in Germany in 2012 as a dancer.

She then worked as a choreographic assistant and coach for the company ECO and 2Minimum. She is pursuing a career in notation. She joined the Ballet Preljocaj in 2018 as a rehearsal assistant.

Dany Lévêque, Choreologist A student of Solange Golovine, Dany Lévêque studied choreographic notation and graduated from the Benesh Institut of London. She made her first notation for Hervé Robbe. As an assistant to Jean-Christophe Maillot in the organization of the arrival of the Olympic Flame Bearer in Paris (1991), she received the Villa Médicis Hors les Murs for her study of the relationship between video and notation. Since 1992, she has been working for Angelin Preljocaj, for whom she has noted and reconstructed numerous pieces and restaged several productions especially for London Contemporary Dance Theater, Ballets de Monte-Carlo, Staatsoper Berlin and Paris Opera Ballet.

Exclusive U.S. Representation for Ballet Preljocaj: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Youri Aharon Van den Bosch, Assistant Deputy to the Artistic Direction After studying at the Ecole Jacques Sausin in Brussels, Youri Aharon Van den Bosch began his career as a professional dancer. He holds a State Diploma as Dance Professor. He has directed classes for professionals (to prepare for the State Diploma), workshops, and classes for amateurs, as well as many projects to promote dance awareness in schools.

In September 1999, he joined the Ballet Preljocaj, assisting Angelin Preljocaj. He has been the deputy to the artistic direction since 2005. He is also a visiting professor at the International Dance Academy of Biarritz and is a practicing somatopath in Poyet method osteopathy.

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Anoushka Shankar Wed, Apr 17 / 8 PM / Campbell Hall

photo: Anushka Menon

Anoushka Shankar, sitar Ojas Adhiya, tabla Pirashanna Thevarajah, mridangam, ghatam, moorsing Ravichandra Kulur, flute Danny Keane, cello, piano Kenji Ota, tanpura Program will be announced from the stage.

Event Sponsors: Luci & Rich Janssen

Sitar player and composer Anoushka Shankar is a singular figure in the Indian classical and progressive world music scenes. Her dynamic and spiritual musicality has garnered several prestigious accolades, including six Grammy Award nominations, recognition as the youngest – and first female – recipient of a British House of Commons Shield, credit as an Asian Hero by Time magazine, an Eastern Eye Award for Music and a Songlines Best Artist Award. Most recently, she became one of the first five female composers to have been added to the U.K. A-level music syllabus.

Deeply rooted in the Indian classical music tradition, Shankar studied exclusively from the age of 9 under her father and guru, the late Ravi Shankar, and made her professional debut as a classical sitarist at the age of 13. By the age of 20, she had made three classical recordings for EMI/ Angel and received her first Grammy Award nomination, thereby becoming the first Indian female and youngest-ever nominee in the World Music category. In 2005, Shankar released her self-produced breakthrough album Rise, which earned her a second Grammy Award nomination.

Following this nomination she became the first Indian artist to perform at the Grammy Awards.

As an international solo sitarist, Shankar has performed in a range of distinguished venues, such as Carnegie Hall, Barbican Centre, Sydney Opera House, Vienna Konzerthaus, Salle Pleyel, Royal Festival Hall, Frankfurt Alte Oper, Théâtre des Champs-Elysées, Palais des BeauxArts, KKL Luzern, Millenium Park (Chicago) and San

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Related Thematic Learning Initiative Event (see page 11)

Francisco Opera House. Festival appearances include Edinburgh, Verbier, Prague Spring, Glastonbury, WOMAD, Celebrate Brooklyn and the BBC Proms in London.

Shankar has championed her father’s four sitar concertos with the world’s leading orchestras including the Berlin Philharmonic, London Symphony, London Philharmonic, New York Philharmonic and Los Angeles Philharmonic and under the leadership of esteemed conductors such as Zubin Mehta. Besides performing as a solo sitarist, her compositional work has led to cross-cultural collaborations with artists such as Sting, M.I.A, Herbie Hancock, Pepe Habichuela, Karsh Kale, Rodrigo y Gabriela and Joshua Bell, demonstrating the versatility of the sitar across musical genres.

In 2011, she signed to Deutsche Grammophon, heralding a fertile creative period with a series of exploratory CDs: Traveller (produced by Javier Limón) examines the relationship between Indian classical music and Spanish flamenco, Traces of You (produced by Nitin Sawhney and featuring Shankar’s half-sister Norah Jones on vocals), and Home, a purely Indian classical album where she returned to the ragas her father had taught her. Her 2016 album Land of Gold was written in response to the humanitarian trauma of displaced people fleeing conflict and poverty. March 2019 saw the release of Reflections, a compilation album mapping the highlights of her 20 year recording career.

Her compositional work was recently celebrated in a “Zeitinsel” at the Dortmund Konzerthaus, where she was

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given carte blanche to present four full-length programs reflecting different aspects of her artistic life. She was commissioned by the British Film Institute to write a full-length film score to accompany the BFI National Archive’s restoration of the 1928 silent film Shiraz, specially-commissioned to mark the U.K.-India Year of Culture 2017. Recent highlights also include curating a Tagore festival at Shakeapeare’s Globe in London dedicated to the legendary Bengali polymath Rabindranath Tagore. Shankar is a featured soloist and co-writer on Arijit’s Singh’s latest feature film and performs on the soundtrack to Stephen Frears’ film Victoria and Abdul.

World Premiere Co-commissioned by UCSB Arts & Lectures

Silkroad Ensemble Heroes Take Their Stands

The 2018-19 season sees a tour of the Netherlands with the Metropole Orkest featuring orchestrations of her works by Jules Buckley, live performances of her film score Shiraz at the Royal Festival Hall and Dublin National Concert Hall and a unique re-imagination of Ravi Shankar and Philip Glass’ Passages at the Paris Philharmonie with her own ensemble alongside the Orchestre de Chambre de Paris. She will tour the U.S. in a new program reflecting on her journey so far, drawing on classical ragas and experimenting with new ideas in a cross-cultural dialogue that showcases the versatility of the sitar across musical genres.

Shankar’s artistic output increasingly seeks to reflect her impassioned support of women’s rights and social justice. In response to the horrific gang-rape of Jyoti Singh Pandey in Delhi in 2011, Shankar threw her weight behind the campaign One Billion Rising on Change.org. To support the campaign, she released a video in which she demanded an end to crime against women and revealed she had been sexually abused for many years as a child. Following this, she was invited to take part in a special panel on violence against women at the annual Hindustan Times Leadership Summit in New Delhi (2013). Other recent projects include hosting a radio show about gender equality to promote the United Nations’ Sustainable Development Goals, and coordinating a call-to-action to the U.K. government in response to the current European refugee crisis, which was signed by more than 100 leading British cultural figures and published in a full-page advertisement in the Guardian newspaper in September 2015.

She also narrated Stolen Innocence, a documentary film about human trafficking which premiered in autumn 2017.

Shankar has authored a biographical portrait of her father, Bapi: The Love of My Life, and has been a regular columnist for New Delhi’s First City magazine and the Hindustan Times. www.anoushkashankar.com Special thanks to

“The most happening, up-to-theminute players in the known world and a constantly evolving repertoire of brilliant, genre-defying new music.”

– Charles Donelan, Santa Barbara Independent In celebration of their 20th anniversary, the Grammy-winning ensemble will perform a bold new multimedia project that tells the stories of five heroic figures from diverse cultures – from Dr. Martin Luther King, Jr., to Elektra of Greek mythology, to Arjuna of Hindu epic poetry.

Event Sponsor: Lady Leslie Ridley-Tree Presented in association with the UCSB Department of Music

Fri, Apr 26 / 8 PM Granada Theatre (See page 45)

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Alan Cumming Legal Immigrant

photo: Philip Toledano

Thu, Apr 18 / 8 PM / Granada Theatre

Event Sponsors: Marcy Carsey Audrey & Timothy O. Fisher

Alan Cumming has performed with Jay Z and Liza with a Z; he has won a Tony, hosted the Tonys and been nominated for an Emmy for doing so; he has a soap called Cumming in a Bar, and a bar called Club Cumming; he made back-to-back films with Stanley Kubrick and the Spice Girls; he has played God, the Devil, Hitler, the Pope, a teleporting superhero, Hamlet, all the parts in Macbeth, General Batista of Cuba, a goat opposite Sean Connery, Dionysus, a Smurf (twice), the Emcee in Cabaret (thrice), a James Bond baddie and political spinmeister Eli Gold on seven seasons of The Good Wife, for which he received multiple Golden Globe, Emmy and SAG award nominations; he is the author of five books including a No. 1 New York Times bestselling memoir; he has appeared on Sesame Street, Dora the Explorer, topless in Playgirl and naked on the cover of his second album.

Palladium, the Walt Disney Concert Hall in L.A. and the Kennedy Center, Washington, D.C. He also released albums of the same name. Billboard said after Alan Cumming Sings Sappy Songs, “He’s an icon to behold – he is unapologetically himself, and with a talent like that, he has no need to apologize.”

Cumming has received more than 40 awards for his humanitarianism and social activism, three honorary doctorates, both the Great Scot and Icon of Scotland awards from his homeland and was made an OBE (Officer of the British Empire) for his contributions to the arts and LBGT equality by the Queen, whose portrait was taken down when his was unveiled at the Scottish National Portrait Gallery in 2014.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

More recently, he has toured the world with his cabaret shows I Bought a Blue Car Today, which debuted at Lincoln Center, NYC, followed by the Sydney Opera House (he doesn’t believe in starting small), and Alan Cumming Sings Sappy Songs, which earned huge critical acclaim and sold out Carnegie Hall, the London

Special thanks to

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Now he is back with Legal Immigrant, a meditation on his ten years as an American citizen and the experiences and change he has witnessed during his time living in the States. With a set list that includes songs made famous by Adele, Peggy Lee and Edith Piaf and composers as diverse as Sondheim and Schubert, Legal Immigrant is as eclectic, vulnerable and charismatic as Alan Cumming himself.

Alancumming.com | Twitter: @alancumming | Instagram: @alancummingsnaps

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Have fun tonight. Plan for tomorrow.

Help sustain Santa Barbara’s vibrant cultural life for the benefit of future generations, by making Arts & Lectures part of your estate plan.

Silkroad Ensemble

Heroes Take Their Stands

Fri, Apr 26 / 8 PM / Granada Theatre

Together, let’s protect our future.

To discuss planned giving, call Sandy Robertson at (805) 893-3755.

photo: David Bazemore

photo: David Bazemore

Education for All

National Geographic wildlife photographer and filmmaker Bertie Gregory giving an A&L Arts Adventures educational presentation for more than 1,200 Santa Barbara 4th-6th graders at The Granada Theatre

For 60 years, Arts & Lectures has brought the world’s greatest artists and thinkers to the Santa Barbara community, enriching the lives of children and adults of all ages and backgrounds.

And we’re not stopping! With your help, we’ll continue to do this, now and forever.

If you want to find leverage to change the world, find a student.”

– Nicholas Kristof,

Our gratitude to the following education sponsors:

Pulitzer Prize-winning journalist and humanitarian A&L’s award-winning educational outreach program serves more than 30,000 community members annually.

Here are just a few examples of what we do: •• Assemblies in elementary and secondary schools •• Workshops and conversations with artists and speakers •• Ticket subsidies for students at all levels •• The Thematic Learning Initiative’s lifelong learning opportunities •• School-time presentations for students at The Granada Theatre •• Lecture-demonstrations and artist panels in University classes •• Master classes for students and community members •• Post-show Q&As with audiences of all ages •• Free family performances in under-served neighborhoods

Audrey & Timothy O. Fisher Russell Steiner Monica & Timothy Babich Connie Frank & Evan Thompson Dorothy Largay & Wayne Rosing Ginger Salazar & Brett Matthews Office of the Executive Vice Chancellor

To help support A&L’s educational outreach program, call (805) 893-5679 36

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Support Arts & Lectures: (805) 893-5679

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ut ive Pr od uc er Le sC ad irc er le sh ip Cir cle

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irc le

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of Fri en d

Event Sponsors Mandy & Daniel Hochman with members of Les Ballets Trockadero de Monte Carlo

Cir cle

photo: Grace Kathryn Photography

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photo: Grace Kathryn Photography

To inquire about supporting A&L, including joining our Leadership Circle ($10,000+), please call Director of Development Dana Loughlin at (805) 893-5679 to discuss a customized membership experience.

Remember Us Help secure our future – and theirs – by remembering Arts & Lectures as part of your estate planning.

Ukulele virtuoso Jake Shimabukuro with young fans

Violinist Joshua Bell connects with young fans following his performance at The Granada Theatre

Please call Sandy Robertson at (805) 893-3755 to learn more.

Support Arts & Lectures: (805) 893-5679

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UC Santa Barbara Arts & Lectures is honored to recognize contributors whose lifetime giving to A&L has made a profound impact on our community.

Anonymous Jody & John Arnhold Audrey & Timothy O. Fisher Eva & Yoel Haller

The Orfalea Family Susan & Craig McCaw SAGE Publishing Sara Miller McCune

Heather & Tom Sturgess Anne & Michael* Towbes Lady Leslie Ridley-Tree Lynda Weinman & Bruce Heavin

We also recognize contributors whose lifetime giving to A&L is $100,000 or more.

We are very grateful for their longtime, visionary support of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

Recognition is based on cumulative, lifetime giving.

Anonymous (3) Judy & Bruce Anticouni Monica & Timothy Babich Gary* & Mary Becker Barrie Bergman Loren Booth Meg & Dan Burnham Annette & Dr. Richard Caleel Marcy Carsey Marcia & John Mike Cohen Margo Cohen-Feinberg & Robert Feinberg Barbara Delaune-Warren Ralph H. Fertig* Erika & Matthew Fisher Genevieve & Lewis Geyser

Patricia Gregory, for the Baker Foundation Carla & Stephen* Hahn The James Irvine Foundation Luci & Rich Janssen Ellen & Peter O. Johnson Dorothy Largay & Wayne Rosing Gretchen Lieff Robert Lieff Lillian Lovelace lynda.com Marilyn & Dick Mazess Susan McMillan & Tom Kenny Kay R. McMillan Mission Wealth Montecito Bank & Trust Jillian & Pete Muller

Much gratitude to our Community Partners:

Natalie Orfalea & Lou Buglioli Diana & Simon Raab The Roddick Foundation Patricia & James Selbert Harold & Hester Schoen* Jill & Bill Shanbrom Fredric E. Steck Barbara Stupay James Warren Marsha* & Bill Wayne Dr. Bob Weinman William H. Kearns Foundation Irene & Ralph Wilson Susan & Bruce Worster Yardi Systems, Inc.

Public Lectures Support:

& Lou Buglioli

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Council for Arts & Lectures

Arts & Lectures Legacy Circle

Arts & Lectures is privileged to acknowledge our Council, a group of insightful community leaders and visionaries who help us meet the challenge to educate, entertain, and inspire.

Arts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate plans.

Rich Janssen, Co-chair Kath Lavidge, Co-chair Timothy Babich Barrie Bergman Dan Burnham Marcy Carsey Marcia Cohen Timothy O. Fisher Tom Kenny Patricia MacFarlane Susan McCaw Sara Miller McCune Natalie Orfalea Lady Leslie Ridley-Tree Fredric E. Steck Tom Sturgess Anne Towbes Milton Warshaw Lynda Weinman

Judy & Bruce Anticouni Estate of Helen Borges Estate of Ralph H. Fertig Audrey & Timothy O. Fisher Eva & Yoel Haller Kim L. Hunter Susan Matsumoto & Mel Kennedy Sara Miller McCune Lisa A. Reich Estate of Hester Schoen Connie J. Smith Heather & Tom Sturgess Leslie S. Thomas Dr. Bob Weinman Lynda Weinman & Bruce Heavin Irene & Ralph Wilson

Arts & Lectures Program Advisor Bruce Heavin

Arts & Lectures Ambassadors Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by cultivating new supporters and assisting with fundraising activities.

Judy Anticouni Monica Babich Meg Burnham Annette Caleel Eva Haller Luci Janssen Donna Christine McGuire Maxine Prisyon Heather Sturgess Anne Towbes Sherry Villanueva

Leadership Circle Our Leadership Circle members, a group of key visionaries giving $10,000 to $100,000 or more each year, make a significant, tangible difference in the community and help bring A&L’s roster of premier artists and global thinkers to Santa Barbara. List current as of February 28, 2019

$100,000+ Anonymous Jody & John Arnhold Monica & Timothy Babich Marcy Carsey Audrey & Timothy O. Fisher ◊‡ Erika & Matthew Fisher William H. Kearns Foundation Susan & Craig McCaw Sara Miller McCune ◊‡ Natalie Orfalea & Lou Buglioli Lady Leslie Ridley-Tree SAGE Publishing ‡ Lynda Weinman & Bruce Heavin ◊‡

$50,000+ Anonymous Loren Booth Marcia & John Mike Cohen ‡ Dorothy Largay & Wayne Rosing Ellen & Peter O. Johnson Heather & Tom Sturgess ◊‡ The Towbes Family Susan & Bruce Worster

$25,000+ Anonymous (2) Betsy Atwater Albert & Elaine Borchard Foundation Meg & Dan Burnham ‡ Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Martha Gabbert Hutton Parker Foundation Luci & Rich Janssen ‡ Irma & Morris Jurkowitz Marilyn & Dick Mazess Earl Minnis Mission Wealth Montecito Bank & Trust Jillian & Pete Muller Diana & Simon Raab Jill & Bill Shanbrom Laura Shelburne & Kevin O’Connor Fredric E. Steck ‡ Russell Steiner Barbara Stupay Dr. Bob Weinman Noelle & Dick Wolf Yardi Systems, Inc.

$10,000+ Anonymous (2) Barrie Bergman Lyn & David Anderson Margo Baker Barbakow & Jeffrey Barbakow Mary & Gary* Becker ‡ Leslie Sweem Bhutani Tracy & Michael Bollag Jessica Smith & Kevin Brine Kimberly & Andrew Busch Elizabeth & Andrew Butcher Dori & Chris Carter Tana & Joe Christie COMPASS Connie Frank & Evan Thompson Bettina & Glenn Duval Christine & Bill Fletcher Linda & Frederick Gluck Lisa & Mitchell Green Patricia A. Gregory, for the Baker Foundation Lisa & George Hagerman Eva & Yoel Haller ◊‡ Mandy & Daniel Hochman Hollye & Jeff Jacobs Gretchen Lieff Lisa & Christopher Lloyd Siri & Bob Marshall Jacquie & Harry McMahon Kay R. McMillan ‡ Susan McMillan & Tom Kenny ◊‡

Support Arts & Lectures: (805) 893-5679

Sharon & Bill Rich Ginger Salazar & Brett Matthews Suzi & Glen Serbin Linda Stafford-Burrows Diane Sullivan Anne Towbes ‡ Judy Wainwright & Jim Mitchell Sheila Wald Nicole & Kirt Woodhouse Merryl Snow Zegar & Charles Zegar

Producers Circle Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174. List current as of February 28, 2019

Executive Producers Circle $5,000+ Anonymous Judy & Bruce Anticouni Jill & Arnold Bellowe Paul Blake & Mark Bennett Jennifer & Jonathan Blum Jessica & John Bowlin Lyn Brillo Sarah & Roger Chrisman NancyBell Coe & William Burke ‡ Deborah David & Norman A. Kurland Wendy & Jim Drasdo Brillo-Sonnino Family Foundation G.A. Fowler Family Foundation Melinda Goodman & Robert Kemp Larry & Robyn Gottesdiener Judith Hopkinson‡ Shari & George Isaac Elaine & Herbert Kendall Nancy & Linos Kogevinas Jill & Neil Levinson Ellen McDermott Charney & Scott Charney Suzanne & Duncan Mellichamp Peter R. Melnick Val & Bob Montgomery Maia Kikerpill & Daniel Nash Nancy Newman Leila & Robert Noël Jami & Frank Ostini Julie & Richard Powell Stacy & Ron Pulice Mary Beth Riordan Susan Rose Judi & Larry Silverman Stephanie & Fred Shuman Mark Sonnino

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Carol Spungen & Debbi Spungen The Stone Family Foundation Leah & Robert Temkin Bonnie & Terry Turner Betsey Von Summer-Moller & John Moller Carolyn & Philip Wyatt Crystal & Clifford Wyatt Laura & Geofrey Wyatt

Producers Circle $2,500+ Anonymous (5) Allyson & Todd Aldrich Roxana & Fred Anson Pat & Evan Aptaker Marta Babson Stephanie & Dennis Baker Nicole & Andrew Ball Susan E. Bower Susan D. Bowey Michael Brinkenhoff Merryl Brown Nancy Brown Gail & John Campanella Susan & Claude Case Robin & Daniel Cerf Sue & Jay W. Colin Howard Cooperman William B. Cornfield Lilyan Cuttler & Ned Seder Ann Daniel Phyllis DePicciotto & Stan Roden Jane Delahoyde & Edwin Clark Mary Dorra Julia Emerson Shawn Erickson Olivia Erschen & Steve Starkey Doris & Tom Everhart Miriam & Richard Flacks Priscilla & Jason Gaines Virginia Gardner Gail & Harry Gelles Paul Guido & Stephen Blain Robin & Roger Himovitz Donna & Daniel Hone Jodie Ireland & Chris Baker Carolyn Jabs & David Zamichow Susan & Palmer Jackson Jr. Emily & Blake Jones Linda & Sidney Kastner Lauren Katz Susan Keller & Myron Shapero Margaret & Barry Kemp Connie & Richard Kennelly Linda & Bill Kitchen ‡ Jill & Barry Kitnick Carol Kosterka Patricia Lambert & Frederick Dahlquist

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Zoë Landers Karen Lehrer & Steve Sherwin The Léni Fund Chris & Mark Levine Denise & George Lilly Peggy Lubchenco & Steve Gaines Linda & Richard Lynn Maison K Nancy McGrath Amanda McIntyre Gene I. Miller Ginger & Marlin Miller Ronnie Morris & Tim Cardy Maryanne Mott Elizabeth & Charles Newman Fran & John Nielsen Dale & Michael Nissenson Jan Oetinger Joan Pascal & Ted Rhodes Ann & Dante Pieramici Ann Pless Lisa A. Reich ◊ & Robert Johnson Barbara & Dr. Raymond* Robins Justine Roddick & Tina Schlieske Kyra & Tony Rogers Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Dr. William E. Sanson Jo & Ken Saxon Lynda & Mark Schwartz Anitra & Dr. Jack Sheen Anita & Eric Sonquist Joan Speirs Lynne Sprecher Dale & Gregory Stamos Bunny Freidus & John Steel Kirstie Steiner & John Groccia Prudence & Robert Sternin Debra & Stephen Stewart Mary Jo Swalley Denise & James Taylor Patricia Toppel Barbara & Samuel Toumayan Sandra & Sam Tyler Kathryn & Alan Van Vliet Sherry & Jim Villanueva Esther & Tom Wachtell Sue & Bill Wagner Pamela Walsh Alexis & Mike Weaver Kathy & Bill* Weber Judy & Mort Weisman Irene & Ralph Wilson ◊ Winick Architects Debbie & Robert Wright Deann & Milton Zampelli

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Granting Organizations The Baker Foundation Albert & Elaine Borchard Foundation California Arts Council The Carsey Family Foundation Cohen Family Fund of the Community Foundation for Southeast Michigan Audrey Hillman Fisher Foundation William J.J. Gordon Family Foundation William H. Kearns Foundation The Léni Fund National Endowment for the Arts Santa Barbara County Office of Arts & Culture Santa Barbara Foundation UCSB Office of Education Partnerships

Support Arts & Lectures: (805) 893-5679

Arts & Lectures Endowments The Fund for Programmatic Excellence The Commissioning of New Work Fund The Education and Outreach Fund Beth Chamberlin Endowment for Cultural Understanding The Harold & Hester Schoen Endowment Sonquist Family Endowment

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Arts & Lectures Staff Celesta M. Billeci, Miller McCune Executive Director Roman Baratiak, Associate Director Heather Silva, Programming Manager Ashley Aquino, Contracts Analyst & Executive Assistant Sarah Jane Bennett, Performing Arts Manager Meghan Bush, Director of Marketing & Communications Michele Bynum, Senior Artist Lyndsay Cooke, Performing Arts Coordinator Kevin Grant, Senior Business Analyst Valerie Kuan, Financial Analyst Rachel Leslie, Manager of Ticketing Operations Mari Levasheff, Marketing Business Analyst Dana Loughlin, Director of Development Hector Medina, Marketing & Communications Production Specialist Bonnie A. Molitor, Chief Financial & Operations Officer Caitlin O’Hara, Senior Writer/Publicist Cathy Oliverson, Director of Education James Reisner, Assistant Ticket Office Manager Sandy Robertson, Senior Director of Development & Special Initiatives Isaac Sheets, Development Analyst

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Michael Pollan

How to Change Your Mind

photo: Jeannette Montgomery Barron

Tue, Apr 23 / 7:30 PM / Granada Theatre

For the past 30 years, Michael Pollan has been writing books and articles about the places where the human and natural worlds intersect: on our plates, in our farms and gardens and in the environment. Pollan is the author of eight books, six of which have been New York Times bestsellers; three of them (including his latest, How to Change Your Mind) were immediate No. 1 New York Times bestsellers.

Previous books include Cooked (2013), Food Rules (2009), In Defense of Food: An Eater’s Manifesto (2008) and The Omnivore’s Dilemma: A Natural History of Four Meals (2006), which was named one of the 10 best books of 2006 by both The New York Times and The Washington Post. It also won the California Book Award, the Northern California Book Award and the James Beard Award for Writing on Food and was a finalist for the National Book Critics Circle Award. A revised, young readers’ edition of Omnivore’s Dilemma was published in 2015. Pollan’s 2001 book The Botany of Desire: A Plant’s-Eye View of the World (also a New York Times bestseller), was recognized as a best book of the year by the American Booksellers Association and Amazon.com.

Pollan is also the author of A Place of My Own (1997) and Second Nature (1991). An expanded edition of Food Rules, with original illustrations by Maira Kalman, was published in 2011. How to Change Your Mind was named one of the New York Times’ 10 Best Books of 2018.

A four-hour Netflix miniseries based on Cooked premiered in February 2016. PBS presented a two-hour special documentary based on The Botany of Desire in fall

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Presented in association with the UCSB Writing Program 2009 and a two-hour documentary based on In Defense of Food was broadcast nationally in December 2015. Pollan also appeared in the Oscar-nominated documentary Food, Inc., which was partly based on The Omnivore’s Dilemma.

A contributing writer to the New York Times Magazine since 1987, Pollan’s writing has received numerous awards, including the James Beard Award for Best Magazine Series in 2003; the John Burroughs prize (for the best natural history essay in 1997); the QPB New Vision Award (for his first book, Second Nature); the 2000 Reuters-I.U.C.N. Global Award for Environmental Journalism for his reporting on genetically modified crops; and the 2003 Humane Society of the United States’ Genesis Award for his writing on animal agriculture. In 2009, he was named one of the Top 10 New Thought Leaders by Newsweek magazine.

Pollan's essays have appeared in many anthologies, including Best American Essays, Best American Science Writing and the Norton Book of Nature Writing. In addition to publishing regularly in the New York Times Magazine, his articles have appeared in The New Yorker, Harper’s (where he served for many years as executive editor), Mother Jones, Gourmet, Vogue, Travel + Leisure, Gardens Illustrated and The Nation.

In 2010 Michael Pollan was chosen by Time magazine as one of the 100 most influential people in the world.

Among his numerous awards and honors: The James Beard Foundation Leadership Award; the Nierenberg Prize for Science in the Public Interest by the Scripps Institution of Oceanography; the Washburn Award for

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outstanding contribution to public understanding of science from the Boston Museum of Science; the Premio Nonino, an international literary award; the Washington University Humanities Medal and the Lennon Ono Grant for Peace. He has also received an honorary doctorate from the University of Gastronomic Science and in 2015-2016 he was a fellow at the Radcliffe Institute for Advanced Study at Harvard.

Live taping for broadcast!

In 2003, Pollan was appointed the John S. and James L. Knight Professor of Journalism at UC Berkeley’s Graduate School of Journalism and the director of the Knight Program in Science and Environmental Journalism. In 2017, he was appointed professor of the practice of non-fiction at Harvard and the university’s first Lewis Chan Lecturer in the Arts. In addition to teaching, he lectures widely on food, agriculture and health.

Michael Pollan, who was born in 1955, grew up on Long Island and was educated at Bennington College, Oxford University and Columbia University, from which he received a Master’s in English.

Books are available for purchase in the lobby and a signing follows the event

Host and Center:

Josh Barro

KCRW, New York Magazine Panel:

Jamil Smith Rolling Stone

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Megan McArdle The Washington Post

Keli Goff

The Daily Beast Special thanks to

Plus special guests!

KCRW’s Left, Right & Center is a radio show and podcast for people on both sides of the political aisle and everywhere in between. Join us for a live taping of LRC hosted by Center, Josh Barro, as he brings together experts and top thinkers on the Left and Right for a civilized yet provocative look at news, politics and pop culture.

Thu, May 9 / 7:30 PM UCSB Campbell Hall (See page 60)

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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UCSB Reads Author Event

Thi Bui

The Best We Could Do Thu, Apr 25 / 7:30 PM / Campbell Hall / FREE

Presented as part of UCSB Reads, sponsored by the UCSB Library and the Office of the Executive Vice Chancellor with additional support from UCSB Arts & Lectures and a variety of campus and community partners

Thi Bui

UCSB Reads

Thi Bui was born in Vietnam three months before the end of the Vietnam War and came to the United States in 1978 as part of the “boat people” wave of refugees from Southeast Asia. Her debut graphic memoir, The Best We Could Do (Abrams ComicArts, 2017), was a National Book Critics Circle finalist in autobiography and an Eisner Award finalist in Reality Based Comics and made several Best of 2017 book lists, including Bill Gates’ top five picks.

UCSB Reads is an award-winning campus-wide and community-wide “one book” program started by Executive Vice Chancellor Gene Lucas in 2007 and led by the UCSB Library. Each summer, a committee of faculty, staff, students, and community partners convene to select an intellectually stimulating, interdisciplinary book by a living author that appeals to a wide range of readers and can be incorporated into the UCSB curriculum. The program kicks off at the start of the winter quarter with the Chancellor giving away free books to UCSB students in the Library. A variety of UCSB Reads events (book clubs, film screenings, exhibitions, and faculty panel discussions) exploring the book and its themes are held starting in January on the UCSB campus and other venues. The program culminates with a live appearance by the author. Events are usually free and open to the public.

Bui is also the Caldecott Honor-winning illustrator of A Different Pond, a picture book by the poet Bao Phi (Capstone, 2017). Her short comics can be found online at The Nib, PEN America and BOOM California. She is currently researching and drawing a work of graphic nonfiction about how Asian-American Pacific Islanders are impacted by detention and deportation, to be published by One World, Random House.

Bui taught high school in New York City and was a founding teacher of Oakland International High School, the first public high school in California for recent immigrants and English learners. Since 2015, she has been a faculty member of the MFA in Comics program at the California College of the Arts. Thi Bui lives in the Bay Area.

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Books are available for purchase in the lobby and a signing follows the event

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World Premiere Co-commissioned by UCSB Arts & Lectures 20th Anniversary Tour

Silkroad Ensemble Heroes Take Their Stands

photo: Liz Linder

Fri, Apr 26 / 8 PM / Granada Theatre

The Silkroad Ensemble Jeffrey Beecher, bass Nicholas Cords, viola Sandeep Das, tabla Haruka Fujii, percussion Johnny Gandelsman, violin Colin Jacobsen,violin Kayhan Kalhor, kemancheh Karen Ouzounian, cello Cristina Pato, Galician bagpipes, piano Aparna Ramaswamy, Bharatanatyam dancer Shane Shanahan, percussion Kojiro Umezaki, shakuhachi Kaoru Watanabe, shinobue, nohkan flutes, taiko, narimono Wu Man, pipa Wu Tong, sheng

Event Sponsor: Lady Leslie Ridley-Tree Presented in association with the UCSB Department of Music

Program “To live successfully in a cosmopolitan society, we must develop skills to see another’s culture as our own.” – Ahmad Sadri, creator, folklorist

Elektra

Pauchi Sasaki, Composer Nomi Sasaki, Co-direction, Script, Art Design, and Chinese Black Ink Animation Juan Carlos Yanaura, Co-direction, Animation and Post Production Omar Lavalle, 3D Scanning and Sculpture Design

June Snow

Kaoru Watanabe, Composer and Co-conception Wu Man, Creative Director and Co-conception

Arjuna’s Revelation

Colin Jacobsen, Composer Aparna Ramaswamy, Choreographer

Moderato 400

Jason Moran, Composer Lucy Raven, Video

The Prince of Sorrows

Kayhan Kalhor, Composer Hamid Rahmanian, Designer and Director Qmars Kamali, Animation Syd Fini, Illustrator Mohsen Ebadi, Calligraphy A production of Fictionville Films Recorded music by Navid Afghah, tombak Siamak Jahangiri, nay Amir Mardaneh, vocals Additional music and arrangements by Ljova

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Heroes Take Their Stands was commissioned by Silkroad in honor of founding board members Milo Beach, Merton Flemings, Judy Goldberg, Elizabeth ten Grotenhuis, Jill Hornor, Ted Levin, Yo-Yo Ma and Anne Peretz, in partnership with UCSB Arts & Lectures, Cal Performances, UC Berkeley, Philharmonic Society of Orange County and the John F. Kennedy Center for the Performing Arts.

Heroes Take Their Stands was developed in residence at The Juilliard School and Moody Center for the Arts – Rice University. Silkroad is grateful for their hospitality and support.

Heroes Take Their Stands is funded in part by generous support from the National Endowment for the Arts and individual donors, including Dr. Hamid Shafipour.

In-ear monitors for Heroes Take Their Stands graciously donated by Shure.

About Silkroad Yo-Yo Ma conceived Silkroad in 1998 as a reminder that even as rapid globalization resulted in division, it brought extraordinary possibilities for working together. Seeking to understand this dynamic, he began to learn about the historical Silk Road, recognizing in it a model for productive cultural collaboration, for the exchange of ideas and tradition alongside commerce and innovation. And in a radical experiment, he brought together musicians from the lands of the Silk Road to co-create a new artistic idiom, a musical language founded in difference, a metaphor for the benefits of a more connected world.

Today, these Grammy Award-winning artists seek and practice radical cultural collaboration in many forms, creating and presenting new music, teacher and musician training workshops and residency programs in schools, museums and communities.

Silkroad has recorded seven albums. Sing Me Home, which won the 2016 Grammy for Best World Music Album, was developed and recorded alongside the documentary feature The Music of Strangers from Oscar-winning director Morgan Neville.

Silkroad gratefully acknowledges the support of individuals, foundations and corporations, including the National Endowment for the Arts, the Barr Foundation and Hyosung Corporation.

To learn more about Silkroad, please visit silkroad.org on the web and @silkroadproject on social media.

Creative Team Ahmad Sadri, Creator Colin Jacobsen and Kayhan Kalhor, Music Directors Bill Barclay, Stage Director Cristin Canterbury Bagnall, Executive Producer Aaron Copp, Lighting Designer and Production Manager Jody Elff, Sound Designer Liz Keller-Tripp, Producer Yichan Wang, Graphic Designer Tour Production Timothy Grassel, Company Manager Ashley Martin, Stage Manager Tour Management Mary Pat Buerkle, Senior Vice President and Manager, Artists & Attractions, Opus 3 Artists Silkroad Staff Jeffrey Beecher, Co-Artistic Director Eduardo A. Braniff, Executive Director Nicholas Cords, Co-Artistic Director Hannah Dardashti, Program Administrator Liz Keller-Tripp, Producer & Artistic Programs Director Cristina Pato, Learning Advisor Shane Shanahan, Co-Artistic Director Jessica Shuttleworth, Manager of Digital Jacqueline Worley, Finance Director Lori Taylor, Acting Deputy Director & Learning Director Exclusive management: Opus 3 Artists LLC 470 Park Ave South New York, NY 10016 Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

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@ArtsAndLectures

Yo-Yo Ma

Culture, Understanding and Survival

photo: Jason Bell

Sat, Apr 27 / 7:30 PM / Granada Theatre

Event Sponsor: Lady Leslie Ridley-Tree

Yo-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society or engaging unexpected musical forms, Mr. Ma strives to foster connections that stimulate the imagination and reinforce our humanity. With partners from around the world and across disciplines, he creates programs that stretch the boundaries of genre and tradition to explore music-making as a means not only to share and express meaning, but also as a model for the cultural collaboration he considers essential to a strong society. Expanding upon this belief, in 1998, Mr. Ma established Silkroad, a collective of artists from around the world who create music that engages their many traditions.

This year, Mr. Ma begins a new journey, setting out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world, iconic venues that encompass our cultural heritage, our current creativity and the challenges of peace and understanding that will shape our future. Each concert will be an example of culture’s power to create moments of shared understanding, as well as an invitation to a larger conversation about culture, society and the themes that connect us all.

Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age 4 and three years later moved with his family to New York City, where he continued his cello studies with Leonard Rose at the Juilliard School. After his conservatory training, he sought out a liberal arts education, graduating from Harvard University with a degree in anthropology in 1976.

He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

For additional information, see: yo-yoma.com and opus3artists.com.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Che Malambo

photo: Slawek Przerwa

Wed, May 1 / 7 PM / Granada Theatre

Concept, Choreography, Staging and Musical Composition by Gilles Brinas Choreography developed in collaboration with the artists of Che Malambo using their artistic input and individual techniques Lighting Concept and Design by Gilles Brinas Rhythm and music composition inspired by traditional Argentine folk music and performed by the artists of Che Malambo Performers: Federico Arrua, Fernando Castro, Francisco Ciares, Claudio Diaz, Miguel Flores, Federico Gareis, Walter Kochanowski, Facundo Lencina, Gabriel Lopez, Daniel Medina, Matias Rivas, Fernando Gimenez

About the Company Argentina-based company Che Malambo excites audiences with precise footwork, rhythmic stomping, drumming of the bombos, singing and whirling boleadoras (lassos with stones on the end). Presenting a thrilling percussive dance and music spectacle, the company’s work celebrates the unique South American cowboy tradition of the gaucho. This powerhouse all-male company of gauchos is directed by French choreographer and former ballet dancer, Gilles Brinas.

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Corporate Sponsor: Like many who fall under the spell of traditional dances, Gilles Brinas is fascinated and troubled by the malambo.

He flew to Buenos Aires in search of this dance so typical of the Pampa region of Argentina. Brinas was drawn to the particular rhythms, the haunting characters and the lonely expressions of the gaucho who spends his life on horseback. The malambo is filled with deeply personal solos reflecting this rich tradition. Brinas was inspired by the talented artists he found in Buenos Aires and was moved to create the company Che Malambo from the best malambo dancers in Argentina.

After premiering in Paris in 2007 and sporadically touring around the world, Che Malambo embarked on a brief, but highly successful, U.S. tour in 2013. In 2015, the company was invited for a limited engagement performing on the opening night of New York City Center’s annually sold-out series, Fall for Dance. Between 2016 and 2018, the company performed in over 85 cities worldwide, including weeklong engagements in London, Berlin and Cologne and a 60-performance, 3-month run in Paris, France.

Malambo is a centuries-old contest dance traditionally practiced by gauchos, or South American cowboys. Danced solely by men, it began in the 17th century as competitive duels that would showcase agility, strength and dexterity. Zapateo, their fast-paced footwork, is inspired by the rhythm of galloping horses in their native Argentina.

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Gilles Brinas A renowned dancer and choreographer, Gilles Brinas has performed with many prestigious European companies including: Ballet de l’Opéra de Lyon (under the direction of Vittorio Biagi and Miklo Sparemblek), Maurice Béjart’s Ballet of the 20th Century at La Scala in Milan (choreographer Amedeo Amodio), the Grand Ballet de France and in the company of Robert Hossein (choreographer George Skibine). He has also worked with Peter Goss, Anne Beranger and Jean Golovin. In 1979, Brinas founded the DEA Ballet and won the prize for humor in the 11th Bagnolet competition. In 1990, he was honored by the Charles Oulmont Foundation. In 2002, Brinas choreographed Bar Unión, a tango show with Sylvie Peron for Beinnale de la Danse. His teachers and mentors include Lucia Petrova, Raymond Franchetti, Andrej Glagolski, Solange Golovin, Serge Golovin, Karol Toth, Vittorio Biagi, Milko Sparemblek and Peter Goss. Brinas has also practiced aikido with Hirokatsu Kobayashi and André Cognard and has studied Noh with the living national treasure, Hideo Kanze.

Back by Popular Demand

Dorrance Dance ETM: Double Down

Created by Michelle Dorrance and Nicholas Van Young

Exclusive Global Representation: IMG Artists Attn: Matthew Bledsoe 7 West 54th Street, New York, NY 10019 (212) 994-3500 / www.imgartists.com Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

“There are funky grooves and joyous ones and acoustic tapping of terrific complexity and cogency.” The New York Times Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg, Irma & Morrie Jurkowitz, Barbara Stupay Presented in association with the UCSB Department of Theater and Dance

Sun, May 5 / 7 PM Granada Theatre (See page 51)

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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David Sedaris

photo: Adam De Tour

Fri, May 3 / 7:30 PM / Granada Theatre

Event Sponsors: Elizabeth & Andrew Butcher

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s preeminent humor writers. He is the master of satire and one of today’s most observant writers addressing the human condition.

Calypso, his latest collection of essays, is a New York Times bestseller and a Washington Post Best Book of the Year. The audiobook of Calypso was nominated for a 2019 Grammy Award in the Best Spoken Word Album category.

Beloved for his personal essays and short stories, David Sedaris is the author of Barrel Fever, Holidays on Ice, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, Let’s Explore Diabetes with Owls and Theft By Finding: Diaries (19772002). He is the author of Squirrel Seeks Chipmunk: A Modest Bestiary, a collection of fables with illustrations by Ian Falconer. Each of these books was an immediate bestseller. His pieces regularly appear in The New Yorker and have twice been included in The Best American Essays. There are more than 10 million copies of his books in print and they have been translated into 25 languages. In 2018, he was awarded the Terry Southern Prize for Humor, as well as the Medal for Spoken Language from the American Academy of Arts and Letters.

He and his sister, Amy Sedaris, have collaborated under the name The Talent Family and have written half-a-dozen plays which have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service.

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Sedaris’ original audio pieces can often be heard on the public radio show This American Life. He has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album, and his story C.O.G. was adapted into a feature film. Since 2011, he can be heard annually on a series of live recordings on BBC Radio 4 entitled “Meet David Sedaris.”

As a companion piece to his New York Times bestselling book Theft by Finding: Diaries (1977-2002), Jeffrey Jenkins published and edited an art book of Sedaris’ diary covers, entitled David Sedaris Diaries: A Visual Compendium. Sedaris is currently working on a second volume of his diaries. davidsedarisbooks.com | facebook.com/davidsedaris Books are available for purchase in the lobby and a signing follows the event

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

@ArtsAndLectures

Dorrance Dance ETM: Double Down

Created by Michelle Dorrance and Nicholas Van Young

photo: Elliott Franks

Sun, May 5 / 7 PM / Granada Theatre

Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg, Irma & Morrie Jurkowitz, Barbara Stupay

Presented in association with the UCSB Department of Theater and Dance

Dancers: Ephrat “Bounce” Asherie, Christopher Broughton, Elizabeth Burke, Warren Craft, Michelle Dorrance, Leonardo Sandoval, Byron Tittle, Nicholas Van Young Musicians: Donovan Dorrance, Aaron Marcellus, Gregory Richardson About the Program This work is the initial exploration of a new world and a new collaboration. Constantly inspired by the range of possibilities inherent in being both dancers and musicians, in the visual and aural, we also embrace embodying the organic and inorganic, the acoustic and the electric.

None of this work is remotely possible without tap dancer, percussionist, innovator and my longtime friend Nicholas Van Young. He is the man behind the curtain. He has been developing the instruments you see here and has been experimenting with the technologies you will see at work tonight for years in order to make this world possible. I also want to acknowledge our musical collaborators and friends Gregory Richardson, Aaron Marcellus, Warren Craft and Donovan Dorrance who, with intuition, incredibly open minds and a wonderful sensitivity to collaborating with the sounds of tap dance, have created some inspiring compositions. It has been a dream of mine for almost a decade to collaborate with my dear friend and multi-form dancer, Ephrat “Bounce” Asherie, whose visual percussion, musical phrasing and dynamic range of movement inspire me tremendously. Tap dance was America’s first street form and is deeply rooted in the foundations of Hip Hop and House dance. These communities have long been connected on the streets and in the club but are less likely to be found

on the concert stage. As we enter the world of electronic music, looping and sampling, these worlds become even closer and that connection ever more important. Getting back to the beginning, I want to say thank you – thank you Nicholas Van Young, for your artistry, your creativity, your tireless and endless work, your inventive mind, your friendship and your trust. I feel incredibly blessed to have been so warmly invited into your world to play and create.

– Michelle Dorrance It started with the simple need to find a way to amplify tap dance without feedback, so I could dance with a live band.

Many people have used contact microphones (Gregory Hines, Tap Dogs, etc.) so I knew that was a possibility, and it led me to experimenting with guitar pedals and effects. I started out looping hand and body percussion with live and affected tap dance. Being a drummer as well, and working with electronic music since the early days of EDM, I’ve stayed in touch with what’s happening in the music production and DJ community. I knew contact mics could be doubled as drum triggers and I was already playing around with a masterful piece of software called Ableton: a live performance software, digital audio workstation. I got the idea to create small trigger boards to dance on – essentially

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wooden drum pads. In conjunction with my main dance board and effects this added a whole new sound set for me to experiment with. Over time, I took online courses in Ableton and began to understand the limitless possibilities.

Soon, I was able to play notes, arpeggios, chords, sound bites and quotes, and I began composing scores in real time with improvised tap dance. The synthesized possibilities are endless and the combination of this with the acoustic sound and attack of tap dance was a very exciting frontier for me to explore. The only thing missing was Michelle Dorrance. Being a company member of Dorrance Dance, Michelle had given me my first opportunity to perform a solo using this electronic set up in an evening length performance in Boston, presented by Thelma Goldberg in 2012. We, as kids, had dreams about experimenting with altered soundscapes for tap dance. We jokingly called it “Tap to the Max.” I was creating solos with my “Compositional Tap Instrument” but had visions of several dancers across a number of platforms and boards. Dancing out elaborate choreographed phrases while simultaneously playing the musical composition. Once Michelle asked to me to collaborate on this show I knew it “was on.” Her expansive creativity in tap choreography and movement, along with her sophisticated musical phrasing started to unlock possibilities in our set that were getting us both so excited.

Simple ideas led to large discoveries and every time we workshopped an idea, 20 more were born. Needless to say, here we are, pushing ourselves to explore the sonic potential in tap dance and tap instruments. In some ways, we have created the ultimate tap dancers’ playground. Where you can let your imagination and your feet run wild.

Enjoy.

– Nicholas Van Young

About the Company Dorrance Dance is an award-winning tap dance company based out of New York City. The company’s work aims to honor tap dance’s uniquely beautiful history in a new, dynamic and compelling context; not by stripping the form of its tradition, but by pushing it – rhythmically, technically and conceptually. The company’s inaugural performance garnered a Bessie Award for “blasting open our notions of tap” and the company continues its passionate commitment to expanding the audience of tap dance, America’s original art form.

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Founded in 2011 by artistic director and 2015 MacArthur Fellow Michelle Dorrance, the company has received countless accolades and rave reviews and performed for packed houses at venues including The Joyce Theater, Jacob’s Pillow Dance Festival, New York City Center, Vail Dance Festival, The Kennedy Center, Lincoln Center Out of Doors, Carolina Performing Arts at UNC Chapel Hill, Works and Process at the Guggenheim, Cal Performances at UC Berkeley, among many others, including international venues in Canada, France, Germany, Spain, England, Hong Kong and Singapore. www.dorrancedance.com

About the Performers Michelle Dorrance (Artistic Director/Choreographer/ Dancer) is a New York City-based artist. Mentored by Gene Medler (North Carolina Youth Tap Ensemble), she was lucky to study under many of the last master hoofers. Career highlights include: STOMP, Derick Grant’s Imagine Tap!, Jason Samuels Smith’s Charlie’s Angels and Chasing the Bird, Ayodele Casel’s Diary of a Tap Dancer, Mable Lee’s Dancing Ladies and Darwin Deez. Company work includes Savion Glover’s Ti Dii, Manhattan Tap, Barbara Duffy, JazzTap Ensemble, Rumba Tap and solo work ranging from The Late Show with Stephen Colbert to commissions for the Martha Graham Dance Company and American Ballet Theatre. A 2018 Doris Duke Artist, 2017 Ford Foundation Art of Change Fellow and 2015 MacArthur Fellow, Dorrance is humbled to have been acknowledged/supported by United States Artists, the Joyce Theater, New York City Center, the Alpert Awards, Jacob’s Pillow, Princess Grace Foundation, The Field, American Tap Dance Foundation and the Bessie Awards. Dorrance holds a bachelor’s degree from New York University and is a Capezio Athlete.

Nicholas Van Young (Associate Artistic Director/Co-creator/ Dancer/Musician) is a dancer, musician, choreographer and a 2014 Bessie Award recipient. He began his professional career at age 16 under Acia Gray and Deidre Strand with Tapestry Dance Company in Austin, Texas, eventually rising to principal dancer and resident choreographer. Since moving to New York, he has performed with Manhattan Tap, RumbaTap, Dorrance Dance, “Beat the Donkey,” toured as a drummer for Darwin Deez and spent almost a decade performing with STOMP, where he performed the lead role and acted as rehearsal director. Van Young tours both nationally and internationally, teaching and performing at various tap festivals.

He founded Sound Movement dance company and IFTRA, Institute for The Rhythmic Arts. He is thrilled to have found a home with Dorrance Dance, co-creating and developing ETM: Double Down and the Guggenheim Rotunda Project, both collaborative efforts with Michelle Dorrance.

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Ephrat “Bounce” Asherie (Dancer), a 2016 Bessie Award Winner for Innovative Achievement in Dance, is a New York City-based B-girl, dancer and choreographer. As artistic director of Ephrat Asherie Dance (EAD), she has presented work at Jacob’s Pillow, FiraTarrega and New York Live Arts, among others. Asherie has received numerous awards to support her work including a NDP Award from NEFA, a Mondo Cane! Commission from Dixon Place and an Extended Life Residency from the Lower Manhattan Cultural Council. Asherie has taught at Wesleyan University and is on faculty at Broadway Dance Center. For more information please visit www.ephratasheriedance.com.

Christopher Broughton (Dancer), born and raised in Los Angeles, began dancing at age 11 and has never looked back. Under the instruction of Paul and Arlene Kennedy at Universal Dance, he became a member of The Kennedy Tap Company, receiving the national NAACP ACT-SO Award twice. He now travels worldwide both as a soloist and with Jason Samuels Smith’s A.C.G.I., Rasta Thomas’ Tap Stars, and Dorrance Dance. Performances include New York City Center’s Cotton Club Parade; Juba! Master’s of Tap & Percussive Dance at the Kennedy Center; and Broadway’s Tony & Astaire award-winning production After Midnight.

Elizabeth Burke (Rehearsal Director/Dancer) is a Chapel Hill, N.C., native who spent 11 years under the direction of her mentor, Gene Medler, in the acclaimed North Carolina Youth Tap Ensemble. Burke has been with Dorrance Dance since its inception in 2010. She pursues her own choreographic work, teaches and performs as a soloist on occasion. She is an alumna of the School at Jacob’s Pillow and Marymount Manhattan College (BA Political Science, BA Communication Arts, magna cum laude).

Warren Craft (Dancer) is a New York City tap dancer who has trained in ballet with both the American Ballet Theatre and the School of American Ballet. He has been a member of Brenda Bufalino’s New American Tap Dance Orchestra, Max Pollak’s RumbaTap and Dorrance Dance. He moves with “bizarre physicality,” and “unconventional eloquence” (The New York Times).

Donovan Dorrance (Music Director/Musician) hails from Chapel Hill, N.C., where he studied piano, guitar, drums and voice before attending The University of North Carolina for a bachelor’s in philosophy. In 2014, Dorrance moved to Brooklyn to assist his sister’s company and pursue his passion for music. In addition to composing music with Gregory Richardson for Dorrance Dance, Donovan composes music for film and theater, collaborating with students from NYU and Columbia.

Aaron Marcellus (Musician), singer, vocal coach, writer, musician, dancer and actor from Atlanta started in gospel music and has performed around the world. He has recorded albums and was voted top 24 on American Idol in 2011.

After a world tour, Marcellus was featured in a Chapstick commercial, NBC’s Next Caller and was a cast member of STOMP. Marcellus also hosts a burlesque show at Duane Park. Most importantly, he founded both Surrender To Love, LLC, a foundation that supports arts programs and seeks to feed the hungry, and Adventure Voice, a training program offering vocal classes for groups and individuals.

Gregory Richardson (Musician) is a composer, performer and multi-instrumentalist and has been a member of Dorrance Dance since 2011. He learned rhythm and blues at an early age from a family of musicians where everyone could play at least a little piano and everyone was expected to sing. The Tucson native studied at Bard College and has been working as a professional musician in New York City for nearly two decades. Richardson is known for his winning combination of natural talent, hard work and dedication and is fortunate to have traveled the world several times over with various ensembles. He lives and works in Brooklyn, N.Y., where he has been a part of countless collaborations.

Leonardo Sandoval (Dancer), Brazilian tap dancer, has become known in the tap world and beyond for his musicality and for adding his own Brazilian flavor to tap. An early member of Dorrance Dance, he is also in demand as a choreographer, solo dancer and jazz musician. A true dancer-musician, Sandoval has had his work, including collaborations with composer Gregory Richardson, presented at the Jacob’s Pillow Dance Festival, Jazz at Lincoln Center and the National Folk Festival.

Byron Tittle (Dancer) is a multi-faceted dancer based in New York where he studied extensively at Broadway Dance Center, the American Tap Dance Foundation and then later toured the country with The Pulse on Tour. After finding commercial success dancing for the likes of Janet Jackson, Nicki Minaj and Laurie Ann Gibson, Tittle is focused on pushing the boundaries in the concert dance world. He has been touring with Dorrance Dance since 2014 and continues to approach each show with vigor and excitement.

His “elegant and polished lines” (The Brooklyn Rail) help captivate audiences worldwide as he feels most at home with the company.

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Production Team Bios

ETM: Double Down

Kathy Kaufmann (Lighting Designer) a New York City native, has been happily designing for Dorrance Dance since its inception (SOUNDspace, The Blues Project, ETM, Myelination). A resident designer at Danspace Project whose work has been seen throughout the US, Canada, Europe and Asia, she also teaches at Sarah Lawrence. She is a two-time Bessie recipient and was nominated for her work on Rebecca Davis’s Bloowst Windku in 2015. Recent projects include designs for Moriah Evans, Mariana Valencia, Jonathan Gonzales, David Parker, Tatyana Tennenbaum, Mina Nishimura, Morgan Bassichis and Ephrat Asherie Dance.

Created by: Michelle Dorrance and Nicholas Van Young Original tap instrument design: Nicholas Van Young Choreography: Michelle Dorrance and Nicholas Van Young with Ephrat “Bounce” Asherie Solo improvisation by the dancers Original music composed and improvised by: Gregory Richardson, Donovan Dorrance, Nicholas Van Young, Aaron Marcellus and Warren Craft with Michelle Dorrance Additional music by: Adele Adkins, Karin Dreijer Andersson, Olof Dreijer, Justin Vernon, Patrick Watson Lighting design by: Kathy Kaufmann Costume design by: Amy Page and Shiori Ichikawa Dancers: Ephrat “Bounce” Asherie, Christopher Broughton, Elizabeth Burke, Warren Craft, Michelle Dorrance, Leonardo Sandoval, Byron Tittle, Nicholas Van Young Musicians: Donovan Dorrance (piano/controllerist) Aaron Marcellus (vocals) Gregory Richardson (bass/guitar) Nicholas Van Young (drums/percussion) Warren Craft (drums/percussion) Michelle Dorrance (drums/percussion) ETM: Double Down was created in part during a Creative Development Residency at Jacob’s Pillow Dance Festival, in part at The Yard during a 2015 Yard Offshore Creation Residency, and during a residency provided by The Joyce Theater Foundation with major funding from The Andrew W. Mellon Foundation.

Christopher Marc (Production Manager/Sound Engineer) has been with Dorrance Dance since June of 2016. Marc has worked as a sound engineer with several companies around the country including The Kennedy Center, Lake Tahoe Shakespeare Festival, Idaho Shakespeare Festival, Mills Entertainment, Aquila Theatre and Harlem Stage.

(Sound Design) CT & Co: More Forever. Pacific Symphony: The Magic Flute. Off-Broadway: The Black Book. Aquila Theatre National Tour: Wuthering Heights, The Tempest, Fahrenheit 451 and Twelfth Night. Skylark Opera: Berlin to Broadway, Candide, Putting it Together and La Rondine.

Artistry MN: God of Carnage, Striking 12 and Death of a Salesman. Lyric Arts: Becky’s New Car, Sherlock Holmes, The Boxcar Children, Over the Tavern and Death of a Salesman.

Diego Quintanar (Technical Director/Assistant Stage Manager) started working in theater production as a student at the College of the Holy Cross. He was introduced to Dorrance Dance through his work with the Solomon R. Guggenheim Museum’s Works & Process series as a project coordinator. Other credits include: Latino Cultural Center and Wyly Theater, Dallas, where he worked as a carpenter and electrician; off-Broadway musical I Like It Like That as production manager; Shen Wei Dance Arts, NYC, and Dance Heginbotham, NYC, as an assistant stage manager and scenic charge.

Serena Wong (Lighting Supervisor) is a Brooklyn-based freelance lighting designer for theater and dance. Her designs have been seen at New York Live Arts, Irondale Arts Center, the New Ohio and Danspace. She enjoys biking, beekeeping and bread baking.

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Dorrance Dance Artistic Director: Michelle Dorrance Executive Director: Donald Borror Production Manager/Sound Engineer: Christopher Marc Company Manager: Tina Huang Abrams Associate Artistic Director: Nicholas Van Young Assistant to the Artistic Director: Olivia Maggi Rehearsal Director: Elizabeth Burke Music Director: Donovan Dorrance Lighting Designer: Kathy Kaufmann Lighting Supervisor: Serena Wong Technical Director/Assistant Stage Manager: Diego Quintanar Artist Representative: Margaret Selby, Selby/Artists Management Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

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Joshua Bell, violin Steven Isserlis, cello Jeremy Denk, piano Tue, May 7 / 7 PM / Granada Theatre

photo: Shervin Lainez

Post-performance Producers Circle reception with the musicians

Presented in association with the UCSB Department of Music

Program

About the Program

Mendelssohn: Piano Trio No. 2 in C minor, op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato

Felix Mendelssohn (1809-1847): Piano Trio No. 2 in C minor, op. 66

Shostakovich: Piano Trio No. 2 in E minor, op. 67 Andante; Moderato; Poco più mosso Allegro con brio Largo Allegretto; Adagio ◆ Intermission ◆ Rachmaninoff: Piano Trio in G minor (“Trio élégiaque”) Ravel: Piano Trio in A minor Modéré Pantoum: Assez vif Passacaille: Très large Finale: Animé

Mendelssohn wrote his second and final piano trio in April 1845, just two years before his death at age 38.

This trio comes from between the composition of two of Mendelssohn’s best-known works – the Violin Concerto of 1844 and the cantata Elijah of 1846 – and was completed only weeks after the premiere of the Violin Concerto on March 13, 1845. It is dedicated to the German composer-violinist Ludwig Spohr, whom Mendelssohn had met when he was a boy of 13 and Spohr was 38.

This music is anchored firmly on its stormy outer movements. The markings for these movements are important.

Not content to name them simply Allegro, Mendelssohn makes his instructions more specific and dramatic: energico e con fuoco and appassionato. These qualifications are the key to the character of this music – one feels at climactic points that this piano trio is straining to break through the limits of chamber music and to take on the scope and sonority of symphonic music.

The piano immediately announces the dark, murmuring main theme of the first movement; this idea recurs continually through the movement, either rippling quietly in the background or thundering out fiercely. Violin and cello share the soaring second theme, and the development is dramatic. By contrast, the Andante espressivo brings a world of calm. The piano sings the main theme, a

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gently-rocking chordal melody in 9/8 time, and is soon joined by the strings. The propulsive Scherzo: Molto allegro quasi presto rockets along in dark G minor; a steady rustle of 16th-notes flavors the entire movement. The trio section switches to bright G major before the return of the opening material and a sudden close on quick, quiet pizzicato strokes.

and somber mood of this music. The other voices enter in canon, with the main theme of this sonata-form movement a variation of the opening cello melody. The Allegro con brio opens with fanfare-like figures for the strings.

This is one of those hard-driving, almost mechanistic Shostakovich scherzos, and its dancing middle section in G major brings scant relief.

The finale gets off to a spirited start with the cello’s lively theme, and unison strings share the broadly-ranging second idea. One of the unusual features of this movement is Mendelssohn’s use of the old chorale tune known in English as “Praise God from Whom All Blessings Flow,” first heard quietly in the piano. As the movement nears its climax, the chorale grows in power until – with piano tremolando and multiple-stopped strings – it thunders out boldly.

The stunning Largo is a passacaglia. The piano announces eight solemn chords that form the bass-line of the passacaglia, and there follow five repetitions as the strings sing poised, grieving lines above the piano chords. The concluding Allegretto follows without pause. This movement is said to have been inspired by accounts that the Nazis had forced Jews to dance on their graves before execution.

Shostakovich does not try to depict this in his music, but the sinister, grotesque dance for pizzicato violin that opens this movements suggests a vision of horror all its own.

Shostakovich makes the connection clear with the second theme, of unmistakably Jewish origin, for piano above pizzicato chords. The close brings back themes from earlier movements – the cello melody from the very beginning and the entire passacaglia theme – and finally the little dance tune breaks down and the music vanishes on quiet pizzicato strokes.

Dmitri Shostakovich (1906-1975): Piano Trio No. 2 in E minor, op. 67 The Nazi invasion of Russia in 1941 was the greatest catastrophe ever to befall any nation. In four years, 20 million Russians died, and the country sustained damage and suffering that no amount of time could fully repair.

Shostakovich, then in his late 30s, reacted to the war with two quite different kinds of music. The public Shostakovich wrote the “Leningrad” Symphony and marches and songs.

Patriotic and optimistic, these made the right noises for the time – and for the Soviet government. But the private Shostakovich recorded his reactions to these years in other music. The Eighth Symphony of 1943 and the Piano Trio in E Minor of 1944 reveal a much less optimistic Shostakovich, one anguished by the war. This was not the kind of music a Soviet government committed to the artistic doctrine of Socialist Realism wanted to hear, and it is no surprise that performances of the Trio were banned for a time or that the Eighth Symphony was singled out for particular censure at the infamous meeting of the Union of Soviet Composers in 1948.

Two particular events in the winter of 1944 appear to have inspired this trio. The first came in February, when Shostakovich’s closest friend, the scholar and critic Ivan Sollertinsky, died (the Trio is dedicated to his memory).

The second was the discovery – as the Nazi armies retreated – of atrocities committed against Russian Jews.

Shostakovich completed the Trio in the spring and played the piano at its first performance in Leningrad on November 14, 1944.

The very beginning of the Andante – an eerie melody for muted cello, played entirely in harmonics – sets the spare

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No wonder the Soviet government banned performances of this music! The Trio in E Minor is unsettling music, more apt to leave audiences stunned than cheering, and it is a measure of Shostakovich the artist that he could transform his own anguish into music of such power and beauty.

Serge Rachmaninoff (1873-1943): Piano Trio in G minor (“Trio élégiaque”) Sometimes musical nicknames can be needlessly confusing, and that is certainly the case with Rachmaninoff ’s two piano trios. He composed both of them very early in his career and nicknamed both of them Trio élégiaque.

Rachmaninoff had entered the Moscow Conservatory at age 12, studying piano and composition, and he proved a brilliant success at both: He graduated with honors in piano in June 1891 and won the gold medal – the highest possible award – in composition a year later. It was while he was still a student at the Conservatory that the young composer scheduled his first formal concert for January 30, 1892. On this program Rachmaninoff played piano works by other composers, and he also introduced several new works of his own, including the present one-movement piano trio. But he barely got the trio done in time – he composed it in four days (January 18-21), leaving just a week to get the parts copied and the music rehearsed.

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Rachmaninoff ’s second Trio élégiaque would be written in memory of Tchaikovsky, but his intention in the first was not so specific – that title suggests a general atmosphere rather than commemorating a particular event or loss.

The music is marked Lento lugubre, which suggests its character perfectly, and listeners will discover that at age 18, Rachmaninoff already had command of that vein of somber lyricism that marks his mature music. Over subtly-shifting string accompaniment, the piano in octaves lays out the trio’s main idea before the strings are allowed to take it up. The violin has the second subject, which preserves the trio’s somber character, and the development – while active – remains at the measured opening tempo. Rachmaninoff closes out the trio by recalling the main theme in the strings above a darkly-tolling piano accompaniment.

Maurice Ravel (1875-1937): Piano Trio in A minor In February 1914 Ravel went to St. Jean-de-Luz, a small village on the French coast near the Spanish border, to work on two projects he had planned for some time: a piano concerto using Basque themes and a piano trio. He soon abandoned plans for the concerto, but the first movement of the trio went much better, and he had it complete by the end of March. He struggled with the rest of it, though. It took until mid-summer to get the middle movements done, and by the time he began the last movement, he had something else to worry about – World War I broke out just as he began work. Anxious to serve in the military (he would later drive an ambulance for the French army), Ravel was nevertheless extremely agitated, particularly about leaving his aged mother behind. To a friend, he wrote: “If you only knew how I am suffering. From morning to night I am obsessed with one idea that tortures me… If I leave my poor old mother, it will surely kill her… But so as not to think of all this, I am working – yes, working with the sureness and lucidity of a madman. At the same time I get terrible fits of depression and suddenly find myself sobbing over the sharps and flats!” Pushed on by this furious work, the Piano Trio was complete by the end of August.

The Piano Trio is one of Ravel’s finest chamber works, featuring brilliant writing for all three performers and a range of instrumental color rare in a piano trio. The first movement, Modéré, opens with the piano alone playing a theme of delicate rhythmic suspension. Ravel called this theme, in 8/8 time, “Basque in color.” A second idea, first heard in the violin, is taken up by the other instruments, but the development section of this sonata-form movement is relatively brief. The movement comes to a close as a fragment of the first theme dissolves to the point where the piano is left quietly tapping out the rhythm in its lowest register.

Ravel called the second movement Pantoum, and exactly what he meant by that is still open to question. A “pantoum” is a form of Malay poetry in which the second and fourth lines of one stanza become the first and third of the next. Whatever Ravel meant, this movement is colorful, full of racing rhythms, harmonics, and left-handed pizzicatos. The center section is particularly dazzling: The strings stay in a racing 3/4, while the piano’s chorale-like chords are in 4/2. At the close, the opening material returns.

The third movement is a passacaglia with 10 statements of the eight-bar theme. These begin quietly, become freer and louder, then gradually resume their original form as the movement comes to its quiet close. The third statement of the theme – for violin accompanied by simple chords from the piano – is ravishing.

The finale, marked Animé, is agitated. Whether this reflects Ravel’s own agitation at the time of its composition remains an unanswerable question, of course, but what is clear is that this movement has an energy and sweep unknown to the first three. It opens with swirling harmonic arpeggios from the violin, and this sensation of constant motion is felt throughout. The main theme – first heard in the piano – bears some rhythmic resemblance to the opening theme of the first movement, but the mood of this movement is far different. The finale is big music – not big in the sense of straining to be orchestral, but big in scope and color. Full of swirling arpeggios, trills and tremolos, the movement flies to its searing conclusion on a stinging, high A-major chord.

Program notes by Eric Bromberger

Joshua Bell With a career spanning more than 30 years as a soloist, chamber musician, recording artist, conductor and director, Joshua Bell is one of the most celebrated violinists of his era. Since 2011, Bell has served as Music Director of the Academy of St Martin in the Fields, succeeding Sir Neville Marriner, who formed the orchestra in 1958.

Bell’s interests range from repertoire hallmarks to commissioned works, including Nicholas Maw’s Violin Concerto, for which Bell received a Grammy Award. Committed to expanding music’s cultural impact, Bell has collaborated with peers including Chick Corea, Wynton Marsalis, Chris Botti, Frankie Moreno and Josh Groban. In Spring 2019, Bell joins cellist Steven Isserlis and pianist Jeremy Denk for a 10-city American trio tour.

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Bell maintains an avid interest in film music, commemorating the 20th anniversary of The Red Violin (1998) in 2018-19.

The film’s Academy Award-winning soundtrack features Bell as soloist; in 2018, Bell brings the film with live orchestra to summer festivals and the New York Philharmonic.

An exclusive Sony Classical artist, Bell has recorded over 40 albums garnering Grammy, Mercury, Gramophone and ECHO Klassik awards. Sony Classical’s June 2018 release, with Bell and the Academy, features Bruch’s Scottish Fantasy and G minor Violin Concerto.

In 2007, a Pulitzer Prize-winning Washington Post story, on Bell performing incognito in a Washington, D.C. metro station, sparked a conversation regarding artistic reception in context. It inspired Kathy Stinson’s 2013 children’s book, The Man with the Violin, and a newly-commissioned animated film. Bell debuted the 2017 Man with the Violin festival at the Kennedy Center, and, in March 2019, presents a Man with the Violin festival with the Seattle Symphony.

Born in Bloomington, Indiana, Bell began violin at age 4, and at age 12, began studies with Josef Gingold. At 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and at 17 he debuted at Carnegie Hall with the St. Louis Symphony. Bell received the 2007 Avery Fisher Prize and has been named Musical America’s 2010 Instrumentalist of the Year and an Indiana Living Legend.

Bell performs on the 1713 Huberman Stradivarius violin, with a François Tourte 18th-Century bow.

Steven Isserlis Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a varied career as a soloist, chamber musician, educator, author and broadcaster. He appears with the world’s leading orchestras and conductors, including the Gewandhausorchester Leipzig, Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Zurich Tonhalle and Los Angeles Philharmonic orchestras. As a chamber musician, he has curated concert series for prestigious venues including the Wigmore Hall, New York’s 92nd St Y and the Salzburg Festival. He also directs chamber orchestras from the cello in classical programs.

He has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has premiered

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many new works, including John Tavener’s The Protecting Veil, Thomas Adès’ Lieux retrouvés and György Kurtág’s For Steven.

Isserlis’ award-winning discography includes Bach’s Cello Suites for Hyperion (Gramophone’s Instrumental Album of the Year); Beethoven’s complete works for cello and piano with Robert Levin; and the Elgar and Walton concertos with the Philharmonia Orchestra/Paavo Jarvi. His latest recordings include the Brahms Double Concerto with Joshua Bell and the Academy of St Martin in the Fields, and – as director and soloist – concertos by Haydn and C.P.E. Bach with the Deutsche Kammerphilharmonie Bremen, which was shortlisted for a Grammy Award. A special First World War-inspired disc with Connie Shih was also released in 2017.

Since 1997, Isserlis has been artistic director of the International Musicians Seminar at Prussia Cove, Cornwall. He has also created three musical stories for children with the composer Anne Dudley and has published two books for children. His latest book is a commentary on Schumann’s famous Advice for Young Musicians.

Isserlis’ honors include a CBE in recognition of his services to music, the Schumann Prize of the City of Zwickau and the Piatigorsky Prize. In 2017, he was awarded the Glashütte Original Music Festival Award, the Wigmore Hall Gold Medal and the Walter Willson Cobbett Medal for Services to Chamber Music.

He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, loaned to him by the Royal Academy of Music.

Jeremy Denk Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur “Genius” Fellowship and the Avery Fisher Prize, Denk was elected to the American Academy of Arts and Sciences, returns frequently to Carnegie Hall, and in recent seasons has performed with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic and Cleveland Orchestra.

Abroad, recent appearances include London’s Wigmore Hall, the BBC Proms and multiple performances presented by the Barbican. He also has recent and upcoming debuts with the City of Birmingham Symphony, the London Philharmonic and the Royal Liverpool Philharmonic. In recital, Denk also made recent debuts at the Amsterdam Concertgebouw, the Philharmonie in Cologne and Klavier-

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Festival Ruhr. This season, Denk appears on a three-week recital tour including appearances in Washington, D.C., Seattle, Cleveland and Pittsburgh, culminating in his return to Carnegie Hall. Other highlights include play-directing Mozart on tour with Academy St Martin in the Fields and curating a series of Mozart Violin Sonatas (Denk & Friends) at Carnegie Hall. He also appears in recital in Europe, including his return to the Wigmore Hall as part of a threeyear residency. His recording c.1300-c.2000 has just been released by Nonesuch Records with music ranging from Guillaume de Machaut, Gilles Binchois and Carlo Gesualdo, to Stockhausen, Ligeti and Glass.

National Book Award-winning Author

Andrew Solomon in conversation with Pico Iyer

photo: Derek Shapton

As 2014 Music Director of the Ojai Music Festival, Denk wrote the libretto for a comic opera, which was also presented by Carnegie Hall, Cal Performances and the Aspen Festival. He is also known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” The pianist’s writing has appeared in The New Yorker, The New Republic, The Guardian and on the front page of The New York Times Book Review.

One of his New Yorker contributions, “Every Good Boy Does Fine,” forms the basis of a book for future publication by Random House.

Joshua Bell, Jeremy Denk, and Steven Isserlis appear by arrangement with Park Avenue Artists (www.parkavenueartists.com), Primo Artists (www. primoartists.com), Opus 3 Artists (www.opus3artists.com), and Colbert Artists (https://colbertartists.com).

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Andrew Solomon blends reflection, decades-long research and personal experience to create portraits of the human condition. His books include Far from the Tree: Parents, Children and the Search for Identity and The Noonday Demon: An Atlas of Depression. In his most recent book, Far and Away, Solomon offers thought-provoking angles on his enduring themes of life, death and outsiderhood – and the dignity to be found within every one of them.

Books by both authors will be available for purchase and signing courtesy of Chaucer’s Special thanks to

Event Sponsor: Anonymous Speaking with Pico Series Sponsors: Martha Gabbert, Laura Shelburne & Kevin O’Connor Related Thematic Learning Initiative Event (see page 11)

Thu, May 16 / 7:30 PM UCSB Campbell Hall (See page 62)

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Live taping for broadcast!

KCRW’s Left, Right & Center LIVE Thu, May 9 / 7:30 PM / Campbell Hall

Host and Center: Josh Barro, KCRW, New York Magazine Panel: Jamil Smith, Rolling Stone Megan McArdle, The Washington Post Keli Goff, The Daily Beast Plus special guests!

The political podcast Left, Right & Center busts opinion bubbles and echo chambers with intelligent discussion about politics, issues and culture. Top political thinkers analyze the news each week for a balanced and civilized yet provocative conversation. On the air at public radio station KCRW since 1996, Left, Right & Center is consistently ranked among the top politics and news podcasts. This show is available at KCRW.com or wherever you listen to podcasts.

Josh Barro is the host of Left, Right & Center, KCRW’s weekly, civilized-yet-provocative discussion of political news from perspectives across the ideological spectrum. He is also the co-host of KCRW’s LRC Presents: All The President’s Lawyers, which focuses exclusively on Donald Trump’s legal problems.

He is New York Magazine’s business columnist, covering company and industry trends and the relationship between business and government. Before entering journalism, he worked in policy research for think tanks and as a real-estate banker at Wells Fargo. He holds a bachelor’s degree in psychology from Harvard College. Twitter: @jbarro Jamil Smith is a senior writer at Rolling Stone, where he covers national affairs and culture. His career has run the gamut from politics to sports and back again, from Emmy Award-winning work as a producer with NFL Films and MSNBC to reporting and commentary for The New Republic and MTV News, where he also hosted podcasts.

His work has been featured on the cover of Time, on the airwaves at WNYC and KCRW and on the opinion pages of The New York Times, Los Angeles Times and The Washington Post. Twitter: @jamilsmith

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Megan McArdle is a columnist for The Washington Post who has been writing about business, politics and public policy for nearly two decades. Her work has appeared in The Economist, The Atlantic, Newsweek/The Daily Beast, Bloomberg, The New York Times, The Wall Street Journal, Time, The Guardian and Reason. She was a Bernard Schwartz Fellow at the New America Foundation and a fellow at the University of Chicago’s Institute for Politics and is currently the Egan Visiting Professor at Duke University’s Sanford School of Public Policy. Her book, The Up Side of Down: Why Failing Well Is the Key to Success, was published in 2014. She lives in Washington, D.C. with her husband and her very large dog. Twitter: @asymmetricinfo Keli Goff, a columnist for The Daily Beast, also writes essays and articles for New York Magazine, The Guardian, Glamour and The Washington Post. Her work as a screenwriter includes the critically acclaimed dramas Black Lightning and Being Mary Jane. She was a producer on the 2018 Netflix documentary Reversing Roe, a history of the key legal and political battles that have defined the debate over abortion in America. Twitter: @keligoff Special thanks to

@ArtsAndLectures

Neil Gaiman

photo: Kyle Cassidy

Sat, May 11 / 7:30 PM / Campbell Hall

“I make things up and write them down” is the way Neil Gaiman describes his varied art. One of the most celebrated writers of our time, his popular and critically-acclaimed works bend genres while reaching audiences of all ages.

Gaiman’s groundbreaking Sandman comics were described

by Stephen King as having turned graphic novels into art; an issue of Sandman was the first comic book to receive the World Fantasy Award for Best Short Story.

Gaiman is the bestselling author of Neverwhere, Anansi Boys, Good Omens (with Terry Pratchett), Smoke and Mirrors, Fragile Things, American Gods, Trigger Warning: Short Fictions and Disturbances, The Ocean at the End of the Lane, The Sleeper and the Spindle, Hansel and Gretel, Norse Mythology and The View from the Cheap Seats (non-fiction essays). His newest book is Art Matters, illustrated by Chris Riddell.

His works for younger readers include The Day I Swapped My Dad for Two Goldfish, The Wolves in the Walls (made into an opera by the Scottish National Theatre), Odd and the Frost Giants, The Dangerous Alphabet, Cinnamon and Fortunately the Milk. His young adult story, Coraline, won the Hugo, Nebula, Bram Stoker and Locus awards and was adapted into a musical and an opera. His children’s novel, The Graveyard Book, is the only work to win both the Newbery and Carnegie Medals.

Much of Gaiman’s work has been adapted for visual media including Stardust, Coraline, Neil Gaiman’s Likely Stories and How to Talk to Girls at Parties. The hit series American Gods started its second season on Starz in March 2019, and Good

Presented in association with the UCSB Writing Program Omens will debut on Amazon Prime in 2019. Sandman is currently in development as a major motion picture.

A self-described “feral child who was raised in libraries,” Gaiman credits librarians with fostering a lifelong love of reading. He is a passionate advocate for books and libraries and a supporter and former board member of the Comic Book Legal Defense Fund. Born in England, Gaiman lives in the United States and teaches at Bard College. He is married to artist/musician Amanda Palmer, with whom he sometimes performs.

Neil Gaiman has been honored with four Hugos, two Nebulas, one World Fantasy Award, four Bram Stoker Awards, six Locus Awards, two British SF Awards, one British Fantasy Award, three Geffens, one International Horror Guild Award, two Mythopoeic Awards and 15 Eisner Awards.

Other honors include the Shirley Jackson Award, Chicago Tribune Young Adult Literary Prize (for his body of work), Comic Book Legal Defense Fund Defender of Liberty award and an honorary doctorate from the University of the Arts.

In 2017 UNHCR, the UN Refugee Agency, appointed Neil Gaiman as a global Goodwill Ambassador. www.neilgaiman.com | www.twitter.com/neilhimself Pre-signed books are available for purchase in the lobby

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Andrew Solomon

In Conversation with Pico Iyer

photo: Annie Leibovitz

Thu, May 16 / 7:30 PM / Campbell Hall

Event Sponsor: Anonymous Speaking with Pico Series Sponsors: Martha Gabbert, Laura Shelburne & Kevin O’Connor Related Thematic Learning Initiative Event (see page 11)

Andrew Solomon Andrew Solomon is a writer of remarkable talent and intellect. His books and essays explore the subjects of politics, culture and psychology with extraordinary humanity.

He received the National Book Award for The Noonday Demon: An Atlas of Depression. The book was also a finalist for the Pulitzer Prize and was a worldwide bestseller published in more than 20 languages. It is widely considered the definitive text on depression. In 2016, Solomon released a collection of essays examining some 25 years of international travel titled Far and Away. The essays chronicle Solomon’s unique experiences in places undergoing seismic shifts – political, cultural and spiritual. Far and Away provides a view into some of the most crucial social transformations of the past quarter-century.

Acclaimed as a revolutionary feat of journalism, Far From the Tree: Parents, Children and the Search for Identity, is an examination of the means by which families accommodate children with physical, mental and social disabilities and how these unusual situations can be invested with love.

Solomon spent 10 years researching the book, interviewing more than 300 families and generating more than 40,000 pages of notes. NPR called the book “a work of genius” and Vanity Fair said, “Andrew Solomon’s empathy, heart and vast intelligence are in abundance in Far from the Tree.” Far From the Tree has been adapted into a documentary that is being described as “passionate” and “life-affirming.” The inspiring documentary was directed by award-winning filmmaker Rachel Dretzin and released in 2018.

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A regular contributor to NPR, The New York Times and many other publications, Solomon is an outspoken activist and philanthropist for many causes in LGBT rights, mental health, education and the arts. He is the founder of the Solomon Research Fellowships in LGBT Studies at Yale University and a Professor of Clinical Psychology at Columbia University. He holds a doctorate in Psychology from Jesus College, Cambridge, and currently is the President of PEN American Center.

Pico Iyer Pico Iyer is the author of two novels and 13 works of non-fiction and his books have been translated into 23 languages. He has also written the introductions to more than 60 other works as well as liner notes for Leonard Cohen and a screenplay for Miramax. He is currently Ferris Professor of Journalism at Princeton University and he will be releasing three new books in 2019, including Autumn Light, to appear in April, and A Beginner’s Guide to Japan, to appear in the fall. He recently gave three talks for TED in the space of three years, and they have received more than 8 million views so far.

Books by both authors are available for purchase in the lobby and a signing follows the event

@ArtsAndLectures

FREE Community Event

Thu, Apr 11 / 8 PM / FREE Under the stars at the Santa Barbara County Courthouse, Sunken Garden

Co-presented with the Santa Barbara County Office of Arts & Culture Special thanks to Santa Barbara County Parks and the Community Services Department of Santa Barbara County

photo: from the film Life Coach

It’s Mountainfilm like you’ve never seen it before! Join us for this special free community screening in celebration of A&L’s 60th anniversary. Bring a blanket and cozy up under the stars for a selection current and best-loved films from the annual festival in Telluride. (90 min.)

Thank You to Our Generous Sponsors

Bring blankets, low-back chairs, a picnic, and your friends!

Paseo Nuevo Cinemas, Theater #3 $8 per film (except Obey Giant which is free) / $40 festival pass

SATURDAY, MAY 4 11 AM BAUHAUS SPIRIT

1 PM BURDEN Chris Burden

Celebrating the 100th anniversary of the famed Bauhaus architecture school, noted for design, innovation and its belief in a peaceful society everyone could be a part of. (Niels Bolbrinker & Thomas Tielsch, 2018, 90 min.)

An unprecedented look at an artist who pushed the limits of creative expression. Whether he shot himself, squeezed into a locker for five days, or mounted iconic sculptures, Chris Burden rocked the art world. (Timothy Marrinan & Richard Dewey, 2015, 87 min.)

7 PM OBEY GIANT FREE

3 PM KUSAMA: INFINITY

The Art and Dissent of Shepard Fairey

Now the world’s top-selling female artist, trailblazer Yayoi Kusama overcame impossible odds to bring her radical artistic vision to the world stage.

Known for her mirrored “Infinity” rooms and vast polka-dotted surfaces, she continues to create her visionary work from the mental institution she has called home for more than 30 years. (Heather Lenz, 2018, 80 min.)

Follow Shepard Fairey from his roots in punk rock and skateboarding to creating iconic images like the Obama HOPE poster – and the controversy that surrounds his work. (James Moll, 2017, 90 min.)

photos: courtesy Icarus films (Bauhaus Spirit, Kochuu, Great Expectations); courtesy Magnolia Pictures (Burden, Kusama, Leaning Into the Wind); copyright Tokyo Lee Productions, Inc. (Kusama); Thomas Riedelsheime (Leaning Into the Wind); courtesy Cohen Media Group (Faces Places)

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@ArtsAndLectures

Just added!

Curated by Bruce Heavin and Roman Baratiak Special thanks to our partner Metropolitan Theatres Corporation

SUNDAY, MAY 5 11 AM GREAT KOCHUU EXPECTATIONS

Japanese Architecture / Influence & Origin (Jesper Wachtmeister, 2003, 53 min.)

A Journey Through the History of Visionary Architecture (Jesper Wachtmeister, 2007, 52 min.)

3 PM REM

Presented in association with the Santa Barbara Museum of Art, the UCSB Art, Design & Architecture Museum and the UCSB Department of the History of Art & Architecture

1 PM LEANING INTO THE WIND Andy Goldsworthy

Andy Goldsworthy explores the impact of the years on himself and his work in this exquisite film that illuminates his mind as it reveals his art.

(Thomas Riedelsheimer, 2017, 93 min.)

7 PM FACES PLACES

Special Guest: Filmmaker Tomas Koolhaas

Explore the works of legendary architect and master provocateur Rem Koolhaas from his viewpoint and through the eyes of those who inhabit his works. (Tomas Koolhaas, 2016, 75 min.)

In this enchanting documentary/road movie, 89-year old French New Wave director Agnès Varda and 33 year-old muralist JR travel through rural France to document people they encounter, forging an unlikely friendship along the way. (Agnes Varda & JR, 2017, 90 min.)

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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SUMMER FESTIVAL JUN 17 – AUG 10

2019 returning fellow Johanna Bufler solo piano

ACADEMY FESTIVAL ORCHESTRA | CHAMBER MUSIC | OPERA | RECITALS MASTERCLASSES | COMPETITIONS | LONDON SYMPHONY ORCHESTRA UCSB arts&lecture ad_MusAcad_March2019v2.indd 1

JOIN US! Visit musicacademy.org for information about 170 classical music events in Santa Barbara.

3/18/19 2:37 PM SUBSCRIBE TODAY! musicacademy.org

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IT’S BETTER AT THE GARDEN

Roof Top Bistro & Bar is a modern open-air dining experience, offering craft cocktails, local beer and wine, and Santa Barbara fresh fare, daily.

Join us for nights under the market lights lounging in a laid-back setting, nestled between the Santa Ynez mountains and the coast. open daily from sunset to stars atop Hilton Garden Inn Santa Barbara/Goleta

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www.southcoastinn.net info@santa-barbara-hotel.com 5620 Calle Real, Goleta, CA

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BARBARA HANNIGAN music director

JUNE 6-9 2019

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• Staged production of Stravinsky’s neoclassical The Rake’s Progress • Hannigan performing and conducting her Grammy-winning Gershwin’s Girl Crazy Suite

Locally owned and operated

• West Coast conducting debut of Hannigan in works by Stravinsky, Debussy, and Haydn • The US debut of LUDWIG, the Grammy-winning Amsterdam music collective

40 years of excellent customer service 3321 State St. Santa Barbara Loreto Plaza

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(805) 682-6787

Single tickets on sale now

OjaiFestival.org | 805 646 2053

SPRING 2019

PERFORMANCE SEASON SPRING DANCE CONCERT APR 11-14 HATLEN THEATER

NEW WORKS LAB MAY 9- 19 PERFORMING ARTS THEATER

THE HUNGRY WOMAN MAY 24-JUN 2 HATLEN THEATER Photo by Fritz Olenberger

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A penchant for green olives.

A love of spring.

The beauty of history.

A green thumb and a sweet tooth.

My passport.

A good, thick biography.

Vista del Monte

This is my community. Here, I am free to discover, learn and do what I love, in the company of good friends. There’s a whole-person approach to wellness—mind, body and spirit. In this beautiful neighborhood, set amid tall pines and just a few miles from the beach, I feel fulfilled, whole. At Vista del Monte, I’m home.

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End-of-Life Changemaker

Judy Stevens-Long, PhD, is an internationally known researcher in adult development and faculty emerita at Fielding Graduate University. A Hospice of Santa Barbara volunteer, Dr. StevensLong began writing about death and dying in her best-selling book Adult Life. Her new guidebook, Living Well, Dying Well, helps readers reshape their end-of-life experiences.

Fielding.edu

For 45 years, Fielding has been educating leaders, scholars and practitioners for a more just and sustainable world. Fielding proudly supports the Santa Barbara community.

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