MANUAL CINEMA
CHAN CENTRE FOR THE PERFORMING ARTS AT UBC
“The
poet, first and foremost an individual with a personal vision, is also a member of society. What affects society affects a poet.”
– Gwendolyn Brooks
No Blue Memories: The Life of Gwendolyn Brooks
PRESENTED BY THE CHAN CENTRE FOR THE PERFORMING ARTS AS PART OF THE BEYOND WORDS SERIES
A Manual Cinema Production Commissioned by the Poetry Foundation Written by Crescendo Literary (Eve L. Ewing & Nate Marshall) Director Sarah Fornace Music Composers Jamila Woods & Ayanna Woods Music Director Ayanna Woods Storyboards by Drew Dir Puppet Designers Drew Dir & Lizi Breit Costume Designer Mieka van der Ploeg Lighting Designer Claire Chrzan Sound Designer Ben Kauffman Tech Director Mike Usrey Sound Engineer Andy Spillman Stage Manager Mariana Green CAST Gwendolyn Brooks, Puppeteer N. LaQuis Harkins Haki R. Madhubuti, Puppeteer Rasaan Khalil Puppeteer Charlee Cotton Puppeteer Felix Mayes Puppeteer Sharaina L. Turnage Keyboard Ami Burton Drums Shalynn Brown aka RED Trumpet Ryan Nyther Vocals, Bass Ayanna Woods Vocals, Sound Effects Kamaria Woods FEATURED POEMS “Eventide” by Gwendolyn Brooks “Beverly Hills, Chicago” by Gwendolyn Brooks “We Real Cool” by Gwendolyn Brooks “Gwendolyn Brooks” by Haki Madhubuti “The Third Sermon on the Warpland” by Gwendolyn Brooks “Speech to the Young - Speech to the Progress-Toward” by Gwendolyn Brooks The performance will be 65 minutes with no intermission. Please remember to turn off your phones, and note that photography and recording are not permitted. Thank you! ƛ̓a tə n̓a Chan Centre for the Performing Arts ʔam̓ət ʔi ʔə tə n̓a šxʷməθkʷəy̓əmaʔɬ təməxʷ The Chan Centre for the Performing Arts is situated within the heart of Musqueam traditional territory
Manual Cinema Manual Cinema is a performance collective, design studio, and film/video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multichannel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema and imbues it with liveness, ingenuity, and theatricality. Manual Cinema has been presented by, worked in collaboration with, or brought its work to The Metropolitan Museum of Art (NYC), BAM (NYC), The Museum of Contemporary Art Chicago, The Kennedy Center (DC), Under the Radar Festival (NYC), La Monnaie-DeMunt (Brussels), The Noorderzon Festival (Netherlands), The Kimmel Center (DC) The O, Miami Poetry Festival, The Tehran International Puppet Festival (Iran), Davies Symphony Hall (SF), The Ace Hotel Theater (LA), The Hakaway International Arts Festival (Cairo), The Edinburgh Fringe Festival, and elsewhere around the world. They have collaborated with 4
StoryCorps (NYC), Erratica (London), The Belgian Royal Opera (Brussels), Hubbard Street Dance (Chicago), Pop-Up Magazine (SF), Nu Deco Ensemble (Miami), NYTimes bestselling author Reif Larsen (NYC), three time Grammy Award-winning eighth blackbird (Chicago), NPR’s Invisibilia, Topic Magazine and The New York Times. In 2018, the company had debuts in Holland, Portugal, Czech Republic, Saudi Arabia and Egypt.
Puppeteers CHARLEE COTTON (Puppeteer) Charlee is thrilled to be working with Manual Cinema! They are a Chicagoland native hailing from the north suburbs. Charlee’s past works include playing Celia in Midsummer Flight’s As You Like It, work with Red Theatre, Cor Theatre, and NBC’s Chicago PD. N. LAQUIS HARKINS (Gwendolyn Brooks, Puppeteer) is a graduate of Howard University. LaQuis was born and raised in Chicago, IL. Since her initial work with the Hip Hop Theatre Junction (Rhyme Deferred), LaQuis has performed in various productions including Repairing a Nation, How We Got On, and Blues for an Alabama Sky; in commercials, and in independent films. She recently produced her first short film, Kayla's Light, about families in Chicago dealing with tragic loss. She is grateful and honoured to work with the magical Manual Cinema in sharing the valuable legacy of Gwendolyn Brooks. RASAAN KHALIL (Haki R. Madhubuti, Puppeteer) is a rapper, poet, and actor from Maywood, IL. He is a 2016 Poetry Incubator alum and a fourth-year student at the University of Illinois at Chicago, currently studying history with a minor in African American studies. Influenced by artists like Fela Kuti, Lupe Fiasco, and Saul Williams, much of Rasaan’s work explores faith, race, and coming of age in Chicago. His debut hip hop project is set to release in 2019, and his work has been featured in Fake Shore Drive and elsewhere. 5
FELIX MAYES (Puppeteer) is honoured to share the legacy of Gwendolyn Brooks. He has had the opportunity to perform on stages from NJPAC to Lincoln Center to the Rudolfinum in Prague as a singer, actor, and dancer. He has participated in the Philly Fringe Festival and Irene Ryan Acting Festival, as well as the American College Dance Festival. Felix is a graduate of Muhlenberg College. SHARAINA LATRICE TURNAGE (Puppeteer) is from the notoriously awesome south side of Chicago. She is making her debut with Manual Cinema and couldn’t be more thrilled to work with such an amazing company. Sharaina received her B.A. at Southern Illinois University, Edwardsville where past credits include: Mayme (Intimate Apparel), LaWanda/ Topsy Washington/Normal Jean (The Colored Museum), and Bernice (Servy N Bernice 4ever). Recent credits include: Los Milagros (Free Street Theater) and Grey Area (FYI). Sharaina has researched and performed historical theatre done by slaves called Du Theater in Suriname, South America, and was amongst one of the first actors to perform Du Theater in the United States.
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Musicians SHALYNN BROWN aka RED (Drums) attended Columbia College Chicago, majoring in Music Instrumental Performance. While at Columbia, they started an all-female band which is currently breaking ground in Chicago’s underground music scene. Their favourite instruments to play are the drums, bass guitar, acoustic guitar and, of course, the piano. In Red's spare time, you can find them writing and recording music, humming, tapping their foot or keeping a beat on a table. AMI BURTON (Keyboard) Chicago artist Ami is a singer/songwriter and musician trained in several genres of music including gospel, rhythm & blues, and classical. The combination of influence from these genres and her unique vocal styling presents a fresh sonic experience. Ami has opened up for several artists including Esperanza Spalding, Jon B, Al. B Sure, and Bilal. Ami has accompanied rising star Smino on keyboards as he opened up for SZA's Ctrl tour, and she is the keyboardist and musical director for Chicago artist Jamila Woods. RYAN NYTHER (Trumpet) Under the direction of Diane Ellis at Dixon Elementary School, Ryan developed an early interest in music—particularly black American music. Ryan attended Lincoln Park High School, numerous after school/city programs, and learned from Chicago bebop/avant garde legends including Fred Anderson, Von Freeman, and Willie Pickens. He received a scholarship to college and eventually earned a Bachelor’s Degree in Jazz Studies from Northern Illinois University. Ryan tours regularly around the world with the soulful group Dumpstaphunk which is based out of New Orleans. He is also currently in residency at Andy's Jazz club with his longstanding collaborative project Trumpet Summit, a collective made up of musicians playing in the traditional instrumental black American music of the 50s and 60s. Ryan has also graced stages with Isaiah Sharkey, Jamila Woods, Lupe Fiasco, Eric Roberson, Wynton Marsalis, Ivan Neville, Ramsey Louis, Roy Hargrove, Buddy Guy, Maurice Brown, Carl Weathersby, R&B group Mint Condition, James Carter, and many others.
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AYANNA WOODS (Vocals, Bass, Music Director, Composer) is a composer, singer and multi-instrumentalist from Chicago. She earned her BA in music composition from Yale University. Woods' pieces have been performed by the Wet Ink Ensemble, members of Fifth House Ensemble, the Chicago Children’s Choir, and others. Her work as a writer and producer can be found in film scores for Revive LLC, in the viral web series Brown Girls, and in her own solo project, Yadda Yadda. She is a recipient of Third Coast Percussion's 2017 Emerging Composers Partnership. Her music explores the spaces between acoustic and electronic, traditional and esoteric, wildly improvisational and mathematically rigorous. KAMARIA WOODS (Vocals, Sound Effects) is a producer, multi-instrumentalist, singer, educator, and sister born and raised in Chicago, IL. She cultivates her own sound, allowing pain, joy, and truth to coexist through honest lyricism and her unique style of production. Through an intimate exploration of ancestry and Blk joy, Kamaria creates lullabies for the community and for the self.
Staff & Creative Team LIZI BREIT (Puppet Designer, Manual Cinema Associate Designer) Lizi Breit is a Chicago-based artist working primarily across illustration, animation, sculpture, and performance. She has been working with Manual Cinema since 2011, and is currently serving as associate designer. She is an artistic associate with The Neo-Futurists and a former member of Blair Thomas & Co. Her internet-self lives at lizibreit.com. CLAIRE CHRZAN (Lighting Design) is excited to collaborate with Manual Cinema again after previously designing The End of TV. Other credits include; Evening at the Talk House, The Mutilated, The Room (A Red Orchid); The? Unicorn? Hour?, Saturn Returns (The Neo-Futurists); The Distance, We're Gonna Die (Haven Theatre); Caught (Sideshow Theatre Company); After Miss Julie, The Night Season (Strawdog Theatre Company); Peerless (First Floor Theater); Pinocchio (Neverbird at Chicago Children's Theatre); Love and Human Remains, Good Person of Szechwan (Cor Theatre); The Terrible (The New Colony); The Guardians, Uncle Bob (Mary-Arrchie); The Hero's Journey, Best Beloved: The Just So Stories, The Pied Piper (Forks and Hope Ensemble). Claire also works as a production stage manager for various companies including Hubbard Street's HS2, The Joffrey Ballet's Joffrey Academy, and Alonzo King LINES ballet. clairechrzandesigns.com DREW DIR (Puppet Designer, Manual Cinema Co-Artistic Director) is a writer, director, and puppet designer. Previously, he served as the resident dramaturg of Court Theatre and a lecturer in theater and performance studies at the University of Chicago. He holds a master’s degree in text and performance studies from King’s College London and the Royal Academy of Dramatic Art. EVE L. EWING (Playwright) is a writer and sociologist from Chicago. She is author of two books, Electric Arches (2017) and Ghosts in the Schoolyard: Racism and School Closings on Chicago's South Side (2018). Her work has appeared in Poetry, The New Yorker, The New York Times, The Atlantic, The Chicago Tribune, and many other publications. She is a provost's postdoctoral scholar at the University of Chicago School of Social Service Administration, where she does research on racism and American public schools. SARAH FORNACE (Director, Manual Cinema Co-Artistic Director) is a director, puppeteer, choreographer, and narrative designer based in Chicago. Outside of Manual Cinema, Sarah has worked as a performer or choreographer with Redmoon Theatre, 8
Lookingglass Theatre Company, Court Theatre, Steppenwolf Garage, and Blair Thomas and Co. Most recently, Sarah wrote the story mode for the video game Rivals of Aether. In 2017, she directed and edited the first episode of the web series, The Doula is IN. In 2016, she directed and devised an "animotion" production of Shakespeare's Hamlet with Rokoko Studios for HamletScen at Kromborg Castle in Elsinore, Denmark. MARIANA GREEN (Stage Manager) Mariana is a Chicago-based teaching artist and freelance stage and production manager. She works with performance companies like For Youth Inquiry (FYI) and Erasing the Distance, where she is also a company member, which provide access to mental and sexual health services. She is also a company member of Barrel of Monkeys, where she performs and teaches writing and performance to young people throughout the Chicago public school system. A founding member of the performance collective FEMelanin and proud bi-racial queer person, she also devises theatrical experiences that lift up and spark dialogue between the voices of the oppressed. BEN KAUFFMAN (Sound Designer, Manual Cinema Co-Artistic Director) is a composer, director, interactive media artist and Co-Artistic Director of Manual Cinema. His film and interactive work has been shown at The Jay Pritzker Pavilion (Chicago), The Peggy Notebaert Nature Museum (Chicago), and CUNY’s Baruch College (NYC). He has lectured and given workshops at The Metropolitan Museum of Art, New York University and Parsons the New School of Design. His past Composer/ Sound Designer credits with Manual Cinema include Ada/ Ava, The End of TV, and the New York Times documentary The Forger. He holds a Master’s degree from New York University’s Interactive Telecommunications Program (ITP). NATE MARSHALL (Playwright) is from the South Side of Chicago. He is the author of Wild Hundreds and an editor of The BreakBeat Poets: New American Poetry in the Age of Hip-Hop. His last rap album, Grown, came out in 2015 with his group Daily Lyrical Product. Nate is a member of The Dark Noise Collective and co-directs Crescendo Literary with Dr. Eve L. Ewing. Nate has received fellowships from Cave Canem, The Poetry Foundation, and The University of Michigan. He is the Director of National Programs for Louder Than A Bomb Poetry Festival. No Blue Memories is his first play. ANDY SPILLMAN (Sound Engineer) is a Chicago-based audio / video technician who has worked in music, theatre, and corporate events. MIEKA VAN DER PLOEG (Costume Designer) has designed costumes for many Chicago theatres, including Lookingglass Theatre, Chicago Shakespeare Theatre, The Hypocrites, Chicago Children's Theatre, About Face Theatre, The House Theatre, Next Theatre, Griffin Theatre, The Building Stage, Albany Park Theater Project, Dog and Pony Theatre, and Manual Cinema. She is proud to be an Artistic Associate at About Face Theatre. She has received two Jeff Award nominations for Golden Boy (Griffin Theater) and Mr. Burns (co-designed with Mara Blumenfeld, Theater Wit). JAMILA WOODS (Composer) is a poet, singer-songwriter, and educator from Chicago, IL. A recipient of the 2015 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship, her poetry has been published by Poetry Foundation, Haymarket Books, and Third World Press. She currently works as Associate Artistic Director of the non-profit organization Young Chicago Authors, where she teaches poetry to Chicago youth and helps organize Louder Than A Bomb, the largest youth poetry festival in the world. As a singer-songwriter, she has collaborated with Chance the Rapper and Macklemore, and toured supporting Corinne Bailey Rae. She also served as music consultant for the web series Brown Girls. Her critically acclaimed debut album HEAVN was re-released via JagJaguwar Records and Closed Sessions in 2017. 9
The Language and Lyricism of Gwendolyn Brooks By Taryn Plater
Chicago’s first lady of poetry, Gwendolyn Brooks, gave a voice to the ordinary. A masterful artist in the medium of language, she documented everyday people in their everyday lives, treating each and every subject with respect, dignity, and precision. The precision arose from careful study of register, dialect, and poetic forms, all of which come together to create personal, vivid portraits of young students to salon-goers to pool players. Brooks worked in a vast array of forms with a range of literary standings. From sonnets to blues rhythms, all her chosen forms accommodate distilled emotion and offer intimacy through simplicity. Drawing material from what she saw out the window of her second story apartment, she quietly documented “petty destinies” and “common prejudice”, imposing a sense of importance onto ordinary lives. High and low forms Throughout her career, Brooks made effective use of terza rima, rhyming couplets, and quatrains. “Beverly Hills, Chicago” meets a couple driving through an affluent neighbourhood.
The dry brown coughing beneath their feet, (Only for a while, for the handyman is on his way) These people walk their golden gardens. We say ourselves fortunate to be driving by today.
The poem’s unbounded quatrain form communicates with an understood elegance, picturing the beautiful streetscape while showing the poet’s awe of – and therefore, estrangement from – such charmed lives. We relate to the poet’s awe, discomfort, and apologetic jealousy. We can imagine ourselves in the same car, our voices growing “a little gruff” as we drive on. The boys who skip school to play pool at the golden shovel are better served by a more contemporary metre. Though still a recognizable form, the rhythm of “We Real Cool“ (1960) is more colloquial. Rather than following the sentence boundaries, each line ends with a punctuated ‘We’, beginning the next phrase. The poem has such an infectious swing to it that, by the end, the missing ‘we’ leaves a telling gap.
We real cool. We Left school. We
Lurk late. We Strike straight. We
Sing sin. We Thin gin. We
Jazz June. We Die soon.
This poem is one of many instances where Gwendolyn Brooks demonstrates a mastery of musical metres to match her knowledge of classical forms. 10
The way we talk Another reflection of the everyday is found in those of Brooks’ poems categorized as ‘dialect poetry’ – of which “We Real Cool” is just one example. Though sometimes (incorrectly) used disparagingly, a dialect is actually any set of words and conventions that describes the specific way a language is spoken within a certain area or group. In many of her poems Brooks employs African American Vernacular English (AAVE) – a dialect that is particularly stigmatized by virtue of the legacy of racism in America. Just as classical and contemporary forms each have their place, different subjects may call for different registers and dialects. Leaving out the verb in each line of “We Real Cool” not only creates its musical rhythm, it gives the reader an immediate sense of who the pool players are, where they are from, what kind of groups they might belong to. In this way, Gwendolyn Brooks reclaimed dialect poetry, treating it as a valid aesthetic in itself, never as a tool for reaching “less refined” audiences. Formal freedom Later in her career, Ms. Brooks developed a loyalty to the Black Arts Movement. She began to embrace free verse and her poems began to focus more on persuasion than impartial documentation. With this new “stripped lean, compressed style”, Brooks was suddenly speaking directly to the people who were previously the subject of her poems. “Third Sermon on the Warpland” depicts a preacher giving a sermon in the middle of a riot. Rhyme and metre are ever-changing – the few instances of familiarity through repetition necessary to collect our attention back to the starkness of reality:
However, what is going on is going on.
Nevertheless, even in her free verse period Gwendolyn Brooks did not discard traditional poetic forms only for the sake of it. Her poems preserve order and beauty where possible and, when a sonnet serves what needs to be said, a sonnet is used. This mirrors Brooks’ view of civil rights activism (and one of this poem’s themes): even when revolution is necessary, violence for violence’s sake is not. Whether using sonnets or free verse, the goal is communication. Gwendolyn Brooks’ manipulation of form evolved with changing political landscapes and literary trends, while remaining original and relevant to the subject at hand. With a focus on observation and the honest depiction of regular humanity, Brooks shed light on the significance and universality of each ordinary life.
“I want to report; I want to record. I go inside myself, bring out what I feel, put it on paper, look at it, pull out all of the clichés. I will work hard in that way.” - Gwendolyn Brooks
About the author Taryn Plater is in her third year working as Marketing & Communications Assistant at the Chan Centre as part of the UBC Work Learn program. She is pursuing a double major in music and linguistics at UBC, as well as a Master of Management, and looks forward to playing a role in the future of the performing arts in Canada. 11
Exploring the role of the arts and artists in society. chancentre.com/connects
Pre-show Talk with Jillian Christmas 6:15pm: Royal Bank Cinema, Chan Centre
Navigating poetry and prose, Vancouver-based poet, organizer, and activist Jillian Christmas takes us on an exploration of Black experience. Pausing in places of intersection between the work of Gwendolyn Brooks and her own, Jillian examines the importance of telling one’s story. What did Brooks illuminate about the life of a Black artist in America? What about community? What is the importance and power found in telling one’s own story, and what drew people, from different backgrounds and experiences, to flock to Brooks’ work? Gather for a moment of poetic contemplation, as we prepare to be swept away by the sharp wisdom and keen witness of No Blue Memories: The Life of Gwendolyn Brooks.
Telling Stories with Shadows: A Workshop with Manual Cinema On the evening of February 23 at the Vancouver Art Gallery downtown, the artists of Manual Cinema led an intimate hands-on workshop that gave participants an inside look on how the award-winning company combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. This workshop was part of the Chan Centre Connects series, which aims to engage audiences and connect them in meaningful ways to Chan Centre artists and their artistic practices.
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UBC School of Music Fanfares A brass fanfare will be performed in the lobby at 6:30pm and 6:45pm. This new piece has been commissioned by the Chan Centre from UBC composition student Maggie Lu as part of an ongoing partnership with the UBC School of Music. Thunderbird Brass Silas Friesen Trumpet; Matheus Moraes Trumpet; Kristin Ranshaw Horn; Kevin Jackson Trombone; Takami Hayashi Tuba Spirit explores the concepts of strength and accumulating individuality. Layered drones coupled with animated bursts develop in an interweaving relationship, embodying the gradual building of character. Maggie Lu is a student of Composition at the University of British Columbia, currently in the second year of her Bachelor's Degree after being accepted at fourteen years of age. Her work has premiered at the West Coast Composers Symposium and is selected for performance at the 2019 Sonic Boom Festival.
Film Screenings at The Cinematheque The Chan Centre is pleased to partner with The Cinematheque to curate a series of music-inspired films to accompany Chan Centre Presents performances. Next up in the series is a documentary film entitled The Music of Strangers that follows the fascinating story of Yo Yo Ma’s Silkroad Ensemble, a group that brings together top musicians from different musical cultures around the world. This film features Galician bagpipe player Cristina Pato who will be performing with her quartet at the Chan Centre on April 11. Film Screening - The Music of Strangers Thursday March 21, 7pm The Cinematheque, 1131 Howe St Directed by Morgan Neville (2015, 96 min) Tickets and info at chancentre.com/connects
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Upcoming Events at the Chan Centre Full details at chancentre.com Mar 1 at 6:30pm: UBC Opera Ball Fundraiser Presented by the UBC School of Music Mar 2 at 8pm: Ladysmith Black Mambazo with Habib KoitĂŠ and Bassekou Kouyate Presented by the Chan Centre for the Performing Arts - SOLD OUT
Mar 8 at 8pm: Formosa Quartet with Vivian Chen Presented by RBC Wealth Management Mar 9 at 7pm: UBC Medicine 25th Annual Spring Gala Presented by the UBC Faculty of Medicine
Mar 10 at 6:30pm: PRM Gala Concert – A Night with Steinway Presented by the Pacific Rim International Music & Education Society
Mar 12 at 6pm: America and the Climate Crisis Telus Studio Theatre Presented by the Phil Lind Initiative - SOLD OUT
Mar 13 at 6:30pm: UBC Connects with Chimamanda Ngozi Adichie Presented by UBC President Santa J. Ono and Alumni UBC - SOLD OUT
Mar 15 at 7:30pm: UBC Symphony Orchestra Presented by the UBC School of Music Mar 19 at 8pm: Piaf! The Show starring Anne Carrere Presented by Gil Marsalla & Directo Productions
Mar 21 at 8pm: The Swingles Presented by the BC Choral Federation Mar 22 at 7:30pm: StringFest! Telus Studio Theatre Presented by the UBC School of Music Mar 22 + 23 at 8pm: VSO with Otto Tausk Presented by the Vancouver Symphony Orchestra Mar 24 at 3pm: Yevgeny Sudbin, piano Presented by the Vancouver Recital Society Apr 11 at 8pm: Cristina Pato Quartet Presented by the Chan Centre for the Performing Arts Cristina Pato Quartet
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The Chan Centre for the Performing Arts at UBC Joyce Hinton Co-Managing Director Cameron McGill Co-Managing Director Carl Armstrong Events & Customer Service Manager Wendy Atkinson Programming & Rentals Manager Lloyd Balser Head Audio Technician Kara Gibbs Marketing & Communications Manager David Humphrey Production Manager Rebecca Isaac Production Clerk Flora Lew Finance Manager Janice Lew Rentals & Programming Assistant Glenda Makela Financial & Programming Clerk Trevor Mangion Ticket Operations Manager Chloe Martin-Cabanne Operations Clerk Veronica Maynard Administration & Finance Clerk Caitlin McKee Presenting Manager Derek Meehan Head Stage Technician Claire Mohun Marketing & Communications Coordinator Kirsty Munro Associate Presenting Manager James Perrella Assistant Head Audio/Stage Technician Andrew Riter Assistant Technical Director & Head Lighting Technician Nadia Roberts Events & Front of House Coordinator Lyndsey Roberts Ticket Office Supervisor Members of Cupe 2950 Front of House, Stage, and Ticketing Staff Luisa Henz Taryn Plater
Presenting Assistant, Work Learn Student Marketing & Communications Assistant, Work Learn Student
Administration Office
T: 604.822.9197
E: chan.centre@ubc.ca Ticket Office
T: 604.822.2697
E: chan.tickets@ubc.ca
chancentre.com /chan.centre.ubc @ChanCentre /ChanCentreUBC
Graphic Design by Copilot Design Media Relations by Murray Paterson Marketing Group The Chan Centre would like to thank our 2018/2019 series sponsors: The Chan Endowment Fund and the UBC Faculty of Arts
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CHAN CENTRE PRESENTS SERIES MAR 2 Ladysmith Black Mambazo with Habib Koité and Bassekou Kouyate SOLD OUT APR 11 Cristina Pato Quartet APR 17 Mariza APR 27 Anoushka Shankar
Cristina Pato Mariza
Anoushka Shankar
Ladysmith Black Mambazo with Habib Koité and Bassekou Kouyate
chancentre.com