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Alonzo King LINES Ballet March 10 + 11, 2017 • 7:30 pm • Royal Theatre Running time: 1 hour 30 minutes (including intermission)
About the Works Sand Choreography: Alonzo King Music: Charles Lloyd and Jason Moran Lighting Design: Axel Morgenthaler Set Design: Christopher Haas Costume Design: Robert Rosenwasser Its particular nothingness, and its potential for unimaginable power, has caused minds to liken sand to human beings for eons. Sand is the uncountable aggregation, and yet today grains of sand can be estimated. Sand can halt an engine. A grain of sand can temporarily blind you. It has been used as a metaphor for the passage of time, in hourglasses, and in dance as a listening process in how the body slowly shifts in transitions. There is power in the commonness of its abundance, its vast shapely beauty in dunes, on beaches, the desert, and the bottoms of oceans. Sand is the mineral cousin of water, it can be poured, and the wind can manoeuver it into wave-like patterns. Sand is used to polish and shape some of the hardest materials on the planet. You can hold sand by cupping your hands. When you grip it, it escapes through your fingers. Sand is largely composed of quartz crystals. Quartz is primarily made up of silicon dioxide, which has a unique physical property of being piezoelectric, which lends itself for use as a primary foundation of circuit boards and computer processors. It has often been said that human beings are like tiny pebbles placed together in tight proximity to cause friction until our edges become smooth.
Sand was made possible, in part, by the Lisa and John Pritzker Family Fund, Marcia and Richard Grand, and The Bernard Osher Foundation. I. Hagar’s Lullaby Company II. Sand Adji Cissoko and Robb Beresford (3/10) or Madeline DeVries and Michael Montgomery (3/11) III. We Hum Babatunji with James Gowan and Shuaib Elhassan (3/10) or Robb Beresford with Babatunji and Shuaib Elhassan (3/11) IV. Dreams Company Pas 1 Courtney Henry and Shuaib Elhassan (3/10) or YuJin Kim and Michael Montgomery (3/11) Pas 2 YuJin Kim and Michael Montgomery (3/10) or Adji Cissoko and Robb Beresford (3/11) V. 13 Letters Company VI. Sand Rhythms Michael Montgomery (3/10) or Madeline DeVries (3/11) with Company VII. We Move (parts 1 and 2) Company VIII. We Hum, Outro Madeline DeVries and Robb Beresford (3/10) or Maya Harr and Babatunji (3/11) with Company Alonzo King LINES Ballet benefits from the support of Bank of the West for the development of its projects.
– Intermission (20 minutes) –
About the Works (cont’d) Shostakovich Choreography: Alonzo King Costume Design: Robert Rosenwasser Music: Dmitri Shostakovich Lighting Design: David Finn Shostakovich was made possible, in part, by the Lisa and John Pritzker Family Fund.
LINES dancers in Sand. Photo © Chris Hardy
I. Company No. 8 in C Minor, Op. 110: II. Allegro molto II. Company No. 2 in A Major Op. 68: II. Recitative and Romance Adagio III. Shuaib Elhassan (3/10) or Robb Beresford (3/11), Babatunji, and Michael Montgomery with Adji Cissoko and Madeline DeVries (3/10) or Courtney Henry and Maya Harr (3/11) No. 3 in F Major Op. 73: IV. Adagio IV. YuJin Kim and Robb Beresford No. 7 in F-Sharp Op. 108: II. Lento V. Company No. 8 in C Minor Op. 110: IV. Largo
Dancers’ Biographies Babatunji was born in Portland, Oregon but raised on the Big Island of Hawaii. He received his formal dance training from Center Stage Dance Studio and the University of Hawaii in Hilo before moving to San Francisco to train at the LINES Ballet Training Program on full scholarship. Babatunji has performed works by diverse choreographers such as Sidra Bell, Amanda Miller, Gregory Dawson, and Maurya Kerr. He has performed overseas in Japan and China and danced with Philein/ZiRu productions, Maurya Kerr’s tinypistol, and Dawson/Wallace Dance Project. Babatunji joined LINES Ballet in 2013. Robb Beresford was born and raised in Elmira, Ontario. He trained at Canada’s National Ballet School, is a graduate of The Quinte Ballet School of Canada, and has taken part in Festival Dance at the Banff Centre for four summers. Beresford has danced professionally with Ballet Kelowna, Vancouver’s Joe Ink, and Ballet Victoria. He joined LINES Ballet in 2013. Adji Cissoko grew up in Munich, Germany where she trained at Ballet Academy Munich. Cissoko attended the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City on full scholarship, before joining the National Ballet of Canada in 2010. In 2012 she was awarded the Patron Award of Merit by the Patrons’ Council Committee of The National Ballet of Canada. Cissoko joined LINES Ballet in 2014. Madeline Devries grew up in Southern California studying at the Santa Clarita Ballet Academy. She continued her training at the Pacific Northwest Ballet School and PNBS Professional Division program on full scholarship, spending summers with the Houston Ballet, The Rock School, PNB, and National Ballet of Canada. DeVries apprenticed with the Semperoper Ballet in Dresden, Germany in 2012, and in 2013 she danced with the Seattle based contemporary companies Whim W’Him and Coriolis. DeVries joined LINES Ballet in 2014. Shuaib Elhassan from Manhattan’s Lower East Side, began his formal dance training at The Ailey School under the codirection of Tracy Inman and Melanie Person on a full scholarship. Elhassan has also trained at intensives such as Earl Mosley’s Institute of the Arts, Jacob’s Pillow, and Complexions Contemporary Ballet. Elhassan was a member of Complexions Contemporary Ballet during their 2012-2013 season. Additionally, Elhassan has performed with Life Dance Company, Zest Collective, Dance Iquail, and the Von Howard Project. Elhassan joined LINES Ballet in 2014. James Gowan, from Phoenix, AZ, began dancing at the age of 16 at Tempe Dance Academy. He graduated with a BFA in Dance from Point Park University, where he worked under
teachers and choreographers Kyle Abraham, Doug Bentz, Randy Duncan, Christopher Huggins, Keisha Lalama, Emery LeCrone, Garfield Lemonious and Peter Merz. Gowan has danced as a company member with Texture Contemporary Ballet, River North Dance Chicago and DanceWorks Chicago. He has performed works by George Balanchine, Robert Battle, Frank Chavez, Christopher Gattelli, Dwight Rhoden, and Ashley Roland. Gowan joined LINES Ballet in 2016. Maya Harr grew up in Alexandria, Virginia where she studied ballet at The Washington School of Ballet under the tutelage of former LINES Ballet company dancer, Kristina Windom and award-winning choreographer Mimmo Miccolis. As a student, Maya was the recipient of the Mary Day Scholarship and was selected to participate in the Kennedy Center Master Class Series. Maya spent her summers with San Francisco Ballet, PNB, Ballet West, ABT and the Kirov Academy. After graduating from high school this past June, Maya moved to the Bay Area to attend the LINES Ballet Summer Program and began her training in the LINES Ballet Training Program. Maya joined LINES Ballet this fall as an Apprentice. Courtney Henry, from West Palm Beach, Florida, began her training at Palm Beach Ballet Center. As a high school senior, Henry was a finalist in Youth American Grand Prix’s “Stars of Tomorrow” program in New York City. After graduating from A.W. Dreyfoos School of the Arts, she returned to New York to attend Fordham University/The Ailey School, where she earned a BFA in Dance. Henry has worked with choreographers including Francesca Harper, Troy Powell, Robert Moses, and Elisa Monte, and joined LINES Ballet in 2011. In 2013, Henry was honored with the Princess Grace Foundation — USA and Chris Hellman Dance awards. YuJin Kim was born in Busan, South Korea, and studied Korean traditional dance for two years before beginning ballet lessons at age 12. She trained at the Young Ji Kim Ballet Studio, the Peniel International Arts School and the PreKorean National University of Arts, then attended Switzerland’s Department Tanz de Hochschule Musik und Theater on full scholarship. The winner of numerous competitions in South Korea, Kim was awarded a gold medal at the 2005 Prix de Lausanne International Ballet Competition. She has danced with Sun Hee Kim Ballet Company, National Opera Company of Korea and the Covenant Journey Musical Group. Kim joined LINES Ballet in 2011. In 2013, Kim was invited to perform at the Korea World Dance Stars Festival and selected for the cover of the dance magazine Momm.
Dancers’ Biographies (cont’d) Michael Montgomery of Long Beach, California, trained at the Orange County High School of the Arts and studied at the Alvin Ailey School in the Certificate program. In 2011 he graduated from the Alonzo King LINES Ballet BFA Program at Dominican University of California. Montgomery was awarded the American College Dance Festival Association’s best student performer award for the Southwest Region in 2008. In 2010, he joined LINES Ballet and was named a Shenson Performing Arts Fellow that same year. Montgomery was named to the list of “25 to Watch” by Dance Magazine in 2013. Jeffrey Van Sciver of Los Angeles, California, trained at the Julliard School and graduated from the Alonzo King LINES Ballet BFA Program at Dominican University of California in
2013. Van Sciver has danced with Southern California Ballet, Copious Dance Theater, Dawson/Wallace Dance Project, the San Francisco Opera Corps de Ballet, and dawsondancesf, in which he was nominated for an Isadora Duncan Award. In 2010 Van Sciver received a scholarship from the Dizzy Feet Foundation, and in 2011 was named a Shenson Performing Arts Fellow by the San Francisco Foundation. Later that year he was the recipient of the prestigious Princess Grace Foundation — USA and Chris Hellman awards in dance. Van Sciver has performed works by Karen McDonald, Rennie Harris, Sandrine Cassini, Sidra Bell, Gregory P. Dawson, Nina Flagg, among others. In 2012, Van Sciver attended Springboard Danse Montreal where he performed work by Jose Navas. He joined LINES Ballet in 2013.
Company Biographies Alonzo King (Artistic Director) is a visionary choreographer who has changed the way we look at ballet. Understanding ballet as a science rooted in universal, geometric principles of energy and evolution, he imbues the classical form with new expressive potential. His work is known worldwide for connecting audiences to a profound sense of shared humanity.
King’s work has been recognized for its impact on the cultural fabric of the company’s home in San Francisco, as well as nationally by the dance world’s most prestigious institutions. Named a Master of Choreography by the Kennedy Center in 2005, King is the recipient of the NEA Choreographer’s Fellowship, the Jacob’s Pillow Creativity Award, the Irvine
Alonzo King. Photo © RJ Muna
Heralded by William Forsythe as “one of the few, true Ballet Masters of our time,” King has works in the repertories of the Royal Swedish Ballet, Frankfurt Ballet, Ballet Bejart, Les Ballets de Monte-Carlo, Joffrey Ballet, Alvin Ailey American Dance Theater, Hong Kong Ballet, North Carolina Dance Theatre, and Hubbard Street Dance Chicago. He has collaborated with distinguished visual artists, musicians and composers across the globe including Pharaoh Sanders, Hamza El Din, Pawel Szymanski, Jason Moran, and Zakir Hussain. Renowned for his skill as a teacher, King was honored with the Lifetime Achievement Award by the Corps de Ballet International Teacher Conference in 2012. An internationally acclaimed guest ballet master, his training philosophy undergirds the educational programming at the Alonzo King LINES Dancer Center of San Francisco, which includes the pre-professional Training Program, Summer Program, and BFA Program at Dominican University of California.
Company Biographies (cont’d) Fellowship in Dance, the US Artist Award in Dance, and the National Dance Project’s Residency and Touring Awards. In 2014, King was appointed to the advisory council of the newly established Center for Ballet and the Arts at New York University; in 2015 he received the prestigious Doris Duke Artist Award in celebration of his ongoing contributions to the advancement of contemporary dance. Joining historic icons in the field, King was named one of America’s “Irreplaceable Dance Treasures” by the Dance Heritage Coalition in 2015. Robert Rosenwasser (Creative Director, Designer) is a co-founder of Alonzo King LINES Ballet. He shapes the aesthetic and artistic direction of each project at the Company, including conceptual design and production. In addition to his work with the Company, he has designed for Ballet de Monte Carlo, Ballet Bejart, the Royal Swedish Ballet, Joffrey Ballet, Frankfurt Ballet, and Alvin Ailey American Dance Theater. Rosenwasser has also collaborated with artists and poets, including Richard Tuttle, Kiki Smith, Laurie Reid, Kate Delos, Rena Rosenwasser, Mei-mei Berssenbrugge and Barbara Guest, designing fine press books. His work is found at the New York Museum of Modern Art in the Department of Books and Illustrated Prints, at the Whitney Museum and at the Spencer Collection of the New York Public Library. Arturo Fernandez (Ballet Master) A native of Oakland, California, Arturo Fernandez began his dance training at the School of Performing Arts of USIU in San Diego. After only two years of intensive study, he joined San Diego Ballet in 1976. Other companies he has performed with include California Ballet, Arizona Ballet, New Jersey Ballet, Ballets Trocadero de Monte Carlo and Pittsburgh Ballet Theater. After moving back to California he joined Oakland Ballet for a short time and ODC/San Francisco (11 years) and there served as the assistant to the choreographers from 1988 until spring of 1991. Fernandez has choreographed for the James Sewell Ballet, Inland Pacific Ballet, and Alonzo King LINES Ballet,
among others, and has also demonstrated his work in self-produced concerts throughout the region. Since 1992, he has been the Ballet Master for Alonzo King LINES Ballet, as well as assisting Alonzo King in the creation of new work. Since 1998, he has coordinated and taught in Alonzo King’s Professional Workshop. In 2001, he directed the first ever summer Pre-Professional Program at LINES. For more than two decades, Fernandez has been an integral part of Alonzo King LINES Dance Center as well as LINES Ballet’s education programs. He has set Alonzo King’s ballets on companies and universities throughout the US including NYU, Washington University in St. Louis, and Western Michigan University. Most notably, he set Alonzo King’s Handel on the Royal Swedish Ballet in Stockholm. Meredith Webster (Ballet Master) grew up in Manitowoc, Wisconsin, studying dance under Jean Wolfmeyer, and received further training at the Harid Conservatory and Pacific Northwest Ballet School. She then worked with Sonia Dawkins and Donald Byrd in Seattle, and earned a BS in Environmental Science from the University of Washington before moving to San Francisco to work with Alonzo King LINES Ballet. In her nine seasons as a dancer with the company, Webster performed and originated many central roles, received a Princess Grace Award, and guested at gala events around the world. In August 2014, she moved into the role of Ballet Master. In 2015 she performed Incognito, a duet with Ledoh/Salt Farm as part of the SF International Arts Festival at Fort Mason, and worked with Maureen Whiting Company on Burden of Joy. She is currently working on Centaur, a Nexus project with The Cambrians of Chicago, IL, that will premiere in January 2017. Webster has served as a faculty member for the LINES Ballet BFA, Training, and Summer Programs, and as a guest teacher at Pacific Northwest Ballet School, George Mason University, Cornish College of the Arts, Spectrum Dance Theater, and Dancers’ Workshop in Jackson, WY. She has contributed as writer to Dance Spirit and Conversations.
About the Company Alonzo King LINES Ballet is a celebrated contemporary ballet company that has been guided since 1982 by the unique artistic vision of Alonzo King. Collaborating with noted composers, musicians, and visual artists from around the world, Alonzo King creates works that draw on a diverse set of deeply rooted cultural traditions, imbuing classical ballet with new expressive potential. Alonzo King understands ballet as a
science — founded on universal, geometric principles of energy and evolution — and continues to develop a new language of movement from its classical forms and techniques. Alonzo King’s visionary choreography, brought to life by the extraordinary LINES Ballet dancers, is renowned for connecting audiences to a profound sense of shared humanity.
Collaborator Profiles David Finn (Lighting Designer, Shostakovich) Finn’s work for dance includes The Nutcracker and Cinderella (Birmingham Royal Ballet), Romeo & Juliette for Sasha Waltz (Paris Opera Ballet), Swan Lake (Bayerisches Staatsballett), and works for renowned choreographers such as Paul Taylor, Twyla Tharp, Merce Cunningham, James Kudelka, Jose Limon, Helgi Tomasson, Liam Scarlett, and Dana Reitz, as well as for leading international companies. David was the resident lighting designer for Mikhail Baryshnikov’s White Oak Dance Project from 1993–2000. His opera work includes projects for the Metropolitan Opera, Royal Opera, Paris Opera, La Scala Milan, Salzburg Festival, Lyric Opera of Chicago, New York City Opera, Berlin Staatsoper, La Monnaie (Brussels), Opera de Lyon, Opera Communale (Florence), Het Muziektheater (Amsterdam), Stuttgart Opera, Opera Australia, Santa Fe Opera, Canadian Opera Company and San Francisco Opera. For film, Finn’s work includes stage lighting for Martin Scorsese’s The Age of Innocence and producer/director of the PBS documentary The Green Monster. Finn has designed two shows for Cirque du Soleil: Zed in Tokyo, and Michael Jackson One in Las Vegas. Other projects have included Tannhauser for the Chicago Lyric Opera, The Marriage of Figaro for Opera Australia, Swimmer for the San Francisco Ballet and The Little Prince for the National Ballet of Canada. Christopher Haas (Set Designer, Sand) is a San Francisco-based architect and founder of HAAS Architecture. Since its establishment in 2009, the studio has completed several notable, award-winning projects, including the Zero1 2012 Biennial Exhibition space, the Fraenkel Gallery Annex, the 3990 Folsom Street residence, and the INFINITI Tree installation, commissioned by INFINITI and Cirque du Soleil. In 2009, Haas collaborated with Alonzo King LINES Ballet and legendary Grammy-award winning musician Mickey Hart to create a new ballet exploring the intersections of architecture and movement. The resultant work, Triangle of the Squinches, earned him the prestigious Isadora Duncan Dance Award for Outstanding Achievement in Visual Content as well as the American Institute of Architects’ 2012 Excellence in Architecture Award. Haas’s work has been published in Dwell, San Francisco Chronicle, The Architect’s Newspaper, C Magazine and featured on NBC, CBS and ABC news. He was one of twelve emergent international architects featured in the 2011 exhibition WHO NEW, sponsored by the University of Sydney. In addition to his professional practice, he teaches architectural design studios at the University of California at
Berkeley and at the California College of the Arts, where he is an Adjunct Professor. His coursework, created for a graduate design studio at the California College of the Arts, was awarded the 2006 NCARB Prize for Creative Integration of Practice & Education in the Academy, the nation’s second highest award for an academic course in architecture. Charles Lloyd (Saxophone, Sand) began playing the saxophone at the age of 9. Pianist Phineas Newborn became his mentor, and took him to Irvin Reason for lessons. Lloyd worked in Phineas Sr’s band, and from the age of 12 worked as sideman in the blues bands of B.B. King, Howlin’ Wolf, Johnnie Ace, Bobbie “Blue” Bland, and others. His closest friend in high-school was trumpeter, Booker Little. In 1956 Lloyd moved to Los Angeles and earned a Master’s degree from the University of Southern California. During this period Lloyd played in Gerald Wilson’s big band and he also had his own group that included Billy Higgins, Don Cherry, Bobby Hutcherson, and Terry Trotter. Lloyd joined Chico Hamilton in 1960, though the band was known for playing “chamber jazz” at the beginning of Lloyd’s tenure. His influence as a composer and a player quickly pushed it in a more progressive post-bop direction especially after Hamilton asked him to be the group’s “music director.” Through 1965–1969 Lloyd led a quartet with pianist, Keith Jarrett, bassist, Cecil McBee (later, Ron McClure), and drummer, Jack DeJohnette. The quartet’s music was an interesting fusion of straight-ahead post-bop, free jazz and world music which quickly caught the attention of both jazz fans and critics. They also achieved a fair amount of crossover success with young rock fans and became the first jazz group to play at The Fillmore. Lloyd’s album Forest Flower, Live at Monterey, became a big commercial hit, largely on the strength of the title track. Other noteworthy albums include Dream Weaver, Soviet Union, and In Europe. In 1970, after the quartet disbanded, Lloyd moved back to California and entered a state of semi-retirement. He practically disappeared from the jazz scene, but can be heard on recordings with the Doors, Canned Heat, and the Beach Boys. Occasionally during the 1970s Lloyd played with The Beach Boys; both on their studio recordings and as a member of their touring band. Upon his recovery from a near death experience in 1986, Lloyd decided to rededicate himself to music. He started performing occasionally in 1987 and 88. In 1989, Lloyd reestablished an active touring schedule and began recording for ECM Records. The first ECM release was Fish Out of Water with Bobo Stenson, Palle Danielsson, and Jon Christensen. The ECM recordings showcased his sensitivity as a ballad player and composer.
Lloyd maintains an active recording and tour schedule. His “new” quartet with Jason Moran on piano, Reuben Roger, bass and Eric Harland, drums is well matched with Lloyd’s creative and adventurous spirit. They have two recordings on ECM, Rabo de Nube (2008) and Mirror (2010).
undertakings. In the span of one year, Moran accepted and recorded three separate commissions from three pre-eminent and very diverse American arts institutions: The Walker Art Center in Minneapolis, the Dia Art Foundation, and Jazz at Lincoln Center.
Jason Moran (Piano, Sand) Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole.
In 2007, Moran was commissioned to create In My Mind: Monk at Town Hall, 1959, the critically-acclaimed multi-media performance investigating Thelonious Monk’s famous recording, Monk at Town Hall. In My Mind examines Monk’s process of creating this seminal concert using audio of conversations with Monk and the arranger Hal Overton. Not surprising, the legendary Monk had a pivotal role in influencing young Moran to become a jazz musician. In 1981, at the age of six, the Houston native began studying the piano, but longed to quit until he first heard the sounds of Monk, an experience that established an early role model in Moran’s creative development. Moran later honed his musical education at New York’s Manhattan School of Music.
In almost every category that matters — improvisation, composition, group concept, repertoire, technique and experimentation — Moran, and his group The Bandwagon — with bassist Tarus Mateen and drummer Nasheet Waits — have challenged the status quo, and earned the reputation as “the future of jazz.” Frequently influenced by the wider world of art as his muse, Moran has found inspiration in edgy 20th century painters like Jean-Michel Basquiat; Egon Schiele (whose painting “Facing Left” provided the eponymous title to Moran’s second album); and Robert Rauschenberg, whose chaotic refinement inspired Moran’s third album Black Stars, featuring the legendary Sam Rivers. In 2005, his blues homage, Same Mother was released. This same year he received the first ever Playboy Jazz Artist of the Year award. Artist in Residence debuted in 2006 and showcased Moran’s signature brilliance with ambitious
His ongoing visionary collaborations in the art world have brought him additional fans and respect. Moran’s music is in the collections of both the MOMA and Whitney Museum of American Art. He scored a ballet for renowned Alonzo King’s LINES Ballet, as well as scoring video works for contemporary American artists Glenn Ligon and Kara Walker. Moran also has worked with pivotal visual/performance artists Joan Jonas and Adrian Piper. A future collaboration with Grammy-nominated neo-soul artist Meshell Ndegeocello — a dance party centered on the music of Fats Waller — premiered in 2011.
Credits ALONZO KING LINES BALLET Alonzo King, Founder, Artistic Director Robert Rosenwasser, Founder, Creative Director Arturo Fernandez, Ballet Master Meredith Webster, Ballet Master Karim Baer, Executive Director Matt Miller, Technical Director Gary C. Echelmeyer, Lighting Director Marissa Santiago, Tour Manager Meghan Rose Murphy, Stage Manager
Maria Elena Caprio, Director of Development Marina Hotchkiss, Director of LINES Ballet BFA Program at Dominican University of California Karah Abiog, Director of LINES Ballet Training Program Tammy Cheney, Director of LINES Ballet Summer Program and Discovery Project Kristen Gurbach Jacobson, Director of LINES Dance Center Sara McGhie, Director of Marketing LINES is represented in North America, South America, Asia, Australia, Great Britain, Russia, the Middle East and Africa by Margaret Selby, President, Selby/Artists Mgmt 212-663-3144 | mselby@selbyartistsmgmt.com
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