Performing Arts Houston | Encore Magazine, Spring 2023

Performing Arts Houston

615 Louisiana Street, Suite 100 Houston, Texas 77002-2715

713.227.4772

info@performingartshouston.org performingartshouston.org

Meg Booth President & Chief Executive Officer

Leslie Nelson

Chief Financial Officer

Jhih-Yin Lee Education Specialist

Jordan Drum Director of Development

Jessica Ellison Education Events Coordinator Brian Glass Director of Marketing, Communications & Digital Breanna Lindsey Box Office Associate

Caroline McCain Development Associate

Brenda Oliveira Board Liaison & Executive Assistant

Helena Oliver Development Manager, Individual Giving & Events

Michelle Pacheco Patron Services Manager

Caroline Senter Public Relations Associate

Jennifer Steiner

Director of Operations

Lee Strickland

Director of Artistic Programming Phoebe Vo Accounting Manager

Claire Williamson Director of Education & Community Engagement

PERFORMING ARTS HOUSTON 2022–2023

Board of Directors

EXECUTIVE C O MMITTEE

G. Mark Jodon, Board Chair

H. William Swanstrom, Board Vice Chair

Tymothi O. Tombar, Secretary

Willie C.W. Chiang, Vice President, Nominating & Governance

Vijay D´Cruz, Vice President, Development

Melanie Gray, Vice President, Special Projects

Curt D. Karges, Vice President, Finance & Audit

Theresa Mallett, Vice President, Education & Community Engagement

Melanie B. Rother, Vice President, Sales & Marketing

Leah R. Bennett

Meg Booth (Ex Officio)

Charles C. Boettcher

Michael Cannon Charles D. Davidson Theresa A. Einhorn

Norah G. Adams

Jeffrey A. Ball

Mary Fischer Deborah Gordon Sean Gorman

Shawn K. Jackson Joel Lambert Ginni Mithoff

Stephen M. Gill Michael Hatfield

Emily T. Kuo Eileen Lawal

Ann V. Rogers Stephen M. Trauber

DIRECTORS

Armando A. Perez

Lance G. Reynolds

Gloria Ryan

Marisol Salazar Omar Samji Leslie Elkins Sasser

Katherine Easterby Murphy Michaelene Lusk Norton

About Performing Arts Houston

Performing Arts Houston (formerly known as Society for the Performing Arts) connects audiences with exceptional artists through diverse performances and learning experiences. We ignite and cultivate passion for the performing arts, exploring the vast landscape of artistic expression to discover new understanding about ourselves, create community, inspire dialogue, and enrich our world. More at performingartshouston.org.

Performing Arts Houston | performingartshouston.org

Nameer A. Siddiqui Kristina H. Somerville Margaret Alkek Williams

DIRECTORS EMERITI

James J. Postl

Robert B. Tudor III

John T. Jones Jr. Founder (1917-1994)

Marcus A. Watts

Jesse H. Jones II President, Society for the Performing Arts Foundation

SEASON SPONSORS

Audience

EXPERIENCE GUIDE

HEALTH & SAFET Y

All Covid policies are at the discretion of the artist, presenter, and venue, and are subject to change. For the latest updates on Health & Safety protocols, please visit performingartshouston.org/faq.

PARKING

Event parking is available in the Theater District Parking garage for $12. Street parking in Downtown Houston is free after 6pm, Monday-Saturday, and all day Sunday. Parking rates and availability are subject to change.

DOORS OPEN

Unless otherwise noted, doors to the lobby will open 60 minutes prior to performance start time and seating inside the auditorium will open 30 minutes prior to start time.

LATE SEATING

Late seating is at the discretion of the artist and may not be available. We suggest everyone arrive early, allowing extra time for parking, entry, and concessions inside the lobby.

FOOD & DRINK

Concessions are available for purchase in the lobby. Eating inside the performance space is prohibited but you're welcome to enjoy drinks during the show.

ACCESSIBILIT Y

For accessibility information, or to purchase accessibility seating, please contact the Box Office at 713.227.4772.

CHILDREN

Unless otherwise specified, all children ages 4 and above may attend performances. Tickets must be purchased for all children, regardless of age, as required by the City of Houston Fire Code.

DEVICES

As a courtesy to others, please silence all electronic devices and refrain from using them during the performance. Even on silent, the glow from devices can be a distraction. Photography and recording of any kind are strictly prohibited.

TICKETS

All tickets are non-refundable. Tickets can be exchanged or donated up to 48 hours prior to the performance. Exchange fees are waived for all Performing Arts Houston members.

LET'S KEEP IN TOUCH

Follow us @performingartshouston

Amplify the arts through membership

Members get the most—priority access, discounts, donor benefits, and more. Membership costs are tax deductible, minus any fair market value. Join and support today for as low as $25 per year. performingartshouston.org/memberships

About the Show

For the past 15 years, The Bubble Show has established itself as NYC’s longest-running Off-Broadway family spectacular. Filled with art, science, and bubble fun, the show’s mind-blowing bubble magic will make you laugh, smile, and feel like a kid again.

Photo by Landon Akiyama

Harlem in Houston

Dance Theatre of Harlem Houston Education Residency

Dance Theatre of Harlem (DTH) joined Performing Arts Houston for a week of education and community engagement programs in December. Four company dancers and Artistic Director Virginia Johnson were immersed in the Houston community to inspire and fellowship with local dance lovers. The Dance Theatre of Harlem Houston Education Residency kicked off with “Many Hues, One Line,” a riveting panel discussion between DTH dancers Lindsey Donnell & Delaney Washington, Artistic Director Virginia Johnson, and Houston Ballet company members Harper Watters & Kellen Hornbuckle. The dancers celebrated Black history in dance, discussed the racial inequalities still plaguing the dance world, and how dance makers can work together to create a brighter, more inclusive future for dance.

Throughout the residency, DTH dancer Christopher McDaniel, worked with the Kinder High School for the Performing and Visual Arts (HSPVA) to set a dance piece on a group of junior and senior dancers, to be premiered at HSPVA’s spring dance concert in March 2023.

Dance students at Bellaire High School, Meyerland Middle School, Willowridge High School, and Fort Bend Academy of Arts and Dance had the opportunity to participate in master classes led by DTH dancers.

On December 10, DTH held a public master class at Houston Ballet for advanced dancers to challenge, expand, and sharpen their ballet technique.

Dance Theatre of Harlem attended the Holiday in the Tre festival at Emancipation Park, where they led festival goers in a movement workshop and met members of the community.

The residency came to a close with a moving performance of Wholly, Holy, choreographed by Robert Garland, at Wheeler Baptist Church during the 11:30 am worship service on December 11.

Dance Theatre of Harlem returns February 3–4 for performances at Jones Hall. This will be Performing Arts Houston’s first presentation of Dance Theatre of Harlem in over 20 years.

Tickets are available at performingartshouston.org.

Dance Theatre of Harlem dancer Lindsey Donnell leads a master class at Houston Ballet.

Photos by Melissa Taylor

Dance Theatre of Harlem dancers Anthony Santos, Lindsey Donnell, and Derek Brockington at Jones Hall.

Photo by Claire McAdams.

FOUNDERS

Arthur Mitchell Karel Shook

ARTISTIC DIRECTOR Virginia Johnson EXECUTIVE DIRECTOR Anna Glass

RESIDENT

CHOREOGRAPHER Robert Garland

REHEARSAL

DIRECTOR Juan Carlos Peñuela

DANCE ARTISTS

Lindsey Donnell, Yinet Fernandez

Alexandra Hutchinson, Daphne Lee

Kamala Saara, Ingrid Silva

Amanda Smith, Alexandra Terry Delaney Washington, Stephanie Rae Williams

Derek Brockington, Micah Bullard

Lucas Castro, Kouadio Davis

Keenan English, Christopher Charles McDaniel Sanford Placide, Dylan Santos, David Wright

On the Future

Not even a world-wide pandemic could dim our commitment to Dance Theatre of Harlem co-founder Arthur Mitchell’s belief in the power of art to transform lives and open minds. The 2022/23 season at Dance Theatre of Harlem is a demonstration of that legacy. The DTH Company, School, and arts education program, “Dancing Through Barriers,” look forward to the coming season with delight. Once again, our studios will be filled with young people training in ballet, our community will be engaged by the power of our artistry and the company will be on the road again, carrying forward the important message that the art form of classical ballet belongs to and is for all.

The disruptions of the past two years have been challenging and while we are grateful for the support that poured in from so many, the thing that held us together was maintaining focus on what is meaningful to us as artists. The social impact of Dance Theatre of Harlem’s national and international touring over the past 53 years is often noted, but it is the art that we produce that is central to our survival.

DTH has always been about creating opportunities outside of the traditional—whether it is the dancers on our stage or the repertoire they perform, ballets by our resident choreographer Robert Garland, George Balanchine, Helen Pickett, Claudia Schreier, Annabelle Lopez Ochoa and William Forsythe reflect the richness of what is possible to express through the human body. The adventure continues. Ready, set, go!

Virginia Johnson Artistic Director

Dance

AllianceBernstein, Alphadyne Foundation, The Andrew W. Mellon Foundation, Arnhold Foundation, Inc., Art Attack Foundation, Bank of America, BET Networks, Bloomberg LP, Bloomberg Philanthropies, Con Edison, Cornell Family Foundation, Dance/NYC, Davis/Dauray Family Fund, The Jarvis and Constance Doctorow Family Foundation, Doris Duke Charitable Foundation, Ford Foundation, Fortitude Re, Google, Henry and Lucy Moses Fund, Inc., Hobson/Lucas Family Foundation, Howard Gilman foundation, Inc., The Harkness Foundation for Dance, The Dubose & Dorothy Heyward Memorial Fund, The Hyde and Watson Foundation, JP Morgan Chase, The Jockey Hollow Foundation, Inc./Jockey, The Klein Family Foundation, The Reginald F. Lewis Foundation Inc., MAC Cosmetics, Madison Square Garden, The Pierre and Tana Matisse Foundation, Margaret T. Morris Foundation, Masters Capital Management, LLC, Meta, Mid Atlantic Arts Foundation, Morgan Stanley & Co. Incorporated, National Endowment for the Arts, New England Foundation for the Arts, New York State Council on the Arts with support of the Governor Kathy Hochul and the New York State Legislature, New York City Council District 7, New York City Department of Cultural Affairs in partnership with City Council, Tatiana Piankova Foundation, Charles H. Revson Foundation, Jerome Robbins Foundation, The Shubert Foundation, William Talbot Hillman Foundation, The Thompson Family Foundation, Upper Manhattan Empowerment Zone Development Corporation, Venable Foundation, Inc., Weil, Gotshal & Manges LLP, Wells Fargo, Yumiko.

Theatre of Harlem is deeply grateful for the generous support of our individual and institutional donors. Their support helps to ensure that DTH can continue to bring the best of classical ballet to communities in Harlem and beyond.

THE DANCE THEATRE OF HARLEM COMPANY

Derek Brockington

Born: Chicago, IL and raised in Holland, MI.

Training: Grand Rapids Ballet School, Interlochen Arts Academy, Ballet West and Pennsylvania Ballet Summer Intensives. Professional Experience: Dance Theatre of Harlem (fourth season), Cincinnati Ballet, Grand Rapids Ballet. Repertoire includes works by Claudia Schreier, Robert Garland, Stanton Welch, George Balanchine, Anabelle Lopez Ochoa, and Darrell Grand Moultrie.

Micah Bullard

Born: Houston, TX. Training: The Dance Center of Baytown, University of Oklahoma School of Dance (BFA 2019), Jacob’s Pillow Contemporary Ballet Program, Dance Theatre of Harlem Summer Intensive, Texas Ballet Theater Summer Intensive. Professional Experience: Oklahoma City Ballet, Hartel Dance Group, and Dance Theatre of Harlem (second season). Repertoire includes original works by Amy Hall Garner, Trey McIntyre, Colin Connor, as well as Alejandro Cerrudo’s “Lickety Split,” Merce Cunningham’s “How to Pass, Kick, Fall and Run” and Prince Siegfried in Swan Lake.

Lucas Castro

Born: Rio de Janeiro, Brazil. Training: Centro de Dança Rio, City Dance Conservatory, The Washington School of Ballet, Jacob's Pillow. Professional experience: Dance Theater of Harlem (first season), Utah Metropolitan Ballet (Principal Artist), The Washington Ballet (Trainee) and Cia Jovem de Ballet Dalal Achcar. Repertoire: Annabelle Lopez Ochoa, Jennifer Archibald, Jacqueline Colledge, Alan Hineline, Marius Petipa, Septime Webre, Mimmo Miccolis, Dalal Achcar, Eric Frederic and Andrea Sales.

Kouadio Davis

Born: Oneonta, NY. Training: HolbrookWade School of Dance, Fokine Ballet, New York State Summer School of the Arts with Daniel

Ulbricht, NYCB. Carolyn Adams. Alvin Ailey, Nutmeg Ballet, Charlotte Ballet, Alonzo King Lines, French Academie of Ballet, Pacific Northwest Ballet, and Springboard Danse Montreal. 2019 Graduate of Ellison Ballet. Awards: Youth America Grand Prix in 2017 and 2018, where he and his partner won second and then first place in the contemporary Pas de Deux category. Professional Experience: Dance Theatre of Harlem (third season).

Lindsey Donnell Born: Midland, TX. Training: A Petite Dance Studio, Midland Festival Ballet under Susan Clark. Education: cum laude graduate of Butler University, degree in Dance Arts Administration and Journalism. Professional Experience: Dance Theatre of Harlem (tenth season), Nashville Ballet (trainee). Repertoire includes works by Robert Garland, Nacho Duato, Ulysses Dove, George Balanchine, Donald Byrd, Elena Kunikova and Dianne McIntyre.

Keenan English

Born: Randallstown, MD. Training: Baltimore School for the Arts, Boston Ballet, and School of American Ballet. Professional Experience: Boston Ballet, Cincinnati Ballet, Oregon Ballet Theatre, Carolina Ballet, and Dance Theatre of Harlem (second season). Repertoire includes ballets by Nacho Duato, George Balanchine, William Forsythe, Ulysses Dove, Helen Pickett, Robert Garland, Darrell Grand Moultrie, Val Caniparoli, Alvin Ailey, Septime Webre, Nicolo Fonte, Francesca Harper, Lynn Taylor Corbett. Yinet Fernandez Ballet Nacional de Cuba. Professional experience: Dance Theatre of Harlem (fifth season), Connecticut Ballet, Ballet Nacional de Cuba. Repertoire includes Sleeping Beauty, The Nutcracker, Swan Lake, Giselle, Coppélia, La Fille mal gardée, Don Quixote and works by George Balanchine, Robert Garland, Christopher Wheeldon, Darrell Grand Moultrie and Dianne McIntyre.

Alexandra Hutchinson

Born: Wilmington, DE. Training: The Washington School of Ballet, Wilmington Academy

of Dance, and summer intensives with Alvin Ailey, Alonzo King, Carolina Ballet, Ballet Chicago, and Nashville Ballet 2. Education: Bachelor of Science in Ballet, Indiana University, Jacobs School of Music. Professional Experience: Dance Theatre of Harlem (fourth season), Nashville Ballet. Repertoire includes Orange by Stanton Welch; Return and New Bach by Robert Garland; Balamouk by Annabelle Lopez Ochoa; Harlem on My Mind and Vessels by Darrell Grand Moultrie; George Balanchine’s Valse Fantasie, Western Symphony, Swan Lake, Concerto Barocco, Divertimento No. 15, Emeralds, Rubies, and Giselle; Paul Vasterling’s Sleeping Beauty; Septime Webre's and Michael Vernon's The Nutcracker. Alexandra is the recipient of The Pierians Foundation Incorporated 2018 Emerging Young Artist Award, Virginia Johnson Scholar, Washington School of Ballet Professional Training Program tuition stipend, 2010, 2011, and 2012.

Daphne Marcelle Lee Rahway, NJ. Training: Rahway Dance Theatre by her late mother Jay Skeete-Lee, and the Dance Theatre of Harlem School. Education: BFA in Dance, Ailey/Fordham University, and MFA from Hollins University. Professional Experience: Dance Theatre of Harlem (fourth season), Collage Dance Collective, Oakland Ballet, Alvin Ailey II, Black Iris Project. Repertoire includes works by Jessica Lang, Benoit Swan-Pouffer, Nicolo Fonte, Dwight Rhoden, Jennifer Archibald, George Balanchine, Amy Seiwart, Joyce Trisler, and Darrell Moultrie.

Christopher Charles McDaniel

Born: East Harlem, NY. Training: Dance Theatre of Harlem School, LaGuardia School of Performing Arts, Ballet Academy East, Boston Ballet, Jacob’s Pillow.

Professional Experience: Dance Theatre of Harlem (fifth season), Ballet San Antonio, Los Angeles Ballet. Repertoire includes works by Robert Garland, Ulysses Dove, Darryl Grand Moultrie, Colleen Neary, Thordal Christensen, George Balanchine, Jiri Kylian, Gerald Arpino, Christopher Stowell and Kitty McNamee. Christopher is an accomplished ballet teacher and DTH Social Media Manager.

Sandford Placide

Born: Port-au-Prince, Haiti. Training: Ballet Etudes of South Florida, Manhattan Youth Ballet, The French Académie of Ballet, Nadege Hottier, American Ballet Theatre, Dance Theatre of Harlem, Ballet Austin, Ballet Hispanico, Lines Ballet, and Miami City Ballet. Professional Experience: Dance Theatre of Harlem (third season), Alberta Ballet in Canada, Ballet West, Charlotte Ballet (formerly NCDT), Ballet Etudes of South Florida, Vorhees Ballet Theatre, Ballet Des Amériques, Fjkdance, Collage Dance Collective, Black Iris Dance Project, Boca Ballet Theatre, Ballet Northwest, Traverse City Dance Project, and Accent Dance. Special Honors: In commemoration of Haitian Flag Day 2018, Sanford partnered with the Consulate General of Haiti in New York to produce UNI, an art collective where he premiered the ballet MAGA. In 2019, Sanford produced Sans-Souci, the second staging in the UNI series and was honored by the Consulate General of Haiti in New York for his work in preserving Haitian culture. Repertoire includes works by George Balanchine, Nacho Duato, Glenn Tetley, Desmond Richardson, Robert Garland, Mark Diamond, Yukicchi Hattori, Wen Wei Wang, Aszure

Kamala Saara

Born: Los Angeles, CA. Training: Yuri Grigoriev School of Ballet, School of American Ballet. Professional Experience: Dance Theatre of Harlem (second season). Kamala is a recipient of the Grow Annenberg Fellowship and a full scholarship for the School of American Ballet. She received 1st place Award for Training and the Performance Scholarship at the 2018 Bolshoi Ballet Academy and placed 2nd in the Classical category at the 2016 Youth American Grand Prix Paris, France.

Dylan Santos

Born: São Paulo, Brazil. Training: Centro de Artes Pavilhao D under Ricardo Scheir and Harid Conservatory. Professional experience: Dance Theatre of Harlem (eighth season), Houston Ballet trainee, Orlando Ballet, Joffrey Ballet, Ballet Chicago, and Paris Opera Ballet. Repertoire includes works by George Balanchine, Nacho Duato, Robert Garland, and Ulysses Dove, and Marius Petipa.

Ingrid Silva

Born: Rio de Janeiro, Brazil. Training: Projeto Dan-cando Para Nao Dancar, Escola de Danca Maria Olenewa, and Centro de Movimento Debora Colker. Education: Universidade da Cidade. Professional experience: Dance Theatre of Harlem (tenth season), Grupo Corpo (apprentice), Dance Theatre of Harlem Ensemble, Dançando Para Não Dançar, Armitage Gone! Dance, and the Francesca Harper Project. Repertoire includes works by Arthur Mitchell, Donald Byrd, George Balanchine, Dianne McIntyre, John Alleyne, Darrel Grand Moultrie, Francesca Harper, Robert Garland, David Fernandez, Carol Armitage, Deborah Colker, Rodrigo Pederneiras ans Annabelle Lopez-Ocha. In 2017 Silva was the first African Brazilian to be on the cover of Pointe Magazine and appeared on the cover of Vogue Brasil November 2020. She is the Founder of EmpowHerNY & Co Founder of Blacks in Ballet.

Amanda Smith

Born: Orange County, CA. Training: Charlotte Ballet, SUNY Purchase, Joffrey Ballet School, Anaheim Ballet, Pointe of Grace, Ballet Pacifica. Professional Experience: Dance Theatre of Harlem (fifth season), Charlotte Ballet, New York Theatre Ballet, Black Iris Project. Repertoire includes works by George Balanchine, Mark Diamond, Sasha James, Dwight Rhoden, Alonzo King, Jiri Killian, Dianne McIntyre, and Helen Pickett.

Alexandra Terry

Born: New Canaan, CT. Training: New England Academy of Dance, Ellison Ballet, San Francisco School of Ballet, Jessica Saund, Elena Kunikova, Karin Averty, and Irina Dvorovenko. Professional experience: Ballet West II, Repertoire includes works by Sir Fredrick Aston, George Balanchine, Marius Petipa, and Annabelle Lopez-Ochoa, Alexandra was named one of Dance Spirit Magazines 2018 Up and Coming Black Ballerinas.

Delaney Washington

Born: San Francisco Bay area. Training: Lise la Cour's LaCademy, The Ailey School/Fordham University, and Jacob's Pillow Summer

Program 2021 under the direction of Helen Pickett and Milton Myers. Professional Experience: Palm Beach Dance Festival, Dance Theatre of Harlem (second season). Repertoire includes works by Dwight Rhoden, Helen Simoneau, Yusha MarieSorzano, Maurya Kerr, Pedro Ruiz, and Andre Zachery. Delaney is the recipient of the Alvin Ailey Artistic Scholarship.

Stephanie Rae Williams

Born: Salt Lake City, Utah. Training: Dallas Dance Academy with Lyndette Galen and Fiona Fairrie, Hubbard Street Dance Chicago, Springboard Danse

Montreal, The Juilliard School, Alonzo King’s LINES Ballet, and Houston Ballet Academy. Professional experience: Dance Theatre of Harlem (12th season), The Francesca Harper Project, ARC Dance Seattle, Complexions

Contemporary Dance Company, Ballet Black, and Texas Ballet Theatre. Repertoire includes works by Pam Tanowitz, Nacho Duato, Jose Limon, Helen Pickett, Arthur Mitchell, Donald Byrd, George Balanchine, John Alleyne, Dianne McIntyre, Darrel Grand Moultrie, Francesca Harper, Liam Scarlett, Robert Garland, and David Fernandez. Stephanie is the recipient of The Dallas Dance Council’s 2017 Natalie Skelton Award, 2013 Dance Magazine “On the Rise”, 2006 National Foundation for the Arts Award, 2006 Youth America Grand Prix finalist, Oprah Winfrey Fellowship recipient at the Ailey School, 2004 Texas Commission on the Arts Young Master.

David Wright

Born: Ft. Polk, Louisiana.

Training: Infiniti Performing Arts Center, Indiana Ballet Conservatory, Orlando Ballet School. Professional Experience: Orlando Ballet, Dance Theatre of Harlem (second season). Repertoire: Jorden Morris’ Moulin Rouge, Val Caniparolis’ Lamberna, Orlando Ballet’s Nutcracker, and Carmina Burana. David was Finalist at Beijing International Ballet and Choreography Competition 2019.

About the Performance

Virginia Johnson Artistic Director

Virginia Johnson, Artistic Director of Dance Theatre of Harlem, was a founding member and principal dancer with the company for twenty-seven years. Born in Washington, DC, she graduated from the Academy of the Washington School of Ballet and briefly attended the School of the Arts at New York University as a University Scholar before joining DTH in 1969.

Universally recognized as one of the great ballerinas of her generation she is perhaps best known for her performances in the ballets Giselle, A Streetcar Named Desire, and Fall River Legend. During her years with the company, she performed most of the repertoire, with principal roles in Concerto Barocco, Allegro Brillante, Agon, A Streetcar Named Desire, Fall River Legend, Swan Lake, Giselle, Voluntaries, and Les Biches, among others, several of which were recorded for broadcast on PBS, network television and cable.

Her choreographic credits include the television film Ancient Voices of Children, and works for Goucher College, Dancers Responding to AIDS, the Second Annual Harlem Festival of the Arts, Thelma Hill Performing Arts Center, and Marymount Manhattan College, where she was an adjunct professor.

While still performing, her interest in journalism led her to Fordham University. After retiring from performing, she received an Independent Artist Grant from The Field that opened doors to arts producing. She attended the School of Visual Arts where she studied drawing, film making and television production before the opportunity to create POINTE magazine presented itself. She was founding editor-in-chief from 2000-2009.

Her honors include a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America, the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008-2009 Pola Nirenska Lifetime Achievement Award, the 2009

Martha Hill Fund Mid-Career Award and honorary doctorates from Cornish College of the Arts and Juilliard. She is an honorary member of Alpha Kappa Alpha Sorority and The Society, Inc. In February 2016 she was honored by First Lady Michelle Obama at the White house for her contribution to the field of dance. In 2018 she held the Brackett Visiting Artist Chair at the University of Oklahoma and is the recipient of the Mary Day Award from the Washington Ballet and the 2019 CORPS de Ballet International Lifetime Achievement Award. In 2020 she was presented with a medal of honor from the Actor’s Fund. She serves on the Advisory Board of The Center for Ballet and the Arts at NYU, and Dance NYC and serves on the Board of Works & Process.

Arthur Mitchell Co-Founder

Arthur Mitchell is known around the world for creating and sustaining the Dance Theatre of Harlem, the internationally acclaimed ballet company he co-founded with Karel Shook in 1969. Following a brilliant career as a principal artist with the New York City Ballet, Mr. Mitchell dedicated his life to changing perceptions and advancing the art form of ballet through the first permanently established African American and racially diverse ballet company.

Born in New York City in 1934, Mr. Mitchell began his dance training at New York City's High School of the Performing Arts, where he won the coveted annual dance award and subsequently a full scholarship to the School of American Ballet. In 1955, he became the first male African American to become a permanent member of a major ballet company when he joined New York City Ballet. Mr. Mitchell rose quickly to the rank of Principal Dancer during his fifteen-year career with New York City Ballet and electrified audiences with his performances in a broad spectrum of roles. Upon learning of the death of Reverend Dr. Martin Luther King, Jr. and with financial assistance from Mrs. Alva B. Gimbel, the Ford Foundation and his own savings, Mr. Mitchell founded Dance Theatre of Harlem with his mentor and ballet instructor Karel Shook.

With an illustrious career that spanned over fifty years, Mr. Mitchell was the recipient of the Kennedy Center Honors, a National Medal of the Arts, a MacArthur Foundation Fellowship, the New York Living Landmark Award, the Handel Medallion, the NAACP Image Award, and more than a dozen honorary degrees.

Karel Shook Co-Founder

Karel played a key role as teacher and mentor to African American dance artists in New York in the 1950s. In addition to co-founding Dance Theatre of Harlem with Arthur Mitchell in 1969, he also was a ballet master, choreographer, and author. Born in 1920, Mr. Shook was a native of Renton, Washington. Encouraged to study ballet, at age 13 he was a protégé of Nellie Cornish and received a scholarship to the Cornish School of Allied Arts in Seattle. While his performance career was brief, he appeared on Broadway and danced with the Ballet Russe de Monte Carlo and New York City Ballet. Mr. Shook’s brief performance career led to teaching and choreographing, mainly in Europe but also in New York. In the early 50s he opened Studio Arts, one of the few dance studios in the city where African Americans could study ballet. Among his students were Carmen de Lavallade, Pearl Primus, Geoffrey Holder, Louis Johnson, Alvin Ailey, and Arthur Mitchell, who first came to him at age 17. Mr. Shook left New York in 1959 to become the ballet master of the Dutch National Ballet, where he was when his former student, Arthur Mitchell, asked him to return to New York to help create the Dance Theatre of Harlem. Mr. Shook was an advocate of the universality of classical ballet. His book, Elements of Classical Ballet explores the development of classical ballet in such countries across the globe as China, Turkey, Iran, Japan, Cuba, and Mexico. In 1980 he was awarded the United States Presidential Award for “Excellence and Dedication in Education.”

Robert Garland, Resident Choreographer

Robert Garland was a member of the Dance Theatre of Harlem Company

achieving the rank of principal dancer. After creating a work for the DTH School Ensemble, Arthur Mitchell invited Robert Garland to create a work for The Dance Theatre of Harlem Company and appointed him the organization’s first Resident Choreographer. He is Director of the DTH school.

In addition to choreographing several ballets for DTH, Mr. Garland has also created works for New York City Ballet, Britain's Royal Ballet, Oakland Ballet, and many others. His commercial work has included music videos, commercials, and short films, including the children’s television show Sesame Street, a Nike commercial featuring New York Yankee Derek Jeter, the NAACP Image Awards, a short film for designer Donna Karan, and the “Charmin Cha-Cha” for Proctor and Gamble. Mr. Garland holds a Bachelor of Fine Arts Degree from the Juilliard School in New York City.

Juan Carlos Peñuela, Rehearsal Director

A native of Cali, Colombia, Juan Carlos Peñuela began dancing at the age of 12 with Incolballet, a balletcentered secondary school. After graduation, Mr. Peñuela was invited by Artistic Director, Gloria Castro to join Ballet de Cali, Colombia's National Company as a soloist, where he performed in a variety of leading roles in contemporary works as well as classical pieces. Mr. Peñuela has danced with Ballet Arizona, Dance Theater of Harlem, Pennsylvania Ballet, Maximum Dance Ballet Gamonet, Chamber Dance Project and Ballet NY.

Juan Carlos has served as guest Ballet Master and Repetitur with Compania Colombiana de Ballet - Incolballet in Colombia, Chamber Dance Project, Lexington Ballet, The Ajkun Ballet Theatre in New York City, Alvin Ailey’s American Dance Theatre, Ena Ballet Company in Japan & Earl Mosley's Institute of the Arts International Summer Intensive in Kent, CT. In 2011, he

was invited to Malaysia where he taught at their international festival, restaged Don Quixote, and coached artists from all over the world for their International Gala of the Stars.

From 2014 to 2018 Juan Carlos held the position of Ballet Master with Ballet Hispanico company in New York City as well Senior Ballet Teacher for the School of Dance. He has served as a faculty member at Joffrey Ballet School, Marymount Manhattan Collage, Ballet Academy East in New York city, Alvin Ailey, a guest teacher at The Juilliard School and Dance Theatre of Harlem’s professional company.

Mr. Penuela holds a Romana’s Pilates certification and teaches Pilates designed for dancers. In 2011 he became certified in The American Ballet Theatre National Training Curriculum. During the summer of 2013 he was invited to teach in Italy as a faculty member of Alvin Ailey School. Since 2017 has been teaching at Central Pennsylvania Youth Ballet summer program. In 2014 and 2017 he attended the CPYB teacher’s workshop and 2017 was featured in the August edition of Dance Teacher Magazine. For the last 7 years he has been invited to Panama City as guest teacher and as adjudicator to Danza Activa Competition and Ecuador Danza Ciad competition.

Anna Glass, Executive Director Anna has been involved in the performing arts as both an artist and arts administrator for over twenty years. She produced Carmen de Lavallade’s solo show, As I Remember It, an intimate portrait of this legendary artist. Anna previously served as the Managing Director of 651 ARTS, a presenting/producing arts organization dedicated to celebrating contemporary performing arts of the African Diaspora. While at 651 ARTS, she co-produced numerous projects, including the highly regarded national tour of FLY: Five First Ladies of Dance.

Anna has served as a consultant providing strategic planning and fundraising guidance to various nonprofit arts organizations, including Urban Bush Women and the Weeksville

Heritage Center. She currently serves on the board of the Association of Performing Arts Presenters. She has served as a Hub Site for the New England Foundation for the Arts’ National Dance Project grant program. After receiving her Juris Doctor from the University of Dayton School of Law, Anna became the Artist Representative for the Dayton Contemporary Dance Company, a company she performed with for three years (DCDC2). She is a licensed attorney in the State of New York and lives in Harlem with her husband and daughter.

Dance Theatre of Harlem, Inc.

Everett Center for the Performing Arts 466 West 152nd Street, New York, NY 10031-1814 P: 212.690.2800 F: 212.690.8736 www.dancetheatreofharlem.org

Board of Directors

Ackneil M. Muldrow III, Chairman Leslie Wims Morris, Vice-Chairman Martino R. Moore, Secretary Nancy Pforzheimer Aronson Kevin M. Cofsky Richard E. Constable III Molly Hall

Isabel Kallman Sharon Madison Erika Munro Kennerly Tangela Richter Scott Simpson Bonita Stewart Peter Sung China White

Dance Theatre of Harlem, National Advisory Board

Dr. Ruby Herd Leontyne Price Alex Radin Morleen Rouse Jackie Rush Kerry E. Schaeffner Edward I. Tishelman, Esq. Ben Vereen

Administrative Staff

Virginia Johnson, Artistic Director

Anna Glass, Executive Director

Lena Horne* Jessye Norman* Judith Peabody Cicely Tyson* Reverend Dr. Calvin O. Butts III* *in memorium

Jordan Oldham, Events & Venues Operations Manager

Ebonie C. Pittman, Senior Director of Development

Sharon Duncan, Director of Individual Giving

Kristine Liwag, Director of Institutional Giving

Seth Bauer, Manager of Individual Giving

Jessica Frazier, Development Associate

Keyana K. Patterson, Marketing Manager

Destiny Rose, Marketing Assistant

Billy Zavelson, General Press Representative

Alexandra Hutchinson, Dereck Brockington, Social Media Coordinators

Marc Martin, Senior Director of Finance & Administration

Stephen Foster, Manager of Finance and Administration

Hero Doucas, Human Resources Manager

Andrea Lujan, Kenneth Thomas, Building Operations

Alberto Recinos, Marco Recinos, Maintenance

Company Staff

Robert Garland, Resident Choreographer

Juan Carlos Peñuela, Rehearsal Director

Melinda Bloom, Interim General & Company Manager

Alexandra Tenenbaum, Production Stage Manager

Andrea Sala, Lighting Supervisor

Katy Freeman, Wardrobe Supervisor

Alicia Thompson, Assistant Stage Manager

Derrick McBride, Manager of Booking & Touring Productions

Alison Deleget, Joshua Honrado, Molly McEvoy, Physical Therapy & Wellness (Harkness Center for Dance Injuries)

Dance Theatre of Harlem School & Community Programs

Robert Garland, Director

Augustus van Heerden, Associate Director Lower/Upper School

Rachel Sekyi, Associate Director, Tendu Program

Karen Farnum-Williams, Student Affairs Officer

Najeree Wallace, Accountant

Rachael Davidson, Dancing Through Barriers Liaison

Hudson Davis, Lighting Designer Morgan Brochu, Stage Manager

Mbandu ni Mbandu by Vivalda Ndula

Vivalda Ndula, lead singer, guitar, multi-percussion David Craig, electric bass, upright bass Ilya J. Kolozs, drums, multi-percussion Greg Petito, guitar L.G. LaFleur, background singer

— pause —

Diabelli 200 by Anthony Brandt

Yvonne Chen, piano Molly Turner, conductor Tyler Martin, flute, piccolo Maiko Sasaki, bass clarinet Jacob Schafer, violin Max Geissler, cello Badie Khaleghian, visual design

Live EEG readings conducted by the University of Houston BRAIN Center, led by Jose "Pepe" Contreras-Vidal, with Derek Huber, Michelle Krueger, Oscar Jones, and Eric Todd.

Sponsored in part by:

THE POWELL FOUNDATION

And The Clay Pot Speaketh by Tazeen Zahida

Kevin Haveliwala, The Clay Pot Samira Choudhury, Sohni Kinan Ashraf, Mahiwaal Sameer Garach, Sohni’s Father Khurram Hamid, Sohni’s Husband Tarannum Shabbir, Sohni’s Mother-in-Law Sabeen Nadeem, Sohni’s Sister-in-Law Bobby Jutley, music and sound design Samira Choudhury, choreography Tooba Syed, art director Meher Syed, production assistant

— pause —

Desert Shelter by J.E. Hernández

The Ponce Project, musicians Andy and Dionne Noble, choreography NobleMotion Dance, dancers La'Rodney Freeman, dancer Colette Kerwick, dancer Lindsey McGill, dancer Tyler Orcutt, dancer Maria Perez, dancer Jacob Regan, dancer Lauren Serrano, dancer Angelica Villa, dancer Grace Wacker, costume designer

Houston Artist Commissioning Project artist awards are made possible in part by the Society for the Performing Arts Foundation through the Mattox Fund for New Works.

About the Program

Mbandu Ni Mbandu means “Side by Side” and is sung in Angola's native language Kimbundu. It's a travel to Vivalda's inner self believing in a utopic world where we could live side by side despite where we come from our culture, and beliefs if we give ourselves the opportunity to learn and embrace our differences that highlight our uniqueness and extraordinary traits.

Diabelli 200 is a combination of musical performance and scientific experiment. Musically, it presents a theme and variations based on the same theme as Beethoven's Diabelli Variations, published 200 years ago. In a theme and variations, a theme is repeated but constantly in new ways, like a row of similar houses each furnished to look different from the others. Meanwhile, the pianist and conductor are wearing portable EEG caps monitoring the synchronization of their brains during the rehearsals and performances.

Composer Badie Khalegian will draw on live EEG readings to project animated visualizations of the data. By featuring derivations from a common source, a theme and variations externalizes many features of the creative process, such as the proliferation of options and increasing distortions as time passes.

At the same time, neuro-engineer Pepe Contreras-Vidal and his University of Houston BRAIN Center team are pioneering ways of examining the brain in real world settings. The performance thus offers two different ways of exploring human minds in action.

And The Clay Pot Speaketh is a hybrid of a musical pantomime and a tableau. You are about to witness South Asia's most beloved folktale, the tragic love story of Sohni and Mahiwaal, presented from a fresh perspective of The Clay Pot, “Gharya”( Punjabi word for a clay pot). The word “Sohni” means beautiful girl and “Mahiwaal'' means buffalo herder in the Punjabi language. Their story is primarily about forbidden love. The way these young lovers waged their lives to be together is truly heartwrenching. This tale is deeply linked with the cultural context of family honor and a sense of duty. Each character seems to be doing what their ultimate calling is. What makes this tragic romance

unforgettable is the level of sincerity and sense of responsibility that prompts all of its characters. Sohni’s father, mother in law and sister-in-law, who want to protect the family’s honor, the lovers who are willing to wage it, the darkness of the lament less night, and finally, the asperity of the river Chenab that acts as the ultimate test of the lovers’ predicament. The narrative will be of the first-person peripheral character. After being neglected for centuries by storytellers, the Clay Pot tries to claim its rightful role in this epic tale. Classic South Asian instrumental tracks and action will bring to life this story that is truly a telltale account of a complex cultural heritage.

This 18th-century folktale Of Punjab, now a part of Pakistan, has come to us through numerous sources, Shah Lateef Bhitai in Sindhi called Shah Jo Risalo and Fazal Shah Syed in Punjab. This tale has lent new imagery to South Asian Poetry ignited by Waris Shah’s passionate account of a young woman willingly drowning life and all its possibilities to find the promised love.

Music is an integral part of this performance. Each of the tracks that are played presents an instrumental representation of a certain mood. There is flute, sitar, sarangi, shehnai, and tabla all depicting different human emotions.

Desert Shelter a work for string sextet and choreography, inspired by the struggles and resilience of migrants crossing the Sonoran Desert. The piece is divided into three continuous movements, each inspired by different geographical locations and themes within the desert landscape. The title reflects the harsh and unforgiving nature of the Sonoran Desert, where heatcurled shrubs often conceal the remains of those who have lost their way or have fallen victim to the elements.

The music evokes the sense of a scorching sun beating down on the desert floor, or the eerie silence of the empty dunes, as the listener is transported to this desolate and treacherous landscape. Ultimately, "Desert Shelter" speaks to the fragility of human life and the power of nature to shape our experiences and our stories.

The first movement, talavera, is named after the traditional Mexican mosaic ceramics found in the central region of México, representing the plurality of both origin and home. This opening captures the sense of desperation and determination that migrants feel as they embark on their journey across the Sonoran Desert. The strings, representing the migrants, weave a complex tapestry of textural sound techniques and harmony, evoking the physical and emotional strain of the journey. As the movement progresses, the music becomes increasingly dissonant and agitated, reflecting the dangers and uncertainties of the journey.

The second movement, rio bravo, is named after the Rio Grande River that separates Mexico and the United States. The music reflects the tumultuous and often dangerous crossing of the river, with agitated and dissonant strings representing the fear and desperation of the migrants. The music becomes more chaotic as it depicts the physical and mental deterioration of the migrants as they struggle to survive in the desert after crossing the river.

The final movement, cerro, is named after the mountain ranges that dot the desert landscape, and it reflects the sense of loss and despair that comes with the discovery of the bodies of migrants who did not make it across the desert. The strings become mournful and introspective, representing the grief and sorrow of those left behind. As the movement comes to a close, the music becomes more contemplative, reflecting on the human cost of migration and the need for compassion and understanding.

Desert Shelter is a powerful tribute to the migrants who brave the treacherous journey across the Sonoran Desert in search of a better life. The music reflects the many emotions and challenges they face along the way, from the heat and dryness of the desert to the dangers of crossing the Rio Grande, to the struggles and triumphs of reaching the mountain summit.

The Houston Artist Commissioning Project About the Performance

About the Artists

All photos by Claire McAdams

Vivalda Ndula

Born and raised in Luanda, Angola, Vivalda Ndula became one of the voices of the new generation of Angolan musicians that has made a significant cultural and international impact on today’s Angolan music. Ndula is an activist, singer-songwriter, percussionist, and dancer. She is a multi-award winning, nominated/finalist of StarAfrica Sound, (ISC) International Songwriting Competition, and Angola Music Awards (AMA). Through her music, Vivalda raises social awareness against child labor, modern slavery, and human trafficking with her award-nominated songs Mazui (voices) and Monandengue (children).

Anthony Brandt

Anthony Brandt is a composer, researcher, author, educator, and Artistic Director of Musiqa, an

New/Now:

award-winning new music ensemble. His musical catalogue includes three chamber operas, as well as orchestral, chamber, vocal, theater, dance, and television scores. Recordings of his music are available on the Albany, Crystal, and Navona labels. An advocate for closer ties between the arts and science, he co-authored The Runaway Species: How Human Creativity Remakes the World with neuroscientist David Eagleman and is currently a co-investigator in musical experiments involving seniors with mild cognitive impairment, stroke recovery, surgeon burnout, and dance. He teaches music composition and theory at Rice University’s Shepherd School of Music

Tazeen Zahida Born in Karachi, Pakistan and raised in Saudi Arabia, Tazeen Zahida writes plays in English and Urdu. Her plays are inspired by current affairs, social issues, family dynamics, and her experiences of living in the Middle East and America. She spearheads Houston’s only South Asian theatre company, Tee Zee Productions. Through her work, Tazeen

intends to bring to life hard-to-tell and harder-to-sell stories. She is a literary translator and critic. She believes that poetry is the ultimate form of expression.

J.E. Hernández Composer and cinematographer J.E. Hernández is a Mexican-born, Houston-based composer focusing on elevating personal and cultural narrative through his work. Hernández’s music has been performed at prestigious venues and by distinguished ensembles and organizations such as The John F. Kennedy Center for the Performing Arts, Houston Grand Opera, American Opera Project, Apollo Chamber Players, Foundation for Modern Music, Museum of Fine Arts Houston, Contemporary Arts Museum Houston, American Composers Forum, the Brazil National Orchestra, and in a wide variety of films, both in the United States and abroad. He holds a degree from the University of Houston.

Jason

Transformation

Karla

Monica Llanas VP, Private Wealth Advisor

Susan Wedelich, JD SVP, Private Wealth Advisor

Leah Bennett, CFA President, Westwood Wealth Management

Caras, JD VP, Private Wealth Advisor

Dominguez, JD SVP, Private Wealth Advisor

Greg Casamayor VP, Private Wealth Advisor

photo by Daniela Matejschek

About the Artists

Mnozil Brass has established itself as one of the world's premier brass ensembles. With over 130 performances a year, the group has sold out houses from the farthest reaches of the European continent to Israel, China, Taiwan, Japan, Australia, Canada, and the United States, and has captivated audiences with their blend of immense virtuosity and theatrical wit. No wonder their videos have garnered millions of YouTube views and their fans have travelled countless miles to hear them play.

The group’s recent returns to North America were hailed as "seriously funny" and "whimsically brazen." Their shows include Yes! Yes! Yes!, which blends original compositions with classical favorites, jazz standards, and popular hits—and Cirque, where the musicians combat the monkey business of daily life with music and humor, and transform the stage into a musical flea circus. As always, the repertoire is presented with the group's iconic humour and wit in scenes so clever that they would be worthy of Monty Python.

Mnozil Brass take their name from the "Gasthaus Mnozil," a restaurant across the street from the Vienna Conservatory, where, in 1992, seven young brass musicians met and began playing at a monthly open mic. Since then, the group has embraced repertoire for all ages and stages of life: from folk to classical to jazz to pop; all executed with the same fearlessness, immense technical skill, and typical Viennese "schmäh" (almost impossible to find an English translation, but best rendered as a kind of sarcastic charm!).

In their time away from touring, Mnozil Brass has recorded 8 albums and 6 DVDs. They've collaborated on three operetta and opera productions and composed and recorded the music for the 2006 film "Freundschaft." The group has been nominated for the Amadeus Austrian Music Award and won the prestigious Salzburger Stier Cabaret Prize in 2006.

Thomas Gansch

Born in Melk an der Donau, Thomas is one of the band’s founding members. By the time he turned the tender age of 17, he was already playing at the Vienna State Opera. However, his love of jazz was stronger, and led him to become one of the most versatile trumpeters in Austria; one who can play jazz, classical, crossover and everything in between. He is a whirlwind on stage and can tell a good joke or two, as well. When he has time off, he composes for Mnozil Brass.

Robert Rother

Like Thomas, Robert also hails from Melk an der Donau. As children, the two of them played in a brass band conducted by Thomas's very strict father. Polkas, waltzes, and marches were always on the program - a good learning experience it seems! Now, Robert can engender a tone with so much longing and feeling that it is guaranteed to bring anyone to tears. Unlike Thomas, Robert hardly moves on stage at all and lets the music speak for itself.

Roman Rindberger Roman was born into a musical family and played folk music as a youngster with his father and two brothers. His father Hans, in turn, would meet up with Gerhard Füßl’s father Franz because the families lived nearby. Roman loves technical passages and renders them with the precision of a Swiss clock-maker. And he even knows how the instruments work! If anyone wants to know more about brass music, Roman is the man for you. On stage, his character is the Latin Lover.

Leonhard Paul Leonhard was born in Mödling near Vienna and is the first musician his family has ever produced. (Though there was a grandfather who earned his money as a painter, and whose pictures hang in every other house in the

better parts of Vienna!) Recently, the other members of the band have started to get a little concerned about him, because he seems to have taken a liking to shady characters on stage. Everyone wants to play the hero, but Leonhard likes roles that show the darker side of man. No one knows exactly what's going on in his head!

Gerhard Füßl Gerhard grew up near where Roman lived, and also had a father who taught him a lot about brass music. He is the most well-liked in the group. Probably because he looks after the financial matters. Everyone tries to keep on his good side, and no one wants to incur his wrath. For his part, he is usually friendly to all.

Zoltan Kiss

Austrian folk music was certainly not part of Zoltan's upbringing. He was born in Budapest, spent some time in Poland, and finally settled in Vienna, where he plays trombone in four languages. One of the group’s favorite games is to put some really difficult music in front of him and see if he can play it. He usually can! His technical skills take your breath away. Bets have been placed as to when and how something will be written that he cannot master, but, so far, high, low, slow, fast, he can play it all!

Wilfried Brandstötter

He started his stellar career playing the recorder, subsequently joining the boys’ choir. After that it was playing the violin, followed by the trumpet, before finally feeling comfortably at ease with the tuba. So, speed is actually not quite his business. To him, life is a slow and wide river. Hence his ambition consists of making all concert halls, including the audience seated herein, being caressed by pleasant vibrations he’s producing with the help of low tones from his tuba. He does not understand at all how come that people get thrilled by fast, high-pitched melodies.

photo by Chris Cassidy

About the Speaker

Neil deGrasse Tyson was born and raised in New York City where he was educated in the public schools clear through his graduation from the Bronx High School of Science. Tyson went on to earn his BA in Physics from Harvard and his PhD in Astrophysics from Columbia.

In 2001, Tyson was appointed by President Bush to serve on a twelvemember commission that studied the Future of the U.S. Aerospace Industry. The final report was published in 2002 and contained recommendations (for Congress and for the major agencies of the government) that would promote a thriving future of transportation, space exploration, and national security.

In 2004, Tyson was once again appointed by President Bush to serve on a nine-member commission on the Implementation of the United States Space Exploration Policy, dubbed the “Moon, Mars, and Beyond” commission. This group navigated a path by which the new space vision can become a successful part of the American agenda. And in 2006, the head of NASA appointed Tyson to serve on its prestigious Advisory Council, which guides NASA through its perennial need to fit ambitious visions into restricted budgets.

In addition to dozens of professional publications, Dr. Tyson has written, and continues to write for the public. From 1995 to 2005, Tyson was a monthly essayist for Natural History magazine under the title Universe. And among Tyson’s fifteen books is his memoir The Sky is Not the Limit: Adventures of an Urban Astrophysicist; and Origins: Fourteen Billion Years of Cosmic Evolution, co-written with Donald Goldsmith. Origins is the companion book to the PBS NOVA four-part miniseries Origins, in which Tyson served as on-camera host. The program premiered in September 2004.

Two of Tyson’s other books are the playful and informative Death By Black Hole and Other Cosmic Quandaries, which was a New York Times bestseller, and The Pluto Files: The Rise and Fall of America’s Favorite Planet, chronicling his experience at the center of the

controversy over Pluto’s planetary status. The PBS NOVA documentary

The Pluto Files, based on the book, premiered in March 2010.

In February 2012, Tyson released his tenth book, containing every thought he has ever had on the past, present, and future of space exploration: Space Chronicles: Facing the Ultimate Frontier.

For five seasons, beginning in the fall of 2006, Tyson appeared as the on-camera host of PBS NOVA’s spinoff program NOVA ScienceNOW , which is an accessible look at the frontier of all the science that shapes the understanding of our place in the universe.

During the summer of 2009 Tyson identified a cadre of professional standup comedians to assist his effort in bringing science to commercial radio with the NSF-funded pilot program StarTalk. Now also a popular Podcast, for three years it enjoyed a limited-run Television Series on the National Geographic Channel. StarTalk combines celebrity guests with informative yet playful banter. The target audience is all those people who never thought they would, or could, like science. In its first year on television and in three successive seasons, it was nominated for a Best Informational Programming Emmy®

Tyson is the recipient of twenty-one honorary doctorates and the NASA Distinguished Public Service Medal, the highest award given by NASA to a nongovernment citizen. His contributions to the public appreciation of the cosmos have been recognized by the International Astronomical Union in their official naming of asteroid “13123 Tyson.” And by zoologists, with the naming of Indirani Tysoni, a native species of leaping frog in India. On the lighter side, Tyson was voted “Sexiest Astrophysicist Alive” by People Magazine in 2000. More recently, Tyson published Astrophysics for People In A Hurry in 2017, which was a domestic and international bestseller. This adorably readable book is an introduction to all that you’ve read and heard about that’s making news in the universe— consummated, in one place, succinctly presented, for people in a hurry.

That was followed in 2018 by Accessory to War: The Unspoken Alliance Between Astrophysics and the Military, coauthored with Avis Lang, in 2019 by Letters from an Astrophysicist, both New York Times Bestsellers, and in 2021 by Cosmic Queries: StarTalk’s Guide to Who We Are, How We Got Here, and Where We are Going, coauthored with James Trefil.

Tyson served as Executive Science Editor and on-camera host & narrator for Cosmos: A SpaceTime Odyssey, the 21st century continuation of Carl Sagan’s landmark television series. The show began in March 2014 and ran thirteen episodes in primetime on the FOX network and appeared in 181 countries in 45 languages around the world on the National Geographic Channels. Cosmos won four Emmy Awards, a Peabody Award, two Critics Choice awards, as well as a dozen other industry recognitions. Tyson reprised his role as on-camera host for the next season of Cosmos—Cosmos: Possible Worlds, which premiered on the National Geographic Channel in March 2020 and on the FOX network in September 2020.

Tyson’s latest books are Welcome to the Universe in 3D: A Visual Tour (coauthored with J. Richard Gott III, Michael Strauss, and Robert J. Vanderbei) and Starry Messenger: Cosmic Perspectives on Civilization.

Tyson is the fifth head of the worldrenowned Hayden Planetarium in New York City and the first occupant of its Frederick P. Rose Directorship. He is also a research associate of the Department of Astrophysics at the American Museum of Natural History.

Neil deGrasse Tyson lives in New York City with his wife, a former IT project manager with Bloomberg Financial Markets.

Ragamala Dance Company

RANEE RAMASWAMY AND APARNA RAMASWAMY’S

RAGAMALA DANCE COMPANY

FIRES OF VARANASI: DANCE OF THE ETERNAL PILGRIM CREATORS/DIRECTORS/ CHOREOGRAPHERS

Ranee Ramaswamy and Aparna Ramaswamy

CHOREOGRAPHIC ASSISTANT Ashwini Ramaswamy DRAMATURG

Ranee Ramaswamy ORIGINAL COMPOSITIONS

Prema Ramamurthy, Ranee Ramaswamy, S. Sakthivel Muruganantham, and Lalit Subramanian DEVELOPMENT OF SCORE

Ranee Ramaswamy and Aparna Ramaswamy, with the musical ensemble

CHOREOGRAPHY OF BHO SHAMBHO (performed by Aparna Ramaswamy) Padmabhushan Smt. Alarmél Valli

DANCERS

Aparna Ramaswamy, Ranee Ramaswamy, Ashwini Ramaswamy, Chaitra Chandrashekar, Jessica Fiala, Sri Guntipally, Tamara Nadel, Radhika Naidu, Garrett Sour, Alan Tse

MUSICIANS

Preethy Mahesh, vocal Lalit Subramanian, vocal C.K. Vasudevan, nattuvangam S. Sakthivel Muruganantham, mridangam Ramanathan Kalaiarasan, violin Sruthi Sagar, flute

Maulav Ganga (performed by Ranee Ramaswamy) pre-recorded by Vidwan Sri T.M. Krishna (vocal), with K. Arun Prakash (mridangam), R.K. Shriram Kumar (violin), and Bhagyashri (tanpura), included by special permission from the artists SCENIC AND LIGHTING DESIGN Willy Cessa

COSTUMES

D.S. Aiyellu, Ranee Ramaswamy, and Carole Bruns Couture PRODUCTION MANAGER/SOUND ENGINEER/PROP CONSTRUCTION

Maury Jensen

ASSOCIATE LIGHTING DESIGNER/ TECHNICAL DIRECTOR

Mary Shabatura SET CONSTRUCTION Joseph Stanley

SOUND RECORDING, EDITING, AND MIXING

Kalaiarasan Ramanathan, Baba Prasad, Michael DeMark

TOUR MANAGER

Erik Madsen-Bond

EXCLUSIVE REPRESENTATION BY Laura Colby, Director, Elsie Management COMMISSIONERS LEAD COMMISSIONER

The John F. Kennedy Center for the Performing Arts CO-COMMISSIONERS

The Harris Theater for Music and Dance Hopkins Center for the Arts at Dartmouth College

Younes and Soraya Nazarian Center for the Performing Arts at Cal State Northridge Northrop at the University of Minnesota

Ragamala Dance Company Sponsors

WITH ADDITIONAL COMMISSIONING SUPPORT FROM:

The Jay and Susie Gogue Performing Arts Center at Auburn University Meany Center for the Performing Arts at the University of Washington American Dance Festival

The Joyce Theater Foundation's Stephen and Cathy Weinroth Fund for New Work

DEVELOPED IN PART IN RESIDENCE AT Hopkins Center for the Arts at Dartmouth College Northrop at the University of Minnesota

The Rockefeller Foundation Bellagio Center with support from Ranee Ramaswamy and Aparna Ramaswamy’s Guggenheim Fellowships

CREATIVE PRODUCER

Laura Colby, President, Elsie Management

SPECIAL THANKS

This work is a reflection of the long training Ranee, Aparna, and Ashwini have had under our respected guru Smt. Alarmél Valli. As a guru par excellence, she has molded our technique, elevated our thinking, imparted clarity of aesthetic, and mined the depth of abhinaya. As she has said many times, a true guru is like a banyan tree and the students are its numerous roots that drop to form individual trees. We are humbled to take root to form our own plants, but always be a part of that magnificent tree. With deep respect and love to the one who has given us everything.

From the Creators

Varanasi, India is a city where past, present, and future mingle within a single space—the sacred city is a portal between the ancient and the current. We have created Fires of Varanasi: Dance of the Eternal Pilgrim as a narrative nested within a narrative, nested within another narrative—the art forms, philosophies, and rituals borne from our Hindu ancestry which remain a source of hope, solace, and truth; the pilgrim who travels through time and space singing and dancing the name of the Sacred; and finally, the powerful voices of those who journey from one home to another.

We began envisioning this project after the death of our father/grandfather away from his homeland of India. A devout Hindu, his desire was for his ashes to be scattered in the Ganges River in Varanasi just as our ancestors before him.

For millennia, Varanasi has symbolized the crossing place between this world and the ‘far shore.’ Cremation fires burn night and day, and one is surrounded by rituals of death, both beautiful and apocalyptic. Ours is a religious tradition that contemplates life and death as an integrated whole. Upon death, the funereal fires dissolve the five elements of the physical body in order to take these elements to a new body.

Our dance tradition of Bharatanatyam provides a rich and expansive lexicon that serves as our wellspring. With a history that goes back over two millenia, the form grows within and with each practitioner. Through this language, we celebrate body and spirit, and the joyous and healing quest for physical and spiritual transcendence.

The creation process of Fires of Varanasi began well before the pandemic, yet the themes of mortality and resilience became even more salient, and the sharing of stories and honoring of ancestors even more urgent. We are incredibly grateful to our commissioners and funders who made this work possible. We could not have created this work without the commitment of our dancers, musical and technical collaborators, and staff, who spent hundreds of hours with us and each other over Zoom and WhatsApp.

Finally, we dedicate Fires of Varanasi: Dance of the Eternal Pilgrim to the memory of our dear friend, Patricia Barretto, who lost her battle with cancer in March, 2020. Patricia was a visionary and a force, and we miss her greatly. Thank you, Patricia, for blessing this work with your light.

—Aparna Ramaswamy and Ranee Ramaswamy

Fires of Varanasi: Dance of the Eternal Pilgrim

The Sacred pilgrimage routes, The Ganges River, and the patron deity Shiva together form the cosmic trinity of Varanasi, each providing a tirtha—or metaphorical crossing place— where one may leave the mundane and enter into the world of immortality.

Fires of Varanasi opens at dusk with a ritual on the banks of the Ganges River, its sacred waters offering a purification for the living and salvation for the dead. Through the work, eleven dancers undertake a sacred pilgrimage through shifting landscapes as they seek a mystical connection between

the divine and the human. The dancers are engrossed in an ecstatic and communal prayer, the soloists become the ‘Eternal Pilgrim’ seeking a solitary and internalized ritual of sacred contemplation. Ultimately the physical journey transforms into a psychic one.

SCENE ONE

Darshanam, To See and Be Seen

Agni Soloist: Aparna Ramaswamy

The fire god, Agni, is the intermediary between Gods and humans, and a witness of our actions. The blessings of Agni are sought on all solemn occasions, including birth, marriage, and death. He is conceptualized in ancient Hindu texts to exist at three levels—on earth as fire, in the atmosphere as lightning, and in the sky as the sun.

The banks of the Ganges River become the altar to worship the sun every morning, bringing light and life, an end to the actual and metaphoric darkness.

Sankalpam, Conviction to the Deity of Cosmic Balance Soloist: Ranee Ramaswamy

As the veil of darkness lifts, we prepare to glimpse Shiva, the reigning deity of Varanasi.

SCENE

TWO Liquid Shakti

The Power of the Ganges River

The Ganges River—mythologized as falling from heaven to earth—is a manifestation of Shakti, the female life-energy of Shiva. Bathing in the Ganges River is an essential daily act of the pilgrim in Varanasi, invoking the water as a giver of life, immortality, and healing.

The Myth of the Rivers Soloists: Ranee Ramaswamy, Ashwini Ramaswamy, Aparna Ramaswamy

The Ganges is believed to feed thousands of rivers and water bodies, forever making the gods present and humans linked.

In His incarnation as Vamana, Vishnu transformed into Trivikrama, lifting His left foot and, with His big toe, tearing the sheath of the universe and releasing Ganga from the heavens. Shiva calmed Her ferocious waters by trapping them in His hair, releasing Her in small streams.

As Vishnu’s incarnation of Krishna, He saved the Yamuna River. The water of the Yamuna seethed with the poison of the snakedemon, Kaliya. Nothing grew on the river bank; no bird or beast was spared. To save the river and the people, Krishna leapt onto Kaliya's head, assuming the weight of the whole universe, dancing the snake into submission.

Ganga as Mother Goddess

Goddess Ganga is the liquid essence of life, the celestial river cascading from heaven to nourish humanity.

Goddess Ganga is worshipped through an immersive engagement with the river. The repetitive pouring of water by devotees recognizes the life-giving force of the water, the ability to wash away troubles, and the acceptance of old age and death. The devotee ultimately seeks the embrace of Mother Ganga to cross over into a place of joy after death.

SCENE THREE

The Purification of the Living and the Salvation of the Dead

Weaving Eternity Soloist: Chaitra Chandrasekhar

“An extraordinary weaver has woven this shawl of life, by stretching the vertical threads of one's actions and the horizontal threads of destiny. This human body is a combination of past actions and destiny.”

—15th c. Sufi poet Kabir Das of Varanasi

The Eternal Pilgrim Soloist: Ranee Ramaswamy

The 5th century Bhakti poet Karaikal Ammayar is the symbol for the ‘Eternal Pilgrim.’ In her longing for Shiva, she yearned to shed her body—flesh, skin, and gender—to emphasize the true essence of her humanity.

I aspired to only one thing; I settled on it and left the rest I kept in my heart only that lord whose crest bears the Ganga whose matted locks are adorned with the sun and moon whose palm holds the flames— and I have become his servant.

At twilight, flawlessly in time to the rhythm of heavenly drums effortlessly bearing fire in his palm the beautiful one dances.

The City of Shiva Soloist: Aparna Ramaswamy

The cosmic dance of Shiva symbolizes the interplay of dynamic and static divine energy flow, containing the five principles of eternal energy—creation, preservation, destruction, illusion, and emancipation.

The ecstatic pilgrimage journey begins and ends at the Kasi Vishweshvara temple—the center of Varanasi, a city where people surrender their earthly bodies to death and receive spiritual bodies like Shiva himself.

For additional information, please visit Ragamala’s website to access Fires of Varanasi: An Illustrated Guide, developed by Ranee Ramaswamy: www.ragamaladance.org/fires-of-varanasi-links

About Ragamala Dance Company

“Ragamala shows how Indian forms can be some of the most transcendent experiences that dance has to offer.”

—The New York Times

Founded in 1992 by Ranee Ramaswamy, Ragamala Dance Company is the vision of mother-daughter South Indian American artists Ranee Ramaswamy and Aparna Ramaswamy. Through multi-disciplinary dance works for the stage, engaging the community, and educating the next generation, Ragamala epitomizes intercultural and immigrant narratives that evoke a shared sense of humanity.

Ragamala is a pioneering, intergenerational, family-run organization committed to the idea that while history is time bound, the stories we share are timeless. Ragamala's work in the performing arts field is expansive. We set our gaze far beyond the stage to realize the kindred relationship between ancient and contemporary that is urgently needed in today’s world. Ragamala engages in a collaborative practice with myriad artists and aesthetics and is rooted in the idea of Bharatanatyam as a dynamic living tradition. Ranee and Aparna’s training under legendary artist Alarmél Valli is the bedrock of a creative ethos that springs from beauty, truth, and spirit.

Ragamala has toured extensively throughout the U.S., India, and abroad, highlighted by the Kennedy Center (Washington, D.C.), Joyce Theater (New York), Lincoln Center (New York), Jacob’s Pillow Dance Festival (MA), Walker Art Center (Minneapolis), American Dance Festival (Durham, NC), Museum of Contemporary Art Chicago, International Festival of Arts & Ideas (New Haven, CT), Cal Performances (Berkeley), Arts Center at NYU Abu Dhabi (United Arab Emirates), Just Festival (Edinburgh, U.K.), Bali Arts Festival (Indonesia), Sri Krishna Gana Sabha (Chennai, India), and National Centre for Performing Arts (Mumbai, India), among others.

For upcoming tour dates or to subscribe to Ragamala’s e-newsletter, please visit: ragamaladance.org Contact us at info@ragamaladance.org • 612.824.1968 Facebook: @ragamala Instagram: @ragamala_dance YouTube: youtube.com/c/RagamalaDanceCompany

For booking information, please contact Laura Colby, Director, Elsie Management elsieman.org • info@elsieman.org • 718.797.4577

About the Artists

RANEE RAMASWAMY and APARNA RAMASWAMY (Artistic Directors/Creators/ Choreographers/Principal Dancers) explore the dynamic tension between the ancestral and the contemporary, highlighting the fluidity between the secular and the spiritual, the human and the natural. As dancemakers and culture bearers working in an intergenerational partnership between mother and daughter, their creative vision merges the rich traditions and deep philosophical roots of their Indian heritage with their hybridic perspective as first-generation Indian Americans. Their training in the South Indian classical dance form of Bharatanatyam under legendary dancer/ choreographer Padma Bhushan Smt. Alarmél Valli, known as one of India’s greatest living masters, is the bedrock of their creative aesthetic.

Ranee and Aparna’s choreographic work has been commissioned by the Kennedy Center (Washington, D.C.), Lincoln Center (New York), Joyce Theater (New York), American Dance Festival (Durham, NC), Walker Art Center (Minneapolis), and the Arts Center at NYU Abu Dhabi (United Arab Emirates), among others, and supporters of their work include the National Endowment for the Arts, National Dance Project, MAP Fund, the Wallace Foundation, and the Doris Duke Charitable Foundation. They have developed work in residence at MANCC (the Maggie Allesee National Center for Choreography), the Arts Center at NYU Abu Dhabi, the Hopkins Center at Dartmouth College, Northrop (Minneapolis), and during an NPN residency at The Yard.

Ranee serves on the National Council on the Arts, appointed by President Barack Obama. Among her recent awards and honors are a Guggenheim Fellowship, Doris Duke Performing Artist Award, Bogliasco Foundation Fellowship (Italy), Rockefeller Foundation Bellagio Center Research Fellowship (Italy), United States Artists Fellowship, and McKnight Distinguished Artist Award. Ranee immigrated to the United States in 1978 and, since that time, her work has merged the classical language of Bharatanatyam with a contemporary Western aesthetic to create timeless pieces that freely move between the past and the present, including bold experimental collaborations with national and international artists across forms and genres. raneeramaswamy.com

Aparna is a recipient of a Guggenheim Fellowship, Doris Duke Performing Artist Award, Bogliasco Foundation Fellowship (Italy), Rockefeller Foundation Bellagio Center Research Fellowship (Italy), Joyce Award, Bush Fellowship for Choreography, and four McKnight Fellowships for Dance and Choreography, among others. Most recently, she was named a recipient of a 2022 Distinguished Achievement Award from Carleton College. Described by The New York Times as “thrillingly threedimensional… rapturous and profound,” she has been selected as one of Dance Magazine’s 25 to Watch and is an empaneled artist with the Indian Council for Cultural Relations (ICCR). In addition to her large-scale, multidisciplinary theatrical works, Aparna’s choreographic work includes intimate solos with live music that have toured widely, nationally and internationally, and been commissioned by the American Dance Festival and the Silk Road Ensemble, among others. aparnaramaswamy.net

ASHWINI RAMASWAMY (Choreographic Associate/Dancer) has spent over 25 years studying Bharatanatyam from her gurus - her mother Ranee Ramaswamy, sister Aparna Ramaswamy, and the legendary Smt. Alarmél Valli of Chennai, India. The New York Times describes Ashwini as “weaving together, both fearfully and joyfully, the human and the divine.” As a founding member of Ragamala, she has toured extensively, performing throughout the U.S. and in Russia, Taiwan, Indonesia, Japan, the U.K, and India. Ashwini’s choreography was listed among the “Best of the Year” in The Washington Post, The Star Tribune, and Minnpost, and as a critic’s pick in The New York Times Her work has been presented by the Joyce Theater and Baryshnikov Arts Center (NYC), Cowles Center (Minneapolis), The O’Shaughnessy (St. Paul), The Scottsdale Center (Arizona), The Yard (Martha’s Vineyard), and the Just Festival (Edinburgh, U.K.), among others. Ashwini’s work is supported by USArtists International, MAP Fund, National Performance Network, New England Foundation for the Arts’ National Dance Project, MN State Arts Board, Metropolitan Regional Arts Council, South Asian Resiliency Fund, Jerome Foundation, a Jerome Hill Artist Fellowship and McKnight Fellowships for dance and choreography; commissioned by The Liquid Music Series, The American Dance Platform, Augsburg College, and Macalester College; and developed in residencies at the Baryshnikov Arts Center, UNC Chapel Hill, Kohler Arts Center, the National Center for Choreography, the Bogliasco Foundation (Bogliasco, Italy), and the Camargo Foundation (Cassis, France - 2023). Her next project, Invisible Cities, is commissioned by The Great Northern Festival, Northrop, The Cowles Center, The Perelman Center, The Kohler Center, and The Bates Dance Festival. ashwiniramaswamy.com

SMT. PREMA RAMAMURTHY (Composer) has been an outstanding vocalist and composer for more than four decades. She received intensive training under the great Maestro ‘Padmavibhushan’ Dr. Mangalampalli Balamurali Krishna, specialized in the art of ‘Pallavi singing’ from Vidwan Sri T. V. Gopalakrishnan, and learned the art of singing ‘Padams & Javalis’ from the veteran musician, Mrs. T. Muktha. An A-TOP Grade Artist of All India Radio and Doordarshan TV, she has won critical acclaim as a composer, and has performed in many of the top venues and festivals of India, the U.S., Europe, Asia, the Middle East, Australia, Mexico, and South Africa.

WILLY CESSA (Scenic and Lighting Design) has worked as a director, light director, and light and set designer since 2001. In 2007, he met Sidi Larbi Cherkaoui in Paris for the project La ZonMai at the Cité Nationale de l’Histoire de l’Immigration. Since that time, they have collaborated on 13 projects for Cherkaoui’s Antwerp-based company Eastman. Additionally, he has worked with multiple renowned artists and institutions, including Yabin Wang, Aakash Odedra, Wang & Ramirez, Damien Jalet, Fanny de Chaillé, Herman Diephuis, Esther Aumatell, Le Centre Dramatique Régional des Pays de la Loire, Cie Les Aphoristes, Cie KLP, Danse l’Afrique Danse!, and Franck II Louise.

CHAITRA CHANDRASHEKAR (Dancer) is a disciple of Guru Dr. Mala Shashikanth and Guru Vid. Asha Ravindra, and has practiced and honed the art form of Bharatanatyam for over two decades, performing at prestigious cultural events and competitions from a young age. She completed major levels of examinations conducted by KSEEB (Educational Board of Karnataka) in India and attained pre-vidushi honorary title. She is currently an Apprentice with Ragamala, learning under Ranee Ramaswamy and Aparna Ramaswamy since 2020.

JESSICA FIALA (Dancer) began training with Ranee and Aparna Ramaswamy in 2006 and has performed with Ragamala throughout the US and in India, UK, and UAE. She holds an interdisciplinary master’s degree in museum studies and cultural studies from the University of Minnesota and her research has been published in the anthology The Ruined Archive; the journals Diálogos com a arte, Public Art Journal, and the Journal of Somaesthetics; and the online publication Immerse Jessica is also a research associate at the consulting firm 8 Bridges Workshop.

SRI GUNTIPALLY (Dancer) has been learning Bharatanatyam under Ranee Ramaswamy and Aparna Ramaswamy since 2018. She is an Apprentice with Ragamala and has performed with the company at the Ordway Center for the Performing Arts. Sri graduated high school in 2021 as valedictorian at Eagle Ridge Academy, a U.S. Presidential Scholar Candidate, and National Merit Scholar. She is attending the University of Minnesota to study Human Physiology, and aspires to be a dancing doctor.

TAMARA NADEL (Dancer) is a disciple of Ranee and Aparna Ramaswamy and a founding member of Ragamala, performing throughout the U.S, India, Russia, Taiwan, Indonesia, Japan, and U.K. She has received grants and fellowships from the McKnight Foundation, Jerome Foundation, Minnesota State Arts Board, and Rimon: The Minnesota Jewish Arts Council, among others. Most recently, she was selected by the Conney Conference on Jewish Arts at UW-Madison to perform a solo choreographed for her by Ranee Ramaswamy, illuminating the synergies between Hindu and Jewish mystical traditions. Tamara is Ragamala’s Director of Institutional Development and board member of Minnesota Citizens for the Arts.

RADHIKA NAIDU (Dancer) joined Ragamala in October 2019 as a participant in the development of Fires of Varanasi. As an immigrant to the U.S. in her teens, and having visited Varanasi, she was particularly drawn to and inspired by Ranee and Aparna’s portrayal of the theme of this project through Bharatanatyam. In her spare time, Radhika is a practicing pediatrician.

GARRETT SOUR (Dancer) is a classical Cambodian dancer under the master teacher, Yousedy Peov and is a principal dancer and assistant instructor with Wattanak Dance Troupe. Garrett has also trained in different dance styles competing in many different competitions across the nation and has performed in South Korea representing the USA in the 13th Gangneung International Junior Art Festival. When Garrett is not dancing, he is working towards his undergraduate degree at the University of Saint Thomas.

ALAN TSE (Dancer) is a creative soul expressing his artistic skills through design, dance, and yoga. Born and raised in Hong Kong, Alan moved to the Twin Cities two decades ago. He has danced with Sole to Soul Dance Conversion, Ballet of the Dolls,

and MotionArts, and has performed in works by Myron Johnson, Jim Liberthal, Pam Gleason, and more. Alan is currently a company member of Continental Ballet Company.

PREETHY MAHESH (Vocal) is a Carnatic musician who has been accompanying eminent dancers since 2002. She owes her art to her respected gurus Sri DK Jayaraman and Sri S Kalyanaraman. A graded artist of All India Radio she has performed extensively as a soloist and has recorded multiple commercially-available albums of dance music. She has performed in some of the world’s best theatres with accomplished artists such as Priyadarsini Govind, Shobana, Padmabhushan Alarmél Valli, Revati Ramachandran, Parvati Ghantasala, The Dhananjayans, and Ragamala. In recognition of her contribution to the art, has been honored her with the titles Gana Kokilam, Sangeetagna, and Nritya Sangeeta Varshini.

LALIT SUBRAMANIAN

(Composer/Vocal) is a vocalist proficient in both the South Indian (Carnatic) and North Indian (Hindustani) styles of Indian classical music. He is the disciple of renowned Carnatic musicians Tiruvarur Sri S. Girish and Neyveli Sri R. Santhanagopalan, and renowned Hindustani musician Pandit Shekhar Kumbhojkar. Lalit has won multiple awards and performs at various venues in the U.S. and India, both as a solo vocalist and as an accompanist for dance performances. He also plays the mridangam and the tabla and has trained under tabla artist Pandit Anand Godse. He has been a junior artiste at All India Radio as a Hindustani vocalist, and holds a graduate degree in Carnatic music from India. Lalit has been working with Ragamala Dance Company since 2008. C.K. VASUDEVAN (Nattuvangam) is student of renowned Carnatic percussion maestro, Sangeetha Kalanidhi Dr. Umayalpuram Sivaraman, and has been trained by Padma Bhushan Smt. Alarmél Valli in the art of nattuvangam. Mr. Vasudevan has provided vocal support to several renowned dancers at the major festivals and theatres of India, and in Europe, the U.S., Canada, Japan, Southeast Asia, and the Middle East. He has a diploma in mridangam from the Tamil Nadu Government Music College, and is a recipient of multiple honors, including the Vaadhya Kalaimani, Laya Kala Sironmani, and Rukmani Thala Samuthiram awards and the title Laya Vidyadara.

S. SAKTHIVEL MURUGANANTHAM (Mridangam) has been a preeminent performer on the mridangam, specializing in the accompaniment of classical dance, for 34 years. He learned by traditional Gurukulavasam under the great Guru Shri Mayavaram G. Somasundaram Pillai and later under Guru Shri Bakthavatchalam, and Guru Shri M. Balachander. Mr. Sakthivel has accompanied preeminent dancers at leading festivals and theaters in India and worldwide, including Dr. Vyayanthimala Bali, Padmabhushan Alarmél Valli, Shri Leela Samson, and Priyadarshini Govind, and great gurus such as Shri K.J. Sarasa, Shri Udupi Lakshmi Narayan, and Shri Narasimhachari. His titles include Laya Vidhyadhara from Smt. Alarmel Valli’s Deepashika, Natya Sangeetha Kala Bharathi from Bharath Kalachar, Laya Kala Vipanchee from Vipanchee Trust, Laya Kala Ratna, Laya Sironmani, and Mridanga Mamani.

RAMANATHAN KALAIARASAN (Violin) is the son of distinguished Mirudanga Vidwan Sangeetha Bhusanam Professor Thiru A.S. Ramanathan. A disciple of Smt. Dhanadevi Mithradeve, he graduated with honors from Annamalai University, Chidambaram, India, with the title of ‘Sangeetha Bhushanam.’ He has over 25 years’ experience accompanying leading dancers in India and abroad, and recording music and dance DVDs for E- Parampara Infotainment and Swathi Soft Solutions. He is a permanent staff member/performer with Padmabhushan Sri. V.P.Dhananjayan and Smt Shantha Dhananjayan’s Bharatha Kalanjali. His honors include Best Violin Artist for Dance from Sri Krishna Gana Sabha, Best Accompanying Artist for Dance from VDS Arts Academy, and the Sudharani Raghupathy Endowment Award for senior musician from Natyarangam—the dance wing of Narada Gana Sabha, Chennai.

U.S. touring of Fires of

is

possible in part

SRUTHI SAGAR (Flute) has earned a place for himself in the field of Carnatic Music. A disciple of Kalaimamani Dr. Sunder for more than fifteen years, he had his initial training on the Flute from Shri B. V. Balasai and his father Shri Sudarsana Rao. Sruthi Sagar has performed at prestigious venues and festivals throughout India and is a recipient of the Air India Radio first prize and other coveted awards such as Kuzhal Isai Chelvan, Yuva Kala Bharathi, and Yuva Kala Vipanchee. Since 2005, Sruthi Sagar has been a Central Government scholarship awardee, and recipient of a Young Achiever’s Scholarship conferred by the Government of India. He has performed at the Olympic Games in London as part of the STACCATO Band.

Additional support for Ragamala’s 2022-23 season comes from the Wallace Foundation; The McKnight Foundation; The Bob and Kathie Goodale Legacy Foundation; the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund; and generous support from Friends of Ragamala.

The creation and

Varanasi

made

through grants from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, and the National Endowment for the Arts, with additional creation support from the Marbrook Foundation; the MAP Fund, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation; The Dr. Dash Foundation, whose mission is to preserve and promote rich Indian heritage and culture; New Music USA, made possible by annual program support and/or endowment gifts from The Andrew W. Mellon Foundation, Mary Flagler Cary Charitable Trust, Baisley Powell Elebash Fund, & The Gladys Krieble Delmas Foundation; the Fredrikson & Byron Foundation; the APAP Cultural Exchange Fund; Ranee and Aparna Ramaswamy's 2018 Guggenheim Fellowships; Ranee and Aparna Ramaswamy’s 2020 McKnight Fellowship, and Ranee and Aparna Ramaswamy’s 2017 residential fellowship at the Rockefeller Foundation's Bellagio Center in Italy.

Individual Supporters

Performing Arts Houston would like to thank the individuals who support our work through generous contributions throughout the year. For more information on donor benefits, please visit performingartshouston.org/donate or contact Jordan Drum at 713.632.8104 or jdrum@performingartshouston.org.

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Performing Arts Houston is proud to recognize our corporate, foundation, and government partners for their exemplary community leadership and support. To learn more about partnership opportunities and benefits, please contact Jordan Drum at 713.632.8104 or jdrum@performingartshouston.org

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$5,000–$9,999

Bank of Texas Barclays Bergner & Johnson Design Elizabeth Anthony Goldman Sachs

Houston First Corporation Houston Livestock Show and Rodeo LD Systems* PNC Bank Shearman & Sterling LLP Van Cleef & Arpels Vinson & Elkins LLP

FOUNDATIONS & GOVERNMENT AGENCIES

$100,000+

Houston Endowment, Inc. † The Wortham Foundation, Inc. †

$50,000-$99,999

The Brown Foundation, Inc. † The Humphreys Foundation† The Elkins Foundation

$25,000-$49,999

City of Houston through Houston Arts Alliance†

M.D. Anderson Foundation† National Endowment for the Arts Powell Foundation

$10,000-$24,999

The Cullen Trust for the Performing Arts † Vivian L. Smith Foundation Taiwan Academy, Taipei Economic and Cultural Office in Houston Texas Commission on the Arts †

MATCHING GIFT SUPPORTERS

Chevron Corporation

ExxonMobil

Kinder Morgan Foundation

Listings Accurate as of 10/1/2022

Murphy Oil Corporation Phillips 66

$1,000-$4,999

ExxonMobil † Murphy Oil Corporation Neiman Marcus USAA

$5,000-$9,999

City of Houston through the Miller Theatre Advisory Board † George and Mary Josephine Hamman Foundation† Kayser Foundation New England Foundation for the Arts, Inc.

Truist Bank USAA

*Includes in-kind support †Indicates 10+ years of consecutive support

STOMP

MAR 23–26 • Jones Hall

performingartshouston.org

STOMP is explosive, inventive, provocative, witty, and utterly unique—an unforgettable experience for audiences of all ages. The international percussion sensation has garnered armfuls of awards and rave reviews and has appeared on numerous national television shows. As The Boston Globe says, “If you haven’t seen STOMP, GO! If you have seen it, take someone and share the pleasure!” STOMP. See what all the noise is about.