2013-2014 Art of Performance

Places in the Sky

NEW STAGES 2014:

A FIVE–PART EXHIBITION OF CONTEMPORARY PERFORMANCE

BE PART OF THE JOURNEY. Explore the artists at ringling.org/nowHERE

THANK YOU TO THE FOLLOWING INDIVIDUALS, FOUNDATIONS, AND BUSINESSES FOR THEIR SUPPORT:

The Ringling’s 2013-2014 Art of Our Time season is supported in part by a grant from

NOWHERE EQUINOX SPONSORS

Florida Lottery

Huisking Foundation

NOWHERE SOLSTICE SPONSORS

Gerri Aaron Blalock Walters, PA Cumberland Advisors Bernice Davis

Mr. Richard H. Nimtz and Mrs. Betty A. Nimtz Ina Schnell Judith and Stephen Shank

If you are interested in becoming a Sponsor for performances, programs, and exhibitions at The Ringling, please contact: Anna E. von Gehr

Senior Director for Development

anna.vongehr@ringling.fsu.edu 941.359.5700 X1-5804

BE PART OF THE JOURNEY. Explore the artists at ringling.org/nowHERE

24 INUKSUIT

20 THE FOUNDRY

14 ETHEL with guest ROBERT MIRABAL

8 LOSTWAX MULTIMEDIA DANCE

4 MEKLIT HADERO

NEW STAGES 2014: Places in the Sky A FIVE– PART EXHIBITION OF CONTEMPORARY PERFORMANCE With the creation of the James Turrell Skyspace, Joseph’s Coat, came the challenge to engage an audience with the “objectless” art of time and space.

“What Turrell has done is frame the sky, making its slow metamorphosis visible, in an unprecedented kind of theater” (A Dictionary of the AvantGarde). It is temporal art that “incites us to pause and probe our inner selves and encourages us to reconsider our own connection to and comprehension of the outside world” (Sculpture).

NEW STAGES 2014: Places in the Sky complements the theatrical character of Turrell’s work in the context of performances that utilize light, movement, music, and poetry as the materials of creative imagination.

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Places in the Sky

NEW STAGES 2014:

A FIVE–PART EXHIBITION OF CONTEMPORARY PERFORMANCE

The inspiration for Places in the Sky came on a brisk November morning in 2011. James Turrell and his staff of technicians were completing their work on Joseph’s Coat, the Ringling Skyspace, and I was among those who were there to experience the first sunrise. In the final hour before daylight, all sense of time fell away as Turrell imperceptibly manipulated our perception of the dawn. It was an elusive, time-based engagement with objectless art that was, for me, a lot like attending a performance of contemporary theater, music, or dance. As Richard Kostelanetz observes in A Dictionary of the Avant-Gardes, “What Turrell has done is frame the sky, making its slow metamorphosis visible, in an unprecedented kind of theater.”

Only weeks earlier, at RIAF 2011, singer-songwriter Meklit Hadero had given voice to her own Turrell-induced metamorphosis. Citing time spent in another Skyspace as the inspiration for her song Walk Up, Meklit observed, “You have the sense that you’re going up into the sky, as well as sinking into yourself at the same time… You can just sit watching the sky… watch people change… see this sense of wonder and openness come over them.”

Walk Up articulates her desire to “Walk up, walk up straight through the roof. Straight through the hole in the ceiling, take your place in the sky.”

New Stages is your opportunity to “walk up” and discover other such “places in the sky” as they are revealed to us in the work of our guest artists.

In Particular, choreographer Jamie Jewett and the dancers of Lostwax Multimedia Dance take us to a place where our desire to play individual roles, while in a sea of anonymity, is rigorously investigated and generously embraced. In much the same spirit, Alex Ketley seeks, discovers, and locates such individual expressions – be they large or small, heroic or not – in an expansive landscape of spontaneous movement. He then gives to each a tenderly choreographed articulation in No Hero, performed by the artists of The Foundry.

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“WALK UP, WALK UP STRAIGHT THROUGH THE ROOF. STRAIGHT THROUGH THE HOLE IN THE CEILING, TAKE YOUR PLACE IN THE SKY.” – MEKLIT HADERO,

from her song WALK UP

In Music of the Sun, ETHEL and guest artist Robert Mirabal, take us into the powerful sun mythology of Native America and compel us to reconsider our place in the larger environment. And finally, we are immersed in Inuksuit, the monumental ecological composition (performed by more than sixty percussionists) wherein composer John Luther Adams uses sound to create a sense of place in the same manner as James Turrell uses light.

Translated from the language of the Inuit, Inuksuit means “to act in the capacity of the human.” It is an apt response to all of the performances in New Stages 2014. Meklit, I believe, would see them as opportunities to “watch the wonder unfold,” and James Turrell might describe them as moments of “seeing ourselves see.” For me, these performances provide rare and wonderful opportunities for intimate communion with infinite wonder – they take us to places in the sky.

Dwight Currie Curator of Performance

EXPERIENCE A SUNSET IN JOSEPH’S COAT SKYSPACE THUR – SUN evenings [ through MAR 9 ] THUR and FRI evenings [ MAR 13 – OCT 31 ] At sunset Free for Members, all others $5 JAMES TURRELL JOSEPH’S COAT, 2011 © JAMES TURRELL. PHOTOS BY GIOVANNI LUNARDI JOSEPH’S COAT BY JAMES TURRELL MADE POSSIBLE THROUGH THE SUPPORT OF PETER A. VOGT FAMILY, ROBERT AND BEVERLY KOSKI, AND DICK AND BETTY WATT NIMTZ, WITH SPECIAL ACKNOWLEDGMENT TO THE WILLIAM G. AND MARIE SELBY FOUNDATION AND TO ULLA R. AND ARTHUR F. SEARING.

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MEKLIT HADERO BY RUS ANSON

MEKLIT HADERO

JAN 23 – 25

Meklit Hadero

Places in the Sky Historic Asolo Theater JAN 23 – 25 SAM BEVAN, bass LORCA HART, drums DARREN JOHNSTON, trumpet

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If Joni Mitchell were East African, sang duets with Norah Jones, and met Nina Simone for tea in San Francisco, it just might remind you of Meklit Hadero. Born in Ethiopia and based in San Francisco for the past nine years, singer/composer/cultural activist Meklit Hadero became a sensation with the release of her debut On a Day Like This in April, 2010. Featuring luminous, original songs and some traditional Amharic music as well, this enchanting album received rave reviews. National Public Radio called Hadero’s sound, “a unique blend of jazz, Ethiopia, the San Francisco art scene, and visceral poetry; it paints pictures in your head as you listen.” The Public Broadcasting System said, “You’ll hear hints of Billie Holliday, Tracy Chapman, and Joni Mitchell in her music, but Hadero is her own unique creation.” And the San Francisco Chronicle called Meklit “...an artistic giant in the early stages. She is stunning.”

For the past three and one half years, Hadero’s frequent live shows have included the Monterey Jazz Festival, SXSW, Bumbershoot, SFJAZZ Center, Baryshnikov Arts Center, Skirball Center, Southbank Centre in London, as well as university residencies (NYU, UC San Diego) – and of course, an extraordinary artist residency at the Ringling International Arts Festival in 2011. As a Senior TED Fellow, she has also performed at the TED Conference in Long Beach, TED Global in Edinburgh, and will be performing at TED Women this coming December in San Francisco.

As a guest in Pee Wee Ellis’ (James Brown’s longtime musical director) African tribute to James Brown at the Hollywood Bowl, she sang a sizzling rendition of Cold Sweat. She is a core voice in the theme song for UN Women (along with such notables as Anoushka Shankar, Angelique Kidjo, Rokia Traore, and Buika).

She performed Beck’s The Title of This Song at San Francisco’s premier live magazine Pop-Up, sharing the stage with Beck himself, as well as Devendra Banhart, and more.

She continues to break down genres, whether covering indie pop-rock hits and making them her own, adapting traditional or popular Ethiopian songs, collaborating on a hip-hop space opera, or in her own exquisite and original solo work. As SFJAZZ says, “Meklit has truly established herself as a modern queen of soul.” She has just finished recording her next trail-blazing album with ace producer Eli Crews (tUnEyArDs, Geographer), to be released in March 2014 with a nationwide release tour.”

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MEKLIT HADERO

Since moving to San Francisco in 1999, Sam Bevan has established himself as one of the most versatile and creative bassists in the Bay Area. Bevan is able to canvas a large musical landscape where jazz, funk, r&b, folk, and Afro-Cuban disciplines joyously intermingle. His sound is in response to the history of modern jazz, yet it is his composer’s ear that informs his overall concept. Bevan explains, “Since I began my musical life as a pianist, including experiences composing and arranging for pop/rock, jazz, and salsa bands, I have gained a much broader sense of the role of the bass. I am very content providing support and feel as a part of the rhythm section, as well as listening for appropriate moments to push the music into new territory. My goal is to introduce interpretations of the music which are interesting and creative without compromising the lead melodic instrument.”

The foundation was laid for Bevan’s career when he began classical piano lessons at the age of four. Sam’s adoption of the electric and acoustic bass followed periods playing jazz and classical piano, singing professionally, and getting a BA in French. After attending college in Salt Lake City, he now resides a few miles from where he was born in Oakland, California.

and many others.

Drummer Lorca Hart grew up in Taos, New Mexico, in a musical family. He was exposed to a variety of instruments and musical styles as a child, but early on, it became clear that the drum set was his passion.

In high school, he started to perform and focus on jazz. He attended California Institute of the Arts from 1992-96, studying with Albert “Tootie” Heath, Joe La Barbera, Charlie Haden, Wadada Leo Smith,

Since that time, Lorca has worked consistently in a variety of musical situations, performing with many of the West Coast’s (and beyond) finest artists including: Ralph Moore, Carmen Lundy, Freddie Hubbard, Calvin Keys, Stanley Jordan, Craig Handy, Kyle Eastwood, Herman Riley, Azar Lawrence, Red Holloway, Plas Johnson, John Heard, Danny Grissett, Justo Almario, Bennie Maupin, Phil Ranelin, Dave Pike, Don Menza, Hugh Masekela, Bobby Rodriguez, the Clayton Brothers, Anthony Wilson, Julian Lage, storyteller/radio personality Joe Frank, actor/musicians Jeff Goldblum, and Peter Weller, Ronald Muldrow, and the Cross Hart Jazz Experience (the project that he co-leads with bass player Ryan Cross).

He also leads his own trio featuring Josh Nelson on piano and Edwin

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Livingston on bass. Lorca can be heard on recordings by Hugh Masekela, John Heard, Justo Almario, Ronald Muldrow, Dave Pike, Phil Ranelin, the Cross Hart Jazz Experience, and the Lorca Hart Trio.

Lorca teaches drum set at Mt. San Antonio College in Walnut, California, as well as teaching ensemble classes at both the Healdsburg High School and Junior High School in Sonoma County, California.

Since settling in San Francisco in 1997, Canada-born trumpeter/composer/songwriter Darren Johnston has collaborated and recorded with a diverse cross-section of artists. His interests rotate around performing all styles of jazz, experimental, and purely improvised music, as well as traditional music of the Balkans, Greece, Macedonia, Turkey, and the Arab world. He has performed with luminaries such as Hamid Drake, Fred Frith, ROVA Sax Quartet, Rumen Shopov, Myra Melford, Ben Goldberg, Matt Wilson, and others, and has served as band-leader for the award-winning Nice Guy Trio, The Darren Johnston Quintet, and the category-defying Broken Shadows Family Band, which mixes song-writing in the American folk style with traditional Balkan, Arabic, and jazz music.

Downbeat Magazine named Johnston as one of the “25 Trumpeters for the Future,” and he has been listed multiple times in the critic’s polls. His debut quintet recording, The Edge of the Forest received four stars by four very different critics in the Downbeat “Critics Polls” and was given an honorable mention by the Village Voice for the top 10 CDs of the year. Other recordings to receive similar accolades were Reasons For Moving, the Nice Guy Trio’s Here Comes the Nice Guy Trio and Sidewalks and Alleyways/Waking Music, his Gone To Chicago ensemble’s The Big Lift, and the collective ensemble Cylinder’s self-titled release on the Clean Feed label.

As a composer, he has written for small jazz groups, big bands, string quartets, chamber ensembles, and more. He has written for dance companies such as Axis Dance, Amy Seiwert’s Imagery, Robert Moses’ Kin, and others, as well as for short films. With a focus on using found text to create new forms, he composed Songs of Seven Miles with lyrics extracted from interviews with Bay Area immigrants. He employed the same technique the following year by commissioning immigrants to write letters of insight and advice either to their pre-immigrant selves or to a beloved one still in their country of origin. The resulting songs were then set on an elementaryschool class, three middle-school classes, a high-school choir, a collection of professional singers, a Bulgarian tupan drummer, and six horns, all using body-percussion and choreography in order to form the Trans-Global People’s Chorus.

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LOSTWAX PHOTO BY JAMIE JEWETT

LOSTWAX MULTIMEDIA DANCE

FEB 6 – 8

Lostwax Multimedia Dance Particular

Historic Asolo Theater FEB 6 – 8 Artistic Director: JAMIE JEWETT Composer: R. LUKE DUBOIS Director of Photography: AARON HENDERSON Rehearsal Director: ALI KENNER BRODSKY Lighting Design: STEPHEN PETRILLI Dancers: ALI KENNER BRODSKY AMANDA DEL PRETE ALEXANDER DRAPINSKI KIM JOHNSON BETSY MILLER

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LOSTWAX WONDERS WHAT IT IS TO BE ALONE IN A CROWD. We are awed by the power of the flock and the quirkiness of the individual.

From starling’s murmurations, to the Lark Ascending, to herds of flamingos – particle systems, mash-ups, algorithms, and MTV – we are interested in creating a unique synthesis of dancers’ bodies and new media technology.

Jamie Jewett is the director of Lostwax Multimedia Dance, a dance theater company that seeks to examine the visceral cusp between installation, performance space, and narrative through the use of technology. He has been an artist in residence at HERE Center for the Arts in New York, STEIM in Amsterdam, and Perishable Theater in Providence, RI. His recent works, such as After the Fall (Danspace at St. Mark’s), Seven Veils and Rest/Less (HERE), Snowblind (University of Michigan IMMEDIA commission), Kindly Bent to Ease Us, as well as previous evening-length works, Glyph (1996) and Cloud In Trousers (1997), all utilize interactivity, cinematic imagery, and live video. His on-going collaborations with author Thalia Field also include an online multimedia piece entitled Zoologic. Full-length works Melt, Blinking, and Seven Veils were commissioned by and premiered at the Firstworks Providence Festival. Jamie is the recipient of the 2012 State of Rhode Island Choreographic Fellowship and the 2010 RISCA Choreography Fellowship Merit Award. In 2012-2013, Jamie was a visiting professor in the Masters program in Sound, Image, and the Body at the Ecole Media Arts Fructidor in France, and currently serves as the director of the dance program at the County College of Morris. In 2011, the readers of the Providence Phoenix voted Jewett’s Lostwax Multimedia Dance the best dance company in Rhode Island.

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera.

He holds a doctorate in music composition from Columbia University and has lectured and taught worldwide on interactive sound and video performance.

He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. DuBois has lived for the last fifteen years in New York City. He is the director of the Brooklyn Experimental Media Center at NYU’s Polytechnic Institute. His records are available on Caipirinha/ Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City and is currently on exhibit at The Ringling (see page 13).

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LOSTWAX MULTIMEDIA DANCE

LOSTWAX BY STEW MILNE

Aaron Henderson’s videos and installations examine the ways that humans move. Recent projects look at the personal, cultural, and political ramifications of all action, from intimate gestures to displays of super-human acrobatics. Well acquainted with movement, Henderson threw himself into walls and off platforms for STREB Extreme Action, an acrobatic performance company from 2002-2006. His videos, installations, and projection designs have been presented at Lincoln Center, the Wexner Center, and across the country. These projects were aided by NYSCA and Creative Capital MAP grants. Currently, he is an Assistant Professor in the Studio Arts at the University of Pittsburgh.

Stephen Petrilli (Lighting Designer) is working with Lostwax for the first time. He has designed for Pilobolus Dance Theatre, HT Chen & Dancers, Noche Flamenca, Kun Yang Lin/Dancers, Shapiro & Smith Dance, Ailey II, Nathan Trice/Rituals, and The Kevin Wynn Collection.

Theatre credits include The Pearl Theatre Company, National AsianAmerican Theatre Company, and The Three Rivers Shakespeare Festival in his hometown of Pittsburgh. Stephen also spent five years touring as the Lighting/Sound Supervisor for Pilobolus.

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THE COMPANY

Ali Kenner Brodsky, originally from Rhode Island, moved to New York City after receiving a BA in Dance and Psychology from Skidmore College. Once in NYC, Ali had the great privilege of being mentored by Phyllis Lamhut while an Artist-in-Resident at Joyce SoHo (2003-2004). She also had the good fortune to study choreography with Martha Myers, Larry Goldhuber, Keely Garfield, and Debra Fernandez. Since her return to Rhode Island, Ms. Kenner Brodsky has been a guest choreographer at Salve Regina University, Providence College, and Dean College. Ali dances with and serves as rehearsal director for LostWax Multimedia Dance. Ms. Kenner Brodsky is also performing with 83 paperbirds moving lab and Emma Hogarth. Ms. Kenner Brodsky is artistic director of Ali Kenner Brodsky & Co. She has shown her work in various cities along the East Coast. Ali is on the adjunct dance faculty at Salve Regina University and Dean College.

Amanda Del Prete attended Columbia College in Chicago before graduating from Rhode Island College in 2008 with B.A. in dance. While in school, Amanda had the pleasure to work with many choreographers including Jennifer Nugent, Paul Matteson, Bridgman/Packer, and Chris Elam. She has also danced with Fusionworks Dance Company, where she enjoyed performing in works by Robert Battle and Pascal Rioult. Amanda has most recently started working inside public schools creating curriculum-based dance works with the students through Fusionworks Educational Programs. Amanda also teaches dance in private studio settings and is the owner of Inspire Dance Academy in Medway, Massachusetts. Having previously performed in BLINKING Amanda is thrilled to be dancing again with Lostwax this season.

LOSTWAX BY STEW MILNE

Alexander Drapinski is a recent graduate of Dean College’s dance program where he was trained in ballet, modern, tap, jazz, and hip-hop dance, served as the president and choreographer of the Hip Hop Team “Synergy,” and had the honor of participating in all dance shows on campus. He has danced for 19 years, first studying at Agnes Strecker Dance Studio, and has performed the Nutcracker Prince, Arabian Prince, and Snow King in the Melrose Youth Ballet production of the Nutcracker. Alexander currently teaches Hip Hop at Franklin Dance Workshop & Dance Carousel and plans to pursue a Masters in Dance Therapy to work with autistic children.

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LOSTWAX MULTIMEDIA DANCE

Kim Johnson is a 2008 graduate of Rhode Island College with a BA in Dance Performance. In 2004, she graduated from the Boston Dance Teachers Training Program. Kim is a recipient of the RIC dance performance Special Talent Scholarship and the Rosemary H. Medeiros Scholarship for the Performing Arts. Throughout her four years at RIC, Kim was a member of the Dance Company. Since 2004, Kim has been a faculty member at Rosemary’s School of Dance Education in Warren, Rhode Island, where she teaches modern, jazz, tap, ballet and hip-hop.

In 2008, Kim received a scholarship to study at the Bates College Dance Festival. She has also participated in the 2009 Frazier Festival and performed in the 2010 Rhode Island College Faculty/Alumni show with choreographer and RIC faculty member Olase Freeman. Most recently, Kim performed in Jamie Jewett’s Blinking and Seven Veils.

Betsy Miller is a dance artist and educator based in Providence, Rhode Island. She is an independent choreographer and co-founder of Propelher Dance Collective, a Special Lecturer in Dance at Providence College, and Dance Coordinator of AS220. She has performed with Fusionworks Dance Company and shove gently dance, and has recently appeared in works by Heidi Henderson, Terry Creach, Pascal Rioult, Stephanie Turner, Deb Meunier, Doug Varone, Michael Kelly Bruce, Ming Shen Ku, Kristin O’Neal, and Marden Ramos, and in collaborations with Matthew Cumbie, Maggie Bennett, and Erik Abbott-Main. Her choreography has been presented in various venues in New York, Ohio, Maine, Connecticut, Rhode Island, Massachusetts, and Texas. She holds an MFA in Dance from The Ohio State University and a BA in Dance from Connecticut College.

PARTICULAR began as a residency at the Kelly Strayhorn Theater in Pittsburg, PA. It was co-commissioned by Firstworks Providence. The work has also been funded by grants from Ernst & Young and the Rhode Island State Council for the Arts through an appropriation by the Rhode Island General Assembly and funding from the National Endowment for the Arts.

Significant funding for PARTICULAR provided by: Harriet Stern and Curt Kinsky, Cris Russell and Ben Heineman Jr., Drs. Martha and Bill Pieper, and Christopher Kilmer and Crystal Gandrud.

LOSTWAX would like to thank Steve Liggett and the Living Arts of Tulsa Staff, Janera Solomon, and the Kelly Strayhorn Theater of Pittsburg.

For more information or to join our mailing list please write info@lostwax.org / www.lostwax.org

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R. LUKE DUBOIS­—NOW JANUARY 31 – MAY 4, 2014

FASHIONABLY LATE FOR THE RELATIONSHIP 2007-08, VIDEO STILL

Museum of Art, Searing Wing,

EXHIBITION GALLERY PERFORMANCES THURS AT 6:30 PM

EXPERIENCE

The mining and metamorphosing of data into art and investigations of temporality are two dominant themes explored by R. Luke DuBois in this first museum survey of his work.

DuBois operates at the intersections of the visual, the performative, and the time-based, mirroring our collective 21st century experience in a world dominated by the hypertext of globalized information.

Free for Members and with Art After 5 admission. Tickets required, but invalid if presented after 6:30 PM; no latecomers admitted. Limited seating; attendees may sit on floor or stand.

FEB 27 LESLEY FLANIGAN AND R. LUKE DUBOIS

Vocalist and sculptor, Lesley Flanigan collaborates with R. Luke DuBois in their duo performance Bioluminescence, an improvisation in which Flanigan’s voice is processed and remixed by DuBois as audio and visuals.

MAR 20 TODD REYNOLDS

Violinist Todd Reynolds performs Moments of Inertia, R. Luke DuBois’ piece for amplified violin and video, as well as repertoire from Reynolds and DuBois’ 10+ years of collaborating.

MAY 1 BORA YOON AND R. LUKE DUBOIS

Composer / Multi-Instrumentalist / Vocalist Bora Yoon and R. Luke DuBois perform ( (( Phonation ) )), a live immersive audiovisual performance combining Yoon’s wide use of sound-making devices and voice with live camera-based projections by DuBois across the gallery walls.

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FEB 20 – 23 ETHEL BY JAMES EWING

ETHEL with guest ROBERT MIRABAL

ETHEL with guest Robert Mirabal Music of the Sun Historic Asolo Theater FEB 20 – 22

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• PERFORMANCE PROGRAM •

Arrival Marcelo Zarvos Chant Jeff Peterson/ETHEL Run to the Sun Robert Mirabal/ETHEL Sunrise of the Planetary Dream Collector Terry Riley Sky With Four Suns John Luther Adams – Intermission – Long Ago Jordan Begay, arr. ETHEL Voices of the Sun Robert Mirabal Three Solstice Songs Ralph Farris / Poetry by Harry Smith Solstice People • Song of the Sun • Inner Landscape

Moment Mirabal Robert Mirabal Lost Beautiful Spirit Jessie Bilagody Quiet Season Robert Mirabal Ascent Kip Jones ETHEL endorses the Avid/Sibelius family of software solutions and the beyerdynamic family of microphones.

The Music of the Sun Choral Ensemble In partnership with New Music New College Stephen Miles Director of New Music New College and ensemble conductor

R.L. Silver Producer of New Music New College and ensemble coordinator

The members of The Music of the Sun Choral Ensemble are listed on the program insert for today’s performance.

For the past fifteen years, New Music New College has fostered a conversation about contemporary music and performance, a conversation that has included the New College community, the greater Sarasota-Bradenton community, and world-class musicians of every stripe.

For more information, including the 2013-2014 performance schedule: http://www.newmusicnewcollege.org

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ETHEL with guest ROBERT MIRABAL

MUSIC OF THE SUN For thousands of years humankind has turned toward the sun for inspiration, be it spiritual, philosophical, or poetic. Ancient sun myths from around the world continue to fascinate scholars and laypeople alike.

In many Native American cultures each day begins with “running to the sun” – a fusion of spiritual and physical discipline – a daily search for the sacred.

ETHEL, the pioneering string quartet, and GRAMMY® winning Native American flutist Robert Mirabal present a program inspired by the sun mythology of Native America. Using the instruments of the string quartet, Native American flutes (Tdoop - Pootse) and drums (Mooloo), as well as the spirited voices of students and community members, ETHEL and Mirabal unite to create a cross-cultural contemporary music event. This extraordinary collaboration grew out of the ETHEL/Mirabal work on TruckStop®, which premiered at the Brooklyn Academy of Music in 2008.

Acclaimed as “indefatigable and eclectic” (The New York Times), “vital and brilliant” (The New Yorker), and “one of the most exciting quartets around” (Strad Magazine), ETHEL invigorates the contemporary music scene with exuberance, intensity, imaginative programming, and exceptional artistry.

At the heart of ETHEL is a collaborative ethos – a quest for a common creative expression that is forged in the celebration of community. As cultural and musical “pollinators,” the quartet brings its collaborative discoveries to audiences through multi-dimensional musical repertoire and community engagement.

ETHEL’s 2013-’14 season celebrates the diversity of regional American music. It commences with the world premiere of the quartet’s latest multi-media production Documerica, a landmark visual and musical snapshot of America during the tumultuous 1970s, as part of the Brooklyn Academy of Music’s Next Wave Festival. This evening-length performance directed by Steve Cosson features montages by acclaimed projection artist Deborah Johnson in concert with commissioned work by Mary Ellen Childs, Ulysses Owens Jr., Jared Impichchaachaaha’ Tate and James “Kimo” Williams, and new music by the members of ETHEL. Throughout the season, ETHEL tours several signature programs ranging from a collaboration with guitar virtuoso Kaki King, to the critically-acclaimed Music of the Sun concerts with Robert Mirabal, to an introspective program Grace, featuring ETHEL’s arrangements of music

by Ennio Morricone and Jeff Buckley. Other highlights include a return appearance as the House Band of TEDxManhattan; performances as the Resident Ensemble at The Metropolitan Museum of Art’s Balcony Bar; and

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ETHEL WITH ROBERT MIRABAL BY JENNIFER KILLION

premieres of newly commissioned works by Hannis Brown, Lainie Fefferman, Ulysses Owens Jr., Dan Friel, and Julia Wolfe.

Always striving to demonstrate the unifying power of music, ETHEL has initiated innovative collaborations with an extraordinary community of international artists including David Byrne, Bang on a Can, Todd Rundgren, Carlo Mombelli, Ursula Oppens, Juana Molina, Tom Verlaine, STEW, Ensemble Modern, Jill Sobule, Dean Osborne, Howard Levy, Simone Sou, Andrew Bird, Iva Bittová, Colin Currie, Thomas Dolby, Jeff Peterson, Oleg Fateev, Stephen Gosling, Jake Shimabukuro, Polygraph Lounge, and Vijay Iyer.

For nine consecutive years, ETHEL has served as the Ensemble-inResidence at the Grand Canyon Music Festival’s Native American Composers Apprenticeship Project. The group’s ongoing dedication to working with indigenous people and music culminated in the 2010 release of Oshtali: Music for String Quartet (Thunderbird Records), the first commercial recording of American Indian student works.

ETHEL’s debut eponymous CD was a Billboard Magazine “Best Recording of 2003.” Its second CD, Light, ranked #3 on Amazon.com’s “Best of 2006” and #5 on WYNC’s “Best of 2006 Listener Poll.” The group’s most recent CD, Heavy, was released in 2012 to great critical acclaim. ETHEL has appeared as a guest artist on a plethora of albums: Cold Blue Two (Cold Blue Music, 2012), Glow by Kaki King (Velour Recordings, 2012); Blue Moth by Anna Clyne (Tzadik, 2012); A Map of the Floating City by Thomas Dolby (Redeye Label, 2012); The Duke by Joe Jackson (Razor & Tie, 2012); John the Revelator: A continued next page

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ETHEL with guest ROBERT MIRABAL

Mass for Six Voices by Phil Kline (Cantaloupe Music, 2008) with vocal group Lionheart; and the Grammy Award-winning Dedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman (Concord Records, 2009).

Over the past four years, ETHEL has premiered 55+ new works by 20th- and 21st-century composers including: Phil Kline’s SPACE at the gala reopening of Alice Tully Hall; RADIO by Osvaldo Golijov at the debut of WNYC Radio’s Jerome L. Greene Space; ETHEL’s TruckStop®; The Beginning at BAM’s Next Wave Festival; ETHEL Fair: The Songwriters at opening night of Lincoln Center’s Out of Doors; WAIT FOR GREEN with choreographer Annie-B Parson commissioned by arts>World Financial Center; HonBiBaekSan by Dohee Lee at Meet the Composer’s 3-City Dash Festival; ETHEL’s HomeBaked series featuring commissioned works by emerging NYC composers Andy Akiho, Anna Clyne, Judd Greenstein, and Matt Marks, as well as premieres by Rick Baitz and Randall Woolf at the Tribeca New Music Festival; performances of original scores in combination with new choreography by Aleksandra Vrebalov/Dusan Tynek Dance Company and Son Lux/Gina Gibney Dance; and works by contemporary music luminaries such as Philip Glass, Julia Wolfe, John Zorn, Evan Ziporyn, Steve Reich, John King, Raz Mesinai, John Luther Adams, JacobTV, Hafez Modirzadeh, David Lang, Kenji Bunch, Don Byron, and Marcelo Zarvos.

Founded in 1998 and based in New York City, ETHEL is comprised of Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin) and Tema Watstein (violin). ethelcentral.org Founding member of ETHEL, Ralph Farris (Artistic Director, Viola) is a Grammy-nominated arranger, an original Broadway orchestra member of The Lion King, and former musical director for The Who’s Roger Daltrey.

He has worked with Leonard Bernstein, Martin Scorsese, Depeche Mode, Natalie Merchant, Harry Connick Jr., Allen Ginsberg, Yo-Yo Ma, and Gorillaz. A graduate of Walnut Hill School for the Arts, Ralph earned his Bachelor’s and Master’s degrees from The Juilliard School.

A founding member of ETHEL, Dorothy Lawson (Artistic Director, Cello) has performed with the Orpheus Chamber Orchestra, the White Oak Dance Project, Philharmonia Virtuosi, the American Symphony Orchestra, the Toronto Symphony Orchestra, and numerous new music ensembles. Canadian-born, she completed degrees at the University of Toronto, the Vienna Academy, and The Juilliard School. She teaches in the Preparatory Division of Mannes College at the New School in New York City.

Kip Jones (Violin) is known for his ebullient and innovative solo performances in a style he describes as “experimental folk.” A modern musical troubadour, he has performed at scores of eclectic venues such

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as Ecuador’s Ministry of Economic Inclusion, Tirana’s Liceu Artistik “Jordan Misja,” two miles inside Chom Ong Tai cave in Laos, the summer homes of nomadic Mongolian herders, and platforms of most subway systems in North America. As a composer, his work has been commissioned by ensembles that include the Lake Superior Chamber Orchestra and A Far Cry. A native of Minnesota, Kip earned his degree in Violin Performance from the Berklee College of Music.

ROBERT MIRABAL BY KATE RUSSELL

Tema Watstein (Violin) is an active soloist, chamber musician, and educator.

Hailed for her “sweeping and bristling” sound by the New York Times, she has performed with the Metropolis Ensemble, Mark Morris Dance Group, Argento Ensemble, Tanglewood’s New Fromm Quartet, to name a few. She served most recently as the violinist in Gabriel Kahane’s February House at the Public Theater.

An alum of Rice University and graduate of MSM’s Contemporary Performance Program, Tema is equally home whether playing Ligeti in concert or improvising in a field.

Musician, writer, singer and storyteller, Robert Mirabal is Native America’s most dynamic and best-selling artist. In addition to the music and instruments he creates, he is also a celebrated painter, poet, and playwright. He is the author of A Skeleton of a Bridge, a book of poetry, prose, and short stories. Mr. Mirabal is the recipient of a National Endowment for the Arts Award, three GRAMMYs® and the New York Dance and Performer’s “Bessie” Award for composition. www.mirabal.com

ETHEL gratefully acknowledges its supporters: The Board of ETHEL’s Foundation for the Arts; The Aaron Copland Fund for Music; The Amphion Foundation; Bloomberg Philanthropies; Brooklyn Academy of Music; The Carnegie Corporation of New York; CECArtsLink; Chamber Music America; The Cheswatyr Foundation, The Delmas Foundation; The Greenwall Foundation; The Jerome Foundation; LEF Foundation; Meet the Composer; Mid Atlantic Arts Foundation; The Multi-Arts Production Fund, a program of Creative Capital supported by the Rockefeller Foundation; The National Endowment for the Arts; The Netherland-America Foundation; New Music USA; The New York State Council on the Arts; New York Community Trust, The New York City Department of Cultural Affairs; OZ Arts; The Fan Fox and Leslie R. Samuels Foundation; and The September 11th Fund.

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THE FOUNDRY BY ALEX KETLEY

THE FOUNDRY

MAR 6 – 8

The Foundry No Hero

Historic Asolo Theater MAR 6 – 8 Choreography, film, and concept created by ALEX KETLEY Traveling collaborator: ALINE WACHSMUTH Danced by ALINE WACHSMUTH & MARLIE CUOTO 20

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No Hero was created by traveling extensively throughout the rural West with a curiosity about what dance and concert dance means to people throughout the heartland of the United States. The film is an artifact of this travel consisting of interviews, micro-performances, and ruminations on dance in the West. As we traveled we had no set agenda, and everyone we met was a stranger.

Alex Ketley (Director) is an independent choreographer and the director of The Foundry, a contemporary dance company based in San Francisco. Formally a classical dancer with the San Francisco Ballet (1994-1998), he performed a wide range of classical and contemporary repertory including the work of William Forsythe, James Kudelka, and George Balanchine in San Francisco and on tour throughout the world. In 1998, he left the San Francisco Ballet to co-found The Foundry in order to explore his deepening interests in choreography, improvisation, mixed media work, and collaborative process. The Foundry has produced fifteen full evening-length works that have received extensive support from the public, funders, and the press, as well as a number of single-channel video pieces that have screened at international video festivals.

As a choreographer independent of his work with The Foundry, Alex has been commissioned to create original pieces for companies and universities throughout the United States and Europe. For this work he has received acknowledgement from the Hubbard Street 2 National Choreographic Competition (2001), the International Choreographic Competition of the Festival des Arts de Saint-Saveaur (2004), the National Choo-San Goh Award (2005), the inaugural Princess Grace Award for Choreography (2005), the BNC National Choreographic Competition (2008), three CHIME Fellowships (2007, 2008, and 2012), two Maggie Allesee National Center for Choreography Residencies (2007 and 2009), the Gerbode-Hewlett Choreographer Commissioning Award (2009), the National Eben Demarest Award (2012), and the first Choreographer Mentorship Co-Commission Award (CMCC) from the Princess Grace Foundation (2013). His pieces and collaborations have also been awarded Isadora Duncan Awards in the categories of Outstanding Achievement by an Ensemble (2009), Outstanding Achievement in Choreography (2011), and Outstanding Achievement by a Company (2011 & 2012).

With The Foundry in 2012, he was deeply engaged in this new project entitled No Hero, which explored what dance means and how it is experienced by people throughout more rural parts of the United States. The video projection Alex created for No Hero was nominated for a 2012 Isadora Duncan Award for Outstanding Achievement in Visual Design. In addition to his direction of The Foundry and independent projects, he is a Lecturer in the Department of Theater and Performance Studies at Stanford University and the Resident Choreographer of the San Francisco Conservatory of Dance.

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THE FOUNDRY

Aline Wachsmuth (Primary Collaborator and Dancer) is a professional dancer, movement educator, and Certified Rolfer™. She graduated from Florida State University with a B.F.A. in Dance, where she also became involved with the various choreographic artists of The Maggie Allesee National Center for Choreography. After graduating, Aline moved to San Francisco to work as a company artist and principle collaborator for the company, LEVYdance, with whom she also toured nationally and internationally. In 2010, Aline began dancing for Alex Ketley’s company The Foundry, assisting with choreographic commissions throughout the world. In the Spring of 2012, they traveled extensively throughout the American West in creation of their new work No Hero. That year she was honored with an Isadora Duncan Award for the collaborative work entitled Terra Incognita: Revisited. In 2013, she received an Izzie for Outstanding Performance of Low Down (in collaboration with Alex Ketley, Ben Levy, and dancers). Aline also teaches modern dance and somatic awareness classes at the San Francisco Conservatory of Dance in addition to building her private practice, True Balance Rolfing in Sausalito.

Marlie Cuoto (Dancer) began her dance training at the age of two under the direction of Sylvia PalmerZetler at Black Mountain Dance Centre in San Diego, CA. She continued her studies at The Boston Conservatory where she graduated Magna Cum Laude with a BFA in Dance Performance, Class of 2013.

While at The Boston Conservatory, Marlie performed works by José Limón, Paul Taylor, Robert Moses, and Doug Varone. In Boston, Marlie also collaborated on projects with local musicians and performed at The Institute of Contemporary Art. Marlie has worked extensively with Summer Lee Rhatigan at San Francisco Conservatory of Dance where she performed works by Alex Ketley, Alessio Silvestrin, Robert Moses, Bobbi Jene Smith, and Ohad Naharin.

Marlie moved to San Francisco in August 2013 to begin work with The Foundry.

No Hero was generously supported by The Princess Grace Foundation, The Eben Demarest Trust Fund Award, and a Maggie Alessee National Center for Choreography (MANCC) Media Fellowship. Also thank you to all the wonderful people we met who shared their stories and made this project possible.

“The Foundry is at the vanguard of American dance.”

- US Department of State

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CONVERSATIONS ON PROCESS Thursdays at 7:00 PM

with Artists of the Hermitage Artist Retreat Free for Members and with Museum admission, all others $5.

941.360.7399 or ringling.org FEB 13 INSIDE THE ARTIST MIND OF FAY KU Ideas exploring language, science, and narrative are realized in works on paper by visual artist Fay Ku. MAR 13 BILL MORRISON’S UNBEARABLY BEAUTIFUL DECOMPOSITION OF FILM Hailed as “one of the most adventurous American filmmakers” (Variety), Morrison reframes archival footage of forgotten images in the context of collective myth.

COLLECTING RECOLLECTIONS Tuesdays at 10:30 AM

Explore Sarasota’s cultural history through one-hour interviews recorded for The Ringling Archives at the Historic Asolo Theater.

Free for Members and with Museum admission, all others $5.

941.360.7399 or ringling.org.

FEB 11 ANNIE SOLOMON REMEMBERS A COLONY OF ARTISTS In 1946, Annie Solomon settled in Sarasota with her husband, artist Syd Solomon. Other artists followed, and the Sarasota Artist Colony was born.

FEB 25 ELIZABETH LINDSAY REMEMBERS This distinguished community leader has seen Sarasota grow from an emerging artist colony to become the cultural center it is today.

MAR 11 REMEMBERING CHICK AUSTIN Biographer Eugene R. Gaddis shares insights on The Ringling’s first Executive Director – the visionary who transformed Sarasota.

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JOHN LUTHER ADAMS BY EVAN HURD

INUKSUIT: TO ACT IN THE CAPACITY OF THE HUMAN

MAR 22

INUKSUIT: To Act in the Capacity of the Human

By John Luther Adams Ringling Museum of Art Courtyard MAR 22 Producer: DOUG PERKINS Assistant Producer: THAD ANDERSON Production Assistant: BEN FRALEY Performers: The Florida State University Percussion Ensemble John Parks, Director The Furman University Percussion Ensemble Omar Carmenates, Director The University of Central Florida Percussion Ensemble Thad Anderson, Director The University of Southern Florida Percussion Ensemble Robert McCormick, Director 24

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INUKSUIT

“Music moves into concert halls when it can no longer be effectively heard out of doors.”

– R. Murray Schaefer Recently I’ve come to wonder if the reverse may also be true. When music can no longer effectively be heard indoors, maybe it’s time to move outdoors.

Several years ago, I heard my percussion work Strange and Sacred Noise performed in the Anza-Borrego desert, the New England woods, and on the tundra of the Alaska Range. These experiences were both humbling and provocative. In the concert hall, Strange and Sacred Noise sounds big, powerful, overwhelming, even frightening. Outside, a lot of it just blew away in the wind. So after 40 years making music inspired by the outdoors but usually heard indoors, it finally occurred to me that it might be time to step outside – to compose music intended to be heard outdoors. As I often do, I began by asking myself a series of questions: • What might constitute true outdoor music?

• What kinds of sounds would it require?

• What kind of performance practice?

• What kind of listening?

These questions led me to Inuksuit. Making music outdoors requires a different mode of awareness. You might call it “ecological listening”.

In the concert hall, we block out the outside world and concentrate our listening on one or several sounds. Outdoors, rather than concentrating our attention, we’re challenged to expand our awareness to encompass a multiplicity of sounds, to listen outward – to receive messages not only from the composer, but from the larger world around us.

In Inuksuit the musicians are dispersed widely throughout a large, open area.

The listeners, too, may move around freely and discover their own individual listening points. Each performance of Inuksuit is different, determined by the size of the ensemble, the specific percussion instruments chosen, by the topology and vegetation of the site, and by the songs of the birds. Inuksuit is inspired by the stone sentinels constructed over the centuries by the Inuit in the windswept expanses of the Arctic. As I composed this music, I imagined each musician and each listener as a solitary figure in a vast, open landscape.

What I wasn’t prepared for, what came as a delightful surprise, was the strong sense of community this piece seems to create. Since its premiere in the Canadian Rockies in 2009, Inuksuit has been performed frequently continued next page NEW STAGES 20 14

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all over the world. The piece has taken on a life of its own, quite independent from the composer. To be sure, it has had some wonderful champions – most notably Steven Schick, Doug Perkins, and the musicians of eighth blackbird. But there also seems to be something inherent in the piece itself that encourages a sense of community.

Mounting a successful performance of Inuksuit requires an extraordinary degree of cooperation among the musicians. And the active participation of the listener seems to heighten the sense of a shared experience.

It’s my hope that Inuksuit may also provoke us to consider larger questions: • Can we listen and hear more deeply the field of sound all around us?

• How does where we are define what we do and, ultimately, who we are?

• What does it mean to act creatively with and within our environment?

• And how do we understand the brevity of our human presence in the immensity of geologic time?

The word “Inuksuit” translates literally: “to act in the capacity of the human.” As I worked on Inuksuit my thoughts were haunted by the vision of the melting of the polar ice, the rising of the seas, and what may remain of humanity’s presence after the waters recede.

With characteristically radical elegance, John Cage defined music as “sounds heard.” The idea that music depends on sound and listening might seem as self-evident as the idea that we are an inseparable part of nature. But both these simple truths challenge us to practice ecological awareness in our individual and our collective lives.

Cage’s definition of harmony was “sounds heard together.” Listening to the multiplicity of sounds all around us, we learn to hear the marvelous harmony they create. Hearing this harmony we come to understand our place within it, how our human voices fit into the larger, endless music of the world. – John Luther Adams

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Called “one of the most original musical thinkers of the new century” (Alex Ross, The New Yorker), John Luther Adams is a composer whose life and work are deeply rooted in the natural world.

Adams composes for orchestra, chamber ensembles, percussion and electronic media, and his music is recorded on Cold Blue, New World, Mode, Cantaloupe, and New Albion.

A recipient of the Heinz Award for his contributions to raising environmental awareness, Adams has also been honored with the Nemmers Prize from Northwestern University “for melding the physical and musical worlds into a unique artistic vision that transcends stylistic boundaries.” His music is heard regularly all over the world. The Chicago Symphony, the Radio Netherlands Philharmonic, and the Melbourne Symphony have performed his Dark Waves for large orchestra and electronic sounds. Inuksuit for up to ninety-nine percussionists has been performed in New York City’s Morningside Park and at the Park Avenue Armory, as well as many other outdoor venues throughout the U.S., Canada, and Australia.

Adams is the author of Winter Music (2004), a collection of essays, journal entries and reflections on his life and work in Alaska. The subject of his second book is The Place Where You Go to Listen (2009), his installation at the Museum of the North that translates geophysical data streams into an ever-changing environment of sound and light. The Farthest Place (2012), a book-length critical study of JLA’s music, includes essays by Kyle Gann, Steven Schick, Glenn Kotche, and many other prominent musicians and scholars.

Adams has taught at Harvard University, the Oberlin Conservatory, Bennington College, and the University of Alaska. He has been composer in residence with the Anchorage Symphony, Anchorage Opera, Fairbanks Symphony, Arctic Chamber Orchestra, and the Alaska Public Radio Network, and he has served as president of the American Music Center.

Born in 1953, Adams grew up in the South and in the suburbs of New York City. He studied composition with James Tenney and Leonard Stein at the California Institute of the Arts, where he was in the first graduating class (in 1973). In the mid-1970s, he became active in the campaign for the Alaska National Interest Lands Conservation Act and subsequently served as executive director of the Northern Alaska Environmental Center.

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GENRE CREATES GHETTO / CONVERSATIONS ON CURATING IN A POST-GENRE WORLD

Mildred Sainer Pavilion / New College of Florida FRI, MAR 21, 6:30 PM THE ARTIST AND THE CURATOR Keynote Conversation with new-media artist R. Luke DuBois and Curator Matthew McLendon.

Tickets: $5 / Free for Museum Members and Professionals, Academic Faculty and Students with valid ID. 941.360.7399 or ringling.org SAT, MAR 22, 10:00 AM – 4:30 PM CURATING IN A POST-GENRE WORLD The nation’s leading curators of contemporary art and performance offer new perspectives on the challenges and opportunities of creating, curating and presenting the work of living artists.

Presented in three sessions: 10:00 AM R. Luke DuBois joins a panel of fellow genre-defying artists.

1:00 PM

Leaders of the Institute for Curatorial Practice in Performance at Wesleyan University share innovations in presenting time-based art.

3:00 PM

Curators and scholars of contemporary art explore our ever-evolving cultural landscape.

Tickets: $20 / $15 for Museum Members / Free for Museum Professionals, Academic Faculty and Students with valid ID. 941.360.7399 A fixed-price lunch for Saturday attendees is available at Treviso for $15 plus tax and gratuity.

Reservations required: 941.360.7390

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Historic Asolo Theater

FOR NEW STAGES 2014 Steven High

Executive Director

Dwight Currie

Associate Director / Curator of Performance

Aaron Muhl

Managing Director of Historic Asolo Theater

HISTORIC ASOLO THEATER BY GIOVANNI LUNARDI

Michael Kohlmann Guest Artist / Company Manager Bob Halla

Assistant Technical Director

Nick Ladnier

Technician

Tosca Fornasari

Wardrobe

Sonja Kida

Project Coordinator

Grady Enlow

Deputy Director for Finance and Operations

Mark Morgan

Assistant Director of Guest Services

Lee Linkous

Box Office Manager

Christina Carter-Halla

House Manager

Box Office Staff

Candace Carson, Diana Owens, Catherine Reid, Don Skinner, MaryAnn Toal

Hollie Corbitt

Volunteer Program Coordinator

Amanda LaForge

Volunteer Program Associate

Pam Fendt

Chief of Marketing and Communications

Missy Cooper

Marketing Manager

Chris Troksa

Public Relations Manager

Jeanette Bakowski Design Specialists Libby Bennett Eleni Sokos

Promotions and Social Media Coordinator

Erica Bacon

Marketing Assistant

A Special “Thank You” to the dozens of individuals who volunteer their time to serve as Ushers in support of the activities and programs of the Historic Asolo Theater.

BE THE FIRST TO KNOW BE THE FIRST IN LINE

RIAF 2014 Join us on Wednesday, February 26 at 7:30 p.m. and be among the First to Know our exciting plans for the 2014 Ringling International Arts Festival.

First to Know attendees

R INGL ING I NTE R NAT IONAL AR TS FEST IVAL

will also enjoy First in Line

2 0 1 4

priority ticketing when RIAF tickets go on sale following the program that evening.

Seating is limited to 250.

Contact the Historic Asolo Theater Box Office to reserve your seats now:

941.360.7399 or ringling.org