2018-2019 Art of Performance

MATTHEW DUVALL INLETS + TRANSIENT LANDSCAPES

THE ART OF

THE PERFORMANCE AT RINGLING

THANK YOU TO OUR 2018–2019 SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

NEW STAGES DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

PATRON

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

Kathy and Michael Bush Hampton Inn and Suites, Sarasota/Bradenton Airport Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Dick and Betty Nimtz Willis A. Smith Construction WUSF Public Media

CONTEMPORARY PERFORMANCE SERIES

MATTHEW DUVALL INLETS + TRANSIENT LANDSCAPES 4–5

WHAT IS TRANSIENT LANDSCAPES?

A message from Matthew Duvall, Curator and Featured Artist 6–7

INLETS

Program Notes 8–13

TRANSIENT LANDSCAPES

Program Notes ASSOCIATE

Cumberland Advisors Leon and Marge Ellin

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RHYTHM OF THE RINGLING

Opening Night Party

CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

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ARTIST BIOGRAPHIES

WHAT IS TRANSIENT LANDSCAPES? Join us for a monumental event where we celebrate an often overlooked masterpiece of The John and Mable Ringling Museum of Art—the Bayfront Gardens Considered as interactive art, The Ringling Bayfront Gardens become the canvas for an expansive two-day performance experience in eight parts.

This outdoor happening will invite the audience to engage in performances where the gardens become the instrument: the pond as an ambient reflective surface, a banyan canopy an amphitheater, the historic architecture as context, and current exhibitions brought into new perspectives through cross-disciplinary dialogue.

The Bayfront Gardens are a prism. Inspired directly by multifaceted concepts embedded in the gardens, the programming for Transient Landscapes addresses architecture, ecology, visual art, and soundscape. Transient Landscapes refers to the transient sonic phenomenon produced by percussive gestures, but the gardens are literally a transient landscape. They are impermanent, changing with the season. They are also threatened by environmental impacts both natural and human. Hurricane Irma passed, and the next hurricane season approaches.

Beach erosion continues. The Ca’ d’Zan stands defiantly against an indefatigable salt water advance. The rose garden cycles between dormant and reborn. What do we save? What do we let go? How do we choose?

WHAT IS TRANSIENT LANDSCAPES? Let’s ask some more questions.

What is the museum? Conceived traditionally, it is a sacred space for research and conservation. Sacred spaces for contemplation are important. But the modern museum has expanded into an immersive nexus where art is actively engaged. It is a place where art is dynamic, and realized across intersecting disciplines. The patron experience is no longer only as observer, but a partner in an interpretative dance.

What are the boundaries? The museum is a gallery, a building housing multiple galleries, multiple buildings housing a diverse collection of galleries, venues, facilities. It’s an institution with parts connected and disparate, a labyrinth, a place where commitment and inspiration coalesce, and where we gather to work and create and envelope ourselves in inspiration.

What lies beyond the galleries, the venues, the buildings, the walls of the institution? The museum doesn’t exist abstractly. It is cradled by a landscape as welcoming and inspiring as the works in the galleries. When you visit, this becomes your place too. Wander the exterior, gain new perspective, take time with your thoughts, consider what inspires you.

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This event, eight performances over two days, presents a conservatively tabulated 40 compositions. If every interaction is counted individually the total approaches +/– 70 works, which will proudly include three world premieres.

Why this repertoire? The programs performed across the Bayfront Gardens during these two days seek to create lasting connections for you, and with you, to a range of issues and considerations relevant to The Ringling, to the ecology of this place, to the ways we assume responsibility as stewards. The Museum is a place for preservation, and the grounds present the same factors of time and decay and restoration as the artwork housed in the galleries. The Bayfront Gardens are an integral part of the Museum. The program notes will touch on pertinent issues specific to each performance, but you can be sure that common encompassing themes will include environmental impacts both global and specific to this gulf coast region, the museum collection displayed outdoors, and the history of The Ringling.

All these considerations will be given voice during these two days. Transient Landscapes is more than a series of concerts. It is a gathering in consideration of what we might view as the largest single work in the museum collection— the Bayfront Gardens.

– Matthew Duvall, Curator and Featured Artist

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FRI, OCT 19 INLETS CURATED AND PERFORMED BY MATTHEW DUVALL + BEYOND THIS POINT WITH COMMENTARY BY ALAN WATTS Matthew Burtner: Mists (1996) A beginning meditation. This time is to create a sacred space for listening. Stones collected from the museum grounds will be replaced following the performance.

Toru Takemitsu: Rain Tree (1981) Have you stood under the banyans during a rain? Just to listen? And after the rain?

Paul Lansky: Threads (2005) What are our connections to the natural world, and how are they woven? A journey in 10 interstitial movements with commentary from philosopher Alan Watts.

1. Prelude (Aria I) Watts: “I believe that if we are honest with ourselves, the most fascinating problem in the world is: Who Am I?” 2. Recitative I Watts: “We have been brought up to experience ourselves as isolated centers of awareness and action placed in a world that is not us—that is foreign, alien, other—which we confront.”

Juri Seo: Shuî (2017) Water bends metal as though an afterthought.

Threads 3. Chorus I Watts: “You do not find an intelligent organism living in an unintelligent environment. It is absolutely absurd to say that we came into this world.

We didn’t. We came out of it.”

4. Aria II Erik Griswold: Spill (2007) Kinetic sculpture, unpredictable results. We’ve included tiles from Ca’ d’Zan among the sound possibilities. There is metaphor at play here as well, as you prefer.

Threads 5. Recitative II 6. Chorus II Watts: “But we do have in our minds, you see, the idea that nature is somehow outside us…[quoting the poet A.E. Housman] ‘I, a stranger and afraid, in a world I never made.’”

7. Aria III

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Watts: “We need to experience ourselves in such a way that we could say that our real body is not just what’s inside the skin but our whole total external environment, because if we don’t experience ourselves that way, we mistreat our environment. We treat it as an enemy, and if we do that… comes disaster.”

Matthew Burtner: Broken Drum (2003) A brake drum abandoned on the side of the road, a bit of wreckage transformed into a musical instrument. Trash placed on a pedestal takes on new meaning.

Threads 8.

Recitative III

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Chorus III Watts: “What do you mean—what do you feel—when you say the word “I?” I: myself. I don’t think there can be any more fascinating preoccupation than that, because it’s so mysterious. It’s so elusive.”

10. Choral Prelude (Aria IV) Watts: “There is, in our whole way of thinking, the idea that we are a soul imprisoned inside a body, and that we look out upon a world that is foreign to us. We don’t say, ‘I beat my heart,’ in the same way as we say ‘I walk, I think, I talk.’ We feel that our heart beats itself, and that has nothing very much to do with ‘I.’ “We’ve been hoodwinked into the feeling that we exist only inside our skins. It’s just as nutty as anybody could be like a fruitcake, you know, who thinks he’s Napoleon or thinks he’s a poached egg and goes around finding a piece of toast to sit on.” “…and so therefore, we speak of confronting reality—facing the facts.

We speak of coming into this world—of being an island of consciousness locked up in a bag of skin—facing outside us a world that is profoundly alien to us in the sense that ‘what is outside me is not me.’”

“You cannot get an intelligent organism such as a human being out of an unintelligent universe.”

“You are something the whole universe is doing in the same way that a wave is something that the whole ocean is doing.”

— Pause — John Cage: Inlets (1977) Water-filled conch shells. A concluding meditation. This is your habitat. What is your relationship to the ecology of the gulf coast?

PLEASE SEE ARTIST INFO ON PAGES 15–19 T I C K E T S A N D I N F O R M AT I O N @ r i n g li n g .o r g

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THE WORLD IN US Matthew Duvall + beyond this point 1:30-2:30 PM, Beneath the Banyans SONG FOR LOW TREE (2011) Song for Low Tree | Wander into the Banyan Grove | Breath | Human exhalation, a melody, transposed several octaves lower into the range of a tree | Tree respiration (yes, trees breathe, they breath very slowly) transposed several factors up into the audible rate of a human song | You are communicating with the tree, reaching deep to hear it, an ancient duet

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SAT, OCT 20 TRANSIENT LANDSCAPES PERCUSSIVE STORYTELLING Cory Hills 10:30 – 11:30 AM, Bolger Playspace Percussive Storytelling | Fuse elements of vocal storytelling with classical music | Create a high-energy performance fit for all ages | Program announced by the artist

WORLD PREMIERE

A QUESTION OF PERMANENCE: I, II, AND III (2018) Tim Feeney Part I: 1:00 – 1:30 PM, Ca’ d’Zan A Question of Permanence | Meditate on the slowly-accelerating environmental changes to the Sarasota coastline, to Bayfront Gardens, to the Ca’ d’Zan | Forming a small imagined coastline, eight stations of plywood paired with drum are prepared with speakers and transducers | We listen through the plywood, this material we hope will protect | It makes audible that which might threaten it | Assuming 6 feet of potential sea level rise over the next century, the volume and density of these cracking, humming, and scraping sounds correspond to change in climate data from stations on Longboat and Lido keys | Data such as temperature, wind speed, coastal erosion measurements, or frequency and intensity of hurricanes that breaks against the plywood | As we listen, we become aware that our seemingly static geography is changing, implacably, at scale and speed too slow and large to be grasped by an individual in the moment

SIX ECOACOUSTIC QUINTETS (2009/2010) I. Water (ice) II. Wood (pitch) III. Stone (sand) IV. Metal (noise) V. Air (breath) VI. Skin (bones) Six Ecoacoustic Quinets | Matthew Burtner has created six contemplations on six natural materials | When is the last time you took 6 minutes to think about sand, or air, or minerals? | This is your opportunity | It won’t be what you expect | Prepare instead to be open to the direction of your own impressions and ideas | What are you in this world? | What is this world in you?

“You do not find an intelligent organism living in an unintelligent environment. It is absolutely absurd to say that we came into this world. We didn’t. We came out of it.”

- Alan Watts

WORLD PREMIERE

A QUESTION OF PERMANENCE: I, II, AND III (2018) Tim Feeney Part II: 2:30 – 3:00 PM, Ca’ d’Zan Artist, Tim Feeney, will be available for Q & A

PLEASE SEE ARTIST INFO ON PAGES 15–19

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SAT, OCT 20 TRANSIENT LANDSCAPES (continued) TRANSIENT LANDSCAPES Full Company | Matthew Duvall, beyond this point, Matthew Burtner, Kyong Mee Choi, Tim Feeney, Cory Hills, Matthew McCabe, George Nickson, Rich Stitzel, and The Kraken Quartet 3:00 – 4:30 PM, Dwarf Garden + Museum of Art North Lawn OM (Kyong Mee Choi, 2009/2018) OM | A sacred exclamation to be recited at the beginning and end of a Hindu practice | Three sections, each a symbolic analog to the three stages of existence: birth, life and death | A metaphor for the immersive chanting it represents, this fixed media installation has been running repeatedly at randomized intervals for 6 weeks | Today we perform a version with live accompaniment

FLOWERLIPS (Kyong Mee Choi, 2007) Featuring John Corkill I. calm, focused | II. very gently | III. rushing, rigorously | IV. bouncing, crispy Flowerlips | Flowers, their petals released, gently descending to a pond below | Carried lightly by the breeze, the petals dance with different rhythmic gestures | Every one a canvas in miniature, coming to rest, silently yielding their color to water

— Pause for walk to the Museum of Art North Lawn — World Premiere

TRANSIENT LANDSCAPES (Matthew Burtner, 2018) Transient Landscapes | Let’s build a sonic experiential glacier together in the Bayfront Gardens | Fossil fuels deep in the earth become atmosphere, a glacier becomes the floodwater in a basement on the other side of the world, coasts become the sea and the sea becomes plastic | We live in an era of transient landscapes, caused by humans but through methods we barely understand | Through creative sound art and ecoacoustics, the Transient Landscapes project connects the human imagination to the environment | A new performance sound artwork for percussionists, glacier ecoacoustics, mobile speaker network and audience participation | Transient Landscapes explores sound as a means of tracking, interpreting and remapping climate change into sound art

PLEASE SEE ARTIST INFO ON PAGES 15–19

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SAT, OCT 20 TRANSIENT LANDSCAPES (continued) WORLD PREMIERE

A QUESTION OF PERMANENCE: I, II, AND III (2018) Tim Feeney Part III: 4:30 – 5:00 PM, Ca’ d’Zan

REFLECTIONS ON THE INCREMENTAL TIDE Matthew Duvall + Full Company 5:00 – 6:30 PM, Ellis Teahouse Pond REFLECTIONS ON THE NATURE OF WATER (Jacob Druckman, 1986) V. Profound

IN A LANDSCAPE OF PASSING DAYS Matthew Duvall + Full Company 6:30 – 7:15 PM, Mable Ringling’s Rose Garden IN A LANDSCAPE (John Cage, 1948) In a Landscape | Iconic | How could we spend a day celebrating Bayfront Gardens at the Ringling Museum of Art and not include this masterwork? | Subtle | Sublime | An homage to wherever you are now, present in this moment

THE DAYS RUN AWAY (Peter Garland, 1971) The Days Run Away | Time and place are impermanent | Landscapes are transient | What do we choose to preserve? | What do we choose to let go? | The rose garden is dormant | It will awaken again This program was inspired by, and is dedicated to, my father, Robert Charles Duvall

II. Fleet III. Crystalline

RHYTHM OF THE RINGLING**

VI. Gently Swelling

7:30 – 11:00 PM, Museum of Art Courtyard

I. Tranquil VI. Relentless Reflections on the Nature of Water | Water, a resource as valuable globally as it is relevant locally | Six vignettes, each realizing a different characteristic | It is no accident that the featured solo instrument today is the marimba, an instrument constructed from endangered equatorial hardwood | Wood and Water | Our resources are finite after all

DRUMMING (Steve Reich, 1970–71) Part I Part II

**requires a separate admission ticket, see page 14 for details Rich Stitzel + Full Company World Premiere

DRUMMANTRA LIVE (Rich Stitzel, 2018) Drummantra Live | Listen deeper | Polymetric relationships are the foundation of this groove-based participatory experience | 4:3, 3:4, 5:4 | This is a jam session | Come find a chair | Feel what’s it’s like to lock in and groove | This time is for you

The Kraken Quartet

Part III

SEPARATE | MIGRATE (2017)

Part IV

The Kraken Quartet | Genre-defying | Math rock - minimalism - indie - post-rock electronica - the avant-garde | All of it and none of it | Throw it all out, get sucked in, and let the night sky open up | Look around | We inhabit a big beautiful world

Drumming | Look west to the bayfront | This performance is a duet with Colossus, the monumental sculpture by Alfredo Halegua | Melodies appear in Drumming as a result of patterns shifting to fill negative space between notes | An analogue to Colossus, a composition pairing metal form with incrementally shifting light through the interior negative space | Listen to the patterns shifting through Drumming, look at the light shifting through Colossus | Listen again, Look again

Program Notes, with written and conversational contributions from all participating artists, compiled and edited by Matthew Duvall

PLEASE SEE ARTIST INFO ON PAGES 15–19

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CURATOR AND FEATURED ARTIST Matthew Duvall • Founder, co-Artistic Director, and percussionist: Eighth Blackbird Founder and Owner: Unexpected Outcomes Founder and Co-Director: Ex Why • Accomplishments with Eighth Blackbird include four GRAMMY awards, the MacArthur Award for Creative and Effective Institutions, Musical America Ensemble of the Year, and the Chamber Music America Visionary Award • Recording catalog with Cedille records • Ensemble-in-residence positions with the Curtis Institute of Music, the University of Chicago, the University of Richmond, and the Museum of Contemporary Art Chicago • Matthew proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories • eighthblackbird.org GUEST ARTISTS beyond this point John Corkill, Rebecca McDaniel, Alex Monroe, and Justin Peters

RHYTHM of

THE RINGLING Season Kick-off Party DRUMMANTRA JAM SESSION with Matthew Duvall

HORS D’OEUVRES

by Sarasota-Manatee Originals

KRAKEN QUARTET

BEER, WINE, SOFT DRINKS

FIREWORKS

CASH BAR

DJ + DANCING

beyond this point is a percussion-based collaborative ensemble that aims to engage diverse audiences through its exploration of resonances and intersections across artistic mediums. Led by artistic directors John Corkill and Alex Monroe, the collaboration presents programs that synthesize musical performance with several disciplines and practices including theater, movement, media/film, sculpture, social justice, and environmentalism among others.

The ensemble’s recent work includes the nature | human project, developed in collaboration with percussionist Matthew Duvall of the four-time Grammywinning contemporary music sextet Eighth Blackbird, which introspectively investigates physical and spiritual connections between humans and the natural world. Committed to expanding audiences for contemporary art, the ensemble is a partner in promoting equitable transit oriented development (eTOD) through the Elevated Chicago. eTOD aims to develop cities around their public transit assets, while avoiding displacement of community residents and local businesses. Previously, beyond this point has presented hybrid works for percussion, vocals, choreography, visual art, and theatre at the Percussive Arts Society International Convention and in Chicago in such venues as the Museum of Contemporary Art, Steppenwolf 1700 Theatre, the University of Chicago, and A Red Orchid Theatre.

INFORMATION + TICKETS

ringling.org or 941.358.3180 T I C K E T S A N D I N F O R M AT I O N @ r i n g li n g .o r g

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GUEST ARTISTS (continued) Matthew Burtner Featured Composer Matthew Burtner is an Alaska-born composer and sound artist specializing in concert chamber music and interactive new media. His work explores ecoacoustics, embodiment, and extended polymetric and noise-based systems.

First Prize Winner of the Musica Nova International Electroacoustic Music Competition (Czech Republic), a 2011 IDEA Award Winner, and a recipient of the Howard Brown Foundation Fellowship, Burtner’s music has also received honors and awards from Bourges (France), Gaudeamus (Netherlands), Darmstadt (Germany), and The Russolo (Italy) international competitions.

He is Professor of Composition and Computer Technologies (CCT) in the Department of Music at the University of Virginia. As a technologist, Burtner develops systems for human-computer-environment interaction featured in his music. He invented the NOMADS telematic system, the MICE human-computer ensemble and orchestra, the Metasaxophone augmented instrument, and a number of ecoacoustic approaches. Matthewburtner.com Kyong Mee Choi Kyong Mee Choi, composer, organist, painter, poet, and visual artist, received several prestigious awards and grants including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, John Donald Robb Musical Trust Fund Commission, Illinois Arts Council Fellowship, First prize of ASCAP/SEAMUS Award, Second prize at VI Concurso Internacional de Música Eletroacústica de São Paulo among others. Her music was published at CIMESP (São Paulo, Brazil), SCI, EMS, ERM media, SEAMUS, and Détonants Voyages (Studio Forum, France). She is the Head of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic music. kyongmeechoi.com John Corkill Percussionist, John Corkill, is a passionate advocate for the development, process, and creation of new artistic works that provide accessibility to the public at large. He is currently serving as the percussionist for the University of Chicago’s Grossman Ensemble, an ensemble-in-residence at the University’s Center for Contemporary Composition comprised of 13 of the nation’s leading new music specialists personally selected by the ensemble’s Artistic Director Augusta Read Thomas.

In similar capacities, he has collaborated with groups such as Third Coast Percussion, Eighth Blackbird, and Ensemble Dal Niente. He has also appeared on the Chamber Music Northwest, Norfolk, and Yellow Barn Festivals and garnered awards at the Yale Chamber Music Competition as well as the Percussive Arts Society International Percussion Ensemble Competition.

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Originally trained in the realm of orchestral percussion, John has performed with ensembles such as the Milwaukee Symphony, Elgin Symphony, and NOVUS Orchestra. He has also had the privilege of working with many of today’s leading musicians including conductors Marin Alsop, Peter Oundjian, and Reinbert de Leeuw; composers, Matthias Pintscher, Aaron Jay Kernis, Augusta Read Thomas, David Lang, Samuel Adams, Christopher Cerrone, Oliver Knussen, and Krzysztof Penderecki.

In conjunction with co-artistic director, Alex Monroe, John formed the ensemble beyond this point which mission aims to collaborate in multidisciplinary approaches to address social change. Within months of forming, the group was nominated for a Joseph Jefferson Award for their work creating a completely original and acoustic sound sculpture for Chicago’s Artistic Home storefront theater as well as cultural grants from the City of Chicago for providing free performances within and around Chicago’s Public Transit.

John currently serves on faculty at the University of Chicago, Loyola University, and Merit School of Music. John received his Bachelor of Music from Northwestern University where he graduated cum laude and Master of Music Degree from the Yale University School of Music. His teachers include Robert van Sice, Michael Burritt, and James Ross.

Tim Feeney Improviser, composer, and interpreter Tim Feeney seeks to explore and examine the possibilities inherent in unstable sound and duration. He frequently collaborates with improvising artists including the trio Meridian, with percussionists Sarah Hennies and Greg Stuart, pianist Annie Lewandowski, cellist and electronic musician Vic Rawlings, saxophonist Andrew Raffo Dewar, banjo and electronic musician Holland Hopson, and many others. Within this community, he has recorded for the experimental Caduc, Accidie, Rhizome.s, Full Spectrum, Sedimental, homophoni, Audiobot, Soul on Rice, lildiscs, and Brassland/Talitres labels. Most recently, he has performed in quartet and large ensembles with composer and saxophonist Anthony Braxton, including a performance at the 2016 Big Ears Festival, in Knoville, Tennesse, acclaimed by the Guardian and The New York Times.

Tim also builds sound installations, concerned primarily with the acoustic properties and geographies of neglected or nontraditional spaces. His recent work has been presented by festivals at locations including Silo City, the abandoned grain silo complex along the river in Buffalo, New York, Boston’s Metropolitan Waterworks Museum, the preserved steam pumping station that processed the city’s drinking water, and the Bernheim Research Forest, outside Louisville, Kentucky, as well as by more formal events at the Contemporary Art Center New Orleans and the University of Richmond. He is a faculty member of the California Institute of the Arts. timfeeney.com

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Cory Hills

Rich Stitzel

Multi-percussionist, composer, and improviser Cory Hills thrives on breaking down musical barriers through creative, interdisciplinary projects. He has received degrees from Northwestern University, Queensland Conservatorium, and the University of Kansas, and was awarded a research fellowship to Institute Fabrica. Currently, Hills is an active performer, composer, and recording artist in Los Angeles, as well as a member of the GRAMMY®-nominated Los Angeles Percussion Quartet.

Rich Stitzel is an American drummer/percussionist/author/composer/educator originally from Fort Worth, TX. He studied at the University of North Texas in the early 90s and spent the first decade of his career in Texas before moving to Chicago in 2001. Equally as comfortable in a jazz club or an arena, Rich has played with a diversity of artists including jazz violinist Christian Howes, country superstar Miranda Lambert, rock singer Cathy Richardson, and many others.

An advocate of new music, Hills has individually commissioned and premiered nearly 100 new works for percussion. He has given solo and chamber recitals across Europe, Australia, The United States, Mexico, and China. These include a featured performance for the International Society of Improvised Music, the Days of New Music Festival in Chisinau, Moldova, the Queensland Music Festival, the Ravello Concert Festival, the Venice Art Biennale, five PASIC conventions, the Morelia Percussion Festival, and Festival Mozaic. An advocate for percussion as an artistic discipline, Hills has been the artist-in-residence at Rocky Mountain National Park, Conservatorio de Las Rosas, a fellow at the OMI international artist’s colony, and the first-ever artist-in-residence with Eighth Blackbird in Chicago.

Percussive Storytelling, a program that brings classical music and storytelling to kids in fun and accessible ways, was launched by Hills while a fellow at Institute Fabrica. The program recently marked its 480th performance, and has reached more than 120,000 children in nine countries. For this work, Hills has been the recipient of numerous arts grants, and was named the 2009 Emerging Artist through the Kansas Arts Commission. The Lost Bicycle, Hills’ debut solo CD of percussive stories, has received four national parenting and creative arts awards (NAPPA Parent’s Awards Gold, Parent’s Choice Award Silver, World Storytelling Honors Award, and a Creative Child preferred choice). In June 2015, The Lost Bicycle was released as a fully illustrated children’s book published by AcuteByDesign. In 2016, Hills released his second album of percussive stories called Drum Factory, on Sono Luminus Records. Drum Factory received a Parent’s Choice Silver Award, three nominations at the 2016 Independent Music Awards, and was named CD of Year by Creative Child. In 2018, Hills released his first children’s novel, Beatrice and the POGs, also published by AcuteByDesign.

Hills is proudly endorsed by Yamaha, Innovative Percussion, Remo, Black Swamp Percussion, and Sabian. splatboombang.com Matthew McCabe Matthew McCabe (Collaborative Technologist) is currently Assistant Professor of Audio Technology at the Schwob School of Music at Columbus State University in Georgia. He holds degrees in music from the University of Richmond, Bowling Green State University, and the University of Florida, and has worked as an audio engineer with a huge variety of musicians. His creative output includes electroacoustic music, sound poetry, and performing with Celtic music group Wolf & Clover, who released their first album in 2018. He has also been studying the Irish language for several years, earning certificates from Fairfield University and the University of Maynooth and has spent time in language immersion programs in County Donegal. euph0r1a.net

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Recently, Rich’s efforts have been focused on education with the invention of a new system of drum practice called “The DrumMantra”, which focuses on the development of multi-limb polymetric coordination through a series of “meditative” exercises. Rich has written two books on the topic and has created over a dozen online courses to help train with the material with his most recent, DrumMantra3030, being a 30-day intensive with over 15 hours of video & audio as a study guide. Rich proudly endorses A&F Drum Company, Craviotto Drum Company, Evans Drum Heads, Moravian Percussion, Polynome App, Reflexx Practice Pads, Sabian Cymbals, and Vic Firth Sticks. richstitzelmusic.com Alan Watts A prolific author and speaker, Alan Watts was one of the first to interpret Eastern wisdom for a Western audience. Born outside London in 1915, he discovered the nearby Buddhist Lodge at a young age. After moving to the United States in 1938, Alan became an Episcopal priest for a time, and then relocated to Millbrook, New York, where he wrote his pivotal book The Wisdom of Insecurity: A Message for an Age of Anxiety.

In 1951 he moved to San Francisco where he began teaching Buddhist studies, and in 1956 began his popular radio show, Way Beyond the West. By the early sixties, Mr. Watt’s radio talks aired nationally and the counterculture movement adopted him as a spiritual spokesperson. He wrote and traveled regularly until his passing in 1973.

The extraordinary employees of The Ringling contributed their effort, time, creativity, expertise, and professionalism to Transient Landscapes. Without the investment they make in this institution every day this event would not have been possible. In particular, it honors me to extend my deepest personal appreciation to Sonja Shea and Aaron Muhl.

I’d also like to thank the members of the Grounds and Facilities Staff. The Bayfront Gardens is a lovely place to visit because of their stewardship.

And finally, Margret. Thank you.

I grew up in these waters. A transplant from the foothills of the Appalachians, I spent summers in my youth anchored off Egmont Key diving for sand dollars.

So much like the themes of impermanence rippling through these programs, I’ve been transient myself much of my adult life. But these intracostals are my true home, and the opportunity to create work at The Ringling is more meaningful to me than I can describe.

– Matthew Duvall

THE ART OF

THE PERFORMANCE AT RINGLING

THEATRE RE RAPHAEL XAVIER ► BILL BOWERS MATT HAIMOVITZ + VIJAY IYER UNION TANGUERA + KATE WEARE

INFORMATION + TICKETS

ringling.org 941.360.7399

Photo by Brian Mengini.

MOVING ETHOS

Photo by Danilo-Moroni

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES

THEATRE RE

The Nature of Forgetting NOV 9 - 10, 7:30 PM Historic Asolo Theater

ABOUT THEATRE RE Established in 2009, Theatre Re is a London-based international ensemble creating thought-provoking and moving work. Its shows examine fragile human conditions in compelling, physical style, embracing mime, theatre and live music. Close collaborations with appropriate community groups and experts in different fields including science, philosophy and public health throughout the devising process play a crucial part in the development of its work. The name of the company comes from the prefix ‘re’. It is the ‘re’ of re-discovering and re-imagining, breathing new life into what already exists. We are an @ Home company at The Point, Eastleigh (UK).

Productions include: The Nature of Forgetting (Part of British Council Edinburgh Showcase 2017), Blind Man’s Song (2015-2016), The Little Soldiers (2013-2014), The Gambler (2011-2013), Your Letter, At Last! (20092011) and gLoved (2009-2010).

“We all know that something is eternal. And it ain’t houses and it ain’t names, and it ain’t earth, and it ain’t even the stars...Everybody knows in their bones that something is eternal, and that something has to do with human beings...There is something, way down deep that’s eternal about every human being...And that’s what’s left when memory is gone.”

–Thornton Wilder, Our Town

THE NATURE OF FORGETTING Our main character, Tom, is living with early onset dementia. We meet him on his 55th birthday being helped by his daughter, Sophie, as he struggles to get dressed for the party.

What follows is a life-affirming journey into Tom’s weakening mind, where broken does not have to mean defeated.

Photo by Danilo-Moroni

CREATIVE TEAM Conceived & Directed by Guillaume Pigé Devised by the Company ISABELLA / SOPHIE Louise Wilcox EMMA / MRS. DENIS Eygló Belafonte MIKE Matthew Austin TOM Guillaume Pigé MULTI-INSTRUMENTALIST / TEACHER Alex Judd PERCUSSIONIST / SCHOOLBOY Chris Jones COMPOSER Alex Judd LIGHTING DESIGNER Katherine Graham RE-LIGHTER, PRODUCTION MANAGER & STAGE MANAGER Josephine Tremelling COSTUME & PROP DESIGNER Malik Ibheis DRAMATURG A.C. Smith SCIENTIFIC COLLABORATOR Professor Kate Jeffery EXTERNAL CURATOR Andrew Visnevski DEVISING CAST Matthew Austin, Malik Ibheis, Chris Jones, Alex Judd, Fred McLaren, Keiran Pearson, Guillaume Pigé, Eygló Belafonte, Andres Velasquez, Louise Wilcox

To develop The Nature of Forgetting we collaborated with UCL Neuroscience Professor Kate Jeffery. Research on memory and amnesia formed the basis and foundation of our explorations. We also interviewed older members of the community as well as people living with dementia to create links between the science and the real human experience.

Ultimately, our piece is not about dementia. It is about the fragility of life and that eternal “something” we all share that is left when memory is gone.

This evening’s performance runs 75 minutes in length, without an intermission.

THANK YOU Thank you to Marc J. Baylin, Helen Lannaghan, Joseph Seelig, James Pidgeon, Sacha Lee, Liz Wolton, Matthew Dwyer, Neil Webb, Ron McAllister, Mark Hooper, Adam Pownall, Simon Hollingworth, Stuart Cox, Jason Keen, Louisa White, Clive Lyttle, Elena Pippou, Yota Kondopoulou, Sean Levett, Elizabeth Palmer, Nuala Kiely, Charles Kenyon, Jim Horton, Caroline Cottrell, Andrea Carrington, Gordon Peters, James Cowling, Jack Judd, Sabrina Mahfouz, Cécile Bloy, Romain Pigé, Charlène Pigé, Jean-Paul and Michèle Pigé, Eddy and Danièle Bloy, Isabelle Bloy, Ramon Ayres, Roland Steichenberger, Veronica Dyas, the Brenier family, Jon Stoncato, Pauline Raineri, Gaspard Pigé and Léa Tirabasso.

Thank you also to everyone at The Point, the Hail Mental Health Support Association, Saint Ann’s Library, Saint Ann’s Hospital Memory Service, the Haringey Older People’s Forum, the Haringey Dementia Café, the Alzheimer’s Society, and Homes for Haringey.

MUSIC The music from the show is available to purchase. Please come and see us after a performance for more details!

LET US KNOW WHAT YOU THOUGHT AND KEEP IN TOUCH! @TheatreRe #Thenatureofforgetting; facebook.com/retheatre; instagram.com/ theatrere; or join our mailing list to receive our monthly newsletter!

CONTACT US info@retheatre.com

Funded by Arts Council England through Grant For The Arts Co-commissioned by London International Mime Festival, The Point Eastleigh and South Hill Park.

Funding for Theatre Re’s performance and Conversation program provided by the Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins of the Community Foundation of Sarasota County.

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

PATRON

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

Kathy and Michael Bush The Cowles Charitable Trust Hampton Inn and Suites, Sarasota/Bradenton Airport Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Dick and Betty Nimtz Willis A. Smith Construction WUSF Public Media

ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

Photo by Brian Mengini

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES

RAPHAEL XAVIER

Point of Interest NOV 30 - DEC 1, 7:30 PM Historic Asolo Theater

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Photo by Steven Gunther

PATRON

Kathy and Michael Bush The Cowles Charitable Trust Hampton Inn and Suites, Sarasota/Bradenton Airport Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Dick and Betty Nimtz Willis A. Smith Construction WUSF Public Media

Crackling with his signature bravado and high-energy physicality, Raphael Xavier shares the stage with a multigenerational cast, performing a series of solos, duets and quintets in this evening-length work. Point of Interest features a soundscape of beats, spoken word poetry, and musical rhythms that shines a light on the natural, humorous and at times painful change of the maturing Breaker, The work ventures

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

into the “mature” space for hip-hop dance, following the standard of traditional Breaking aesthetics while pushing the boundaries of a culture and dance form commonly associated with youth.

Exclusive USA Tour Representation: PENTACLE, Sandy Garcia sandyg@pentacle.org www.pentacle.org

PROGRAM

RAPHAEL XAVIER

DON’T WANT TO BE ANYONE ELSE

STILL

Poetry by Leigh mrlei Nelson, performed by Raphael Xavier

Written/Music by Raphael Xavier

Dancers: Raphael Xavier, Josh Culbreath, Ricky Romo, Jerry Valme, Chris LaPlante ASSEMBLY LINE Music by Raphael Xavier Poetry by Leigh mrlei Nelson, performed by Raphael Xavier

Dancers: Jerry Valme, Raphael Xavier INTERLUDE/BREATHER Music by Raphael Xavier Dancers: Imagine them WONDERFUL WORLD Music by Davie Sylvian

Dancers: Raphael Xavier, Josh Culbreath, Ricky Romo, Jerry Valme, Chris LaPlante

Dancers: Raphael Xavier, Josh Culbreath, Ricky Romo, Jerry Valme, Chris LaPlante

UNTITLED

SILENCE

Music by Raphael Xavier

Poetry by Leigh mrlei Nelson, performed by Raphael Xavier

Dancer: Raphael Xavier NICK OF TIME Music by Portico Quartet Dancers: Raphael Xavier, Josh Culbreath, Ricky Romo, Jerry Valme, Chris LaPlante Duet Choreography by Josh Culbreath & Jerry Valme CRUNCH Mixed/edited by Raphael Xavier Dancer/choreographer: Ricky “Stunt Man” Romo

Raphael Xavier is known as an Innovative Movement Conceptualist. As a practitioner since 1983, he has made his career in dance theatre as a Breaker from the hip hop dance genre. Brenda Dixon Gottschild deemed Xavier as a fine rhythm technician who transforms a bravado dance style into an introspective meditation. His dismantling technique to the Breaking form creates a one-ofa-kind accessibility for any movement enthusiasts. His dance work is created solely with the Breaking vocabulary juxtaposed with elements of non-traditional sounds, music and narratives. The Unofficial Guide to Audience Watching Performance was an autobiographical work overseen by Ralph Lemon in 2011 and brought together many of Xavier’s creative skills that included music, rap lyrics, storytelling and visual arts. This production was the impetus for RAPHSTRAVAGANZA in 2016, an outdoor urban circus narrative that took place in Philadelphia’s City Hall Courtyard funded by the Pew Center for Arts & Heritage. In his newest work, Point of Interest, Xavier tackles the natural, humorous and at times painful change of the maturing Breaker dancer. He was recently awarded the Pew Fellowship, the John Simon Guggenheim Memorial Fellowship in choreography and the United States Artist Fellowship. Currently Raphael is a Professor teaching an introduction to hip hop styles and traditions and an improvisational approach to hip hop practices at Princeton University.

Dancer/Choreographer by: Ricky “Stunt Man” Romo POINT OF INTEREST Music by Raphael Xavier, System of a Down, SOHN Dancers: Raphael Xavier, Josh Culbreath, Ricky Romo, Jerry Valme, Chris LaPlante All Choreography by Raphael Xavier except duet in Nick of Time; Solos by Dancers/some direction

by Raphael Xavier

Photo by Brian Mengini

CREATIVE TEAM

CHRISTOPHER LAPLANTE was born and raised near St Paul, MN. Growing up dancing, he received his formal training from the University of Minnesota, Minneapolis where he danced in works by Tricia Brown, Nathan Trice, Anna Sokolow, Uri Sands, among others. During his time in Minnesota he danced with ARENA Dances, Minnesota Opera, Zenon Dance, and TU Dance. Now residing in New York, he’s danced with Kyle Abraham, Yoshito Sakuraba, and has made his own works.

JERRY VALME is a dance artist from Queens, New York. As a practitioner of the form since 2004, he has been breaking with Full Circle Dance Company since 2009. He has also worked with Raphael Xavier in the autobiographical The Unofficial Guide to Audience Watching Performance which has been performed at Columbia College–Chicago Dance Center, Flynn Center VT and the Painted Bride Art Center in Philadelphia. Jerry continues to practice the movement of breaking to take it into new places and challenge himself for the longevity of the form. He’s also beginning to work on his own dance works for the theater stage.

Some of his choreography can be seen in the evening length version of Point of Interest and Nick of Time.

JOSH CULBREATH, influenced by his mother, started dancing at the age of 5. Josh’s Breaking journey began after watching the movies Breakin’ and Beat Street. In middle school, Joshua got involved with a dance group called KRS Ent. Credited for introducing him to theater, where he learned how to perform on stage. Josh joined Rennie Harris’s second dance company RHAW in 2009.

Shortly after joining RHAW he met Raphael Xavier. In 2014, after performing in Raphael Xavier’s The Unofficial Guide To Audience Watching Performance, Josh wanted to work with Raphael more due to the direction he is taking the breaking movement. Josh continues to perform with both Raphael Xavier and Rennie Harris while continuing to learn and expand on his own style, so he can create his own work and expand the possibilities of the Breaking Movement.

RICKY “STUNT MAN” ROMO began dancing in January 1993. Starting out as a hobby, it quickly developed into a lifelong passion. In the summer of ’95, he was introduced to the word B-Boy (the correct terminology for “breakdancer”) and the knowledge of the dance. He eventually developed his own individual style, experimenting with ideas and concepts that pushed the boundaries of creativity in the dance. Perhaps the hallmark of his style was his strong emphasis on musicality and dancing, often channeling not only the instruments of a song but the lyrics, as well. In May of 2000, Stunts officially joined Style Elements.

He has also been chosen to dance in various USA All-Star teams competing both in Paris and London, as well as performances in Mexico, Canada, Sweden, Spain, Holland, and Switzerland to name a few. Other credits include: articles

and prints in magazines such as The Source, Dancers Delight (Japan), Show and Prove (SP), and Vibe; his very own B-Boy trading card; various music videos; a feature in The Wade Robson Project pilot; and an appearance on the TV show Dancing with the Stars. Currently he’s an active member of Style Elements Crew, the California President of Furious Styles Crew and Associate Director of “One Step Ahead” Dance Company.

BOB STEINECK (LIGHTING DESIGNER, PRODUCTION MANAGER) has design credits spanning over 30 years that include concerts, ballet, modern dance, opera and theatre. He is currently resident lighting designer for Texture Contemporary Ballet, Pgh Playwright’s Theatre, Mercyhurst Univ. Dance Dept., Morgantown Dance Theatre, Rennie Harris PureMovement; RHAW, and Raphael Xavier Company. Mr. Steineck has toured throughout the US and abroad with such Companies as Rennie Harris’ Pure Movement; RHAW, Reed Dance, Squonk Opera, the Lyon Opera Ballet, Sankai Juku, Phoenix Dance Company, Kirov Ballet Academy, and the America Tour for Stars on Ice. Television/Video/DVD credits include the Dizzy Gillespie Allstar Big Band for E Cable, the Spyro Gyra concert for PBS, Lindy Loon for Maria Del Rey, and Johnny A Trio by Warner Bros. Publications. He has designed for several corporate events and fundraisers. His most recent lighting designs include: RDA-NE Dance Festival; Texture Contemporary Ballet’s Interfusion; TUGTAWP at Fringe Arts in Philly; The Piano Lesson for Pittsburgh Playwright’s Theatre; and Carmen, Kiss Me Kate; Julius Caesar for Opera Theater of Pittsburgh. Upcoming projects include My good Side with Teena Marie Custer and JH: Mechanics of a Legend with Hiawatha Project.

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES BILL BOWERS All Over The Map JAN 18 & JAN 19

MATT HAIMOVITZ + VIJAY IYER FEB 22 & 23

 UNION TANGUERA + KATE WEARE COMPANY Sin Salida MAR 29 & 30

SPOTLIGHT FLORIDA: MOVING ETHOS APR 12 & 13

INFORMATION + TICKETS

ringling.org or 941.360.7399

Photo by Keira Chang

Photo by Marie Baranova

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES

BILL BOWERS

All Over the Map JAN 18 & 19, 7:30 PM Historic Asolo Theater

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

CREATIVE TEAM Written and Performed by BILL BOWERS Directed by and Developed with MARTHA BANTA Production Stage Manager AARON GONZALES Lighting Designer ED MCCARTHY Projection Designer BRYCE CUTLER Sound Designer MATT STINE

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

PATRON

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

Kathy and Michael Bush The Cowles Charitable Trust Hampton Inn and Suites, Sarasota/Bradenton Airport Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Dick and Betty Nimtz Willis A. Smith Construction WUSF Public Media

Costume Designer MICHAEL GROWLER STARRING BILL BOWERS (Actor, Writer) has performed throughout all 50 states, Europe and Asia. His Broadway credits include Zazu in The Lion King, and Leggett in The Scarlet Pimpernel, and he has written and performed his own plays Off Broadway and in theatres throughout the world. These include ‘Night Sweetheart ‘Night Buttercup at HERE, Under a Montana Moon at Urban Stages and the Kennedy Center, It Goes Without Saying at Rattlestick Theatre, and Beyond Words at Urban Stages. His ensemble play, Heyokah Hokehay, has been produced in Colorado, Montana, Wyoming, and the Edinburgh Festival. He is presently adapting the Dalton Trumbo novel, Johnny Got His Gun for the stage, to be produced this Fall at the Harold Clurman Center for New Works, and at the Tisch School of the Arts in 2017. Bill has been hailed by critics as “the great American mime of his generation”, winning the Dallas Ft Worth Critics Award, Best of the Berkshires, Best Performance in the International United Solo Festival and Fresh Fruit Festival, and the Grand Prize at the International Thespis Festival. www.bill-bowers.com ABOUT THE DIRECTOR

ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

MARTHA BANTA (Director) is thrilled to return to working with Bill Bowers after directing his first “talking” solo show It Goes Without Saying. Most recently Banta directed Pretty Hunger by Patricia Ione Lloyd at The Public Theater. Select New York productions include new work at Rattlestick Theater, EST, and New York Theatre Workshop. Banta is the founding Artistic Director of the Adirondack Theater Festival in Glens Falls, NY for its first 13 seasons, and served many years as Artistic Associate at New York Theater Workshop.

She was the Associate Director for the original production of Rent, and directed Rent in Germany and Japan, as well as supervised the London, Broadway, and tour productions.

She was also the Associate Director for Mamma Mia! on Broadway and the National tour.

BILL BOWERS WOULD LIKE TO THANK Millibro Art Theatre, Colorado Springs CO; Asolo Theatre Unplugged Series, Sarasota FL; FSU Asolo Conservatory and Greg Leaming; and Nasit Ari. ALL OVER THE MAP IS DEDICATED TO: Ronnie Gilbert and Lela Autio All Over the Map was developed while Artist in Residence with All For One Theater, Michael Wolk, Artistic Director

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES MATT HAIMOVITZ + VIJAY IYER FEB 22 & 23  UNION TANGUERA + KATE WEARE COMPANY Sin Salida MAR 29 & 30 SPOTLIGHT FLORIDA: MOVING ETHOS APR 12 & 13

INFORMATION + TICKETS

ringling.org or 941.360.7399

Photo by Keira Chang

Photo by Brent-Calis

Photo by Lena Adasheva

NEW STAGES CONTEMPORARY PERFORMANCE SERIES

MATT HAIMOVITZ + VIJAY IYER FEB 22 & 23, 7:30 PM Historic Asolo Theater

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

Photo by Brent-Calis

Photo by Bart Babinski

MATT HAIMOVITZ PATRON

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

Kathy and Michael Bush The Cowles Charitable Trust Hampton Inn and Suites, Sarasota/Bradenton Airport Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Dick and Betty Nimtz Willis A. Smith Construction WUSF Public Media

CELLO

VIJAY IYER PIANO

This evening’s performance will be announced from the stage, giving the artists the opportunity to share the context of the program, and allowing the music to flow seamlessly from one genre to the next.

Both artists will perform their own compositions as well as selections that will be drawn from the following composers:

ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Vijay Iyer Billy Strayhorn John McLaughlin Duke Ellington Philip Glass Zakir Hussein Ravi Shankar

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

David Sanford Johann Sebastian Bach

There will be one intermission

MATT HAIMOVITZ Renowned as a musical pioneer, cellist Matt Haimovitz is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles” and by The New Yorker as “remarkable virtuoso” who “never turns in a predictable performance.”

He has inspired classical music lovers and countless new listeners by bringing his artistry to concert halls and clubs, outdoor festivals and intimate coffee houses—any place where passionate music can be heard. Haimovitz mentors an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal and is now the first ever John Cage Fellow at The New School’s Mannes School of Music in New York City.

Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic and made his first recording with the Chicago Symphony Orchestra, for Deutsche Grammophon, at age 17. He has gone on to perform on the world’s most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic, the New York Philharmonic with Zubin Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin, and the Orchestre Symphonique de Montréal with Kent Nagano.

Born in Israel, Haimovitz has also been honored with the Avery Fisher Career Grant (1986), the Grand Prix du Disque (1991), the Diapason d’Or (1991), and he is the first cellist ever to receive the prestigious Premio Internazionale “Accademia Musicale Chigiana” (1999). Haimovitz studied at the Collegiate School in New York and at the Juilliard School, in the final class of Leonard Rose, after which he continued his cello studies with Ronald Leonard and Yo-Yo Ma. In 1996, he received a B.A. magna cum laude with highest honors from Harvard University. He performs on a cello made in 1710 in Venice by Matteo Gofriller.

Matt Haimovitz’ recordings can be found on Deutsche Grammophon, Oxingale Records, and PENTATONE Oxingale Series.

Photo by Brent-Calis

VIJAY IYER Composer-pianist Vijay Iyer was named Downbeat Magazine’s Jazz Artist of the Year for 2012, 2015, 2016, and 2018; and Artist of the Year in Jazz Times' Critics' Poll and Readers' Poll for 2017. He received a 2013 MacArthur Fellowship, a 2012 Doris Duke Performing Artist Award, and a 2011 GRAMMY® nomination. He has released twenty-one albums, including Far From Over (ECM, 2017) with the Vijay Iyer Sextet, which topped numerous year-end critics polls and was cited by Rolling Stone as “2017’s jazz album to beat”; A Cosmic Rhythm with Each Stroke (ECM, 2016) in duo with legendary composertrumpeter Wadada Leo Smith, named “Best New Music” by Pitchfork; Break Stuff (ECM, 2015) with the Vijay Iyer Trio, winner of the German Record Critics’ Award for Album of the Year; the live score to the film Radhe Radhe: Rites of Holi (ECM, 2014) by filmmaker Prashant Bhargava; and Holding it Down: The Veterans’ Dreams Project (Pi Recordings, 2013), his third politically searing collaboration with poet-performer Mike Ladd, named Album of the Year in the Los Angeles Times.

Iyer’s compositions have been commissioned and premiered by Bang on a Can All-Stars, The Silk Road Ensemble, ETHEL, Brentano Quartet, Brooklyn Rider, Imani Winds, American Composers Orchestra, International Contemporary Ensemble, Chamber Orchestra Leopoldinum, Matt Haimovitz, and Jennifer Koh. Iyer is the Franklin D. and Florence Rosenblatt Professor of the Arts at Harvard University, and the director of the Banff International Workshop in Jazz and Creative Music.

vijay-iyer.com twitter.com/vijayiyer facebook.com/vijayiyermusic

Vijay Iyer’s recordings can be found on Red Giant Records, Pi Recordings, Savoy Jazz, Sunnyside Communications, Intakt Records, and ECM Records.

Photo by Jimmy Katz

NEW STAGES

CONTEMPORARY PERFORMANCE SERIES  UNION TANGUERA + KATE WEARE COMPANY Sin Salida MAR 29 & 30 SPOTLIGHT FLORIDA: MOVING ETHOS APR 12 & 13

INFORMATION + TICKETS

ringling.org or 941.360.7399

Photo by Keira Chang

Photo by Brendan Ragan

NEW STAGES CONTEMPORARY PERFORMANCE SERIES

MOVING ETHOS DANCE COMPANY girlwoman APR 12 & 13, 7:30 PM Historic Asolo Theater

girlwoman Moving Ethos Dance Company presents the world premiere of girlwoman, an intimate portrayal of the glamorous and messy nature of being a woman.

Follow three women as they navigate the demands of the world with an imperfect grace that is relatable and refreshing. Their strength is met with fragility as they transparently share their stories. In her characteristically bold voice, Artistic Director, Leah Verier-Dunn, leads the audience through a

Spotlight Florida dedicates residency time and performance space to

web of imagery that pulls at heart strings one moment and evokes laughter the next, girlwoman is a telling tale that challenges us all to consider the

Floridian artists, and provides development and presenting opportunities

complexities of the female experience.

alongside The Ringling’s national and international performances and

Moving Ethos strives to rebuild connections to ourselves and the community

programs. 2018-19 marks the first time The Ringling was able to provide Spotlight Florida resident artists with studio space. Inaugurating a new era of artist residencies and local creative development in performance, girlwoman

through movement. Their programs often defy conventional performance categories and their latest piece, girlwoman, continues this tradition by transcending both dance and theater. girlwoman has layers of subtext and meaning that is forcefully personal and emotionally raw, revealing the truth and vulnerability of both performers and audience.

was created by Moving Ethos using The Ringling’s Charlotte and Charles Perret Family Performance Studio in the Kotler-Coville Glass Pavilion.

MUSIC COFFEE with LEAH VERIER DUNN MUSEUM COFFEE SHOP

No ticket required

APRIL 16 & 19, 9:00 AM Purchase a cup of coffee at the Museum Coffee Shop and join Leah Verier-Dunn, Artistic Director of Moving Ethos, for a chat about her process in creating girlwoman.

Dr. Ananda Balayogi Bhavanani

Lionel Richie

Ilene Woods

Tash Sultana

Madonna

Beastie Boys

The Shirelles

2 Live Crew

Peggy Lee

MOVING ETHOS’ MISSION

To rebuild a connection to ourselves and each other through movement. www.movingethos.org

ABOUT THE COMPANY

ethos [ee-thos] noun the fundamental character or spirit of a culture

LEAH VERIER-DUNN Artistic Director, Choreographer, & Co-Founder

MEGAN WORS Dancer

Leah builds bold and visceral performances out of simple human concepts.

Megan is a dreamer. She has fought in the battle of Hogwarts, has ridden

Her work rips down the wall between performer and patron and encourages

alongside the Mother of Dragons, conversed with Lady Catherine De Burgh,

all to go beyond what’s easy and comfortable. Leah believes that feeling a part

and pouted alongside Master Heathcliff. She draws inspiration from the stories

of something is the key to our survival; she’s committed to using her art as a

around her, both real and fictional, and carries them with her through her life

medium to create connection and purpose.

and performances.

VICTORIA MORA Dancer

KRISTY IRIS Costume Designer

Victoria is like a box of chocolates. She engages audiences with her buttery

Kristy loves to create make believe worlds for make believe people. Because

movement quality and then punches them in the gut with a raw and deeply

of her passion for collaboration, she is drawn to being the only visual artist

meaningful performance. She is a process driven artist, a teacher and volunteer,

in a room of performers rather than in a studio by herself. She is amused and

who loves to serve and connect with others by the sharing of values, cultures,

perplexed by how drawn she is to expressing herself by clothing other people.

and ideas through the arts and sciences.

JESSICA POPE Dancer

AARON MUHL Lighting Designer Aaron has designed dance and ballet lighting for the past 15 years. He has

Jessica strives for transparency and honesty in her work. Embracing the

worked at many venues and with many companies around Florida and the

struggles and triumphs of life fuel her art and movement. She aims to share the

country; most notably Jacob’s Pillow, The Joyce Theater, New York City Center,

stories of people who face fear with vulnerable courage.

and The Kennedy Center. Aaron has received acclaim for his use of shadow, color, and fluent cueing to actualize an environment for the dancers and reinforce choreographic themes.

MEL KLENK Stage Manager Mel is a young artist striving to help make inclusive, expressive performances for the wider community around him. He is incredibly grateful for every opportunity to build and create wonderful art, no matter the medium.

Photos by Jess Pope

CHOREOGRAPHER’S NOTE girlwoman was born out of intrigue and concern over the patterning of social behavior surrounding and defining women; patterning that, no matter how much progress we make, seems to repeat itself decade after decade. Our process stemmed from studying our relationships with our mothers and other poignant women in our lives, traveled through our childhood where we explored what it was that tarnished our view of what girls and women could be, to now. Our exploration of present day led us to question how or if we, as women, may be contributing to the cyclical beast in front of us. We then asked ourselves, how can we take the reins of change into our hands?

DEDICATIONS For my mom, Lori A woman with unwavering strength, admirable humility, and a heart of pure gold. She is a voice of reason and wisdom for all who cross her path.

For my grandma, Shirley The epitome of grace. A human and woman beyond compare.

And, for Justin May your memory serve as a reminder to us all that what we feel is real, and that transparency, struggle, and courage rank high above perfection.

THANK YOU TO THE FOLLOWING Dwight Currie, Sonja Shea, Elizabeth Doud, Lisa Bauford, Gabby Pope, Brendan Ragan, Stage Door Studios, and all of the collaborators at The Ringling who welcomed, supported, and guided us through this residency.

Photo by Brendan Ragan

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

PATRON

HAMPTON INN & SUITES SARASOTA-BRADENTON AIRPORT

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ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

Photo by Keira Chang

NEW STAGES CONTEMPORARY PERFORMANCE SERIES

UNION TANGUERA + KATE WEARE Sin Salida MAR 29 & 30, 7:30 PM Historic Asolo Theater

THANK YOU TO OUR 2018–2019 ART OF PERFORMANCE SPONSORS PRODUCER

Stephen and Judith Shank Sarasota Magazine SRQ Media

DIRECTOR

Community Foundation of Sarasota County Gus Lobenwein Memorial Fund and the Walter Haskins Fund in memory of Stacey K. Haskins Huisking Foundation Publix Super Markets Charities Scene Magazine

SIN SALIDA

Artist Statement Esteban Moreno and Claudia Codega, co-artistic directors of tango company Union Tanguera (France and Argentina) and choreographer Kate Weare, artistic director of contemporary dance company Kate Weare Company (USA), bring together artists from Argentinian tango and New York contemporary dance for a unique cross-pollination of disciplines, cultures, and values in Sin Salida.

Tango as a form suggests the extent to which we must rely on others to

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perceive ourselves and our shifting desires, exploring individual freedom only through continuous connection between partners. In tango, a “solo” refers to a dancing couple taking a turn on the floor, never to a solo dancer.

For those who do not dance tango, the name of an important basic step is “salida,” which means “exit”.

In contrast, modern and contemporary dance have always exalted the individual as both locus of meaning and generator of content, putting

ASSOCIATE

Cumberland Advisors Leon and Marge Ellin CONTRIBUTOR

Daniel Denton and Ramses Serrano THANK YOU TO THE FOLLOWING FOR THEIR SUPPORT

Dr. Susan M. Brainerd and Alan R. Quinby Redfin

Art of Our Time is supported by Gulf Coast Community Foundation.

Support for Art of Our Time, including Art of Performance, was provided, in part,

by Sarasota County Tourist Development Tax Revenues. Additional support was provided by The John and Mable Ringling Museum of Art Foundation.

The presentation of Sin Salida by Union Tanguera and Kate Weare was made possible by 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.

forward a long and rebellious (i.e. feminist) tradition of the individual’s unique consciousness made visible through form. How might these two disciplines—each over a century old—speak to each other, wrestle with, embrace each other? Within this project, we seek to engage our respective forms toward a common human predicament: one needs the other to perceive oneself.

As Jean Paul Sartre (whose voice you will hear tonight) suggests: seeing ourselves through the eyes of another remains our only existential option.

In this moment when cultures, countries, and identities are pulling apart, this project insists that we apprehend each other. How do we hold onto ourselves while listening to another? This question is at the heart of tango.

ABOUT UNION TANGUERA

ABOUT KATE WEARE COMPANY

Founded in 2002, Union Tanguera is a French/Argentinean contemporary tango

Founded in New York City in 2005, Kate Weare Company is a contemporary

company based in Lyon and Buenos Aires. The company’s works are created by

dance group known for its startling combination of formal choreographic

Co-Artistic Directors Esteban Moreno and Claudia Codega utilizing traditional

value and emotional interpretation. Weare’s dances deal with intimacy,

tango music and dance as the foundation for their creative process. With deep

identity, gender, power and the body’s brilliant capacity for truth-telling. As

respect for the purity and legacy of tango as a social dance, Union Tanguera

Artistic Director, Weare cultivates the individuality of her dancers to unleash

seeks to reformulate tango’s theatrical expression by incorporating elements of

a chemistry onstage that is heartfelt, precise and bold. “Weare gets under the

contemporary dance and theater. Union Tanguera has had a home at Tango de

skin of movement with almost surgical exactness, inflames it, and then makes

Soie, a school and cultural center for tango in Lyon, since 2006.

it glow with a strange, yet familiar light. No one else is making work quite like hers,” said New York dance critic Deborah Jowitt.

Dedicated to pushing the traditional vision of Argentinean tango and exploring the

Weare has a long history of collaboration, commissioning original scores from

contemporary voice, Union Tanguera has

an eclectic array of composers as well as diverse visual artists for design within

a history of experimental collaboration.

her dances. Sin Salida marks Weare’s first collaboration with choreographers

Nuit Blanche (2010) was created in

from another dance form. Kate Weare Company has been presented

collaboration with two contemporary

throughout the United States at Brooklyn Academy of Music, The Joyce

Paris-based dancers from Pina Bausch’s

Theater, Guggenheim Works & Process, American Dance Festival, Chicago

company, Jorge Crudo and Rolan van

Dancing Festival, Jacob’s Pillow Dance Festival, The John & Mable Ringling

Loor. No Exit (2017) was developed

Museum of Art, The Boston Institute of Contemporary Art, among many others.

with the well-known composer Gustavo Beytelmann.

Union Tanguera has toured in Europe to the Maison de la Danse Lyon (France); the Biennale de la Danse, Lyon (France); the Festival Les Nuits de Fourvière in Lyon; the Carré Belle-Feuille, Boulogne-Billancourt (France); Festival Tarbes En Tango, Tarbes (France); Radiant-Bellevue, Caluire et Cuire, Odyssud, Blagnac (France); Teatro Ponchielli di Cremona (Italy); the Collegno-Lavanderia a Vapore, Turin (Italy); the Theater Akzent, Vienne (Austria); and the Lucent Danstheater, La Haye (The Netherlands) among others.

The company made its North American debut in the fall of 2013 with a tour of Nuit Blanche to Cal Performances, Berkeley, CA; White Bird, Portland, OR; Calgary’s Arts Commons; and UA Presents, among others. In the 2014/2015 season it was presented by the New Orleans Ballet Association; the Pittsburgh Dance Council, Weis Center for the Performing Arts, and at The Joyce Theater for a two-week season. For more info: www.uniontanguera.com

ESTEBAN MORENO (Union Tanguera Choreographer, Artistic Director, and Dancer) is one of the most renowned tango dancers in the world today. He created a style, inspired by the heritage of traditional tango, which has become the touchstone for a new generation of tango dancers. His work as a performer, choreographer and teacher has played an important role in tango’s growing popularity. Moreno began dancing tango in the 80’s in Buenos Aires, while he was student of the greatest tango maestros Antonio Todaro, Pepito Avellaneda, Alberto Villarraso, Roberto Grassi, Pupi Castello, Petaca Lerman, among others. There he also worked with dancers of “Salon Style” in the Villa Urquiza neighborhood in Buenos Aires. He continues to practice this style with sincerity and enthusiasm and an eye to tango’s relevance in the contemporary world.

Moreno has worked with partner ARTISTIC DIRECTION

MUSIC

Esteban Moreno + Claudia Codega

Original music from Gustavo

CHOREOGRAPHY Kate Weare of Kate Weare Company in collaboration with Esteban Moreno + Claudia Codega of Union Tanguera PERFORMERS Claudia Codega, Pablo Estigarribia,

Beytelmann, along with traditional selections from Juan D’Arienzo and Osvaldo Pugliese.

VOICE Jean Paul Sartre in his interview about the piece, No Exit, in 1964.

Claudia Codega for 25 years.

Together they founded Union Tanguera in 2002. The shows they create with their company are intense and dynamic; a synthesis of styles reinterpreted in which fantasy and imagination are joined inside the logic of improvisation and tango.

Esteban Moreno, Thryn Saxon,

LIGHTING DESIGN

Daniel del Valle Escobar, Nicole

Judicaël Montrobert

Since representing Argentina

COSTUME DESIGN

in the Universal Exposition of

Vaughan-Diaz

Nadine Chabannier

Seville in 1992, Moreno and Codega have been invited to the

Sin Salida was co-produced by Nuits de Fourvière, Tango de Soie, CCN de Créteil & Val-de-

most important tango festivals

Marne, Cie Käfig, ADAMI, SPEDIDAM, Région Auvergne Rhône-Alpes, Ville de Lyon, Ville de

and events around the world

Boulogne Billancourt, with the support of the Centre Chorégraphik Pôle Pik, Aqueduc de Dardilly, Carré Belle-Feuille Boulogne Billancourt, Maison de la Danse de Lyon, and Kate Wormald.

Sin Salida was made possible, in part, by generous support from DANCEworks, a unique collaboration and creative residency program established between SUMMERDANCE Santa Barbara and the Lobero Theatre. Sin Salida was also made possible by 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.

such as the Montpellier Dance Festival, Dresden Philharmonic Orchestra, Opéra Maria de Buenos Aires by Piazzola-Ferrer, Edinburgh Fringe Festival, and Théâtre National de Chaillot, among others.

KATE WEARE is recognized as a preeminent American choreographer whose

GUSTAVO BEYTELMANN (Composer) was born in 1945 in Venado Tuerto,

dances are lucid, layered and visually sophisticated. Raised by a painter and

Argentina, into a music-loving family. He learned to play the music and tango

a printmaker in Oakland, CA, Weare draws on visual art sources, language,

specifically at a very early age, joining a dance orchestra, where his father, a

poetry, contemporary music, psychology and nature in creating her work.

talented violinist, often played. He studied music formally at the Institute of

Called by Dance Magazine,“the voice of the it’s complicated generation,” Weare

Music of the University of Rosario and later composition under Francisco Kröpfl.

celebrated her Company’s 10th anniversary season at The Brooklyn Academy of Music in the 2014/2015 season. Weare’s recent awards include North Carolina Arts Council Fellowship (2018), Dance/NYC Dance Advancement Fund (2018), National Dance Project (2017), Aninstantia Foundation Award (2017), The DANCEworks Fellowship (2017), The Guggenheim Foundation Fellowship (2014), White Bird Barney Creative Prize (2015), The Inaugural BAM Artist Residency (2013), The inaugural Evelyn Sharp Summer Artist-inResidency at CalArts (2014), The Joyce Theater Mellon Foundation Awards (2011, 2015), The Princess Grace Fellowship in Choreography (2009).

Weare’s 2016 work, Marksman, was co-commissioned by American Dance Festival and The Joyce Theater.

Companies worldwide have commissioned Weare to set work on their dancers, including Scottish Dance Theater, Cincinnati Ballet, The Limon Dance Company and The Juilliard School in New York, Cleveland’s Groundworks Dance Theater and ODC Dance/SF (where Weare is Resident Artist) in co-commission with White Bird’s Barney Creative Prize. Weare has acted as Guest Faculty at Princeton University, and taught in residence at The Juilliard School, NYU’s Summer Residency Program, Gibney Dance Center, Virginia Commonwealth University, Keene State University, Marymount Manhattan, ODC’s Summer

Beytelmann has written music for the cinema, worked as pianist and arranger for the record industry, and performed with various jazz ensembles in Argentina, Italy, Germany, and France. He has made appearances at the Festival of Tango of Buenos Aires and the International Moritzburg Festival in Germany. Together with Juan José Mosalini, and Patrice Caratini, Beytelmann formed a trio which performed for 12 years across Europe and the Americas, recording three albums and making a significant contribution to the evolution that tango was undergoing in that period. From 1993 onwards he intensified his work as a composer. He has been the artistic director of the Tango Department at the Conservatory in Rotterdam since 1996 and has taught at the Universities of Seattle and Bellingham (USA), and Music Academy of Monaco, among others.

CLAUDIA CODEGA (Union Tanguera Dancer) trained in ballet, contemporary dance, jazz, and composition (with the renowned Argentinean choreographer Ana Maria Stekelman). She performed as a contemporary dancer in various theaters, finding tango in 1990. She met Esteban Moreno while working with Ballet Ciclos. Since representing Argentina in the Universal Exposition of Seville, where Codega & Moreno worked with renowned Argentinean choreographer Oscar Araiz (1992), the tango couple have been invited to the most important

Program, among others.

tango festivals around the world. Prior to founding Cia. Unión Tanguera, Codega

Fascinated by collaboration, Weare has commissioned original scores from

Holland with Tango Tango; El arte del tango with the Het National Ballet; and

and performed live with many artists including composer Michel Galante of NY-based Argento Chamber Ensemble; the experimental violinist David Ryther; SF-based old time band The Crooked Jades (Jeff Kazor & Lisa Berman); opera composer Barbara White, Princeton University; Brooklynbased indie band One Ring Zero (Michael Hearst & Joshua Camp); NYC electro-acoustic cellist/composer Christopher Lancaster; and Canadian jazz saxophonist and composer Curtis Robert Macdonald. Weare has collaborated with visual artists Kurt Perschke and Clifford Ross for set design in her dances Lean-to (2009), Garden (2011), Dark Lark (2013), and Marksman (2016).

and Moreno created Con este tango (1995); Locura Tangueraj (1996); turn in the opera Maria de Buenos Aires. Codega and Moreno are part of a generation that has been credited with recovering tango as a social dance. They have been integral in creating the conditions for its current popularity. They are students of the greatest tango Maestros of the 80’s and 90’s, such as Antonio Todaro, Pepito Avellaneda, Roberto Grassi, Alberto Villarraso, and Lampazo Vazquez, with whom they share a common love for traditional tango. Codega and Moreno have created a style that serves as a reference for the new generation of tango dancers and teachers. www.estebanyclaudia.com

PABLO ESTIGARRIBIA (Pianist) is a world renown virtuoso Argentine tango pianist, arranger and composer that began his musical journey in classical music.

He was awarded the 1st Prize of the “Bienal Juvenil” National Competition in 2005. After a brief detour through jazz he discovered tango in 2005, when he was awarded with the Orquesta Escuela de Tango scholarship for joining the ensemble under the directorship of Maestro Emilio Balcarce. He continued the path as a Tango performer through Germany, France, Belgium, Japan, Russia, Finland, Canada, USA, and Cuba, in over 1000 concerts, with elite Argentine tango orchestras as follows, Victor Lavallen Orchestra, Tango Pasión, Lisandro Adrover Quintet, and as a solo artist. Estigarribia was awarded the Gardel Prize in 2015 for the best tango recording by a new artist for his album, Tangos Para Piano (EPSA). He has also been awarded with the Medal of Honor by the Argentine Tango Society for his educational efforts at the Stowe Tango Music Festival (Vermont) in 2014 and 2015. He came to the United States in 2017 and has performed at the Blue Note Jazz. He has made appearances on NBC, Univision, and Telemundo. Estigarribia published his original compositions and arrangements of traditional pieces, “Tangos de Concierto” and teaches regularly in tango festivals all over the world.

THRYN SAXON (Kate Weare Company Dancer) was born and raised in Miami, FL where she attended New World School of the Arts High School. In 2014 Saxon received her BFA in Dance from Florida State University. She spent her first year in New York as an apprentice with the Bill T Jones Arnie/Zane Company and had the honor of performing with them in New York and Baltimore, MD. Saxon has had the privilege of performing works in NYC by John Zullo and Rosie DeAngelo and is also currently performing with SpacesOfFontana and Julia Ehrstrand.

Saxon is thrilled to be starting her third season as a company member with Kate Weare Company.

DANIEL DEL VALLE ESCOBAR (Union Tanguera Dancer) grew up dancing salon tango in Argentina. Having danced traditional tango for 15 years, Escobar is inspired by the possibilities and different dynamics that today’s tango has to offer. Since 2004, Daniel has taught and performed in Europe, Russia, Cyprus, Japan, and Hong Kong. He performed for Compañía Tango Bizzarro, Compañía Tango Seduction, Tanguera El Musical, Tango a Tierra, Compañía Tango Vivo, and Compañia Otango. While in Buenos Aires, he gives regular lessons and workshops at La Viruta, El Viejo Correo, Club Gricel, Oliverio Girongo Tango.

Escobar has studied with Gabriel Angio y Natalia Gamez, Francisco Santapa y Mimi Santapa, Damian Essel y Nancy Louzan, Mariano Chicho Frumboli, Gustavo Naveira Y Giselle Anne, and Sebastián Arce y Mariana Montes, among others. He joined Union Tanguera in 2017.

NICOLE VAUGHAN-DIAZ (Kate Weare Company Dancer) began her training in Miami, Florida, performing at venues including Art Basel, Miami Dance Festival, and Colony Theatre. In 2013, Vaughan-Diaz graduated cum laude from the University of South Florida, receiving a BFA in dance performance, where she was awarded the BRAVO and Hope Rietschlin scholarship awards for superior artistry and performance. There, she performed works by Doug Varone, Rosie Herrera, Michael Foley, Colleen Thomas, and Ben Munisteri. Additionally, she has both studied and performed solo work in Paris, France as part of USF’s esteemed Dance in Paris program. Relocating to New York City, Vaughan-Diaz joined Kate Weare Company in 2013, performing as part of KWCo’s Brooklyn Academy of Music and Joyce Theatre seasons, among many others.

JUDICAEL MONTROBERT (Lighting Designer) has worked as a technical manager with theater and dance companies since 1998. As Lighting Designer, he has created for dance and music companies, as well for contemporary art exhibitions. He has worked for Cia Vértice/Christiane Jatahy (Rio de Janeiro), Théâtre La Colline (Paris), Cie Maguy Marin/CCN (Lyon), L’Association Fragile/ Christian Rizzo (Paris), and Cie La Maison/Nasser Martin Gousset (Paris), among others. Since 2012 he has regularly collaborated with Union Tanguera, working on the productions of Nuit Blanche, Station Tango, No Exit, and most recently, for Sin Salida. Montrobert has worked as a stage manager and light operator for the city of Firminy, France since 2017.

Union Tanguera would like to thank Dwight Currie, Aaron Muhl, and the programming and production teams of The Ringling for the invitation to perform at the Historic Asolo Theater.

These performances mark Union Tanguera’s debut in the state of Florida and the fourth time Kate Weare’s work has been presented at The Ringling.

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