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presented by the uncw office of cultural arts

Photo courtesy of Armitage Gone! Dance (Costumes by Doug Fitch / Photo by Edouard Getaz)

UNCW Artist in Residence

ARMITAGE GONE! DANCE Fables on Gobal Warming

Saturday, October 26, 2013 | 8 p.m. | University of North Carolina Wilmington | Kenan Auditorium

UNC W I L MI N G TO N OFFICE O F C U LTU RAL A RT S 601 Sou th Co llege Roa d Wi l min gto n, NC 2 84 03- 5966 910. 962 .35 00 | 80 0.7 32. 3643 www.u / ar ts NORMAN BEMELMANS Director COURTNEY REILLY Assistant Director JEANNINE LEARY Office Manager JEREMY SUMMERS Operations Manager TARA NOLAND Production Manager CHRISTY GRANTHAM Box Office Manager GINA GAMBONY House Manager BOX OFFICE PERSONNEL Jim Heckethorn Susan Watson

2013 2014 season

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Connecting the campus and community through the arts... The UNCW Office of Cultural Arts was created in July 2005 in order to (1) strengthen the University’s mission to deepen and enrich the learning experience of its students; (2) build creative and effective partnerships between UNCW and local, state and national organizations; (3) develop opportunities for UNCW to play a leadership role in enhancing the growth of the arts within the region. In addition to managing UNCW’s 1,000-seat Kenan Auditorium, the office works closely with offices and departments throughout campus to engage and involve students in a wide variety of cultural activities, and to connect the campus with the community through its series of highprofile performances, artist residencies and educational outreach. Within a relatively short time, the Office has forged strategic and meaningful relationships with partners such as New Hanover County Schools, the N.C. Arts Council, John F. Kennedy Center for the Performing Arts, Lincoln Center and the Bureau of Educational and Cultural Affairs (ECA) of the U.S. Department of State. The major programs and initiatives of the Office of Cultural Arts include: MASTERS SERIES As a sign of the university’s commitment to presenting artists of the highest achievement, the UNCW Office of Cultural Arts presents an annual series of artists and works of cultural and historic significance. Season headliners have included artists such as jazz great Wynton Marsalis; world-renowned soprano Jessye Norman; American legends Del McCoury, Peter Rowan, Mavis Staples and the Preservation Hall Jazz Band; and acclaimed innovators of music and dance Kronos Quartet and Pilobolus dance company. ARTIST IN RESIDENCE PROGRAM UNCW’s Artist in Residence Program is a unique initiative that provides audiences of all ages an opportunity to engage directly with artists to broaden their understanding of the arts and creative process. Over the years, community members have danced with acclaimed members of Pilobolus and CONTRA-TIEMPO; attended open rehearsals for Carolina Ballet; performed alongside bluegrass masters from the Del McCoury Band; mastered new techniques under the expert instruction of Jazz at Lincoln Center and Preservation Hall Jazz Band; and participated in workshops with New York stage director Christopher McElroen to develop the critically acclaimed World Premiere Stage Adaptation of Ralph Ellison’s Invisible Man. ARTWORKS EDUCATIONAL OUTREACH The UNCW Office of Cultural Arts serves thousands of K-12 students and teachers each year through its ARTworks initiative. ARTworks utilizes valuable campus and community partnerships with the Watson College of Education, the NC Arts Council and New Hanover County Schools to provide teachers and students free live performances, professional development workshops and in-school artist residencies.

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UNCW Artists in Residence

ARMITAGE GONE! DANCE ARTISTIC DIRECTOR Karole Armitage COMPANY MEMBERS Ahmaud Culver, Cristian Laverde König, Daniel LaMont Moore, Abbey Roesner, Lourdes Rodriguez, Emily Wagner, Masayo Yamaguchi UNCW Kenan Auditorium | Saturday, October 26, 2013 | 8 p.m.

Fables on Global Warming

(World Premiere September 24, 2013 The Krannert Center. Urbana, Ill.)

Director/Choreographer: Karole Armitage Composer/Lyricist: Corey Dargel Big Thicket Hog Nosed Skunk: Corey Dargel, Vocals Carolina Parakeet: Margaret Lancaster, Flute Passenger Pigeon: Jen Baker, Trombone Props, Puppets, Costumes: Doug Fitch Dove Design: Jean Paul Gaultier Carolina Parakeet, Passenger Pigeon Design: Peter Speliopoulos Lighting Design: Clifton Taylor Dramaturge: Katharina Otto-Bernstein Lighting Supervisor: Robert Brown Stage Manager: Dathan Manning Scientific Consultant: Dr. John Harte, University of California, Berkeley

This presentation was made possible by the New England Foundation for the Arts’ National Dance Project, with funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. This residency is also funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and North Carolina Arts Council. Additional support by Target.

THE PROGRAM Scene 1: The Marriage of the Sun (Aesop) The sun decides to marry a beautiful star. The frogs protest, ‘one sun is bad enough, if you produce little suns, all the ponds will dry up!’ Sun…………………….Cristian Laverde König Star…………………….Lourdes Rodriguez Stars…………………...The Company Bird…………………….Daniel Moore Bees…………………...Masayo Yamaguchi Frogs…………………..Abbey Roesner, Emily Wagner Scene 2: The Tortoise and the Hare (Aesop) The hare boasts that he can run faster than anyone. But the tortoise calmly and steadfastly pursuing its goal, wins the race. Tortoise……………......Abbey Roesner Hare……………………The Company Scene 3: The Measure-worm Rock (Native American) A flock of birds flies about. Noticing that it is very dry, they migrate to other climes. A dreadful drought ensues. The animals, from the small to the large, suffer in the heat. Finally a tiny cloud appears on the top of a tall mountain. One by one, each animal jumps, trying to catch the cloud. They fail. The tiny measure-worm appears. It inches up to the very top bringing down the cloud. It rains. The animals dance in celebration. Birds…………………..Ahmaud Culver, Abbey Roesner and Company Cloud………………….Ahmaud Culver Mouse…………………Masayo Yamaguchi Rat……………………..Lourdes Rodriguez Raccoon………………Emily Wagner Boar……………………Daniel LaMont Moore Grizzly…………………Cristian Laverde König Measure-worm…........Abbey Roesner Rain……………………The Company Scene 4: The Skunk Song Corey Dargel introduces his troubadour band of extinct animals. Big Thicket Hog Nosed Skunk………..Corey Dargel, Vocals Carolina Parakeet……………………….Margaret Lancaster, Flute Passenger Pigeon………………………Jen Baker, Trombone Scene 5: The Stag and the Lion (Jean de La Fontaine) A stag, performed as a duet of male dancers, admires his large, beautiful antlers. Then he catches sight of his scrawny legs, reflected in the pond. They embarrass him. A lion suddenly gives chase. The stag is slowed down when his magnificent antlers get caught in the trees. The lion catches his prey. Stag……………………Ahmaud Culver, Daniel LaMont Moore Lion…………………… Cristian Laverde König Trees…………………...Lourdes Rodriguez, Abbey Roesner, Emily Wagner, Masayo Yamaguchi Scene 6: The Ant and the Chrysalis (Aesop) A busy, productive ant notices a chrysalis just sitting, doing nothing. The ant disdains it. Suddenly it feels a breeze. A beautiful butterfly emerges. The ant chases it in awe. Ant……………………..Emily Wagner Tree…………………….Abbey Roesner Butterfly…………….....Masayo Yamaguchi

Scene 7: The Ant and the Dove (Aesop) An ant colony hurries about it business at breakneck speed. One falls, but none of the other ants take notice. A dove sees the ant’s struggle and comes to its rescue. But just as the dove frees the ant from peril, a lion spies the dove is about to attack, when - a gnat distracts the lion from its prey. The ant and dove are saved. Ants…………………….The Company Dove…………………....Ahmaud Culver Lion…………………….Cristian Laverde König Gnat……………………Masayo Yamaguchi Scene 8: The Gnat and the Bull (Aesop) A bull munches on grass. A gnat flies about thinking itself very important, so important in fact, that the bull is paying attention only to it. The bull could care less. When the gnat brags, the bull eats it. Bull……………………..The Company Gnat………………….…Masayo Yamaguchi Scene 9: The Belly and Its Members (Aesop) The members of the bull’s body - the legs, feet, arms and head - get annoyed with the stomach. They do all the work while the belly just sits there. They rebel, detaching from the lazy belly. Gradually the members lose strength and begin to wither. They return to the belly and united, find strength. Bull……………………..The Company Belly……………………Daniel LaMont Moore Scene 10: We Have Lost Our Taste For Acorns Based on Lucretius’ text On the Nature of the Universe, the song points out how quickly fashions come and go while the human appetite remains insatiable. Fashionistas…………..The Company Scene 11: The Ant and the Cicada (Jean de La Fontaine) An ant colony hurries about its business at breakneck speed. The Cicada prefers a peaceful pace. Gradually she convinces the ants to slow down and change to a less reckless way of being. Ants…………………….The Company Cicada………………….Abbey Roesner Scene 12: The Forest and the Woodcutter (Jean de La Fontaine) A woodcutter promises no harm and then wields his axe. Trees……………………The Company Woodcutter…………....Cristian Laverde König Scene 13: Butterfly Dreams (Chuang Tzu) The Chinese Daoist fable shows that man and butterfly are connected as one and the same being, sharing nature. Butterflies………..........Masayo Yamaguchi and The Company Woman…………….......Abbey Roesner This performance will be presented without an intermission. Fables on Global Warming was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding provided by Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign, through its Advancing the Incubation and Development of New Work in Dance initiative funded by The Andrew W. Mellon Foundation; and by the Doris Duke Charitable Foundation. Additional funding provided by the MetLife Foundation, the National Endowment for the Arts, musical score commission by the Charles and Joan Gross Family Foundation. The development of Fables on Global Warming was made possible through additional artistic residencies provided by MANA Contemporary, in Jersey City, New Jersey; the Chinati Foundation, Marfa, Texas; and the McCormick Endowed Visiting Artist-Scholar Residency, Skidmore College, Saratoga Springs, New York.

P R O G R A M N OT E S A Note from the Director “In the debate over slavery, the law and morality were not aligned. Today we face a similar situation regarding climate change. The law and morality are not aligned.” - Wes Jackson, MacArthur Fellowship Recipient and President of the Land Institute, named one of Life Magazine’s “most important Americans of the 20th Century” Fables On Global Warming is a ‘performance art ballet’ that blends science with art to create a fresh, entertaining work for the stage on theme of climate change. Ancient fables were written for the children of the ruling class instructing them on the wise use of power. They are rich in metaphors relating to ecology. All take place in the natural world and are told through the eyes of animals. Rather than focus on doom and gloom or on science lessons, Fables shows the deep emotional bond of man to nature. Ten animal stories are brought to life through music and dance. Some of the original stories have been slightly modified to fit the global warming theme. Fables by Aesop and de la Fontaine are interwoven with stories from China and Native America. A troubadour band of extinct North American animals, The Passenger Pigeon, The Carolina Parakeet and The Big Thicket Hog Nosed Skunk narrate the fables through witty lyrics in a contemporary vernacular by Composer/Lyricist Corey Dargel. Dancers morph from animal to animal bringing the stories to life though movement and with charming props and puppets designed by Doug Fitch. The three musicians wander through the tales as spirit guides, observing the scene, powerless to change the course of events. The audience is taken on a journey that begins in outer space where the sun wants to take a wife, and then comes down to earth, moving through scenes of drought, humor, peril, and revelation. Morals that have endured for a thousand years emerge throughout the ballet as a menagerie of lions, ants, hares, bulls, bears, and frogs within a living forest enact the tales. With metaphors relating to climate change, the audience is offered a vision of how we can change our current course and create an enduring bond with nature. - Karole Armitage 2013

A Note from the Carolina Parakeet When I was young, I had pride and the feathers on my back were like spring willows. I flew with butterflies and eagles and now am old, old by a hundred years and wearied out. I ranged across half the United States - north to Illinois, east to New York, south to the Gulf Coast and west to Kansas. We lived together in flocks, in areas of timbered streams, our luminous plumage of green, yellow and red, flashing in the trees. At morning light we chattered noisily in treetops, then suddenly swooping up and out, we fed on the natural abundance of the land. We ate seeds and berries, pawpaws, wild grapes, pecans and leaf buds. Our favorite food though, was the cocklebur. We loafed the afternoon away, preening our long tails, then ate and retired for the night. In 1840 Audubon wrote “our Parakeets are very rapidly diminishing in number, where once they were plentiful, scarcely any are now to be seen…” The last of our species died on February 21, 1918 in the Cincinnati zoo. I speak to the moon in this shadow. Oh, what am I to do! The sorrow of the heart is a spreading of quick fires.

A Note from the Passenger Pigeon My eyes are no longer the color on distant mountains. I wander, a poor daft shadow. Once we numbered more then 5 billion birds. We flew in vast congregations, moving like a rolling waterfall. We would darken the sky for days, a single flock passing by. Our throats shimmered with a metallic rainbow

of purple, yellow and green. Henry David Thoreau called us “dry slate color, like weather stained wood, a path between the sky and the earth.” We ate berries and grasshoppers, snails, worms and seeds. In courtship, our males jealously guarded us and voiced anger at the approach of a rival. Our males brought us twigs, one at a time, with much cooing and touching. We laid three eggs, one after the next on the same day and incubated them for 13 days. Netters used live stool pigeons to attract us. Caught in huge nets, frightened beyond any power to describe it, we would push our necks through the holes getting stuck. Walking across the undulating mass, they broke our necks and skulls. When their hands were exhausted, they would kill us by biting off our heads. Finally the market was glutted; the price dropped; millions of us were left to rot on the ground. I too, died in the Cincinnati zoo. After my death in 1914, my remains were shipped to the Smithsonian Museum. I became the first 3D image on their website. I dreamed a strange dream. How deep my longing to return!

LY R I C S All lyrics and music by Corey Dargel | © 2012-13 Automatic Heartbreak (ASCAP) 01-THE MARRIAGE OF THE SUN The sun decides that he is lonely Making everyone’s day but his own He decides to take himself a wife Perhaps another star Someone to brighten his own life The birds and the bees Are filled with delight They know how these things go “Now every day “Will be twice as bright “We must let everyone know” So naturally they made a beeline As they sang “Let it be known Now two suns will shine Where once only one sun had shone” No more rains, no more fogs All rejoiced except the frogs Who thought, “One sun is bad enough “We’ve had enough “So we shall take a harsh stand “Two suns will dry up our marshland Our world will come undone Under more than one sun Our world will come undone Under more than one sun” 02-THE TORTOISE AND THE HARE [no lyrics] 03-THE MEASURE-WORM ROCK The air is so dry No rain in years We can’t even cry We’ve run out of tears

The sun can be so unkind Does it think we don’t really mind Some say it does care The sun is aware Frankly I find that droubtful There has gathered a crowd To jump for the cloud First to jump is the mouse Poor mouse, don’t grouse Then came the rat But she was too fat Now the raccoon Shoots for the moon Well the wild boar, big and strong Gets it all wrong Finally the massive grizzly bear Takes to the air The meager measure-worm Climbs inch by inch Slow as ever Squirm by squirm Achieves the elusive endeavor Emotions overflow As it rains down below 04-THE SKUNK’S SONG I am a big thicket hog-nosed skunk And if I get sick it’s because I am drunk It’s the best way to cope With the absence of hope Here is Carolina Parakeet But alas she could not compete Listen to the Passenger Pigeon squeal Because none of us is really real Or to put it more succinctly We’re performing for you extinctly

And after the curtain closes Each of us decomposes So while we’re still here Why don’t we have another beer We can drink to the icebergs shrinking We can clink to the distinction Between my extinction And your extinction

Sweaty and smelly While you Eat all the grass And pass all your gas



A thirsty stag drinks from a pool And stares at his reflection in the water At first he brags about the length of his antlers And thinks no other stag could be hotter

We have lost our taste for acorns We’ve disgraced this place with car horns In our race to seize the unseized We have chased away the wild beast In our haste to please the displeased We have chased away the wild beast

But short-lived was the stag’s splendor For as he adjusted his position He saw his legs, weak and slender His confidence shifted to inhibition (A lion appears and chases the stag. The stag skillfully outruns the lion, until his antlers get caught in a tree. The lion catches him and eats him.) “Woe is me” He cries with his last breath “Woe is me” As he contemplates his own death “Why did I feel so ashamed My legs could’ve kept me alive But instead I shall be maimed Well, at least my antlers At least my antlers shall survive” 06-THE ANT AND THE CHRYSALIS Look at this poor Chrysalis Imprisoned in his shell He isn’t feeling well, is he Well we are very busy very busy very busy And we will not abide the infraction Of this stupid pupa’s lack of action 07-THE ANTS AND THE DOVE [no lyrics] 08-THE GNAT AND THE BULL GNAT: You are moving so slow now Do you mind if I go now BULL: Well, I didn’t even notice you were here And I don’t give a damn if you disappear But if you insist that I should greet you Be forewarned: I might just eat you 09-THE BELLY AND ITS MEMBERS Stupid stomach Dopey drowsy belly Getting in our way We work all day

Why don’t you just leave us alone We will survive on our own

Animal skins have gone out of fashion So begins the dawn of dispassion Of fluorescent costumes and glitter Of excessive exhaust fumes and Twitter We subsist on our lack of contentment So we exist in a realm of resentment We have lost our taste for acorns 11-THE CICADA AND THE ANTS CICADA: When spring comes around I emerge from underground To make my mating sound My song of sexual urge But with the temperature rising every year The season of spring will soon disappear When I really wanna copulate When I really wanna procreate Maybe it’ll help if I strike a pose even more and more proudly Maybe if I sing the notes Even more and more loudly ANTS: We ants cannot concentrate Your cicada song is too loud and too late Why don’t you quiet down, do a little dance And give up on romance Your species really has no chance We bid you farewell, adieu, so long And we trust that you will be quitting Quitting your ear-splitting song Then at last we won’t be distracted by you There is always so much work we must do 12-THE FOREST AND THE WOODCUTTER WOODCUTTER: This axe I wield is broken Good news for you A woodcutter disarmed Means you won’t be harmed

But may I ask for a token from you A broken branch or two Then I’ll go elsewhere I swear, I swear “Ha!” Well that would be nice But here’s some advice Never turn your backs On a man with an axe SKUNK: An axe-man actually sees The forest for the trees Until the forest isn’t there Until there’s no more breathable air No more shade from the sun Oh, if only trees could run Forgive me my disgust At this deceit and abuse of trust Forgive me my fervent passion But why must everything unjust Seem to always be in fashion

13-BUTTERFLY DREAMS In your nightly human dream You are a butterfly Who never wonders why She is a butterfly Then this beam Of sunlight hits your face And you awake back in place Back in the human race But the butterfly, as she slept Also dreamed, she dreamed that she was you She knew exactly who She was passing through You hugged your pillow and wept On behalf of the butterfly ‘Cause butterflies cannot cry They barely live, then they die Before you come completely undone Remember nature and you are one And when you dream about anything that lives and dies It dreams of you likewise When you dream about anything that lives and dies It dreams of you likewise

A B O U T T H E C O M PA N Y Over the past 30 years, Karole Armitage and her dancers have shaped the evolution of contemporary dance through the creation and performance of new works. The most recent incarnation of the company, Armitage Gone! Dance, was launched in 2004 when Karole Armitage returned to the U.S. after 15 years of working abroad. Dedicated to redefining the boundaries and perception of contemporary dance, the company extends the mandate of innovation that characterizes both her earlier Armitage Ballet, founded in 1985, and her first full time company, Armitage Gone!, founded in 1979. AG!D is well known for its collaborations with innovators in music, science, and the visual arts. The company regularly performs to live music and has commissioned numerous scores since its 2004 debut. Known for their free spirited panache, Armitage Gone! Dancers bring unique flavors and strong personality to the stage.

ARTIST BIOGRAPHIES Karole Armitage (Choreographer) is the Artistic Director of the New York-based Armitage Gone! Dance Company founded in 2004. She was rigorously trained in classical ballet and began her professional career as a member of the Ballet du Grand Théâtre de Genève, Switzerland (1973-1975), a company devoted exclusively to the repertory of George Balanchine. In 1976, she was invited to join Merce Cunningham’s company, where she remained for five years, (1975-1981) performing leading roles in Cunningham’s landmark works. Through her unique and acute knowledge of the aesthetic values of Balanchine and Cunningham, Armitage has created her own “voice” in the dichotomy of classical and modern dance, and is seen by some critics as the true choreographic heir to the two masters of 20th century American dance. Known as the “punk ballerina,” Armitage created her first piece in 1978, followed by the iconic DrasticClassicism in 1981. Throughout the 80s, she led her own New York-based dance company, The Armitage Ballet. Commissions from the Paris Opera Ballet and American Ballet Theatre led to choreographic commissions in Europe throughout the 80s, 90s and into the early 2000s. She set new works on companies including the Bolshoi Ballet in Moscow, the Ballet de Monte Carlo, Lyon Opera Ballet, Ballet Nacional de Cuba, The Washington Ballet, Alvin Ailey American Dance Theater, The Kansas City Ballet, The Greek National Company, The Bern Ballet and Rambert Dance Company. Armitage served as director of the 45-member Ballet of Florence Italy (1996–2000), the Biennale of Contemporary Dance in Venice (2004), and

as resident choreographer for the Ballet de Lorraine in France (2000–2004). After her company’s successful season at the Joyce in 2004, Armitage’s focus shifted to creating her New York-based company, Armitage Gone! Dance. Armitage is renowned for pushing the boundaries to create contemporary works that blend dance, music and art. She is inspired by disparate, non-narrative sources, from 20th century physics, to 16th century Florentine fashion, to pop culture and new media. In her hands, the classic vocabulary is given a needed shock to its system, with speed, fractured lines, abstractions and symmetry countermanded by asymmetry. Music is her script and she has collaborated with contemporary and experimentalist composers such as Rhys Chatham, Vijay Iyer, Lukas Ligeti and John Luther Adams. The scores can be marked by extreme lyricism as well as dissonance, noise and polyrhythms. The sets and costumes for her works are often designed by leading artists in the contemporary art world, including Jeff Koons, David Salle, Phillip Taaffe and Brice Marden. Armitage’s work is at once both esoteric and the popular. Having choreographed two Broadway productions (Passing Strange and Hair, which garnered her a tony® nomination), videos for Madonna and Michael Jackson, several Merchant-Ivory films and Cirque du Soleil’s 2012 tent show, Amaluna. In 2009, she was awarded France’s most prestigious award, Commandeur dans l’orde des Arts et des Lettres. She is the 2012 recipient of the prestigious artist-in-residence grant at the Chinati Foundation, founded by artist Donald Judd in Marfa, Texas. She has directed operas from the baroque and contemporary repertoire for prestigious houses of Europe, including Teatro di San Carlo in Naples, Théâtre du Châtelet in Paris, the Lyric Opera in Athens, Het Muzik Theater in Amsterdam. She choreographed The Cunning Little Vixen in 2011 and A Dancer’s Dream in 2013 for the New York Philharmonic and provided choreography for Marie Antoinette, by playwright David Adjmi, at the American Repertory Theater Harvard and Yale Repertory Theater. Her work has been the subject of 2 documentaries made for television: The South Bank Show (1985), directed by David Hinton and Wild Ballerina (1988), directed by Mark Kidel. Armitage is the recipient of a Guggenheim Fellowship and was awarded an Honorary Doctorate of the Arts from the University of Kansas in 2013. Corey Dargel (Composer/Lyricist) is a Texas-born composer and singer-songwriter whom the New YorkTimes calls “one of the more original and consistently provocative artists pushing at the margins of modern classical music and adventurous pop” and whom Minnesota Public Radio describes as “a wonderfully difficult artist to define.” Dargel has shared the stage with artists ranging from Owen Pallett and Joanna Newsom to the Brooklyn Philharmonic Symphony Orchestra, the string quartet ETHEL, and the electric guitar quartet Dither. His latest commercial album is Someone Will Take Care of Me (New Amsterdam Records, 2010). Doug Fitch (Visual Director) is a visual artist, director and designer and the artistic director of the company Giants Are Small. He first collaborated with Karole Armitage on a production of The Cunning Little Vixen for the New York Philharmonic, which he designed and directed. His much acclaimed production of Le Grand Macabre, which featured a live-filmed, projected miniature theatre, was also produced for the New York Philharmonic by Giants Are Small. His other works include A Soldier’s Tale with Pinchas Zukerman and F. Murray Abraham, and Peter and the Wolf at the Los Angeles Philharmonic. His other projects include Elliot Carter’s opera, What Next? conducted by James Levine; Hansel and Gretel for Los Angeles Opera; and Das Rheingold for the Royal Stockholm Philharmonic Orchestra. Dr. John Harte (Science Advisor) holds a joint professorship in the Energy and Resources Group and the Ecosystem Sciences Division of the College of Natural Resources at the University of California at Berkeley. He received a BA in physics from Harvard University in 1961 and a PhD in theoretical physics from the University of Wisconsin in 1965. He was an NSF Postdoctoral Fellow at CERN in Geneva, Switzerland, during 1965-1966 and a Postdoctoral Fellow at the University of California’s Lawrence Berkeley Laboratory from 1966-1968. During the next five years, he was an assistant professor of physics at Yale University and has been at Berkeley since 1973. Harte’s research focuses on the effects of human actions on, and the linkages among, biodiversity, ecosystem structure and function, and climate. One goal of his research is to understand the extent to which ecosystem responses to climate change may result in feedbacks to climate that can either ameliorate or exacerbate global warming. An overarching goal of his research is to understand the interdependence of human well-being and the health of ecosystems. He has served on six National Academy of Sciences committees and is the author of more than 170 scientific publications, including six books, on topics including biodiversity, climate change, biogeochemisty, and energy and water resources. Katharina Otto-Bernstein (Dramaturge) is an award winning writer, film director, and producer, who received both her BA and MFA in film from Columbia University. Her work has been shown at film festivals around the world and is known for its dynamic storytelling, with a focus on the individual in society. Her

international releases include the acclaimed Absolute Wilson, chronicling the life and times of leading avantgarde theatre artist Robert Wilson; Beautopia; The Need for Speed; and The Second Greatest Story Ever Told starring Mira Sorvino and Malcolm McDowell. In addition, Otto-Bernstein is the author of the Robert Wilson memoir Absolute Wilson: The Biography and The International Fable Collection (working title), which features fables for children through the ages from around the globe. In 2009, she was the recipient of the prestigious Columbia University Alumni Medal. Peter Speliopoulos (Costume Design) began his collaboration with Karole Armitage designing costumes for the Athens Opera production of Aristophanes’ The Birds, in the summer of 2000. Since then, he has created the costumes for numerous Armitage ballets and operas in the US and Europe including design for Ballet de Lorraine, Nancy, France; Rambert Dance Company, London; Alvin Ailey American Dance Theater and Armitage Armitage Gone! Dance, New York. His design for Armitage operas include Bartok’s Bluebeard’s Castle (Opera de Lorraine, Nancy, France), Gluck’s Orfeo ed Euridice (Teatro di San Carlo, Naples, Italy) and Rameau’s Pygmalion (Theatre du Chatelet, Paris). He has serve as Creative Director of Cerruti Arte, Paris (1997-2002), and Senior Design Director of Donna Karan (1993-1997), and has directed design for Carolyne Roehm, Joseph Abboud and Gloria Sachs. In 2002, Peter Speliopoulos returned to New York to take the positon of Vice President of Design and Design Director of Donna Karan New York, which he currently holds. Peter is a native of Springfield, MA and received his BFA from the Parsons School of Design in 1982. Clifton Taylor (Lighting Designer) has created lighting, projection, and scenic designs for theatre, dance, and opera companies around the world. He is a longtime collaborator with Karole Armitage. His Broadway credits include Jay Johnson: The Two and Only (Ovation Award and Los Angeles Drama Critics Circle Award nomination) and Frozen (Lortel Award nomination). His designs for dance have been commissioned for Alvin Ailey, the American BalletTheatre, the San Francisco Ballet, the Scottish Ballet, Les Grands Ballets Canadiens de Montréal, Ballet de Lorraine (Nancy, France), Ballet Jazz de Montréal, Maggia della Danza (Florence, Italy), Sardono Dance Théâtre (Indonesia), and the Ballet Company of Rio de Janeiro. In addition, he is the resident designer for Philadanco and Elisa Monte Dance, and has designed extensively for Lar Lubovitch, Ron K. Brown, and Larry Keigwin. His other recent collaborators include Camille A. Brown, Benoit-Swan Pouffer (Cedar Lake), Jarek Cemerek, Pascal Rioult, and Septime Webre. His extensive work in opera includes several projects with the Tanglewood Music Center, the Gotham Chamber Opera, the Juilliard School, the New York Philharmonic, Chile’s Teatro del Lago, and the Opéra National de Lorraine (Théâtre du Chätelet in Paris). Taylor was educated at New York University’s Tisch School of the Arts and resides in New York City with his family. Jen Baker (Trombonist) is a New York City based trombonist who champions new music, often featuring multimedia aspects. As a soloist, she has appeared at festivals around the world as both a performer and masterclass teacher. Jen has premiered numerous solo and chamber works, including her self-composed First Nation’s Ley, Concerto for Multiphonic Trombone, in San Francisco. As a founding member of Bang on a Can’s Asphalt Orchestra and the musical theatre work Beowulf, she has toured nationally and internationally. She also has performed with TILT Brass, S.E.M Ensemble, sfSound, the Fort Wayne Philharmonic Orchestra, and she has worked with a variety of artists, including Yoko Ono, Fred Frith, Pauline Oliveros, Susan Marshall, and the Merce Cunningham Dance Company. She is featured on the soundtrack to Werner Herzog’s Oscarnominated documentary film Encounters at the End of the World and can also be heard on Blue Dreams, an album of her own solo multiphonic compositions. Ahmaud Culver (Dancer) received his BFA in dance at the California Institute of the Arts. Since leaving CalArts, he has worked with Pasadena Dance Theatre, Helios Dance Theater, Rock School for Dance Education, and the Eglevsky Ballet. Culver was the principal dancer for The Glory of Christmas at the Crystal Cathedral in Garden Grove, California. He lives in New York where he has just finished his third year with the international touring company Nejla Yasemin Yatkin Dance (NY2Dance). This is his second season with Armitage Gone! Dance. Margaret Lancaster (Flutist) has built a large repertoire of new works composed for her. Her performance highlights include Lincoln Center Festival, Spoleto Festival USA, the Ibsen Festival, Santa Fe New Music, Whitney Museum of American Art, the Edinburgh Festival, Tap City dance festival, and Festival D’Automne in Paris. She has recorded on New World Records, OO Discs Records, Innova, Naxos, and Tzadik, and was selected for Meet the nComposer’s New Works for Soloist Champions project. Noted for her interdisciplinary performances, Lancaster, who also works as an actor, choreographer, dancer, and amateur furniture designer, presents solo and chamber music concerts worldwide and acts in the Obie Award-winning Mabou Mines Dollhouse. Cristian Laverde König (Dancer) was born in Cali, Colombia, and received his professional training at the Instituto Colombiano de Ballet (Incolballet) and the Escuela Nacional de Ballet de Cuba with a full scholarship. He has been a soloist for the Ballet Nacional de Cuba, Ballet de Cali, the Hartford City Ballet, and Ballet

Internationale, and he has served as principal dancer for the Maximum Dance Company, the Milwaukee Ballet, and the Slovak National Ballet. König’s repertoire includes principal roles in classical ballets such as Basilio in Don Quixote, Franz in Coppélia, Siegfried in Swan Lake, and the grand pas de deux in Le Corsaire. He also has performed works by world-renowned choreographers such as George Balanchine, Twyla Tharp, and Martha Graham. He originated principal roles in works by choreographers such as Maurice Causey, Lila York, Petr Zahradnicek, Ivo van Zwieten, Paolo Mohovich, and Jean Christophe Blavier. König has been the recipient of various prestigious national and international awards and currently resides in New York City. This is his second season with Armitage Gone! Dance. Daniel LaMont Moore (Dancer) was born in Washington, DC, where he began his dance training at the age of 14 with the Northeast Performing Arts Outreach Youth Center. He attended Suitland High School for the Visual and Performing Arts, where he studied under Linda Darr, Barbara Marks, and also had the opportunity to work with renowned actress Debbie Allan. Moore majored in ballet performance at the University of the Arts and studied under Douglas Becker, formerly of the Frankfurt Ballet. There he performed in In the Middle Somewhat Elevated by William Forsythe. He has been awarded scholarships from the Debbie Allen Dance Academy, Dance Theatre of Harlem, the John F. Kennedy Center for the Performing Arts, the Dance Institute of Washington, and Earl Mosley’s Institute of the Arts. He has been a guest dancer for the Pennsylvania Ballet and has worked with Zane Booker, Fabian Barnes, Arthur Mitchell, and Earl Mosley. Moore’s most recent television credits include the Ovation network series A Chance to Dance, produced by Nigel and Simon Lythgoe. This is his second season with Armitage Gone! Dance. Lourdes Rodriguez (Dancer), a native of Havana, Cuba, began her training in the US at the Miami Conservatory. Rodriguez attended New World School of the Arts College, where she trained in ballet, as well as techniques developed by Horton, Graham, and Limón. She furthered her training at the North Carolina Dance Theatre under the direction of Jean-Pierre Bonnefoux and Patricia McBride, where she performed in George Balanchine’s Raymonda Variations and Serenade. Rodriguez also has danced with the Staten Island Ballet and the Dance Théâtre of Harlem Ensemble. Lourdes previously performed with Armitage Gone! Dance in 2011; this is her second season as a company member. Abbey Roesner (Dancer), born in Baltimore, Maryland, began her dance training at the Baltimore School for the Arts. She attended the school’s TWIGS program (to work in gaining skills) then attended BSA as a fulltime high school student. After graduating second in her class, Abbey continued her studies at the Juilliard School, where she earned her BFA in 2006. Abbey started her professional career freelancing in New York City, dancing for companies such as the Metropolitan Opera Ballet and the Chamber Dance Project and for choreographers such as Wally Cardona and Davis Robertson. In 2007, she left the United States to join Les Grands Ballets Canadiens de Montréal. There, she danced in works by Ohad Naharin, Stijn Celis, George Balanchine, and Fernand Nault, while touring throughout Canada and Europe. She joined Armitage Gone! Dance in 2008 and continues to be inspired by her fellow company members and their work. In addition to her work with Armitage Gone! Dance, Abbey has had the pleasure of working at Dance Theatre of Harlem with Francesca Harper and Harlem Dance Works 2.0. She has also danced with Julia Gleich and Norte Maar, and in collaboration with director Robert Woodruff and choreographer Brook Notary. Abbey assists with teaching and recruitment for Elliot Feld’s Ballet Tech School, and she has a passion for knitting and photography. This is Abbey’s sixth season with Armitage Gone! Dance. Emily Wagner (Dancer) trained with scholarships at the Flint Youth Ballet, Virginia School of the Arts, and the American Ballet Theatre School. Her most influential training came from Sabrina Pillars, her friend and mentor from the New York City Ballet. Wagner has performed nationally and internationally with companies including Ballet Austin, the Eglevsky Ballet, Ballet Noir, the Terra Firma Dance Theatre, the International Ballet Theatre, and BalletX in Philadelphia. In 2005, she performed Peter Breuer’s Bolero in Salzburg, Austria, with the Salzburg Ballet, and from 2005 to 2007, she danced as a soloist with the Movement Network of Amsterdam in the Netherlands. While in Europe, she also received an International Pilates Certification with Body Arts and Sciences International. In addition to regularly freelancing in New York City, Wagner dances as a tango artist with the New Generation Dance Company and is a guest artist with the Pennsylvania Ballet. Wagner also has modeled for Sansha Dancewear and KD Dance and is very happy to be dancing with the company. This is Emily’s fifth season with Armitage Gone! Dance. Masayo Yamaguchi (Dancer) was born in Nagano, Japan. She started ballet training with Tamae Tsukada. She has performed in Austria, Hungary, Slovakia, and Japan. In 1998, she performed the pas de trios in Swan Lake as part of Leningrad Ballet’s tour in Nagano. She studied and graduated with a BFA in dance education from the University of Central Oklahoma. She was a member of Kaleidoscope Dance Company and received the Kaleidoscope Dance Award at UCO in 2003. She moved to New York City in 2003 as a member of the Faune Dance Troupe. She performed with Armitage Gone! Dance as a guest dancer at the Duke on 42nd Street theatre in 2005, at the Joyce Theater in 2007, and at Lincoln Center Out of Doors in 2008. This is Masayo’s sixth season with Armitage Gone! Dance.

Acknowledgements - Armitage Gone! Dance SPECIAL THANKS Special thanks to Rob Weiner, Marella Consolini and the Chinati Foundation; to Paul Calhoun, Deborah Fernandez and the McCormick Endowed Visiting Artist-Scholar Residency team; Mike Ross, Tammey Kikta, Terri Ciofalo, Anne De Velder, Binky Donely, Elina Kotlyar, Sara Boland-Taylor, Doris Dahl and their teams at The Krannert Center. And to the speedy New York costume team of Jon Can Coskunses, John Baird, Erik Bergrin, Kim Buetzow, Jeffrey Fender, Sam Hill and Jeffrey Wirsling. Special thanks to Peter Speliopoulos and Jean Paul Gaultier for their designs. And a special thanks to Courtney Reillly and her team who created such interesting opportunities for the Fables project and the Wilmington community. FUNDING CREDITS Armitage Gone! Dance wishes to express our sincere appreciation and gratitude to the following organizations for their generous support. The Gladys Krieble Delmas Foundation The Charles and Joan Gross Family Foundation The Harkness Foundation for Dance The Herman Liebmann Foundation Lighton Fund of the Greater Kansas City Community Foundation. LLWW Foundation Richard J. Massey Foundation for Arts and Sciences National Endowment for the Arts New England Foundation for the Arts New York City Department of Cultural Affairs Jerome Robbins Foundation The Fan Fox & Leslie R. Samuels Foundation The McCormick Endowed Visiting Artist-Scholar Residency Shubert Foundation Robert L. Turner Charitable Trust Board of Directors David Salle, chairman Lorinda Ash Ashley Bouder Dominique LĂŠvy Richard Massey Donald Rosenfeld Peter Speliopoulos Giovanni Spinelli Robert L. Turner Charles Antoine van Campenhout Alexa Isbell Wolman Armitage Gone! Dance appears by arrangement with: Pamela Green PMG Arts Management 3806 Chippenham Rd. | Durham, NC 27705 919/564-5296 THE ARMITAGE FOUNDATION Armitage Gone! Dance and the Armitage Foundation 9 N. Moore St. #4 | New York, NY 10013 Artistic Director: Karole Armitage General Manager: Phil Chan Company Manager: Jessica V. Cabrera Fiscal Manager: Lucy Mallet Stage Manager: Dathan Manning Lighting Supervisor: Joe Doran

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Norman Bemelmans & Elizabeth Loparits 09.05.13

RAY CHEN, violin 09.19.13

Photos of Voyeur by Bridgman|Packer, Fables on Global Warming by ARMITAGE GONE! DANCE, and Béla Fleck & Abigail Washburn

OCEAN CALLING "Ingenious...magical, and fascinating" New York Times on Bridgman|Packer

by Meira Warshauer 10.24.13

ARMITAGE GONE! DANCE Fables on Global Warming 10.26.13


Shih-Hui Chen | David Kechley | Meira Warshauer 02.13.14


Norman Bemelmans & Elizabeth Loparits 02.13.14 “Fiercely pure….[Karole] Armitage follows a path cleared by George Balanchine.” Village Voice

BRIDGMAN | PACKER Voyeur & Under the Skin 03.14.14 - 03.15.14


Tickets & information at the Kenan Auditorium Box Office

910.962.3500 | 800.732.3643 “...a daring, definite talent.” The Wall Street Journal on Abigail Washburn

Armitage Gone! Dance and Bridgman|Packer residencies made possible by New England Foundation for the Arts’ National Dance Project, with funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. Armitage Gone! Dance is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the North Carolina Arts Council.

university of north carolina wilmington | office of cultural arts | 601 South College Rd. Wilmington, NC | 910.962.3500

Program: Fables on Global Warming by Armitage Gone! Dance