ART FOR CURIOUS MINDS
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Kenny Raskin’74 Brings the Funny Back to Brandeis
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Into the LIGHT IN NEW ENGLAND, WE ALL EAGERLY AWAIT THE SURE SIGNS OF spring, and at Brandeis those include the Leonard Bernstein Festival of the Creative Arts (April 23-26). From its inception in 1952 under the leadership of Leonard Bernstein, the Festival has helped define the arts at Brandeis. At Brandeis we value artistic practice as well as artistic scholarship, and in both domains we set our sights high. Where other educational institutions might treat the arts as supplements to the curriculum, tucked away in separate programs or schools, our university has always embraced the arts as an integral part of a liberal arts education. The arts at Brandeis are a vibrant mode of scholarly inquiry and a valued path to knowledge and understanding. We recognize that the arts can engage and inspire our entire community of students, faculty, staff and alumni. I speak here from personal experience. As a student at Wellesley College, I embarked on a path that led to graduate studies and a career as an economist. But I also played cello in a quartet and making music has remained an important part of my life. Being a musician has taught me the need to listen carefully, the benefits of teamwork, the value of self-reflection, and the importance of taking risks – all lessons that continue to guide me professionally and personally.
It is the capacity of the arts to illuminate that ensures their enduring importance, at Brandeis and in society as a whole.
In sum, it is the capacity of the arts to illuminate—to illuminate in unique ways—that ensures their enduring importance, not only at Brandeis University, but in society as a whole.
MIKE LOVETT
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The venturesome spirit and lofty ambitions of that first Festival are evident in this issue of State of the Arts. You will read about Milcah Bassel, a 2011 graduate of our Fine Arts Department’s post-baccalaureate program, who returns to Brandeis as the spring artist-in-residence at the Hadassah-Brandeis Institute with an installation called “Father Tongue” that uses the Hebrew alphabet to explore questions of identity, language and authority. Music scholars discuss how Azerbaijani vocalist Fargana Qasimova, who visits Brandeis in March, is reimagining traditional Central Asian music. Also featured in this issue is an interview with Kenny Raskin ’74, whose talents as a physical comedian have taken him to Broadway, Hollywood, and the Cirque du Soleil, as well as countless stages in the U.S. and abroad. Raskin returns to campus with A Night on the Clowns, an evening of comedy, music and magic, conceived and directed by him, as part of this year’s Festival of the Creative Arts. You will also get a preview of other elements of this year’s Festival, the theme of which, inspired by the installation “Light of Reason” outside the Rose Art Museum, is LIGHT.
Lisa M. Lynch Provost and Senior Vice President for Academic Affairs and Maurice B. Hexter Professor of Social and Economic Policy
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contents Winter/Spring 2015 Volume 11, Number 2
State of the Arts is published twice a year by Brandeis University Office of the Arts.
2 theater
Editor Ingrid Schorr Art Director John Sizing www.jspublicationdesign.com Programs Assistant Charlie Madison ’15 Photography Mike Lovett
8 visual arts
Copy Editor Susan Pasternack Contributors Lisette Anzoategui Alyssa Avis ’07 Milcah Bassel, PB ’11 Cynthia Cohen Christine Dunant Judith Eissenberg Eric Grode Lisa M. Lynch Susan Metrican Deborah Rosenstein Caitlin Julia Rubin Robbie Steinberg David Weinstein
14 music
19 festivals Correspondence Office of the Arts MS 052 Brandeis University PO Box 549110 Waltham, MA 02454-9110 www.brandeis.edu/arts
20 artifacts
cover photo illustration: john weber
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SEND IN THE C Kenny Raskin ’74 brings the funny back to Brandeis
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he first vaudeville show in the United States, surprisingly, took place in buttoned-up Boston, in 1840. That particular lineup was not recorded, but a typical vaudeville roster included the “exotic” (Turkish dancers!), the “amazing” (plate spinners!) and the “exciting” (contortionists! tumblers!). Vaudeville was the most popular entertainment of the day, with an act for every taste. The performances were exhilaratingly physical, and every show included a clown: the master of sweetness and the everyday. Even Fred Astaire humbled himself by dancing in a lobster costume.
Amy Gee
Television’s cool glow eventually replaced the sweaty, raucous music hall, but vaudeville clowns such as Jackie Gleason still ruled the airwaves through the 1950s and 1960s. Today, physical comedy virtuosos like Jackie Chan and Jim Carrey can green-light a major motion picture. And contemporary clowns are enjoying a performance renaissance in cabarets and festivals across Europe. Among the most beloved of the new vaudevillians is Kenny Raskin ’74, a onetime American Studies major who followed the laughs to a 13-year run on Broadway in “Beauty and the Beast.” Raskin returns to Brandeis for the Festival of the Creative Arts along with a cast of accomplished physical comedians: Randy Judkins, Amy Gee, Kevin Brooking, and co-starring
Randy Judkins Amy Gee Kevin Brooking Waldo & Woodhead Randy Judkins
Waldo & Woodhead
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E CLOWNS by INGRID SCHORR, acting director, office of the arts
Waldo & Woodhead. A splendid time is guaranteed for all!
State of the Arts: How did an American studies major at Brandeis end up creating the role of Lefou in “Beauty and the Beast” on Broadway? Raskin: I took a couple of undergraduate acting classes at Brandeis and performed in a comedy called “Crawling Arnold,” by Jules Feiffer, directed by Michael Allosso ’74 (still a director, and a good friend of mine). I played 35-year-old Arnold, who, to make his parents mad, reverts back to acting like a child. I also did a play called “Gods,” about Egypt back in the days of the Pharaohs. I just remember walking around in a skirt. … After graduation, I moved to Atlanta and got involved with a company called the Academy Theater. I did a lot of physical theater with this community of people whom I really liked, developing new work as opposed to just doing traditional plays. I heard that Cirque du Soleil was thinking of coming to Atlanta. So I called them, told them that I was well connected in the Atlanta arts community, and that I might be able to help them find a place to put the tent. All I was really interested in at the time was getting comps for my wife and me to the opening-night show. I mentioned that I was a clown, however, and they asked me to send a tape of my work. About a year later they called and asked me to join them in Las Vegas. When I got the call to audition for Lefou in “Beauty and the Beast,” I was still in Las Vegas performing as the lead clown in Cirque’s show “Nouvelle Experience,” at the Mirage Hotel. So I watched the
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Disney cartoon and realized that Lefou is a bit dimwitted, but in a lovable way. He is the loyal sidekick to Gaston. Like every sidekick, he is completely in service of the guy that he is supporting. My goal was to be as in love with and admiring of Gaston as possible. I was always right on his heels, and thus often running into an errant fist or elbow. I took 20 pratfalls a night in that show. That’s 20,000 pratfalls over the course of my 13-year run!
Besides pratfalls, what are your performer superpowers? As a silent character comedian, I am able to bring the audience into my unusual world. They buy into premises and ideas that in the real world they might think are silly. When I teach clowning, I teach students to stay away from their ideas but instead pay attention to what’s in front of them — to allow accidents to happen, to surprise themselves. Rowan Atkinson — Mr. Bean — he is the kind of clown I admire, someone who is not too aware of the world but is always trying to do his best. I’m not drawn to being clever. My take is solving problems by getting into dilemmas and getting myself out of them. Bumping into obstacles. That’s the basis of clowning.
How did you entertain yourself as a kid? My house had a narrow hallway, and I would climb the walls, one foot on each side, and climb to the ceiling. That was fun! And on the beach — I grew up during the summers on Tybee Island, off the Georgia coast — my older cousin would put me on his shoulders and I would dive and do flips. I was always the little one whom people could throw around.
>
From Ancient Egypt to Hollywood, Clowns Have Entertained Us for Centuries
Circa 2270 B.C. A nine-year-old Egyptian Pharaoh heralds the first recorded appearance of a clown as “a divine spirit, to rejoice and delight the heart.” Circa 600 B.C. Greek theater festivals feature clowns, who portray soldiers, fools, witches, slaves and gods. 1545 The first commedia dell’arte company, featuring improvised dialogue and colorful stock characters, forms in Padua, Italy. Early 1800s British pantomime star Joseph Grimaldi’s whiteface makeup becomes the standard for clowns, many of whom go by the name Joey in his honor. 1840 “Yankee Dan” Rice, considered the model for Uncle Sam, adds animal tricks and dancing to his repertoire. 1874 American vaudevillians James McIntyre and Tom Heath create the hobo/tramp clown character, who believes the world owes him a living. 1894-1954 At his peak of his long career, Charles Adrien Wettach aka the lovable simpleton Grock, the Swiss “king of clowns,” is the world’s highest-paid entertainer. 1906 Fred and Adele Astaire begin their vaudeville careers with “Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty.” 1950-present As vaudeville declines, variety shows rule the television airwaves. 1984 A group of Canadian street performers founds Cirque du Soleil, today the world’s largest theatrical producer. —Charlie Madison ’15 STATE OF THE ARTS | BRANDEIS UNIVERSITY
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Eddie Murphy
Modern-Day Clowns
Contemporary performers who embody the classic clown’s physical playfulness
Carol Burnett
Lucille Ball
Melissa McCarthy
Rowan Atkinson
Amy Poehler
Jackie Gleason
And what keeps you busy now? I spend about half my time teaching corporate communications. And every year I teach several classes in Arthur Holmberg’s theater course at Brandeis, working with the students on commedia dell’arte characters. I also play a lot of musical instruments: ukulele, guitar, banjo, mandolin, piano, recorder. I own 15 ukuleles, including a bass uke, which is the size of a small guitar. You may hear me play ukulele in “A Night on the Clowns.” When my son goes to college next year, I hope to go back to performing in Europe. There’s a form of entertainment there called variété — variety shows that run for a couple of months. Corporations in Europe also throw galas and hire producers to put on big Cirque du Soleil-style shows. It’s an art form that’s not as revered here, and I’m not sure why. We had a good run in the 1980s. Tastes change, I guess.
Raskin: “The kind of clown I admire is someone who is not too aware of the world but is always trying to do his best.”
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Tell us about “A Night on the Clowns.” What can we expect to see in April? It’s a throwback to vaudeville, to the idea of comedy that is first physical and visual
in nature, and second, verbal. There are six performers, including me. They are all performers that I’ve known and worked with for many years. Amy Gee is a delightful cabaret performer, a roller skater and comedienne who is very popular in Europe. Kevin Brooking is an American living in Brussels, and his clown act, “The Art of Accidents,” is known all over Europe. He was also my first clown partner. Randy Judkins, from Portland, Maine, is a wonderful character comedian. Waldo and Woodhead have performed comedic juggling around the world, and are hilarious. It’s an evening of music, magic and mirth — a fast-paced evening of physical comedy. And while there is nothing “inappropriate,” it’s really an evening for adults, young and old. So leave the kids at home, and bring your silly self! winter/spring 2015
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Susan Dibble
theater BRANDEIS THEATER
COMPANY The Brandeis Theater Company is a collaborative home to students, guest artists, faculty and staff in the Department of Theater Arts. Performances are held in the Spingold Theater Center. For the full BTC season, visit www.brandeis.edu/btc. Unless otherwise noted, tickets are $20; $15 for Brandeis community and seniors; $5 for students.
TWO DANCE STORIES Directed by Susan Dibble Jan. 30-Feb. 1 Mainstage Theater, Spingold Theater Center “Here, There and Everywhere” and “Stop All the Clocks,” inspired by the poetry of W.H. Auden, and created by choreographer Susan Dibble and an ensemble of professionals and students, will transport you to an unforgettable dream village. Made possible by the Brandeis Arts Council.
THE WAY OF WATER By Caridad Svich Directed by Robert Walsh March 12-15 Laurie Theater, Spingold Theater Center Explore the effects of the 2010 BP oil spill in the Gulf of Mexico through the lives of two couples fighting valiantly to survive in the aftermath of the crisis. Obie Award-winning playwright Caridad Svich has woven a subtle journey that effortlessly evokes the disaster and its subsequent impact. Featuring Meir “Mike” Alelov ’15, Jamie Semel ’17, Siddharth Mehra ’17 and Jacquelyn Drozdow ’15.
LEFT: © DEBRA GLASGOW / WWF DG RIGHT: MIKE LOVETT
LEONARD BERNSTEIN FESTIVAL OF THE CREATIVE ARTS SENIOR FESTIVAL
A NIGHT ON THE CLOWNS
April 21-26 Laurie Theater Theater Arts students Anne Chmiel, Alex Davis, Jade Garisch, Sophie Greenspan, Sarah Hines, Charlie Madison, Barbara Rugg, Julian Seltzer, Aliza Sotsky and Amanda Stern showcase their culminating projects, ranging from an original musical to a production of “No Exit.” Jesse Hinson MFA ’11, adviser. Supported by the Harold and Mimi Steinberg Charitable Trust. For complete schedule, visit brandeis.edu/btc. Free and open to the public.
Conceived and directed by Kenny Raskin ’74 April 24-25 Mainstage Theater With an infectious sense of play and in the spirit of the great vaudevillians, Kenny Raskin ’74 (Cirque du Soleil, “Beauty and the Beast”) presents an unforgettable program of comedy, music, magic and silliness, joined by some of the best physical comedians and variety artists working today: Randy Judkins, Amy Gee, Kevin Brooking, and Waldo and Woodhead. Free and open to the public. Advance tickets available through Brandeis Tickets by phone or at the box office (no Internet tickets for this production). Made possible by the Brandeis Arts Council.
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theater STUDENT THEATER CLUBS Brandeis undergraduates get into the act with the studentproduced season of the Undergraduate Theater Collective. UTC productions are held in the Shapiro Campus Center Theater unless otherwise noted. Contact Brandeis Tickets at 781-736-3400 or online at www.brandeis.edu/ tickets. For updated information on the UTC season, visit www.brandeis.edu/events/arts or call 781-736-5065.
“The 25th Annual Putnam County Spelling Bee”
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For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf March 5-8 By Ntozake Shange Co-produced by Brandeis Ensemble Theater and Brandeis Players
The 25th Annual Putnam County Spelling Bee March 19-22 Music and lyrics by William Finn, book by Rachel Sheinkin Conceived by Rebecca Feldman Produced by Tympanium Euphorium
Legally Blonde March 26-29 (no performance March 27) Music and lyrics by Laurence O’Keefe and Nell Benjamin, book by Heather Hach Based on the novel by Amanda Brown and
PERFORMING ARTS CLUBS Brandeis’ 40 performance clubs are as diverse as its student body, presenting everything from a cappella, improv and sketch comedy, to traditional and contemporary dance. This semester, club productions include “The Complete Works of William Shakespeare (Abridged),” “The Vagina Monologues” and a fundraiser for Broadway Cares: Equity Fights AIDS. For more information, visit www.brandeis.edu/clubs. Through the Intercultural Center, students present Culture X, an annual variety show that celebrates their diverse cultural traditions. For more information, call 781-736-8580. the Metro-Goldwyn-Mayer motion picture. Produced by Hillel Theater Group. EXPAND YOUR EXPERIENCE BRANDEIS.EDU/ARTS/EXTRAS
Festival of the Creative Arts
Boris’ Kitchen Semester Show April 24-25 What’s cooking? Original sketch comedy that skewers campus life, pop culture and the news most deliciously.
New Adjunct Faculty
PAGE 6 PHOTOS BY MIKE LOVETT. GITCHELL: © 2009 MARGINAL STREET STUDIO AND MICHAEL DWYER
Three consummate theater professionals join the department this semester, offering students new opportunities for discovery and innovation
Thomas Derrah: Improvisation. Well known for his 100-plus performances with the American Repertory Theater, Tommy has also appeared in many films, including “Mystic River.” At Brandeis, he has taught graduatelevel acting and recently acted in “Voltaire and Frederick” at the Mandel Center for the Humanities. winter/spring 2015
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Maura Tighe Gattuso: Acting for the Camera. Maura is a longtime Boston casting agent, specializing in commercials, television and films, including “Lemony Snicket’s A Series of Unfortunate Events” and “Queer Eye for the Straight Guy.” She has taught at Boston Arts Academy and Emerson College.
Andrew Gitchel: Stage Technology. Andrew loves theater’s rapidly cycling challenges. “You work your butt off to get a show up,” he told Yale’s alumni magazine. “Then four weeks later, you tear it apart, and you’re moving on.” The technical supervisor at Harvard’s New College Theater since 2007, Gitchel has an MFA from Yale University. STATE OF THE ARTS | BRANDEIS UNIVERSITY
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visual arts ROSE ART MUSEUM The Rose Art Museum is among the nation’s premier university museums dedicated to 20th- and 21st-century art. A center of cultural and intellectual life on campus, the museum serves as a living textbook for object-based learning, a resource for artists, and a catalyst for artistic expression, Helen Frankenthaler scholarly innovation, and the production of new knowledge through art.
PRETTY RAW: AFTER AND AROUND HELEN FRANKENTHALER Lois Foster Gallery Feb. 11-June 7 “Pretty Raw” takes the artist Helen Frankenthaler as a lens through which to refocus our vision of modernist art over the past 50 years. In this version, decoration, humor, femininity and masculinity, the everyday, pleasure, and authorial control take
center stage. This exhibition includes work by more than 40 artists from the 1950s through the present who find personal, social and political meaning in sheer, gorgeous materiality.
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About Helen Frankenthaler Helen Frankenthaler (1928-2011) has long been recognized as one of the great American artists of the 20th century. She brought together in her work — with prodigious inventiveness and singular beauty — a conception
WINTER/SPRING EXHIBITIONS Feb. 11-June 7 Opening reception, Tuesday, Feb. 10, 5-9 p.m.
Kathy Butterly, Flat World, 2014, Courtesy Tibor de Nagy Gallery and Shoshana Wayne Gallery.
of the canvas as both a formalized field and an arena for gestural drawing. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. In 1952, Frankenthaler created “Mountains and Sea,” a seminal, breakthrough painting
FRANKENTHALER: GORDON PARKS; BUTTERLY: ALAN WIENER
Selected artists: Helen Frankenthaler, Grace Hartigan, Al Leslie, Dwight Ripley, Marie Menken, Larry Rivers, Jane Freilicher, Morris Louis, Jules Olitski, Sam Gilliam, Friedl Dzubas, Frank Bowling, Ralph Humphrey, Miriam Schapiro, Lynda Benglis, Faith Wilding, Harmony Hammond, Robin Mitchell, Judy Chicago, Robert Kushner, Mary Beth Edelson, Andy Warhol, Christopher Wool, Mike Kelley, Carroll Dunham, Wolfgang Tillmans, Polly Apfelbaum, Marilyn Minter, Kara Walker, Janine Antoni, Kathy Butterly, Mark Bradford, Jackie Saccoccio, Carrie Moyer, Hildur Ásgeirsdóttir Jónsson, Laura Owens, Mary Weatherford, Sterling Ruby, Jacqueline Humphries, Mark Barrow and Sarah Parke, Ulrike Müller, Josh Faught. Curated by curator-at-large Katy Siegel.
Carrie Moyer, “Four Dreams in an Open Room ,” 2013, courtesy of the artist and CANADA LLC
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of American abstraction. She invented the “stain” painting technique by pouring thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. “Mountains and Sea” was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. Important works by Frankenthaler may be found in major museums worldwide. She was the recipient of numerous honorary
art history due to race and gender-based discrimination. Curated by Rose director Christopher Bedford, this exhibition focuses on abstract painting and sculpture by African-Americans, with an emphasis on work made in the 1970s.
ROSE PROJECTS 1C | PAINTING BLIND Lower Rose Gallery Feb. 11-June 7 “Painting Blind” brings together work by four artists — Willem de Kooning, Maria
assistant Caitlin Julia Rubin has collaborated with New York-based artist Jennie C. Jones to present a number of works from the collection. The exhibition will include a recent work by Jones, who will visit Brandeis in February as part of the ART | BLACKNESS | DIASPORA series funded by the Brandeis Arts Council and presented by the departments of Fine Arts and African and Afro-American Studies, and the Rose Art Museum.
Maria Lassnig, “Napoleon und Brigitt Bardot,” 1961
GILLIAM, FREDRIK NILSEN; LASSNIG, UMJ, N. LACKNER MARIA LASSNIG FOUNDATION; BASELITZ, JOCHEN LITTKEMANN
Sam Gilliam, “Wide Narrow,” 1972, Courtesy of David Kordansky Gallery, Los Angeles, CA
doctorates, citations and awards, including the National Medal of Arts in 2001; served on the National Council on the Arts of the National Endowment for the Arts from 1985 to 1992; and received an honorary degree from Brandeis in 1982.
NEW ACQUISITIONS Gerald S. and Sandra Fineberg Gallery Feb. 11-June 7 “New Acquisitions” gathers objects that have entered the Rose’s collection in the past 18 months. Major historical works by artists that include Howardena Pindell, Sam Gilliam and Melvin Edwards demonstrate the Rose’s commitment to diversifying its holdings in 20th-century painting and sculpture by acquiring important works by figures who until recently have been excluded from canonical accounts of
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Georg Baselitz, “Der Jäger,” 1966
Lassnig, Frank Auerbach and Georg Baselitz — who deliberately blur touch and vision, bodily experience and image. A small group of paintings, drawings, prints and sculptures reveals these artists rejecting the confines of categories such as abstraction and representation in order to feel their way to new possibilities in art in the postwar world. This exhibition, curated by curator-at-large Katy Siegel, is the final installment of Rose Projects 1, a series of three research-based exhibitions.
COLLECTION IN FOCUS Mildred S. Lee Gallery Feb. 11-June 7 The Collection in Focus series highlights and draws new connections among important and often under-studied objects from the Rose’s renowned holdings. Curatorial
ROSE VIDEO 05 | GILLIAN WEARING: BULLY Rose Video Gallery Through March 8 Photographer and video artist Gillian Wearing has described her working method as “editing life.” Her work documents the disparities between public personas and private lives, using costumes, masks and role-play to investigate the ways in which individuals present themselves to others when the self is temporarily concealed. Her powerful work “Bully” (2010) explores the psyche of the bullies we may have encountered (or been) and that of their victims.
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visual arts KNIZNICK GALLERY, WOMEN’S STUDIES RESEARCH CENTER The Kniznick Gallery is committed to feminist exhibitions of artistic excellence that reflect the activities of the Women’s Studies Research Center scholars and engage communities within and beyond Brandeis University. The art on display is a vehicle through which the center seeks to promote dialogue about important issues and address the ever-changing challenges related to women and gender.
Dames Making Games: Leaps and Maneuvers Mary Weatherford, Olive Downtown, 2014.
ROSE PROGRAMS & EVENTS
Jan. 12-March 12 An exhibition of interactive video games made by members of the Torontobased collective Dames Making Games, whose mission is to give game creators agency in their self-expression and identities. Caption ID Caption ID Caption ID
Opening Reception Tuesday, Feb. 10, 5-9 p.m. Celebrate the museum’s winter/spring exhibitions, on view through June 8.
Gallery Talk: Mary Weatherford
For additional programs, please visit www. brandeis.edu/rose or call 781-736-3434. Museum Tours Student guides trained in Visual Thinking Strategies, an educational approach that encourages conversation rooted in close looking, facilitate group discussion about works on view. Visit the Rose website or call 781-736-3434 to schedule a tour. Become a member of the Rose and enjoy special access and information. Membership categories range from $75 to $5,000.
Anita Sarkeesian MARY WEATHERFORD, COURTESY THE ARTIST. PHOTOGRAPHY © FREDRIK NILSEN STUDIO
Thursday, March 5, 5:30 p.m. Weatherford, whose work is on view in “Pretty Raw,” gives a talk in the Lois Foster Gallery.
Feminist Frequency, Tropes vs. Women in Video Games Damsel in Distress, Parts 1-3 Liberman-Miller Lecture Hall Tuesday, Feb. 10, 12:30-2 p.m. Anita Sarkeesian’s “Feminist Frequency” is a video web series that explores representations of women in pop culture narratives.
Milcah Bassel: Father Tongue April 14-June 30 Opening reception: Tuesday, April 14, 5-8 p.m. Multidisciplinary artist Milcah Bassel, PB ’11, investigates body-space relations and meditative labor incorporating installation, handmade objects, drawing, photography, video and performance. As the 2015 Hadassah-Brandeis Institute artist in residence, she will create a site-specific installation based on the letters of the Hebrew alphabet that explores the relationship between space and language as well as the ancient alphabet’s patriarchal roots.
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]
Aleph, Bet, Gimel
by MILCAH BASSEL , PB ’11
Nancy Spero. (Another influence is feminist theorist Elizabeth Grosz’s writing on body-space gender theory.) My site-specific installation in the Kniznick Gallery begins with large-scale drawings of five letters from the Hebrew alphabet. After much manipulation, they will be the foundation of a multidisciplinary installation that will include a mural and a sound piece that use this altered “language” to move through the gallery environment.
The residency marks my return to Brandeis after four years of graduate studies and professional art-making and teaching that were shaped in many ways by my intense and enriching postbaccalaureate year here. In 2010 I had just moved to Waltham from Tel Aviv. Thanks to interactions with faculty, students and staff in not only studio art but also art history and the Rose Art Museum (many of whom I am still in touch with), I began to question how my work could be more experiential, exploring the body in relation to architecture. When I discovered how central the spatial was to my work, I jumped on the opportunity to move an enormous paper piece (called “this monster; the body,” from an essay by Virginia Woolf) from my studio to the Kniznick Gallery for the group show “Floors and Ceilings.” It was my final post-bac work, and my biggest. Today, I’m very excited to return to Brandeis and to resume my exploration of art, Judaism and the unique environment of the Kniznick Gallery. —Milcah Bassel’s multidisciplinary artwork is an experiential investigation of body-space relations and meditative labor. She holds an MFA in visual art from Rutgers University, where she is currently a part-time lecturer, and a postbaccalaureate certificate in studio art from Brandeis.
MY RELATIONSHIP WITH THE LETTERS OF THE HEBREW ALPHABET GOES BACK to a time before I could read, when I would watch my father, a traditional Jewish scribe, writing on large Torah scrolls and various other scriptures. Hebrew is also my second language (I was born in Boston and raised in Israel), and that relationship encompasses not only a dual linguistic and cultural identity but also a complex relationship with a patriarchal tradition, one that excludes females from many experiences tied to language, documentation, law and authority. Today, as a working artist and a secular Jew, I am using these early experiences as a spatial and conceptual platform. I’m calling the exhibition that will result from my HadassahBrandeis Institute residency (April 14-June 30) “Father Tongue,” in reference to both “mother tongue” and the idea of “father culture” (in duality with the irritating concept of Mother Nature). It refers also to my relationship to my biological father and the patriarchy at large. And with “tongue,” I nod to “Codex Artaud” by the important feminist artist winter/spring 2015
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visual arts ART TALKS
International artists, curators and scholars offer class visits and public lectures, fostering a deep engagement with the Brandeis community. For more information, please visit www. brandeis.edu/departments/finearts.
lations, anchored in documentary practice, challenge the status quo of any territory she immerses herself in. Her offer their own Art in America has described her portrayals of Israeli life as “quiet, matter-of-fact truths.� Co-sponsored by the Rose Art Museum, the Department of Fine Arts and the Schusterman Center for Israel Studies.
Shimon Attie, Almstadtstrasse 43 (formerly Grenadierstrasse 7). Slide projection of former Hebrew bookstore, 1930, Berlin. 1992, courtesy of the artist.
Nira Pereg
Nira Pereg
Shimon Attie
Tuesday, March 3, 2 p.m. Mandel Center for the Humanities, Room 328 The acclaimed video artist Nira Pereg, born in in Israel in 1969, teaches and exhibits internationally. Her multichannel video instal-
February 24-27 and March 24-30 Shimon Attie returns to Brandeis for a residency that engages questions of memory, place and identity. His artwork, recognized with a Guggenheim Fellowship and the Rome Prize, gives visual
DREITZER GALLERY, SPINGOLD THEATER CENTER NIRA PEREG PHOTO: AMI BARAK, 2008; GALLERY PHOTO: MIKE LOVETT
Opening receptions take place on the first day of each exhibition from 5-7 p.m., unless otherwise noted, and are free and open to the public.
Dimensions 3: Work from Classes in Sculpture and Photography Feb. 11-March 6
Prospect I and II: Postbaccalaureate Shows March 11-27 and April 1-26
Class of 2015: Senior Studio Majors Exhibition April 29-May 18
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form to personal and collective memories, histories of marginalized and forgotten communities, and physical landscape. Sponsored by the Department of Fine Arts.
CATHY CARBER
Jennie C. Jones Thursday, Feb. 26 Jennie C. Jones’ practice incorporates aspects of various disciplines, taking the form of prints, drawings, sculptures and soundbased artworks. Her work, which is often a vehicle for confronting the absence of African-American artists and avant-garde jazz musicians from the history of modernism, is currently on view at the Rose Art Museum. Part of the Art | Blackness | Diaspora series co-sponsored by the Rose Art Museum, the International Center for Ethics, Justice and Public Life, and the departments of Fine Arts and African and Afro-American Studies. Made possible by the Brandeis Arts Council.
ART AND SOCIAL TRANSFORMATION CAST Grants Support Innovative Work by Faculty The faculty committee of the minor in Creativity, the Arts and Social Transformation (CAST) has awarded grants of $2,000 to four members of the Brandeis faculty for research and creative projects. The awards will support creative and scholarly inquiry into theory and practice at the nexus of arts, culture and social change; enhance teaching and advising; and animate an interdisciplinary conversation about creativity, social justice and peacebuilding through the arts. These awards are made possible through funding from the Max and Sunny Howard Memorial Foundation, through the muchappreciated efforts of Naomi Sinnreich, P ’13. The inaugural CAST Faculty Grant projects are:
Jennie C. Jones
Performance and the Rehumanization of the Other — Adrianne Krstansky (Theater Arts) will study the themes of resistance, rehumanization and reconciliation that are the organizing principle of the “Acting Together on the World Stage” anthology and documentary produced by the Ethics Center’s Program in Peacebuilding and the Arts, and Theatre Without Borders. “I want to understand how the making of theater with communities in crisis contributes to these ‘three R’s,’” says Krstansky, who will also develop an undergraduate course on theater and race. The Birdsong Project —Judith Eissenberg (Music) will collaborate with Dan Perlman (Biology), ornithologist Donald Kroodsma and composer Kurt Rohde to produce a new musical work incorporating the songs of birds, at risk of extinction. Graduate student composers will also create related works. “Musicians and scientists will work together to amplify the voices of our fellow nonhuman beings in an effort to forge a more positive relationship between humans, animals and the environment,” says Eissenberg. My American Girls — Azlin Perdomo (Hispanic Studies, Romance Studies) will create an interactive art website that will engage students in the lives of five undocumented immigrant women she will interview. “Visually and structurally, it will closely resemble the American Girl website to invite the viewer to compare and confront how these immigrant women, not legally recognized as citizens, are indeed Americans,” says Perdomo. Choreographing the Disabled Body: Gender, Performance and Zionism in the work of Tamar Borer — Ilana Szobel (Near Eastern and Judaic Studies) will engage students in her research into the work of Israeli artist Tamar Borer. Despite a car accident that left her paralyzed in both legs, Borer continues to dance, create and teach. “The project addresses Borer’s art in relation to Israeli dance and culture in order to explore control and fragility, as well as sexuality... and contextualizes her work within its larger Israeli political settings,” says Szobel.
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music MARQUEE CONCERTS The Brandeis Department of Music hosts an exceptional series of professional concerts each year, featuring faculty and visiting artists. Marquee concerts take place in Slosberg Music Center and tickets are $20/$15/$5 (students) unless otherwise noted. Contact Brandeis Tickets at 781-736-3400 or online at www.brandeis.edu/tickets.
Mark Berger, viola, with Yoko Hagino, piano Saturday, Feb. 7, 8 p.m. The Lydian String Quartet’s violist performs works by Professor Emeritus Martin Boykan, Charles Koechlin and Igor Stravinsky.
Evan Hirsch, piano Friday, February 27, 7 p.m. Brandeis piano instructor Evan Hirsch performs works by Beethoven, Schönberg, Bodky and Debussy. Free and open to the public.
Solar Winds Quintet
munity; students free at the door (no free advance tickets).
Daniel Stepner, violin, with Donald Berman, piano Sunday, March 1, 7 p.m. The Lydian String Quartet’s violinist is joined by Donald Berman, recognized as one of the chief exponents of new works by living composers, overlooked music by 20th-century masters, and recitals that link classical and modern repertoires. Program includes works by Schubert, Spalding, Ives and Mark Berger (Lydian String Quartet).
Trans-Atlantic: Sonatas for Cello and Piano via Brazil, France and Norway Saturday, March 14, 8 p.m. Cellist Joshua Gordon (Lydian String Quartet) and pianist Randall Hodgkinson perform sonatas by Koechlin, Villa-Lobos and Grieg. Sandeep Das
BERMAN: GIL GILBERT; DAS: COURTESY OF HUMENSEMBLE; LYDIAN STRING QUARTET: MIKE LOVETT
Saturday, Feb. 28, 8 p.m. The versatile Boston woodwind ensemble returns to Brandeis with pianist John Kramer to celebrate women composers. Tickets: $15 adults; $10 seniors and Brandeis com-
caption here and here Lydian String Quartet
MusicUnitesUS Presents Fargana Qasimova and Ensemble Saturday, March 7, 8 p.m. | Pre-concert lecture, 7 p.m. From Azerbaijan, at the crossroads of eastern Europe and western Asia, Fargana Qasimova returns to Brandeis on her first solo U.S. tour, performing “spare, deeply expressive laments, tinged and embellished with exquisite subtlety” (The New York Times). Accompanied by the quartet of young musicians who accompany her father, the renowned musician Alim Qasimov, Fargana offers a brilliant example of tradition-based music performed with a contemporary sensibility.
Yihan Chen
EXPAND YOUR EXPERIENCE
Donald Berman
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Fargana Qasimova
BRANDEIS STUDENT
CONCERTS Brandeis’ outstanding student ensembles perform music ranging from the Renaissance period to contemporary jazz. Student concerts take place in Slosberg Music Center unless otherwise noted and are free and open to the public.
MUSIC AT MANDEL At the Mandel Center for the Humanities Atrium Put your day on pause with a free concert, followed by a free box lunch.
Fargana Qasimova Ensemble Wednesday, March 4, noon Enjoy a preview of the March 7 concert.
Brandeis Improv Collective Wednesday, March 25, noon Tom Hall, director
Lydian String Quartet Wednesday, April 15, noon Enjoy a preview of the April 18 concert.
Sound Icon
QASIMOVA PHOTO © SEBASTIAN SCHUTYSER/AGA KHAN MUSIC INITIATIVE; OTHERS: MIKE LOVETT
Saturday, March 21, 8 p.m. Since 2011, Sound Icon has earned a reputation for adventurous, progressive programming and uncompromising performance standards. Free and open to the public. Made possible by the Brandeis Arts Council.
Brandeis Improv Collective
Brandeis University Chorus
Sunday, March 29, 5 p.m. Tom Hall, director
Sunday, April 19, 7 p.m. Leonard Bernstein’s Chichester Psalms and “Make Your Garden Grow” from “Candide,” and Aaron Copland’s American Songs (arranged for chorus by Irving Fine). Neal Hampton, conductor
Brandeis Jazz Ensemble Sunday, April 19, 3 p.m. Bob Nieske, director
Brandeis Wind Ensemble: Tuesday, April 21, 8 p.m. Nashua South High School Auditorium, Nashua, New Hampshire Carmina Burana, Carl Orff’s magnificent and enduring cantata. Tom Souza, director
Leonard Bernstein Fellowship Recital Monday, April 27, 7 p.m. Chamber music performed by the elite Leonard Bernstein ensembles.
Chamber Music Recital Tuesday, April 28, 8 p.m. Featuring the students of MUS116 under the direction of the Lydian String Quartet’s Joshua Gordon.
Lydian String Quartet: It’s About Time! (Part 2) Saturday, April 18, 8 p.m. | Pre-concert lecture, 7 p.m. The Lydians perform Ben Johnston’s stunning String Quartet No. 4, variations on “Amazing Grace,” Charles Ives’ String Quartet No. 2, and Evan Ziporyn’s “Sulvasutra” (2006) for tabla, pipa and string quartet. Guest artists: Sandeep Das, tabla, and Yihan Chen, pipa. winter/spring 2015
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H
Hal. This Arabic word is tricky to define, but it connotes a heightened state of contemplation. It is commonly heard in Turkic and Persian languages in the context of music, of the transcendent sensation that can capture the musician — as well as the listener — mid-performance. If Brandeis audiences are anything like those who have experienced Fargana Qasimova’s music around the world, this concept will be a little easier to understand — or at least experience — after her residency from March 2-7. Hailing from Azerbaijan, a country roughly the size of Maine nestled between Armenia and the Caspian Sea, Qasimova will unspool her soaring, melismatic vocals at several classes as well as for 350 Waltham High School students before performing with her quartet at Slosberg Recital Hall. The March residency marks Qasimova’s long-awaited return to Brandeis. In 2010, when she and her father, the iconic musician Alim Qasimov, performed at a sold-out Slosberg Recital Hall at the end of their MusicUnitesUS residency, Fargana was a stirring performer yet one who was still very much in the shadow of her esteemed father and teacher. This visit, also sponsored by MusicUnitesUS, is one of her first solo performances in the United States. “It’s a custom in certain Eastern cultures that you don’t go off on your own until you’ve reached a certain level of mastery,” says Theodore Levin, whose role as senior project consultant at the Aga Khan Music Initiative played a large part in bringing the Qasimovs to Brandeis in 2010. “So I would
In both cases, though, hal remains a central part of the sound. Alim Qasimov has described hal as “not something you can pull out of your pocket. … There’s an atmosphere that starts to nourish us that comes from beyond our own will, and that’s the source of the unpredictability in our music. It’s almost a feeling of ecstasy that leads to some kind of meditation.” Levin, who compares the Qasimovs‘ professional relationship to that of sitar great Ravi Shankar and his daughter/protégée Anoushka Shankar, says Alim Qasimov speaks more readily about concepts like hal. “Fargana is not as comfortable speaking about that,” he says, “but she certainly feels it. Music can serve as an opening, as a window to that state. And when you listen to both of them, it becomes much clearer to understand.” Fargana Qasimova, who frequently accompanies herself on a Persian frame drum called a daf, is touring with the same quartet that has traditionally accompanied her father. She has performed along with Alim on three albums, and 2014 marked the release of her first solo effort, “Yalniz Ona Doghru,” as well as her first solo concerts. During their time at Brandeis, Qasimova and her quartet will participate in classes ranging from anthropology to gender studies to painting, as well as music. They will also give an informal concert at the Mandel Center for the Humanities, where they will be joined by musicologist Aida Huseynova, who is curator of the residency and is fluent in both English and Azerbaijani.
new heights of
with a solo tour,
by Eric Grode
Eissenberg describes the Qasimovs’ 2010 concert as a high point in the 12-year history of MusicUnitesUS, an event that “transported us out of the concert hall and into some other spiritual realm.” She is confident that Fargana Qasimova’s return, both in the more intimate classroom settings and in her final concert, will go a long way toward introducing a new group of students to this otherworldly realm, one that no textbook or PowerPoint presentation could ever supply.
“Even when she was with her father, you could see that they had two different styles,” Eissenberg says. “As a younger musician, she’s pushing the music in new directions, as she should. Any tradition has to change in order to survive.”
—Eric Grode, a freelance arts writer for The New York Times, teaches in the Goldring Arts Journalism program at Syracuse University. He wrote “The Big Break” for the “entertainers” issue of Brandeis Magazine in 2012.
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© SEBASTIAN SCHUTYSER/AGA KHAN MUSIC INITIATIVE
16 BRANDEIS UNIVERSITY | STATE OF THE ARTS
call this a logical next step in Fargana’s career.” Both father and daughter play the style called mugham, the term for Azerbaijani classical music, as well as bardic songs from the region made popular by modern-day troubadours known as ashiqs. But mugham allows for improvisation as well as fixed performance, and MusicUnitesUS founding director Judith Eissenberg says audiences can expect some slightly different takes on the music this time.
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music Sound Icon, March 21
LEONARD BERNSTEIN FESTIVAL OF THE CREATIVE ARTS CONCERTS For full festival schedule, visit www. brandeis.edu/arts/festival.
Fafali: Music and Dance from Ghana Thursday, April 23, 7 p.m. Explore the irresistible rhythms of Ghana. Ben Paulding, director
BRAND NEW MUSIC/ NEW MUSIC BRANDEIS Programmed and managed by current Brandeis graduate student composers, New Music Brandeis is the leading presence of contemporary music on the Brandeis campus, featuring professional concerts of student work and other cutting-edge contemporary repertoire performed by visiting artists. Concerts take place at Slosberg Music Center and are free and open to the public.
Composers’ Collective Sunday, March 8, 7 p.m.
Undergraduate Composers’ Collective Sunday, March 22, 7 p.m. Festival of the Creative Arts
Carlton Vickers
Undergrad Recital Saturday, April 25, 2 p.m. Nate Shaffer ’16, piano, performs works by Beethoven and Chopin as well as a suite of his own compositions.
Shakespeare in Music; Music in Shakespeare Sunday, April 26, 3 p.m. Brandeis Early Music Ensemble and Chamber Choir. Sarah Mead, director
Friday, April 24, 8 p.m. Carlton Vickers, widely regarded as one of today’s most important performers of avant-garde flute music, performs world premiere pieces for solo flute by composers from around the world.
EXPAND YOUR EXPERIENCE BRANDEIS.EDU/ARTS/EXTRAS
Festival of the Creative Arts
BEAMS Half-Marathon
Sunday, April 26, 7 p.m. Neal Hampton, conductor
Season Finale Sunday, May 3, 7 p.m.
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SHAFFER: MIKE LOVETT
Brandeis-Wellesley Orchestra
Saturday, April 25, 8 p.m. The Brandeis Electroacoustic Music Studio (BEAMS) explores the outer limits of electronic and acoustic music.
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festivals Brandeis Improv Festival March 27-29
Jamele Adams, dean of students Club d’Elf
Leonard Bernstein Festival of the Creative Arts April 23-26
Enjoy four joyful days of music, theater, dance and visual arts—all free and open to the public. The Festival of the Creative Arts was founded in 1952 by legendary American composer and Brandeis faculty member Leonard Bernstein to mark the university’s first commencement. Today, the festival honors his legacy as an artist, educator, activist and humanitarian. Celebrate the arts with innovative performances and exhibitions by national and regional artists as well as by our faculty, staff and students. For a complete schedule, visit www.brandeis.edu/festival.
Super Sunday
photos top and middle: mike lovett
Sunday, April 26, 1-5 p.m. More than 200 actors, singers, dancers and musicians give free performances across the Brandeis campus, with art activities and demonstrations for the whole family.
JEWISHFILM.2015 April 30-May 10
Celebrate spontaneous creativity! Through performances, workshops and seminars across the Brandeis campus, explore the many ways that improvisation enlivens the arts and sciences; inspires individual and group creativity; encourages cultural evolution and revolution; and invigorates everything from our personal relationships to our work and business. Free and open to the public. Tom Hall, director Highlights • Performances by Milford Graves, Tim Ray, the April Hall Quintet and Bob Nieske 4. • Seminars and workshops with leading thinkers on creativity and improvisation, including action painter and family therapist Chris Gill and watercolorist and printmaker Jane Goldman. • Dance party with DJs Axel Foley and Mr. Rourke, Jim Guttmann’s Klezmer Krew and Club d’Elf. For full schedule, visit www.brandeis. edu/departments/music April Hall
Tim Ray
Discover new independent-film premieres and classic cinematic treasures from around the world that document the diversity and vibrancy of Jewish life. The National Center for Jewish Film’s festival is an outgrowth of its work since 1976 as a unique, nonprofit motion-picture archive, distributor, resource center and exhibitor. Please visit www. jewishfilm.org for festival information.
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artifacts Stay in Touch Join the Arts at Brandeis E-List to receive invitations to plays, concerts and exhibitions at Brandeis as well as free and discount tickets to arts events across Greater Boston. Visit www.brandeis. edu/arts. Get even more up-to-the-minute news on the Arts at Brandeis Facebook page and Twitter feed.
Arts at Brandeis Calendar Online Visit the Brandeis events calendar for comprehensive event listings, including film, dance, lectures and arts symposiums: www.brandeis.edu/events/arts.
Online Extras For interviews, additional images, audio files and other extras, plus archived issues of State of the Arts, visit www.brandeis.edu/ arts/office.
Theater and Concert Tickets
Visiting the Rose Art Museum Admission is free. The museum is open Tuesday-Sunday, noon-5 p.m., with extended Thursday hours throughout the semester. For more information, visit www.brandeis.edu/rose or call 781-736-3434.
Visiting the Kniznick Gallery Admission is free. The Kniznick Gallery at the Women’s Studies Research Center is open Monday-Friday, 9 a.m.-5 p.m., and during WSRC events. For more information, visit www.brandeis.edu/ wsrc or call 781-736-8102.
Parking Brandeis arts venues are located on Lower Campus within easy walking distance of each other. Free parking is available directly behind the Spingold Theater in the Theater Parking Lot (T Lot). There are accessible parking spaces in front of Spingold, Slosberg and the Rose. Programs, artists and dates are subject to change. For updates and additional arts events, visit www.brandeis.edu/arts. For directions to Brandeis University, call 781-736-4660 or visit www.brandeis.edu.
mike lovett
To buy tickets for events at the Spingold Theater Center, Slosberg Music Center or Shapiro Theater, visit www.brandeis.edu/ tickets, call 781-736-3400, or stop by the Brandeis Tickets office in the Shapiro Campus Center, Monday-Friday, noon-6 p.m., or Saturday, noon-4 p.m. Tickets are available for pickup or purchase in the lobbies of Spingold, Slosberg and Shapiro one hour before curtain. Reservations are recommended. Any person requiring
wheelchair or other accommodations should call Brandeis Tickets at 781-736-3400.
“Conference of the Birds,” Brandeis Theater Company, 2014
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calendar highlights
Through March 12
Dames Making Games: Leaps and Maneuvers
Kniznick Gallery, WSRC
Tuesday, Feb. 10, 5-9 p.m.
Winter-Spring Exhibitions opening reception
Rose Art Museum
Feb. 11-June 7
Winter-Spring Exhibitions
Rose Art Museum
Feb. 11-March 6
Dimensions 3: Sculpture and Photography
Dreitzer Gallery, Spingold Theater Center
Saturday, Feb. 28, 8 p.m.
Solar Winds Quintet
Slosberg Music Center
Sunday, March 1, 7 p.m.
Daniel Stepner, violin, with Donald Berman, piano
Slosberg Music Center
Tuesday, March 3, 2 p.m.
Nira Pereg Artist Talk
Mandel Center for the Humanities, Room 328
March 3-5
Fatu Gayflor and Toni Shapiro-Phim Residency
Campuswide
Wednesday, March 4, noon
Music at Mandel: Fargana Qasimova
Mandel Center for the Humanities
Thursday, March 5, 5:30 p.m.
Gallery Talk: Mary Weatherford
Rose Art Museum
Saturday, March 7, 8 p.m.
MusicUnitesUS presents Fargana Qasimova
Slosberg Music Center
Sunday, March 8, 7 p.m.
Composers’ Collective
Slosberg Music Center
March 11-27
Prospect I
Dreitzer Gallery, Spingold Theater Center
March 12-15
The Way of Water
Spingold Theater Center
Saturday, March 14, 8 p.m.
Joshua Gordon, cello, and Randall Hodgkinson, piano
Slosberg Music Center
Saturday, March 21, 8 p.m.
Sound Icon
Slosberg Music Center
March 27-29
Brandeis Improv Festival
Campuswide
Sunday, March 29, 5 p.m.
Brandeis Improv Collective
Slosberg Music Center
April 1-26
Prospect II
Dreitzer Gallery, Spingold Theater Center
April 14-June 30
Milcah Bassel: Father Tongue
Kniznick Gallery, WSRC
Saturday, April 18, 8 p.m.
Lydian String Quartet: It’s About Time! (Part 2)
Slosberg Music Center
Sunday, April 19, 3 p.m.
Brandeis Jazz Ensemble
Slosberg Music Center
Sunday, April 19, 7 p.m.
Brandeis University Chorus
Slosberg Music Center
April 21-26
Senior Festival
Spingold Theater Center
Tuesday, April 21, 8 p.m.
Brandeis Wind Ensemble: Carmina Burana
Nashua South High School, Nashua, NH
April 23-26
Leonard Bernstein Festival of the Creative Arts
Campuswide
April 24-25
A Night on the Clowns
Spingold Theater Center
Friday, April 24, 8 p.m.
Carlton Vickers
Slosberg Music Center
Saturday, April 25
Culture X
Usdan Student Center
Sunday, April 26, 3 p.m.
Brandeis Early Music Ensemble and Chamber Choir
Slosberg Music Center
Sunday, April 26, 7 p.m.
Brandeis-Wellesley Orchestra
Slosberg Music Center
April 29-May 18
Class of 2015 Senior Studio Majors Exhibition
Dreitzer Gallery, Spingold Theater Center
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Volume 11/ Number 2
Nonprofit Org. U.S. Postage Paid Boston, MA Permit No. 15731
Brandeis University Office of the Arts MS 052 / PO Box 549110 Waltham, MA 02454 - 9110
www.brandeis.edu/arts
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Leonard Bernstein Festival of the Creative Arts April 23-26, 2015
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