sacred SECULAR
A Sufi Journey 16/17
WELCOME
Arts experiences – such as Carolina Performing Arts’ Sacred/Secular: A Sufi Journey – are essential to the DNA of a vibrant, international university. Our campus community is fortunate to have such a timely and powerful program this year.
CAROL L. FOLT Chancellor
Thanks to the vision of Carolina Performing Arts, we can all share a common foundation and framework to help us better understand different perspectives in the complex, multi-cultural world in which we live. The artists we will meet this year can help open our minds to cross-campus dialogue about questions fundamental to our global society. This series also reminds us of the human experiences we all share, no matter whether we grew up in the bustling city of Dakar, Senegal, like music icon Youssou N’Dour, or in communities such as Chapel Hill across North Carolina. This year’s program provides many opportunities to immerse ourselves in diverse traditions and artistic practices, to be students of the world. You don’t need a passport to join us on this year-long journey – just an appetite for discovery.
As curators, the success of our work depends greatly on the strength of our collaborations. Each performance is the result of years of relationshipbuilding – with individual artists, oftentimes with their managers, with fellow presenters, and, of course, with you, our audiences. This year’s exploration of Sufism, Sacred/Secular: A Sufi Journey, represents one of our biggest collaborative endeavors to date. The performances are the culmination of research, travel and partnerships that began in 2014.
EMIL KANG Executive Director for the Arts, Carolina Performing Arts Professor of the Practice, Department of Music
Our journey into Sufism would not have been possible without the support and guidance of members of UNC’s acclaimed faculty. I am especially grateful to Carl Ernst, William R. Kenan, Jr., Distinguished Professor of Religious Studies. Carl’s expertise in Islam and religious identity has shaped our curatorial approach and been invaluable in our conversations with artists. We traveled together to both Senegal and Indonesia, where he joined me on a seven-hour bus ride to meet with artists in a remote part of Java. In addition to cementing our bond, my travels with Carl have strengthened this year’s program and furthered our work to integrate the arts with the academy. You are the missing piece in this network of rich collaborations. Thank you for bringing this project to life with your energy and participation.
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“Through a journey such as this, we believe diverse perspectives can be appreciated, complexity can be navigated and compassion can be encouraged.” This project evolved from a desire to refute monolithic thinking about the practice of Islam and about Muslim communities and individuals – in other words, to contest the notion that there is any single narrative of Muslim identity or experience, a notion that is reinforced by oversimplified presentations of Muslims in our national discourse. We propose that the performances and
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WELCOME
community events we have curated will reveal the plurality of Muslim identity. Specifically,
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F E S T I VA L
we explore Sufism as a spiritual and cultural
OVERVIEW
lens into Islam through the work of performers
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E S S AY : W H A T I S SUFISM?
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E S S AY : R E L I G I O N A N D C U LT U R E
5-8
M A P YO U R JOURNEY
from four Muslim-majority nations outside of the Arab world: Indonesia, Iran, Pakistan and Senegal. This project is not exhaustive, but rather illustrative. These performances are but a glimpse into the vast richness of Muslim cultures and artistic expressions, yet we do believe that experiencing even just two examples of that diversity can invalidate monolithic thinking.
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SUFI JOURNEY SCHEDULE
Explore these pages for resources that will
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CONFERENCE SCHEDULE
listings and four possible paths to take through
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SEASON SCHEDULE PA R T N E R S
enrich your experience, including essays, event this season-long exploration. Through a journey such as this, we believe diverse perspectives can be appreciated, complexity can be navigated and compassion can be encouraged.
V i s i t C a r o l i n a p e r f o r m i n g a r t s .o r g / s u f i j o u r n e y f o r u p d at e d i n f o r m at i o n .
CAROLINAPERFORMINGARTS.ORG/SUFIJOURNEY
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Carl W. Ernst William R. Kenan, Jr., Distinguished Professor Co-Director, Carolina Center for the Study of the Middle East and Muslim Civilizations Andrew W. Mellon Distinguished Scholar for Carolina Performing Arts
What is Sufism? Sufism describes the traditions of spiritual and ethical practice that have flourished in Muslim societies for over a thousand years. The original Arabic term tasawwuf means “becoming a Sufi,” and it points to ideals of sincerity, purity, community and discipline. Here are two definitions of the term from early Sufi masters: “Sufism means that you prefer others to yourself.” “One who is absorbed in the Beloved and has abandoned all else is a Sufi.” Sufism became prominent in the 9th century in the capital of the `Abbasid empire (Baghdad) and on the eastern frontiers of Persia. Early Sufis turned away from the enticements of imperial power and sought to find the inner meanings of the Qur’an through meditation, and they regarded the Prophet Muhammad as their inspiration. From small informal circles, Sufism grew into a popular phenomenon, found in countries from Morocco to Indonesia. Devotion focused on the tombs of major Sufi saints, which were attended by both men and women, and pilgrims of different religions. Major lineages of masters and disciples formed in different regions, often with distinctive practices – the Chishti
The questions raised by our Sufi Journey will be explored by a gathering of schol ars in Chapel Hill convened by Carl Ernst. Islam And Religious Identit y:
The Limits of Definition will take place October 14-16. Learn More on Page 11.
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“[These artists] are deeply engaged in their own cultures. And that is something we can all share.” - Carl W. Ernst order (South Asia) favored performance of music
as rival systems of belief and power. Religions are
and poetry, while the Naqshbandis (Central Asia)
generally assumed to be like Protestantism, using
preferred silent meditations.
the same template but with different contents.
Sufi masters have played a strong role in literature,
In the modern world, religion is defined by
as seen in the Persian poems of Rumi or the Arabic
the nation-state (the Internal Revenue Service
writings of Ibn `Arabi. Beyond those “classical”
determines which religions are legally recognized
languages, Sufis also made major contributions
in the US). In the more than 50 countries with
to the literatures of modern Indian languages,
Muslim majority populations, no two have the
Turkish, Malay, Swahili, Wolof, etc. Sufi poetry
same legal system or the same definition of
is often sung and has a rich musical heritage.
Islam, despite appearances to the contrary. Their
Although some Sufis were considered heretical by
separate histories, colonial experiences, languages,
certain legal scholars, Sufism was a major feature
ethnicity and other factors make them different.
of Muslim religious life until recent times.
This is where culture comes in, the complex of
Colonialism and fundamentalism conspired to
things that people actually do. Abstract religious
marginalize Sufism; secular Turkey banned the Sufi
norms are never found apart from their refraction in
orders in 1925, and theocratic Iran and Saudi Arabia
a local culture. Although scriptural fundamentalists
repress Sufism severely. Yet the ideals and culture of
and Western observers assume that everything
Sufism, especially in music and poetry, remain vital
comes from the Qur’an, there are vast sectors of
resources both for Muslims and non-Muslims.
life in which Muslims are governed by pre-Islamic
Religion and Culture: The Case of Islam Religion and culture are widely used concepts, but surprisingly difficult to define. We are accustomed to thinking of them as natural and universal, but they can be considered provincial. “Religion” does not occur in the Bible, and it is difficult to find an equivalent in the languages of Asia and Africa. Latin-speaking Christians used the term religion to mean acknowledging the Creator with reverence, but after the Protestant Reformation, “religions” (in the plural) were seen
institutions, secular colonial structures and local customs. The new ideological forms of Islam betray their novelty by their unrelenting rejection of longestablished local traditions. Artists in Muslim-majority countries draw upon their own cultural traditions, but they also engage in critical debates, positioning themselves in terms of secularism, feminism and other global discourses. The performers in the series Sacred/ Secular: A Sufi Journey are no exception; none of them pretends to represent a global religion, but all of them are deeply engaged in their own cultures. And that is something we can all share.
CAROLINAPERFORMINGARTS.ORG/SUFIJOURNEY
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Map Your Journey Explore four curated paths to help you navigate your own Sufi Journey. The path themes highlight connections between artists and events throughout the season.
PAT H O N E
Defying the Monolithic There is no single practice of Islam. There is no single narrative of Muslim experience. Monolithic thinking about Islam can quickly be refuted when confronted by the staggering diversity of local cultures and artistic expressions from Muslim-majority nations and the world. Local culture defines and shapes all of our experiences and identities, as much as religious belief and religious practice. People all over the world negotiate this, and the result is unique to each location. The fluidity between religion and local culture also enriches the many artistic expressions on this path. Nani Topeng Losari performs "mask dances" indigenous to the Northern coast of Java which were later appropriated by Sufi saints as a tool for disseminating religious narratives. For the artists on this path, performance is often as much an expression of their national, ethnic or local identities as a religious encounter, and this constant exchange between sacred and secular traditions makes a single definition of Islam impossible.
PAT H T W O
The Plurality of Identity How do you introduce yourself? Is it always the same way? Which part of you comes first and how do you choose? Are you female, American, an economist, a foodie, a feminist, a Catholic, a Tar Heel? Must you be either/or, one thing or another, or are those binaries false? Faith is just one of these multiple identities, and its interplay with the other parts of the whole impacts the work of the artists on this path. The exploration of a female, poet, filmmaker and modernist from Iran in The House is Black shows us just how intricate and complex identities always are. The play Dara looks at the devastating struggle between two princes, and how conflict between Sufi culture and fundamentalism shapes attitudes to Islam. The experience of belief is wholly unique to the individual – when filtered through the plurality of identity, religious practice for one person will inevitably be different from how others understand their encounters with that same religion. These performances allow us to glimpse the personal experiences that define Islam and to understand that the definition can never be static.
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Sep
17
Sep
18
Performance Workshop with Ping Chong + Company Beyond Sacred: Voices of Muslim Identity Ping Chong + Company
Sep
29 Oct
25 Jan
20 jan
A Staged Reading of The Hour of Feeling in collaboration with PlayMakers Repertory Company Sufi Songs Youssou N’Dour
Wayang Bocor Eko Nugroho
27
Nani Topeng Losari
Sep
Beyond Sacred: Voices of Muslim Identity Ping Chong + Company
Oct
The House is Black Sussan Deyhim
18 28
Nov
3/4 jan
27
Islamophobia, a play by Interactive Theatre Carolina Nani Topeng Losari
FEB
16 Mar
2
CAROLINAPERFORMINGARTS.ORG/SUFIJOURNEY
A Staged Reading of The Who and the What in collaboration with PlayMakers Repertory Company Dara Ajoka Theatre
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Map Your Journey PAT H T H R E E
Evolving Traditions Traditions can seem permanent. In fact, much of what makes them so dear to us is their constancy and familiarity – the nostalgia encircling each of them. They are ways to connect with our history, and they are handed to us by past generations. Traditions, though, are never static. As they guide us to worship, celebrate and mourn, we in turn continually shape and change them. They are as much reactions to the conditions of our present moment as they are a record of what was deemed valuable – and even sacred – by those who came before us. The artists on this path show us how evolving traditions from Muslim culture – such as Indonesian shadow puppetry, Persian classical music and Senegalese devotional singing – continually respond to and influence Muslim identity and experience. It is this constant change and adaptation that enables any given tradition to remain relevant and to therefore continue to be passed forward through generations. It may be counterintuitive, but change is the lifeblood of tradition.
PAT H F O U R
Li Ta’arafu The words li ta’arafu appear in chapter 49 verse 13 of the Qur’an and can be translated as “so that you may know each other.” This passage essentially tells us that humanity was created with inherent differences so that we might be inspired to seek to know each other better. In other words, our diversity does not divide us, but unites us through the discovery of one another. The artists on this path demonstrate the divergent and powerful results of this cultural back-and-forth, including Beyond Sacred, a piece of documentary theater about young Muslim New Yorkers, and the songs of American composer Philip Glass, which integrate his iconic minimalist musical voice with the words of 13th century Sufi mystic and poet Rumi in Monsters of Grace. Many artists from non-Muslim cultures and nations have been inspired by traditions, practices and source texts rooted in Islam. Sufism’s rich history of dance, poetry and other art forms makes it a particularly fertile ground for these cultural dialogues.
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Sep
9
Mystical Music Hossein Alizadeh, Hossein Behroozinia, Behnam Samani and Saba Alizadeh
OCT
Screening and Discussion of Youssou N'Dour's I Bring What I Love
Oct
Sufi Songs Youssou N’Dour
17
25
Jan
20 Mar
Wayang Bocor Eko Nugroho
31
Sounds of Kol achi
APR
National Poetry Month Reading Rumi
1-30 APR
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Sanam Marvi
Sep
Beyond Sacred: Voices of Muslim Identity Ping Chong + Company
Sep
Forum on Islamophobia Presented by the Parr Center for Ethics
18 27
Oct
28 Feb
10 Feb
11
mar
23/24
The House is Black Sussan Deyhim Words and Music in Two Parts Philip Glass and L aurie Anderson
Shattered Glass – a spoken word performance by Muhammad Moussa Martha Graham Dance Company
CAROLINAPERFORMINGARTS.ORG/SUFIJOURNEY
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Sufi Journey Schedule
FA L L 2 0 1 6
SEP
8
Community Gathering with Hossein Alizadeh and Hossein Behroozinia ! 7:OO PM
SEP
9
17
OCT
25
17
SEP
18
" Gerrard Hall
Ping Chong + Company discuss their work. Beyond Sacred: Voices of Muslim Identity Ping Chong + Company ! 7:3O PM
27
SEP
29
" Gerrard Hall
Fiona McLaughlin, professor of African Linguistics at the University of Florida, introduces N’Dour’s music.
" Memorial Hall
" Memorial Hall
OCT
27
OCT
28
Community Conversation with Sussan Deyhim ! 7:OO PM
" Gerrard Hall
Program Notes Live ! 7:OO PM
" Gerrard Hall
UNC faculty introduces influential feminist poet and filmmaker Forough Farrokhzad. The House is Black Sussan Deyhim
Forum on Islamophobia
! 8:OO PM
! 6:00 PM
Legendary Iranian poet Forough Farrokhzad inspires this multimedia spectacle highlighting Iranian contemporary arts.
" Hyde Hall
The Parr Center for Ethics discusses the causes and effects of anti-Muslim fear and hostility in the United States. Staged Reading of The Hour of Feeling Presented in collaboration with PlayMakers Repertory Company ! 7:30 PM
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! 6:3O PM
N’Dour’s rich artistic personality was formed by his 30-year exploration of Sufi musical traditions, classic Senegalese music and griot storytelling.
This interview-based theater production explores the diverse stories of young Muslims who came of age post-9/11. SEP
Program Notes Live
! 7:3O PM
" Location Pending
Program Notes Live ! 6:3O PM
" FedEx Global Center
Sufi Songs Youssou N’Dour
Performance Workshop with Ping Chong + Company ! 3:30 PM
! 2:00 PM
" Memorial Hall
Iranian music icon Hossein Alizadeh performs new interpretations of classical Persian music with his talented ensemble. SEP
Screening and Discussion of Youssou N'Dour's I Bring What I Love
" Gerrard Hall
Mystical Music Hossein Alizadeh, Hossein Behroozinia, Behnam Samani and Saba Alizadeh ! 8:OO PM
OCT
" Historic Playmakers Theatre
Nov
3/4
" Memorial Hall
Islamophobia Presented in collaboration with Interactive Theatre Carolina and the Muslim Students Association ! TIME PENDING
" Location Pending
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Visit Carolinaperformingarts.org/ sufijourney for more information.
SPRING 2017
jan
20
Program Notes Live ! 7:OO PM
Feb
16
" Gerrard Hall
A conversation on puppetry, contemporary art and the complex work of Eko Nugroho
! 7:30 PM
Wayang Bocor Eko Nugroho ! 8:OO PM
Jan
27
mar
2
" Memorial Hall
" historic Playmakers Theatre
Learn about Dara's rich historical backdrop.
Program Notes Live
The spellbinding play Dara is filled with the confluence of religions, cultures and political ambitions.
! 7:OO PM
" Gerrard Hall
Organized by Honors Carolina, learn about masks and Indonesia’s blend of Islamic and other traditions.
mar
23/24
" Hill Hall
mar
31
Words and Music in Two Parts Philip Glass and Laurie Anderson ! 8:OO PM
Apr
1-30
Shattered Glass – a spoken word performance by Muhammad Moussa Presented by the Process Series ! 7:OO PM
" Memorial Hall
Martha Graham Dance Company ! 7:3O/8:00 PM
" Memorial Hall
This program features a CPA Commissioned work by choreographer Sidi Larbi Cherkaoui, inspired by Sufi poetry. Sounds of Kolachi ! 8:OO PM
" Memorial Hall
This 10-piece supergroup blurs raga and western harmony, counterpoint and South Asian melodic lines.
" Memorial Hall
These longtime friends share music, poetry readings and a selection of Glass songs featuring lyrics by Sufi poet Rumi, with the Philip Glass Ensemble.
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! 6:3O PM
! 7:3O PM
Seventh-generation mask dancer Nani revives the opulently costumed Javanese tradition of Topeng Losari.
Feb
Program Notes Live
Dara Ajoka Theatre
! 8:OO PM
10
" historic Playmakers Theatre
Inspired by traditional Indonesian shadow puppetry, this multimedia staged work explores new aesthetic values from global popular culture.
Nani Topeng Losari
Feb
Staged Reading of The Who and the What Presented in collaboration with PlayMakers Repertory Company
" Swain Hall
Moussa gives voice to the tragic death of three Muslim students in Chapel Hill.
CAROLINAPERFORMINGARTS.ORG/SUFIJOURNEY
apr
12
National Poetry Month: Reading Rumi ! THROUGHOUT APRIL
Poets from Creative Writing classes at UNC share readings of Rumi’s poetry as well as their own work in pop-up readings across campus. Sanam Marvi ! 7:3O PM
" Memorial Hall
This vocal warrior for tolerance, spirituality and peace lends new light to a cherished repertoire of Sufi, Ghazal, qawwali and folk songs.
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OCTOBER 14-16, 2016
Isl am and Religious Identit y The Limits of Definition 2016 Duke-UNC Consortium for Middle East Studies Annual Conference There is not a single definition of Islam. How do we identify cultures and individuals whose versions of Islam differ so widely? The questions raised by our Sufi Journey season will be explored by a gathering of scholars in Chapel Hill. Islam and Religious Identity: The Limits of Definition will take place October 14-16, bringing together new scholarly connections and generating fresh research agendas.
This conference has received the generous support of the following organizations: Andrew W. Mellon Foundation, Arts@TheCore, Carolina Asia Center, Carolina Center for Global Initiatives, Carolina Performing Arts, UNC African Studies Center, UNC College of Arts & Sciences, UNC Department of Music, UNC Department of Religious Studies, Duke-UNC Consortium for Middle East Studies (Duke University Middle East Studies Center and the Carolina Center for the Study of the Middle East and Muslim Civilizations), Institute for the Arts and Humanities, and with additional support from the Chancellors Global Education Fund through UNC Global. This conference has been organized by the following individuals: Carl Ernst, William R. Kenan, Jr., Distinguished Professor, UNC Department of Religious Studies, Co-Director, Carolina Center for the Study of the Middle East and Muslim Civilizations (CCSMEMC); Professor Michael Figueroa, Assistant Professor, UNC Department of Music; Matthew Lynch, Graduate Student, Islamic Studies, UNC Department of Religious Studies; Shai Tamari, Associate Director, CCSMEMC; and Emma Harver, Program/Outreach Coordinator, CCSMEMC. For more information, visit the Conference website at ht tp://isl amworkshop2016.web.unc.edu
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OCTOBER 14
Keynote Address ! 6:0O-7:30 PM
" Fedex global center, Nelson Mandel a Auditorium
Ahmet T. Karamustafa, Professor of History at the University of Maryland, College Park
OCTOBER 15
Christian Missionaries and Muslim Brothers ! 9:0O-9:50 aM
" Hyde Hall, Universit y Room
Beth Baron, Professor of History, City College of New York (CCNY); Director of the Middle East and Middle Eastern American Center, CUNY; President, Middle East Studies Association of North America Islam in West Africa, Around the Figure of Cerno Bokar Tall ! 10:0O-10:50 aM
" Hyde Hall, Universit y Room
Suleymane Bashir Diagne, Professor of French and Philosophy, Columbia University The Modesty of Theory in the Study of Islam ! 11:0O-11:50 aM
" Hyde Hall, Universit y Room
Ruth Mas, Centre for Cultural, Literary and Postcolonial Studies, School of Oriental and African Studies (SOAS), University of London Terms of Endearment and Antagonism: "Islam," "Muslim" and the Empirical Study of Religion ! 1:3O-2:20 PM
" Hyde Hall, Universit y Room
Peter Gottschalk, Professor of Religion, Wesleyan University Semiotic Transgression: Indonesian Islam Defines Itself ! 2:3O-3:20 PM
" Hyde Hall, Universit y Room
Webb Keane, George Herbert Meade Collegiate Professor of Anthropology, University of Michigan Islam in Haiti, "Land of Vodou" ! 3:4O-4:30 PM
" Hyde Hall, Universit y Room
Aisha Khan, Assistant Professor of Anthropology, New York University Public Concert - Issa Boulos ! 5:0O-6:30 PM
" Hyde Hall, Universit y Room
OCTOBER 16
Marx and the Mosque: Considering Muslim Politics in the 1970's ! 9:0O-9:50 aM
" Hyde Hall, Incubator
Kathleen Foody, Assistant Professor of International Studies, College of Charleston Tauhid and its Infractions: Modernist Muslim Definition-Making ! 10:0O-10:50 aM
" Hyde Hall, Incubator
Teena Purohit, Associate Professor of Religion, Boston University Closing Discussion ! 11:1O-11:50 aM
" Hyde Hall, Incubator
Closing Remarks ! 11:5O-12:00 PM
" Hyde Hall, Incubator
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Carolina Performing arts
DEC Sat 3 | Sun 4
SEP Fri
9
Mon 1 2 Wed 14 | Thu 15
Sun 18
Thu 29
Thu 8
China Philharmonic Orchestra Long Yu, music director and conductor Clara Yang, piano
Sat 10
Big Band Holidays Jazz At Lincoln Center Orchestra with Wynton Marsalis and Catherine Russell, vocalist
Mystical Music Hossein Alizadeh Chris Thile
JAN
ETM: Double Down Dorrance Dance Beyond Sacred: Voices of Muslim Identity Ping Chong + CompanY A Staged Reading of The Hour of Feeling
Fri 20
Wayang Bocor Eko Nugroho
Fri 27
Nani Topeng Losari
FEB Wed
1
Bruckner Orchester Linz Performs Philip Gl ass Dennis Russell Davies, chief conductor Robert McDuffie, violin
Fri
3
Heroes Tribute A Celebration of the Music of Philip Glass, David Bowie and Brian Eno featuring A Merge Records Group UNC SYMPHONY ORCHESTRA Tonu Kalam, conductor
Mon
6
The Complete Piano Etudes by Philip Glass Timo Andres, Anton Batagov, Aaron Diehl, Philip Gl ass, Jenny Lin, Margaret Lynch, Maki Namekawa, Michael Riesman, Mick Rossi, Cl ara Yang
Tue
7
Dance Lu ci n da Ch i l d s Dance COm pany
Thu
9
Dracula Ph il ip G l ass and Krono s Q uar t e t Michael Riesman, conductor
OCT Wed 5 | Thu 6
Fri 7
Fri 14 Tue 25
Fri 28
Clear & Sweet zoe | juniper Brooklyn Rider with Anne Sofie von Ot ter, mezzo-soprano Richard Thompson Sufi Songs Youssou N’Dour The House is Black Sussan Deyhim
NOV Mon 7
Thu 1 0
Fri 1 1 Wed 16 | Thu 1 7
Isabelle Faust, violin and Alexander Melnikov, piano portrait of myself as my father nora chipaumire Steep Canyon Rangers Labels Joe Sellman-Leava
The Nutcracker Carolina Ballet
16/17 season
FEB
to our partners in Sacred/ Secular: A Sufi Journey for their generosity.
continued
Fri 10
Thu 16
Fri 17
Thu 23 | Fri 24
Mon 2 7
THANK YOU
Words and Music in Two Parts Philip Glass and L aurie Anderson featuring the Philip Glass Ensemble Michael Riesman, music director and conductor
Presenting Sponsor:
A Staged Reading of The Who and The What Marcus Roberts and the Modern Jazz Generation Bayou Blues Shaina Lynn
Campus Partners:
Vienna Philharmonic Franz Welser-Möst, conductor
MAR Thu
2
Fri 3
Dara Ajoka TheatrE Steve Earle
Tue 7
Vijay Iyer SEXTET
Wed 8
Mark Padmore, tenor and Jonathan Biss, piano
Thu 23 Fri 24
Fri 31
Martha Graham Dance COmpany Sounds of Kol achi
APR Wed 5 | Thu 6
Wed 12 Fri 1 4
Tue 18 Fri 2 1
San Francisco Symphony Michael Tilson Thomas, music director and conductor Gautier Capuçon, cello Sanam Marvi J.S. Bach’s St. John Passion Bach Collegium Stut tgart and GÄchinger K antorei Hans-Christoph Rademann, music director and conductor Behzod Abduraimov, piano Shemekia Copeland
Sacred/Secular: A sufi Journey DATES
GL ass at 80 FEST IVAL DAT Es
Carolina Performing arts.org