Sacred/Secular - A Sufi Journey 2016-17 - Carolina Performing Arts

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

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25

Jan

20 Mar

Wayang Bocor Eko Nugroho

31

Sounds of Kol achi

APR

National Poetry Month Reading Rumi

1-30 APR

12

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