The Head & the Load

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WELCOME Since our first production in 2007, the Armory has opened its doors to artists, directors, and impresarios who have provided audiences with immersive performances and installations that could not happen elsewhere in New York and are still revered as major and unique happenings in the cultural life of New York City. This project joins that lineage with South African artist William Kentridge’s grandest and most ambitious production to date, synthesizing music, movement, sculpture, and shadow play from his imaginative practice.

A play on the Ghanaian proverb, “the head and the load are the troubles of the neck,” the large-scale work expressively speaks to the nearly two million African porters and carriers used by the British, French, and Germans who bore the brunt of the casualties during the First World War in Africa, and the historical significance of the deeds and actions of the Africans whose invisible heroism has as yet been largely left untold.

Combining the political with the poetic, this processional musical journey—as much an installation as a performance piece— features music by Kentridge’s long-time collaborator Philip Miller and co-composer Thuthuka Sibisi, with choreography by Gregory Maqoma performed by an international ensemble cast of singers, dancers, and performers.

The Head & the Load captures precisely the type of interdisciplinary work that the Armory is committed to commissioning and supporting, and we are thrilled to see this cross-disciplinary production come to life in our storied space. A work of this magnitude, both in terms of its scale and artistic ambition, takes extraordinary vision and the dedication of many to bring it to light. We are thrilled to welcome to the Armory William, Philip, the entire visionar y creative team, all of the incredible performers, and the team of producers and co-commissioners without which this work could not be realized.

“The Head & the Load is about Africa and Africans in the First World War. That is to say about all the contradictions and paradoxes of colonialism that were heated and compressed by the circumstances of the war. It is about historical incomprehension (and inaudibility and invisibility). With this work, we aim to recognize and record,” William has said about this “historical drawing in performance.”

Recognizing the weight of a history made heavier by its invisibility, we hope that these performances inspire audiences to critically examine colonialism and how somber remnants of history continue to color our experiences today.

Rebecca Robertson Founding President & Executive Producer Pierre Audi Marina Kellen French Artistic Director

Photo: Stella Olivier i

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PARK AVENUE ARMORY PRESENTS

THE HEAD & THE LOAD December 4-15, 2018 North American Premiere Thompson Arts Center at Park Avenue Armory

William Kentridge Philip Miller Thuthuka Sibisi Gregory Maqoma The Knights Catherine Meyburgh Greta Goiris Sabine Theunissen Urs Schönebaum Mark Grey Luc De Wit Catherine Meyburgh, Janus Fouché & Žana Marović Duško Marović Michael Atkinson, Philip Miller Kim Gunning Chris-Waldo de Wet Nathan Koci

Concept & Director Composer Co-composer & Music Director Choreographer Chamber Orchestra Projection Designer Costume Designer Set Designer Lighting Designer Sound Designer Associate Director Video Editing & Compositing

PERFORMANCES Opening Night: Tuesday, December 4 at 7:00pm Tuesday-Friday at 8:00pm Saturday at 2:00pm & 8:00pm Sunday at 2:00pm & 7:00pm

OTHER HAPPENINGS Armory After Hours Join us after select evening performances when the bars will be open in our historic period rooms with libations for the artists and fellow attendees.

Cinematography Orchestration Video Orchestrator Studio Technical Director Additional Orchestration

Artist Talk: The Head & the Load Thursday, December 6 at 6:30pm Artist William Kentridge and his fellow collaborators Philip Miller and Thuthuka Sibisi discuss the political context of their latest work and the process behind mounting it in an unconventoinal space with Dr. Gus Casely-Hayford, Director of the Smithsonian, National Museum of African Art.

Commissioned by Park Avenue Armory, 14-18 NOW: WWI Centenary Commissions, Ruhrtriennale, and MASS MoCA with additional support from Holland Festival.

This production had its world premiere in Tate Modern's Turbine Hall on July 11, 2018.

Season Sponsors

Running Time: Approximately 1 hour and 30 minutes with no intermission

Production Sponsor

Performances of The Head & The Load at Park Avenue Armory are supported in part by The Andy Warhol Foundation for the Visual Arts, Jennifer and Jonathan Allan Soros, Daniel Clay Houghton, Sarah Billinghurst and the Howard and Sarah Solomon Foundation, Betsy and Edward Cohen, Art Dealers Association of America, and the Francis Goelet Charitable Lead Trusts. The production is also supported in part by public funds from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the city council.

Lead support for the development of The Head & The Load has been provided by Brenda R. Potter, Daniel R. Lewis, the W.L.S. Spencer Foundation and Jennifer & Jonathan Allan Soros, with further support from Alessia Bulgari, Agnes Gund and Wendy Fisher.

Additional support has been provided by the JKW Foundation, The Andrew W. Mellon Foundation, Simeon Bruner, Sarah McNair, Randal Fippinger, John and Cynthia Reed, Bill & Sako Fisher, Quaternaire and donors who wish to remain anonymous.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory's Artistic Council.

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CREATED AND PRODUCTION PERFORMED BY TEAM ACTORS Mncedisi Shabangu, Hamilton Dlamini,Nhlanhla Mahlangu, Luc De Wit

FEATURED VOCALISTS & PERFORMERS Joanna Dudley, Nhlanhla Mahlangu, Ann Masina, Bham Ntabeni, Sipho Seroto, N`Faly Kouyate (kora), Mario Gotoh (viola, The Knights), Tlale Makhene (percussion) and Vincenzo Pasquariello (piano)

DANCERS

THE OFFICE performing arts + film Producer Brendon Boyd Production Manager Mike Edelman Technical Director Michele Greco Sound Engineer Sara Sahin Stage Manager Judith Stokart Costume Supervisor Emmanuelle Erhart Costume Fabricator 1 Bert Menzel Costume Fabricator 2 Claudine Grinwis Costume Fabricator 3 Lissy Barnes-Flint Assistant Stage Manager Marine Fleury Set Assistant Jacques van Staden Studio Assistant Anaïs Thomas Scenic Painter

Gregory Maqoma, Julia Zenzie Burnham, Thulani Chauke, Xolani Dlamini, Nhlanhla Mahlangu

Carol Blanco Company Manager Wednesday Derrico Assistant Company Manager Wei-Lin Chang Production Assistant

ENSEMBLE VOCALISTS

Simon Nathan Audio Supervisor Cameron Hoffman Head Audio Vaneik Echeverria Head Carpenter Dave “Tater” Polato Head Electrician Don Cieslik Head Video Stephen Pucci Head Rigger Victoria Bek Head Wardrobe Andrea Miller Production Assistant

Mhlaba Buthelezi, Ayanda Eleki, Grace Magubane, Ncokwane Lydia Manyama, Tshegofatso Moeng, Mapule Moloi, Lindokuhle Thabede, Motho Oa Batho, Bongani Ndhlalane, Tshegofatso Clement Baloyi

THE KNIGHTS

Developed at MASS MoCA, North Adams, April-May 2018, and Kentridge Studios, Johannesburg 2017-2018.

THE OFFICE performing arts + film: Rachel Chanoff, Laurie Cearley, Lynn Koek, Catherine DeGennaro, Noah Bashevkin, Olli Chanoff, Diane Eber, Gabrielle Davenport, Chloe Golding, Luke Gibson, and Aaliyah Chin William Kentridge Studio: Anne McIlleron, Linda Leibowitz The Knights: Artistic Directors, Colin Jacobsen & Eric Jacobsen; Executive Director, Shruti Adhar The Lighting Syndicate Five OHM Productions Premier Stagehands BNW Rigging Lighting, Rigging, Video Equipment by 4Wall Entertainment Audio Equipment by Masque Sound

SPECIAL THANKS The Head & The Load acknowledges the kind assistance of Marian Goodman Gallery, Goodman Gallery, and Lia Rumma Gallery in this project.

Sam Budish, David Stevens (percussion); Shawn Conley, Logan Coale (bass); Christina Courtin, Colin Jacobsen (violin); Sam Jones (trumpet); Mario Gotoh (viola); Dave Nelson, Richard Harris, Will Lang (trombone); Nathan Koci (accordion); Andrew Madej (tuba); Alex Sopp (flute); Eric Jacobson, Caitlin Sullivan (cello); Laura Weiner (French horn)

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PRODUCTION ACKNOWLEDGMENTS

Natalie Denbo, Homi Bhabha, Sue Killam, Meghan Labhee, Joy Lowden, Dr. Anna Maguire, David Olusoga, Roger Tatley, Anne Stanwix, Joe Thompson, Lautarchiv Humboldt University, Berlin, and all the musicians and singers who participated in the first Maboneng Workshop, September 2017.

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SCENES ACT 1 — MANIFESTOS

ACT 2 — PARADOX

ACT 3 — WAR

Manifestos

Eight Things

Kaiser Waltz

Morsecode / Swahili Phrasebook

Troubles of the Body

Running

Ursonate

Chilembwe’s Letter

Running & Falling

Orders & Commands

Playing Against History

Je Te Veux

Recruiting

God Save the King

Wounded Man

Procession to War

Amakatsi

Advanced Arithmetics Kwanukimpi Coda & Deathlist

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ABOUT THE WORK

Every project has to be a coming together of two things: an intriguing thematic idea, and a material form through which to think about it. In this case, our thinking is embodied in projections on a screen, the words of performers, music that is played, the movement of bodies.

The test is really to find an approach that is not an analytic dissection of a historical moment, but which doesn’t avoid the questions of history. Can one find the truth in the fragmented and incomplete? Can one think about history as collage, rather than as narrative?

We are aided in the history itself. If you’re thinking of the war in Europe, you’re thinking about high modernism.

The Dada movement of 1916 is an essential part of the project. One of the striking aspects of colonialism is Europe’s incomprehension of Africa – not being able to hear the very clear language that was being spoken by Africa to Europe.

There is the sense of language breaking down into nonsense, which is what Dadaism was very much about.

Carrying through the idea of history as collage, the libretto of The Head & the Load is largely constructed from texts and phrases from a range of writers and sources, cut-up, interleaved, and expanded. Frantz Fanon translated into siSwati; Tristan Tzara in isiZulu; Wilfred Owen in French and dog-barking; the conference of Berlin, which divided up Africa, rendered as sections from Kurt Schwitters’s Ursonate; phrases from a handbook of military drills; Setswana proverbs from Sol Plaatje’s 1920 collection; some lines from Aimé Césaire.

Likewise, the original music by Philip Miller and Thuthuka Sibisi includes transformed traditional African songs as well as quotations from European composers from the time of the war like Maurice Ravel, Erik Satie, Paul Hindemith, and Arnold Schoenberg.

During the First World War, the English Committee for the Welfare of Africans sent hymn books, harmonicas, gramophones and banjos to the African battalions so that they could entertain themselves. What songs of war, love, and longing might have been made by these African men in the trenches on the Western Front or in the camps of East Africa?

In the early twentieth century, composers such as Hindemith, Schoenberg, and Ravel sounded the siren for the end of Romanticism and the beginning of a new modernism. From this arose a musical shift toward atonality and serialism. Is it possible that the Swahili phrase books and dictionaries published for the colonial commanders were as absurdist to the ear of a Kenyan soldier as the nonsense poetry of Kurt Schwitters?

The sounds of war are violent and unpredictable. This was the sonic reality of every soldier, porter, and civilian caught up in the war, in Europe and Africa. Using collage as a tool we move from a cabaret song by Schoenberg, intercut with percussive slaps on hymn books, to a Viennese waltz by Fritz Kreisler. Amidst this tension and instability, Africa talks back to Europe through rhythmic war songs and chants, deliberately resisting the raucous musical soundscapes of the European avant-garde.

What did the Great War sound like to the African soldiers and carriers who fought in it? Their experiences were not considered significant enough to be recorded or archived.

We can only imagine the noises they heard or the music they made, through the multitude of voices and sounds we have created in The Head & the Load.

– Philip Miller and Thuthuka Sibisi

– William Kentridge

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HISTORICAL CONTEXT

On August 12, 1914, the first shot by a member of the British forces in the First World War was fired. The soldier who leveled his rifle and took that historic shot was an African, a man who was fighting on his own continent against an enemy force largely made up of other Africans. His name was Alhaji Grunshi, a Regimental Sergeant Major in the British West African Frontier Force, part of an AngloFrench force invading the German colony Togoland, present day Togo. The aim of the invasion was to seize the colony and destroy a radio transmitting station that lay inland, near the settlement of Kamina. Days later, transmitters on the coasts of Germany’s other African colonies – today the nations of Tanzania, Cameroon, and Namibia – were battered to rubble

by Royal Navy warships or captured by African troops led by British, Belgian, or French officers.

the Germans launched an insurgency that dragged on until 1918, costing the lives of hundreds of thousands of Africans.

The number of Africans drawn into the First World War is unknown and unknowable. Almost 200,000 Africans fought in the French Army. Meanwhile across the continent the conscription of manpower resulted in famines, which likely caused the deaths of hundreds of thousands of people. It was, however, the campaigns fought by the western allies against the German forces in East Africa that consumed the labor and the lives of Africans in vast numbers. The majority of Africans involved served not as soldiers but porters – often referred to as carriers. They marched by foot, following the combat units over vast distances. Across British-ruled Africa, the recruitment of African men was compulsory.

Chiefs who resisted the levees were threatened with fines or imprisonment. In the latter stages of the war the increasingly desperate German forces openly abducted men from their villages. As no army kept comprehensive records, the death toll among the Africans who served as carriers cannot be determined. Around a million Africans are thought to have served under the British forces and perhaps 350,000 served the Germans. One estimate suggested that the number who died under German command was between 100,000 and 120,000. Other sources suggest that at least 100,000 African carriers died while attached to the British forces.

The First World War was felt in Africa before the Western Front had formed and before a shot had been fired by the British Expeditionary Force in France. Shots continued to be fired on African soil for the next four years. Indeed the last German assault took place in what is now Zambia on November 13, 1918, two days after the Armistice, as German forces in Africa were unaware that the guns had been silenced on the Western Front.

Although few people in 1914 envisaged or described the conflict as a "world war," African involvement was inevitable.

By 1914 European powers effectively owned Africa, ruling over 90% of the continent. Only two states, Ethiopia and Liberia, remained independent, while the rest of Africa was divided between France, Britain, Portugal, Belgium, Germany, Italy, and Spain.

Britain and her allies did not go to war in order to capture Germany’s colonial empire. However, once the conflict had begun, they happily did so and the First World War became, in effect, the final stage in the Scramble for Africa, with the German colonies being distributed to the victorious nations in 1919.

Three of Germany’s four African colonies – Togo, Cameroon and Namibia – were rapidly conquered. The invasion of the fourth, Tanzania, resulted in military disaster for the British and Indian forces. After repelling the initial British invasion armoryonpark.org

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– David Olusoga David Olusoga is a British-Nigerian historian, writer, broadcaster, and BAFTA award-winning presenter and filmmaker.

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WHO'S WHO IN THE COMPANY

WILLIAM KENTRIDGE (CONCEPT & DIRECTOR) William Kentridge (born Johannesburg, South Africa, 1955) is internationally acclaimed for his drawings, films, theater, and opera productions. His practice is born out of a crossfertilization of mediums and genres. His work responds to the legacies of colonialism and apartheid, within the context of South Africa's socio-political landscape. His aesthetics are drawn from the medium of film’s own history, from stopmotion animation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and filmmaking practice, where the meanings of his films are developed during the process of their making. Kentridge’s practice also incorporates his theater training.

His work has been seen in museums and galleries around the world since the 1990s, including Documenta (Kassel), the Museum of Modern Art (New York), the Albertina Museum (Vienna), the Louvre Museum (Paris), Whitechapel Gallery (London), Louisiana Museum (Copenhagen), and the Reina Sofia museum (Madrid). His opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and Alban Berg’s Lulu, and have been seen at opera houses such as the Metropolitan Opera (New York), La Scala (Milan), English National Opera (London), Opera de Lyon, and Amsterdam Opera, among others. In summer 2017, Kentridge premiered his production of Berg’s Wozzeck for the Salzburg Festival.

His recent works include: the 5-channel video and sound installation The Refusal of Time made for Documenta (13) in 2012; More Sweetly Play the Dance, an 8-channel video projection show first seen in Amsterdam in April 2015; Notes Toward a Model Opera, a three-screen projection looking at the Chinese Cultural Revolution; and his ambitious yet ephemeral public art project for Rome, Triumphs and Laments (a 500 m frieze of figure power-washed from pollution and bacterial growth on the walls of the Tiber River), which opened in April 2016 with a performance of live music composed by Philip Miller and a procession of shadow figures.

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Kentridge is the recipient of honorary doctorates from several universities including Yale and the University of London.

In 2012, he presented the Charles Eliot Norton Lectures at Harvard University. He received the Kyoto Prize in 2010, and was appointed an Honorary Academician of the Royal Academy in London in 2015. In October 2017, he received the Princesa de Asturias Award for the arts.

PHILIP MILLER (COMPOSER) Philip Miller is a composer and sound artist based in Cape Town, South Africa. Since 1994, he has worked with his longtime collaborator William Kentridge composing the music for the seminal film Felix in Exile. His music has recently been heard in London with the installation, Refusal of Time (Whitechapel) the cine-concert, Paper Music (Print Room), and Five Themes (Tate Modern, The Tanks). In 2016, together with Thuthuka Sibisi, he composed Triumphs and Laments, a processional march for two orchestras and choir, performed in front of Kentridge’s frieze on the banks of the Tiber River in Rome. Miller’s independent projects include his award-winning Rewind: A Cantata for Voice, Tape & Testimony, presented at the Market Theatre (South Africa), The 62 Centre, Williams College, Celebrate Brooklyn, and the Royal Festival Hall (2011). In 2013, the work was selected for the South African Pavilion at the Venice Biennale. Other recent commissions include the sound installation Bikohausen: Steve Biko and Karlheinz Stockhausen, Johannesburg, at Darmstadt Summer Music Festival (2016).

His most recent collaboration with Thuthuka Sibisi is the sound installation The African Choir of 1891 Re-imagined, at Autograph ABP (London), the Apartheid Museum, and National Gallery (South Africa). He regularly composes films scores which have won many awards, including an Emmy nomination for HBO’s The Girl (2012).

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THUTHUKA SIBISI (CO-COMPOSER & MUSIC DIRECTOR) GREGORY MAQOMA (CHOREOGRAPHER) Thuthuka Sibisi’s musical education began at the worldrenowned Drakensberg Boys Choir School. He went on to receive a Bachelor of Music from Stellenbosch University in 2011. Along with music studies, he completed studies in Physical Theater and Movement with Sam Prigge and Estelle Olivier. He is a graduate of the MA (Performance Making) program at Goldsmiths, University of London, UK. Sibisi has toured and performed extensively throughout South Africa, Asia, and South America. He also toured Stockholm as Musical Director for the premiere of Philip Miller’s opera Between A Rock and A Hard Place in collaboration with Cape Town Opera. He was Associate Conductor and Chorus Master for Bongani Ndonana-Breen’s oratoria Credo, written to commemorate UNISA’s 140th anniversary of its founding.

In China, he served as Musical Director for the premiere of Philip Miller’s Pulling Numbers and served as Musical Director for Ciné-Concert, presented as part of Notes Toward a Model Opera by William Kentridge. In 2016, Sibisi made his Italian debut as Music Director for William Kentridge’s Triumphs and Laments presented in Rome, Italy. Additional projects include a commission by Cape Town Opera for Musiquées Sacrée d’Afrique et d’Europe, in residence at Festival International d’Aix-enProvence (France).

Visual collaborations include: Joburg City Hustle (2015) and Intersections To This City (2014) with Johannesburg-based photographer and sculptor Jake Singer; Extracts from The Underground (2013), a reiteration of the short opera Between A Rock and A Hard Place as a live-art installation; The African Choir 1891 Re-imagined (2016), a new sound/image installation presented as part of the Black Chronicles Archive Laboratory display at Autograph ABP (London). He is a recipient of the Mail & Guardian 200 Young South Africans 2017 award and 2018 Ampersand Foundation Fellow.

Soweto-born Gregory Vuyani Maqoma took up dance in the late 1980s as a refuge from the political tensions in the township and quickly began excelling. He began formal dance training at Moving Into Dance Mophatong in 1990 where, in 2002, he would return for five years as associate artistic director. Today, Maqoma is an internationally renowned dancer, choreographer, teacher, director and scriptwriter. In 2017 Maqoma was honored by the French Government with the Chevalier de l’Ordre des Arts et des Lettres (Knight of the Arts & Literature) Award. He has been the choreographer for many award-winning theater productions – The Lion and the Jewel, The Hill, Crazy for Jazz, Thirst, Master Harold and the Boys, Sunjata, Songs of Migration with Hugh Masekela and the 2010 FIFA World Cup Opening Ceremony. He founded Vuyani Dance Theatre in 1999 and several works in the company repertoire have earned accolades and international acclaim. Maqoma is well known for his dance trilogies, including the Beautiful trilogy (which received the Gauteng MEC Award in 2006 & 2007).

Maqoma received the Standard Bank Young Artist Award for Dance (2002) as well as the Dance Manyano Choreographer of the Decade Dance Award (2011). Most recently, he was awarded the Inaugural Usiba Awards by the South African Department of Arts & Culture for his dedication to dance teaching and development. As a graduate of the GIBS Social Entrepreneurship Program, he is featured in Kerryn Krige’s and Gus Silber’s book The Disruptors - Social Entrepreneurs Reinventing Business and Society. Maqoma has also been a curator at William Kentridge’s Centre for the Less Good Idea in Johannesburg (2016) and at the National Arts Festival (Main dance season 2017). Maqoma has taught at various universities across Africa, North America, and Europe.

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CATHERINE MEYBURGH (PROJECTION DESIGNER) Catherine Meyburgh works in film as a director and editor, and in theater and opera as a projection designer. Since the mid-1990s, her collaborations with William Kentridge include his animation films, theater works, and operas including: Wozzeck and Lulu (Alban Berg); The Magic Flute (Mozart); and The Nose (Shostakovich); and The Refusal of Time, a collaboration with William Kentridge and Philip Miller. In television, she has edited the groundbreaking drama series Yizo Yizo. As a film director, she is currently completing the documentary Of Gold, Dust & Breath with co-director Richard Pakleppa.

GRETA GOIRIS (COSTUME DESIGNER) Greta Goiris studied costume design at the Royal Academy of Fine Arts in Antwerp and set design at Institute del Teatre in Barcelona. She designed her first costumes for Jaques Delcuvellerie in Brussels and Avignon, which included La Grande Imprecation Devant Les Murs De La Ville (T. Dorst ), La Mere (B. Brecht), Andromaque (Racine) and Rwanda-1994. Since 2001, she has collaborated with Johan Simons on several theater and music theater productions including: the Leenane Trilogy (M.Mc Donagh) for ZT Hollandia; Sentimenti, Das Leben ein Traum (Calderon), Vergessene Strasse (Louis-Paul Boon) for the Ruhrtriennale; Die Perser (Aischylos) for Münchner Kammerspiele; Die Neger (Jean Genet) for Wiener Festwochen (2014); and Radetzkymarsch (Joseph Roth) for the Burgtheater (2017), among others. Alongside Simons she has also designed the costumes for the operas Fidelio (Beethoven) for Opera de la Bastille (2008) in Paris; Herzog Blaubarts Burg (Bela Bartok) for the Salzburger Festspiele (2008), and Alceste (Gluck) for the Ruhrtriennale (August 2016). In July 2016, Goiris designed costumes for Les Indes Galantes directed by Sidi Larbi Cherkaoui for the Bayerische Staatsoper. Goiris has also collaborated with Pierre Audi, Ivo Van Hove, Karin Beyer, Josse De Pauw, and Peter Verhelst.

Goiris began her longtime collaboration with William Kentridge with Die Zauberflöte (De Munt, 2005).

Opera collaborations with Kentridge include: The Nose (Metropolitan Opera, 2010); Lulu (DNO, Metropolitan Opera, 2015, ENO 2016); and Wozzeck (Salzburger Festspiele, 2017). Installations and music theater productions have included: Refuse the Hour (Holland Festival/ Avignon Festival); The Refusal of Time (Documenta Kassel); Winterreise; (Wiener Festwochen); Paper Music (Florence); More Sweetly Play the Dance (Amsterdam); and O Sentimental Machine (Istanbul Biennal).

SABINE THEUNISSEN (SET DESIGNER) Sabine Theunissen studied architecture in Brussels. After one year in the technical office of La Scala (Milan), she worked for 17 years in the design studio of the Royal Theater of La Monnaie (Brussels). She met William Kentridge in 2003, and their collaboration began with The Magic Flute (creation TRM 2005). She has designed sets for several of his opera productions including: The Nose (Metropolitan Opera); Refuse the Hour (2012); The Refusal of Time (Documenta 13, Kassel 2012); Winterreise (Vienna Festival, 2014); Lulu (DNO, Metropolitan Opera, 2015, ENO 2016); and Wozzeck (Salzburg Festival, Metropolitan Opera, Sydney Opera). Theunissen has also worked on Kentridge’s art installations and exhibitions including: Notes Towards a Model Opera (Beijing, Seoul, 2015); No It Is (Gropius Bau, Berlin, 2015); Thick Times (White Chapel, Louisiana Museum, Salzburg, Manchester, 2016); Smoke, Ashes, Fable (Bruges, 2017); O Sentimental Machine (Frankfurt, Liebig Haus, 2018); and Quelle che non ricordo (Sydney, 2018).

Based in Brussels, Theunissen works with a number of directors and choreographers, including her sister Hélène Theunissen, for whom she designed sets for La Dispute, Marrakech (Brussels 2012) and A Midsummer Night's Dream (Brussels 2017). She recently designed sets for Bug and Othello staged by Aurore Fattier. She also collaborated with the choreographer Michèle Noiret for Hors-champ (2015) and Radioscopie (2016), and with director Lilo Baur for Ariane and Barbe-Bleue (Opera de Dijon 2012). She designed the exhibitions The Body in Indian Art (Europalia Festival, Brussels, October 2013) and 1,000m² of desire (CCCB, 8

Barcelona, September 2016). She is frequently invited to lecture at art and architecture schools, such as Stockholm University, Pavillon Bosio (Monaco), La Cambre (Brussels), The Fine Art School (Tournai), and EYE filmmmuseum (Amsterdam).

URS SCHÖNEBAUM (LIGHTING DESIGNER) Urs Schönebaum studied photography in Munich and worked with Max Keller 1995-1998 as part of the lighting department of Münchner Kammerspiele. He began to work as a lighting designer for opera, theater, dance, art installations, and performances in 2000 after serving as assistant director for productions at Grand Theatre de Genève, Lincoln Center in New York, and Münchner Kammerspiele. He participated in over 130 productions at major theaters including Covent Garden (London); Opéra Bastille, Opera Garnier, La Comédie Française and Théâtre du Châtelet (Paris); La Monnaie (Brussels); Opera de Lyon; Metropolitan Opera (New York); Staatsoper unter den Linden, Schaubühne and Deutsches Theater (Berlin); Bayerische Staatsoper and Residenztheater (Munich); Dramaten (Stockholm); Det Norske Teatret (Oslo); Teatro dell’Opera Roma; Avignon Festival; Teatro Real Madrid; Festival d'Aix en Provence; Bolshoi Theater (Moscow); Salzburg Festival; NCPA and Poly Theater (Beijing); Sydney Opera House; Dutch National Opera; Bayreuth Festival; and Wiener Festwochen. He works with stage directors such as Thomas Ostermeier, La Fura dels Baus, William Kentridge, Pierre Audi, Michael Haneke, Sidi Larbi Cherkaoui, Sasha Waltz, and was a longtime collaborator of Robert Wilson.

His work also includes lighting designs for art projects with Vanessa Beecroft, Anselm Kiefer, Dan Graham, Taryn Simon, and Marina Abramović. In 2012 he directed and designed the two Operas Jetzt and What Next?, and in 2014 Happy Happy, composed by Mathis Nitschke at the Opera National de Montpellier. In 2017 he created the set and lighting design for the production Bomarzo at the Teatro Real in Madrid.

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MARK GREY (SOUND DESIGNER) Mark Grey is an Emmy Award-winning sound designer who was the first sound designer for The New York Philharmonic at Avery Fisher Hall (On the Transmigration of Souls, 2002, which also won the Pulitzer Prize in Music) and The Metropolitan Opera (Doctor Atomic, 2008; Nixon in China, 2011; Death of Klinghoffer, 2014; The Merry Widow, 2015; Bluebeard’s Castle/Iolanta, 2015; L’Amour de Loin, 2016). He has collaborated intimately with the composer John Adams, and several others, for nearly three decades. His sound design creations have been seen and heard throughout most major concert halls, HD simulcast theaters, and opera houses worldwide.

LUC DE WIT (ASSOCIATE DIRECTOR) Luc de Wit is an actor, director, and drama teacher. He began his career as an actor and later worked increasingly as a stage director. Since 1995 he has focused mainly on directing operas. He also teaches regularly at theater and music theater colleges, and has given workshops for actors, singers, directors and set designers. He currently teaches at the Lassaad International School of Theatre in Brussels. De Wit has worked as a co-director with William Kentridge since 2005 and often revives Kentridge’s productions in international opera houses and theaters. Among these productions have been Die Zauberflöte (Opera La Monnaie /De Munt, Brussels and revived in many opera houses), Il Ritorno di Ulisse, The Nose, Lulu and Büchner’s Wozzeck. He was associate director of Kentridge’s production of The Nose (Metropolitan Opera, Festival d’Aix en Provence, Opera de Lyon), and worked with William Kentridge and composer Philip Miller on the chamber opera Refuse the Hour in 2012. The following year he worked as movement director on Guy Cassier’s production of Götterdämmerung (Berlin State Opera, La Scala, Milan) and co-directed Die Zauberflöte with Pierrick Sorin in Lyon.

In 2015, De Wit and Kentridge worked together on Lulu, a co-production between the Metropolitan Opera, The Dutch National Opera, the Rome Opera, and the English National Opera. In 2017, De Wit was co-director with Kentridge for Wozzeck at the Salzburg Festival in co-production with Sydney Opera, the Metropolitan Opera, and the Canadian Opera of Toronto.

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JANUS FOUCHÉ (VIDEO DESIGNER)

MOTHO OA BATHO (TENOR)

MHLABA BUTHELEZI (TENOR)

Janus Fouché is a South African digital artist, working in multimedia projects ranging from interactive electronic musical installations, animation, to self-organizing biological systems laser-engraved onto paper. He is most well known as a collaborator, having worked with contemporary artists and composers such as William Kentridge, Blessing Ngobeni, Deborah Bell, Philip Miller, and João Orecchia. He focuses on the digital space as a parallel, abstract, but equally present universe, with its own laws and aesthetics to be constructed, explored, and reflected upon, revealing the underlying systems and relationships of our own experience. Fragments of both worlds are pulled into one-another to create new, unexpected relationships. Organic generative drawings of artificial life, collages of film and animation meet motion captured puppets and mechanical personifications.

Makudupanyane Senaoana is an opera singer and young composer who loves to write and tell stories. He began his musical career at the Drakensberg Boys Choir School, and his musical adventures have taken him to Germany where he lives and works as a freelancing operatic tenor. Senaoana has shared the stage with talents such as LIRA, Bryn Terfel, and Eric Owens, and is a recipient of the first prize award of the South African competition Amazwi Omzansi.

Mhlaba Buthelezi is an academic, practitioner, and performer who is currently a lecturer and producer at Tshwane University of Technology. A Master of Music graduate from Southern Methodist University in the United States, Buthelezi has performed in grand stages in France, South Africa, Swaziland, Sweden, and the United States collaborating with renowned accompanists, conductors, directors, and orchestras. While in the U.S., he was in the chorus for The Dallas Opera, where his performance highlight was taking part in the premiere of the American opera Moby-Dick at the iconic Winspear Opera House in 2010.

ŽANA MAROVIC´ (VIDEO DESIGNER) Blending her interests in science and art with that of video editing in film and television, Sarajevo-born Žana Marović settled in Johannesburg in 1995. She gained experience by working on various television productions from documentaries to feature films, including award-winning wildlife feature films by the acclaimed National Geographic filmmakers Dereck and Beverly Joubert. In 2011, she became involved in the creative process on projects and installations

by William Kentridge including: Refuse the Hour; The Refusal of Time; O Sentimental Machine; Notes Towards a Model Opera; Second Hand Reading; Lulu; Wozzeck; and The Head & the Load, among others.

JULIA BURNHAM (DANCER) Julia began practicing Modern and Traditional dance at a young age in Alexandra Township. She later joined Moving Into Dance Mopharong (MIDM), where she eventually became a full time company member and toured the work of Robyn Orlin internationally. She took part in the First Crossings project and the FIFA World Cup Concert. In 2014, she joined Vuyani Dance Theatre (VDT) and worked closely with Gregory Maqoma and Luyanda Sidiya. She has been part of the Metro FM Awards with various South African artists and appeared in Kudu, a collaboration between VDT and Eric Trufaz and the Quartet. She has performed at the Presidential Inaugurations and appeared in Full Moon and Ketekang, directed by James Ngcobo. Her choreography credits include: Something Black and Yellow (Market Theatre, 2016); Colour Blind (American Dance Festival, Duke University, 2017); and Matlou (Apartheid Museum, 2017), among others. She has done various workshops with William Kentridge and is the founder of Black Jaguar Holdings.

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THULANI CHAUKE (DANCER) Thulani Chauke began his formal training in 2009 at Moving Into Dance Mophatong (MIDM) as part of the Performing Arts Training Course (PATC), though he performed and trained with community groups in Soweto for many years prior. He was then selected as a trainee and later joined the MIDM Professional Dance Company, where he continued to flourish as an Afro-fusion and Hip-Hop Dance teacher.

In 2011, he joined Vuyani Dance Theatre as a Company Member & Outreach Teacher and participated in the Crossings International Workshops, where he discovered his artistry and continued creating authentic, thought-provoking works. From 2012-2017, he joined Forgotten Angle Theatre Collaborative as a Dancer / Choreographer and Community Arts Engagement Officer. Chauke created his first solo work BLACK DOG (2013) during his time with FATC while in a residency program in France at the Centre National de la Dance in Paris and at the Klap Maison Pour La Danse in Marseille. BLACK DOG has been performed in several dance festivals since its creation.

TSHEGOFATSO CLEMENT BALOYI (BARITONE) Tshegofatso Clement Baloyi is an international Altech Scholar originally from South Africa. He is an undergraduate Vocal Performance major studying at the University of Kentucky under the tutelage of Dr. Everette McCorvey.

His recent stage credits with University of Kentucky Opera Theater include Lieutenant Gordon in Silent Night, Charles in Show Boat, Barone Douphol in La Traviata and The Barber of Seville. He has been a young artist at the Bay View Music Festival in Michigan. His upcoming productions include the Imperial Commissioner in Madame Butterfly with UKOT and Rigoletto with Kentucky Opera.

HAMILTON DLAMINI (ACTOR) Hamilton Dlamini is a storyteller who produces, writes, and directs for his company Ndlondlo Productions, which specializes in theater, film, and television such as Woza Albert, Eletfu Maswati, Indabandaba, and Zakata among others.

He is a SAFTA winner for Best Actor in a Soap Opera/ Telenovela 2018. He starred in the films Faith Like Potatoes, Otelo Burning, and Five Fingers For Marseilles. He is also a voice artist for Castle Milk Stout.

XOLANI DLAMINI (DANCER) Xolani Sanele Dlamini was born and raised in Soweto Emdeni North. He studied drama at FUBA School of Dramatics and Visual Arts from 2009-2010, where he received a Certificate in Performing Arts and was awarded the Best Actor in Drama. He went on to study Applied Drama at Wits University through Drama For Life. He has been part of numerous theater productions and cartoon series as a voice over artist.

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JOANNA DUDLEY (FEATURED VOCALISTS & PERFORMER)

MARIO GOTOH (FEATURED PERFORMER, VIOLA, THE KNIGHTS)

Joanna studied at the Sweelinck Conservatorium, and studied traditional Japanese music in Tokyo and traditional music in Java. At the Berlin Schaubuehne, she created works with Rufus Didwiszus, Thomas Ostermeier, Seiji Ozawa, Sasha Waltz, and Sidi Larbi Cherkaoui. With William Kentridge and Philip Miller, Dudley featured as a soloist in Refuse the Hour and Paper Music. She created a solo role for Kentridge’s Lulu for the Metropolitan Opera. Together they created The Guided Tour of the Exhibition, which has appeared in major art museums. Dudley has appeared in venues and festivals worldwide including Carnegie Hall, Avignon Festival, Metropolitan Opera, Vienna Opera, and Hong Kong Festival.

Mario Gotoh is a Grammy Award-winning musician who has distinguished herself in dual roles as an innovative violinist & violist and composer with a remarkably versatile performance style in all genres of music. She was invited by Yo-Yo Ma to teach at the YMCG 2018 festival in China, and frequently performs with Yo-Yo and the Silkroad Ensemble. Gotoh has performed & recorded with many pop artists including: Stevie Wonder, Roger Waters, Katy Perry, Miley Cyrus, Sting, Adele, Brian Wilson, Aimee Mann, and frequently performs on TV & soundtracks including SNL, The Grammy Awards, Stephen Colbert, and David Letterman, among others. She has recorded on several film soundtracks, and is the original violinist-violist in Hamilton (Broadway show & soundtrack).

AYANDA ELEKI (BASS) Born in Port Elizabeth, Ayanda Eleki grew up in the Eastern Cape Province where he developed his music skills as a chorister. As a teenager, he performed as a baritone soloist in Songs of Praise under the baton of Mr. Richard Kok. He later moved to Gauteng and was a resident Opera Chorus at the Opera Africa in Pretoria. He joined Voices of the Nation as a bass soloist, and was a freelance opera singer in Isango Ensemble Institution, with whom he sang in highly successful opera tours to Italy, Japan, Australia, Austria, France, Germany, and America. His repertoire includes: Priest in Zauberflöte, Prince Mnyayisa in Princess Magogo, General in Aida, Alcindoro in La boheme, Carmen, Noye’s fludde – opera by Benjamin Britten, among others.

Additionally, he has performed in the musicals Venus and Adonis, Ragged Trousered Philanthropist, and Aesop's Fables.

Eleki made his debut as Sarastroi in Die Zauberflöte at the Tollwood festival in Munich (Germany). He performed a solo as Bangindawo in Madiba the African Opera and performed the role of Pete Quince in Midsummer Night’s Dream and Escamillo in Carmen in London.

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N'FALY KOUYATE´ (KORA) A two-time Grammy-nominated winner of Songlines Music Awards (ACSS, 2017), N’Faly Kouyaté is a multitalented artist coming from a deeply traditional background in Guinea, West Africa. His album Flight with his band Afro Celt Sound System was released in November during their tour. Kouyaté is now working on his new solo project Music 4 Water, Music 4 Life. An album release is planned for September 2019 followed by a European tour end of 2019.

GRACE MAGUBANE (SOPRANO) Grace Magubane is a soprano and classical voice student at Wits University, majoring in performance. She loves being on stage and performing – she is deeply rooted in the arts and singing is her greatest passion. After Wits, she plans to complete her Master’s degree overseas, either in Europe or America. She is currently studying her soprano skills with Ms. Eugenie Chopin to acquire techniques that will ensure a lifelong, healthy career.

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NHLANHLA MAHLANGU (ACTOR)

NCOKWANE LYDIA MANYAMA (ALTO)

TSHEGOFATSO MOENG (BARITONE)

Nhlanhla Mahlangu is a graduate in Theory and Practice of Dance Teaching from Moving Into Dance Mophatong (MIDM) with over ten years of professional performance and administration in theater, dance, dance theater, and dance education. Mahlangu has made great strides in the performing arts industry as a choreographer, actor, singer, poet, dancer, teacher, administrator, and composer. His extraordinary work has been seen throughout Africa, North America, South America, Asia, and Europe. His versatility as an artist led to commissions to work with a number of awarding-winning artists including Richard Cock, Gregory Vuyani Maqoma, Sylvia Glasser, Vincent Mantsoe, Jay Pather, Des and Dawn Lideberg, Robyn Orlin, James Ngcobo, Victor Ntoni, and many more.

Lydia Manyama was born in 1982 in Soweto, JHB, South Africa. She has a national diploma in Music Performance majoring in Jazz voice. She is in her third year of pursuing her Bachelor of Music degree with the University of Witwatersrand. She has been involved in music groups since her primary education to high school. She has been a member and a lead singer of praise and worship teams for over a decade. As a soloist, she also performs in various events, weddings, and music concerts.

Tshegofatso Moeng of Magong, South Africa, received a Fulbright Scholarship to study in the United States for a Master of Music in Opera Performance from the University of Maryland. In recent seasons, he performed in Mozart’s Don Giovanni, Blitztein’s Regina as part of the Maryland Opera Studio (MOS), Verdi’s La Traviata with Ash Lawn Opera, and as a soloist in Mahler’s Lieder eines fahrenden gesellen with Inscape Orchestra. He has also portrayed the roles of Junius and Tarquinius in Britten’s The Rape of Lucretia and Jupitor in Offenbach’s Orphée aux enfer with MOS. He was recently in LOSW’s production of Mozart’s le Nozze di Figaro.

TLALE MAKHENE (PERCUSSION) Soweto-born Tlale Makhene is a sought-after percussionist, composer, and collaborator who draws from traditional, world, and jazz music. Makhene has performed locally and internationally, collaborating and working with artists including Miriam Makeba, Corinne Bailey Rae, Johnny Clegg, and Pharaoh Sanders. His collaboration with William Kentridge began seven years ago with Refuse The Hour and continues through his work with Kentridge’s Centre for the Less Good Idea. Makhene has released two original albums: Ascension of the Enlightened (2004), which won the highest accolade in South African music awards for Best Contemporary Jazz Album, and Swazi Gold (2017).

ANN MASINA (FEATURED VOCALISTS & PERFORMER)

MAPULE MOLOI (ALTO)

Ann Masina was born in Witbank Mpumalanga. She started singing as a soloist in 1994 in the Africa Sings Choral Choir. In 1999 she joined the Nick Malan Opera House (now the Cape Town Opera House) and performed operas such as Carmen and Aida. Masina is a co-founder of JOAT Opera Group. In 2005-2009 she worked with choreographer Robyn Orlin in her productions Dressed to Kill, Venus, and Walking Next to Our Shoes, and toured Europe extensively. From 2007-2009 she was a member of the two-time Grammy Award-winning Soweto Gospel Choir.

In 2014-2015, she performed in a musical called Colour Me Human produced by Steve Dyer and performed at the Soweto Theatre and Johannesburg Theatre. She has been part of William Kentridge's productions and workshops since 2012, including Refuse The Hour, Paper Music, and Triumphs and Laments. She has been part of The Centre for the Less Good Idea and performed Venus Hottentot vs Modernity with Lebogang Mashile, along with other productions for the first season.

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Mapule Moloi is a native of Vosloorus, Gauteng-South Africa, where she started singing from a young age. After matric, she enrolled for her National Diploma in Vocal Art at Tshwane University of Technology, where she is currently a third year student. A passionate singer and soothing vocalist, Moloi has a velvet-like tone with rich qualities that allows her to cross genres with ease. She has sung chorus for a number of productions at the Breytenbach Theatre in Tshwane.

BONGANI NDHLALANE (BARITONE)

VINCENZO PASQUARIELLO (PIANO)

MNCEDISI SHABANGU (ACTOR)

Bongani Ndhlalane is a Bass-baritone from South Africa. He performed in The Magic Flute as a 1st Speaker, La Traviata as Dottor Grenvil, and Don Giovanni as Commendatore.

He participated in the Martina Arroyo young artist Prelude to Performance program in New York City. He played the role of an Officer in The Barber of Seville and audited the role of Basilio. He performed Don Alfonzo in Cosi Fan Tutte in March 2015 with the University of Kentucky, and the role of Basilio in The Barber of Seville in March 2016. He performed his debut with the Kentucky Opera in Louisville as Lackey in Ariadne auf Naxos in February 2017. In summer 2017, he performed in The Magic Flute as Sarastro with the Classical Movement summer program in Austria. He recently performed the opera Silent Night with the University of Kentucky as a British Major.

Vincenzo Pasquariello is an Italian musician and theater actor. Pasquariello received his first music lessons at age five from his father, an orchestra conductor, and continued his studies and graduated from Conservatorio G. Verdi of Milan under the guidance of Bruno Canino. In the late 1990s, he was working in theater as a pianist and composer for incidental music when he serendipitously happened to play a role in a performance. After, this became an important activity to Pasquariello. He has participated in several festivals and has performed in a several major theater venues worldwide, such as Teatro Argentina of Rome, Teatro Biondo of Palermo, and Piccolo Teatro of Milan.

Mncedisi Shabangu is an award-winning South African writer, actor, director, and theater maker. He has also starred in national and international movies such as Catch a Fire alongside Tim Robbins and Derek Luke, directed by Phillip Noyce. Shabangu last appeared on American stages at The McCarter Theater and the Syracuse Stage in Sizwe Banzi is Dead directed by Dr John Kani. He lives in the village of Kanyamazane where he continues making theater for the villagers in any space available. He is the artistic director of Kanyamazane Theatre Organisation as well as the theater contributor for TFOLALWATI, a youth development center in his village. This is his second full play collaboration with William Kentridge.

BHAM NTABENI (FEATURED VOCALISTS & PERFORMERS) Bham Ntabeni is a music composer and director for films as well as player and singer who has worked and collaborated with Philip Miller, Gibson Kente, William Kentridge, Thulanee Mbatha, and Bheki Sbiya. He has appeared on SABC TV 1 and 2, as well as eTV, and performed for President Thabo Mbeki.

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SIPHO SEROTO (FEATURED VOCALISTS & PERFORMER) Sipho Seroto began his schooling at Ditshaba Primary School in 1995 and matriculated at Panorama Combined School in Newcastle, KwaZulu-Natal, in 2008. He then went to Johannesburg in 2009 and began working as a television extra for local soap operas. In 2010, he earned a certificate from Media Concepts after completing a course in TV presenting.

He worked as a canvasser in 2012 for new accounts at Edgars. In 2016, Seroto was featured in a SHOWMAX TV commercial and began working at William Kentridge's art workshops as a stage performer and actor.

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LINDOKUHLE THABEDE (BASS) Lindokuhle A. Thabede is a second year classical vocalist in the University at the Witswatersrand. He has been singing classically for more than ten years, and has experience singing and performing other genres of music as well. Throughout the years, and as a member of different choirs such as the Wits choir, he has spanned genres such as isicathamiya, gospel, and traditional music. He enjoys all kinds of art, especially music, dance, and theater productions.

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THE KNIGHTS The Grammy-nominated Knights are an orchestral collective, flexible in size and repertory, dedicated to transforming the concert experience. Their performances engage listeners and defy boundaries with programs that showcase the players’ roots in the classical tradition and passion for artistic discovery. The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. The Jacobsen brothers, who are also founding members of the string quartet Brooklyn Rider, serve as artistic directors of The Knights, with Eric Jacobsen as conductor. In December 2012, the Jacobsens were selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious United States Artists Fellowship.

The Knights have had an exciting 2017-18 season, a highlight of which was a U.S. tour with genre-defying Israeli mandolinist Avi Avital and Syrian clarinetist and composer Kinan Azmeh. Tour repertoire came from around the world, with arrangements and transcriptions by the artists themselves, and features the world premiere of Azmeh’s Triple Concerto for Clarinet, Mandolin, Violin and Orchestra.

Thanks in part to the generous support of the Mellon Foundation, The Knights will complete their second Home Season in Brooklyn, in partnership with the downtown venue BRIC, presenting family concerts, evening performances, and a characteristically wide-ranging roster of guest artists. The Knights’ 2017 summer season encompassed a world premiere by composer Judd Greenstein and an East Coast premiere

by Vijay Iyer; their tenth consecutive appearance in Central Park’s Naumburg Orchestral Concerts series; their fourth year at Tanglewood, a performance at the Ravinia Festival with mezzo-soprano Susan Graham; and a collaboration with choreographer John Heginbotham at the Jacob’s Pillow Dance Festival.

with Shaham; residencies at Dartmouth, Penn State and Washington DC’s Dumbarton Oaks; and a performance in the New York Philharmonic Biennial along with the San Francisco Girls Chorus (led by composer Lisa Bielawa) and the Brooklyn Youth Chorus, which featured world premieres

by Rome Prize-winner Bielawa, Pulitzer Prize-winner Aaron Jay Kernis, and Knights violinist and co-founder Colin Jacobsen. The ensemble made its Carnegie Hall debut in the New York premiere of the Steven Stucky/Jeremy Denk opera The Classical Style, and has toured the U.S. with banjo virtuoso Béla Fleck, and Europe with soprano Dawn Upshaw. In recent years The Knights have also collaborated with Itzhak Perlman, the Mark Morris Dance Group, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. Recordings include the ground beneath our feet on Warner Classics, featuring the ensemble’s first original group composition; an all-Beethoven disc on Sony Classical (their third project with the label); and 2012’s A Second of Silence for Ancalagon.

Counted among the highlights from recent seasons are: a performance with Yo-Yo Ma at Caramoor; the recording of Prokofiev’s Second Violin Concerto on master violinist Gil Shaham’s Grammy-nominated 2016 release, 1930’s Violin Concertos, Vol. 2, as well as a North American tour armoryonpark.org

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EXPLORING THE LOAD OF LOST HISTORY:

ARMORY ARTS EDUCATION

“Can one find the truth in the fragmented and incomplete? Can one think about history as collage, rather than as narrative?”

—William Kentridge

Every year, high school students across New York City learn about World War I as part of their global studies curriculum.

Unfortunately, as is the case with many of the dominant narratives presented about this topic in academic and cultural institutions across the world, the truth about the African porters forced into service is missing from the picture presented. The sentiment “lest their actions merit recognition, their deeds must not be recorded” prevails. Thankfully, great works of art allow us to find different ways to understand the world around us – reexamining what we think we know about the past to gain a better understanding of the present with the aim of creating a better future. In the words of Kentridge, The Head & the Load aims to “recognize and record” this important part of the story, offering over 800 New York City public school students engaging with the work an artistic springboard to confront history and imagine an alternate path to the truth through a variety of engagements in each of the Armory’s arts education initiatives.

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Through production-based programs, every student attending the student-only matinee performance receives an in-school pre-visit workshop facilitated by the Armory’s multi-disciplinary teaching artists to prepare them for the production. At the suggestion of the four Armory Youth Corps interns who previewed the production when it premiered at the Tate Modern over the summer, the previsit workshop introduces both the historical context and the dexterous art forms present in The Head & the Load through the creation of the students’ own panoramic visual and sonic collages about the content of the piece. Post-visit workshops back in schools have students responding to the themes of the show and their own personal connections to the piece through workshops ranging from the exploration of choreographer Gregory Maquoma’s artistic influences and the creation of their own original choreography, to designing performative memorials to untold stories of their own, to creating visual art collages in the style of Kentridge that “recognize and record” their memories of the production.

Additionally, over 250 students will participate in a Student Summit after the matinee entitled Exploring the Load of Lost History. Planned and facilitated by the Armory’s Youth Corps Advisory Board, students are invited to immediately respond to their experience and connect it to their own lives by participating in a variety of activities addressing a range of topics from Kentridge’s Dada and Expressionist influences with the creation of shadow movements communicating the students’ views on colonialism, to diving into untold perspectives in different contemporary news stories through a mix of visual art and creative writing, and contributing to a communal collage about untold perspectives in American history.

In an unprecedented occurrence, all five of the Armory’s partner high schools chose to participate in long-term residencies that are inspired by The Head & the Load, allowing more than 400 students in the matinee audience the opportunity to spend an entire semester using creative expression to draw connections between the performance, their school curriculum, and their own personal experiences and opinions. Examples of residency projects include: tenth grade students in one school finding new ways to explore Thompson Arts Center at Park Avenue Armory

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the Global Studies Regents topic of “Enduring Issues” by analyzing the different artistic elements used in The Head & the Load and creating a performative piece about how the power dynamics central to colonialism materialize in society today; ninth and tenth grade classes at another school creating an immersive theatrical installation in response to the Ghanian proverb that inspired the title of The Head & the Load by drawing inspiration from their own cultural heritage and personal or family proverbs; and in another school, as Kentridge seeks to expose the many narratives within the history of World War I, students are articulating the many perspectives (including their own) on the concept of the “American Dream,” a topic which is already being explored in their English Language Arts class.

The Armory’s Youth Corps internship program’s fall capstone project is also inspired by the concept of bringing overlooked narratives to the forefront, with each intern transforming a transparent backpack into a sculptural representation of the untold stories of New York City high school students, considering how both history and present day narratives are often shown from a single perspective, and exploring how Kentridge and all the collaborators used art from multiple disciplines to share a long-overlooked chapter of history in a non-narrative way. The Youth Corps will interrogate themselves, turning inward to decide what the untold story of a New York City high school student today might be, while considering the effects on groups whose experiences and loads are often shaped by the decisions of others. They will paint, hack, light up, fill up, cover, and uncover the interior and exterior of these backpacks – creating layered, 3-D sculptures that are both in debt to Kentridge’s own silhouette-filled, erasure-laden pieces, and wholly their own.

Accompanied by artists’ statements, their final pieces will be on display at the Student Matinee and Student Summit to be seen by hundreds of their New York City high school peers.

Uncovering the truth in narratives both past and present can be a difficult task, but by framing this exploration through the lens of artistic expression, the students who experience and respond to The Head & the Load are given the agency to view the world as a collage to which they can contribute an abundance of insight, wisdom, heart, and creativity.

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ABOUT THE ARMORY

Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that cannot be mounted elsewhere in New York City. Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast Wade Thompson Drill Hall that defy traditional categorization and push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room; the Artists Studio series in the newly restored Veterans Room; and Interrogations of Form, a series of conversations and performances which featured artists, scholars, activists, and cultural trailblazers encouraging us to think beyond conventional interpretations of and perspectives on art. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $215-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Special Events Coordinator Katie Burke, Individual Giving Coordinator David Burnhauser, Collection Manager Courtney F. Caldwell, Director of Rentals & Event Operations Samantha Cortez, Production Coordinator Khemraj Dat, Accountant Jordana De La Cruz, Program Manager Sam DeRubeis, Building Engineer Nathalie Etienne, Administrative Assistant, President’s Office Rafael Flores, Associate Director of Corporate Relations Melanie Forman, Chief Development Officer Alexander Frenkel, Controller Lissa Frenkel, Managing Director Sharlyn Galarza, Education Assistant Pip Gengenbach, Education Manager Reginald Hunter, Chief Engineer Cassidy Jones, Director of Special Projects Chelsea Emelie Kelly, Youth Corps Manager Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Technical Director Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Director of External Operations Claire Marberg, Production Manager Anthony Merced, Database and Website Development Manager Stephanie Mesquita, Rentals Associate Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President Aarti Ogirala, Associate Director of Education Isabel Orbon, Associate Director of Major Gifts Jeff Payne, General Manager, Programming Drew Petersen, Education Special Projects Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Kirsten Reoch, Director of Design and Construction Rachel Cappy Risso-Gill, Associate Director of Individual Giving armoryonpark.org

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William Say, Superintendent Natalie Schwich, Press & Editorial Manager Melissa Stone, Manager of Special Events Darrell Thimoleon, Office Manager Tom Trayer, Director of Marketing Brandon Walker, Technical Director Jessica Wasilewski, Senior Producer Monica Weigel McCarthy, Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Olga Cruz, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Carlos Goris, Cristina Moreira-Soria, Esdras Lopez Herrera, Wayne Gillyard, Porters Erik Olson, Box Office Manager Cheyanne Clark, Assistant Box Office Manager Daniel George, House Manager Terrelle Jones, Adjani Reed, Assistant House Managers Fall 2018 Youth Corps Cohort Yao Adja, Kianna Contreras, Afrika Davis, Koralys De La Cruz, Zeinebou Dia, Fatoumata Diallo, Ericka Font Frias Ramirez, Chamonté Greenfield, Alliyah Melendez, Michael Osei-Bonsu, Mauria Pate, Carlos Ramirez, Hillary Ramirez Perez, Rochelle Smith, Angela Sosa, Milcah Tise Youth Corps Advisory Board Habib Apo-oyin, Nancy Gomez, Jessica de la Pierre Joseph, Rabia Kahn, Oscar Montenegro, Anai Ortiz, Naomi Santiago, Cory Sierra, Darrell Thimoleon, Lucille Vasquez Teaching Artists Kate Bell, Donna Costello, Alexander Davis, Asma Feyijimni, Hawley Hussey, Larry Jackson, Penelope McCourty, Hector Morales, Peter Musante, Drew Petersen, Vickie Tanner Teaching Associates/Assistants Emily Bruner, Nancy Gomez, Stephanie Mesquita, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Catherine Talton, Robert Thaxton-Stevenson

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THE LEHMAN TRILOGY M A RCH 22-A PR I L 20 “Simon Russell Beale, Ben Miles and Adam Godley are extraordinary. Behold them with wonder, humble theatergoer… this is a ticket worth cashing in your gilt-edged securities for.

Remarkable!” —The New York Times From the arrival of three brothers from Bavaria to America in search of a new life to the collapse of the firm they established triggering the largest financial crisis in history, the story of the Lehman Brothers traces the trajectory of western capitalism by following the fortunes of a single immigrant family. This vast and poetic play gets a thrilling new life at the Armory following a sold-out run at the National Theatre in London in an engrossing adaptation by Ben Power and directed by Sam Mendes. Making its highly anticipated North American premiere, this electrifying production serves as a parable of the shifting definition of the American dream.

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EVERYTHING THAT HAPPENED AND WOULD HAPPEN J U N E 3-9 “German composer and artist Heiner Goebbels is staging history… [that is] deeply experiential, fascinatingly polyphonous, and completely hypnotic.” —The Stage (UK) Having captivated Armory audiences with his hypnotic use of zeppelins, nuns, and a flock of sheep in De Materie in 2016 as well as in-motion sculptural pianos and elements from nature in his haunting production Stifter's Dinge in 2009, visionary director and composer Heiner Goebbels returns for the North American premiere of his latest highly imaginative production blending live music, performance, sound, movement, and moving image. Part-performance, part-construction site, this groundbreaking work is a poetic re-enactment of history, always on the verge of collapse and only to be rebuilt as if nothing had happened.

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DRILL J U N E 20 -J U LY 21 Filmmaker and cultural critic Hito Steyerl reveals her most recent installation in the U.S. to date, utilizing both the Wade Thompson Drill Hall and historic interiors of the building in mounting both pre-existing works as well as new projects commissioned by the Armory in her ongoing illumination of the world’s power structures, inequalities, obscurities, and delights. When viewed collectively, this material allows the viewer to zoom in on and out from some of the most complex and pressing issues of our time.

ANTIGONE SE P T E M BE R 25- OC TOBE R 6 “As the world gets smaller and more dense and fascinating, culturally speaking, we look to artists like Miyagi to chart wonderful new theatrical territory, making it strange and familiar, all at once.” —The New Yorker

BLACK ARTISTS RETREAT JUDGMENT DAY 2019: SONIC IMAGINATION OC TOBE R 11-12 “… one of the most iconoclastic, and intellectually supple, figures in the contemporary art world” —The Financial Times (UK) A charismatic figure in the contemporary art world, Theaster Gates comes to the Armory to host his renowned Black Artists Retreat for the first time outside of Chicago.

In celebration of this momentous gathering, the Retreat includes a public celebration with roller skating, DJs and performances, and other special guests amidst an installation of some of the artist’s famous “housebergs”—seven-feet-tall sculptural disco balls shaped like icebergs—and also intersects with our Interrogations of Form series with two public discussions featuring leading artists, scholars, and activists.

Famed Japanese director Satoshi Miyagi creates a new version of this fabled myth that examines the ancient play through the prism of Japanese culture, turning the stage into a flowing river of water that is known in many spiritual beliefs to separate the world of the living from that of the dead. This fresh take presents a riveting play about loss and memorialization in a way that is both timeless and timely, mixing the foundational principles of Greek tragedy, Japanese Noh theater, Indonesian shadow play, and the philosophy of Buddhist monks to negotiate the boundaries of intercultural encounters while creating a new theatrical universe of globalized proportions.

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DEC E M BE R 5-JA N UA RY 11 “[Richard Jones] has been responsible for some of the stage’s most talked-about images… his work is unflinching, intense and often deeply witty.” —The Guardian (UK) Ödön von Horváth’s seldom-performed, penultimate play from 1937 is an intriguing hybrid of theatrical genres: part moral fable, part sociopolitical comedy, part noirish thriller. Visionary director Richard Jones returns to the Armory following his mesmerizing revival of The Hairy Ape in 2017 to take on this gripping commentary about the responsibility to find the accurate truth in a new adaptation

by Pulitzer Prize finalist and Obie Award-winning playwright Christopher Shinn. This new production dramatically plays on the interior of the Wade Thompson Drill Hall— reminiscent of the great train stations of Europe—as an immersive environment in which the characters become overcome by the burden of guilt.

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RECITAL SERIES Presented in the salon setting of the Board of Officers Room, the Armory’s celebrated Recital Series provides a home for some of the most dynamic chamber music concerts in the city. The 2019 series presents North American and New York recital debuts and artists that are bridging the gap between classic and contemporary musical works.

THOMAS OLIEMANS, baritone MALCOLM MARTINEAU, piano December 17 & 19, 2018 Thomas Oliemans makes his U.S. recital debut in the Board of Officers Room with a program of lieder and arts songs from the late Romantic period.

BENJAMIN APPL, baritone JAMES BAILIEU, piano January 6, 8, & 10, 2019 Known as one of today’s foremost interpreters of German art songs, the esteemed baritone Benjamin Appl makes his North American recital debut with a unique residency exploring the extraordinary emotional depths of the human psyche found in the song cycles of Franz Schubert.

ILKER ARCAYUREK, tenor SIMON LEPER, piano February 11 & 14, 2019 Austrian tenor Ilker Arcayürek has emerged as one of the most exciting and versatile vocal artists in recent years. He will make his North American recital debut with a program of Schubert lieder that showcases his dynamic artistry and vocal beauty.

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METROPOLITAN OPERA’S LINDEMANN YOUNG ARTISTS April 22 & 24, 2019 The Metropolitan Opera’s Lindemann Young Artist Development Program is a prestigious launching pad for a new generation of celebrated American and international opera singers. Soprano Leah Hawkins and baritone Adrian Timpau join us with pianist Ken Noda to present an evening of song that beautifully showcases these stars on the rise.

DUDOK QUARTET AMSTERDAM September 19 & 21, 2019 The esteemed ensemble makes their New York debut with programs focusing on compositions by Haydn and Ligeti that artfully showcase their versatility and superb musicianship.

BARBARA HANNIGAN, soprano October 15 & 17, 2019 Barbara Hannigan returns to the Armory following her whirlwind U.S. recital debut in 2017. She opens the engagement with a program that includes the New York premiere of John Zorn’s “Jumalatteret,” and continues with a second program featuring the famed Emerson String Quartet.

LEILA JOSEFOWICZ, violin JOHN NOVACEK, piano November 21-22, 2019 Violin virtuoso and MacArthur “Genius” Leila Josefowicz comes to the Board of Officers Room with pianist John Novacek to perform an adventuresome, daring, and sonically breathtaking program.

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ARTISTS STUDIO

INTERROGATIONS OF FORM

Presented in dialogue with the eclectic design of the Veterans Room and curated by MacArthur “Genius” Jason Moran, the Artists Studio series features a range of contemporary performances across genres by artists who blur the lines of artistic categorization.

The 2019 season features an array of experimental performances, each of which is embedded in a practice of combining multiple disciplines and performative media.

Held in the Armory’s historic period rooms, these insightful gatherings feature artists, scholars, cultural leaders, and social trailblazers in spoken word and performance to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art. In addition, the Armory also hosts conversations with artists and creative thinkers whose work is showcased in its drill hall presentations.

ROSCOE MITCHELL March 5, 2019 Jazz titan Roscoe Mitchell—composer, saxophonist, and a founding member of the Art Ensemble of Chicago—comes to the Veterans Room to perform two distinct programs that spotlight his wide ranging compositional output from solo performances to larger groupings of musicians.

MIYA MASAOKA March 13, 2019 Miya Masaoka premieres The Long Arc of Time, a new chamber work developed with Noh actors and musicians from Japan and soprano Kamala Sankaram. The libretto is based on poet Tracie Morris’s Grey: A Tale of Time, and was commissioned by Masaoka for this occasion.

MALIK GAINES AND ALEXANDRO SEGADE May 23, 2019 Malik Gaines & Alexandro Segade, founders of the collective My Barbarian, create and perform a new work, Star Choir, which was developed while serving as Armory artists-inresidence.

CONFRONTATIONAL COMEDY May 11, 2019 Confrontational Comedy returns for its third year for an unforgettable evening of comedy sets and conversation highlighting the power of humor to confront stereotypes and engage audiences around uncomfortable topics.

SYMPOSIUM: CULTURE IN A CHANGING AMERICA February 17, 2019 An interdisciplinary group of artists, thinkers, activists, academics, and community leaders gather to explore the role of culture in a changing America. This symposium is presented in collaboration with The Studio Museum in Harlem.

ARTIST TALK: THE LEHMAN TRILOGY March 28, 2019 Director Sam Mendes and Ben Power discuss adapting Stefano Massini’s epic and realizing the immigrant story in modern times.

SUNDAY SALON: PERFORMANCE ART April 14, 2019 Installation artist and Armory Artist-in-Residence Tania Bruguera hosts an afternoon forum entitled “Political Timing Specificity,” centered on her signature concept of Arte Util (“useful art”).

ROSA BARBA September 16-21, 2019 Rosa Barba comes to the Armory with percussionist Chad Taylor to present a live work performed within an enigmatic installation on display in several of the historic rooms and spaces, including the Veterans Room. armoryonpark.org

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ARTIST TALK: EVERYTHING THAT HAPPENED AND WOULD HAPPEN June 6, 2019 Artist and compose Heiner Goebbels is joined by fellow collaborators to explore the creation of works that defy categorization and realizing productions in unconventional spaces.

ARTIST TALK: HITO STEYERL June 20, 2019 Hito Steyerl explores the inspirations, ideas, and creative development of her ongoing practice.

OTHER HAPPENINGS HISTORIC INTERIORS TOURS ARTISTS-IN-RESIDENCE

MALKIN LECTURE SERIES

Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

ARMORY AFTER HOURS Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights. Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.

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Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-in-residence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden Jacobs-Jenkins & performance artist Carmelita Tropicana; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray.

Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.

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643 Park Avenue at 67th Street

JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.”

For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits:

FRIEND $100

$70 is tax deductible

» Invitation to the opening night preview for visual art installations » Free admission for you and a guest to visual art installations » Discounts at local restaurants and hotels » 10% discount on merchandise sales » Only at the Armory Member Newsletter » Discount on Armory Guided Tours » Members only Open House event during visual art installations » Members only pre-sale access for performance tickets and 20% discount on Members Subscription

SUPPORTER $250

$200 is tax deductible

All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Two free tickets to guided tours *** » Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

ASSOCIATE $500

EDUCATION COMMITTEE STARTING AT $5,000

$370 is tax deductible

All benefits of the Supporter membership plus: » Members concierge ticket service » Free admission for two additional guests (a party of four) to Armory visual art installations » Two complimentary passes to an art fair**

The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts.

Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

BENEFACTOR $1,000

$780 is tax deductible

All benefits of the Associate membership plus: » Recognition in printed programs » No wait, no line ticket pick up at the patron desk » Handling fees waived on ticket purchases* » Invitation for you and a guest to a private Chairman’s Circle event » Two complimentary tickets to select programs in our historic period rooms*

ARTISTIC COUNCIL The Artistic Council is a leadership group to champion and support groundbreaking “only at the Armory” productions with the world’s most sought-after artists. Members receive the closest look behind the scenes at how works are brought to life through monthly events that include intimate discussions with artists, private performances, and special travel opportunities. This group is by invitation only and is generously supported by Cartier.

CHAIRMAN’S CIRCLE STARTING AT $2,500 Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with worldclass artists and access to priority seating.

AVANT-GARDE STARTING AT $350

For more information about membership, please call (212) 616-3958; e-mail members@armoryonpark.org.

The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events. armoryonpark.org

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For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812 *Subject to ticket availability **Certain restrictions apply ***Reservations required

BOARD OF DIRECTORS Co-Chairman

Marina Abramović

Emme Levin Deland

Pablo Legorreta

Joan Steinberg

Elihu Rose, PhD.

Harrison M. Bains

Thomas J. DeRosa

Ralph Lemon

Emanuel Stern

Wendy Belzberg

Sanford B. Ehrenkranz

Heidi McWilliams

Mimi Klein Sternlicht

Co-Chairman

Emma Bloomberg

David Fox

David S. Moross

Angela E. Thompson

Adam R. Flatto

Martin Brand

Marjorie L. Hart

Gwendolyn Adams Norton

Deborah C. van Eck

Cora Cahan

Edward G. Klein, Major General

Joel Press

President

Hélène Comfort

NYNG (Ret.)

Genie H. Rice

Rebecca Robertson

Paul Cronson

Ken Kuchin

Amanda J.T. Riegel

Founding Chairman, 2000-2009

Tina R. Davis

Mary T. Kush

Janet C. Ross

Wade F.B. Thompson

ARTISTIC COUNCIL Co-Chairs

Benigno Aguilar and Gerald Erickson

Lisa and Sanford B. Ehrenkranz

Jennifer Manocherian

Sana H. Sabbagh

Noreen Buckfire

Wendy Belzberg and Strauss Zelnick

Adam R. Flatto

Janet and David P. Nolan

Sanford L. Smith

Michael Field

Sonja and Martin J. Brand

Janet Halvorson

Gwen and Peter Norton

Brian S. Snyder

Caryn Schacht and David Fox

Elizabeth Coleman

Anita K. Hersh

Lily O’Boyle

Joan and Michael Steinberg

Heidi and Tom McWilliams

Hélène and Stuyvesant Comfort

Wendy Keys

Slobodan Randjelović and Jon Stryker

Emanuel Stern

Mary Cronson

Ken Kuchin and Tyler Morgan

Michael D. Rhea

Mimi Klein Sternlicht

Emme and Jonathan Deland

Mary T. Kush

Amanda J.T. Riegel and Richard Reigel

Deborah C. van Eck

Leslie and Thomas DeRosa

Almudena and Pablo Legorreta

Susan and Elihu Rose

Robert Vila and Diana Barrett

Krystyna Doerfler

Christina and Alan MacDonald

Janet C. Ross

Mary Wallach

SUPPORTERS $1,000,000 + Charina Endowment Fund Citi Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation

Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous $500,000 to $999,999 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French Almudena and Pablo Legorreta The Andrew W. Mellon Foundation

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Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern $250,000 to $499,999 American Express Michael Field Adam R. Flatto Olivia Tournay Flatto Ken Kuchin and Tyler Morgan Leonard and Judy Lauder Fund

The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation $100,000 to $249,999 The Achelis and Bodman Foundations R. Mark and Wendy Adams Linda and Earle Altman Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa

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Ford Foundation Mr. and Mrs. Andrew Gundlach Marjorie and Gurnee Hart Anna Maria and Stephen Kellen Foundation, Inc. Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. New York State Assembly Stavros Niarchos Foundation Gwen and Peter Norton Rebecca Robertson and Byron Knief Daniel and Joanna S. Rose

Caryn Schacht and David Fox Hope and Robert F. Smith Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts $25,000 to $99,999 Karen Herskovitz Ackman Arthur R. and Alice E. Adams Foundation AECOM Tishman Benigno Aguilar and Gerald Erickson Art Dealers Association of America The Avenue Association Harrison and Leslie Bains Abigail Baratta Emily and Len Blavatnik Emma Bloomberg The Emma and Georgina Bloomberg Foundation Brunello Cucinelli Noreen and Ken Buckfire Janna Bullock Marco Cafuzzi Cartier Betsy and Edward Cohen The Cowles Charitable Trust Caroline and Paul Cronson James and Gina de Givenchy Andrew L. Farkas, Island Capital Group & C-III Capital Partners Katherine Farley and Jerry Speyer Seymour Flug Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Barbara and Peter Georgescu Howard Gilman Foundation Horace W. Goldsmith Foundation Kiendl and John Gordon Deborah and Allen Grubman Janet Halvorson Anita K. Hersh Josefin and Paul Hilal Janine and J. Tomilson Hill JS Capital Management LLC Daniel Clay Houghton

Hospital For Special Surgery The Emily Davie and Joseph S. Kornfeld Foundation Jo Carole and Ronald S. Lauder Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation National Endowment for the Arts New York State Council on the Arts Frank and Elizabeth Newman David P. Nolan Foundation Donald Pels Charitable Trust The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Mrs. Arthur Ross The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Skadden, Arps, Slate, Meagher & Flom LLP Sanford L. Smith Howard & Sarah D. Solomon Foundation Jennifer and Jonathan Allan Soros Jon Stryker and Slobodan Randjelovic´ TEFAF NY Tishman Speyer Properties, LP Robert and Jane Toll Anonymous (3) $10,000 to $24,999 Jamie Alter and Michael Lynton Helaine and Victor Barnett Ginette Becker Eileen Campbell and Struan Robertson CBRE Mr. and Mrs. Robert Cochran Elizabeth Coleman Con Edison Mary Cronson / Evelyn Sharp Foundation Cultural Services of the French Embassy David Dechman and Michel Mercure Jennie L. and Richard K. DeScherer Krystyna Doerfler William F. Draper

Peggy and Millard Drexler Ehrenkranz & Ehrenkranz LLP Andra and John Ehrenkranz Caryl S. Englander Lise and Michael Evans Florence Fearrington Mr. and Mrs. Stephen and Amandine Freidheim The Fribourg Family Clinton Gartin The Georgetown Company Debbi Gibbs Archie Gottesman and Gary DeBode Jeff and Kim Greenberg Jamee and Peter Gregory Agnes Gund Mr. and Mrs. Lawrence Hite Jack Shainman Gallery Rachel and Mike Jacobellis Kaplen Brothers Fund Jennie Kassanoff and Dan Schulman Kekst and Company Incorporated Randy Kemper and Tony Ingrao Suzie and Bruce Kovner Lavazza Donna and Jeffrey Lenobel Leon Levy Foundation George S. Loening Lili Lynton and Michael Ryan The Honorable and Mrs. Earle I Mack Andrea Markezin Press and Joel Press Sylvia and Leonard Marx, Jr. Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Moncler Morgan Stanley Sue Morris Patty Newburger and Bradley Wechsler Lily O'Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Michael Peterson Joan and Joel I. Picket Noel Pittman Anne and Skip Pratt Katharine Rayner Thomas J. Reid David Remnick and Esther Fein Kimberly and Scott Resnick Michael D. Rhea

Mary Jane Robertson and Jock Clark Chuck and Stacy Rosenzweig Deborah and Chuck Royce Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Susan Rudin Sana H. Sabbagh Mr. and Mrs. William Sandholm Susan and Charles Sawyers Stacy Schiff and Marc de la Bruyère Dr. and Mrs. Thomas P. Sculco Brian S. Snyder Jonathan Sobel Sotheby's Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs The Durst Organization Mr. and Mrs. Dave Thomas Laurie M. Tisch Illumination Fund Merryl and James Tisch Barbara and Donald Tober Mr. and Mrs. Jan F. van Eck Bob Vila and Diana Barrett Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Mary Wallach David Wassong and Cynthia Clift Diana Wege Michael Weinstein WME Zubatkin Owner Representation, LLC Anonymous (3) $5,000 to $9,999 Jody and John Arnhold Milton and Sally Avery Arts Foundation Candace and Rick Beinecke Mr. and Mrs. Robert Belfer Georgette Bennett and Leonard Polonsky Mr. and Mrs. Robert Birnbaum Debra and Leon Black Leslie Bluhm and David Helfand John Bonanno Nicholas Brawer Catherine and Robert Brawer Cynthia and Steven Brill Daniel and Estrellita Brodsky

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Amy and Kevin Brown Amanda M. Burden Marian and Russell Burke Canard, Inc. Janine Carendi MacMurray Tia Chapman Chilton Foundation Virginia Coleman and Peter Duchin Eugenia Comini Joyce B. Cowin Diana Davenport and John Bernstein Elizabeth de Cuevas Richard and Barbara Debs Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Anne and Joel Ehrenkranz Dr. Nancy Eppler-Wolff and Mr. John Wolff EverGreene Architectural Arts The Felicia Fund Mr. and Mrs. Andrew Fenster Lori Finkel and Andrew Cogan Fisher Marantz Stone Gail Flatto Ella M. Foshay and Michael B. Rothfeld Fried, Frank, Harris, Shriver & Jacobson LLP Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Gagosian Gallery Maarit and Tom Glocer Beth and Gary Glynn The Francis Goelet Charitable Lead Trusts Sylvia Golden Christine Goppel Sarah Gould and David Steinhardt Elizabeth and David Granville-Smith Jeff Greene, Desiree Greene and Kim Lovejoy Mr. and Mrs. Brian Higgins Ionian Management Sharon Jacob Sonny and Michelle Kalsi Adrienne Katz Richard Katzman Cynthia and Stephen Ketchum Younghee Kim-Wait Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash

William P. Lauder and Lori Tritsch Chad A. Leat Alexia and David Leuschen Gail and Alan Levenstein Daniel Lewis David and Janette Liptak Linda Macklowe Shelly and Tony Malkin James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Mr. and Mrs. Danny Meyer Elizabeth Miller and James Dinan Sergio and Malu Millerman Claire Milonas Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Gabriela Peréz Rocchiette Betsy and Rob Pitts Cynthia Hazen Polsky and Leon B. Polsky Susan Porter Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Michael Pruzan Tracey and Robert Pruzan Mr. and Mrs. Michael & Kalliope Rena Richenthal Foundation Ida and William Rosenthal Foundation Reed Rubin and Jane Gregory Rubin Valerie Rubsamen and Cedomir Crnkovic H. Onno and Renée Ruding Saks Fifth Avenue Nancy and Joseph Sambuco Ms. and Mr. Nancy Sanitsky Victoria Schorsch Mr. and Mrs. Stephen Schwarzman James Seger Bob and Eva Shaye Lea Simonds Daisy M. Soros Lisa and Gavin Steinberg Doug Steiner Mr. and Mrs. Michael Steinhardt Debbie and Jeffrey Stevenson Tom Strauss Elizabeth Stribling and Guy Robinson

The Jay and Kelly Sugarman Foundation Oscar Tang Ellen and Bill Taubman Michael Tuch Foundation L. F. Turner Mr. and Mrs. Ronald Ulrich Mr. and Mrs. John Usdan Mr. and Mrs. Alexander von Perfall Lulu C. Wang The Shubert Organization, Inc. Isak and Rose Weinman Foundation, Inc. David Reed Weinreb Katherine Wenning and Michael Dennis Lynne Wheat Brian and Jane Williams Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Anonymous (3) $2,500 to $4,999 Debra Abell Katie Adams Schaeffer Susan Heller Anderson Cristiana Andrews Cohen and David Cohen Susan Baker and Michael Lynch Peter Balis Vanessa Ana Barboni Laurel Beebe Barrack Frances Beatty Tony Bechara Mr. Lawrence B. Benenson Mr. and Mrs. Jonathan Berger Stephen Berger Claudia and George Bitar Hana and Michael Bitton Allison M. Blinken Donald and Vera Blinken Mr. and Mrs. Mark Bloom Marc Brodherson and Sarah Ryan Carolyn S. Brody Stacey Bronfman Veronica Bulgari and Stephan Haimo Mr. and Mrs. Arthur Carter Avna Cassinelli Sommer Chatwin Emy Cohenca Betsy Cohn

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Anthony P. Coles Margaret Conklin Connelly & McLaughlin Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Jacqueline Didier and Noah Schienfeld Francesca and Michael Donner Jeanne Donovan Fisher Peter Droste and Morgan Beetham Karen Eckhoff Martin and Rebecca Eisenberg Foundation Mr. and Mrs. Leonard Feinstein Jared Feldman / Anchin Private Client Mr. and Mrs. Ziel Feldman First Republic Bank Edmée and Nicholas Firth Laura Fisher Gwen and Austin Fragomen Inger McCabe Elliott Julie Geden Sarah Jane and Trevor Gibbons Great Performances Jeanne Greenberg Rohatyn and Nicholas Rohatyn Mr. and Mrs. George Grunebaum John Hargraves Harkness Foundation for Dance Gillian Hearst-Shaw Daisy Helman Stephanie and Stephen Hessler Mr. and Mrs. Ian Highet Stephen Trevor and Stephanie Hunt Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow Meredith J. Kane and Richard T. Sharp Herbert Kasper Diana King / The Charles & Lucille King Family Foundation Erin and Alex Klatskin Mr. and Mrs. David Koch Phyllis L. Kossoff Kimberly Kravis and Jonathan Schulhof Mr. and Mrs. Glenn Krevlin Mr. and Ms. Douglas Krupp Julia Ledda Sahra T. Lese

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Donald Zilkha Richard and Franny Heller Zorn Anonymous (6) $1,000 to $2,499 Marina Abramovic´ Catherine Adler Noreen K. Ahmad and Ahmar Ahmad Dr. and Mrs. Todd Albert Anka Ann Anderssen Mr. and Mrs. John Argenti David and Alatia Bach Rebecca L. Bagdonas, MD Laura Zambelli Barket Hugo Barreca and Wendy Schlemm Norton Belknap Mr. Allen Bell and Mr. David Ziff Dale and Max Berger Mark Berman Elaine S. Bernstein Clara Bingham Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Mr. and Mrs. Louis Brause Diane Britz Lotti Mr. and Mrs. Cliff Brokaw Gabriela Bronfman Matthew Bronfman Spencer Brownstone Martin Indyk and Gahl Hodges Burt Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Marissa Cascarilla Hilary Cecil-Jordan Anna Chapman and Ronald Perelman Racquel Chevremont and Mickalene Thomas Shirin and Kasper Christoffersen Christina Combe Bradley A. Connor Alexander Cooper Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry

Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Suzanne Dawson Gena Delbridge Luis y Cora Delgado Diana Diamond and John Alschuler Ms. Elizabeth Diller and Mr. Richard Scofidio Beth Dozoretz Christopher A. Duda Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias Yevgeniya Elkus Mr. and Mrs. Douglas Erb Mr. and Mrs. Thomas N. Farmakis Patricia & Alexander Farman-Farmaian Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Jose Figueroa Mr. and Mrs. Brian Fisher Candia Fisher Megan Flanigan Barbara G. Fleischman Paul and Jody Fleming Delia Folk Betsy Frank Scott Fulmer and Susan Kittenplan Fulmer Shawna Cooper Gallancy Bruce and Alice Geismar Samantha and John Gellert Mr. and Mrs. Scott Gerber Olga Geroulanos-Votis and George Votis Alberta Gerschel and Peter Wasserman Mr. and Mrs. David Getz Mark Gimbel Kathleen and David Glaymon Katja Goldman Nina Gorrissen von Maltzahn Marieline Grinda and Ahmad Deek Jan M. Guifarro Frances and Gerard Guillemot Kathleen and Harvey Guion Susan Gutfreund Paul Hanneman Raymond Hannigan Lana and Steve Harber Alison Harmelin Stan Harrison and Margot Steinberg Herrick Feinstein LLP

In memory of Maria E. Hidrobo Kaufman William T. Hillman Hodgson Russ LLP Caroline Eve Hoffman Lauran Paten Hughes John Wiley & Sons, Inc. Mr. and Mrs. David Johnson JoJo Christopher and Hilda Jones Jeanne Kanders Jennifer Kang Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Cynthia and Stephen Ketchum Jana and Gerold Klauer Major General Edward G. Klein, NYNG (Ret.) Mr. and Mrs. Chris Kojima Leonard Kowalski Kate Krauss Geraldine Kunstadter Justin Kush Polly and Frank Lagemann Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Corridor Barbara Landau Mr. and Mrs. Sheldon Landau Barbara and Richard Lane Judith Langer Mark and Taryn Leavitt Ralph Lemon Ms. and Mrs. Paul Lowerre Donna and Wayne Lowery Henry Luce Foundation John D. and Catherine T. MacArthur Foundation Susanne Mackiw Mark Magowan Jan Marks Match 65 Brasserie Melissa Meeschaert The Meyer Family Laurent Mialhe Nicole Miller and Kim Taipale Adriana and Robert Mnuchin

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