TBA:03 Guidebook

September 12 - 21, 2003 Portland, Oregon

OFFICIAL GUIDE

ABOUT THIS GUIDE In this guide, you will find information on artists, projects, venues, and special events. Each project is listed roughly in order of where it falls during the tenday festival, with date, time, location, running time, and seating capacity. In the back of the guide you will find FAQs, a comprehensive schedule of performances and events, a map of TBA venues, as well as, recommended restaurants, places of interest and amenities in the downtown area followed by ticket and membership information.

design: margaret heald imheald@aracnet.com

As most of the festival programs are open to all ages, we have noted the appropriate audience for each performance to help parents decide which programs are suitable for their children. All Ages:

Appropriate for all ages, bring young children.

Mature Audiences:

Appropriate for mature students, bring older children and be prepared for discussion.

21+:

Appropriate for adults.

TABLE OF CONTENTS Artists and Project Descriptions

photo: Ros Warby, Swift

Machineworks

Cabaret

Special Events

Institute

Noontime Chats

Workshops and Lectures

Hall Pass

FAQs

Acknowledgments

Schedule

Map

Preferred Businesses

Ticket Order Form

Ta b l e o f C o n t e n t s

TBA PERFORMANCES

Eiko and Koma Offering “(Eiko and Koma) make a persuasive case that stasis is equal to kinesis in providing grist for the eyes and the emotions.” – Christian Science Monitor Japanese-born performance legends Eiko and Koma abandon the stage to bring their latest work, Offering, to the public streets and open spaces of the city. Inspired by a very early form of Japanese paper theater, called kamishibai, that was presented out of suitcases by men who traveled between villages on bicycles, Offering blends intimacy, community, and elements of surprise with an intensity and refinement that has become a hallmark of their work. Performed outdoors and viewed from all sides, the piece invites viewers – young and old, avid theater-goers or not – to watch for a few moments or a few hours, from up close or from a distance. Each viewer is free to determine his or her own relationship with the dancers.

Special Free Performance for September 11th Offering Thurs, Sept 11, 7:30 pm Jamison Square, FREE Running Time: 70 min Seating Capacity: No chairs provided, standing room in the park. All Ages

Eiko (female) and Koma (male) began working as independent artists in Tokyo in the early 1970’s, where they met and soon abandoned their studies in law and political science. Their newfound interests in performance took them to several teachers in Japan and Europe, including founders of Butoh and then followers of the German expressionist Mary Wigman in Amsterdam, where they lived and worked before moving to the United States to become permanent residents in the mid-seventies. Eiko and Koma performed their first work in the United States in 1976, White Dance, sponsored by the Japan Society. Their creative energy has not waned in the last 25 years, they regularly perform in galleries, theaters, universities, museums, and at festivals across North America, Europe and Japan. The pair was honored as Guggenheim Fellows in 1984 and MacArthur Fellows in 1996, they received two Bessies in 1984 for Grain and Night Tide, and another in 1990 for Passage. Eiko and Koma live and work in New York, where their touring and individual works are regularly supported by numerous grants and foundations, including the New York State Council on the Arts and the National Endowment for the Arts. www.eikoandkoma.org TBA Performances

Lawrence Goldhuber / David Brooks The Life and Times of Barry Goldhubris “First-rate theatre with a surprising edge of poignancy.” – Jennifer Dunning, The New York Times Using dance, song, spoken word, and film projection by David Brooks, Lawrence Goldhuber unravels The Life and Times of Barry Goldhubris, the story of a man whose ego gets so big, he explodes. With the central themes of body image and self-acceptance as his guide, Goldhuber wanders through a terrain both real and imagined, tracing a rise to celebrity that eventually leads to an ever-growing, increasingly out-of-control egocentricity.

The Life and Times of Barry Goldhubris Winningstad Theatre, PCPA Fri, Sept 12, 7 pm Sat, Sept 13, 2 pm Sun, Sept 14, 7 pm Running Time: 60 min Seating Capacity: 292 All Ages Presenting Sponsor

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New York-based Lawrence Goldhuber is well-known for his ten years of work with the Bill T. Jones / Arnie Zane Dance Company, his collaborations with fellow Bill T. Jones company member Heidi Latsky, and a series of humorous and touching solo works. Goldhuber & Latsky toured internationally with much acclaim, including a visit to PICA in 2000 with their piece I Hate Modern Dance. In 1995 Mr. Goldhuber received a Bessie Award for “sustained achievement as an influential presence in modern dance,” and served as the host for the 2002 awards ceremony. He is on the Artist Advisory Committee of Performance Space 122 in New York City, and in 2002 was the recipient of a New York Foundation for the Arts Fellowship in Choreography. US/British filmmaker David Brooks is an award-winning editor whose debut film Member has won first place honors at numerous festivals worldwide. Goldhubris was co-commissioned by PICA, The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work, and by Performance Space 122 in New York with funds from the Jerome Foundation.

Shelley Hirsch A Rupture in the Order of Reality “Enormously inventive, scathingly satiric and virtuosic …a brilliant overwhelming presence on stage.” – The New York Times Brooklyn-born composer and vocalist of extraordinary range, Shelley Hirsch creates multidisciplinary performances in which the universal and the personal, the sublime and the mundane, and humor and pathos collide. Mining the realms of memory, story and improvisation to create new worlds in sound, A Rupture in the Order of Reality is a collage of autobiographical tales, sonic images, stream of consciousness journeys, and spontaneous improvisations, with virtual guest musicians on keyboard, laptop and turntables.

A Rupture in the Order of Reality Wieden + Kennedy Atrium Fri, Sept 12, 9 pm Sat, Sept 13, 9 pm Running Time: 60 min Seating Capacity: 250 Mature Audiences Venue generously provided by Wieden + Kennedy

Praised as the “woman of 1000 voices” by The New York Times, Hirsch was intrigued at an early age by the sounds, conversations, and music that drifted through her neighborhood. She left her home at age seventeen to pursue a career as an interdisciplinary artist and has since toured widely, performing on five continents, in hundreds of concerts, on dozens of CDs, and in her own compositions, radio plays, and staged pieces, which include My Father Piece (2000), States (1997), and For Jerry (1998). In 2002, Hirsch collaborated with sculptor Jim Hodges on an exhibition in PICA's gallery entitled All the Way with Jim and Shel. www.shelleyhirsch.com TBA Performances

Northwest New Works: PDX NWNW:PDX BodyVox Andrew Dickson, Amos Latteier Fri, Sept 12, 7 pm Erin Jorgenson, Richard Lefebvre Sat, Sept 13, 2 pm Linda Austin, Foot In Mouth Sat, Sept 13, 7 pm Minh Tran, Megan Murphy Sun, Sept 14, 7 pm Running Time: 45-60 min for each program Seating Capacity: 100 Please call PICA to make reservations. All Ages BodyVox has limited accessibility. Please contact PICA at 503.242.1419 to arrange use of elevator. Presenting Sponsor

Venue generously provided by BodyVox 6

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Curated in association with On the Boards in Seattle (www.ontheboards.org), Northwest New Works: PDX features a sampling of new works – performance art, dance, music, and multimedia – by some of the most innovative and engaging artists working in the Pacific Northwest today. NWNW: PDX provides artists with an opportunity to showcase excerpts of new projects, or work-in-progress and gives audiences a first look at the newest in NW performance.

ABOUT THE PROJECTS Andrew Dickson (Portland) An Evening with Bradlee features California native Bradlee Simmons, a cruppie (creative yuppie) who has recently relocated to Portland, looking for a more harmonious lifestyle. His autobiographical, multi-media seminar highlights the splendors of his new hometown, but also exposes the rampant geographic prejudice he's had to endure since moving here. Mr. Simmons delivers a message of history, hope and forgiveness – ultimately striving to ingratiate himself with the local scene. (25 min)

Amos Latteier (Portland) Model Notes is a slide lecture performance that explores the idea of “models”, from fashion models, to the Copernican model, to model citizens, to the Domino theory, to Wild West shows, to the Marshall plan, to urban planning, to feng shui. The performance takes the form of a business presentation – Latteier stands at a lectern and presents PowerPoint slides while speaking about models – but as the content chafes against the formality of the lecture, the performance takes a philosophic and humorous turn. (20 min) http://latteier.com /

Erin Jorgenson (Seattle) Musician Erin Jorgenson presents her original compositions – filled with images of shipwrecks, devils, dreams, and driving at night – on a five-octave rosewood marimba, layering vocals with the unique sound of this fascinating instrument. (15 min)

Richard Lefebvre (Seattle) Writer and filmmaker Richard Lefebvre performs a series of short monologues – disturbing stories from his yet-to-be published short novel – delivered in a distinctive narrative style and interspersed with short films. (30 min)

Linda Austin (Portland) In this excerpt from her work-in-progress entitled Big Real, video, text, props, music and the human body interact on a tiny stage, engendering a series of shifts in physical scale, internal and external landscape and personal/historical time as Austin's imagination collides with the constraints of material and social fact. Big Real will premiere at Performance Works Northwest Jan 2004. (19 min) www.performanceworksnw.org

Megan Murphy (Seattle) This longstanding member and creator of performance collective Run/Remain presents The Rich Grandeur of Boxing, an interdisciplinary performance exploring the themes of memory and nostalgia, desire and longing. (25 min)

Foot in Mouth (Seattle) The four collaborators of Foot in Mouth (choreographers Alice de Muizon and Amelia Reeber, and improvisational singers Ivory Smith and Eryn Young) have created a work that is at times piercingly touching and at other times, laugh out loud absurd. Go Ahead…Fire me, the group's first work, investigates themes of social adaptation, individuality and conformity through an examination of the corporate work environment. (18 min)

Minh Tran (Portland) Nocturnal Path is an excerpt of new choreography inspired by mural paintings depicting the life of Buddha in temples throughout Southeast Asia. Born in Vietnam, and trained in Vietnamese Opera, Javanese classical court dance and Thai dance, Tran fuses traditional techniques with contemporary aesthetics. Nocturnal Path will have its premiere as the opener of the White Bird / PSU Dance Series on October 23-25, 2003. (20 min) www.mtdance.org www.whitebird.org TBA Performances

World Premiere!

David Greenberger and 3 Leg Torso Legibly Speaking “The tales of the Duplex are modern-day versions of Chaucer’s reports from the road to Canterbury; they resonate with wry humor and a startling insight.” – The New York Times “3 Leg Torso's classically tinged combination of gypsy folk and whirling tangos is both devilishly clever and damn beautiful.” – Willamette Week In his ongoing exploration of the myths of aging, David Greenberger performs Legibly Speaking, a work developed from conversations with residents of local senior centers during a residency at PICA, with an original score by Portland ensemble 3 Leg Torso. Greenberger presents a range of individual characters who are old, and who, like every other generation, are living in the present moment with their own unique thoughts and ideas. After studying painting at Massachusetts College of Art, Greenberger worked as activities director at the Duplex Nursing Home in Boston for three years. He has published The Duplex Planet as a magazine since 1979, followed by book collections, CDs, a comic book adaptation, and documentaries Lighthearted Nation and Your Own True Self. Legibly Speaking is the latest in a series of monologues with musical accompaniment. Earlier works include Mayor of the Tennessee River with music by the Shaking Ray Levis, The Duplex Planet Radio Hour series with music by Terry Adams (produced for New York Public Radio), and 1001 Real Apes with music by Birdsongs of the Mesozoic. Greenberger is also a commentator on NPR's All Things Considered. www.duplexplanet.com

Legibly Speaking Scottish Rite Fri, Sept 12, 9pm Sat, Sept 13, 9 pm Running Time: 60 min Seating Capacity: 587 All Ages 8

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3 Leg Torso began as a cello, violin and accordion trio in Portland in 1996. Bridging the worlds of serious art and popular culture, their music is a daring and elegant blend of modern chamber music influenced by tango, Eastern European folk and world music traditions. The group has scored music for films and television in the US and Europe, and has been profiled on NPR's All Things Considered. In 2002, 3 Leg Torso expanded to become a quintet, adding percussionist Gary Irvine, and upright bass and mallet players (vibes, marimba, xylophone), while still being guided by the violin of Béla Balogh and the accordion of Courtney Von Drehle. Their second CD is scheduled for release in November of 2003. www.3legtorso.com

World Premiere!

Donna Uchizono Butterflies from My Hand and The Salon Project Butterflies from My Hand Newmark Theatre, PCPA Fri, Sept 12, 9 pm Sat, Sept 13, 7 pm Sun, Sept 14, 7 pm Running Time: 60 min Seating Capacity: 800 All Ages

The Salon Project Conduit Tue, Sept 16, 8 pm Running Time: 40 min Seating Capacity: 100 Conduit has limited accessibility. Please contact PICA at 503.242.1419 to arrange use of elevator. All Ages Presenting Sponsor

Additional Support

Venue for The Salon Project generously provided by Conduit

“ . . . in devising movements and putting them together in unexpected ways, Donna Uchizono has ranked high on my originals list. . .” – Deborah Jowitt - The Village Voice PICA is proud to present two premieres by choreographer Donna Uchizono, praised time and again for her works of enormous skill, wit and arresting beauty. Her new evening length piece, Butterflies from my Hand, examines the possibilities that loss and vulnerability can offer and the power gained through the act of letting go. The Salon Project was developed in part during a month-long residency in Argentina, and draws from Argentine tango's use of limited space, counterclockwise circling, and the constant, dynamic interplay of weight between partners. This intimate work is staged in a ballroom and the audience is invited to participate by learning sections of the choreography. Both works are a testament to this choreographer’s individualistic style and feature original music by composer Guy Yarden. Founded in 1990, Donna Uchizono Company's work has been presented in the United States, Europe, and South America. Festival stops have included the Wiener Internationales Tanz-Festival in Vienna, the Swiss Belluard-Bollwerk International Festival, Klapstuk International Dansfestival in Belgium, Plural in Spain, Dancas Na Cidade in Portugal, and visits to Hungary and Argentina. In New York, the company has performed at Dance Theater Workshop, the Joyce Theater, the Kitchen, the Whitney Museum, Danspace Project, Movement Research, Lincoln Center, DIA, and PS 122, among others. Uchizono's many commissions, grants, and awards include a Guggenheim Fellowship, grants from the National Endowment for the Arts, Rockefeller/MAP and NYFA, and a 2002 Bessie Award for her work Low. www.ladonnadance.org Butterflies from my Hand is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and Altria Group, Inc. TBA Performances

Susan J. Vitucci Love’s Fowl “Wacky and wise, wild, melodic and mischievous . . .” – The New York Times “Unexpectedly liberating.” – This American Life Love's Fowl is a miniature grand opera about the life and adventures (mostly amorous) of La Pulcina Piccola (Chicken Little), a larger-than-life bird. A cult classic, with a national following, Love’s Fowl is silliness on a grand scale. Writer and performer Susan J. Vitucci handles the tiny Italian puppet troupe, Il Teatro Repertorio delle Mollette (The Clothespin Repertory Theatre) on a table-top stage while she and accompanying baritone/pianist sing the score (in Italian) composed by two-time Tony Award nominee and Grammy Award-winner Henry Krieger. Like opera, Love's Fowl is sung in Italian while the text is projected as supertitles on a screen above the actors' heads. And, like rock and roll, live video of the styrofoam-and-clothespin puppet actors is projected onto large screens on either side of the stage. Love’s Fowl was presented at New York Theater Workshop in 1998 to critical acclaim from The New York Times, The New Yorker, and Time Out New York among others. Love's Fowl has gained fans worldwide from a feature story frequently aired on NPR’s This American Life. With its life-affirming message to enjoy today, for the sky may fall tomorrow, this opera of small means and grand themes will delight audiences of all ages. www.pulcina.org

Love's Fowl Portland State University Lincoln Hall Sat, Sept 13, 7 pm Sun, Sept 14, 2 pm Sun, Sept 14, 7 pm Running Time: 60 min Seating Capacity: 470 All Ages 10

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Peripheral Produce Peripheral Produce All-Time Greatest Hits With a steady onslaught of independent media cropping up around the city in theaters, galleries, clubs, basements, and warehouse walls, Portland has gained a reputation as an important center for experimental and underground film and video. A major force in this scene is Peripheral Produce, a film and video screening and distribution project that has since 1996 offered roving, site specific experimental film events that showcase moving-image works by local, national and international artists. In its original form, the project organized monthly events in various locations throughout Portland to present experimental and underground film and video shorts. As popularity grew, Peripheral Produce expanded to include a video distribution label that compiles and releases videos of selected short works for sale to the public. Peripheral Produceâ&#x20AC;&#x2122;s nomadic screening format has now morphed into one large annual event, the PDX Film Festival, which has quickly become both locally popular and nationally recognized.

Peripheral Produce All-Time Greatest Hits Scottish Rite Sun, Sept 14, 9 pm Running Time: 80 min Seating Capacity: 587 Mature Audiences

For TBA, Peripheral Produce founder and curator Matt McCormick has selected a program dubbed Peripheral Produce All-Time Greatest Hits, which includes some of the best and most loved films and videos screened by Peripheral Produce over the past seven years. The evening will feature works by Bill Brown, Miranda July, Bryan Boyce and many others. McCormick is a Portland-based filmmaker whose works offer abstract and witty observations of contemporary culture and environment. His films have shown widely, including the Sundance Film Festival and Lincoln Center, have been praised in publications including Art Forum and The New York Times, and will be featured in the upcoming Baja to Vancouver West Coast Contemporary Art exhibition. www.rodeofilmco.com/peripheralproduce/ TBA Performances

Tere O’Connor Dance LAWN “ O’Connor is a master at creating dream worlds in which gears shift abruptly and often….Like the best writers O’Connor has an astonishing eye for gestural details. His newest dances didn’t need words, they crackled with body poetry that made language superfluous.” – The Houston Chronicle Dancing with film, dance as film, dancers as film; anything is possible in the work of Tere O’Connor. For his newest project, O’Connor transforms one of his familiar choreographic techniques – editing together movement material like a series of film clips – into the literal incorporation of film in his work. In LAWN, dancers maneuver through O’Connor’s choreography, interwoven with a series of narrative /abstract films by filmmaker Ben Speth (Dresden), creating a provocative multimedia piece which filters the disturbing state of our environment and its conflicted issues through the poetics of movement.

LAWN Newmark Theatre, PCPA Sat, Sept 13, 9 pm Sun, Sept 14, 9 pm Mon, Sept 15, 9 pm Running Time: 60 minutes Seating Capacity: 880 All Ages Presenting Sponsors

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With over twenty years of dance-making behind him, Tere O’ Connor continues to challenge the accepted tenets of dance as performance. His distinctive compositional style is bewitching, richly textured, and disturbingly beautiful. Bringing both theatrical and physical elements to the stage, O’Connor’s choreography casts an eye on contemporary society and human behavior and challenges his audiences to consider alternative choices and imagined worlds. As well as touring extensively with his company throughout the US and Europe, South America, and Canada, O’ Connor has created commissioned works for several other dance companies, including Baryshnikov’s White Oak Dance Project. He is a 1993 Guggenheim Fellow, and has received two Bessie Awards, one for Heaven up North (1988), and a second in 1999 for Sustained Achievement. Most recently, O’Connor was invited to participate in the DNA Project, a new program of Arts International. LAWN is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and Altria Group, Inc.

silt Liminal Lives silt, a San Francisco-based media collective set up in 1990 by Jeff Warren, Keith Evans, and Christian Farrell, creates indoor and outdoor film performances and site specific installations using projection, mirrors, liquids, natural materials and their own bodies. The group operates as a kind of mobile laboratory, conducting perceptual experiments using ideas drawn from science, natural phenomena, and mysticism. They describe their investigation as a paranaturalist enquiry that, as they explain, “unlocks the organic dimension of film, blending its technological and mechanical aspects with a palpable sense of its connection to natural processes.” In their installation Liminal Lives, the light borders of discrete elements within a landscape are opened up to their elemental refractions and reflections. Anamorphic screens expand and contract in a choreography of projection and perspetive that allows the viewer to experience images dimentionally.

Liminal Lives BodyVox Mon, Sept 15 Ongoing Installation Program repeats at 7pm, 8pm, 9pm, 10pm and 11pm Venue Capacity: 100 All Ages Venue generously provided by BodyVox

silt's performances involve multiple film projections, shadow interferences, objects and sounds. The prints are rusted, buried in the ground, consumed by mold and bacteria, and left to interact with the earth's natural alchemical process, like fossilized relics. In performance, the projector beams lights up these organic morphologies, magnetic fields and bacteria, re-sampled in the mechanics of editing. silt operates the film projectors like DJs, physically “performing” with the equipment by introducing filters, shadows, organic material and their own bodies into the projections. Their visual riffs pulsate and metamorphose, creating a perceptual confusion between the film footage and their live interaction. In this merging of projections, objects, shadows and sounds, the boundaries between the real and the projected, the live and the recorded become confounded. silt's work has been shown at film and art spaces such as SF Moma, SF Cinematheque, and Cal Arts, among others. Their recent work, All Pieces of a River Shore was exhibited as part of the 2002 Whitney Biennial. Presented in partnership with Four Wall Cinema Collective. www.fourwallcinema.org TBA Performances

Vijay Iyer & Mike Ladd In What Language? A song cycle of lives in transit “(Iyer is) Captivating…an extravagantly gifted new-jazz pianist and a quick-witted composer…” – The New Yorker “[Ladd] approaches and dissects history with a concentrated vigor... [Iyer's] music swirls with a thick, heartening spirit...” – The Village Voice Improvisational in nature and hybrid to the core, In What Language? is a collaborative work by pianist/composer Vijay Iyer and librettist/performer/producer Mike Ladd, leading an ensemble of musicians and speaking voices. Consisting of a series of poetic monologues by people of color negotiating the hyper-globalized setting of a 21st-century international airport, In What Language? synthesizes a broad range of influences, including experimental jazz, hip-hop, rock, American minimalism, and African and South Asian rhythms. The son of Indian immigrants, Iyer draws from African, Asian, and European musical lineages to create works that are both emotionally expressive and structurally sophisticated. In addition to releasing several CDs (including Panoptic Modes, Fieldwork: Your Life Flashes, and Blood Sutra), Iyer has toured worldwide as a bandleader and as a featured performer with artists such as Steve Coleman, Roscoe Mitchell, and Amiri Baraka. As a performer and composer, Iyer has received grants from the Rockefeller Foundation, New York State Council on the Arts, Arts International, Creative Capital, and the Mary Flagler Cary Charitable Trust. Most recently, Iyer received the 2003 CalArts Alpert Award in the Arts in the field of music. http://vijay-iyer.com

In What Language? Scottish Rite Mon, Sept 15, 7 pm Tue, Sept 16, 7 pm Running Time: 75 min Seating Capacity: 587 All Ages Presenting Sponsor

Boston-born Michael C. Ladd has published his writings in the literary magazines Long Shot Review and Bostonia, in the book Swing Low: Black Men Writing, and in the anthologies Aloud: Voices from the Nuyorican Poets Café, In Defense of Mumia, Bum Rush the Page, Pour La Victoire, and Everything But the Burden. Referred to as “one of hip-hop's most restless minds” (The New Yorker), he is a well-traveled performer and bandleader, and the writer and producer of several widely praised albums, including Welcome to the Afterfuture, The Infesticons: Gun Hill Road, and The Majesticons: Beauty Party. As a Fellow at the Institute for Arts and Civic Dialogue at Harvard University, Ladd produced and directed Blood Black and Blue, an audio documentary/performance about black police officers in the United States. Ladd currently lives in the Bronx. Commissioned by The Asia Society, In What Language? is made possible with generous support from The Mary Flagler Cary Charitable Trust and is a sponsored project of Creative Capital Foundation. http://www.asiasource.org/arts/language.cfm

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Ros Warby Swift “[Warby’s] work reveals a mature level of eclecticism, elegance, and downright quirkiness. Remarkable and satisfying – playful, cute, self mocking, vampish, elegant and pure.” – Lee Christofis, Dance Australia

Swift Portland State University Lincoln Hall Tue, Sept 16, 8 pm Wed, Sept 17, 8 pm Running Time: 60 min Seating Capacity: 470 All Ages Presenting Sponsor

The Durst Fund for New Work Additional Support

Continuing her explorations with film, composition, and solo dance, acclaimed Australian choreographer Ros Warby returns to PICA with Swift. Working from the generative seeds of Eve, a piece she presented as part of Solos at PICA in May 2002, Warby continues to explore the multifaceted layers existing simultaneously within a female character, though this time the different facets are pulled apart, played out, and exaggerated. Swift traverses two worlds, that of the imagined – the made up, the fairy tale – and that of transformation from diva to gremlin, from angel to animal. Warby is joined by long-time collaborators cellist / composer Helen Mountfort, who plays live electric and acoustic cello, and projection designer Margie Medlin, whose brilliant designs create distinct settings for Warby to navigate throughout the piece. Based in Melbourne, Australia, choreographer and performer Ros Warby trained classically in Australia and Europe before furthering her dance education at the European Dance Development Centre and in the United States with Lisa Nelson, Dana Reitz, and Deborah Hay. Since 1996 she has performed with Australian choreographer Lucy Guerin and with the Deborah Hay Company throughout Australia, Europe, and the United States. Her recent program, Solos, has been presented in Melbourne, South Back Centre, London, and Nottdance Festival, UK, at the Adelaide Festival in 2002, the Antistatic Festival, and in Portland in 2002. Solos received the prestigious Green Room Award (Australian equivalent of the Bessie Award) for Best Solo Performance. Warby is currently an Australia Council Fellowship recipient for 20022004, enabling her to continue developing her own solo compositions and performance. Swift was created in part through a residency at PICA in 2001. TBA Performances

Dariush Dolat-shahi In Concert “A masterful performer.” – The New York Times “...epic...raw power through grand gestures....” – Perry Goldstein, The Smithsonian Institute

In Concert Newmark Theatre, PCPA Wed, Sept 17, 8 pm Thurs, Sept 18, 8 pm Running Time: 90 min Seating Capacity: 800 All Ages Supported in part by:

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Portland-based composer and performer Dariush Dolat-shahi, master of the setar and tar (Persian lutes), offers an evening of new music that blends Minimalism and electronic sounds with the traditional musics of Asia and Latin America. This evening of four new works includes a one-act opera with spoken text written by Dolat-shahi and projections by designer Elizabeth Rodgers, two new compositions paired with movement by dancer Minh Tran and yoga practitioner Casey Palmer, and a special appearance by Portland Taiko. Born in Iran, Dariush Dolat-shahi entered the Tehran Conservatory of Music at age ten, where he studied the traditional Persian instruments tar and setar. He continued his studies in music and composition through the doctorate level, attending the Amsterdam Conservatory of Music (Masters work), the Institute of Sonology in Utrecht, and doctoral work in composition and electronic music at Columbia University in New York. In addition to his ongoing commitment as a composer and professor of composition, Dolat-shahi has for many years traveled throughout Europe and the United States improvising on the tar and setar, creating a complex fusion of traditional Persian sounds with contemporary, Western influences.

Cie Felix Ruckert deluxe joy pilot “...probably the most radical choreographer in Europe.” – Ballettanz “Tip: Interaction (or lack of it) depends on the mental baggage of the viewer.” – The New York Times Get ready for an entirely different approach to dance and live performance when Felix Ruckert and company present deluxe joy pilot, an innocent, playful, and sophisticated exploration into intimacy as told by a series of solos, duets, and extensive (voluntary) audience participation. By the end of the performance, the distinction between performer and spectator will be foggy at best, as Ruckert and dancers skillfully extend the terrain of the stage to include the audience members themselves.

deluxe joy pilot Machineworks Wed, Sept 17, 7 pm Thurs, Sept 18, 7 pm Fri, Sept 19, 7 pm Sat, Sept 20, 7 pm Sun, Sept 21, 7 pm Running Time: 90 min Seating Capacity: 120 21 + only Presenting Sponsor

“Something strange happens when strangers meet in a new space,” observes Ruckert, revealing the crux of many of his recent explorations into dance, the body, and unconventional performance space. With little interest in linear storytelling, Ruckert instead relies on the story of the body to inform his work, using dance and a deep understanding of movement as a medium through which to deeply question subjects such as intimacy, fantasy, and physical and emotional states. Ruckert studied dance in Berlin, Essen, Paris, and New York, working with other European choreographers (Pina Bausch’s Tanztheater Wuppertal from 1992-1994) before founding his own company in Berlin in 1994. His recent works reflect a commitment to dismantling common expectations of live performance, staging work in nontheatrical settings such as the brothel in Hautnah (1995), the grouptherapy ritual in Ring (1999), the slide show in Schwartz (1998), the gallery in Stillen (2000), and the night-club in deluxe joy pilot (2000). Created in Berlin in December 2000, deluxe joy pilot has toured Paris, Strasbourg, Munich, Sao Paolo, Rio de Janeiro, and currently the United States. www.felixruckert.de

Additional Support

deluxe joy pilot is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and Altria Group, Inc. TBA Performances

Manuel Pelmus Punct Fix Romanian choreographer Manuel Pelmus arrives in Portland for the first time to present Punct Fix, a complex creation in which dance becomes a mirror through which to explore ideas of heritage and history, and how embedded points-of-view inform action and reaction. Created while Pelmus was artist-in-residence at Centre National de la Danse in Paris, Punct Fix premiered in 2002 and continues to tour worldwide, dropping in for Berlinâ&#x20AC;&#x2122;s Tanz Im August, the Balkan Dance Platform, De Singel, Performing Arts Center in Belgium, Judson Church in New York, and TBA. Pelmus will be joined by fellow Romanians Maria Baroncea, Mihai Mihalcea, and Brynjar Bandlien. Manuel Pelmus studied dance in Bucharest, Romania, and performed extensively with the Romanian National Opera, Romanian television, and the state opera in Cluj, before spending several years performing with the Hamburg Opera, touring throughout Europe, Asia, and South America. Pelmus began creating his own works in 1997, and include Outcome, Common Grounds (a collaboration between Pelmus and two choreographers from Norway and Japan), and Punct Fix, all of which have toured widely in eastern and western Europe and North America. Pelmus will bring Punct Fix to the United States in the fall of 2003. Punct Fix was co-produced by: Centre National de la Danse (Paris), Hebbel Theater (Berlin), Theorem, Mad Center and DCM Foundation (Bucharest), and Bandlien-Pelmus, with the support of Kultur Kontakt Austria, Tanz Quartier Wien, and The French Institute, Bucharest.

Punct Fix Portland State University Lincoln Hall Thurs, Sept 18, 6 pm Fri, Sept 19, 6 pm Running Time: 40 min Seating Capacity: 470 Mature Audiences Presenting Sponsor

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Additional Support provided by the Suitcase Fund of Dance Theater Workshop.

Bill Shannon aka CrutchMaster Spatial Theory “He is a moonwalker, a daredevil version of Chaplin's Little Tramp.” – Boston Globe “Bill Shannon's choreography appear(s) to defy basic principles of balance and gravity, creating a remarkable kinetic world of its own.” – The New York Times

Spatial Theory Portland State University Lincoln Hall

Thurs, Sept 18, 8 pm Fri, Sept 19, 8pm

Q+A following performances Running Time: 75 min Seating Capacity: 470 All Ages Presenting Sponsor

Bill Shannon, aka CrutchMaster, creates work rooted in urban street kinetics involving freestyle breakdancing, skateboarding, contemporary music and visual imagery, blended with a rhythmically expressive form of complex weight sharing between arms, legs, and customized rocker bottom crutches. Diagnosed at an early age with a disability in his hip joints that inspired him to use crutches and a skateboard for mobility, the Brooklyn-based performance artist has developed a truly unique dance language. Informed by hip-hop culture and pedestrian utilitarian movement, Shannon's movement style is accented by his sharp sense of timing, preternatural fluidity, grace and elegance. For TBA, Shannon will present a series of impromptu street and club performances around downtown Portland, followed by Spatial Theory, a provocative solo work with a live DJ, integrating his unique hybrid movement with videos of his street performance explorations. Originally from Pittsburgh, Shannon studied at the Art Institute of Chicago before moving to New York, where he is now widely recognized in the underground performance art scene, hip hop dance scene, and disabled artist community. Shannon was named a 2003 Guggenheim Fellow and is also a recipient of a Foundation for Contemporary Performance Art Award and a Colbert Award for Excellence:The Downtown Arts Projects Emerging Arts Award. Shannon recently completed a project with Cirque du Soleil, where he choreographed specific elements for their production Varekai, which premiered in April 2002 and is currently on tour. His work has been presented at The Walker Art Center in Minneapolis, Performance Space 122 in New York, the Athenaeum Theater in Chicago, The Holland Festival in Amsterdam, International Festival of Independent Theater in Amman, Jordan, the Exit Festival in France, and in streets throughout Novgorod, Russia. www.virtualprovocateur.com www.whatiswhat.com TBA Performances

Daniel Bernard Roumain Never Felt Better I, Composer Dred Violin

Wieden + Kennedy Atrium

Never Felt Better Thurs, Sept 18, 8 pm Running Time: 75 min Seating Capacity: 250 All Ages

I, Composer Fri, Sept 19, 8 pm Running Time: 60 min Seating Capacity: 250 All Ages

Dred Violin Sat, Sept 20, 8 pm Running Time: 55 min Seating Capacity: 250 Mature Audiences Presenting Sponsors

Venue generously provided by Wieden + Kennedy 20

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“(Roumain has) a keen sense of how to create abstract shapes crossing cultural boundaries . . . combining visceral excitement with dancing intelligence.” – The New York Times Composer and multi-instrumentalist Daniel Bernard Roumain blends the schools of classical music and hip-hop in three works played live on electric/acoustic violin with recordings of drum loops, percussion, synthesizers, string quartet, and text comprised of sampled conversations recorded in his Harlem neighborhood. Working from a rich musical palette including observations of modern-day connections to race and cultural history, Roumain fuses classical, jazz, and hip-hop with street sounds and dialogue, addressing in his compositions themes that have historically been underrepresented or misrepresented by the classical music establishment. For TBA he will perform a series of three original works; Never Felt Better, I, Composer and Dred Violin, presented on three successive nights in the order in which they were created. Currently living and working in New York City, Daniel B. Roumain was recently named the Assistant Composer-in-Residence at the Orchestra of St. Luke’s. He is the Music Director for the Bill T. Jones /Arnie Zane Dance Company, and an Artist-in-Residence at the Tribeca Performing Arts Center. He earned a doctorate in Music from the University of Michigan, and in 2002 Meet the Composer awarded Roumain with the prestigious Van Lier Fellowship. His original compositions are performed throughout Europe and the United States. Recent premieres include Ghetto Strings played by the Minneapolis Guitar Quartet, Funktionslust Slut by Wood Dance, What We Are by the Brooklyn Youth Chorus, Voodoo Violin Concerto No. 1 by Kitchen House Blend, and Fast BLACK Dance Machine by the St. Luke’s Chamber Ensemble. He has collaborated on new work with performance artist John Fleck, composer Philip Glass, and DJ Spooky. Roumain began performing professionally as a child and has worked with such diverse artists as Dizzy Gillespie and 2 Live Crew. I, Composer is supported in a part by a grant from Creative Capital. www.dbrmusic.com

Coco Fusco The Incredible Disappearing Woman “She kicks postcolonialist rhetoric in the teeth, [and] blurs the boundaries of performance.” – Dayna McLeod - The Hour Weekly, Montreal New York-based interdisciplinary artist Coco Fusco spent three years researching the lives of Latin American women working in the global economy before creating The Incredible Disappearing Woman, a work about art, sex, death and disappearance at the US-Mexico border. Two humans and a decrepit robot (who does not understand that she is not human) are confined in a “live chat” room connected to the internet responding to instructions from four off-stage characters. In this experimental theatre work, Fusco examines how and why we relate to political violence via technological media.

The Incredible Disappearing Woman

Coco Fusco has performed, lectured, exhibited, and curated throughout North and South America, Europe, South Africa, Australia, New Zealand, Korea, and Japan. She is the author of several books, including English is Broken Here and The Bodies That Were Not Ours and Other Writings, and has published excerpts of her writings in The Village Voice, The Los Angeles Times, Art in America, and The Nation. Fusco’s performances and videos have been included in the Whitney Biennial, The Johannesburg Biennial, The Kwangju Biennial, The London International Theatre Festival, and the National Review of Live Art. She first performed at PICA in 1997 in Stuff, a work she created in collaboration with Nao Bustamente. The Incredible Disappearing Woman was commissioned by PICA through a grant from The Rockefeller Foundation’s Multi Arts Production Fund and premiered at the In-Transit Festival at Berlin’s House of World Cultures in June, 2003. Fusco was a 2003 recipient of the CalArts Alpert Award in the Arts. http://www.thing.net/~cocofusco/disapwman.html

Scottish Rite Fri, Sept 19, 8 pm Sat, Sept 20, 8 pm Running Time: 60 min Seating Capacity: 600 Mature Audiences Supported in part by:

ROCKEFELLER FOUNDATION MULTI ARTS PRODUCTION FUND TBA Performances

Hinterland Theater Association The Wreck of the St. Nikolai “The Black Cat Orchestra succeeded in creating what can only be described as a dream cabaret, pulling elements of klezmer and gypsy music out of the foggy seaside air, inciting audience members to dance slowly and jerkily like puppets.” – The Stranger “Romantic, yet sleazy.” – David Byrne Members from Seattle’s Black Cat Orchestra (Kyle Hanson and Lori Goldston) and Vodvil Theatre (Curtis Taylor, Eve Cohen) band together to perform an opera for objects on the small stage. Written by Stacey Levine, the libretto is based on Russian and Quileute accounts of capture and struggle on the Washington coast. With wit and irreverent charm the Hinterland Theater Association brings an unprecedented delight, a miniature bit of genius that will enthrall audiences of all ages. Stacey Levine is a poet and free-lance writer in Seattle. Her books include My Horse and Other Stories, which garnered her the 1994 PEN/West Fiction Award, and Dra---, both published by Sun & Moon Press in Los Angeles. Other collaborations with the Black Cat Orchestra include The Post Office, a radio play that she wrote and directed in 1995, about a narcissistic postal employee, a whining customer, and matters of the human heart.

The Wreck of the St. Nikolai BodyVox Fri, Sept 19, 7 pm Sat, Sept 20, 7 pm Sun, Sept 21, 7 pm Seating Capacity: 100 Running Time: 60 min All Ages Presenting Sponsor

Venue generously provided by BodyVox 22

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Formed in Seattle in 1991, the Black Cat Orchestra has a repertoire that spans a wide range of styles, including music from Eastern Europe, Latin America and Asia as well as their own original songs. In addition to playing in concerts, clubs, and at private parties, the Orchestra often performs original scores to silent films, and busily works on collaborations and their own recording projects. Black Cat Orchestra has appeared on National Public Radio's This American Life, on David Byrne's album Feelings, and has recorded original music for a dance piece by Seattle’s 33 Fainting Spells. www.blackcatorchestra.com Production designers Eve Cohen and Curtis Taylor create sets, costumes and characters for the Vodvil Theatre, among their other projects. Cohen is a visual artist, costume designer and founding member of the dance-theatre troupe the Rollvulvas. Her work has been shown in Seattle at Esther Claypool, Linda Ferris, and the King County Art Gallery. Taylor uses the mannered theatrical languages of ballet, stage magic, opera and dramatic oration to create original works such asAbstract Change Pleasure (puppets and objects on the topic of American poetry), ROME (a cabaret for the post WTO-bull market), and SeaSaw (a dreamplay about the early 20th Century timber industry).

Quasar Lend Me Your Eyes “One of the best dance companies in the country.” – Brasilia Daily When the reality of the world – scenes on the street, the state of the people – is so loud in one’s mind that it distracts from all else, it is probably best to work within that reality. That’s what we get from Quasar, whose artistic director, Henrique Rodovalho, rejects the abstract in the interest of observing and working from ordinary human experience. One of the most promising and stimulating companies in Brazilian contemporary dance, Quasar brings to TBA the 16th work in their repertoire, Lend Me Your Eyes. Inspired by the daily rituals of senior citizens living in Vila Vida, a neighborhood in Goiânia, Brazil, this multimedia dance piece looks at how time interferes in life and life interferes in time, as dancers move against a backdrop of sounds and images recorded on site at Vila Vida.

Lend Me Your Eyes Portland State University Lincoln Hall Sat, Sept 20, 7pm Sun, Sept 21, 12pm Running Time: 60 min Seating Capacity: 470 All Ages Presenting Sponsor

Additional Support

Henrique Rodovalho and artistic director Vera Bicalho founded Quasar in 1988 as an offshoot of Grupo Energia, a dance workshop that was active in Goiânia in the 1980's. Seeking freedom from the limitations of dance in academia, fueled by a strong desire to break free from conventional dance models, Quasar has developed a sophisticated movement vocabulary that is known to inspire strong, immediate reactions from audiences. In both 1995 and 1997, Brazil’s Ministry of Culture awarded the company the Prêmio Mambembe, the top prize in dance, and in 1997 Quasar swept the “Best of the Year” categories, winning Best Company, Performance, Choreographer, and Emerging Dancers. In 1996 Quasar surprised audiences with the Best Show Prize at Israel’s Susanne Dellal Center Festival in Tel Aviv. The company continues to work out of their hometown, Goiânia, where they have been known to spill out onto the streets, dancing in the cafes and public spaces, and extracting from the details of ordinary life the insight and inspiration for their next piece. Lend Me Your Eyes is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by The Anrdew W. Mellon Foundation and Altria Group, Inc. Additional support provided by ArtesAméricas, a program of The University of Texas at Austin funded by Altria Group, Inc. TBA Performances

Akram Khan Kaash “The sleekness of his performing style is as focused as a laser beam. Here is a real star in the making.” – Time Out, London “…epic, deeply focused and grandly beautiful…” – The Daily Telegraph, London Hailed by some as “the best thing to happen to British dance” (The Evening Standard, London) in years, Akram Khan has moved swiftly into the radar of dance enthusiasts throughout Europe. Khan and his dancers travel to Portland with the company’s first full-length piece, Kaash (the Hindi word for “if”). With a set designed by the Turnerprize winning sculptor Anish Kapoor, and music by Mercury-prize winning Nitin Sawhney, the whirling composition of Kaash tackles a vast thematic terrain that covers areas as endless as creation and destruction, black holes, and the dynamic between Hinduism and modern physics.

Kaash Newmark Theatre, PCPA Sat, Sept 20, 9 pm Sun, Sept 21, 9 pm Running Time: 60 min Seating Capacity: 800 All ages Presenting Sponsors

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Born in London to parents from Bangladesh, Akram Khan first studied the 500-year-old traditional Indian dance form Kathak, before turning his interest towards contemporary dance at De Montfort University and the Northern School of Contemporary Dance in Leeds. Now working with his own company, which he founded in 2000, Khan’s choreography reflects his interests in both traditional and contemporary movement, earning him praise as “a charismatic innovator…mercurial, masterful in his brilliant alternations of speed and stillness.” (The Sunday Times, London) In 2000, both the British Critics Circle Dance Section and Time Out Live honored Khan as the Outstanding Newcomer to Dance. In 2001 he was invited to be Choreographer in Residence at the Royal Festival Hall in London, and in 2002 Mr. Khan received nominations for the Best Choreography Award by the Dance Critics Circle and the South Bank Dance Show. The international tour of Kaash is supported by The British Council.

Compañia Nacional de Teatro de Mexico El Automóvil Gris (The Grey Automobile)

“Explosive and entertaining” – El Diario de Coahuila “A memorable experience…the old and the new combine brilliantly.” – Ovaciones Actors Irene Akiko Iida and Enrique Arreola comment on and bring voices to each of the characters in Enrique Rosas’ 1919 El Automóvil Gris (The Grey Automobile) interpreting the Mexican silent film classic in traditional Japanese Benshi style. Originally released in Mexico City in 1919, this extraordinary work of cinema verité traces the adventures of the notorious Grey Automobile Gang, an actual posse of gangsters that terrorized post-revolutionary Mexico in 1915, from their heists and shady deals to an ending that includes footage of their real execution, filmed by Rosas himself.

El Automóvil Gris Pioneer Place Stadium 6 Sat, Sept 20, 4 pm Sun, Sept 21, 2 pm Sun, Sept 21, 4 pm Performed in Spanish, English and Japanese Running Time: 90 min Seating Capacity: 200 Mature Audiences Presenting Sponsors

Acclaimed theatre director Claudio Valdes Kuri brings the film into the 21st century with Benshi (the art of commentary and narration that emerged in Japan’s brief Golden Age of silent film in the early 1900’s), and original music, gleaned from improvisations with the actors and influences from myriad Japanese and Mexican silent film scores, and performed live by pianist Ernesto Gómez Santana. The CNT, Compañia Nacional de Teatro (National Theatre Company), was founded in Mexico in 1972 and established by presidential decree in 1977. Claudio Valdes Kuri's work has been presented in theatre festivals throughout the world, including the Kunsten Festival des Arts in Brussels, the International Hispanic Theatre Festival in New York and Miami, Grec Festival in Barcelona, Festival Iberoamericano in Bogota, Caracas International Festival, and the Puerto Rico International Theatre Showcase, among others. El Automóvil Gris is a co-production of Compañía Nacional de Teatro-INBA and Haus der Kulturen der Welt, with the support of Cineteca Nacional of Mexico and the Rosas Priego Family. www.greyautomobile.com TBA Performances

Compagnie Salia nï Seydou Figninto “Bold, invigorating and uncommonly beautiful” – The Globe and Mail “In pure dance terms it’s spectacular. Sanou and Boro are riveting performers who throw themselves into daring movements with the kind of abandon that keeps chiropractors and physiotherapists in business.” – The National Post, Toronto Direct from Burkina Faso, Compagnie Salia nï Seydou (sah-LEE-ah nee say-DOO) rounds out the festival with an award-winning work that is teeming with West African ritual, fluid dancing and rich theatricality. Fusing traditional West African dance with a contemporary European choreographic style, Salia Sanon and Seydou Boro, joined by an ensemble of dancers and musicians, weave the intricate story of Figninto, “someone who does not see” or who is spiritually blind, as told in the Bambara dialect. Translated into movement, this blindness becomes a powerful physical struggle between dancers to connect with one another, their high athleticism softened with tenderness and sincerity, an intense physicality touched with grace.

Figninto Portland State University Lincoln Hall Sun, Sept 21, 7 pm Running Time: 60 min Seating Capacity: 470 All Ages Presenting Sponsor

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Seydou Boro and Salia Sanou, both born and raised in Burkina Faso, West Africa, were heading towards careers in computers and police work, respectively, before entering into the world of dance and performance. They both studied traditional West African movement before joining Compagnie Mathilde Monnier, a modern dance company at the National Center of Choreography in Montpellier, France, in 1992. The two founded their own company in 1996 to further their explorations in contemporary dance forms. Their original works include Le Siecle des Fous, which won 1st Prize at the Competition of African Contemporary Dance in 1997, and Figninto, which surprised audiences at Montreal’s Festival Internationale de Nouvelle Danse in 1999, receiving the Audience Choice Award for Best Production. In 2002, the choreographers both received the esteemed Chevalier des Arts et des Lettres from the French government for their outstanding contribution to French culture.

photo: Compagnie Salia n誰 Seydou

Machineworks

Nightly from 9pm - 2am TBA’s Late Night Hot Spot Sunday, September 14 – Friday, September 19 1115 NW 15th Ave. 9 pm – 2 am FREE PICA members and TBA Pass holders $10 general 21+ only Machineworks is where you’ll find everything you need late at night, except a place to sleep. It is the place to meet up with friends and colleagues after a day at the festival. Haven’t seen enough performance today? There will be more on our Cabaret Stage. Need to dance off some of the energy our artists have filled you with? Machineworks will feature some of the West Coast’s hottest DJ’s on the dance floor. Our bars will offer beer, wine, a different specialty cocktail each day and soft drinks. A range of food and desserts to fit every appetite will be available every night. You can also purchase TBA tickets, merchandise and get information about the festival or Portland. Whether you’re looking for a low-key place to get a snack and a drink and have a quiet conversation with friends, or are up for a night of serious partying, Machineworks is where you’ll want to go late at night. If you’re not one who typically goes to the same club night after night you’ll love Machineworks. We’ll put the space through a makeover every day that will surprise you every night! Presenting Sponsor

Additional Support

Venue generously provided by Machineworks, LLC

TBA CABARET STAGE: Featured Acts at Machineworks Tracie Morris

Sunday, September 14, 10 pm Best known as a hip-hop poet, Tracie Morris weaves sassy lyrics, cutting edge electronica, striking movement and virtual images into Afrofuturistic, a morality tale informed by scientific facts and refracted through the lens of racial politics. Over the last decade, Morris has worked steadily to redefine the limits of what poetry, and what a poet, can be. For TBA, Morris presents an excerpt of this full-length work.

John Moran with Eva Müller

Sunday, September 14, 10:30 pm “Their work is alternately funny, scary, light, inviting, confusing, dark, dreamlike, nightmarish, obvious, and absolutely brilliant in its virtuosity.” – Seattle Times Avant-garde composer John Moran and dancer Eva Müller join forces in a cabaret unlike any other, featuring excerpts from Moran's operas including Jack Benny, The Manson Family, and Book of the Dead/2nd Ave. Moran's multi-layered compositions blend thousands of tiny sound components to form a soundtrack for live action on the stage. www.JohnandEva.com

The Badger King

Monday, September 15, 10 pm "Very, very, very original and unpredictable vocal melodies and musical arrangements are the cornerstone of this Oregon band's assured future world domination." – The Morning News Two sisters navigate a dream world full of eels, octopi and a mysterious stranger in The Showering Dragons, a new "conceptutal electronic art-pop opera" by celebrated Portland duo The Badger King, (Marianna Ritchey, Jona Bechtolt) with film by Reed Harkness (Tiny Picture Club). www.thebadgerking.com TBA Cabaret

Owl vs. Lemming

Monday, September 15, 11 pm Portland composer and musician Sean Byrne (Bugsk端ll) spins the tunes and Portland filmmaker Steve Doughton threads the films in a magical pairing of vinyl and celluloid. Byrne mixes an eclectic blend of jazz, classical, funk and experimental music providing an impromptu soundtrack for selections from Doughton's collection of found and original films.

10 Tiny Dances

Tuesday, September 16, 10 pm Portland choreographer Mike Barber continues his performance party series with the fourth ebullient occurence of Ten Tiny Dances. Barber has invited an exciting group of choreographic cohorts for a night of frivolity and performance, all on a 4 by 4 foot stage, with a different dance every 15 minutes. Choreographers include Jenn Gierada, Tracy Broyles, Cydney Wilkes, Anne Furfey, Carla Mann, Kasandra Green Gruener, Bridget Walsh, and Daniel Addy.

Sarah Dougher

Wednesday, September 17, 10 pm Portland singer-songwriter Sarah Dougher takes her inspirations from sources as diverse as folk heroines The Roaches and Joni Mitchell, but her music is rooted in the fertile post-punk environment of the Pacific Northwest. Whether musing on a secret long-distance love ("Girl in New Orleans"), the trap of unsatisfying surroundings ("Moving"), a hopeful bus-ride towards a hopeless love ("40 Hours"), Dougher's songs lyrically trace fears and tell stories. Dougher records on the San Francisco label Mr. Lady Records, and is currently working on a RACC funded project about the Odyssey. 30

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TBA Talent Show

Thursday, September 18, 10 pm What if they put on a talent show, and everyone was actually talented? Find out at our first annual TBA Talent Show, a showcase of short acts featuring the hidden and not so hidden talents of TBA artists and local performers, with Master of Ceremonies Lawrence Goldhuber. Cast your vote for "most talented" performer, who will receive fame, glory and a special TBA prize.

House of Cunt*

Friday, September 19, 10 pm “You might want to laugh, or you might want to scratch your head…you might even want to cry. But, most importantly, you’ll never be able to look away. You’ll be afraid of what you’ll miss if you do.” – Portland Mercury House of Cunt has been lighting up Portland's night life for the past two years, presenting their comedy sketches, satire, songs, and dances in traditional performance venues like Stark Raving Theater as well as making impromptu appearances in Portland's bars and karaoke clubs. For TBA Cabaret, they will dish up a special blend of the humor, music, politics and zany characterizations that have made them the darlings of Portland's late-night scene. *“Cunt is not slang, dialect, or any marginal form, but a true language word, and of the oldest stock. It is a derivative of the Oriental Great Goddess known as Cunti, or Kunda, the Yoni of the universe.” Barbara D. Walker, author of Women’s Encyclopedia of Myths and Secrets TBA Cabaret

SPECIAL EVENTS Machineworks

1115 NW 15th Ave.

Opening Gala: Part 1 and Part 2 Saturday, September 13 A two-tiered evening, suited for everyone. 21+ only Celebrate the opening of PICA’s first TBA Festival at our premier event. We haven’t hosted an event of this caliber in more than two years. It's been too long, hasn’t it?

PART 1

Patron Dinner

Cocktails: 6:30-7:30 pm Seated dinner: 7:30-9 pm $150.00 ($100 tax-deductible) Just as you'd expect, we’re opening TBA in our grandest style: A red-carpet entry for every guest. A fabulous feast prepared by one of Portland’s best caterers. Fine wine, Oregon-brewed beer and a PICAdesigned specialty cocktail. Abundant quirks, twists, and surprise entertainment.

You’ve got to be there, don’t you? If you want to see a 9 pm performance, we’ll have you out the door in time to get to any of the festival venues on time. Or stick around and join the next wave of the party. Portland’s Gypsy Caravan will amp the party’s energy up a notch, and move us into the dance space.

PART 2

Dance Party

9 pm – 1 am $10.00 PICA members and TBA Pass holders $25.00 general Join us on the dance floor for the inaugural party of what will be Portland’s hottest night spot for the next 8 days. 32

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Closing Party with DJ Le Spam Saturday, September 20 10 pm – 2 am $25 PICA members and TBA Pass holders $45 general 21+ only The energy has been building for a week, come blow off some steam, dance your whatever off, and see everyone you’ve met this week at the TBA Closing Party. The crowd will be a mix of local audiences, out-of-town guests, TBA artists, supporters and probably a few people who didn’t even know there was a festival going on, but heard PICA was throwing a big party! (We have a reputation for parties. Remember the Dada Ball?) The bars will be stocked of course, and our cocktail for the evening will be the best one yet. Both stages will be busy with the great entertainment and dance music we’ve been bringing you all week. We'll start with special appearances by TBA artists, and performance interruptions by local groups. On the dance floor, Latin Grammy nominee, DJ Le Spam, brings the Miami scene to Portland. So, what’s the difference between this party and every other night at Machineworks? You can either come find out for yourself, or hear about it on Sunday!

DJ Le Spam “…tasty and unpretentious…” – Entertainment Weekly Cuban roots meet electronica futur-o-rama and explode into a dance party. Hip-hop, salsa, drum and bass, jazz, polyrhythms, language instruction tapes, old comedy routines, street scenes, spare change requests and a 1980’s Spam commercial; here is but a small taste of what Andrew Yeomanson, aka DJ Le Spam, could toss onto his turntables. DJ Le Spam leaves no influence unturned, and his eclectic sounds seduce even the most unlikely double-leftfooted candidates into boogie down perfection. TBA Special Events

TBA INSTITUTE TBA Institute offers a chance to get up close and personal with festival artists for a daily program of dialogue, exchange and workshops about issues and ideas in contemporary performance. Noon chats and workshops are included in your festival pass, and individual tickets can be purchased at the door if space is available. Generously supported by

Maybelle Clark Macdonald Fund

Noontime Chats Join TBA artists and fellow festival-goers for an informal panel discussion in PICA’s Resource Room each day at noon. With different TBA guests guiding the conversations, the topics will cover a vast terrain, and provide the artists with an opportunity to share their thoughts on performance art in today’s cultural and creative climate. A brief Q&A session with the audience will round out each discussion. Chats will start promptly at noon. Free to TBA pass holders, $5 general. Tickets available only at the door as space permits. PICA Resource Room, 12 - 1 pm

The Art of Words, the Borders of Language Sunday, September 14 David Greenberger, Vijay Iyer, Tracie Morris, Shelley Hirsch.

Fast, Cheap, and Out of Control: The Use of Media in Performance Monday, September 15 Andrew Dickson, David Brooks, Lawrence Goldhuber.

An Artistic Response to September 11 Tuesday, September 16 Eiko and Koma

Classical Training: Friend or Foe? Wednesday, September 17 Dariush Dolat-shahi, Daniel Roumain, Vijay iyer, Yasuko Yokoshi, Ros Warby.

If I Only Knew You Better: A Partnership with Audiences Thursday, September 18 Felix Ruckert

Artists as Cultural Organizers in Central Europe: Opportunities and Challenges Friday, September 19 Manuel Pelmus, Agnes Varani, Mihai Mihalcea, Brynjar Bandlien, Agnes Varanyi.

Audience Expectations at Home and Away Saturday, September 20 Seydou Boro, Salia Sanou, Coco Fusco, Quasar.

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Special Presentation

Creative Capital Presentation: An Introduction to the Professional Development Workshop Wednesday, September 17, 2 - 4 pm PICA Resource Room Alyson Pou, Associate Director of Creative Capital, will present to local working artists an introduction to the Professional Development Workshop. The presentation will include a history of the development workshop, what is covered, how it is structured, and why Creative Capital sees the value in emphasizing strategic planning for artists.

This presentation is free and open to working artists who want to learn about the latest tools and resources available for developing a career in the arts. Seating limited to 60. Please RSVP to PICA 503.242.1419. TBA Institute

Getting Technical: Workshops, Master Classes, and Lectures Immerse yourself in the creative processes of TBA performers by attending a workshop, master class, or lecture demonstration. Ranging in content from pure technique to improvisation, composition, and the integration of hip-hop into classical forms, the daily classes will deepen your TBA experience with time and space for active learning in dance, music, and performance from an international perspective. Pre-registration is strongly advised for all classes, space is limited. Call PICA 503.242.1419 to register. Free to TBA Pass holders, $10 PICA members, $15 general Class limit: 25 Workshop spaces generously provided by Conduit, Water St. Project and BodyVox.

Dance Workshop: Delicious Movement: Eiko and Koma Saturday, September 13 All skills, all levels; Dress to move. Conduit: 9:30 - 11:30 am

Vocal Workshop: Techniques for Actors, Dancers and Musicians: Shelley Hirsch Sunday, September 14 All skills, all levels; Dress to move. Conduit: 2 - 4 pm

Dance Workshop: Repertory: Donna Uchizono Monday, September 15 Intermediate/Advanced; Dress to move. Water St. Studio: 9:30 - 11:30 am

Dance Workshop: Repertory and Composition: Manuel Pelmus Tuesday, September 16 All skills, all levels; Dress to move. Water St. Studio: 9:30 - 11:30 am

Dance Workshop: Composition: Tere Oâ&#x20AC;&#x2122;Connor Tuesday, September 16 All skills, all levels; Dress to move. Water St. Studio: 2 - 4 pm 36

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â&#x153;Ś Performance Lecture and Demonstration: How I Learned to Draw: Miranda July Tuesday, September 16 Newmark Theatre, PCPA: 9 - 10 pm Seating Capacity: 800 See page 38 for details.

Music Lecture and Demonstration: Collaboration: Vijay Iyer and Mike Ladd Wednesday, September 17 PICA Resource Room: 9:30 - 11:30 am Seating Capacity: 60

â&#x153;Ś Performance Lecture and Demonstration: Shuffle: Yasuko Yokoshi Wednesday, September 17 BodyVox: 8 - 9 pm Seating Capacity: 100 See page 39 for details.

Music Workshop: Improvisation: Daniel B. Roumain Thursday, September 18 All skills, all levels; Bring your instrument. Water St. Studio: 9:30 - 11:30 am

Dance Workshop: Performance and Improvisation: Ros Warby Friday, September 19 Intermediate/Advanced; Dress to move. Water St. Studio: 9:30 - 11:30 am

Dance Workshop: Movement for Young People: Quasar Saturday, September 20 All skills, grades 1-6; Dress to move. BodyVox: 9:30 - 11:30 am

Dance Workshop: Improvisation and Composition: Felix Ruckert Saturday, September 20 Intermediate/Advanced; Dress to move. Water St. Studio: 9:30 - 11:30 am TBA Institute

Performance Lecture and Demonstration

Miranda July

How I Learned to Draw Portland’s own Miranda July shares a sampling of current and revisited works in performance and film, including excerpts from her work-in-progress, How I Learned to Draw, a preview of new videos created for her solo exhibition, Astonisher (opening in the U.K. in October), and a sneak peak into the content of her upcoming feature film, Me and You and Everyone We Know. July promises: “This is a Portland special, local girl tells all.” Extremely prolific as a video, performance, and recording artist, July works within a genre all her own, placing her striking observations of human emotion, isolation, interrelationships, and absurdities at center stage with overlays of sound, images, and live performance. This is her third performance with PICA, following commissions Love Diamond in 1998 and The Swan Tool in 2001.

How I Learned to Draw Newmark Theatre, PCPA Tue, Sept 16, 9 pm Running Time: 60 min Seating Capacity: 800 Mature Audiences 38

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July can be heard regularly on National Public Radio’s WNYC “The Next Big Thing.” She is also involved with several web-based projects, including www.learningtoloveyoumore.com, an interactive, task-based project that has taken July and collaborator Harrell Fletcher across the globe. July also founded and maintains Joanie 4 Jackie (formerly Big Miss Moviola), an alternative distribution system for women making films and videos that operates as a chain letter of video compilations, encouraging young women filmmakers to create and share their independent works with peers. Her recording albums include 10 Million Hours a Mile and The BinetSimon Test, both under the Kill Rock Stars label, and recent film projects include a Sleater-Kinney music video and consultation for Wayne Wang’s feature length film, The Center of the World. In 2002, July participated in the Whitney Biennial, presenting her video project Nest of Tens and sound installation The Drifters. She regularly works as an artist-in-residence, guest lecturer, and featured artist at galleries and academic institutions far and wide, including the U.K., Japan, New York City, Taos New Mexico, Athens, Georgia, Miami, Los Angeles, and San Francisco, to name a few. www.mirandajuly.com

Performance Lecture and Demonstration

Yasuko Yokoshi Shuffle

“fearlessly idiosyncratic” – The New York Times “alarmingly honest and original” – Back Stage Born in Hiroshima, Japan, and living in New York, Yasuko Yokoshi blends classical training (ballet, martial arts, Kabuki theatre) with contemporary forms and ideas to create hybrid performance works. In this informal presentation, Yokoshi talks about the process of making Shuffle, her recent performance which blends the oldest of the Japanese creation myths (the Kojiki) with stories of her own family members who drowned at sea. She also shares her experiments with gender character studies, and performs a short Kabuki dance.

Shuffle BodyVox Wed Sept 17, 8 pm Running Time: 40 min Seating Capacity: 100 Mature Audiences Venue generously provided by BodyVox

Yasuko Yokoshi arrived in the United States with an extensive background in the martial art Kendo and classical ballet. She studied choreography at Hampshire College and acting and directing at New York University before expanding her performance media to include a vast array of interests, including writing (her first autobiography, Once in a Life Time, received the Ogai Mori Literary Award in 1991) and documentary video (her video Last Sokoshi received the Grand Prize at the Luminous Video Competition in 1990). Yokoshi’s interdisciplinary performance pieces have been presented at festivals and theaters throughout the United States, Europe, and Asia, at New York’s Performance Space 122, The Kitchen, Japan Society, and Dance Theater Workshop, Holland’s Festival A/D Werf, the Festival Sommer SZENE in Austria, and the Korea – Japan Dance Festival in Seoul and Tokyo. She has been an artist-in-residence at the Brooklyn Arts Exchange (1999-2000), The Joyce Theater Foundation/Joyce SoHo (2002), and at Movement Research in 1998-1999 and 2002-2003. Over the years she has received generous support from Creative Capital, the Jerome Foundation, Japan Foundation, Puffin Foundation, and Arts International. www.yasukoyokoshi.com TBA Institute

TBA Hall Pass PICA has a long-standing history of connecting artists and creative professionals, based on the understanding of the critical role that the arts provide in advancing innovation and inspiring our work force by broadening the perspectives, creative talents and resources of our city. Bringing this philosophy to the TBA Festival, the Hall Pass provides a unique festival experience designed for creative professionals. Hall Passes include a TBA Festival Pass, plus admission to a series of Hall Chats, a lecture by Aaron Betsky, and other activities designed to foster connection and exchange between artists and professional audiences. Hall Passes are $200 for individuals and $125 each for groups of six or more. Individual tickets to Hall Pass events may be purchased if space is available, and will be sold only at the door starting one hour before each program begins. Prices are $15 general, $10 for TBA Pass holders and PICA members. To order your Hall Pass, please contact PICA at 503.242.1419. 40

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Hall Pass Events Hall Chat: The City as Beacon: New Civics & the Creative Economy Wieden + Kennedy Atrium, Monday, September 15, 12 pm PICA Executive & Artistic Director Kristy Edmunds moderates a panel including Carol Coletta (Smartcity), Ethan Seltzer, (Director of the Institute of Portland Metropolitan Studies, PSU), Dan Wieden, (CEO/Founder, Wieden + Kennedy) and Mayor Vera Katz, (City of Portland).

Hall Chat: New Media + Digital Design Wieden + Kennedy Atrium, Tuesday, September 16, 12 pm Moderator Esther Robinson (Creative Capital) leads this discussion with Tim Larson (Downstream), Jelly Helm (Wieden + Kennedy) and festival artists Coco Fusco and Bill Shannon.

Opening Reception for Hall Pass Participants Design Within Reach, Tuesday, September 16, 6 â&#x20AC;&#x201C; 8 pm

Hall Chat: The Body in the Built Environment Wieden + Kennedy Atrium, Thursday, September 18, 12 pm Moderator Randy Gragg, (Architecture Critic, The Oregonian) leads a panel discussion with choreographers Tere O'Connor and Linda Austin, Clive Knights, (Professor of Architecture at PSU) and Aaron Betsky (Director of Netherlands Architecture Institute).

â&#x153;Ś Aaron Betsky Lecture: Slow Space PCPA Newmark Theatre, Thursday, September 18, 6 pm Aaron Betsky, Director of Netherlands Architecture Institute, speaks about timebased art and its relationship to architecture and design. Sponsored by Portland State University School of Architecture.

Presenting Sponsor

Venue generously provided by Wieden + Kennedy TBA Institute

TBA FAQs

How do I purchase Festival Passes?

Passes can be purchased through PICA directly by calling 503.242.1419 or using the order form on page 54.

Can I purchase individual tickets?

Yes, please refer to the order form on page 53.

How do I purchase special events tickets?

Tickets to special events will be sold through the PICA box office or at the door of the event. Please refer to the special events section of the ticket order form on page 54.

Can I share my festival pass?

Passes are non-transferable. Your name will be written on your pass and you will be required to show ID with your pass upon entering each venue.

Can I become a PICA member when purchasing individual tickets?

Absolutely, just be sure if you are paying by check to make it out to PICA to ensure tax deductibility.

What if I am late to the show?

All shows will start promptly as listed. You must check in no later than 15 minutes before curtain to ensure seating, even if you have a pass or reserved tickets.

Does my Festival Pass allow me entrance to festival parties?

Special events, such as the opening and closing parties, are festival fundraisers and require an additional ticket, except for Patron Pass Holders. Nightly Cabaret events are free to Festival Pass holders and PICA members.

What if I forget my pass?

You will have to purchase a single ticket at the door.

What if I lose my pass?

Contact PICA and we will assist you in re-issuing your pass.

How do I find each venue?

All venues are listed on the TBA Map on page 50.

Who can I ask for help at a venue?

PICA staff and volunteers will be clearly identified by PICA badges.

How long is the show?

Listed at the bottom of each performance description is the estimated length of show time.

Can I bring my family?

Most performances are open to all ages. Please refer to the audience guide listed with each performance description.

Is there a lost and found?

Lost and found items from all venues will be collected and brought to the PICA box office. Please call PICA at 503.242.1419 to inquire about your item.

Are venues accessible?

Yes, all venues are wheelchair accessible except BodyVox and Conduit. Please contact us to arrange use of elevator/ramp at these venues. T B A FA Q s

TBA ACKNOWLEDGEMENTS (it takes a village...)

PICA Board of Trustees

PICA Staff

Peter Koehler, Jr., Board Chair Linda Taylor, Vice Chair Dorie Vollum, Secretary Ethan Seltzer, Treasurer Annie Bellman Amery Calvelli Brad Cloepfil Sarah Conley Leslie Durst Kristy Edmunds Diana Gerding Francesca Gambetti Pam Greene Bill Hart Stephen E. Heady Jeff Jobe Sanjiv Kripalani Kevin Longe Suze Riley Jim Sampson Tiffany Sweitzer Bill Will Julie Young

Kristy Edmunds

National Advisory Board Edward Albee Chris Bruce Ann Carlson Philip Glass Linda Greenberg Carol Hepper Robert Lyons Mark Murphy Melissa Schiff Soros Peter Sellars Robert Soros Rebecca Stewart Sally Stillman Elizabeth Streb John S. Weber Dan Wieden Paul Zumwalt

Leadership Council Howard Shapiro, Founding Chair Leslie Durst Pat Harrington Peter Koehler, Jr. Joan Shipley

Executive/Artistic Director Curator, TBA Festival

Erin Boberg

Assistant Curator of Performing Arts Co-curator, TBA Festival

Paul Arensmeyer Events Manager

EugĂŠnie Frerichs

TBA Institute Coordinator

Victoria Frey

Managing Director

Maurice Higdon Accounting

Stuart Horodner

Visual Arts Curator

Melissa Hyp

Administrative Assistant/ Membership Coordinator

Alyssa Isenstein

TBA Volunteer and Artist Services Coordinator

Jennifer Jacobs

Director of Development

JĂśrg Jakoby

Preparator/Technical Support

Kristan Kennedy

PR/Marketing Manager

Natalie Montgomery Box Office Manager

Jeanette Pilak

TBA Development Associate

Shonna Spadt

Marketing Coordinator

TBA Venue Tech Directors Bill Boese Yalcin Erhan Jessica Flores Jeff Forbes

Malina Rodriguez Jean Margaret Thomas Val Williamson

TBA Acknowledgements

TBA Timekeepers

Sharon Kitzhaber, Honorary Chair Nawzad Othman, Otak, Honorary Co-Chair A group of cultural entrepreneurs, the TimeKeepers are funders, advocates and hosts committed to the success of PICA’s TBA Festival and building a legacy for Portland for years to come.

Presenting Sponsors Allen Foundation for the Arts Doris Duke Charitable Foundation

Major Sponsors Gerding/Edlen Development Company, The Brewery Blocks and The Henry Hoyt St. Properties Nike Portland Oregon Visitor’s Association (POVA) Regional Arts and Culture Council (RACC) TriMet Visitor Development Fund

Media Sponsor Willamette Week

Web Sponsor ID, Incorporated

International Airline Sponsor Lufthansa German Airlines 46

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Annie Bellman & Michael Woods Leslie B. Durst Lynn & Jack Loacker Ken Novack Laura & Nawzad Othman Jane Schiffhauer & Frank Foti Howard & Manya Shapiro Kathleen & Leigh Stephenson-Kuhn Karla Wentzel & Fred Miller Karen Whitman & Brad Shiley Dan Wieden The Benson Hotel Bluehour BodyVox Mary & Maurie Clark Foundation Conduit Dennis Uniform Design Within Reach DownStream Embassy Suites Fifth Avenue Suites Hotel Flexcar Full Sail Brewing The Heathman Hotel Hotel Lucía Hotel Vintage Plaza The Governor Hotel Lane Marketing Communications Lane Powell Spears Lubersky LLP Lindberg Kirk Millar Machineworks, LLC The Mark Spencer Hotel Mallory Hotel Maybelle Clark Macdonald Fund Otak PDX Contemporary Art Paramount Hotel Pioneer Place Portland Marriott Portland StreetCar Pop Art Regal Cinemas Red Bull Standard Insurance Company Tonkon Torp LLP Union Bank of California The Westin Portland Wieden + Kennedy

TBA Public Partners Mayor Vera Katz City of Portland Phyllis Oster Office of International Relations City of Portland Office of Commissioner Jim Francesconi Office of Commissioner Eric Sten Chris D’Arcy Oregon Arts Commission Ross McKeen Oregon Cultural Trust Katy Coba Oregon Economic & Community Development Department Todd Davidson Oregon Tourism Commission Susan Bladholm Port of Portland Don Mazziotti Portland Development Commission Joe D’Alessandro Portland Oregon Visitors Association David Hudson Regional Arts & Culture Council Fred Hansen TriMet

PICA would also like to thank the following agencies for their generosity, without which many of the works presented during the TBA Festival would not have been possible: The Andrew W. Mellon Foundation Altria Group, Inc. ArtesAméricas, a program of The University of Texas at Austin funded by Altria Group, Inc. Arts International The Asia Society The Australia Arts Council The British Council Cineteca Nacional of Mexico Creative Capital Foundation Dance Theater Workshop’s Suitcase Fund The Doris Duke Charitable Foundation The French Institute, Bucharest Goethe Institut Inter Natione The Japan Foundation The Jerome Foundation The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work Kultur Kontakt Austria The Lorene Sails Higgins Charitable Trust The Mary Flagler Cary Charitable Trust The National Dance Project of the New England Foundation for the Arts The National Endowment for the Arts The New York State Council on the Arts Performance Space 122 The Puffin Foundation The Rockefeller Foundation The Rockefeller Foundation MultiArts Purpose (MAP) Fund The Rosas Priego Family Tanz Quartier Wien The Victoria Arts Council

Special thanks to the Meyer Memorial Trust for their generous support of the TBA Festival through our Sustainability Initiative. PICA also thanks the members and volunteers of PICA for their invaluable donations of money, time, energy and faith. Your tax dollars make PICA’s programs possible through funding from:

Timekeepers receive special benefits designed to enhance the TBA experience, including sponsorship recognition, VIP access, invitations to previews and tickets to Festival performances and events. For information on becoming a Timekeeper, contact PICA’s Development Office at 503.242.1419 or email pica@pica.org TBA Acknowledgements

TBA Festival Schedule, September 12 - 21, 2003 page#

EVENT

VENUE

3 4 5 6,7 8 9 10 11 12 13 14 15 9 16 17 18 19 20 21 22 23 24 25 26

Eiko + Koma Lawrence Goldhuber Shelley Hirsch NWNW: PDX David Greenberger and 3 Leg Torso Donna Uchizono: Butterflies from My Hand Susan J. Vitucci Peripheral Produce Tere O'Connor silt Vijay Iyer and Mike Ladd Ros Warby Donna Uchizono: Salon Project Dariush Dolat-shahi Cie Felix Ruckert Manuel Pelmus Bill Shannon aka CrutchMaster Daniel Bernard Roumain Coco Fusco Hinterland Theater Association Quasar Akram Khan Compa単ia Nacional de Teatro de Mexico Compagnie Salia n誰 Seydou

Jamison Square Winningstad Wieden+Kennedy BodyVox Scottish Rite Newmark Lincoln Hall Scottish Rite Newmark BodyVox Scottish Rite Lincoln Hall Conduit Newmark Machineworks Lincoln Hall Lincoln Hall Wieden+Kennedy Scottish Rite BodyVox Lincoln Hall Newmark Pioneer Place Stadium 6 Lincoln Hall

TBA Cabaret

32 29 29 29 30 30 30 31 31 31

TADA Opening Gala Tracie Morris John Moran + Eva M端ller Badger King Owl vs. Lemming 10 Tiny Dances Sarah Dougher TBA Talent Show House of Cunt TADONE Closing Party

MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS MACHINEWORKS

TBA Institute

35 35 35 35 35 35 35 35 41 41 41 41 41 36 36 36 36 36 37 37 37 37 37 37 37

Words Media Eiko + Koma Classical Training Audiences Central Europe Home and Away Creative Capital Civics New Media Hall Pass Reception Built Environment Aaron Betsky Lecture Eiko + Koma Shelley Hirsch Donna Uchizono Manuel Pelmus Tere O'Connor Miranda July Vijay Iyer + Mike Ladd Yasuko Yokoshi Daniel Bernard Roumain Ros Warby Quasar Cie Felix Ruckert

PICA Resource Room PICA Resource Room PICA Resource Room PICA ResourceRoom PICA Resource Room PICA Resource Room PICA Resource Room PICA Resource Room Wieden+Kennedy Wieden+Kennedy Design Within Reach Wieden+Kennedy Newmark Conduit Conduit Water St. Water St. Water St. Newmark PICA Resource Room BodyVox Water St. Water St. BodyVox Water St.

Performances

Noontime Chats

Hall Pass

Workshops and Lectures

THU 11

FRI 12

SAT 13

7:30 pm 7 9 7 9 9

pm pm pm pm pm

2 9 2 9 7 7

pm pm pm, 7 pm pm pm pm

9 pm

6:30 pm

9:30 am

SUN 14

MON 15

TUE 16

WED 17

THU 18

FRI 19

SAT 20

SUN 21

7 pm 7 pm 7 2 9 9

pm pm, 7 pm pm pm

9 pm 7 pm - 12 am 7 pm

7 pm 8 pm 8 pm

8pm 8pm 7pm

8 pm 7 pm 6 pm 8 pm 8pm

7 6 8 8 8 7

pm pm pm pm pm pm

7 pm

8 8 7 7 9 4

pm pm pm pm pm pm

10 pm 10:30 pm 10 pm 11 pm 10 pm 10pm 10pm 10 pm 10 pm 12 pm 12 pm 12 pm 12 pm 12 pm 12 pm 12 pm 2 pm 12 pm 12 pm 6 pm 12 pm 6 pm 2 pm 9:30 am 9:30 am 2 pm 9 pm 9:30 am 8 pm 9:30 am 9:30 am 9:30 am 9:30 am

7 pm

7 pm 12 pm 9 pm 4 pm 7 pm

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TBA Map

SHOPPING 1 2 3

6 7 8

Aubergine, 1110 NW Glisan Street, 503.228.7313 Byzantium, 1038 NW Johnson Street, 503.223.3031 Design Within Reach, 1200 NW Everett Street, 503.220.0200 Diamond Tanita Gallery, 1022 NW Johnson, 971.544.1566 Jackpot Records, 203 SW 9th Avenue, 503.239.7561 Johnny Sole, 815 SW Alder Street, 503.225.1241 L’Mu, 810 NW 12th, 503.224.8171 Nirvana Day Spa, 736 NW 11th, 503.546.8155 Odessa, 718 NW 11th Avenue, 503.223.1998 Paolo, 1031 NW 11th, 503.223.2222 Pinkham Millinery, 515 SW Broadway, 503.288.3333 Pioneer Place, 340 SW Morrison, 503.228.5800 Powell’s Books, 1005 W Burnside Street, 503.228.4651 Physical Element, 1124 NW Lovejoy, 503.224.5425 Reading Frenzy, 921 SW Oak Street, 503.274.1449 Relish, 433 NW 10th Street, 503.227.3779 Retread Threads, 931 SW Oak Street, 503.916.0000 Pearl Clinic and Pharmacy, Ecotrust Building, NW 9th & Irving 503.525.0090 Visage Eyewear, 1046 NW Johnson Street, 503.944.5475

FOOD / DRINK / NIGHTLIFE 9

TBA PREFERRED BUSINESSES 10

Aalto Lounge, 3356 SE Belmont St. 503.235.6041 Bluehour, 250 NW 13th Avenue, 503.226.3394 The Brazen Bean, 2075 NW Glisan Street, 503.294.0636 Caffé Allora, 504 NW 9th Avenue, 503.445.4612 Colosso, 1932 NE Broadway Street, 503.288.3333 Crowsenbergs Half & Half, 923 SW Oak Street, 503.222.4495 Daily Café, NW 13th & Kearny, 503.242.1916 East, 322 NW Everett Street, 503.226.1569 Holdens, 524 NW 14th, 503.916.0099 Giorgios, 1131 NW Hoyt, 503.221.1888 Guisto D’Italia, 1129 NW Johnson, 503.478.0619 Le Happy, 1011 NW 18th, 503.226.1258 Low Brow Lounge, 1036 NW Hoyt Street 503.226.0200 Old Town Pizza, 226 NW Davis Street, 503.222.9999 Piazza Italia, 1129 NW Johnson Street, 503.478.0619 Saucebox, 214 SW Broadway, 503.241.3393 Sinju Restaurant, 1022 NW Johnson, 503.223.6535 Stumptown Coffee Roasters, 128 SW 3rd Avenue, 503.295.6144 Sungari, 1105 NW Lovejoy, 971.222.7327 Thai Peacock, 219 SW 9th Avenue, 503.228.2310 Torrefazione Italia, 1140 NW Everett, 503.224.9896 Tube, 18 NW 3rd Avenue, 503.241.8823 Vigne, 417 NW 10th Avenue 503.295.9536 XV, 15 SW 2nd Avenue, 503.790.9090 Whole Foods, 1210 NW Couch Street, 503.525.4343

ART GALLERIES 11

Alysia Duckler Gallery, 1236 NW Hoyt Street, 503.223.7595

Augen Gallery, 817 SW 2nd Avenue, 503.224.8182

Blackfish Gallery, 420 NW 9th Avenue 503.224.2634

Bullseye Connection Gallery, 300 NW 13th Avenue, 503.227.0222

Elizabeth Leach Gallery, 207 SW Pine Street 503.224.0521

Froelick Gallery, 817 SW 2nd Avenue 503.222.1142

Laura Russo Gallery, 805 NW 21st Avenue 503.227.2754

Marghitta Feldman Gallery, 1102 NW Marshall 503.228.0089

Mark Woolley Gallery, 120 NW 9th Avenue, Suite 210 503.224.5475

PDX Contemporary Art, 604 NW 12th Avenue, 503.222.0063

Pulliam Deffenbaugh Gallery, 522 NW 12th Avenue 503.228.6665

CABS 52

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(must call for pick-up)

Broadway Cab 503.227.1234 Radio Cab 503.227.1212

HOW TO ORDER

By Mail:

Please send completed order form to PICA by September 1. 219 NW 12th #100, Portland, OR 97209

By Phone:

Call PCPA Box Office 503.248.4335

In Person:

Visit the PCPA Box Office, 10am - 5pm, Monday - Saturday 1111 SW Broadway, Portland, OR

Methods of Payment:

Visa / Mastercard Check (please make checks payable to PICA when ordering by mail.) Cash (in person only )

INDIVIDUAL TICKETS # tix

artist Lawrence Goldhuber NWNW: PDX NWNW: PDX Shelley Hirsch Greenberger and 3 Leg Torso Donna Uchizono: Butterflies Donna Uchizono: Salon Project Susan J. Vitucci Peripheral Produce Tere O’Connor Vijay Iyer and Mike Ladd silt Ros Warby Dariush Dolat-shahi Cie Felix Ruckert Cie Felix Ruckert Manuel Pelmus Bill Shannon aka CrutchMaster Daniel Bernard Roumain: NFB Daniel Bernard Roumain: I, Composer Daniel Bernard Roumain: Dred Violin Coco Fusco Hinterland Theater Association Quasar Akram Khan Compañia Nacional de Teatro de Mexico Compagnie Salia nï Seydou

mem/gen

date (please circle) Fri 12 : 7pm Fri 12 : 7pm Sun 14 : 7pm Fri 12 : 9pm Fri 12 : 9pm Fri 12 : 9pm Tue 16 : 8pm Sat 13 : 7pm Sun14 : 9pm Sat 13 : 9pm Mon 15 : 7pm Mon 15 : 7pm Tue 16 : 8pm Wed 17 : 8pm Wed 17 : 7pm Sat 20 : 7pm Thu 18 : 6pm Thu 18 : 8pm Thu 18 : 8pm Fri 19 : 8pm Sat 20 : 8pm Fri 19 : 8pm Fri 19 : 7pm Sat 20 : 7pm Sat 20 : 9pm Sat 20 : 4pm Sun 21 : 7pm

Sat 13 : 2pm Sat 13 : 2pm

Sun 14 : 7pm Sat 13 : 7pm

Sat 13 : 9pm Sat 13 : 9pm Sat 13 : 7pm

Sun14 : 7pm

Sun 14 : 2pm

Sun 14 : 7pm

Sun 14 : 9pm Tue 16 : 7pm 8 pm 9 pm Wed 17 : 8pm Thu 18 : 8pm Thu 18 : 7pm Sun 21 : 7pm Fri 19 : 6pm Fri 19 : 8pm

Mon 15 : 9pm

Sat 20 : 8pm Sat 20 : 7pm Sun 21 : 12pm Sun 21 : 9pm

10pm 11 pm

Fri 19 : 7pm

Sun 21 : 7pm

Sun 21 : 4pm

sub

$10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15 $10/$15

T B A Ti c k e t O r d e r F o r m

ORDER FORM

INDIVIDUAL TICKETS Please mark each performance on reverse. Indicate dollar amount here.

FESTIVAL PASSES Passes include admission to all festival performances, plus TBA Institute, Machineworks and Cabaret events, as well as discounts on festival merchandise. Pass holders will have guaranteed priority seating up until 15 minutes prior to curtain time. Selected performances will require reservations. Please contact PICA to purchase Hall Passes 503.242.1419. Note: Festival Passes are non-transferable. #

Pass TBA Pass Patron Pass

Cost $125 member /$150 general $500 ($350 tax deductible) (includes admission to opening & closing night parties)

sub

TBA EVENTS Available only through PICA. Please call 503.242.1419 # tix

Event Opening Gala Sept. 13th Patron Dinner Dance Party Closing Party Sept. 20

sub

Cost $150 ($100 tax deductible) $10 Members & Pass holders / $25 general $25 Members & Pass holders / $45 general

PICA MEMBERSHIP Become a PICA member and save on TBA passes, tickets, events and more! sub $25 $35 $50 $100 $

Artist/Student Individual Dual Contributor Other

GRAND TOTAL: Name Address City, State, Zip Phone Email Payment Account # Signature

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[

] check enclosed [

] Visa/Mastercard

NOTES

photo: Donna Uchizono

219 nw 12th avenue, #100 portland, or 97209

Non-Profit Org. US Postage PA I D Portland, OR Permit #432