JANUARY–FEBRUARY 2020
INSIDE
1
P E R FO R M I N G A RT S M AGA Z I N E
The legacy of jazz composer James Reese Europe, Rhiannon Giddens on the roots of Americana music, dance legend Yang Liping, and more
CONTENTS
Stanford Live Staff & Sponsors
p—5
Welcome
p—6
Upcoming Events
p—8–14
Campus Partners
p—15
Scene & Heard
p—16–17
Behind the Scenes
p—33
The Radical Inclusiveness of Rhiannon Giddens
Membership
p—34–35
Stanford Live & Bing Concert Hall Donors
p—36–37
By Randy Lewis,
Calendar
p—38
Plan Your Visit
p—39
Copyright 2019. Los Angeles Times. Used with Permission.
Rhiannon Giddens and Francesco Turrisi change the conversation around the origins of folk and Americana.
p—18
Featurette
Infographic
Featurette
Get to Know Iconic Dancer and
How Manual Cinema Creates
At Stanford’s New Hospital, Art and
Choreographer Yang Liping
Live Shadow Puppet Shows
Nature Aim to Benefit Healing
Liping’s Rite of Spring will be
A look behind the scenes of
Stanford Health Care, Stanford Live’s
presented at Stanford Live in February.
Manual Cinema’s multimedia theater
season sponsor, discusses the link
performance No Blue Memories -
between art and wellness.
p—23
The Life of Gwendolyn Brooks.
p—26 p—24
Infographic
Featurette
The History of Back to Back Theater
The Legacy of James Reese Europe
For the past 30 years, the innovative
and the Harlem Hellfighters
Australian theater company has
An interview with Jason Moran on his
continued to address politics and
performance honoring the World War I
disability in performance.
era ragtime band
p—28
p—30 3
January/February 2020 | Volume 12, No. 3
STAFF
SEASON SPONSOR
Chris Lorway Executive Director Bryan Alderman Assistant Director of Development Karim Baer Associate Director for Campus Engagement and Public Programs Dawn Bercow Development Events Manager
FOUNDATION & GOVERNMENT PARTNERS
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Kelsey Carman Marketing Manager Vanessa Chung Artist Liaison & Executive Assistant Robert DeArmond Web Developer
CORPORATE PARTNERS
Laura Evans Director of Music Programs, Engagement and Education Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR & Administrative Associate
PAUL HEPPNER President MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing GENAY GENEREUX Accounting & Office Manager
Production SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Manager ANA ALVIRA, STEVIE VAN BRONKHORST Production Artists and Graphic Designers Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, SHERRI JARVEY, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 info@encoremediagroup.com encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.
Katie Haemmerle Communications Manager
IN-KIND PARTNERS
Danielle Kisner Stage Technician Maurice Nounou Associate Director of Ticketing and System Operations Nick Oldham Audio Engineer & A/V Manager Egan O’Rourke Production Manager Kimberly Pross Director of Operations and Production
MEDIA PARTNERS
Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Director of Marketing, Communications, and Patron Services Michelle Travers Artist Liaison Max Williams Development Programs Manager
Stanford Live’s 2019–20 season is generously supported by Helen and Peter Bing. Underwriting for student ticket discounts for the 2019–20 season is generously provided by the Bullard family. Stanford Live’s 2019-20 season jazz programs are generously supported by the Koret Foundation. The Stanford Live Commissions and Programming Fund is generously supported by the Hornik Family, Victoria and James Maroulis, and the Maurice and Helen Werdegar Fund for Stanford Live.
PHOTO CREDITS On the cover: Yang Liping, photo courtesy of artist; Page 3: Photo 1 by Karen Cox, 2 courtesy of Stanford Health Care, 3 by Camille Blake, 4 by Drew Dir, 5 by Jeff Busby; Page 15: Photo 1 by Ajamu, 2 by Michael Spencer, 3 by Jennifer Manna; Page 16–17: Photo 1 & 8 by Michael Spencer, 2 by Joel Simon, 3, 6 & 7 by Jess Yeung, 4 by Allie Foraker, 5 by Harrison Truong; Page 18–22: Photos 1, 3, 4 & 5 by Karen Cox, 2 courtesy of Creative Commons; Page 23: Photos courtesy of artist and Sadler’s Wells; Pages 24-25: Photo 1 by Nolis Anderson, 2 Courtesy of Manual Cinema, 3, 5 & 6 by Julia Miller, 4 by Paul Joseph; Pages 26-27: Photos courtesy of Stanford Health Care; Pages 28–29: Photo 1, 4, 5, 6 & 8 by Jeff Busby, 2 Courtesy of Geelong Performing Arts Centre, 3 by Nurith Wagner-Strauss, 7 courtesy of Back to Back Theatre; Page 30-32: Photos 1 by Camille Blake, 2 Courtesy of International Music Network; Page 33: Photos courtesy of Quinteto Latino; Pages 34–35: Photos by Joel Simon.
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WELCOME
“Look at what’s happening in this world. Every day there’s something exciting or disturbing to write about. With all that’s going on, how could I stop?” Gwendolyn Brooks
Happy New Year! January marks the
From the opposite side of the globe, we
dawn of a new year and a new de-
welcome Yang Liping and her thrilling
cade—a time to reflect back on the past
take on Rite of Spring, which makes its
as we chart a course for the future. A
US debut at Stanford after sold out
century ago, poet Gwendolyn Brooks
performances in Australia, Europe,
was a child living on the South Side of
and Asia. In August, members of the
Chicago. Her experiences in both seg-
Stanford Live Advisory Council had
regated and integrated schools shaped
the opportunity to catch its European
a prolific writing career that focused on
premiere at the Edinburgh Internation-
issues of race and community. This win-
al Festival and were blown away by its
ter, Manual Cinema returns to Bing with
scale and beauty. It’s definitely not to
its signature take on her life and work.
be missed!
Shortly following Brooks’ birth, band-
We look forward to seeing you this
leader James Reese Europe returned
winter.
to America after years of entertaining troops and civilians across France with
Chris Lorway
his acclaimed ensemble, the Harlem
Executive Director
Hellfighters. His life was tragically cut short just as he was establishing himself as one of the pioneers of a new Black American sound—one that would lay the groundwork for the great jazz bands that would follow. As part of his Stanford Live residency, composer and musician Jason Moran pays homage to Europe and another of his heroes, Dr. Martin Luther King Junior (whose biopic Selma was scored by Moran). 6
UPCOMING
EVENTS C L AS SICA L
T H E AT E R
VO CA L
Kronos Quartet
Manual Cinema
Jason Danieley
The 60s, The Years That Changed America
No Blue Memories – The Life of Gwendolyn Brooks
WHEN:
VENUE:
WHEN:
VENUE:
WHEN:
VENUE:
W E D N E S DAY,
BING
F R I DAY &
BING
SAT U R DAY,
B I N G ST U D I O
JA N UA RY 1 5,
C O N C E RT
SAT U R DAY,
C O N C E RT
JA N UA RY 18,
7: 30 P M
HALL
JA N UA RY 17
HALL
7:00 & 9:00 P M
& 18, 7:30 P M
The groundbreaking Kronos
The multimedia shadow
In an evening of loving and
Quartet performs composer
puppetry masters of Manual
remembering, critically
Zachary James Watkins’
Cinema are back with a
acclaimed Broadway star
Peace Be Till, a work inspired
work about the celebrated
and concert performer Jason
by Mahalia Jackson’s
Pulitzer Prize–winning
Danieley shares stories and
advice that changed Rev.
Chicago poet Gwendolyn
songs filtered through jazz
Dr. Martin Luther King
Brooks (1917–2000), known
and Broadway standards.
Jr.’s March on Washington
for Annie Allen and A Street in
speech. The concert includes
Bronzeville.
more music from a decade that altered the nation.
KEY A M P L I F I C AT I O N AU D I E N C E I N T E R AC T I O N
8
C L AS SICA L
Sundays with the St. Lawrence Beethoven and Adams
WHEN:
VENUE:
S U N DAY,
BING
JA N UA RY 1 9,
C O N C E RT
2 : 30 P M
HALL
A cultural cornerstone
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of Stanford, the worldacclaimed St. Lawrence String Quartet continues its fabled partnership with the University. In honor of 250 years of Beethoven, they perform a selection of pieces from the legendary composer as well as John Adams’ Second String Quartet.
Webster House makes it easy for you to stay connected to the vibrancy of Palo Alto while enjoying convenient services and security for the future. Explore your options and learn more about Webster House. For information, or to schedule a visit, call 650.838.4004.
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UPCOMING
EVENTS JA Z Z
FILM
C ON T E M P OR A RY M USIC
James Reese Europe and the Absence of Ruin
Selma
Laurie Anderson
Film with Live Score, featuring Jason Moran, Marvin Sewell, and orchestra conducted by Sarah Hicks
The Art of Falling
Jason Moran & the Harlem Hellfighters
WHEN:
VENUE:
WHEN:
VENUE:
W E D N E S DAY,
BING
SAT U R DAY,
MEMORIAL
JA N UA RY 2 2 ,
C O N C E RT
JA N UA RY 25,
AU D I TO R I U M
7: 30 P M
HALL
7:30 P M
WHEN:
VENUE:
W E D N E S DAY,
BING
JA N UA RY 29,
C O N C E RT
7:30 P M
HALL
Laurie Anderson is one of America’s most daring creative pioneers. Renowned for her Composer and pianist Jason
The 2014 Oscar-winning
multimedia presentations
Moran presents a meditation
movie tells the story of the
and groundbreaking use of
on the life, combat service,
1965 march from Selma to
technology in the arts, she has
and legacy of American
Montgomery, Alabama, that
cast herself in roles as varied
musician and jazz composer
protested segregationist
as visual artist, composer,
James Reese Europe,
repression and helped
poet, photographer, filmmaker,
who created the band of
lead to the passage of the
electronics whiz, vocalist,
World War I’s African-
Voting Rights Act later that
and instrumentalist.
American 369th regiment,
year. Jazz pianist Jason
the Harlem Hellfighters,
Moran provides a live score
and helped popularize
alongside guitarist Marvin
jazz throughout France.
Sewell and an orchestra conducted by Sarah Hicks. Generously supported by Jeanne and Lawrence Aufmuth
C L AS SICA L
NFM Wrocław Philharmonic With Bomsori Kim, violin WHEN:
VENUE:
F R I DAY,
BING
JA N UA RY 31,
C O N C E RT
7:30 P M
HALL
Acclaimed violin virtuoso Bomsori Kim joins Poland’s NFM (National Forum of Music)
KEY
Wrocław Philharmonic under the baton of Giancarlo Guerrero.
A M P L I F I C AT I O N AU D I E N C E I N T E R AC T I O N
10
For the full calendar, visit live.stanford.edu.
VO CA L
La Passion de Jeanne d’Arc Orlando Consort WHEN:
VENUE:
SAT U R DAY,
BING
F E B RUA RY 1 ,
C O N C E RT
7 : 30 P M
HALL
NOW ON VIEW
Early music British quartet Orlando Consort performs a selection of a cappella works against a screening of Carl Dreyer’s 1928 silent film, La Passion de Jeanne d’Arc.
C L AS SICA L
Vladimir Feltsman The Russian Experiment: From Mystical to Avant-Garde WHEN:
VENUE:
W E D N E S DAY,
BING
F E B RUA RY 5,
C O N C E RT
7 : 30 P M
HALL
In The Russian Experiment, Feltsman plays works by dissident composers of his homeland, from Alexander Scriabin to the forgotten composers Scriabin influenced.
View more than 700 objects in the Stanford Family Collections that shed light on how Leland Jr.’s death led to the creation of a museum, university, and—by extension—the entire Silicon Valley. #MelancholyMuseum FREE ADMISSION museum.stanford.edu/melancholymuseum
UPCOMING
EVENTS T H E AT E R
FOL K
VO CA L
The Shadow Whose Prey the Hunter Becomes
Rhiannon Giddens with Francesco Turrisi
Talisman 30th Anniversary Concert
Back to Back Theatre WHEN:
VENUE:
WHEN:
VENUE:
WHEN:
VENUE:
W E D N E S DAY,
BING
F R I DAY,
BING
SAT U R DAY,
BING
T H U R S DAY,
ST U D I O
F E B RUA RY 7,
C O N C E RT
F E B RUA RY 8,
C O N C E RT
7:30 P M
HALL
7:30 P M
HALL
F R I DAY & SAT U R DAY, F E B RUA RY
In celebration of the a
5, 6, 7 & 8,
cappella group’s 30th
8: 0 0 P M
anniversary, Talisman
SAT U R DAY,
members and alumni from
F E B RUA RY 8, 2 : 30 P M
In this vivacious concert
the past three decades will
at the Bing, Giddens and
come together to sing and
Turrisi explore their cultural
showcase the many voices
In this play from the
crossovers and shared folk
that have contributed
innovative Australian theater
traditions, from American
to the group’s growth.
company, five activists with
minstrelsy to the Sicilian
intellectual disabilities hold
tarantella—and even farther
a public meeting to start a
back to Africa and the Middle
frank and open conversation
East
C L AS SICA L / JA Z Z
about a history we would prefer not to know and an
Co-presented with the Center
ambivalent future amid the
for Comparative Studies in
rapid development of AI.
Race and Ethnicity
Harlem Quartet WHEN:
VENUE:
S U N DAY,
BING
F E B RUA RY 9,
C O N C E RT
2:30 P M
HALL
The Harlem Quartet embraces classical, jazz, Latin, and contemporary
KEY
works. At the Bing, the group A M P L I F I C AT I O N
performs works by Dizzy
AU D I E N C E I N T E R AC T I O N
Wynton Marsalis, and more.
Gillespie, Billy Strayhorn,
12
For the full calendar, visit live.stanford.edu.
C L AS SICA L
Philharmonia Baroque Orchestra The Well-Caffeinated Clavier with Music Director Designate Richard Egarr WHEN:
VENUE:
W E D N E S DAY,
BING
F E B RUA RY 1 2 ,
C O N C E RT
7 : 30 P M
HALL
Richard Egarr pairs Bach’s lighthearted vocal work, “Coffee Cantata,” with some of Bach’s grandest instrumental music.
I N S P I R I N G T H E B E S T I N O U R K- 1 2 S T U D E N T S Lower Campus 477 Fremont Avenue Los Altos, CA 94024
Middle Campus 327 Fremont Avenue Los Altos, CA 94024
Upper Campus 26800 Fremont Road Los Altos Hills, CA 94022
Joined by the extraordinary talents of Nola Richardson, James Reese, and Cody Quattlebaum, Eggar concocts another powerful
For more information, please visit our website at: WWW.PINEWOOD.EDU
brew of Bach’s brilliant music from the bench of the harpsichord.
C OM E DY
Catherine Cohen: Comedy at the Bing WHEN:
VENUE:
THURSDAY,
B I N G ST U D I O
FEBRUARY 13, 7:00 & 9:00 PM
Named one of five NYC comedians to look out for in 2018 by TimeOut, actress and comedian Catherine Cohen hosts a weekly standup show, Cabernet Cabaret, in New York City. Cohen brings a cabaret-style performance to the Bing Studio.
At the show or on the go Encore is your companion to the Bay Area’s performing arts.
encorespotlight.com
UPCOMING EVENTS
For the full calendar, visit live.stanford.edu.
JA Z Z / C L AS SICA L
C L AS SICA L
DA NC E / T H E AT E R
JA Z Z
A Night in the Piano Bar with Brandon James Gwinn
Hanzhi Wang
Rite of Spring
We Shall Overcome
Yang Liping
A Celebration of Dr. Martin Luther King Jr. feat. Damien Sneed
An Evening of Accordion
WHEN:
VENUE:
WHEN:
VENUE:
SAT U R DAY,
B I N G ST U D I O
S U N DAY,
BING
F E B RUA RY 1 5,
F E B RUA RY 1 6,
ST U D I O
8:00 PM
7: 0 0 P M
WHEN:
VENUE:
F R I DAY &
MEMORIAL
SAT U R DAY,
AU D I TO R I U M
WHEN:
VENUE:
F E B RUA RY 21
F R I DAY,
BING
& 22, 7:30 P M
F E B RUA RY 21,
C O N C E RT
7:30 P M
HALL
Chinese dance legend Yang Liping brings her stunning
Musical director, pianist, and
reimagining of Stravinsky’s
producer Damien Sneed’s
Rite of Spring to Stanford.
concert celebration of the life
Liping’s Rite of Spring spins an
of Dr. Martin Luther King Jr.
abstract legend of the path
includes an array of gospel,
of salvation embodied by the
spirituals, and inspirational
sacrificial peacock.
popular standards immortalized
The Bing Studio is
Praised for her captivating
transformed into a piano bar
stage presence and
for a sing-along show from
performances that are
singer-pianist Brandon James
technically and musically
The Stanford Live presentation
Gwinn, a staple pianist at the
masterful, groundbreaking
is generously supported by the
historic Greenwich Village
young accordionist Hanzhi
Koret Foundation.
piano bar Marie’s Crisis.
Wang visits for a first-time
He will be joined by special
show at the Bing.
guests from the Stanford community.
by the likes of Marvin Gaye, Aretha Franklin, Duke Ellington, Tina Turner, and many others.
DIS CUS SION
JA Z Z
National Geographic Live
Sounds of Cuba: Jane Bunnett & Maqueque
Dr. Kara Cooney: “When Women Ruled the World” WHEN:
VENUE:
WHEN:
VENUE:
W E D N E S DAY,
BING
F R I DAY &
B I N G ST U D I O
F E B RUA RY 26,
C O N C E RT
SAT U R DAY,
7:30 P M
HALL
F E B RUA RY 28 & 29, 7:00 &
In the season’s second
9:00 P M
National Geographic Live event, Dr. Kara Cooney, professor of Egyptology,
14
explores the reigns of
Canadian soprano sax/flutist
powerful ancient queens
Jane Bunnett showcases
to illuminate a time when
the best young female jazz
women ruled the world.
artists from Cuba.
CAMPUS Institute for Diversity in the Arts
offer hands-on experience and access to
DJ Lynnée Denise in Conversation with
This winter, Stanford’s Institute for
DJ culture, tools and artistry. Equipment
Fredara Hadley
Diversity in the Arts (IDA) welcomes
will be provided, no experience necessary.
Ethnomusicology in the Digital Age and Beyond
visiting artist DJ Lynnée Denise. A lecturer in the African American Studies department at UCLA, she coined the phrase “DJ Scholarship” to reposition the role of the DJ from party purveyor to archivist, cultural custodian, and music information specialist with critical value.
DJ Lynnée Denise Presents: Black to Techno and the Black Music 80’s
Sweet Hall Conference Room 020
Jan 30, 7:00 PM
Fredara Hadley, scholar of
Black Community Services Center
ethnomusicology at Oberlin College,
In this public conversation and performance lecture, DJ Lynnée Denise
DJ Workshop with DJ Lynnée Denise
presents her work, while delving into ties
Jan 16, 12:30–2:00 PM
with underground movements, 1980s
Harmony House
culture, migration studies, and electronic
From turntables to mixing, beatmatching
Mar 5, 12:00–2:00 PM
discusses how ethnomusicology responds to the demands and trends of the digital age.
music of the African Diaspora.
to vinyl catalogues, this workshop will
The mural “Are You Sure Sweetheart,
Fredara Hadley, a visiting assistant
Lynnée Denise is this winter’s Visiting
That You Want To Be Well?” by artist
professor of Ethnomusicology at
Artist at the Institute for Diversity in the
Jess X. Snow at Harmony House, where
Oberlin, is involved with the Society
Arts (IDA). Photo courtesy of IDA.
IDA is located.
of Ethnomusicology, the International
Artist, scholar, and writer DJ
Association for the Study of Popular Music, and Experience Music Project’s Popular Music Conference.
PARTNERS 15
SCENE &
HEARD
1
2
3
4
5
16
1 — DAY R A M I R
6
GONZALEZ TRIO
5 — M U S I C A N U DA The Italian duo received a
Cuban jazz pianist Dayramir
huge encore and standing
Gonzalez performed with his
ovation immediately following
quartet in Bing Studio and
their show in the Studio.
surprised his fans at the end with a CD signing.
6— NASSIM
2— WILLIE NELSON
The five performances of NASSIM featured a different
7
Bay Area Willie Nelson fans
actor each night, resulting
filled Frost Amphitheater in
in unique and sometimes
October to see the legendary
humorous additions to Nassim
country singer tour with
Soleimanpour’s script.
his son Lukas Nelson & the Promise of the Real.
7 — H O L I DAY H E I S T W I T H T H E JA Z Z M A F I A
3 — J O S H UA B E L L & ALESSIO BAX
Jazz Mafia, the SF-based jazz ensemble that’s been a
Renowned violinist Joshua
Bay Area staple for a decade,
Bell and pianist Alessio Bax
returned to Stanford Live for a
were welcomed by a sold-out
five-night holiday show run in
crowd which included over 170
the Studio.
people seated on the stage. 8 — J O N B AT I S T E 4— KING’S SINGERS In his return visit to Bing
8
In addition to their
Concert Hall, Jon Batiste,
performance at the Bing,
bandleader of The Late
the King’s Singers led
Show with Stephen Colbert,
workshops on Stanford’s
performed a solo jazz set that
campus for for local high
got the crowd off their feet
school, university, and
and into a dance battle.
community choral groups.
17
M A I N F E AT U R E
Rhiannon Giddens is committed to promoting music from those who have historically been overlooked. Photo by Karen Cox.
The Radical Inclusiveness of Rhiannon Giddens By Randy Lewis Copyright 2019. Los Angeles Times. Used with Permission.
Like a good gospel preacher midsermon,
an even-keeled chuckle. “People who
said. “I’m just asking, ‘Can we look at this
Americana musician Rhiannon Giddens
put Europe in the center of the universe,
a little more accurately?’ “
becomes more and more impassioned
they’re very fragile. They’ll say, ‘You’re so
when she talks about her ongoing efforts
smug, you’re stripping everything away
Her reference to the origins of the lute ties
-- a crusade, one might even call it -- to
from the Europeans.’ But Europe is merely
directly to her latest album, “There Is No
promote the musical contributions of
part of a larger global culture. Anybody
Other,” her collaboration with Italian jazz-
populations that have been overlooked,
who thinks the lute just came out of a
trained multi-instrumentalist Francesco
or, as she puts it, “disappeared.”
vacuum doesn’t know the history.”
Turrisi, with whom she’s on a U.S. tour.
“There’s so much push back, even against
“I’m not trying to strip anybody’s
A couple romantically and
a simple tweet,” Giddens, 42, said with
accomplishments from anyone,” she
professionally, Giddens and Turrisi have
18
“People who put Europe in the center of the universe, they’re very fragile. They’ll say, ‘You’re so smug, you’re stripping everything away from the Europeans.’ But Europe is merely part of a larger global culture. Anybody who thinks the lute just came out of a vacuum doesn’t know the history.” —Rhiannon Giddens
married their respective fascinations with the roots of their distant homelands on the new album. That project reunited her with American roots musician and producer Joe Henry, who shared a traditional folk album Grammy Award with her and the members of her former band, the Carolina Chocolate Drops, for their 2010 album, “Genuine Negro Jig.” “Musicians always find these points of connection,” she said of the bracingly eclectic collection that travels from folk-gospel standard “Wayfaring Stranger” to Italian opera composer Gian Carlo Menotti’s aria “Black Swan” to early 20th century singersongwriter-banjo player Ola Belle
The oud is a lute-like stringed instrument common in Middle Eastern music traditions.
Reed’s “Gonna Write Me a Letter” to several of Giddens’ own compositions. “We all have the same urges: You sing this way, and I play that way. They really
The connective thread is Giddens’
“Rhiannon is next in a long line of singers
go to the same places.”
commanding and exceptionally versatile
that include Marian Anderson, Odetta,
and nuanced voice, which has made her
Mahalia Jackson, Rosetta Tharpe. She
The diversity of the album’s songs
one of the most lauded singers of the
can take this strange music that’s grown
showcases both musicians’ instrumental
new millennium.
out of this convergence of cultures, and take it back around the world. We need
dexterity — she moves from her main
that person in our culture.”
instrument, the minstrel banjo, to violin
“It was clear the first time I heard
and viola, while Turrisi hopscotches from
her at rehearsal,” superstar producer
accordion, cello, piano, oud and banjo
T Bone Burnett told The Times about
That’s precisely what she has continued
to a variety of percussion instruments
his impetus for drafting her to sing at a
to do to considerable acclaim on many
including frame drums and the tombak,
multi-artist concert he had organized a
fronts. The MacArthur Foundation
a Persian hand drum.
few years ago.
awarded her one of its so-called genius
19
M A I N F E AT U R E
“She can take this strange music that’s grown out of this convergence of cultures, and take it back around the world. We need that person in our culture.” —T Bone Burnett, record producer and musician
grants in 2017, a $625,000 prize paid in
“I keep starting supergroups, writing
five installments, something that she says
ballets and things like that,” she
hasn’t so much transformed her world as
said. “I have to continue to work,
allowed her to continue pursuing projects
and I have to be touring, because
she’d always envisioned “without having
that’s how I earn a living. My idea
to stress about doing them.”
is to spread things out as much as I can. I like to pay people for what
Those projects include the tour de
they’re worth, and I also have to
force album released this year, “Songs
keep supporting my family while
of Our Native Daughters,” highlighting
I’m flying back and forth.” (Giddens
songs based on writings of 19th century
has a daughter, Aoife, 10 and a son,
African American girls and women.
Caoimhin, 6, from a previous marriage
Giddens collaborated with three other
with Irish musician Michael Laffan.)
notable musicians, Amythyst Kiah, Leyla McCalla and Allison Russell, in adding
Her impassioned scholarship spans
music to century-old letters and poetry
the rural mountain music of her native
expressing the impact of slavery on
North Carolina to the Celtic music in
those women.
which she immersed herself when she took up part-time residence in Ireland
The cushion of the MacArthur grant also
with Laffan, to the classical repertoire
gave her some financial security as she
she studied while pursuing opera
completed the music for “Lucy Negro,
training at the Oberlin Conservatory
Enjoy a meal with friends in the
Redux,” the first ballet score written
in Ohio.
dining room, stop by for cocktails
specifically for an African American
in the bar, or reserve one of our
ballerina, Kayla Rowser, who danced
Her renown caught the attention of
private event spaces... there’s a
the title role in the work that Nashville
documentary filmmaker Ken Burns,
Ballet premiered in February. The New
who tapped her for a significant role in
York Times called it “the kind of miracle
his latest series, “Country Music,” now
Nashville has never seen before.”
airing on PBS.
And the MacArthur grant also helps
“We love her to death,” Burns said in a
smooth the path as Giddens chips
separate interview. “In her debut, she’s
away at her first opera commission,
talking off-camera about stuff that
a work slated to premiere next year
ratifies a lot of assumptions people
at the prestigious Spoleto Festival of
have about country music. Then, we
performing arts in Charleston, S.C.
pull back and we see this African
Fine American Classics. California Spirit.
place for everyone here.
At the Stanford Park Hotel 100 El Camino Real, Menlo Park / 650-330-2790 / menlotavern.com
20
American woman with dyed hair, and it helps deconstruct whatever defenses you might have and helps enable people to hear this music. The singer, songwriter, multiinstrumentalist and music historian has spent much of her life happily transcending barriers separating different realms of music and culture, a proclivity that grew out of her upbringing as the daughter of an Anglo father and African American mother who married shortly after laws banning interracial marriage were struck down in the state. U.S. history and issues of racism are deeply personal for Giddens and powerfully informed her journey with the Chocolate Drops, a group that researched and brought to the fore the central role African American musicians had in the emergence
3
of string-band music in the U.S. in the 18th and 19th centuries. (Giddens is a banjo nerd who can happily talk all night about the 4
instrument’s origins in Africa.) For her first post-Chocolate Drops solo album, “Tomorrow Is My Turn” in 2015, she saluted female musicians who had influenced her and shaped
3—Giddens
popular music socially, politically and/
recorded her
or aesthetically, including Odetta, Edith
latest release,
Piaf, Dolly Parton, Sister Rosetta Tharpe
there is no Other,
and Nina Simone.
with Italian
In 2017, she turned to the music of the
Francesco Turrisi.
civil rights movement in “Freedom
Photo by Karen Cox.
jazz composer
Highway,” tackling songs she’d written, for the most part.
4—Giddens and Turrisi perform at
Finally, she and Turrisi enlisted Henry
the Met Museum
to help them find a cohesive approach
in New York City
to the vastly disparate source material
on October 4,
that captured their fancy.
2019. Photo by Karen Cox. 21
M A I N F E AT U R E
the first black celebrities in the South ... Johnson went from being hard to find to being impossible to escape. Researching him was like writing a history of baseball and ‘rediscovering’ a hitter named Babe Ruth.” During our interview, she also spoke of African American musicians highlighted in the Burns’ “Country Music” series, such as Lesley Riddle, who helped Carter Family patriarch A.P. Carter take down songs preserved through generations by oral tradition and bring them to wider audiences. “So many of them are not just slighted but erased,” she said. “It’s all about Giddens and Turrisi will perform at Bing Concert Hall on Friday, February 7
what’s being sold, why it’s being sold
at 7:30 pm. Photo by Karen Cox.
and who it’s being sold to. Whether it’s money, nationalism, power or whatever, there’s always a reason
“I heard it and kind of fell over,” Henry
“The Americana scene is getting better,
why a narrative gets foisted upon
said. “I couldn’t respond fast enough.
but it has had its own problematic racial
something that didn’t happen before.”
I told her, ‘However you see this through,
stuff,” said Charles L. Hughes Jr., director
I encourage you not to lose your nerve.’ “
of the Lynne & Henry Turley Memphis
As that relates to country music, debates
Center at Rhodes College and author of
over who receives credit creatively —
Giddens’ simultaneous quest to move
“Country Soul: Making Music and Making
and who profits financially — folds back
music forward while understanding
Race in the American South.”
on her comment about simply wanting to frame the question more honestly.
and honoring the past is a big part of the reason she was recently chosen,
“For a long time, Americana was basically
along with pioneering 19th century
a white space, with just a few black artists
“I’m still trying to form it so it all makes
musician Frank Johnson, also from North
in a real rootsy scene often thought as
sense,” she said. “Why is this music
Carolina, as recipients of the Americana
being connected with the music of the
so popular? Because it is a music of
Music Assn.’s inaugural Legacy of
past,” Hughes said. “Rhiannon has really
working-class people coming from
Americana Award.
forced that issue in a powerful way.”
different backgrounds and coming into
The Legacy Award is part of a new
For her part, in discussing the Legacy
partnership with the National Museum
Award, Giddens typically redirected the
“Who is benefiting from it and who is
of African American Music, scheduled to
spotlight from herself to Johnson, whose
commodifying it? That’s where it gets
open next year in Nashville.
wide-reaching popularity and influence
into problems. But the music itself is
have largely been eliminated from musical
always innocent.”
all these amazing things.
The Americana Assn.’s partnership with
histories of the 1800s.
the African American music museum, and the choice of Giddens and Johnson
During her acceptance speech, Giddens
as the first Legacy award recipients, is
cited a recent New Yorker profile about
seen in some corners as a step in the
her that dug deeply into Johnson’s history,
right direction to begin addressing
quoting writer John Jeremiah Sullivan:
another racial imbalance.
“By any calculus, [Johnson] was one of
22
Rhiannon Giddens with Francesco Turrisi Fri, Feb 7 7:30 PM Bing Concert Hall
Get to Know Iconic Dancer and Choreographer Yang Liping
Her Work Yang Liping became known as the famed “Peacock Princess” after her 1986 award-winning dance performance in Spirit of the Peacock, a work inspired by the lithe arm and finger movements of the Dai peacock dance. After her rise as an international dance legend, Liping turned to choreography with 2017’s Under Siege and a trilogy that includes Dynamic Yunnan, Echoes of Shangri-la, and Tibetan Myth.
Upbringing and Influence Liping is a member of the Bai ethnic minority and grew up in Dali, a village in China’s southwest province of Yunnan. With no formal training, the technique and elegance found in Liping’s dance and choreography is instead informed by her village’s folkloric dance traditions and her attention to the natural world. Once into her dance career, Liping returned to var-
A Masterpiece of Ancient and Modern Dance
ious villages throughout Yunnan to study the local dances and folk songs.
A culmination of Liping’s choreographic skill, Rite of Spring is a stunning reimagining of Stravinsky’s work that combines Tibetan concepts of life with folkloric influences from Yunnan. The touring production of The Rite of Spring comes to Stanford Live on February 21 and 22.
Rite of Spring Choreographed by Yang Liping Fri, Feb 21 & Sat, Feb 22 7:30 PM Memorial Auditorium
23
How Manual Cinema Creates Live Shadow Puppet Shows
“We’re invested in giving the audience choice so that they can watch the big screen above like a movie, or look down at any moment and watch the band jamming, or watch the human freneticism of the actors in real time making all of the images and emotional moments.”
Manual Cinema returns to Stanford Live with a multimedia production celebrating the life and poetry of Chicago poet Gwendolyn Brooks. The first black writer to receive the Pulitzer Prize, Brooks published more than 20 volumes of poetry and was an active member and educator in her Chicago community. The performance from Manual Cinema combines theater, live music, shadow puppetry, cinema, biography, and poetry, bringing together a range of artists, many of whom are Chicago treasures like Brooks herself. Go behind the scenes to learn about the artistic collaboration that makes all the moving parts of the live cinema experience possible.
— Sarah Fornace Manual Cinema Artistic Director
Visuals After finalizing the script, the Manual Cinema team started storyboarding to assemble over 600 handmade paper cutouts and puppets. Performers, who are visible to the audience beneath a large 6 by 9 foot screen, then use four overhead projectors to manipulate the cut-outs and puppets as though they’re making a film with cuts and edits. In addition to puppets, visuals feature the poetry of Brooks
Storytelling
and her friend and poet Haki R. Mad-
No Blue Memories is the first show Manual
hubuti as well as original work by Ewing
Cinema has worked with outside writers.
and Marshall.
The Poetry Foundation reached out to Manual Cinema to create a piece that combines biography and poetry for Gwendolyn Brooks’ centennial celebration of her life and poetry. The Manual Cinema team then partnered with Chicago native poets Eve Ewing and Nate Marshall, asking them to write a script for a movie about Brooks. Their script opens up the poetry of Brooks while contextualizing her poems with events happening both in her personal life and society. 24
Manual Cinema No Blue Memories—The Life of Gwendolyn Brooks Fri Jan 17 & Sat Jan 18 7:30 PM Bing Concert Hall
Music As the puppets were being drawn, Manual Cinema sent the script and concept drawings to composers Ayanna and Jamila Woods, who are sisters and Chicago natives, to score the piece. Their score embraces poetry elements in Brooks’ work and borrows improvisational techniques from jazz. On stage, Ayanna is the bandleader, directing the band live in rhythm and in relationship to the puppetry and visuals from the performers.
Live Actors Performers also change in and out of dozens of costumes and wigs to work in shadow to play the characters and animate the movie live. Like the performers at the projectors, live actors and the back stage are all visible, giving the audience the joy of theater and live art while the cinema experience on the screen is moving in time and space through Brooks’ life.
Sound Quadraphonic sound design creates an immersive experience—like in a movie theater, there are speakers surrounding the audience. While most of Manual Cinema’s productions function like silent films, No Blue Memories is the first one to include dialogue spoken between characters. The audience will also hear city sounds—doors opening, door bells ringing. Other effects are expressionist, like the moments when Brooks’ students start writing and a sort of poetry magic appears and magic sounds sweep over the audience. It’s these sound effects that bring the puppets alive and 245
create the reality of the world.
F E AT U R E T T E
Leo Villareal, Buckyball, 2019. Collection of Stanford Health Care; commissioned by Stanford Health Care with the generous support of Cissy Pao & Shinichiro Watari. ©Leo Villareal
At New Hospital, Art and Nature Aim to Benefit Healing Modified from Grace Hammerstrom’s article for Inside Stanford Medicine
Hundreds of pieces of artwork
The answer was more than 400 outdoor
in the recently opened Stanford
sculptures, indoor murals, paintings,
Hospital, along with rooftop gardens
videos and other works, all donated or
and an orchard, are helping patients
paid for by donations, as well as 4 acres
and family members heal while uplifting
of garden space. The art and gardens
the spirits of the healers.
help create a mood, Wolf said: “We want people to walk in, feel welcome,
Connie Wolf, consulting director
and know they are in a place where
of the hospital’s art program, and
their health and spirit matter.”
others involved in planning for the
Artist Jinnie Seo (right) and studio assistant Jihyun Lee during installation of Rays of Hope, 2019; collection of Stanford Health Care; commissioned by Stanford Health Care with the generous support of Margaret Jonsson Rogers; ©Jinnie Seo
hospital knew that art and nature aid
Both artwork and gardens have
in recovery. As Wolf describes, they
become standard elements in
wondered, “How can we create an
hospitals that adhere to evidence-
environment that supports the patients’
based design. Research has shown
healing and well-being, provides
that an environment filled with art
comfort to their families, and offers
and nature can lower blood pressure
relief to the complex and challenging
and anxiety, reduce the use of pain
work of the staff?”
medications, and shorten hospital stays. 26
Much of the artwork incorporates nature,
The sculpture lies in one of the five
science or spirituality. “I’m inspired by
interconnected rooftop gardens on the
light,” said artist Jinnie Seo. “There’s
third level of the building, with walking
physical light and spiritual light and light
paths and places to sit and view the
within each of us.”
nearby hills. A vertical garden outside the interfaith chapel, also on the third
Seo spent two months before the
floor, creates an additional private space
hospital opened painting Rays of Hope,
for reflection.
a mural in the interfaith chapel, with an assistant. She used a rendering as a guideline, but every stroke was freeform and spontaneous as she drew inspiration from the space. For some, the image is reminiscent of butterflies taking flight, she said. Sporting twelve different shades of metallic paint with a high-gloss finish, the mural shimmers in the chapel’s natural light. “I wanted to give a person a space to pause and be still, even for one moment,” Seo said. “That moment can last an eternity and be a life-changing experience.” Artist Leo Villareal, meanwhile, brought his passion for form and geometry to the 30foot Buckyball, which features three nested spheres. The centerpiece of the hospital’s entrance plaza, Buckyball is illuminated at night in a never-repeating sequence of colors and patterns. Villareal was inspired by the geodesic dome popularized by Below, on the street level, stands an
Ned Kahn,
orchard of 85 trees including ginkgo,
Air Cube, 2018;
“I’ve always been interested in underlying
loquat, apricot, olive, buckeye and live
collection
structures and rules and geometry,”
oak, each selected for its medicinal
of Stanford
Villareal said. “The same geodesic
or food-bearing properties in Eastern,
Health Care;
structure was discovered in a carbon
Western and Native American cultures.
commissioned by
molecule by nanotechnologists,” he
There’s also a dog park, complete with a
Stanford Health
added. “I thought it would be interesting
water fountain and fire hydrant.
Care with the
to take something that you could never
Even inside the hospital nature is present:
generous support
see with a naked eye and expand it on this
each patient room has floor-to-ceiling
of William Reller;
monumental scale.”
windows to let in natural light while
© Ned Kahn
architect and inventor Buckminster Fuller.
providing views of the nearby foothills. Ned Kahn’s Air Cube, a 1,000-pound metal sculpture, interacts with the wind
“There’s such a commitment at Stanford
in the third-floor garden. Kahn aimed
to recognizing that art and nature are
to symbolically replicate the forms and
part of the healing process,” Wolf said
forces of nature by creating art that
shortly before the hospital opened its
interacts with natural processes. Air Cube
doors in mid-November. “They help
is lined with rows of metal flaps that move
create an environment where people can
freely and reflect light in dynamic and
think about improving their health, their
ever-changing ways.
ability to heal.” 27
A History of Back to Back Theatre In February, Back to Back Theatre brings to Stanford Live their play The Shadow Whose Prey the Hunter Becomes, an ambitious work about the impact of automation on human intelligence. The company has been on a mission to create unique works exploring the intersection of the political and the ethereal. What assumptions do we make about the role of theater, its actors, and the work they generate? While Back to Back Theatre’s works may often be seen as controversial, the role of art in spurring dialog to catalyze communication and change is a creative hallmark that the ensemble proudly advocates.
1988 Back to Back Theatre’s first performance, Big Bag, was held at the Geelong Performing Arts Centre in Geelong, Australia, where the ensemble has been based for over 30 years.
2007 Back to Back Theatre has won the Melbourne, peer-based Green Room Award four times on two separate productions (small metal objects in 2007 and
1999
Ganesh Versus the Third Reich
Artistic Director Bruce
in 2012) for excellence
Gladwin joins Back to Back
in ensemble performance,
Theatre. Gladwin’s commit-
directorship, and production.
ment to collaborating with the ensemble’s actors in the cultivation of new works has given Back to Back Theatre a unique creative voice. 218
2013 The company published their first book with Wales-based
2019
Performance Research Books
In 2019 the company received
titled, We’re People Who Do
a $100,000 grant from
Shows―Back to Back Theatre
Creative Victoria to spearhead
Performance, Politics, Visibility,
a script for the company’s first
a book about the history and
feature film, co-authored by
work of Back to Back Theatre
the company’s ensemble of
since its inception. It includes
actors, which will be based
essays on some of their most
on the theatre production of
regarded plays including
Ganesh Versus the Third Reich.
Food Court (right), Ganesh Versus the Third Reich, and small metal objects.
2011 International controversy sparked over Back to Back Theatre’s unconventional take on the Hindu deity Ganesh in the play Ganesh Versus the Third Reich. The impetus behind creating such a contentious
2019
work stemmed out of a desire
Back to Back Theatre has
to encourage dialog about
been on the small screen as
cultural appropriation as well
well, producing a 28-minute
as the ethics of Back to Back
television pilot titled Oddlands,
Theatre’s enrollment of actors
which screened nationally
with intellectual disabilities.
on ABC, with plans to continue on to a six-part TV series.
The Shadow Whose Prey the Hunter Becomes Back to Back Theatre Wed, Feb 5 - Sat, Feb 8 8:00 PM Sat, Feb 8 2:30 PM Bing Studio 229
F E AT U R E T T E
The Legacy of James Reese Europe and the Harlem Hellfighters An Interview with Jason Moran By Loren Schoenberg Born in Mobile, Alabama 15 years
band member after a concert in Boston.
featuring acclaimed pianist and 2010
after Appomattox, composer/
Dr. Martin Luther King Jr.’s lasting legacy
MacArthur fellow Jason Moran. As a
conductor James Reese Europe took
has inspired generations of civil rights
jazz musician, he has expanded the
idiomatically pure African-American
activists, and uplifted the nation and
boundaries that defined the idiom
music to Carnegie Hall and inspired a
the world with his messages of peace.
he inherited, stretching not only his music but his modes of expression
generation’s worth of artists to challenge
to face a rapidly changing world.
any and all racial barriers in their way.
Both men will be recognized in
In 1918, he gave up an ever-burgeoning
two special programs this January
career to lead what became known as
at Stanford Live—James Reese
Moran shares his thoughts on both works
the Harlem Hellfighters. He died the
Europe and the Absence of Ruin and a
with Loren Schoenberg, Senior Scholar
following year, stabbed by an unstable
screening of Selma with live score—
at the National Jazz Museum in Harlem.
30
“The combination of orchestra and choruses from the U.S. and China reflects the magnitude of the undertaking, and also creates a piece for many participants, just like the building of the railroad.”
The stage of Jason Moran’s meditation on the life and music of jazz composer James Reese Europe. Photo by
Camille Blake.
Martin Luther King’s legacy is as
right near each other because they
bang of jazz.” There’s something that
celebrated as Europe’s remains
represent a kind of citizen that rarely
happens with that scale of musicians
obscure. To place him in chronological
gets the amplitude that they both had.
that he’s using, and also the change of
context, Europe had been gone for
technique that they’re playing with—all
just under a decade when King was
Do you think it is fair to say that
that kind of coming together launches
born in Atlanta, Georgia. He died
Duke Ellington was the second
the country into another mode.
at the same age as Europe, 39.
James Reese Europe?
They are both such rare citizens of our
Yes. Definitely. That’s clear. You can’t
researched for 60 years. There
country that I’m kind of overwhelmed at
get to Ellington without James. And
are few books on Europe alone.
having to play both of these programs
I’ve been trying to dub him the “big
Were there sources you discovered
King’s life has been analyzed and
31
something that I’ve learned how to do.
F E AT U R E T T E
My first favorite pianist is Thelonious Monk, and he did that with everybody’s music. So it feels like the duty of the artist playing someone else’s song to also find your way into the song, to find the story that you want to tell in the song. For Selma, since it’s a film score, it’s a very different task than to play a concert. We know how the story ends before we walk into the theater. But we aren’t sure how we’ll feel as it evolves on the screen. A lot of the way the music works in the film is really just as support, and I think of it as James Reese Europe directed the Harlem Hellfighters, the WWI ragtime band
emotional support for the audience. None
of the 369th Regiment. Photo Courtesy of International Music Network.
of the issues that are in the film are ever
as you dug into Europe’s life that
night, going to battle, bringing the
The revolution sometimes comes from
made a large impression on you?
fighters but also bringing the music.
a very humble space, but the ideas and
resolved. They aren’t resolved today.
figures are large, whether it’s James Noble Sissle, another major figure
Your large-scale tributes transcend
Reese Europe—who grew up in Alabama
whose legacy remains obscure, wrote
musical genres, and use multi-media
and D.C., then moved to New York in
an unpublished book about James
effects so originally and memorably,
search of his dream as a violinist and
Reese Europe that’s on the Library of
that they seem to go way beyond
later formed this union and went off
Congress website. He put down every
what a film or theater piece could.
to war—or MLK, whose parents raised
feeling that he had about working with
Which is part of why doing this piece is
him in a way to put him on the path to
James Reese Europe. In it, you hear
my kind of go at it. The way we attack
make the kind of change he envisioned.
this awe that he has for his teacher, his
it is very abstract. I attack the legacy of
mentor, the person he was on the lines
James Reese Europe through a missing
Now we live in a contemporary society
with, marching with, playing with.
marker. There aren’t enough markers.
where I can’t imagine where we’d
The Arlington Cemetery is the marker
be without figures like them. Maybe
One of the most remarkable scenes
we have for him. We have the marker
somebody else would have stepped in
in your Europe piece takes place in
uptown in Harlem for the 369 . But
and done something different. But it’s
the bottom of a ship crossing the
there’s not enough. The film that’s part
because of the kind of bravery that
Atlantic. How did that evolve?
of our show has this totally black square
happens on those bandstands, that are
that is just sitting there, sometimes in the
on view, and on these streets, fighting for
It came from Noble Sissle’s book. He
middle of a street or in the middle of a
people, that Europe and King go together.
was in the thick of everything when
park, that you have to start to imagine,
they [the Harlem Hellfighters] made
“Well, whose story goes on there?”
th
that first trip back across the Atlantic. And I’m studying that trip back across
Were there similar challenges in
the Atlantic in an ancestral way. They
adapting the music from such
were brought here in slave ships, and
disparate eras as Europe’s and King’s
now generations later, here they go,
for these two very different projects?
back across the Atlantic, to fight for this country that essentially enslaves
James Reese Europe’s music signals
them. Sissle talks about the musicians
every kind of Great Black Music that
who had to be quiet. They were at
occurs after it, from the early 1900s on.
the bottom of the boat, and they’d be
Whether it’s R&B, whether it’s hip-hop,
playing the song really softly, “Steal
whether it’s rock-and-roll, whether
Away.” There’s something powerful
it’s some free stuff. That music is easy
about painting a picture of a ship at
to open up in that way, because it’s 32
James Reese Europe and the Absence of Ruin Jason Moran & the Harlem Hellfighters Wed, Jan 22 7:30 PM Bing Concert Hall Selma Film with Live Orchestra Sat, Jan 25 7:30 PM Memorial Auditorium
BEHIND
Bringing the Arts to Schools through
reflection of their values and identities.
Stanford Live’s Teaching Artist Program
The best art and music reflect the world
By Armando Castellano
and culture in which it is created, and the music learning that Stanford Live supports in East Palo Alto does just that.
Since 2017 I have been Stanford Live’s Lead Teaching Artist in East Palo Alto’s Ravenswood City School District. A
I also work with a professional wind
teaching artist is a professional working
quintet, Quinteto Latino. We commission
musician who engages with communities
composers to create works for students to
to create collaborative projects. As
perform with the quintet. What is unique
an artist embedded in East Palo Alto
about the composers and musicians is
schools on behalf of Stanford Live, I have
that they reflect the identities of the
been given the opportunity to engage in
students in the schools, culturally and
conversation with the community over
racially. We collaborate with students to
several years, developing relationships,
create works that represent the values
assessing needs, listening to stories, and
and lives of the students and communities
acting as an advocate on behalf of the
being served. The works are performed
arts learning communities in the public
collaboratively with the students, in the
schools. A key component of my work
communities they live in! This community-
is the idea that the projects and music
based, student-centered approach inspires
my students create and perform are a
true ownership of the works created.
SCENES
THE
Castellano helps fourth grade students
Stanford Live Lead Teaching Artist
Students at Willow Oaks pose with
at Willow Oaks School compose music
Armando Castellano. He founded
Castellano after practicing and studying
for their May 2019 concert at Café Zoë
Quinteto Latino, a Bay Area quintet
music.
in Menlo Park.
that performs works by Latino composers and builds community through their music.
33
MEMBERSHIP
Jorge and Molly Tapias at their home. Photo by Joel Simon.
Connecting the Community through the Arts An Interview with Jorge and Molly Tapias
Jorge (’94) and Molly (’94) Tapias
Lots of hair bands! Around high school
You have eclectic tastes in your Stanford
are Stanford Live members, and
my sister was plugged into the cultural
Live shows. Do you have some favorites?
Jorge recently joined our Advisory
scene in East L.A., and she took me to a
Council. We sat down with them to
co-op called Self-Help Graphics. It was
Molly: Nufonia Must Fall, this incredible
learn more about their involvement
kind of famous artists as well as high
live puppet musical story, was so moving.
in the arts and community.
school kids just wanting to do art—we
They let us walk down to the stage
actually still have a bunch of Self-Help
and answered questions, and being
How did your interest in the arts begin?
Graphics art in the house.
let in on the secret made it even more
Jorge: When I was a kid my older
Molly: My mom made some art in high
She has a way of connecting with the
brother was into art. I’d see him with
school and college that we had hanging
audience and showing this depth of
sketchbooks and paints, and it was a fun
in our house, so I remember appreciating
emotion. You could just feel the room
view into how people create. For my 12th
that everyday people can make art, and
respond, and she had us all on our feet.
birthday he took me to my first concert,
it can be something that’s really striking
Both of those performances for me are
the Summer Strut at Anaheim Stadium.
and intriguing.
life memories I won’t ever forget.
astounding. And then recently, Lucibela.
34
“It’s about bringing vitality in the arts into a place I think is hungering for it, to people who are seeking access to art in all of its forms that inspires curiosity, thinking, emotion” —Jorge Tapias In addition to being a Stanford Live member, Jorge Tapias serves on the Stanford Live Advisory Council. Photo by Joel Simon.
You’re both active volunteers
around our community. I think that’s part
the same story I told, how my brother
at Stanford and in the broader
of the role that Stanford Live plays.
took me here, my sister took me there.
community. What role do
That’s what I’m hoping for.
you see Stanford Live playing
What led you to become members of
in the community?
Stanford Live?
Jorge: It’s about bringing vitality in the
Jorge: There’s some responsibility we feel
arts into a place I think is hungering for
to support programs we believe in with
it, to people who are seeking access
respect to opening up that conversation,
Jorge: It’s another dimension of that
to art in all of its forms that inspires
opening Stanford up to the community.
same support. They’re a super engaged,
curiosity, thinking, emotion. The other
I love that idea, and we wanted to be a
supportive group of people, an example
night [at National Geographic Live] I
small part of helping that happen.
of “it takes a village.” I hope I bring ideas
With many volunteer commitments already, what led you to join our Advisory Council?
and support, and I also feel it’s important
thought, what a great way to start some sort of political, cultural conversation
Our daughter loves going to Bing shows,
around art, around our neighborhoods,
and maybe in thirty years she’ll tell you 35
to contribute my own perspective.
Stanford Live Members Stanford Live thanks the following members for their support: BING CIRCLE ($25,000+) Anonymous (2) Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Fong Liu Victoria & James Maroulis Deedee McMurtry Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum Maurice & Helen Werdegar David Wollenberg Priscilla & Ward Woods
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Grady Seale Michael Sego Carla Shatz Winnie & Gil Siegel Abby & Roger Simons Ashka Simpson Mindy Spar Kerry Spear & Tim Bell Helen & David Spiegel Kathy Stark & Christopher Aoki Elliot & Karen Stein Sandra & James Stoecker Rebecca & Ben Stolpa Jenny Stone Jay Jackman & Myra Strober Yannie Tan Nicholas Telischak Lothar & Ilse de Temple Harold & Jan Thomas Chris & Carol Thomsen Mary Toman Elizabeth Trueman & Raymond Perrault Anne Tuttle Jeanine Valadez & Reynette Au Victoria Valenzuela The Vargas Family Teri & Mark Vershel Madeleine & Anders Viden Lisa Voge-Levin Roger & Wendy Von Oech Rita & Newton Wachhorst Lora Wadsworth Joan & Roger Warnke Hans & Frauke Weiler Joseph & Erika Wells The Wendling Family Dr. & Mrs. R. Jay Whaley Jeri & Kevin Wheaton Ann & Matt White Anne Wilbur Justina Williams Paul Williams & Helge Ternsten Catherine Wilson & Steven Callander Jennifer & Phil Winters Mike Wright Warren Wu Marilyn & Irvin Yalom Mariko Yoshihara Yang & Phillip Yang Mary H. Young Nicholas Yu Yao Zou
PERFORMANCE SPONSORS Helen & Peter Bing Mary & Clinton Gilliland Marcia & John Goldman Stephanie & Fred Harman Leslie & George Hume Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum The Wollenberg Foundation
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation Stanford Medicine The William and Flora Hewlett Foundation $10,000 - $49,999 Anonymous California Arts Council Capital Group Ann and Gordon Getty Foundation National Endowment for the Arts Drs. Ben and A. Jess Shenson Funds Wells Fargo $1,000 - $9,999 Aaron Copland Fund for Music The Amphion Foundation, Inc. New Music USA Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 12/2/19. For corrections, or to make a contribution, please contact us at 650.725.8782 or supportstanfordlive@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. § Deceased
37
2019–20 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization. Fred Harman, Chair Jeanne Aufmuth Peter Bing Rick Holmstrom David Hornik George H. Hume Leslie P. Hume Lisa Jones Cathy McMurtry Roger McNamee Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner Jorge Tapias David Wollenberg
Ex officio: Maude Brezinski Stephen Sano Anne Shulock
Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn The John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John § Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burton § McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
Coming Up This Spring Sun
Fri
M A RC H
Tue
MAR 13
APR 5
Comedy at the Bing: Colin
Invoke Multi-String Quartet
Quinn
MAR 3
Wed
Common in Conversation Wed MAR 4
Sat
APR 8
MAR 21
Margaret Atwood in
Sounds of Cuba: Bobi
Conversation
Céspedes
Michael Barenboim & West-
Fri
Eastern Divan Ensemble
Sun
APR 10
MAR 22
St. Lawrence String Quartet:
Sounds of Cuba: Alfredo
Good Friday Liturgical
Rodríguez & Pedrito Martinez
Performance Haydn’s Seven Last Words
Sat Wed
CALENDAR
MAR 28 Dorrance Dance
Fly Higher
APR 15
Charlie Parker @ 100
Rebirth of a Nation
Tue
Paul D. Miller aka DJ Spooky feat. Catalyst Quartet
APRIL
MAR 10
Dorrance Dance
Sat
Wed & Thu
SOUNDspace
APR 18
APR 1 & 2
Tue
The Choir of St. John’s College,
MAR 10
Cambridge
Maria Schneider Orchestra
PBO Sessions Fri
Jewish Songlines – Performers,
APR 3
Patronage, and Prejudice
Bang on a Can All-Stars A Musical Utopia
Wed MAR 11
Treemonisha
Philharmonia Baroque Orchestra
Thu–Sun
Romantic Reflections: Cherubini,
APR 23–26
Mendelssohn, and Schubert
Scott Joplin’s Treemonisha
Thu
Mon
Gong Linna
MAR 12
Dreamers’ Circus
APR 27
Sarah Chang with Telegraph
Sat
String Quartet
APR 4
Fri
Gong Linna: Cloud River
MAR 13
Mountain
Cécile McLorin Salvant with
Bang on a Can All-Stars
Darcy James Argue Ogresse Single Tickets Now On Sale!
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the Galvez Lot and on Lasuen Street,
ARB
Museum Way, Roth Way, and the Oval.
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visit.stanford.edu/plan/parking
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information and maps, visit :
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For comprehensive campus parking
Frost Amphitheater
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Alum Centerni
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website: live.stanford.edu.
2
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and on Lasuen Street.
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Drive, on Roth Way, on Museum Way,
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Cantor Arts Center
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found along the Oval at the end of Palm
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Parking for Memorial Church can be
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Public Parking
--- Walking Path F
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays
Alumni Café, Arrillaga
after 4:00 pm and on weekends at all times.
Alumni Center
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39
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