2012 Ringling International Arts Festival

The Warren J. and Margot Coville Photography Collection

Working at a time when photographs were made with silver on paper, pioneering photographers turned a new medium into an art form. They chronicled the historic moments and recorded the unforgettable sights of their times, freezing on film images that evoked shared emotions and forever imprinted themselves on our collective psyches. Now, the Ringling is pleased to present work from these masters who captured the decisive moments through which we see the ever-changing landscape of the 20th Century.

ON VIEW NOVEMBER 9, 2012 - FEBRUARY 3, 2013 © PHOTOGRAPH BY WALTER ROSENBLUM. COURTESY OF THE ROSENBLUM FAMILY. HOSPITAL WORKERS, SOUTH BRONX, 1979

20TH CENTURY PHOTOGRAPHY

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“THE CONFUSION, THE HOPES, THE DESPAIR, THE CRUELTY AND THE VIOLENCE OF OUR MOMENT ARE THE MATERIALS FROM WHICH OUR BEAUTY MUST BE WROUGHT BY OUR CREATIVE INTERPRETERS.” – A. Everett Austin, Jr., First Executive Director of the John and Mable Ringling Museum of Art / 1949

CONTENTS

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RIAF Inspires Mark Morris Dance Group Pig Iron Theatre Co. Ensemble Basiani Shantala Shivalingappa Adam Tendler Phyllis Chen The Dirty Dozen Brass Band Closing Night Party Festival Films Jazz on the Bay Art of Our Time 2012-2013 Sponsors and Supporters

In the early decades of the last century, A. Everett Austin, Jr. – known throughout the world of art as “Chick” – revolutionized modern museum practice. With a deep appreciation for the artistry realized through the combined talents of musicians, choreographers, dancers, and painters, he led the way in presenting performing arts in American museums. “THE FUNCTION OF A MUSEUM,” CHICK DECLARED, “IS MORE THAN MERELY SHOWING PICTURES. THE MUSEUM IS THE PLACE TO INTEGRATE THE ARTS AND BRING THEM ALIVE.”

To that end, in the late 1940s, Austin purchased an eighteenth-century Italian theater and installed it in the galleries of The John and Mable Ringling Museum of Art in Sarasota, Florida. Six decades later, the newly restored and fully equipped Historic Asolo Theater was rededicated as the Ringling’s performance gallery, and in 2009, the Museum launched the Art of Our Time initiative with the mission to PRESENT EXHIBITIONS AND PERFORMANCES THAT “EXEMPLIFY AND EXPLORE THE RICH DIVERSITY OF IDEAS AND FORMS AT PLAY IN THE WORLD TODAY.” Over the past four years, the Ringling International Arts Festival has been at the center of the Art of Our Time initiative. Presented in partnership with the Baryshnikov Arts Center, RIAF exemplifies the diversity, richness, and beauty of our creative interpreters.

Art of Our Time is made possible

by Gulf Coast Community Foundation.

RINGLING INTERNATIONAL ARTS FESTIVAL 1

Friends and Members, It is my honor to introduce the 2012 Ringling International Arts Festival. With the creative leadership of the Baryshnikov Arts Center and their artistic director, Mikhail Baryshnikov, we are proud to offer an extraordinary selection of performances for our community this year. For the past three years RIAF has brought to Sarasota some of the most innovative and entertaining performances from around the world. This year is no exception, with traditional Kuchipudi dances from India to Georgian chants from the Tbilisi Holy Trinity Cathedral, the program for this year is exceptionally diverse and exciting. New this year is RIAF films that celebrate great performers and artists of the past including the legendary Merce Cunningham in his company’s final performance at New York’s Park Avenue Armory. Also new this year, Adam Tendler and Phyllis Chen will individually perform in James Turrell’s largest skyspace, Joseph’s Coat, immediately following the sunset light program.

Every year RIAF evolves and this year is no exception. With the addition of RIAF film and the Turrell Skyspace we continue to expand the art forms and the art venues. This year we decided to end the festival with a celebration. I invite all of you to attend Saturday evening as we wrap up RIAF 2012 with a great party featuring The Dirty Dozen Brass Band. It will be a fun and festive conclusion to our festival.

What hasn’t changed this year is the support we receive from all of you. Thank you for attending and buying tickets to the performances and a special thanks to the RIAF Inspires event committee that hosted our sold out opening night celebration. Special thanks are also due to the RIAF Council. This dedicated group has worked all year to help generate financial support for the festival and I have greatly appreciated their efforts. Please look for their names listed on page 5.

I hope everyone has a spectacular Ringling International Arts Festival!

Steven High, Executive Director

GOVERNOR

The Honorable Rick Scott The Florida State University Dr. Eric J. Barron, President Office of the Provost Sally E. McRorie, Vice President for Faculty Development EXECUTIVE DIRECTOR

Steven High BOARD OF DIRECTORS

Clifford L. Walters, III,* Chair Michael E. Urette, Vice Chair Michael R. Pender Jr.,* Treasurer Michéle D. Redwine,* Secretary Martin A. Arch Sara A. Bagley* Madeleine H. Berman* Daniel J. Denton Rebecca Donelson* George R. Ellis Kenneth J. Feld Casey Gonzmart Priscilla M. Greenfield J. Roderick Heller, III Patrick J. Hennigan Paul G. Hudson* Dorothy C. Jenkins Thomas W. Jennings Jr. Patricia R. Lombard* Thomas B. Luzier* John M. McKay* Nancy J. Parrish* Roger C. Pettingell* Ina L. Schnell* Jane Skogstad* Linda Streit Howard C. Tibbals* James B. Tollerton* Helga M. Wall-Apelt* EX-OFFICIO BOARD MEMBERS

Wilmer I. Pearson,* Chair, Volunteer Services Advisory Council James M. LeTellier,* President, Members Council Joan Uranga,* President, Docent Advisory Council *Sarasota/Manatee County Resident

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Dear Friends,

Mikhail Baryshnikov Frank Cordasco Richard DeScherer Diana DiMenna James H. Duffy Sandra Foschi Roger Hooker R. Jarrett Lilien Aidan Mooney Steven Pesner Suzanne Weil BARYSHNIKOV ARTS CENTER FESTIVAL STAFF

Mikhail Baryshnikov, Artistic Director Georgiana Pickett, Executive Director Pedja Muzijevic, Artistic Administrator

I am pleased to share with you the exceptional artists and programs appearing at the fourth annual Ringling International Arts Festival.

A rich offering of dance, theater, music, and film will take place over four days in the unique theaters and beautiful grounds of The John and Mable Ringling Museum of Art. Inspired by the magic and history of this exceptional place, we’ve programmed a festival that embraces the traditional and the contemporary and takes full advantage of the all that Ringling has to offer, including performances in the James Turrrell Skyspace, an opening night kickoff in the museum, and the closing night party in the courtyard.

The Baryshnikov Arts Center is honored to once again work with the festival and looks forward to celebrating with the artists, Ringling staff, supporters and audiences that make this special event possible.

Mikhail Baryshnikov Artistic Director, BAC

PHOTO: PE TER HURLE Y

BOARD OF DIRECTORS

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OPENING NIGHT OF THE FOURTH ANNUAL R I N G L I N G I N T E R N AT I O N A L A R T S F E S T I VA L

SPECIAL THANKS TO THE RINGLING INTERNATIONAL ARTS FESTIVAL COUNCIL AND THE RIAF INSPIRES COMMITTEE FOR SUPPORTING THE OPENING NIGHT EVENING. Ringling Museum of Art EXECUTIVE DIRECTOR STEVEN HIGH

Baryshnikov Arts Center ARTISTIC DIRECTOR MIKHAIL BARYSHNIKOV

RIAF International Arts Festival Council Cheryl Lee Dupré, Chair Warren Coville Dan Denton Tom Hall John McKay Nancy Parrish

Linda Streit Cliff Walters Chris Waters Gil Waters Edgar Wilson

RIAF INSPIRES Committee Dan Denton and Michelle McKay, Co-Chairs Roger Baker and Paula Weatherburn Baker Robert and Beverly Bartner Carlos M. Beruff Ian Black and Rosann Argenti Deborah J. Blue Representative Jim Boyd Warren and Margot Coville Ilene Denton

Senator Nancy Detert

Innovate Florida

Rebecca Donelson and Robert Blattberg

Christine Jennings Kelley Lavin

Jane and Sam Skogstad

Cheryl Lee Dupré

Gregory and Hannah McDaniel

Kathy and Don Sollie Linda and Elli Streit

John and Michelle McKay

Wendy Surkis and Peppi Elona

Dr. John Ferretti Lake Erie College of Osteopathic Medicine Kelly J. Gettel, Kelly Gettel & Co. Kim Githler Representative Doug Holder

Yara and David Shoemaker

Carolyn Michel and Howard Millman

Mike and Karen Urette

Chuck and Nancy Parrish

Gil and Elisabeth Waters

Bill & Lys Rubin

Louis and Elizabeth Wery Bill and Margaret Wise

Supported by Gulf Coast Community Foundation

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MERTZ THEATRE

WEDNESDAY, OCT 10: 7:00 OPENING NIGHT: RIAF INSPIRES THURSDAY FRIDAY SATURDAY

OCT 11 5:00 OCT 12 8:00 OCT 13 2:00

MARK MORRIS DANCE GROUP WITH MMDG MUSIC ENSEMBLE CHELSEA LYNN ACREE SAMUEL BLACK RITA DONAHUE DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT BRIAN LAWSON* AARON LOUX LAUREL LYNCH STACY MARTORANA* DALLAS McMURRAY AMBER STAR MERKENS MAILE OKAMURA SPENCER RAMIREZ BILLY SMITH NOAH VINSON JENN WEDDEL MICHELLE YARD *apprentice RIAF SPONSORS Performance Producers: The Huisking Foundation, Inc. Sarasota Magazine Performance Associates: Blalock Walters, P.A. Carlton Fields Icard, Merrill, Cullis, Timm, Furen & Ginsburg, P.A. Chuck and Nancy Parrish

MMDG MUSIC ENSEMBLE

COLIN FOWLER AARON BOYD

Artistic Director MARK MORRIS Executive Director NANCY UMANOFF

MetLife Foundation is the Official Tour Sponsor of the Mark Morris Dance Group.

Major support for the Mark Morris Dance Group is provided by Asian Cultural Council, Bloomberg Philanthropies, Brooklyn Community Foundation, Fund for the City of New York, The Andrew W. Mellon Foundation, The Billy Rose Foundation, Inc., The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and Jane Stine and R.L. Stine.

The Mark Morris Dance Group New Works Fund is supported

by The Gladys Krieble Delmas Foundation, Meyer Sound/ Helen and John Meyer, The PARC Foundation and Poss Family Foundation.

The Mark Morris Dance Group’s performances are made possible with public funds from New York City Department of Cultural Affairs; New York State Council on the Arts, a State Agency; and National Endowment for the Arts Dance Program.

GRAND DUO: (L-R) LAUREN GRANT, MARJORIE FOLKMAN (PARTIALLY OBSCURED), AND MATTHEW ROSE, PHOTO © MARC ROYCE GRAND DUO: DOMINGO ESTRADA, JR., PHOTO © KATSUYOSHI TANAKA

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Canonic 3/4 Studies Music: Various composers, arranged by Harriet Cavalli: Piano Waltzes Lighting Design: James F. Ingalls Colin Fowler, piano Chelsea Lynn Acree, Samuel Black, Lesley Garrison, Brian Lawson, Aaron Loux, Laurel Lynch, Stacy Martorana, Spencer Ramirez, Billy Smith Premiere: July 29,1982 – Washington Hall Performance Gallery, Seattle, WA

A Wooden Tree Music and Words: Ivor Cutler Costume Design: Elizabeth Kurtzman Lighting Design: Michael Chybowski Premiere: October 4, 2012 – Merrill Wright Mainstage Theater, On the Boards, Seattle, WA Please see your program insert for additional details.

Silhouettes Music: Richard Cumming, Silhouettes: Five Pieces for Piano Lighting Design: Michael Chybowski Colin Fowler, piano Aaron Loux, Dallas McMurray Premiere: June 10, 1999 – Maximum Dance Company, Coconut Grove Playhouse, Miami, FL Company premiere: August 2, 1999 – Ted Shawn Theatre, Jacob’s Pillow Dance Festival, Becket, MA

Grand Duo Music: Lou Harrison, Grand Duo for Violin & Piano Costume Design: Susan Ruddie Lighting Design: Michael Chybowski Prelude Stampede A Round Polka Aaron Boyd, violin; Colin Fowler, piano Samuel Black, Rita Donahue, Domingo Estrada, Jr., Lauren Grant, Aaron Loux, Laurel Lynch, Dallas McMurray, Amber Star Merkens, Maile Okamura, Spencer Ramirez, Billy Smith, Noah Vinson, Jenn Weddel, Michelle Yard Premiere: February 16, 1993 – Fine Arts Center, University of Massachusetts, Amherst, MA

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MARK MORRIS was born on August 29, 1956, in Seattle, Washington, where he studied with Verla Flowers and Perry Brunson. In the early years of his career, he performed with the Koleda Balkan Dance Ensemble and later the dance companies of Lar Lubovitch, Hannah Kahn, Laura Dean, and Eliot Feld. He formed the Mark Morris Dance Group in 1980 and has since created more than 130 works for the company.

From 1988-1991, he was Director of Dance at the Théâtre Royal de la Monnaie in Brussels, the national opera house of Belgium. Among the works created during his time there were three evening-length dances: L’Allegro, il Penseroso ed il Moderato; Dido and Aeneas; and The Hard Nut. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Morris is also a ballet choreographer and has created eight works for the San Francisco Ballet since 1994 and received commissions from many others. His work is also in the repertory of the Pacific Northwest Ballet, Boston Ballet, Dutch National Ballet, New Zealand Ballet, Houston Ballet, English National Ballet, and The Royal Ballet. Morris, named music director of the 2013 Ojai Music Festival, is noted for his musicality and has been described as “undeviating in his devotion to music.” He has conducted performances for the Mark Morris Dance Group since 2006. He has worked extensively in opera, directing and choreographing productions for the Metropolitan Opera, New York City Opera, Gotham Chamber Opera, English National Opera, and The Royal Opera, Covent Garden. In 1991, he was named a Fellow of the MacArthur Foundation. He has received eleven honorary doctorates to date. In 2006, Morris received the New York City Department of Cultural Affairs Mayor’s Award for Arts & Culture and a WQXR Gramophone Special Recognition Award “for being an American ambassador for classical music at home and abroad.” He is the subject of a biography, Mark Morris,

by Joan Acocella (Farrar, Straus & Giroux) and Marlowe & Company published a volume of photographs and critical essays entitled Mark Morris’ L’Allegro, il Penseroso ed il Moderato: A Celebration. Morris is a member of the American Academy of Arts and Sciences and the American Philosophical Society. In recent years, he has received the Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement (2007), the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society (2010), and the Benjamin Franklin Creativity Laureate Award (2012).

The MARK MORRIS DANCE GROUP (MMDG) was formed in 1980 and gave its first concert that year in New York City. The company’s touring schedule steadily expanded to include cities both in the U.S. and in Europe, and in 1986 it made its first national television program for the PBS series Dance in America. In 1988, MMDG was invited to become the national dance company of Belgium and spent three years in residence at the Théâtre Royal de la Monnaie in Brussels. The company returned to the United States in 1991 as one of the world’s leading dance companies, performing across the U.S. and at major international festivals.

Based in Brooklyn, NY, the company has maintained and strengthened its ties to several cities around the world, most notably its West Coast home, Cal Performances in Berkeley, CA, and its Midwest home, the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign. MMDG also appears regularly in New York, NY; Boston, MA; Fairfax, VA; and Seattle, WA. MMDG made its debut at the Mostly Mozart Festival in 2002 and at the Tanglewood Music Festival in 2003 and has since been invited to both festivals annually. From the

The MMDG MUSIC ENSEMBLE, formed in 1996, performs with the Dance Group throughout the season at home and on tour and has become integral to the company’s creative life. The core group of accomplished musicians is supplemented by a large roster of regular guests, including cellist Yo-Yo Ma and pianist Emanuel Ax. While in Brooklyn, members of the ensemble participate in the Mark Morris Dance, Music and Literacy Project in the New York City public school system.

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company’s many London seasons, it has also garnered two Laurence Olivier Awards. MMDG is noted for its commitment to live music, a feature of every performance on its international touring schedule since 1996. MMDG collaborates with leading orchestras, opera companies, and musicians including cellist Yo-Yo Ma in the Emmy Award-winning film Falling Down Stairs (1997); percussionist and composer Zakir Hussain, Mr. Ma and jazz pianist Ethan Iverson in Kolam (2002); The Bad Plus in Violet Cavern (2004); pianists Emanuel Ax, Garrick Ohlsson, and Yoko Nozaki for Mozart Dances (2006); and with the English National Opera in Four Saints in Three Acts (2000) and King Arthur (2006), among others. MMDG’s film and television projects also include Dido and Aeneas, The Hard Nut, two documentaries for the U.K.’s South Bank Show, and PBS’ Live From Lincoln Center. In September of 2001, the Mark Morris Dance Center opened in Brooklyn, NY, to provide a home for the company, rehearsal space for the dance community, outreach programs for local children and seniors, and a school offering dance classes to students of all ages. For more information, visit www.mmdg.org.

GRAND DUO: PHOTO © KATSUYOSHI TANAKA

MATTHEW ROSE (rehearsal director) began his dance training in Midland, Michigan, with Linda Z. Smith at the age of 17. After receiving his B.F.A. in dance from the University of Michigan in 1992, he moved to New York City. He was a soloist with the Martha Graham Dance Company from 19931996, and in 1997 began working with MMDG. After several years of performing full-time with the group, he began assisting Mr. Morris with the creation of new works. He has been the company’s rehearsal director since 2006.

CHELSEA LYNN ACREE grew up in Baltimore, Maryland, where she began her dance training with Sharon Lerner, then continued at Carver Center for the Arts and Technology. Since receiving her B.F.A. in dance from SUNY Purchase in 2005 she has had the opportunity to work with a variety of artists including SYREN Modern Dance, Laura Peterson, Hilary Easton + Company, and Michael and the Go-Getters. Acree is on the faculty at The School at the Mark Morris Dance Center, where she teaches kids and adults how to move through space. She began working with MMDG in 2007 and joined the company in 2011.

SAMUEL BLACK is from Berkeley, California, where he began studying tap at the age of nine with Katie Maltsberger. He received his B.F.A. in dance from SUNY Purchase, and also studied at the Rotterdamse Dansacademie in The Netherlands. He has performed with David Parker, Takehiro Ueyama, and Nelly van Bommel, and currently teaches MMDG master classes and Dance for PD®. He first appeared with MMDG in 2005 and became a company member in 2007.

AARON BOYD (violin) enjoys a versatile career as soloist, chamber musician, recording artist, and teacher. Since beginning his study of the violin at the age of 7, Boyd has concertized throughout the United States, Europe, Russia, and Asia. Having played in nearly every major hall in New York City, Boyd was also a frequent guest artist at New York’s Bargemusic, where he appeared over 50 times. An avid chamber musician, he has participated in the Marlboro, Bridgehampton, La Jolla, Prussia Cove, and Tanglewood festivals, toured and recorded internationally as a member of the Sejong Soloists and Manhattan Sinfonietta, and has played with the St. Paul, Orpheus, Metamorphosen, and Prometheus Chamber Orchestras.

Boyd has been a prizewinner in numerous competitions including the Ecoles D’art Americaines de Fontainebleau, the Klein Violin Competition, the Tuesday Music Society, and the Pittsburgh Concert Society, and was awarded a Proclamation by the City of Pittsburgh for his musical accomplishments.

RITA DONAHUE was born and raised in Fairfax, Virginia and attended George Mason University.

She graduated with high distinction in 2002, receiving a B.A. in English and a B.F.A. in dance. She danced with bopi’s black sheep/dances by kraig patterson and joined MMDG in 2003.

DOMINGO ESTRADA, JR., a native of Victoria, Texas, studied martial arts and earned his black belt in 1994. He danced ballet folklorico through his church for 11 years. Estrada earned his B.F.A. in ballet and modern dance from Texas Christian University and had the honor of working with the late Fernando Bujones. During his undergraduate studies he attended the American

RINGLING INTERNATIONAL ARTS FESTIVAL 9

Performance Co-op, John AARON LOUX DALLAS Heginbotham, the Kevin Wynn grew up in Seattle, MCMURRAY, Collection, Neel Verdoorn, Nelly Washington and from El Cerrito, Van Bommel’s NØA Dance, Rocha began dancing California, began Dance Theater and Sidra Bell at the Creative dancing at age Dance New York. She has also Dance Center as four, studying performed in Morris’ production a member of jazz, tap, and of Orfeo ed Euridice with the Kaleidoscope, a youth modern acrobatics with Katie Maltsberger, Metropolitan Opera. Garrison has dance company. He began his and ballet with Yukiko Sakakura. taught creative movement and classical training at the Cornish He received a B.F.A. in dance from College Preparatory Dance ProCOLIN FOWLER modern dance at The School at the California Institute of the Arts. gram and received his B.F.A. from He performed with the Limón (piano) hails from the Mark Morris Dance Center and assists in the Dance for PD® The Juilliard School in 2009. He Kansas City, Dance Company in addition to program. She first performed with danced at The Metropolitan Opera works by Jiri Kylian, Alonzo King, Kansas and MMDG in L’Allegro il Penseroso and with Arc Dance Company began studying Robert Moses, and Colin Connor. ed il Moderato in 2007 and joined before joining MMDG in 2010. piano at the McMurray performed with MMDG the company in 2011. age of five. as an apprentice in 2006 and LAUREL LYNCH became a company member After attending LAUREN began her Interlochen Arts Academy, he in 2007.

GRANT, born and dance training at received his Bachelors and raised in HighPetaluma School Masters degrees from The Juilliard AMBER STAR land Park, Illinois, of Ballet in School, where he studied organ MERKENS, has danced with California. She with Gerre Hancock and piano originally from MMDG since moved to New with Abbey Simon. He has Newport, Oregon, 1996. Appearing York to attend The Juilliard School played and directed music across began her dance in over 40 of Mark Morris’ works, where she performed works by the country at venues including training with she performs leading roles in The Robert Battle, Margie Gillis, José Carnegie Hall, Alice Tully Hall, Nancy Mittleman.

Hard Nut and Mozart Dances.

Limón, and Ohad Naharin. After Jazz at Lincoln Center, and The She received her B.F.A from The Grant has been featured in Time graduation Lynch danced for Library of Congress. Fowler has Juilliard School and went on to Dušan Týnek Dance Theatre, Sue dance with the Limón Dance also performed with the American Out New York, Dance Magazine and the book Meet the Dancers, Bernhard Danceworks, and Pat Brass Quintet, Deborah Voight, Company. In 2001 she received James Galway, and at many of the and is the subject of a photograph Catterson. Lynch joined MMDG the Princess Grace Award and churches and synagogues in New by Annie Leibovitz. She graduated as an apprentice in 2006 and joined MMDG. She has presented became a company member in York. Broadway credits include the with a B.F.A. from New York her own choreography both in University’s Tisch School of 2007. Many thanks to Gene recent revival of 42nd Street New York and abroad, taught the Arts. Grant is on faculty at and Becky. and the current production of at The School at the Mark Morris MMDG’s school and also The Tony winning musical, Dance Center, and worked as STACY Jersey Boys. Fowler is the Chair teaches dance internationally. a freelance photographer for MARTORANA of the Theory and Ear Training MMDG, the Silk Road Project, and BRIAN began her dance Brooklyn Rider, among others. department at Nyack College, LAWSON began training in Baltiwhere he is a full-time professor Merkens would like to thank her his dance training more, Maryland, and conductor of the Nyack family for their continuous support. in Toronto at Caat the Peabody College Chorale. He has played nadian Children’s Conservatory. In with the MMDG Music Ensemble MAILE Dance Theatre.

2006 she gradusince 2006.

OKAMURA There he worked ated from the University of North studied primarily with choreographers such as Carolina School of the Arts with LESLEY with Lynda Yourth GARRISON grew David Earle, Carol Anderson, and a B.F.A. in contemporary dance. at the American Michael Trent. Lawson spent a Since then, she has danced for up in Swansea, Ballet School year studying at the Rotterdamse the Amy Marshall Dance ComIllinois and in San Diego, received her early Dansacademie in The Netherlands pany, the Neta Dance Company, California. She was a member of and graduated summa cum laude Helen Simoneau Dance, Daniel dance training Boston Ballet II and Ballet Arizona in 2010 from SUNY Purchase, Gwirtzman Dance Company, and before moving to New York to at the Center of Rashaun Mitchell. She was a Creative Arts in St. Louis, Missouri where he was also granted the study modern dance. Okamura President’s Award for his contrimember of the Repertory Unand Interlochen Arts Academy has been dancing with MMDG butions to the dance program. derstudy Group for the Merce in Michigan. She studied at the since 1998. She has also had the Lawson has had the pleasure of Cunningham Dance Company Rotterdamse Dansacademie pleasure of working with choreperforming with Pam Tanowitz from 2009 through 2011. She in The Netherlands and holds ographers Neta Pulvermacher, Zvi Dance, John Heginbotham, and joined MMDG as an apprentice in Gotheiner, Gerald Casel, and John a B.F.A. from SUNY Purchase, Nelly van Bommel’s NØA Dance January 2012. where she received the Modern Heginbotham, with whom she among others. He joined MMDG Dance Faculty Award. She has frequently collaborates as dancer as an apprentice in 2011. performed with the Erica Essner and costume designer.

Dance Festival where he had the privilege of performing Skylight, a classic work by choreographer Laura Dean. He debuted with MMDG in 2007 and became a company member in 2009.

Estrada would like to thank God, his family and all who support his passion.

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SPENCER RAMIREZ began his training in Springfield, Virginia, studying under Melissa Dobbs, Nancy Gross, Kellie Payne, and Marilyn York. He then continued training at the Maryland Youth Ballet with faculty such as Michelle Lees, Christopher Doyle, and Harriet Williams. In 2008, he entered The Juilliard School under the direction of Lawrence Rhodes and had the opportunity to perform works by José Limón, Jerome Robbins, Sidra Bell, and Fabien Prioville. Ramirez joined MMDG as an apprentice in July 2010 and became a company member in 2011.

BILLY SMITH grew up in Fredericksburg, Virginia and attended George Mason University under a full academic and dance talent scholarship. Smith graduated magna cum laude in 2007 and received achievement awards in Performance, Choreography, and Academic Endeavors. While at George Mason he performed the works of Mark Morris, Paul Taylor, Lar Lubovitch, Doug Varone, Daniel Ezralow, Larry Keigwin, Susan Marshall and Susan Shields. Smith’s own piece, 3-Way Stop, was selected to open the 2006 American College Dance Festival Gala at Ohio State University and his original choreography for a production of Bye Bye Birdie garnered much critical praise.

An actor as well, Smith’s regional theatre credits include Tulsa in Gypsy, Mistoffelees in CATS, and Dream Curly in Oklahoma!. Smith danced with Parsons Dance from 2007-2010. He joined MMDG as a company member in 2010.

NOAH VINSON received his B.A. in Dance from Columbia College Chicago, where he worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. In New York, he has danced with Teri and Oliver Steele and the Kevin Wynn Collection. He began working with MMDG in 2002 and became a company member in 2004.

JENN WEDDEL received her early training from Boulder Ballet Company near where she grew up in Longmont, Colorado. She holds a B.F.A. from Southern Methodist University and also studied at Boston Conservatory, Colorado University, and The Laban Center, London. Since moving to New York in 2001, Weddel has created and performed with RedWall Dance Theater, Sue Bernhard Danceworks, Vencl Dance Trio, Rocha Dance Theater, TEA Dance Company, and with various choreographers including Alan Danielson and Ella Ben-Aharon.

Weddel performed with MMDG as an apprentice in 2006 and became a company member in 2007.

MICHELLE YARD was born in Brooklyn, New York. She began her professional dance training at the NYC High School of the Performing Arts and continued her studies as a scholarship student at Alvin Ailey American Dance Center. She graduated with a B.F.A. from New York University’s Tisch School of the Arts. She teaches Pilates as well as master classes for MMDG’s residency programs.

Yard joined MMDG in 1997.

Mom, thank you.

Booking Representation: Michael Mushalla (Double M Arts & Events) Artistic Director: Mark Morris Media and General Consultation Executive Director: Nancy Umanoff Services: William Murray (Better Attitude, Inc) PRODUCTION Legal Counsel: Mark Selinger Technical Director: Johan Henckens (McDermott, Will & Emery) Rehearsal Director: Matthew Rose Accountant: O’Connor Davies Lighting Supervisor: Munns & Dobbins, llp Michael Chybowski Orthopaedist: David S. Weiss, Sound Supervisor: Ken Hypes M.D. (NYU-HJD Department Costume Coordinator: of Orthopaedic Surgery) Stephanie Sleeper Physical Therapist: Wardrobe Supervisor: Marshall Hagins, PT, PhD Elizabeth Sargent Hilot Therapist: Jeffrey Cohen MARK MORRIS

DANCE GROUP STAFF

Thanks to Maxine Morris.

ADMINISTRATION

Chief Financial Officer: Elizabeth Fox Finance Associate: Rebecca Hunt Finance Assistant: Diana Acevedo General Manager: Huong Hoang Company Manager: Sarah Horne Executive Assistant: Jenna Nugent Intern: Marianny Loveras

Sincerest thanks to all the dancers for their dedication, commitment, and incalculable contribution to the work.

Many thanks to Mikhail Baryshnikov, Georgiana Pickett, Pedja Muzijevic, and the staff at Baryshnikov Arts Center.

MARKETING/DEVELOPMENT

Additional funding has been received from the Altman Foundation; The Amphion Foundation, Inc.; Capezio Ballet Makers Dance Foundation; Joseph and Joan Cullman Foundation for the Arts, Inc.; The Harkness Foundation for Dance; Johnson & Johnson/Society for the EDUCATION Arts in Healthcare; Leon Lowenstein School Director: Sarah Marcus Foundation; Materials for the Arts; School Administrator: Sydnie Liggett McDermott, Will & Emery; Mid Outreach Director: Eva Nichols Atlantic Arts Foundation; SingerXenos Dance for PD® Program Manager: Wealth Management; The Tcherepnin David Leventhal Society; and the Friends of the Mark Dance for PD® Program Assistant: Morris Dance Group.

Maria Portman Kelly The Mark Morris Dance Group DANCE CENTER OPERATIONS is a member of Dance/USA Facility and Production Manager: and the Downtown Peter Gorneault Brooklyn Arts Alliance.

Studio Manager: Karyn Treadwell Operations Coordinator & Community Liaison: Jackie Busch Front Desk Manager: Elise Gaugert Assistant Front Desk Managers: Charles Gushue, Abby West For more information contact: Music Coordinator: Bruce Lazarus MARK MORRIS DANCE GROUP Maintenance: Jose Fuentes, 3 Lafayette Avenue Jamel Moore, Orlando Rivera, Brooklyn, NY 11217-1415 Diana Velazquez Tel: (718) 624-8400 Fax: (718) 624-8900 info@mmdg.org www.mmdg.org Associate Director of Development: Kelly Sheldon Digital Content Manager: Moss Allen Marketing Manager: Emily Boehm Development Assistant: Rebecca Cash

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COOK THEATRE

THURSDAY, FRIDAY FRIDAY SATURDAY

OCT 11 OCT 12 OCT 12 OCT 13

8:00 2:00 8:00 5:00

PIG IRON THEATRE COMPANY WITH TOSHIKI OKADA, ZERO COST HOUSE Ensemble: MARY MCCOOL* SHAVON NORRIS JAMES SUGG* ALEX TORRA, and DITO VAN REIGERSBERG Director DAN ROTHENBERG Text TOSHIKI OKADA Translator AYA OGAWA Set Design MIMI LIEN Lighting Designer PETER WEST Costume Designer MAIKO MATSUSHIMA Sound Designer KATIE DOWN Associate Sound Designer MIKAAL SULEIMAN Props Master KIMITHA CASHIN Contributing Writer/Dramaturg JACKIE SIBBLIES DRURY Production Manager BELINA MIZRAHI Stage Manager E SARA BARNES* *Appearing through the courtesy

RIAF SPONSORS Performance Associates: Bank of America Charles and Charlotte Perret SRQ Magazine ThisWeekInSarasota.com 12 RINGLING INTERNATIONAL ARTS FESTIVAL

ZERO COST HOUSE

of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The 2011 earthquake off the Pacific coast of Japan, also known as the 3.11 Earthquake, was a magnitude 9.0 (Mw) undersea megathrust earthquake that occurred at 14:46 JST (05:46 UTC) on Friday, 11 March 2011, with the epicenter approximately 70 kilometres (43 mi) east of the Oshika Peninsula of Toˉ hoku and the hypocenter at an underwater depth of approximately 32 km (20 mi). It was the most powerful known earthquake ever to have hit Japan, and one of the five most powerful earthquakes in the world since modern record-keeping began in 1900. The earthquake triggered powerful tsunami waves that reached heights of up to 40.5 metres (133 ft) in Miyako in Toˉ hoku’s Iwate Prefecture, and which, in the Sendai area, travelled up to 10 km (6 mi) inland. The earthquake moved Honshu 2.4 m (8 ft) east and shifted the Earth on its axis by estimates of between 10 cm (4 in) and 25 cm (10 in).

The tsunami caused a number of nuclear accidents, primarily the level 7 meltdowns at three reactors in the Fukushima Daiichi Nuclear Power Plant complex, and the associated evacuation zones affecting hundreds of thousands of residents.

Many electrical generators were taken down, and at least three nuclear reactors suffered explosions due to hydrogen gas that had built up within their outer containment buildings after cooling system failure. Residents within a 20 km (12 mi) radius of the Fukushima Daiichi Nuclear Power Plant and a 10 km (6.2 mi) radius of the Fukushima Daini Nuclear Power Plant were evacuated. In addition, the U.S. recommended that its citizens evacuate up to 80 km (50 mi) from the plant.

PIG IRON THEATRE COMPANY

Co-Artistic Directors: Gabriel Quinn Bauriedel, Dan Rothenberg, and Dito van Reigersberg Company Members: Cassie Friend, Sarah Sanford, Geoff Sobelle, James Sugg Artistic Associates: Hinako Arao, James Clotfelter, Mimi Lien, Alex Torra Managing Director: John Frisbee General Manager: Nick Edelman Production Manager: Belina Mizrahi Operations Manager, Pig Iron School for Advanced Performance Training: Enid Reid Whyte ABOUT PIG IRON

Founded in 1995 as an interdisciplinary ensemble, Pig Iron Theatre Company is dedicated to the creation of new and exuberant performance works that defy easy categorization. In the past 16 years the company has created 25 original works and has toured to festivals and theatres in England, Scotland, Poland, Lithuania, Brazil, Ireland, Italy, Romania and Germany. During that time, Pig Iron has won two OBIE Awards, multiple Barrymore Awards for Excellence in Theatre, and been called “one of the few groups successfully taking theatre in new directions” by the New York Times.

In 2011, the company opened the Pig Iron School for Advanced Performance Training (APT), a new two-year graduate-level program in devised theatre, housed in a new facility in the South Kensington neighborhood in Philadelphia.

Adapted from Wikipedia (Wikipedia contributors, “2011 Toˉ hoku earthquake and tsunami,” Wikipedia the Free Encyclopedia, accessed August 21, 2012)

RINGLING INTERNATIONAL ARTS FESTIVAL 13

E SARA BARNES (Stage Manager) NY credits: Twelfth Night (Sonnet Rep.), Bloodsong of Love (Ars Nova), Missed Connections (Ars Nova), Power Burn 3! (Cat Fight Prod.), Heart of the the City (Davenport Theatricals), Bedroom Farce (TACT). Regional credits: Company/Stage Manager: 5th Avenue Theatre (Seattle) and Studio East’s StoryBook Theater (Kirkland). Selected shows: Memphis and Hello, Dolly! (5th Avenue Theatre), The Gypsy King (Village Theatre), Zanna, Don’t! (Contemporary Classics), Gypsy (Kirkland Performance Center), Voices of Christmas (ArtsWest), The Women (A Contemporary Theater). BA from the University of Washington.

She was a recipient of the NEA/ TCG Career Development Program, a MacDowell Colony fellow, and her sculptures were featured in the exhibition, LANDSCAPES OF QUARANTINE, at the Storefront for Art and Architecture.

MAIKO MATSUSHIMA (Costume Design) is a costume and set designer who has been designing for theatre, dance, opera and film in NY, Philadelphia and regional theatres. In 2010 she designed costumes for the American premiere of Toshiki Okada’s Enjoy, directed by Dan Rothenberg in NYC. In the Philadelphia area, Maiko’s work has appeared frequently at the Wilma Theater (My Wonderful Day, Proliferation of the Imagination, & The KATIE DOWN (Sound/Music Understudy); also, Twelfth Night Design) is a sound designer, (Pig Iron Theater Company) in composer, and performer in 2011, garnering her a Barrymore theatre, film, dance, and dancenomination for set design; theatre. She has worked with Takes (Nichole Canuso Dance different companies including Company); Chicken (Charlotte Long Wharf Theatre, Ripe Time, Ford) in 2010 at Philadelphia Ensemble Studio Theatre, David Live Arts Festival. Her other Neumann’s Advanced/Beginner credits include THIS (Playwrights Group, Kate Weare Dance, Epic Horizons, NY), Rescue Me (Ohio Theatre, and many more. She Theatre, NY), More (Headlong won the Connecticut Critic’s Dance Theatre) The Children Circle Award in 2011 for best of Vonderly (Classic Stage sound design on Aditi Kapil’s Company, NY), and many others.

Agnes Under The Big Top at She also has worked as an Long Wharf. Katie teaches voice associate costume designer on and improvisation workshops Broadway productions such internationally and state-side and as Spring Awakening, Radio is also a licensed music therapist Golf, Lestat, Assassins, Good with a practice based in New York. Body, Pacific Overtures. She is This is her first show with Pig Iron. a professor in the theater department at Bryn Mawr College MIMI LIEN (Set Design) is a where she teaches design. designer of sets/environments for theater, dance, and opera MARY MCCOOL is a based in Brooklyn, NY. Previous Philadelphia theater artist whose collaborations with Pig Iron: Love work is based in performance and Unpunished, Welcome to Yuba extends to devising new work, City, Cankerblossom; and, with teaching, writing, directing, and Dan Rothenberg on Okada’s design. Originally from Virginia, play, Enjoy (The Play Company). she received her BA from Virginia Recent work in Philadelphia Tech and moved to Philadelphia includes Elephant Room (Rainpan in 1999 as a cofounder of New 43), Body Awareness and Becky Paradise Laboratories, a physical Shaw (Wilma Theater). Her theatre company with whom she work has been recognized with has co-created and performed four Barrymore nominations, a 8 original works and toured to Barrymore Award, and an OBIE prominent arts venues nationwide Award for Sustained Excellence. including PS 122, The Walker 14 RINGLING INTERNATIONAL ARTS FESTIVAL

ALEX TORRA IN ZERO COST HOUSE, © JACQUES-JEAN TIZIOU

The creation of Zero Cost House was funded in part by the Pew Center for Arts and Heritage through the Philadelphia Theatre Initiative; by the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; by the Japan Foundation through the Performing Arts JAPAN Program; by the Independence Foundation New Works Initiative; by the Asian Cultural Council; by the National Endowment for the Arts, which believes that a great nation deserves great art; and by the William Penn Foundation. Zero Cost House was developed with support from PlayMakers Repertory Company, Joseph Haj, producing artistic director

Nance, Leah Stein, Merian of Namibia, Formerly Known Soto, and Charles Anderson. as South West Africa, From Her choreography has been the German Sudwestafrika, presented at Swarthmore College, Between the Years 1884-1915 Temple University, Philadelphia will have its New York premiere Live Arts, and New Dance at Soho Rep this fall, and had Alliance’s Performance Mix Joyce its world premiere at Victory Soho. Shavon teaches dance at Gardens Theater in Chicago. She a Charter School in Philadelphia is a graduate of Brown’s MFA and loves moving and learning playwriting program, where she with her students. received the David Wickham Prize in Playwriting. Her play Social Creatures was commissioned AYA OGAWA (Translator) is a Brooklyn-based writer, director,

by Trinity Repertory Theater translator and performer. Her Company in Providence RI, work has been seen in prominent and will premiere there in 2013. theatres in Japan, Thailand, and Jackie is the inaugural recipient of the U.S. She is the recipient of the Jerome New York Fellowship New York Theater Workshop’s for 2012-2014.

Artistic Fellowship; New Dramatists’ Van Lier Fellowship; JAMES SUGG (Ensemble) is a member of Pig Iron Theatre and HERE Artist Residency.

Company with whom he has She wrote and directed oph3lia Art Center, and the Humana at HERE, and Journey to the created 18 original pieces.

Festival. Ms. McCool has also Ocean, commissioned by The He has also worked with the performed a diverse range of Foundry Theatre. Upcoming Milwaukee Rep, Arena Stage, roles in classic and contemporary projects include a reading of her Seattle Rep, Actors Theater of plays, including the recent Offtranslation of Tomohiro Maekawa’s Louisville, The Wilma, The Arden Broadway hit Enjoy, written by Strolling Invader at Japan Society Theater, Folger Theater, Headlong Toshiki Okada and produced and Ludic Proxy, commissioned Dance Theater, Rainpan 43 and by the Play Company at 59E59

by The Play Company. She is Lucidity Suitcase Intercontinental. theatres. Ms. McCool is the founder and Artistic Director of He is the composer of the recipient of a 2010 Independence her company knife inc. musicals A Murder, A Mystery Foundation Fellowship for the (www.knifeinc.org) And A Marriage (book and Arts, a 2007 PTI Professional lyrics by Aaron Posner), James Development Grant, and a 2003 DAN ROTHENBERG (Director) Joyce is Dead and So Is Paris PCA Fellowship in the Arts.

(Pig Iron), The Sea (a one man is a founding member and co-artistic director of the Pig electric chamber opera) and BELINA MIZRAHI (Production Cherry Bomb (book and lyrics Iron Theatre Company. Dan Manager) has been with Pig Iron has directed almost all of Pig

by Jen Childs). His work has Theatre Company since 2011.

Iron’s original works, including been recognized with 2 OBIEs, She is a recent graduate from Yale Poet in New York, Gentlemen four Barrymores for Outstanding School of Drama with an MFA in Sound Design, the F. Otto Haas Volunteers, Isabella, Pay Up, Theater Management, and was The Lucia Joyce Cabaret, and Award for Emerging Theater Artist the Management Fellow at The and a Pew Fellowship. the OBIE Award-winning Hell Public Theater in New York City in Meets Henry Halfway and spring 2009. Recent producing Chekhov Lizardbrain. In 2001, ALEX TORRA (Ensemble) is credits: Righteous Money (Wolf Dan co-directed Shut Eye with a Philadelphia-based theater 359); Christmas is Miles Away director and performer as well Joseph Chaikin. Dan’s other (Babel Theatre Project); Body & projects include creation of as an Associate Artist with Pig Sold (Tempest Productions). audio works to accompany the Iron, where he has performed in paintings of Alexandra Grant Twelfth Night, Cankerblossom, SHAVON NORRIS (Ensemble) at MOCA in Los Angeles and Welcome to Yuba City, is a dancer, choreographer, ongoing collaborations with Pay Up, 365 Days/365 Plays and and educator. Originally from Stockholm’s Teater Slava and directed Come to my Awesome the Bronx, she is an alum of alt-comedy group The Berzerker Fiesta, it’s Going to be AweManhattanville College and a Residents. some, Okay? He also serves as graduate of the MFA program the Resident Director for Philaat Temple University. As a JACKIE SIBBLIES DRURY delphia’s Team Sunshine Perforperformer, Shavon has worked (Contributing Writer/Dramaturg) is mance Corporation, for which he with several choreographers, a Brooklyn-based playwright. Her has directed Punchkapow and including Gabri Crista, Silvana play We Are Proud to Present a Wonderwave. Alex has received Cardell, Marianela Boan, Kemal Presentation About the Herero fellowships from the Indepen-

dence Foundation, The Philadelphia Live Arts Brewery, the Princess Grace Foundation, and NY’s Drama League. He is a graduate of the Brown University/Trinity Rep MFA Programs.

DITO VAN REIGERSBERG (Ensemble) is a co-founder and co-artistic director of Pig Iron Theatre Company, which has created 27 original pieces in its 17-year history. He has performed in almost all of Pig Iron’s productions, including the OBIE-winning original pieces Hell Meets Henry Halfway and Chekhov Lizardbrain.

A graduate of Swarthmore College, he trained at the Neighborhood Playhouse and the Martha Graham School of Contemporary Dance. His most recent role for Pig Iron was Duke Orsino in Twelfth Night. He has also created and performed for Headlong Dance Theatre, Nichole Canuso Dance Company, and Mauckingbird Theatre Company. He is a Barrymore Award recipient for Best Ensemble for Mission to Mercury (Pig Iron) and a nominee for Best Actor in a Musical for Hedwig (Azuka), and has been named a Pew Fellow (2002) and a Knight USA Fellow (2010).

PETER WEST (Lighting Design) recent designs include: The Life of Galileo (Cleveland Playhouse) The Maids (Red Bull Theater), My Children My Africa, Circle Mirror Transformation and The World Of The Moon in rep at the Juilliard School and the Shakespeare Santa Cruz 2012 Season. Other work includes shows at The Public Theater, Rattlestick, Manhattan School of Music, New York Theatre Workshop, The Spoleto Festival, the American Dance Festival, Berkeley Rep, Playmakers, CalShakes, Seattle Rep, Huntington, Arena and the Geffen Playhouse. He has designed over 35 shows for the Juilliard School Drama Division.

Peter is a proud associate of the Red Bull Theater Company. www.peterwestdesign.com

RINGLING INTERNATIONAL ARTS FESTIVAL 15

HISTORIC ASOLO THEATER

THURSDAY FRIDAY SATURDAY

OCT 11 OCT 12 OCT 13

5:00 8:00 2:00

ENSEMBLE BASIANI

PRESENTED IN ASSOCIATION WITH DAVID EDEN PRODUCTIONS, LTD.

GIORGI KHUNASHVILI GELA DONADZE ZVIAD MICHILASHVILI ZURAB TSKRIALASHVILI GEORGE MEKVABISHVILI ELIZBAR KHACHIDZE SHOTA ABULADZE IRAKLI TKVATSIRIA GEORGE GABUNIA SERGO URUSHADZE LASHA METREVELI BATU LOMINADZE

The patriarchate folk Ensemble Basiani was created in 2000, under the blessing of his holiness and beatitude Ilia II, Catholicos Patriarch of all Georgia. The Ensemble is part of the Tbilisi Holy Trinity Cathedral Church choir and it participates in services conducted by the patriarch.

Ensemble Basiani is comprised of singers from different parts of Georgia. Most members come from families that perform traditional singing and many members have sung folk songs in different ensembles since childhood. The ensemble sings Georgian folk songs and chants by researching and reviving them from the ancient phonological and notated recordings, while studying songs directly from the famous singers and conductors of elder generations active in different regions of Georgia.

It also works with many world-renowned ethno-musicians.

In little more than a decade, Basiani has already performed at numerous international festivals and has visited some twenty countries. In that time, Basiani has also recorded and released seven CDs. In recent years, Basiani has received international acclaim and recognition, giving performances in some of the world’s most well-known concert-halls and international festivals, including Auditorio Nacional de Musica (Madrid), The Gulbenkian Great Hall (Lisbon), Concertgebouw (Amsterdam), Aldeburgh Music Festival (Aldeburgh, England), and St. John’s, Smith Square (London).

RIAF SPONSORS Performance Producer: Bon Eau Foundation/ Juno & Jove, Inc./ Probo Productions, LLC.

In August 2010, Basiani participated in the Lincoln Center’s Mostly Mozart Festival, performing for New York audiences on a program that presented traditional Georgian polyphony along with masterpieces of J.S. Bach and other European classic composers. The above event was widely lauded by the American press, including The New York Times and The Wall Street Journal. The ensemble will return to New York at the conclusion of their current American tour to perform in Lincoln Center’s White Light Festival.

Basiani is the name of one of the regions in Southwest Georgia (in what is now modern day Turkey, northwest of the town of Erzurum). In 1203, at this location, Georgian royal troops defeated the Turks with the victory consolidating Georgia’s position in Asia Minor.

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PROGRAM/NOTES Mravalzhamier – ‘long life’

table song, Kakheti (eastern Georgia) The Georgian supra (table party) usually begins with Mravalzhamier. This lifts the spirits of everyone at the table and creates a festive mood. As the voices rise, so does the collective enthusiasm and spirit of those sitting at table, making them feel that their meeting will become a celebration.

Let us sing together brothers while we see each other, There will be time for mourning, when we will be lying under the ground With earth on our chests.

E N S E M B L E B A S I A N I, P H O T O C O U R T E SY O F T H E A R T I S T

I love you sweet Kakheti, big grove on the bank of the Alazani River Deer on the pastures, straw on the banks of the Iori River.

Elesa

work song, Guria (western Georgia) Elesa was sung in Guria while hauling a large log to be used for carving a wine press or for lumber. The second part was sung after the weeding and hoeing of the corn had been completed.

When the nadi (an assembly of neighbors and villagers assisting in field work) performed Elesa, it signaled the completion of the work and was also a wish for bountiful harvest for the owner of the field.

Elesa-and let us sing, elesa, elesa, hey!

Elesa-and let us sing, elesa, kirio, hey!

Elesa, hey Ei sai, eleso, Ei-sa kirio, Ei sai, eleso!

Each phrase is repeated several times. Only one understandable word (meaning “let us sing”) is discernible in the song, all the rest being either interjections. However, two words – kirio and elesa – are clearly of Greek origin. Together, they are remarkably similar to the obligatory address in Christian divine service: Kyrie Eleison (Lord, have mercy upon us).

Chona

ritual song, Kartli (central eastern Georgia) Chona was a ritual performed on the night before Easter. The singers would go through the village, visiting each household and congratulating everyone on the occasion of the brilliant holiday and the resurrection of Christ. Baskets of presents awaited them at each household. The host made preparations in advance; a festive table was laid heavy with food and with eggs dyed red on Good Friday.

Chona was an inseparable part of this ritual. The above-mentioned tradition of its performance has been observed only in eastern Georgia (Kartli).

I was at Chona – I saw Chona, but I saw no profit.

Alatasa-balatasa, I put my hand into the basket, Girl, put an egg in it, and God will give you bounty.

We have come to congratulate you on Easter.

RINGLING INTERNATIONAL ARTS FESTIVAL 17

Kali gadmodga mtazeda lyric-love song Songs of the lyric-love genre convey human spiritual experiences with extraordinary candidness and immediacy. This song is from Georgia’s northeastern mountain region, and lyric songs from different regions of Georgia differ significantly in their musical structure. Many lyric masterpieces created in the mountain regions of eastern Georgia are, as a rule, solo songs accompanied by the panduri, while Gurian lyric-love songs are structurally closer to Gurian drinking songs, characterized by polyphony, improvisation and dissonance.

This song has an amorous-natured text.

Didebata circle dance, Svaneti (northwestern Georgia) Circle dance songs are among the oldest surviving forms of Georgian musical folklore in traditional performance characteristics and form. This is corroborated by dances, which have become inseparable from their songs.

Glory! May it have mercy on us!

May the icons ornamented with gold and silver have mercy on us.

They have oxen for sacrifice, Oxen with golden horns They had a young bull to sacrifice Let us beg for mercy.

Shen khar venakhi - ‘You Are a Vineyard’ The lambus of the Holy Virgin In the tradition of Kartli-Kakheti (eastern Georgia)

You are a Vine, newly flourishing, Beautiful sapling, planted in Eden, A fragrant poplar, grown in Paradise, God has adorned you, there is none like you, And you yourself are the sun shining!

Shen khar venakhi In the tradition of Guria (western Georgia) Shemokmedi School Angelosi ghaghadebs - ‘The Angel cried’ IV refrain to the IX canticle – The Easter The Angel cried unto her who is full of grace: Hail, O Pure Virgin! And again, I say: Hail!

Thy son is risen from his three days’ sojourn in the grave, and hath raised up the dead: Rejoice, O ye people!

18 RINGLING INTERNATIONAL ARTS FESTIVAL

Ganatldi, ganatldi ‘Shine, shine the New Jerusalem’ IX Irmos in tone I – The Easter Shine, shine, O New Jerusalem for the glory of the glory of the Lord is risen upon Thee. Keep high holiday now and be glad, O Zion! And rejoice thou, O pure Birth-giver of God, in the rising again of him whom thou didst bear!

Jvarsa shensa - ‘Thy cross’ in tune 6, Kartl-Kakheti (eastern Georgia) Thy cross do we adore, O Master, and thy Holy Resurrection do we glorify.

Netar ars katsi - ‘Blessed is the man’ The 1st Psalm – Hymn from Vespers, Gelati school Blessed is the one who does not walk in step with the wicked or stand in the way that sinners take or sit in the company of mockers, but whose delight is in the law of the Lord, and who meditates on his law day and night.

That person is like a tree planted by streams of water, which yields its fruit in season and whose leaf does not wither— whatever they do prospers. Not so the wicked!

They are like chaff that the wind blows away.

Therefore the wicked will not stand in the judgment, nor sinners in the assembly of the righteous.

For the Lord watches over the way of the righteous, but the way of the wicked leads to destruction.

Odoia work song, Samegrelo (western Georgia)

Popular nadi song, sung during hoeing and weeding a cornfield.

No fixed text

Chakrulo table song, Kakheti (eastern Georgia) The crown of Georgian folk songs. Like Mravaljamier, It belongs to the family of long Kakhetian table songs. Various explanations exist as to the origin of the song’s name. The literal meaning of the word in Georgian is “intertwined.” One theory cites everyday farming activity as the possible source: “As Chakrulo needs a strong resounding voice, in the same way, a load placed on an oxcart needs to be tightly bound.”

Hence, it is concluded that chakrulo means: strong, reliable, loud, charming song, requiring a singer with a high voice, which is certainly true of Chakrulo. In the view of some researchers such as Joseph Jordania, however, the name of the song implies strongly linked or intertwined voices.

ENSEMBLE BASIANI, HOLY TRINITY CATHEDRAL, IRINAIVANOVA

Khasanbegura historical ballad, Guria (western Georgia) In the second half of the nineteenth century, Georgia’s provinces of Guria and Achara were caught in a political conflict between Russia and Turkey. Some nobles decided to use the conflict for their own advantage. One such figure is Khosro Tavdgiridze, who had a falling out with Prince Gurieli and emigrated to Turkey. There he was promoted, receiving the title of bey - Khasan-beg (bey) and was appointed commander of a military unit. This song is told from the viewpoint of Khasan-beg’s brother: Khasan-beg Tavdgiridze who rejected God Sought the Turkish title of pasha, completely forgetting God. He entered Shekvetili, crying in Turkish, “I have come.”

We’ll allow him to pass as far as Lanchkhuti, Then let him see what we do.

We are Gurians. We had a battle near Shukhut-Perdi.

We defeated the enemy leaving no one to tell the tale.

I saw my brother, Khasan-Pasha, beheaded.

As he was my brother, I cried out, “Woe is me!”

The previous night he had fought us, snaring himself in the process.

Because he was my brother, I buried him.

Some researchers believe that the music of Khasanbegura was created earlier, and this historical text was set to it later. Romain Rolland and Igor Stravinsky were fascinated by Khasanbegura and its remarkable polyphony.

Chela - name of the bull Bullock-cart-man’s song, Samegrelo (western Georgia) While this is a Bullock-cart-man’s song, it should not be considered a work song. This is a typical sample of lyrical threevoiced song, which tells about cart-man’s thoughts and sorrows.

Chela and Busca are bull’s names.

Here Chela! there Busca, you’re so used to the slavery You poor, you weak-willed, you heartless, you neck-dropped.

Shalva Aslanishvili noted: “Chakrulo characterized by noble content and high spirits. It features flawless modulation, developed polyphony, strict architectonics of form, rich ornament and profound ethical content.” Some researchers believe that songs like Chakrulo date from the tenth to twelfth centuries.

Aslanishvili observed reflections of ancient traditions dating to feudal times in such table songs. Chakrulo has come down to us in several forms.

Cheer up, fireplace, Do not be morose.

The son says to his father, “You have grown old, do not stay with me.”

“Son, what can an old man like me tell you?

I have had many adventures.

I have crossed all the mountains and plains, That desolate ridge.

I have killed with my sword, brothers, I have killed.

I am going to war tomorrow.

At war it’s better to have gunpowder Than a wife and children”

Naduri, Shemokmedura work song, Guria (western Georgia) Shemokmedura is a work song–more precisely a Naduri.

Nadi (hence naduri) is given special significance in Guria.

If a family hoed its field without a nadi, it would be called inhospitable. If the village had no singers for the naduri, they were specially invited from other villages. The people gladly worked together with the singers of the nadi, as the work then became more cheerful. Apart from easing the work, the naduri was entertaining as well. By the end of the nineteenth century, the song had become so popular that it was often sung in the churchyard after divine service.

Field naduris are the longest and most sophisticated antiphonal work songs, and they number in the dozens. Most antiphonal naduris of this region are four-part, an unusual phenomenon in world musical folklore. Their texts have nothing to do with the work process.

I was a noble woman A peasant’s son took my hand in marriage I won’t go with him by choice unless he forces me

RINGLING INTERNATIONAL ARTS FESTIVAL 19

HISTORIC ASOLO THEATER

THURSDAY FRIDAY SATURDAY

OCT 11 OCT 12 OCT 13

8:00 5:00 5:00

SHANTALA SHIVALINGAPPA SHIVA GANGA

World Premiere in October 2004 Théâtre de la Ville / des Abbesses - Paris Conceived and directed by SHANTALA SHIVALINGAPPA Artistic Advisor SAVITRY NAIR Lighting and Technical Design and Management NICOLAS BOUDIER Light technician MARIE-JOSÉE PÉTEL Sound technician CHRISOPHER ROMILLY Tour Management VALÉRIE CUSSON Musicians: J. RAMESH, singer B.P. HARIBABU, Nattuvangam and percussions N. RAMAKRISHNAN, Mridangam K. S. JAYARAM, flute Shiva, the Lord of Dance His Cosmic Dance creates and sustains the Universe. The whole of creation is set in motion by the powerful vibrations emanating from his Dance, the awe-inspiring Tandava, virile, terrible, yet life-giving. If he stops dancing, the Universe dissolves.

Ganga, the goddess of the sacred river ganges She embodies grace, beauty, fluidity. Her dance is the mesmerizing and sensual Lasya.

In Shiva Ganga, the choreography is inspired by these distinct yet complementary energies, playing with each other to attain the full expression of their true nature, and stay in balance. The dynamics of each movement is governed by one or the other force, Tandava, the masculine, or Lasya, the feminine. Sometimes each one manifests its inherent qualities, giving rise to a particular flavor. Sometimes both merge into one single flow of energy.

20 RINGLING INTERNATIONAL ARTS FESTIVAL

RIAF SPONSORS Performance Producer: Florida Travel & Life Performance Associates: McKibbon Hotel Management, Courtyard & Residence Inn by Marriott Amy C. Walker

Talamelam In India we say “Melody is the mother, and Rhythm is the father of music.”

A Prayer song to Vani, Goddess of the Arts Ananda Nartana Ganapati Raga: Nattai Aditalam (8 beats) Music and Lyrics: Sri Utukkadu Venkatakavi Choreography: Kishore Mosalikanti Ganesha or Ganapati, is one of the most revered and loved gods in India. Always kind and compassionate, he is said to be the destroyer of obstacles.

The composer of this particular song, known for his rhythmic use of words and syllables, has chosen to describe a dancing Ganesha. Hence, the choreography depicts the graceful movements of Ganapati’s joyful dance.

Rasalila Raga: Madhuvanti Talam: Tishra (3 beats) and then Chaturashram (4 beats) Music and Lyrics: Sri B.Ramamoorthy Rao Choreography: Shantala Shivalingappa O Krishna, the sound of your flute sends a thrill through our bodies!

The beautiful Radha, her heart full of love, longs for you.

Don’t you hear her ankle bells calling your name?

Having dressed in their most beautiful attire, she and her friends wait for you near the banks of the river Yamuna.

Radha awaits you, her heart dancing, just as the moon surrounded by stars, in a sky rendered restless at the prospect of this romantic encounter.

Krishna the beloved has arrived, to dance and play with the young gopis, and the enitre forest rejoices in his presence.

With this song, may all sorrows be forgotten.

The rhythmic system, or Tala, is one of the pillars of Indian classical dance, and based on it, each dance style has developed its own distinct use of rhythmic language.

Here is a look at the way Kuchipudi uses rhythm: Using voice as well as their instruments, the two percussionists get into a playful dialogue of rhythmic expressions. The dancer joins in their conversation, highlighting the typical footwork of this style. She ends with a dance on a brass plate, a particular feature of Kuchipudi.

Shiva Ganga Choreography: Guru vempati Chinna Satyam Shantala Shivalingappa The story is as follows: Bhagiratha meditates on Lord Shiva Raga: Karnataka Shudha Saveri Bhagiratha is chosen to call upon Lord Shiva and pray that he accepts to receive the fall of the Ganga on his head, as he is the only one who can withstand the tremendous force of her flow, and soften its fall on Earth. The first scene shows Bhagiratha in deep meditation, calling the name of Shiva.

Shiva’s Cosmic Dance Raga: Amrutavarshini Talam: Mishra chaapu (7 beats) In the second scene, Lord Shiva, disturbed and angered by this call, answers with his Cosmic dance, the Tandava. Finally moved by the sincerity of Bhagiratha’s prayer, Shiva accepts to receive the Ganges on his head.

Ganga Pravesham Raga: Keeravani Talam: Khanda chaapu (5 beats) The last scene shows Ganga’s dance.

“I am the daughter of the snow-capped mountain,” she says. “I am about to go to Shiva and to let my waters flow onto his great matted locks. My love for Shiva is boundless, and for his sake, I joyfully accept to flow onto the Earth.”

RINGLING INTERNATIONAL ARTS FESTIVAL 21

KUCHIPUDI

Kuchipudi is a classical dance form of South India. It takes its name from a small village called Kuchipudi, in the state of Andhra Pradesh, where it was born around the 15th century.

Like all Indian classical dance forms, its technique is rooted in the Natya Shastra, a 2,000 year- old treatise on dramatics, which gives a very precise and highly developed codification of dance, music and theater.

Kuchipudi also received the influence of the popular folk dance and music traditions which were prevalent at the time in that particular region and which developed themes of religious devotion. The result is a style which is both highly evolved and structured, but also vibrant and lively, extremely intricate, and utterly graceful.

Kuchipudi uses the two important techniques which are developed in different ways in each of the Indian classical dance styles: pure dance and expressive dance.

Pure dance, nrtta, is rhythmic and abstract. The footwork executes the complex rhythmic patterns of the accompanying music, while the rest of the body, from the head to the tip of the fingers, follows sometimes with forceful precision, sometimes with flowing graceful movements.

Expressive dance, or abhinaya, is narrative. Here, each part of the body is used to bring alive the text, poem or story, recited in the song. The hand gestures – mudras – are codified into a very precise language. The facial expressions are stylized so as to convey a wide range of complex and subtle sentiments and feelings. The whole body comes alive to communicate the emotions which arise from the song.

22 RINGLING INTERNATIONAL ARTS FESTIVAL

Kuchipudi is a harmonious combination of these two aspects, where the dancer alternates or blends together, moments of pure dance, rhythmic, bright, vivacious, full of beauty and grace, and narrative moments based on the Hindu mythology, where the focus is on the use of gestures, facial expressions and body language.

The Kuchipudi performance is accompanied by a live, classical orchestra, comprising singing, flute, veena and percussions.

The dance, music, and rhythm are very closely interlinked, and each element is developed in relation with the other.

In the field of Kuchipudi, Master Vempati Chinna Satyam has clearly marked the last four decades. Through his dedication, extraordinary talent, and sheer hard work through his collaboration with greatly knowledgeable and sensitive scholars, composers and musicians, he brought Kuchipudi from it’s little village to the forefront of the artistic scene in India and also to an international audience. He renewed and restored a diluted and cruder form of Kuchipudi, at a time when it was fading in rigor and vibrancy, forging a very personal, precisely structured, pure and elegant style.

In 1963 he founded the Kuchipudi Art Academy in Madras, and from there, created a repertoire of solo dances as well as dance dramas or ballets. Today, thanks to him, Kuchipudi occupies a privileged position among other Indian classical forms, and his students continue his work in and out of India.

SHANTALA SHIVALINGAPPA Born in Madras, India, brought up in Paris, Shantala is the child of east and west. She grew up in a world filled with dance and music, initiated at a tender age by her mother, dancer Savitry Nair. Deeply moved and inspired

by Master Vempati Chinna Satyam’s pure and graceful style, Shantala dedicated herself to Kuchipudi and received an intense and rigorous training from her master. Driven by a deep desire to bring Kuchipudi to the western audience, she has performed in important festivals and theatres, earning praise and admiration from all. Acclaimed as a rare dancer by artists and connoisseurs in India and Europe, Shantala combines a perfect technique with flowing grace and a very fine sensitivity. www. shantalashivalingappa.com

the Brooklyn Academy of Music RAMESH JETTY (Vocalist) is a disciple of highly respected (BAM) as part of a production for Chandralekah’s Raga­—In Carnatic musician, P.S. NarayaSearch of Femininity. He has naswamy. He has accompanied recorded with accompanied some India’s most renowned classiof India’s finest classical artists cal dancers and has traveled to countries world-wide such meas including M.S. Subbulakshimi, renowned Carnatic vocalist; Singapore, Malaysia, Indonesia, Dr. M. Balamuralikrishna, a Germany, Italy, France, Belgium, distinguished Harikatha performer Muscat, England, Portugal, and Amsterdam. He has been invited and India’s violin icon, Dr. L Subramanianm to name a few. back to the United States for the past 9 years by The Samskrithi He has recently performed Society in Houston, Texas, in order as an accompanist Shantala Shivalingappa in Paris and is to perform as a guest vocalist. happy to perform again with her in RAMAKRISHNAN NEELAMANI San Francisco and Seattle for the upcoming US tour.

(Mridangist, percussionist) has been performing since the age HARIBABU BALAN of 16. He has performed all PUTTAMMA is a versatile over the world including Paris, Mridangam exponent trained Germany, Italy, Denmark, United under the guidance of exemplary States, Kuwait, Tokyo, Australia, gurus ‘Kalaimamani’ Sri. V.P. New Zealand and South Africa Ramadoss and ‘Kalaimamani’ Sri. to name a few. He performed in Thiruvaroor Bhakthavatchalam.

Haribabu has established himself a niche in the dance world. He acquired the skill from his gurus at the Tamil Nadu Govt. Music collage and was conferred the title ‘Vaadhya Visharadha’ in 1988, recognizing his adeptness in the art form. His 18 years of profound expertise in the field has helped him attain accolades world wide. Besides being and expert Mridangist, he is equally proficient in Tabla, Pakwaj, Ganjeera, Nattuvangam and Rhythm composing. His is the most sought after Mridangist who has accompanied several distinguished artists through out India and overseas to 17 countries. His creative aptitude and heal provoked him to set up ‘Craft Innovative’ through which he provides creative assistance to young percussionists.

JAYARAM KIKKERI SURYANARAYANA (Flutist) hails from a family dedicated to the profession of teaching the Carnatic Classical flute with immense interest and respect. He began his studies in music early on, under the able guidance of Sri. Mani Kant. His knowledge, dedication and musical talents along with the kindness, support, and encouragement given by his parents brought him to Mysoreja to reap his career fruitful under the guidance of Vidwan A.V. Prakash, a renowned flutist who has performed all over India and abroad and has won many awards to his credits.

Jayaram has performed for many international festivals, has won a number of competitions and has been especially recognized for his contribution to the dance field for accompanying internationally acclaimed dancers in both Bharathnatyam & Kupchupudi.

RIAF STAGE PRODUCTION PERSONNEL

AARON MUHL, Managing Director MICHAEL KOHLMANN, Guest Artist Manager ROBERT HALLA, Assistant Technical Director SAMANTHA MILLER, FSU Graduate Assistant JOHN M. WILSON, RIAF Technical Director of Mertz Theatre JEFF DILLON, RIAF Technical Director for Cook Theatre KELLY BORGIA, RIAF Closing Night Stage Manager All Festival Productions employ I.A.T.S.E. Local 412 Stagehands and Technicians

RINGLING INTERNATIONAL ARTS FESTIVAL 23

MUSIC IN THE SKYSPACE

THURSDAY

OCT 11

8:00

ADAM TENDLER/PREPARED PIANO JOHN CAGE, SONATAS & INTERLUDES

ADAM TURELL BLUE, 2011 © JUSTIN SCHIER

“Each one of us must now look to himself. That which formerly held us together and gave meaning to our occupations was our belief in God. When we transferred this belief first to heroes and then to things, we began to walk our separate paths. That island... to which we might have retreated to escape from the impact of the world, lies, as it ever did, within each one of our hearts. Towards the final tranquility, which today we so desperately need, any integrating occupation – music is only one of them – rightly used can serve as a guide.” –John Cage, A Composer’s Confession, 1948

Between 1946 and 1948, John Cage (whose centenary we celebrate this year) composed his masterpiece for prepared piano, Sonatas and Interludes, choosing his sounds “as one looks for shells on the beach” while guided by the Hindu aesthetic theory of rasa, which divides human emotion into eight permanent states. A stunning contrast from his later chance music, Sonatas and Interludes serves as a postcard from Cage the romantic, with all seventy minutes performed from memory by Mr. Tendler.

A 2012 American Pianists Association Classical Fellowship Award Nominee and “modernmusic evangelist” (TimeOut New York), ADAM TENDLER first made national headlines with America 88x50, a completely independent, completely unsponsored recital tour created and conducted out of his Hyundai and offered for free to underserved communities in all fifty states. Celebrated

for his uncompromising recital programming, innovative teaching style, unapologetic literary voice, and bold original compositions, he has gone on to perform internationally in some of the world’s most prestigious halls, direct classical music initiatives across the country, and serve as an announcer and contemporary music liaison for NPR and Pacifica radio stations nationwide. Currently based in

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JAMES TURRELL, JOSEPH’S COAT (2011) Joseph’s Coat was created by the internationally renowned artist, James Turrell. This permanent installation is a “gathering place” for contemplation, sustained experience, and conversation.

As you gaze up at the sky through the 24’-square aperture in the ceiling, you are invited to contemplate light, perception and experience. At sunrise and sunset, a sophisticated system of LED lights is employed to change the color of the space. In doing so, the artist changes the context in which you view the sky and can radically change your perception of the color of the sky and its spatial relation to you.

MADE POSSIBLE THROUGH THE GENEROUS SUPPORT OF: THE PETER A. VOGT FAMILY, ROBERT AND BEVERLY KOSKI, AND RICHARD H. AND BETTY WATT NIMTZ

New York City, he is the founding director of a daily music series at Soho House New York and is developing an interactive memoir about coming-out and comingof-age during the America 88x50 tour, the development of which you can follow at dissonantstates. com. He also performs once a week for clients at New York’s Gay Men’s Health Crisis. More at adamtendler.com

RIAF SPONSORS Performance Supporter: Gulf Coast Community Foundation Performance Associates: Linda and Elli Streit

JAMES TURRELL JOSEPH’S COAT, 2011 © JAMES TURRELL PHOTO BY GIOVANNI LUNARDI

RIAF SPONSORS Performance Associate: The Frank E. Duckwall Foundation, Inc.

MUSIC IN THE SKYSPACE

FRIDAY

OCT 12

8:00

PHYLLIS CHEN

PLAYING WITH TOYS - MUSIC FOR TOY PIANO

Mirabella for solo toy piano by Stephen Montague Exposiciones for toy piano and tape by Andrian Pertout Suite for Toy Piano by John Cage Double Helix and Hallucinate for toy piano and bowls by Phyllis Chen Little Things for toy piano, toy instruments and electronics by Angelica Negron Kalimba for toy piano and tape by Karlheinz Essl Fur Enola for toy piano, jack-in-a-box and spinning top by James Joslin Carousels for toy piano and hand-cranked music box by Phyllis Chen Toy Toccata for solo toy piano by Fabian Svensson

new music by nurturing the Praised by the New York Times essential composer-performer for her “delightful quirkiness collaboration. A strong interest matched with interpretive in interdisciplinary work led her sensitivity,” PHYLLIS CHEN to collaborations with video artist is a pianist/toy pianist and and electronic musician, Rob multimedia artist that performs original multimedia compositions Dietz, with whom she created multimedia works such as and works by contemporary Looking Glass ReWondered, composers. The Oregonian The Memoirist, Pearlessence, states, “her captivating Chroma and Carousels. performance was animated by unbridled inventiveness, the kind Upcoming projects for the duo include a micro-media toy piano of joyous creativity that playing opera commissioned by Opera with toys is meant to inspire.”

Cabal, scheduled to be premiered Phyllis’ artistic pursuits take her at High Concept Laboratories in numerous directions as a toy this November in Chicago. pianist, pianist, and composer, Phyllis also received the Roulette leading to her selection as a Commission (funded by the New Music/New Places Fellow Jerome Foundation) to create a at the 2007 Concert Artist Guild International Competition. Playing new solo work to be premiered in October at Roulette’s new venue an instrument that has no set in Brooklyn. boundaries or genre, Phyllis has been invited to perform at a large Phyllis founded the UnCaged Toy variety of festivals and concerts.

Piano, a composition competition Phyllis is one of the founding to further expand the repertoire for toy piano and electronics. The members of ICE (International competition has received works Contemporary Ensemble), a Chicago and New York-based from composers all around the world, and these compositions collective dedicated to the become an integral part of her performance and promotion of new works. Phyllis was selected repertoire. In the winter of 2011, as one of the composer-artists for Phyllis curated the first-ever three the inaugural ICElab Series, ICE’s day toy piano festival in New York newest model for commissioning, City. The next UnCaged Toy Piano Festival will be in the 2013. developing, and performing

Phyllis attended Oberlin Conservatory as a recipient of the Dean’s Talent Award Scholarship and received a Masters Degree from Northwestern University as an Eckstein Merit Scholar. She is continuing to pursue her DMA in piano performance at Indiana University where she studied with André Watts.

RINGLING INTERNATIONAL ARTS FESTIVAL 25

MUSEUM OF ART COURTYARD

SATURDAY

OCT 13

7:00

THE DIRTY DOZEN BRASS BAND ROGER LEWIS, baritone saxophone KEVIN HARRIS, tenor saxophone GREGORY DAVIS, trumpet EFREM TOWNS, trumpet KIRK JOSEPH, sousaphone KYLE ROUSSEL, keyboard JERMAL WATSON, drums To describe how the Dirty Dozen Brass Band has arrived at its 35th Anniversary, trumpet player Gregory Davis employs a tried-and-true New Orleans-centric analogy: “It ends up being like a pot of gumbo — you drop in a little okra, drop in a little shrimp, you drop in some crabs. Before you know it, you’ve mixed in all these different ingredients and you’ve got a beautiful soup. That was our approach to music early on and it still is today.”

Baritone sax player Roger Lewis, who, like Davis, has been with the combo since its inception in 1977, echoes that sentiment: “It’s a big old musical gumbo, and that probably made the difference, separating us from other brass bands out of New Orleans. It put a different twist on the music. We were not trying to change anything, we were just playing the music we wanted to play and not stay in one particular bag.”

26 RINGLING INTERNATIONAL ARTS FESTIVAL

RIAF SPONSORS Performance Patron: Bright House Networks Performance Associates: Cumberland Advisors Guest Services, Inc. dba Treviso SunTrust Bank

DIRTY DOZEN BRASS BAND: PHOTO BY MICHAEL WEINTROB

CLOSING NIGHT PARTY! The Ringling International Arts Festival Closing Night Party offers guests an escape to New Orleans for the evening! Guests sample their way through mouth-watering Cajun cuisine like po boy’s, muffalettas and a jambalaya station, then quench their thirst with a ‘hurricane’ at our New Orleans inspired bar. The world-famous New Orleans music machine, Dirty Dozen Brass Band, whose name is synonymous with genre-bending romps and high-octane performances, provides early evening entertainment. Desserts include a taste of chocolate bourbon pecan pie or sweet bread pudding with whisky sauce, all under a sky full of fireworks. A DJ rocks the night as the evening comes to a close. Tickets 941-359-3180 or www.ringling.org.

An appetite for musicological adventure, a commitment to honor tradition while not being constrained by it, and a healthy sense of humor have brought the world-traveling Dirty Dozen Brass Band to this remarkable juncture in an already storied career. To celebrate its 35th, the band is releasing Twenty Dozen, the septet’s first studio release in six years. The new album, cut at the Music Shed in New Orleans, reunites the band with producer Scott Billington, who helmed DDBB’s first major-label release, Voodoo, in 1989. It’s a resolutely upbeat effort that seamlessly blends R&B, jazz, funk, Afro-Latino grooves, some Caribbean flavor, and even a Rihanna cover. Twenty Dozen mirrors in flow and feel a vibrant DDBB live set. The disc reaches an exuberant peak with a medley of New Orleans staples, including a particularly high spirited rendering of When the Saints Go Marching In. The final track, or as Lewis puts it: “the afterparty,” is an audience encore favorite, the ribald Dirty Old Man, with Lewis doing an outstanding job in the title role.

Twenty Dozen, says Lewis, is “classic Dirty Dozen. It’s got something for your mind, body, and soul. We’re gonna get you one way or another.”

Twenty Dozen is also very much a group effort, with each of the members — Davis, Lewis, tenor-sax man Kevin Harris, trumpeter Efrem Towns, sousaphonist Kirk Joseph, drummer Terence Higgins, and guitarist Jake Eckert — bringing original compositions or arrangement ideas to the sessions.

It kicks off with the light-hearted funk of Tomorrow, segues into the jazzier Jook then heads into the party-hearty island groove of Best Of All. Billington suggested DDBB cover Rihanna’s Don’t Stop the Music, and the group’s reinterpretation is as ingenious as it is fun. The tough, seventies-style soul of We Gon’ Roll supplies the most serious moment, as composer Higgins pays tribute to the indomitable nature of his fellow NOLA residents. As Davis – whose own Git Up is a smoking jazz workout – explains, “Just about everybody had a song or something they wanted to contribute. As we started to record the songs and listen to them, each song seemed to fit not just with the character of the individuals

who wrote them but the character of the band. We are the Dirty Dozen and it’s the overall character of the band that makes the live show work – and that makes this record work.

Had we planned to make a certain kind of record, it might not have come out like that. In letting the guys’ voices speak and come out on their own, the album turned out this way.”

The traditional numbers at the tail end of Twenty Dozen serve as a reminder of how the group, since the beginning, has tried to reinvigorate the standards and build a bridge between old and new. Says Davis, “Over the last few years we have been doing a medley that has included Paul Barbarin’s Second Line, E Flat Blues, and Saints. It had been going over so well that we thought maybe we needed to capture the spirit of what we’re doing with this medley and put it on a record. Saints is one of the most requested songs we do, and you have to face the challenge of playing that song so many times. But once you get that started and see the smiles on people’s faces and they start dancing to it, it makes you want to do it a little bit more. In the studio, I was envisioning different scenes from our audiences. I’d remember the reaction I would get attempting to get people up to dance, to do certain steps and follow me. It made it so much fun to remember the faces, the smiles, the body movements of the people. To get them up, to get them sweating — it’s always a pleasure.” Listening to this new Saints rendition on disc has the same effect: it’s impossible to remain in your easy chair. Davis considers this and, laughing, imagines a new opportunity for the band: “Maybe we need to sell this as a work-out CD.” While traditional numbers infused with a DDBB flavor have always been crowd-pleasing staples of the group’s repertoire, it’s the Dirty Dozen Brass Band’s willingness to look beyond the New Orleans songbook and find connections amongst a wider range of music that has endeared them to critics, fellow musicians and a multi-generational, global audience.

They’ve been embraced enthusiastically by the jam-band followers at Bonnaroo as well as by the devotees who flock to the yearly New Orleans Jazz Fest. Acts like the Black continued page 28

RINGLING INTERNATIONAL ARTS FESTIVAL 27

THE DIRTY DOZEN

BRASS BAND continued

Crowes and Widespread Panic have taken them on tour and artists from Dizzy Gillespie to Elvis Costello to Norah Jones have joined them in the studio. In the wake of Hurricane Katrina, DDBB participated in the From the Big Apple to the Big Easy benefit at New York City’s Madison Square Garden and offered its own response to the aftermath of the disaster with an acclaimed 2006 song-by-song remake of Marvin Gaye’s What’s Going On. Their music has been featured on the HBO series, Treme, named after the New Orleans mid-city neighborhood where the band had formed, and the group performed on screen with Galactic and rapper Juvenile in Season 2. New Orleans remains a wellspring of musical inspiration and DDBB is a living, breathing embodiment of the continued vitality and evolution of the sounds of the city.

But, Davis cautions, “We’ve never been the norm, even though we started out as a traditional New Orleans brass band. In the beginning we weren’t getting work of any kind, so we thought it was okay to explore other music. That allowed us as individuals to bring ourselves into the rehearsals and that’s where we started to experiment. At the time the band started, I was a student at Loyola University and we were all being introduced to other music — to jazz from the twentieth century and so on. It’s impossible to think that you can be exposed to the harmonies that Duke Ellington was making, the rhythms coming from Dizzy Gillespie or the funk being done by James Brown, and then ignore it when you’re playing New Orleans music. New Orleans music is all of that. If we had chosen to just put in the music presented to us then as traditional, it would have stunted our growth. Being more than what we heard is what the band was about.”

DDBB enjoyed the opportunity to look back with the 2011 reissue of it galvanizing1984 debut, My Feet Can’t Fail Me Now, but the hard-working band has little time for nostalgia. For mainstays like Davis and Lewis, 35 years have passed in the blink of an eye, as Lewis, who also sits in with several other NOLA combos, acknowledges: “Check it out — I’m 70 years old, I’m the oldest dude in the band — I’m the oldest dude in everybody’s band, now that I think about it. I don’t know where the time went. I guess it’s just the music, man, you don’t be thinking about all that. I’ve been in it 35 straight years. The reason why the band stayed together for so long, despite all we’ve gone through, it’s the right chemistry. We’re trying to make it do what it do. If we have this conversation when I’m 80, we’ll still be trying to make it do what it do.”

“As we continue to do live shows,” Davis concludes, “the challenge is still going to be, how am I going to entertain these people that are in front of me tonight? You have to make that happen at the moment, and that’s what we do best.” – Michael Hill

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RIAF FILMS

HISTORIC ASOLO THEATER THURSDAY

OCT 11

2:00

CARMEN AND GEOFFREY DIRECTED BY LINDA ATKINSON AND NICK DOOB Carmen de Lavallade and Geoffrey Holder, two living legends of American dance, are the subjects of this documentary by Linda Atkinson and Nick Doob. Filmed over several years in the US, Trinidad and Paris, the film features interviews and dance performances with Alvin Ailey, Herbert Ross, Lester Horton, Joe Layton, Duke Ellington, and Josephine Bake.

HISTORIC ASOLO THEATER FRIDAY

OCT 12

2:00

JOSEPH BRODSKY: IN THE PRISON OF LATITUDES DIRECTED BY JAN ANDREWS This film about Nobel Prize-winning poet and essayist, Joseph Brodsky blends interviews, cityscapes and audio of Brodsky to create a poetic homage to one of the 20th century’s great literary talents.

MERTZ THEATRE SATURDAY

OCT 13

5:00

LABYRINTH WITHIN DIRECTED BY PONTUS LIDBERG A haunting take on jealousy, Labyrinth Within posits a man, a woman, and an elusive lover in a series of intense pas de deux. Danced to a score by David Lang, the work features New York City Ballet principal Wendy Whelan, Giovanni Bucchieri and Pontus Lidberg, who also directed the film.

AND PARK AVENUE ARMORY EVENT

BY THE MERCE CUNNINGHAM DANCE COMPANY The Merce Cunningham Dance Company’s historic final performances, concluding the Company’s globetrotting Legacy Tour and celebrating the late, great choreographer’s life and work.

SARASOTA JAZZ PROJECT, © ALEX AMOS

JAZZ ON THE BAY

THE BOLGER CAMPIELLO THURSDAY OCT 11 5:00 – 7:00

RIAF SPONSORS Performance Producer: Publix Super Markets Charities

JAZZ

SARASOTA JAZZ PROJECT Whether you dance or listen, or both, you will be thoroughly entertained by this high-energy, 17-piece ensemble performing original compositions and standard tunes in a contemporary Big Band style.

THE BOLGER CAMPIELLO FRIDAY

OCT 12

5:00 – 7:00

JUNE GARBER Hailed as Toronto’s “most tasteful and elegant cabaret artist,” June Garber delivers full, rich tones that are brimming with potent character and style.

JOHNSON BLALOCK EDUCATION CENTER SATURDAY OCT 13 10:30

ART OF OUR TIME: A LOOK AHEAD Matthew McLendon (Curator of Modern and Contemporary Art) and Dwight Currie (Associate Director of Exhibitions and Programs) preview the New Art, New Artists, New Collections and New Stages coming in the 2012-13 season of Art of Our Time.

This program is free of charge, but ticket reservation is required. Seating limited to 100 / 941.360.7399 or www.ringling.org Art of Our Time is made possible by Gulf Coast Community Foundation.

RIAF SPONSORS Performance Associate: Florida Lottery RINGLING INTERNATIONAL ARTS FESTIVAL 29

ART OF OUR TIME

HISTORIC ASOLO THEATER THURSDAYS 7:00

ARTISTS OF OUR TIME From The Hermitage Artist Retreat Free of charge for Museum Members and with non-Member “Art After 5” admission; all others $5. Tickets: 941.360.7399 Thursday, November 1, 7:00 pm

Anne Patterson, Artist and Orchestral Scenic Designer Seeing music / hearing colors Thursday, December 6, 7:00 pm

Kamala Sankaram, Composer and Susan Yankowitz, Librettist Melding the music of east and west into one © PHOTOGRAPH BY WALTER ROSENBLUM. COURTESY OF THE ROSENBLUM FAMILY. HOSPITAL WORKERS, SOUTH BRONX, 1979

WARREN J. AND MARGOT COVILLE Photography Collection November 9, 2012 – February 3, 2013

With the gift of over 1.000 photographs from Warren J. and Margot Coville Collection, the Ringling’s photography holdings have been immeasurably enriched with a broad range of works spanning the 20th and 21st centuries. This exhibition offers a rich sampling of that collection, featuring work by such renowned photographers as Henri Cartier-Bresson, André Kertész, Alfred Eisenstaedt, Berenice Abbott, and Robert Capa.

VIEWPOINT: Forming History, Thomas Southall

A lecture on the exhibition by Thomas W. Southall, Curator of Photography for the Harn Museum of Art

Thursday, January 10, 7:00 pm

Huang Ruo, Composer Inspiring music of a Chinese Folk Rock Singer Thursday, January 31, 7:00 pm

Nathan Currier, Composer and Pianist Hearing the music of global climate change Thursday, February 14, 7:00 pm

Ginna Hoben, Playwright and Performer Finding a way to happiness without a Prince Charming Thursday, March 14, 7:00 pm

Filmmaker Bill Morrison and Theatrical Designer Laurie Olinder Reframing the imagery of our collective mythology

Saturday, November 3, 10:30 am

HERB RITTS: L.A. STYLE

A CONVERSATION WITH THE COLLECTOR:

February 23 – May 19, 2013

Warren J. Coville

Los Angeles-based photographer Herb Ritts established an international reputation for his distinctive photographs of fashion models, nudes, and celebrities. His ability to bridge the gap between art and commerce was not only a testament to the power of his imagination and technical skill but also marked the synergy between art, popular culture, and business that followed in the wake of the Pop Art movement.

Wednesday, November 14, 7:30 pm PHOTOGRAPHY ON FILM

Documentaries on Berenice Abbott, Edward Steichen, and Henri Cartier-Bresson Thursday, November 15, 5:30 – 9:00 pm Friday – Saturday, November 16 & 17, 1:00 – 4:30 pm GALLERY WALK & TALKS: Close Ups

on the Coville Collection

VIEWPOINT: Paul Matineau

Peter Acker. Commercial Photographer

A lecture on the exhibition with exhibition curator Paul Matineau of the J. Paul Getty Museum

Thursday, January 31, 6:00 pm

Saturday, February 23, 10:30 am

Thursday, November 29, 6:00 pm,

Sally Pettibon, Photographer, RCAD Faculty Art of Our Time is made possible by Gulf Coast Community Foundation.

30 RINGLING INTERNATIONAL ARTS FESTIVAL

For details on all programs and Ticket information: 941.360.7399 / www.ringling.org

© JATI LINDSAY

NEW STAGES: NARRATIVE IN MOTION Tickets: $25, $20, $15 / 941.360.7399 or www.ringling.org WORD BECOMES FLESH

January 24-26, 2013, 7:30 pm Written and Directed by Marc Bamuthi Joseph “Word Becomes Flesh makes for a searing, satisfying evening.”

—THE WASHINGTON POST

© YOSHIO ITAGAKI

WORD BECOMES FLESH

Presented as a series of letters to an unborn son, Word Becomes Flesh documents nine months of pregnancy from a young single father’s perspective. It is a powerful and passionate plea for social responsibility and understanding that critically, lyrically, and choreographically examines the experience of fatherhood in America’s black community.

BEYOND WORDS

February 7-9, 2013, 7:30 pm Written and performed by Bill Bowers “Bowers effortlessly brings us to laughter and tears, often at the same time.”

—THE NEW YORK POST

© ANDY PHILLIPSON

BEYOND WORDS

One the most acclaimed multi-disciplinary artists in America today, Bill Bowers employs an eloquent mixture of music, monologues and mime in his on-going investigation of the silence surrounding the enigmatic matters of gender in our culture today.

LEO

February 21-23, 2013, 7:30 pm Produced and Created by Circle of Eleven “Alternately funny and poetic . . . LEO soars!” —THE NEW YORK POST

From Berlin, the Circle of Eleven blends music, acrobatics, dance, and theater into a sophisticated entertainment in the spirit of classic German variety theater at a contemporary circus level. Winner of the Carol Tambor Foundations’ “Best of Edinburgh Award” KATE WEARE COMPANY

March 7-9, 2012, 7:30pm LEO

“Fine company of four brings these steps to full, luscious life.”

– THE NEW YORK TIMES

Hailed for its startling combination of formal choreographic values and visceral, emotional interpretation, Weare’s work has been seen at The Joyce Theater, Danspace Project, Jacob’s Pillow Dance Festival, American Dance Festival, and at venues throughout the US.

© KEIRA HEU-JWYN CHANG

EW STAGES 2013

HISTORIC ASOLO THEATER

Made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from The Andrew W. Mellon Foundation.

VIEWPOINT: Elizbeth Weill Bergmann The Interplay Between Music and Dance with Elizabeth Weill Bergmann.

A Co-production with the Sarasota-Manatee Dance Alliance

Saturday, January 19, 10:30 am KATE WEARE COMPANY

RINGLING INTERNATIONAL ARTS FESTIVAL 31

Visit us on the Mezzanine for all your favorite selections!

Experience Morton’s Café Eat, Drink, Meet, Relax, & Enjoy

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RINGLING INTERNATIONAL ARTS FESTIVAL 33

FESTIVAL SCHEDULE WEDNESDAY, OCT 10

THURSDAY, OCT 11

FRIDAY, OCT 12

SATURDAY, OCT 13 Art of Our Time: A Look Ahead

10:30

2:00 Film: Carmen & Geoffrey

Film: Joseph Brodsky

Pig Iron Theatre Co.

Shantala Shivalingappa

Jazz on the Bay

Mark Morris Dance Group

Ensemble Basiani

5:00 5:30

RECEPTION

Mark Morris Dance Group

Ensemble Basiani

Jazz on the Bay

Shantala Shivalingappa

Pig Iron Film: Labyrinth Theatre Co. & Park Ave

6:30 Dirty Dozen Brass Band

7:00 Mark Morris Dance Group

8:00

Shantala Shivalingappa Pig Iron Theatre Co.

FESTIVAL THEATERS

Phyllis Chen

Adam Tendler

Performance followed by dinner in the Museum Galleries

Mark Morris Dance Group

Ensemble Basiani

Pig Iron Theatre Co.

CLOSING NIGHT PARTY Dirty Dozen Brass Band Museum Courtyard

FESTIVAL BOX OFFICE

Harold E. and Esther M. Mertz Theatre Built in 1903 as an opera house in Dunfermline, Scotland.

Historic Asolo Theater John M. McKay Visitors Pavilion

FSU Center for the Performing Arts Box Office is open 1 hour before performances

PHONE: 941.360.7399 or ONLINE: www.ringlingartsfestival.org

Historic Asolo Theater America’s only 18thcentury European theater from Asolo, Italy.

Wed, Oct 10, 10:00 am – 9:00 pm Thu, Oct 11, 10:00 am – 9:00 pm Fri, Oct 12, 10:00 am – 9:00 pm Sat, Oct 13, 10:00 am – 9:00 pm

LEE LINKOUS, Box Office & Patron Services Manager BILL MITCHELL, House Manager

Jane B. Cook Theatre A contemporary space designed for audience/ actor intimacy.

❚ All performances begin promptly. There are no refunds for late comers. ❚ Cameras and tape or video recorders are not permitted in the theaters.

Please turn off cell phones, beepers, wristwatch alarms and PDAs. ❚ Wheelchair seating is available in all theaters, must be requested in advance. ❚ All theaters are equipped with hearing assistance systems.

BOX OFFICE STAFF: Roberta Button, Debbie Croke, Naomi Linkous, Mary Ann Toal, Don Skinner, Ida Varadian