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Co-presented with Baryshnikov Arts Center
Thursday–Saturday Evenings, October 9–11, 2014, at 8:00
Chalk and Soot (New York premiere)
Dance Heginbotham
Brooklyn Rider
Featuring Carla Kihlstedt, Vocals
and Gabriel Kahane, Reed Organ, Vocals
This performance is approximately 75 minutes long, including intermission.
Please join the artists in the Jerome Robbins Theater Lounge immediately
following the performance for a White Light Lounge.
(Program continued)
The White Light Festival is sponsored by Time Warner Inc.
Baryshnikov Arts Center is grateful for The Jerome Robbins Foundation’s generous support of
Chalk and Soot.
These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.
Baryshnikov Arts Center,
Jerome Robbins Theater
WhiteLightFestival.org
Please make certain all your electronic devices
are switched off.
bacnyc.org
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Additional support is provided by The Fan Fox and
Leslie R. Samuels Foundation, Inc.
Endowment support is provided by the American
Express Cultural Preservation Fund.
MetLife is the National Sponsor of Lincoln Center.
Upcoming White Light Festival Events:
Friday, October 10, at 7:30 in
Church of St. Mary the Virgin
Vespers
Rundfunkchor Berlin
Simon Halsey, Conductor
RACHMANINOFF: All-Night Vigil
Movado is an Official Sponsor of Lincoln Center.
United Airlines is the Official Airline of Lincoln
Center.
WABC-TV is the Official Broadcast Partner of
Lincoln Center.
William Hill Estate Winery is the Official Wine of
Lincoln Center.
Artist Catering is provided by Zabar’s and
Zabars.com.
The first iteration of Chalk and Soot premiered on
November 16, 2012, and was commissioned by
Carolina Performing Arts at The University of North
Carolina at Chapel Hill as part of its “Rite of Spring
at 100” celebration.
Chalk and Soot was co-commissioned and created
in part during three Creative Development
Residencies at Jacob’s Pillow Dance Festival, with
support from the Jacob’s Pillow Dance Award
Initiative.
Support for the creation and touring of Chalk and
Soot provided by the O’Donnell-Green Music and
Dance Foundation, National Endowment for the
Arts, Hollister-Clagett Family Foundation for the
Performing Arts, the Mertz Gilmore Foundation,
and the Dance Heginbotham Commissioning Circle.
Saturday, October 11, at 7:30 in the
New York Society for Ethical Culture
Ecstatic Journeys
Rizwan-Muazzam Qawwali
Pre-concert discussion at 6:15
Wednesday–Friday, October 15–17, at 7:30,
and Saturday, October 18, at 2:00 and 7:30
in Rose Theater
The Rite of Spring (New York premiere)
Basil Twist, Director and Designer
Orchestra of St. Luke’s
Jayce Ogren, Conductor
ALL-STRAVINSKY PROGRAM
Fireworks; Pulcinella Suite; The Rite of Spring
Pre-concert discussion with Basil Twist and Jane
Moss on Friday, October 17, at 6:15 in the Irene
Diamond Education Center
Wednesday–Friday, October 22–24, at 7:30 in James
Memorial Chapel, Union Theological Seminary
How Like an Angel (U.S. premiere)
A unique melding of acrobatics by the troupe Circa
and sacred song performed by I Fagiolini
Post-performance discussion with Robert
Hollingworth on Thursday, October 23
For tickets, call (212) 721-6500 or visit
WhiteLightFestival.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light
Festival brochure.
Visit WhiteLightFestival.org for more information
relating to the Festival’s programs.
Join the conversation: #LCWhiteLight
We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces. The taking of photographs
and the use of recording equipment are not allowed in the building.
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Chalk and Soot
(New York premiere)
Dance Heginbotham
Brooklyn Rider
Featuring Carla Kihlstedt, Vocals
and Gabriel Kahane, Reed Organ, Vocals
John Heginbotham, Choreographer
Colin Jacobsen, Composer
Wassily Kandinsky, Lyrics
Nicole Pearce, Lighting Design
Maile Okamura, Costume Design
Dance Heginbotham
John Eirich, Lindsey Jones, Courtney Lopes (Oct. 10), Weaver Rhodes,
Sarah Stanley (Oct. 9 and 11), Macy Sullivan
Brooklyn Rider
Johnny Gandelsman, Violin
Colin Jacobsen, Violin
Nicholas Cords, Viola
Eric Jacobsen, Cello
Chalk and Soot (2014)
ACT I
Intro
Sounds
Exit
Open
Song
Intermission
ACT II
Look
Still?
Curtain
Disconnect, Delay, Lean and Release: A ritual dance for the modern day*
Seeing
Table
*Composed by Shara Worden (2012)
Chalk and Soot premiered July 30, 2014, in the Doris Duke Theatre at Jacob’s Pillow
Dance Festival in Becket, Massachusetts.
WhiteLightFestival.org
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Note from the Choreographer
by John Heginbotham
The first iteration of Chalk and Soot premiered as part of Carolina Performing Arts’s centennial celebration of The Rite of Spring. Colin Jacobsen was commissioned to write new
music for the event, and in the collaborative spirit of Stravinsky and Nijinsky, he
approached me about providing choreography. We looked to Kandinsky and his book of
Modernist poetry, Sounds, for an anchor. Filled with absurd, colorful figurative and pastoral scenes, Sounds was published in 1912, just one year before the premiere of The
Rite of Spring.
We were both inspired by the idea that Kandinsky was known as a painter and not as a
poet, and we imposed a rule for ourselves: each of us was to attempt something outside
of our respective established creative processes. Colin took on the unfamiliar task of
composing vocal music (originally for vocalist Shara Worden), while I took a stab at choreographing a portion of the work in silence (music was later composed for this portion, the
section called Seeing). Ultimately, music and dance combined, and we found the 30 minutes of material we created for Chalk and Soot to be a fruitful venture.
We decided to continue our collaboration as we had touched upon only six of the 38
evocative poems. Thanks to the generosity of several institutions and individuals, we
were able to expand Chalk and Soot into an evening-length work. What you will hear and
see at this performance is the completion of the cycle, which investigates the unsettling,
dark, imaginative themes laid out by the mind of Kandinsky.
—Copyright © 2014 by John Heginbotham
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Chalk and Soot
Music by Colin Jacobsen
Lyrics by Wassily Kandinsky
Sounds
Face.
Far.
Cloud.
....
....
There stands a man with a long sword. The sword is long and also broad.
Very broad.
....
....
He tried to trick me many times and I admit it: He succeeded too—at tricking. And
maybe too many times.
....
.....
Eyes, eyes, eyes…eyes.
.....
.....
A woman, who is thin and not young, who has a cloth on her head, which is like a
shield over her face and leaves her face in shadows.
With a rope the woman leads the calf, which is still small and unsteady on its crooked
legs. Sometimes the calf walks behind her very obediently.
And sometimes it doesn’t. Then the woman pulls the calf by the rope. It lowers its
head and shakes it and braces its legs. But its legs are weak and the rope doesn’t
break.
The rope doesn’t break.
.....
.....
Eyes look out from afar.
The cloud rises.
.....
......
The face.
Afar.
The cloud.
The sword.
The rope.
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Exit
You clapped your hands. Don’t lean your head toward your joy.
Never, never.
And now he’s cutting again with the knife.
Again he’s cutting through with the knife. And now the thunder rolls in the sky. Who led
you in deeper?
In the dark deep quiet water the tops of the trees point down.
Always. Always.
And now he sighs. A heavy sigh. Again he sighed. He sighed.
And the stick hits against something dry.
Who then will point to the door, the exit?
Open
Now disappearing slowly in green grass.
Now sticking in grey muck.
Now disappearing slowly in white snow.
Now sticking in grey muck.
Lay long: big long black reeds.
Lay long.
Long reeds.
Reeds.
Reeds.
Song
A man sits in
A narrow ring,
A narrow ring
Of thinness.
He is content.
He has no ear.
And doesn’t have his eyeballs.
He cannot find
What’s left behind
Of red sounds of the sun ball.
Whatever falls
Stands up again.
And what was dumb,
It sings a song.
Until the man,
Who has no ear,
And doesn’t have his eyeballs,
Will start to find
Signs left behind
Of red sounds of the sun ball.
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Look
Why are you watching me through the white curtain? I didn’t call after you, I didn’t ask
you to look through the white curtain at me. Why does it hide your face from me? Why
can’t I see your face behind the white curtain? Don’t watch me through the white curtain! I didn’t call after you. I didn’t ask you. Through closed eyelids, I see how you
watch me, when you watch through the white curtain. I’ll pull back the white curtain
and see your face, and you won’t see mine. Why can’t I pull back the white curtain?
Why does it hide your face from me?
Still?
You, wild foam.
You, good-for-nothing snail, you who don’t love me.
Empty silence of endless soldiers’ steps, that here cannot by heard.
You, set of four windows with a cross in the middle.
You, windows of the empty hall, of the white wall where no one leans. You, speaking
windows with inaudible sighs. You ignore me: you weren’t built for me.
You, true mortar.
You, meditative swallow, you who don’t love me.
Self-consuming silence of rumbling wheels that chase and shape the figures.
You, thousands of stones that weren’t laid for me and sunk down with hammers. You
hold my feet in a spell. You are small, hard and gray. Who gave you the power to show
me the glittering gold?
You, speaking gold. You wait for me. You invite me: you were built for me.
You, soulful mortar.
Curtain
The rope went down and a certain curtain went up. We have all waited so long for this
moment. A certain curtain hung. A certain curtain hung. A certain curtain hung. It was
hanging down. Now it’s up. When it went up (started up), we were all so very pleased.
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Seeing
Blue, Blue got up, got up and fell.
Sharp, Thin whistled and shoved, but didn’t get through.
From every corner came a humming.
FatBrown got stuck—it seemed for all eternity.
It seemed. It seemed.
You must open your arms wider.
Wider. Wider.
And you must cover your face with red cloth.
And maybe it hasn’t shifted yet at all: it’s just that you’ve shifted.
White leap after white leap.
And after this white leap another white leap.
And in this white leap a white leap. In every white leap a white leap.
But that’s not good at all, that you don’t see the gloom; in the gloom is where it is.
That’s where everything begins………………………………………………………….......…..
With a…………………………………………..Crash………………………………………
Table
Once there was a long table. Oh, a long, long table. Right and left at this table sat many,
many, many people.
people, people,
people.
Oh, a long, long time at this long, long table sat people.
—Translated from the German by Elizabeth R. Napier
—Used by permission of Yale University. © Artists Rights Society (ARS) New York/ADAGP, Paris
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Meet the Artists
JANELLE JONES
reviews from classical, world, and rock critics alike. In the past season the ensemble
collaborated with banjo legend Béla Fleck
on the Deutsche Grammophon/Mercury
Classics album The Impostor and on a 20city North American tour. Other highlights
included collaborations with soprano Dawn
Upshaw as part of residencies at the
University of Texas at Austin and the
University of North Carolina at Chapel Hill,
as well as the eighth season of the
Stillwater Music Festival, a weeklong
chamber festival in Minnesota founded by
the group in 2006 as a place to unveil new
repertoire and collaborations.
Dance Heginbotham
SARAH SMALL
Brooklyn Rider
Brooklyn Rider offers eclectic repertoire in
gripping performances that continue to
attract legions of fans and draw rave
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The quartet has been increasingly active in
the recording studio, with releases such as
2013’s A Walking Fire on Mercury Classics
and the much-praised Brooklyn Rider Plays
Philip Glass on the composer’s Orange
Mountain Music label. Violinist Johnny
Gandelsman launched In a Circle Records
in 2008 with the release of Brooklyn Rider’s
eclectic debut recording, Passport, followed by Dominant Curve in 2010 and
Seven Steps in 2012. The group’s newly
released album, The Brooklyn Rider
Almanac, includes the song “Exit” from
this evening’s performance.
PETER GANNUSHKIN
Founded in 2011, Dance Heginbotham is a
performance group devoted to the presentation of dance and theatrical work created
by John Heginbotham. The company’s
work features highly structured, technically
rigorous, and theatrical choreography, frequently set to the music of contemporary
composers. Dance Heginbotham made its
debut in January 2012 on the Millennium
Stage at the John F. Kennedy Center for
the Performing Arts and has since been
presented by Baryshnikov Arts Center, the
Brooklyn Academy of Music, Jacob’s
Pillow Dance Festival, Lincoln Center Out
of Doors, the Metropolitan Museum of Art,
Carolina Performing Arts, and ODC
Theater, among others. This fall the company will start work on a new piece with
a commissioned score by jazz pianist/
composer Ethan Iverson.
Carla Kihlstedt
Composer, violinist, and vocalist Carla
Kihlstedt is a veteran of folk/pop, contemporary classical, improvised, and experimental music. She is a founding member of
several pioneering and iconic bands, including Sleepytime Gorilla Museum, Rabbit
Rabbit, The Book of Knots, Minamo, and Tin
Hat, whose most recent record was a set of
17 songs based on the poetry of e.e. cummings called the rain is a handsome animal
(New Amsterdam Records).
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Ms. Kihlstedt has written a song cycle for
the International Contemporary Ensemble
about dreams, a musical/radio piece for the
ROVA Saxophone Quartet, a piece about
the advent of communications technology
for the Bang on a Can All-Stars, a reflection
of the photography of Robert and Shana
ParkeHarrison for Brooklyn Rider, an
impressionistic audio travelogue for
Causing a Tiger (commissioned by the
Brecht Forum), and a score for the Folger
Shakespeare Library’s production of
Romeo and Juliet, for which she was nominated for a Helen Hayes Award. She
has also written a song cycle with poet
Rafael Osés for eight performers called
Necessary Monsters, based on Jorge Luis
Borges’s Book of Imaginary Beings.
JOSH GOLEMAN
Ms. Kihlstedt has performed at many festivals in North America and Europe, including the Armenian National Gallery Festival;
the Vancouver, San Francisco, and
Saalfelden jazz festivals; and the Ojai,
Caramoor, and Other Minds music festivals. In addition to her own albums and
those of her various bands and projects,
she has contributed to the recordings of
Fred Frith, Tom Waits, Mr. Bungle, Tracy
Chapman, Pretty Lights, and Madeleine
Peyroux. She teaches young musicians in
the Contemporary Improvisation department at the New England Conservatory.
Gabriel Kahane
Gabriel Kahane has established himself as
a leading voice among a generation of
young composers redefining music for the
21st century. With high praise for his
orchestral debut of the premiere of his
song cycle Orinoco Sketches with John
Adams and the Los Angeles Philharmonic,
Mr. Kahane’s work defies classifications.
This season sees the staging of his latest
album, The Ambassador, a musical investigation of Los Angeles by Tony Award–
winning director John Tiffany at Carolina
Performing Arts, UCLA, and BAM. Since
releasing his 2006 song cycle Craigslistlieder, Mr. Kahane has been commissioned by Carnegie Hall, Kronos Quartet,
American Composers Orchestra, the Los
Angeles Chamber Orchestra, and the
Caramoor Festival, among others. As a
theater composer, he has received commissions from the Public Theater (February
House), Signature Theatre in Arlington,
Virginia, and the Williamstown Theatre
Festival. A recipient of multiple fellowships
from the MacDowell Colony and the
Corporation of Yaddo, Mr. Kahane makes
his home in Brooklyn in close company
with a century-old piano and many books.
John Heginbotham
John Heginbotham is a Brooklyn-based
choreographer and performer, and the artistic director of Dance Heginbotham. Mr.
Heginbotham is the recipient of the 2014
Jacob’s Pillow Dance Award, the Martha Hill
Prize for Sustained Achievement in Dance
(1993), and two Jerome Robbins Foundation New Essential Works (NEW) Fellowships (2010, 2012). In addition to his work
with Dance Heginbotham, his choreography
has been seen at Dance Theater Workshop, the Museum of Modern Art, and Joe’s
Pub at the Public Theater, among other
venues. He has created work for the Atlanta
Ballet, the Wooden Floor, Cork Opera House
(Cork, Ireland), Fischerspooner, Dartmouth
College, The Juilliard School, Purchase
College, Princeton University, and Long
Island University. In December 2013 Mr.
Heginbotham choreographed Isaac Mizrahi’s
Peter and the Wolf at the Guggenheim
Museum. This past June he collaborated
with Mizrahi again on The Magic Flute at the
Opera Theatre of Saint Louis.
Originally from Anchorage, Alaska, Mr.
Heginbotham graduated from The Juilliard
School in 1993. He was a member of the
Mark Morris Dance Group from 1998 to
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2012, and performed across the U.S. and
internationally with artists including Mikhail
Baryshnikov, Yo-Yo Ma, Emanuel Ax, the
Bad Plus, and Zakir Hussain. He is a founding teacher of Dance for PD, an ongoing collaboration between the Mark Morris Dance
Group and the Brooklyn Parkinson Group.
Colin Jacobsen
Colin Jacobsen is a composer and violinist
who was named one of the top 100 composers under 40 by NPR listeners. He is also
active as an Avery Fisher Career Grant–winning soloist and a touring member of Yo-Yo
Ma’s famed Silk Road Ensemble. For his
work as a founding member of two innovative, audience-expanding ensembles—the
string quartet Brooklyn Rider and the
orchestra The Knights—Mr. Jacobsen was
recently selected to receive a prestigious
United States Artists Fellowship. In 2005 he
founded Brooklyn Rider with violinist
Johnny Gandelsman, violist Nicholas Cords,
and his brother, cellist Eric Jacobsen.
Jointly inspired by encounters with leading
exponents of non-Western traditions and by
his own classical heritage, Mr. Jacobsen’s
work as a composer developed as a natural
outgrowth of his chamber and orchestral collaborations. Among his most notable compositions for Brooklyn Rider are Brooklesca,
an homage to his Brooklyn home; Beloved,
do not let me be discouraged, as heard on
the quartet’s acclaimed recording with
Kayhan Kalhor; and Achilles’ Heel, which is
showcased on Dominant Curve. His most
recent compositions for the group include
Three Miniatures, which were written for the
reopening of the Metropolitan Museum of
Art’s Islamic art galleries. Mr. Jacobsen collaborated with Iran’s Siamak Aghaei to write
a Persian folk–inflected composition,
Ascending Bird, which he performed as a
soloist with the YouTube Symphony
Orchestra at the Sydney Opera House. His
work for dance and theater includes music
for Compagnia de’ Colombari’s theatrical production of Walt Whitman’s Song of Myself.
WhiteLightFestival.org
Nicole Pearce
Nicole Pearce (lighting design) has worked
previously with Dance Heginbotham on
Closing Bell, Dark Theater, Fly by Wire,
Manhattan Research, and Twin. She has
also worked with Mark Morris (Mark Morris
Dance Group, Boston Ballet, and Voloshky
Ukrainian Dance Ensemble), Aszure Barton
(Nederlands Dans Theater, Aszure Barton &
Artists, Hubbard Street Dance Chicago, and
The Juilliard School), and Jessica Lang
(Joffrey Ballet, Birmingham Royal Ballet,
National Ballet of Japan, and Jessica Lang
Dance), among others. Her New York theater credits include The American Dream
and The Sandbox directed by Edward Albee,
Beebo Brinker Chronicles directed by Leigh
Silverman, Edgewise directed by Trip
Cullman, Betrothed directed by Rachel
Dickstein, A Raisin in the Sun directed by
Jade King Carroll, and Savage in Love
directed by Pam MacKinnon.
Maile Okamura
Maile Okamura (costume design) has been
designing and constructing costumes for
John Heginbotham since 2002. She is also a
dancer with the Mark Morris Dance Group.
John Eirich
John Eirich (dancer) was raised in Orlando,
Florida, where he studied ballet and jazz at
Southern Ballet Theatre. He earned his
bachelor of fine arts degree in dance from
New World School of the Arts in 2005, was
a student at Jacob’s Pillow Contemporary
Traditions Program, and performed with
Miami Contemporary Dance Company and
the Florida Grand Opera. He has worked
with the Amy Marshall Dance Company,
was a member of Taylor 2 from 2006–10
and has been a member of TAKE Dance
since 2007. Mr. Eirich joined Dusˇan Ty´nek
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JANELLE JONES
Dance Theatre in 2010, is currently a member of Dance Heginbotham, and has performed Missa Brevis with the Limón
Dance Company, and L’Allegro, il Penseroso ed il Moderato and The Hard Nut with
the Mark Morris Dance Group.
Lubovitch, Paul Taylor, Jessica Lang, B.J.
Sullivan, and Huang Yi of Cloud Gate Dance
Theatre. Ms. Lopes is currently working
with choreographers John Heginbotham,
Ian Spencer Bell, and Kathryn Alter.
Weaver Rhodes
Lindsey Jones
Lindsey Jones (dancer) is originally from St.
Louis, Missouri, where she started dancing
at the Center of Creative Arts. She graduated with a bachelor of fine arts degree
from Purchase College and also studied
at London Contemporary Dance School.
Since graduating, Ms. Jones has participated in various reconstructions of Merce
Cunningham’s works with former company members. She has performed with
Ian Spencer Bell, Adriane Lee/Rosario,
June Finch, Jessica Taylor, and Lauren
Camp with Co-Lab [Experiments in Collaboration]. Ms. Jones is currently dancing
with Dance Heginbotham, Pam Tanowitz
Dance, and GREYZONE.
Courtney Lopes
Courtney Lopes (dancer) is originally from
Bermuda. She attended the University of
North Carolina School of the Arts for her
high school education, focusing on contemporary dance, and earned her bachelor of
fine arts degree in dance from Purchase
College in 2012. Ms. Lopes has studied
with the American Dance Festival, Limón
Dance Company, Doug Varone and
Dancers, and the Taipei National University
of the Arts. Ms. Lopes has performed
works by such choreographers as Lar
Weaver Rhodes (dancer) was born and
raised in Colleyville, Texas, where he started
to dance at age 12 at Dance Continuum. He
later received his training from the Booker T.
Washington High School for the Performing
and Visual Arts under the direction of Lily
Weiss. He then went on to receive his bachelor of fine arts degree in dance from
Purchase College in 2012. Mr. Weaver has
attended various summer workshops
including the Rock School for Dance
Education, the Bill T. Jones/Arnie Zane
Dance Company intensive at Skidmore, the
American Dance Festival, Springboard
Danse Montréal, and Northwest Dance
Project’s LAUNCH: 7. He has performed
with various companies, including Northwest Dance Project, Mettin Movement, the
Kevin Wynn Collection, and the Metropolitan
Classical Ballet in Arlington, Texas. Mr.
Weaver has also worked with artists such as
Robert Battle, Dwight Rhoden, Jessica
Lang, Kate Skarpetowska, Patrick Corbin,
Pam Tanowitz, and Greg Dolbashian.
Sarah Stanley
Sarah Stanley (dancer) is from Houston,
Texas, where she trained at the High
School for the Performing and Visual Arts.
She graduated in 2011 from Purchase
College, where she performed works by
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Nelly van Bommel, Wally Wolfgruber, and
Johannes Wieland, among others. While at
Purchase, she had the opportunity to study
at Taipei National University of the Arts in
2009. She now lives in New York, where
she has worked with Nelly van Bommel/
NØA Dance, Brice Mousset, LaneCoArts,
KDNY, Jonathan Royse Windham, Mettin
Movement, Gallim Dance, Punchdrunk’s
Sleep No More, and Dance Heginbotham.
BAC’s opening in 2005 heralded the launch
of this mission, establishing a thriving creative laboratory and performance space for
artists from around the world. BAC’s activities encompass a robust residency program
augmented by a range of professional services, including commissions of new work,
as well as the presentation of performances
by artists at varying stages of their careers.
In tandem with its commitment to supporting artists, BAC is dedicated to building
audiences for the arts by presenting contemporary, innovative work at affordable
ticket prices.
White Light Festival
Macy Sullivan
Originally from Camas, Washington, Macy
Sullivan (dancer) currently dances for Dance
Heginbotham and the Chase Brock
Experience. She recently performed the
roles of Peter in Isaac Mizrahi and John
Heginbotham’s Peter and the Wolf, Marie in
Chase Brock’s The Nutcracker, and a featured tap dancer in Tyne Rafaeli’s The Poor
of New York. Ms. Sullivan has danced for
Ray Hesselink, Anabella Lenzu, Alexander
Weinman, and Caleb Teicher, and performed work by Alexander Ekman, Mark
Morris, Ohad Naharin, Christopher Stowell,
Merce Cunningham, George Balanchine,
and August Bournonville. As a teaching
artist, Ms. Sullivan has worked with Lincoln
Center, Cayman Arts Festival, Artists
Striving to End Poverty, and most recently,
New York City’s Department of Education.
She holds a bachelor of fine arts degree in
dance from The Juilliard School (Martha Hill
Prize, John Erskine Prize, Choreographic
Honors) and formerly trained with Oregon
Ballet Theatre, Josie Moseley, Tracey Durbin, and Karen Cannon.
Baryshnikov Arts Center
Baryshnikov Arts Center (BAC) is the realization of a long-held vision by artistic director
Mikhail Baryshnikov to build an arts center
in New York City that would serve as a gathering place for artists from all disciplines.
WhiteLightFestival.org
I could compare my music to white light,
which contains all colors. Only a prism can
divide the colors and make them appear;
this prism could be the spirit of the listener.
—Arvo Pärt. Celebrating its fifth anniversary, the White Light Festival is Lincoln
Center’s annual exploration of music and
art’s power to reveal the many dimensions
of our interior lives. International in scope,
the multidisciplinary festival offers a broad
spectrum of the world’s leading instrumentalists, vocalists, ensembles, choreographers, dance companies, and directors
complemented by conversations with
artists and scholars and post-performance
White Light Lounges.
Lincoln Center for the Performing
Arts, Inc.
Lincoln Center for the Performing Arts
(LCPA) serves three primary roles: presenter
of artistic programming, national leader in
arts and education and community relations,
and manager of the Lincoln Center campus.
A presenter of more than 3,000 free and
ticketed events, performances, tours, and
educational activities annually, LCPA offers
15 programs, series, and festivals including
American Songbook, Great Performers,
Lincoln Center Festival, Lincoln Center Out
of Doors, Midsummer Night Swing, the
Mostly Mozart Festival, and the White Light
Festival, as well as the Emmy Award–
winning Live From Lincoln Center, which
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airs nationally on PBS. As manager of the
Lincoln Center campus, LCPA provides support and services for the Lincoln Center
complex and the 11 resident organizations.
In addition, LCPA led a $1.2 billion campus
renovation, completed in October 2012.
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Nasrene Haj, House Seat Coordinator
Utsuki Otsuka, Production Assistant
Reshena Liao, House Program Intern
For Chalk and Soot
Matt Miller, Lighting Assistant
Valerie Oliveiro, Production Stage Manager
Management Information
Dance Heginbotham
Adrienne Bryant, Managing Director
www.danceheginbotham.org
Brooklyn Rider’s representation:
Opus 3 Artists
www.opus3artists.com
Mr. Kahane’s representation:
First Chair Promo
www.firstchairpromo.com
Ms. Kihlstedt’s representation:
www.carlakihlstedt.com
SPECIAL THANKS
Chalk and Soot would not have been possible without Mikhail Baryshnikov and the incredible
staff at Baryshnikov Arts Center; invaluable support was also provided by Ella Baff, the all-star
staff at Jacob’s Pillow Dance Festival, and the anonymous donors responsible for the Jacob’s
Pillow Dance Award; additional thanks to Emil Kang, Marnie Karmelita, and the staff at Carolina
Performing Arts; Wanda Fleck, Norton Owen and the O’Donnell-Green Music and Dance
Foundation; Sarah Marcus and the Hollister-Clagett Family Foundation for the Performing Arts;
the National Endowment for the Arts; the Mertz Gilmore Foundation; the Dance Heginbotham
Advisory Council and Commissioning Circle: Jennings Bryant, Lauren Cherubini, Zev
Greenfield, Jeanie Heginbotham, Kristen Miles, Isaac Mizrahi, and Michele and Steven Pesner.
Additional thanks to Mark Morris, Nancy Umanoff, Huong Hoang, and the Mark Morris Dance
Group; Damian Woetzel, Christopher Pennington, Allen Greenberg and the Board of the
Jerome Robbins Foundation; Ron, Jeanie, Sherrie, Henry Heginbotham, Lorraine Leader, and
Kim Graham; Edmund Jacobsen and Susan Bloom; Mel and Amy Okamura; Todd and Alison
Bryant; thank you to the performers; Val Oliveiro, you are amazing; Nicole Pearce, thank you
for your brilliance and patience; Adrienne Bryant, Maile Okamura—thank you for everything.
10-09 Chalk_GP 9/25/14 10:54 AM Page 15
Baryshnikov Arts Center
Board of Directors
Slavka B. Glaser, Chairman
R. Jarrett Lilien, Treasurer
Mikhail Baryshnikov, Chairman Emeritus
Frank Cordasco
Richard DeScherer
Diana DiMenna
James H. Duffy
Sandra Foschi
Roger W. Hooker
Aidan Mooney
Steven Pesner
Suzanne Weil
Staff
Mikhail Baryshnikov, Artistic Director
Steven Battaglia, Operations Manager
Rachel Bellamy, Marketing and Administrative Assistant
Patrice Christu, Operations Associate
Katie Gorum, Technical Director
Layton Hower, Director of Finance and Human Resources
Alex Hurst, Assistant Technical Director
Kristen Miles, Director of Marketing and Communications
Kirsten Munro, Director of Development
Pedja Muzijevic, Artistic Administrator
Georgiana Pickett, Executive Director
Pamela Rapp, Production Manager
Vernon Scott, Special Events Manager and Executive Assistant to the Artistic Director
Eleanor Wallace, Program Manager
Special thanks to our production crew, front-of-house staff, and volunteers.
How to Support BAC
Please visit www.bacnyc.org and click “donate now” to make a valuable contribution to help
sustain artist-centered programming at BAC.
For more information please contact Kirsten Munro, Director of Development, at [email protected].
Baryshnikov Arts Center Acknowledgements
Baryshnikov Arts Center is grateful for the support of its generous individual and
institutional annual fund donors in 2014.
Elena Aristova, Mikhail Baryshnikov and Lisa Rinehart, Tina and Jeffrey Bolton Family Fund,
Catherine Brennan, Clyde Brownstone, Frank and Monique Cordasco, Richard and Jennie
DeScherer, Joseph and Diana DiMenna, James H. Duffy, Ehrenkranz Family Foundation,
Barbara Fleischman, Sandra Foschi, Slavka B. Glaser, Louise Guenther, Agnes Gund, Dr. Ayele
Hadero, Brian and Tania Higgins, Roger and Joan Hooker, Huong Hoang, Fredericka Hunter,
Colleen Keegan, Donald M. Kendall, Paul and Teresa Kim, Joan Konner and Alvin Perlmutter,
Herman Krawitz, Jarrett and Maritess Lilien, Jane Lipton, Jane & Richard Mescon, Aidan
Mooney, Steven and Michèle Pesner, Aidan and Elizabeth Quinn, John S. Rockwell, Dorothy
Scheuer, Wallace Shawn, Christina Sterner, Jennifer Tipton, Ian and Jack Archer Watters, Mary
Waters, Suzanne Weil, and in memory of Sophia Adams.
WhiteLightFestival.org
bacnyc.org
10-09 Chalk_GP 9/25/14 10:54 AM Page 16
Affirmation Arts Fund, The AG Foundation, Arison Arts Foundation, Capezio-Ballet Makers
Dance Foundation, Citizens of Humanity, The Enoch Foundation, J.C. Flowers Foundation, Ford
Foundation, Foundation for Contemporary Arts, Marshall Frankel Foundation, Howard Gilman
Foundation, Francis Goelet Charitable Lead Trusts, Irving Harris Foundation, Francena T.
Harrison Foundation Trust, Kent-Lucas Foundation, The Andrew W. Mellon Foundation, Mertz
Gilmore Foundation, New England Foundation for the Arts/National Dance Project, Rudolf
Nureyev Dance Foundation, Princess Grace Foundation-USA, Robert Rauschenberg
Foundation, The Jerome Robbins Foundation, James E. Robison Foundation, Blanchette
Hooker Rockefeller Fund, Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation,
The Thompson Family Foundation, Trust for Mutual Understanding, Agnes Varis Charitable
Trust, and the Walter Family Foundation.
Baryshnikov Arts Center is also grateful for support provided by the National Endowment for
the Arts and public funds from the New York City Department of Cultural Affairs in partnership
with the City Council. Funding is also made possible by the New York State Council on the Arts
with the support of Governor Andrew Cuomo and the New York State Legislature.
Yamaha is the official piano of the Baryshnikov Arts Center.
As of September 10, 2014