Bill T. Jones/Arnie Zane Company: Afterwardsness
Tony Award-winning choreographer, director, and dancer Bill T. Jones continues his longstanding relationship with Northrop and the Walker, presenting his hypnotic new work Afterwardsness. Performed by Jones’ entire company for an audience of 150 seated on the Northrop stage, Afterwardsness addresses the isolation and trauma of the twin pandemics of COVID-19 and on-going violence against Black bodies. The poignancy of the movement is underpinned by a live musical landscape featuring a new vocal composition by Holland Andrews, a violin solo for George Floyd entitled Homage by Pauline Kim Harris, as well as excerpts from Olivier Messaien’s harrowing war-time chamber composition Quartet for the End of Time.
Produced and commissioned by Park Avenue Armory.
Post-performance Artist Q&A Nov 10
This event will be captioned, with other accessibility services available upon request.
“What they created was unexpected and vulnerable, more illuminating than a display of perfect form: A group synergy born from social distancing …. What does it capture? The spirit of time.” —The New York Times
"The music is live and largely elegiac, the dancing, virtuosic and mostly abstract though flecked with gestures of vulnerability, pain and anger" —The New York Times
You can now purchase single tickets to ALL of Northrop’s 2021-22 Season events, along with flexible Choose Your Own season packages and group tickets.
Greetings, and welcome to Northrop! We are delighted that you are here to share this physical space, this moment in time, and this experience with us. These are things that have been missing for far too long.
So here we sit, in what feels like a perpetual state of limbo. In the pandemic of COVID-19, we find ourselves bouncing between periods of sustained separation and fear, and intervals of hope and optimism. Simultaneously, in the pandemic of racism, we swing between the reality we see around us and the world we believe is possible. All the while, we yearn to be in the “after.” We long to look back on it all from higher ground.
Today is not that day. Instead, today is the day we gather to take part in something that addresses the ongoing isolation and trauma of these twin pandemics – COVID-19 and the perpetual violence against people of color. Together, on this stage, we can process the individual and collective hurt, support those around us, begin the healing process, and move toward change that is past due.
Artists and performing arts presenters continue to face uncertainty and long-term ripple effects brought on by the pandemics. At this time, we want to give special thanks to our subscribers and donors. Your support is more important than ever before. Through your attendance and contributions, you ensure that Northrop and the Walker Art Center can continue to bring world-class artists like Bill T. Jones, and important, timely performances like Afterwardsness, to the Twin Cities community. Thank you.
Gratefully,
Kari Schloner
Director of Northrop
Mary Ceruti
Executive Director, Walker Art Center
Northrop, Walker Art Center and New York Live Arts present
BILL T. JONES/ARNIE ZANE COMPANY
Bill T. Jones
Co-Founder & Artistic Director
Janet Wong
Associate Artistic Director
Featuring
The Company
Barrington Hinds, Dean Husted, Shane Larson, s. lumbert, Danielle Marshall, Marie Lloyd Paspe, Jacoby Pruitt, Nayaa Opong and Huiwang Zhang
Musicians
Pauline Kim Harris, Vicky Chow, Paul Wonjin Cho and Caleb van der Swaagh
in
Afterwardsness
Conceived and Directed by Bill T. Jones
Choreography by Bill T. Jones with Janet Wong in collaboration with the Current and Original Company
Original Composition by Pauline Kim Harris and Holland Andrews
Lighting Design by Brian H. Scott
Sound Design by Mark Grey
House soundscape arranged and designed by Shane Larson. Content includes interviews and recordings by Bill T. Jones and members of the Bill T. Jones / Arnie Zane Company.
Musical excerpts from:
Olivier Messiaen: Quartet for the End of Time, III. Abyss of the Birds
Vinson Fraley, Jr.: Kindwords (original song)
Traditional Folklore Song: Another Man Done Gone
Chanel Howard: Somewhere (original song)
Pauline Kim Harris: Homage (original song)
Olivier Messiaen: Quartet for the End of Time, V. Praise to the Eternity of Jesus
Olivier Messiaen: Quartet for the End of Time, VIII. Praise to the Immortality of Jesus
Additional original music by Pauline Kim Harris and Holland Andrews
Afterwardsness was Commissioned and Produced by Park Avenue Armory and premiered at the Wade Thompson Drill Hall as a Social Distance Hall Production in May 2021.
Programming & Production Staff
Kyle Maude, Producing Director
Veronica Falborn, Producer
Hillery Makatura, Director of Production
Serena Wong, Lighting Supervisor
Andrew Lulling, Associate Sound Designer & Engineer
Olivia Edery, Production Stage Manager
The creation of new work by Bill T. Jones/Arnie Zane Company is made possible in part by the company’s Partners in Creation: Anonymous, Anne Delaney, Zoe Eskin, Eleanor Friedman, Ruth & Stephen Hendel, James C. Hormel & Michael P. Nguyen, Suzanne Karpas, Ellen Poss, Jane Bovingdon Semel, in memory of Linda G. Shapiro, Slobodan Randjelović & Jon Stryker.
Support for New York Live Arts is provided by the Arnhold Foundation, Blanchette Hooker Rockefeller Fund, Bloomberg Philanthropies, Ed Bradley Family Foundation, The Brant Foundation, Inc., Joseph and Joan Cullman Foundation for the Arts, Dance/NYC, Ford Foundation, Howard Gilman Foundation, Mertz Gilmore Foundation, Harkness Foundation for Dance, Marta Heflin Foundation, Alex Katz Foundation, Lambent Foundation, Alice Lawrence Foundation, Samuel M. Levy Family Foundation, The John D. and Catherine T. MacArthur Foundation, The Andrew W. Mellon Foundation, National Performance Network, New England Foundation for the Arts, NYC COVID-19 Response & Impact Fund in the New York Community Trust, The Poss Family Foundation, Rockefeller Brothers Fund, Jerome Robbins Foundation, The Fan Fox & Leslie R. Samuels Foundation, San Francisco Foundation, The Semel Charitable Foundation, Scherman Foundation, The Shubert Foundation, Stavros Niarchos Foundation, Tides Foundation.
Public support for New York Live Arts is from Humanities New York, National Endowment for the Arts, New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, New York City Department of Correction, Dance/NYC’s New York City Dance Rehearsal Space Subsidy Program, made possible by The Andrew W. Mellon Foundation and the John D. and Catherine T. MacArthur Foundation
In the psychoanalysis of Sigmund Freud, afterwardsness is “a mode of belated understanding or retroactive attribution of sexual or traumatic meaning to earlier events…” Jettisoning the sexual component and emphasizing the notion of “trauma,” this awkward though evocative term comes very close to describing my state of mind when I was offered a commission to create a socially distanced work at this particular moment of our collective lives. In some ways, the title parodies my (and many others) desire to have reached an endpoint to our twin pandemics: the COVID-19 pandemic and the calling out of systemic racism in the wake of high-profile abuses by the police.
The piece has been constructed quickly and within the constraints and uncertainty of social distancing.
There is a retrospective dimension to Afterwardsness, as much of its choreography comes out of assignments given the dancers during their isolation requiring them to learn from archival videos phrase materials stretching back 40 years no longer in the repertory.
I invited Pauline Kim Harris to be Music Director in collaboration with composer/vocalist/instrumentalist Holland Andrews. They’ve created a composite score that includes Pauline’s original work Homage - a violin solo for George Floyd as well as compositions by Holland Andrews and company members. Following the work’s retroactive logic, we are consciously excerpting Messiaen’s great wartime composition Quartet for the End of Time.
-Bill T. Jones
BILL T. JONES/ARNIE ZANE COMPANY
Founded in 1982, the Bill T. Jones/Arnie Zane Company has shaped the evolution of contemporary dance through the creation and performance of over 140 works. Recognized as one of the most innovative and powerful forces in the modern dance world, the company has performed its ever-enlarging repertoire worldwide in over 200 cities in 30 countries on every major continent. In 2011, the Bill T. Jones/Arnie Zane Company merged with Dance Theater Workshop to form New York Live Arts, of which Bill T. Jones is Artistic Director and Janet Wong is Associate Artistic Director.
The repertory of the Bill T. Jones/Arnie Zane Company is widely varied in its subject matter, visual imagery, and stylistic approach to movement, voice, and stagecraft and includes musically driven works as well as works using a variety of texts. Its most celebrated evening-length works include Last Supper at Uncle Tom’s Cabin/The Promised Land (1990 Next Wave Festival, BAM), Still/Here (1994 Biennale de la Danse, Lyon, France), We Set Out Early…Visibility Was Poor (1996 Hancher Auditorium, Iowa City), You Walk? (2000 European Capital of Culture), Blind Date (2006 Peak Performances at Montclair State), Chapel/Chapter (2006, Harlem Stage Gatehouse), Fondly Do We Hope…Fervently Do We Pray (2009 Ravinia Festival), Another Evening: Venice/Arsenale (2010 Venice Biennale), Story/Time (2012, Peak Performances), and A Rite (2013, Carolina Performing Arts at UNC-Chapel Hill).
NEW YORK LIVE ARTS
Home of Bill T. Jones/Arnie Zane Company (BTJ/AZ), Live Arts is a commissioning and presenting center of diverse artists notable for their conceptual rigor, formal experimentation, and active engagement with the sociocultural currents of our time. Artists at all stages of their careers are supported through residencies, commissions, and artist services. BTJ/AZ, founded in 1982 by Bill T. Jones and Arnie Zane (1948-1988), is recognized as an innovative force, having performed in over 200 cities and 40 countries. Creation of new work by BTJ/AZ is produced by Live Arts and made possible in part by Partners in Creation: Anonymous, Anne Delaney, Zoe Eskin, Eleanor Friedman, Ruth & Stephen Hendel, James C. Hormel & Michael P. Nguyen, Suzanne Karpas, Ellen Poss, Jane Bovingdon Semel, in memory of Linda G. Shapiro, Slobodan Randjelović & Jon Stryker. Sustaining support provided by Ford Foundation, Lambent Foundation, Mertz Gilmore Foundation, Stavros Niarchos Foundation, and Live Arts Board of Directors.
BILL T. JONES (Artistic Director/Co-Founder/Choreographer: Bill T. Jones/Arnie Zane Company; Artistic Director: New York Live Arts) is a multi-talented artist, choreographer, dancer, theater director and writer, has received major honors ranging from the Human Rights Campaign’s 2016 Visibility Award, 2013 National Medal of Arts to a 1994 MacArthur “Genius” Award and Kennedy Center Honors in 2010. Mr. Jones was honored with the 2014 Doris Duke Performing Artist Award, recognized as Officier de l’Ordre des Arts et des Lettres by the French government in 2010, inducted into the American Academy of Arts & Sciences in 2009 and named “An Irreplaceable Dance Treasure” by the Dance Heritage Coalition in 2000. His ventures into Broadway theater resulted in a 2010 Tony Award for Best Choreography in the critically acclaimed FELA!, the new musical co-conceived, co-written, directed and choreographed by Mr. Jones.
He also earned a 2007 Tony Award for Best Choreography in Spring Awakening as well as an Obie Award for the show’s 2006 off-Broadway run. His choreography for the off-Broadway production of The Seven earned him a 2006 Lucille Lortel Award.
Mr. Jones began his dance training at the State University of New York at Binghamton (SUNY), where he studied classical ballet and modern dance. After living in Amsterdam, Mr. Jones returned to SUNY, where he became co-founder of the American Dance Asylum in 1973. In 1982 he formed the Bill T. Jones/Arnie Zane Company (then called Bill T. Jones/Arnie Zane & Company) with his late partner, Arnie Zane. Mr. Jones is currently Artistic Director of New York Lives Arts, an organization that strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting and educating. For more information, visit http://www.newyorklivearts.org/.
His work in dance has been recognized with the 2010 Jacob’s Pillow Dance Award; the 2005 Wexner Prize; the 2005 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement; the 2003 Dorothy and Lillian Gish Prize; and the 1993 Dance Magazine Award. His additional awards include the Harlem Renaissance Award in 2005; the Dorothy B. Chandler Performing Arts Award in 1991; multiple New York Dance and Performance Bessie Awards for his works The Table Project (2001), The Breathing Show (2001), D-Man in the Waters (1989) and the Company’s groundbreaking season at the Joyce Theater (1986). In 1980, 1981 and 1982, Mr. Jones was the recipient of Choreographic Fellowships from the National Endowment for the Arts, and in 1979 he was granted the Creative Artists Public Service Award in Choreography.
Mr. Jones was profiled on NBC Nightly News and The Today Show in 2010 and was a guest on The Colbert Report in 2009. Also in 2010, he was featured in HBO’s documentary series MASTERCLASS, which follows notable artists as they mentor aspiring young artists. In 2009, Mr. Jones appeared on one of the final episodes of Bill Moyers Journal, discussing his Lincoln suite of works. He was also one of 22 prominent black Americans featured in the HBO documentary The Black List in 2008. In 2004, ARTE France and Bel Air Media produced Bill T. Jones–Solos, highlighting three of his iconic solos from a cinematic point of view. The making of Still/Here was the subject of a documentary by Bill Moyers and David Grubin entitled Bill T. Jones: Still/Here with Bill Moyers in 1997. Additional television credits include telecasts of his works Last Supper at Uncle Tom’s Cabin/The Promised Land (1992) and Fever Swamp (1985) on PBS’s Great Performances series. In 2001, D-Man in the Waters was broadcast on the Emmy-winning documentary Free to Dance.
Bill T. Jones’s interest in new media and digital technology has resulted in collaborations with the team of Paul Kaiser, Shelley Eshkar and Marc Downie, now known as OpenEnded Group. The collaborations include After Ghostcatching – the 10th Anniversary re-imagining of Ghostcatching (2010, SITE Sante Fe Eighth International Biennial); 22 (2004, Arizona State University’s Institute for Studies In The Arts and Technology, Tempe, AZ); and Ghostcatching – A Virtual Dance Installation (1999, Cooper Union, New York, NY).
He has received honorary doctorates from Yale University, Art Institute of Chicago, Bard College, Columbia College, Skidmore College, the Juilliard School, Swarthmore College and the State University of New York at Binghamton Distinguished Alumni Award, where he began his dance training with studies in classical ballet and modern dance.
Mr. Jones’s memoir, Last Night on Earth, was published by Pantheon Books in 1995. An in-depth look at the work of Bill T. Jones and Arnie Zane can be found in Body Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane, published by Station Hill Press in 1989. Hyperion Books published Dance, a children’s book written by Bill T. Jones and photographer Susan Kuklin in 1998. Mr. Jones contributed to Continuous Replay: The Photography of Arnie Zane, published by MIT Press in 1999. Jones’s most recent book, Story/Time: The Life of an Idea, was published in 2014 by Princeton University Press.
In addition to his Company and Broadway work, Mr. Jones also choreographed Sir Michael Tippet’s New Year (1990) for Houston Grand Opera and Glyndebourne Festival Opera. His Mother of Three Sons was performed at the Munich Biennale, New York City Opera and the Houston Grand Opera. Mr. Jones also directed Lost in the Stars for the Boston Lyric Opera. Additional theater projects include co-directing Perfect Courage with Rhodessa Jones for Festival 2000 in 1990. In 1994, he directed Derek Walcott’s Dream on Monkey Mountain for The Guthrie Theater in Minneapolis, MN.
ARNIE ZANE (Co-Founder/Choreographer) (1948-1988) was a native New Yorker born in the Bronx and educated at the State University of New York (SUNY) at Binghamton. In 1971, Arnie Zane and Bill T. Jones began their long collaboration in choreography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane’s first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) Fellowship in 1973. Mr. Zane was the recipient of a second CAPS Fellowship in 1981 for choreography, as well as two Choreographic Fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was co-recipient, with Bill T. Jones, of the German Critics Award for his work, Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, co-produced by WGBH-TV Boston and Channel 4 in London.
BARRINGTON HINDS (Performer) is from West Palm Beach, Florida. He began his training at the School of Ballet Florida under the direction of Marie Hale. Hinds holds a BFA in dance from SUNY Purchase College and has worked professionally with VERB Ballets, Northwest Professional Dance Project, and the national tour of Twyla Tharp’s Broadway show, Movin’ Out. In 2011 Hinds was honored as a finalist for the Clive Barnes Award for young talent in dance. He has worked with leading choreographers including Laurie Stallings, Edgar Zendejas, Sarah Slipper, Helen Pickett, Thaddeus Davis, and Cherylyn Lavagnino to name a few. Hinds recently danced with the Stephen Petronio Company, freelances in commercial, TV, and print work, and is a choreographer and teacher. Mr. Hinds joined the company in 2017.
DEAN HUSTED (Performer) was born and raised in Virginia Beach, Virginia where he began his training at Denise Wall’s Dance Energy under the direction of Denise Wall and Victoria Flores Cooke. Dean holds a Bachelor of Fine Arts from New York University’s Tisch School of the Arts. He was selected to attend the contemporary program at The School at Jacob’s Pillow during the summer of 2017, where he performed the works of Marguerite Donlon, Jae Man Joo, Milton Myers, and the Bill T. Jones/Arnie Zane Dance Company. During his time at NYU Tisch he was chosen to study abroad in Berlin under the direction of Pamela Pietro where he studied with Judith Ruiz-Sanchez, Ayman Harper, and Erion Kruja. Dean has had the opportunity to perform works by Merce Cunningham, Bill T. Jones/Arnie Zane, and Christina Robson. Mr. Husted joined the company in 2019.
SHANE LARSON (Performer) was raised in Minnesota, where he received his early training at the Saint Paul Conservatory for Performing Artists. He graduated from NYU’s Tisch School of the Arts with a BFA in Dance and a minor in Child and Adolescent Mental Health Studies. He also studied at SEAD in Austria. Since living in New York City, he’s branched out to collaborate with punk musicians, filmmakers, improvisational music ensembles, and site-specific visual artists. He is also a multimedia video artist making collage-based work about memory. Shane joined the Company in 2015.
S. LUMBERT (Performer) is a Brooklyn based transgender dance artist. They earned a BS in both Dance and Exercise Science from Skidmore College and an MFA in dance from The Ohio State University. s. sometimes makes and performs their own solo work, and collaborates on duets with Rachel Sigrid Freeburg. s. joined the company in 2018.
DANIELLE MARSHALL (Performer) is a native of Atlanta, GA. She received her early dance training from DeKalb School of the Arts, Phusion Performing Arts Alliance, and City Gate Dance Theater. In 2019, she graduated summa cum laude from the Ailey/Fordham B.F.A. program, studying dance & Pre-Health for Physical Therapy. During her time at Ailey/Fordham, Ms. Marshall had the opportunity to perform works by her colleagues and notable choreographers such as Adam Barruch, Amy Hall Garner, and Maxine Steinman. Marshall is also a certified Horton instructor. Danielle joined the company in 2021.
MARIE LLYOD PASPE (Performer) is a native of Singapore and the Philippines who grew up in Mississauga, ON, Canada, and Bellingham, MA. She received her early dance training from Jessica Wilson at MetroWest Ballet and graduated summa cum laude from the Ailey/Fordham BFA Program in 2016, studying dance performance and business administration. Paspe performed on tour with Carolyn Dorfman Dance, and worked with choreographers Renee Jaworski, Peter Chu, Jae Mann Joo, Omar Carrum, Rami Be’er, Martin Harriague, and Manuel Vignoulle. In 2015, she studied abroad in Israel at Kibbutz Contemporary Dance Company’s International Dance Program, where she also premiered her first work. She attended Springboard Danse Montreal in 2017, performing works-in-progress by Peter Chu and Eva Kolarova. Currently, she teaches pilates and dance, collaborates/choreographs, and freelances commercial modeling. Ms. Paspe joined the company in 2018.
JACOBY PRUITT (Performer) began his dance training in Miami, FL where he attended New World School of the Arts. He is a graduate of NYU’s Tisch School of Dance and is a recipient of the Martha Hill Dance Fund’s Young Professional Award. He has worked professionally with Ailey II, Company XIV, Sean Curran Company, and the Metropolitan Opera Ballet among various other freelance projects. His tv/film credits include Good Morning America, Comedy Central’s Alternatino, and the In the Heights film. Jacoby joined the Bill T. Jones/ Arnie Zane Company in 2021.
NAYAA OPONG (Performer) is from Cherry Hill, New Jersey. She began her dance training at The Bowman School of Dance and later continued at Eleone Dance Unlimited. Ms. Opong chose to further her studies at Mason Gross School of the Arts - Rutgers University where she earned a BFA in dance and was able to spend a semester at The Jerusalem Academy of Music and Dance. Since graduating in May 2019, she performs with Hysterika Jazz Dance, and has begun working with the BIRDHOUSE artist collective. Ms. Opong joined the company in 2018.
HUIWANG ZHANG (Performer) danced with China Opera and Dance Drama Company and Paper Tiger Theater Studio in Beijing. He joined the Bill T. Jones/Arnie Zane Company in 2017 after the completion of his Master’s study in Dance and Choreography from the U.S and Germany under the great mentorships of Stephen Koester, Sharee Lane, Ellen Bromberg, and Katharina Christl. He has also performed with Pearsonwidrig DanceTheater and Yin Mei Dance. Huiwang’s movement research and teaching are inspired by his traditional training in Chinese Classical Dance, Martial Arts and by all his teachers like Jennifer Nugent, Sarah Pearson, Leah Cox, Patrik Widrig, Tao Ye, Eric Handman, and Janet Wong. His choreography, often through a sociocultural lens, gives voices to communities at risk of social exclusion and people whose stories are lost in the official narratives, carefully structuring an alternative history from the personal and private stories of individual. His work has been exposed internationally in China, the U.S., and Germany. Huiwang voluntarily edits a dance e-journal upsidedown in China where he writes and translates perspectives in contemporary dance making into Chinese language.
HOLLAND ANDREWS (Composer) is an American vocalist, composer, improviser, and performance artist whose work is based on emotionality in its many forms. In their work, Andrews focuses on the abstraction of operatic and extended-technique voice to build soundscapes encompassing both catharsis and the interplay between dissonance and resonance to tell stories of the interior worlds of humanity. Frequently highlighting themes surrounding vulnerability and healing, Andrews arranges music with voice and clarinet, harnessing the innate qualities of these instruments’ power and elegance to serve as a vessel for these themes. As a vocalist, their influences stem from a dynamic range of musical stylings including contemporary opera, free jazz, and musical theater, as well as ambient, drone, and noise music. In addition to creating solo work, Andrews develops and performs the soundscapes for dance, theater, and film, and whose work is still toured nationally and internationally. Andrews has gained recognition from publications such as The New York Times, Uncut Magazine, Electronic Sound, NPR, and more. Holland Andrews is currently based in New York City. Andrews also performs solo music under the stage name Like a Villain.
VICKY CHOW (Piano) Canadian pianist Vicky Chow has been described as “brilliant” (The New York Times) and as “one of our era’s most brilliant pianists” (Pitchfork). Her album Surface Image, composed by Tristan Perich, was listed among the “Top 10 Avant Music Albums” in Rolling Stone. As an artist frequently broadcast on WNYC radio, her recorded work can be found on the Nonesuch, New Amsterdam, Tzadik, and Cantaloupe Music labels. Interviews and articles featuring Chow have appeared in the HuffPost, Gramophone, The New York Times, and others. She is currently the pianist for Bang on a Can All-Stars, on the board of advisors for Composers Now, and a mentor as part of the Juilliard School mentoring program. Chow is a Yamaha Artist. www.vickychow.com
MARK GREY (Sound Designer) Mark Grey is an Emmy award-winning sound designer and composer who made history as the first sound designer for the New York Philharmonic (On the Transmigration of Souls, 2002, which also won the Pulitzer Prize in Music) and The Metropolitan Opera (Doctor Atomic, 2008, Nixon in China, 2011, Death of Klinghoffer, 2014, The Merry Widow, 2015, Bluebeard’s Castle/Iolanta, 2015, L’Amour de Loin, 2016). As a composer, his opera Frankenstein recently premiered at La Monnaie in Brussels, along with several commissions from the Atlanta Symphony and Los Angeles Philharmonic. He has collaborated intimately with composer John Adams, and several others, for nearly three decades. He designed and toured extensively with Kronos Quartet for nearly 15 years. His sound designs have been heard throughout most major concert halls, HD simulcast theaters, and opera houses worldwide.
PAULINE KIM HARRIS (Music Director, Violinist, Composer) Pauline Kim Harris (aka PK or Pauline Kim) is a Grammy-nominated violinist and composer. The youngest student of legendary violinist Jascha Heifetz, she has appeared throughout the US, Canada, Europe, Asia, and Australia as a soloist, collaborator, and music director. Known for her work with the classical avant-punk violin duo, String Noise, she has also toured extensively with Orpheus Chamber Orchestra and continues to collaborate with leading new music ensembles in New York City. Kim Harris was the first Music Director for Bill T. Jones/Arnie Zane Dance Company and has been the featured artist for choreographers David Parker and Pam Tanowitz. As a composer, Kim Harris deconstructs and re-embodies the tactile connection between memory and sound. She has recorded for Tzadik, Nonesuch, Northern Spy, Mode, Cold Blue, and Black Truffle Records, among others. Her debut album, Heroine—a reimagining of the Bach Chaconne and Ockeghem’s Deo Gratias—was released on Sono Luminus.
BRIAN H. SCOTT (Lighting Designer) Brian H. Scott is a Theatrical Designer working primarily in the medium of light. As a SITI Company member and resident Lighting Designer since 1997, he has had the good fortune to focus on the creation of new work and the re-investigation of classic texts through a contemporary, as well as a physically and visually rigorous lens. His collaborations as a company member of Rude Mechs in Austin, Texas have offered equally invigorating opportunities to create new work through contemporary eyes, in addition to sweeping adaptations of such literary works as Greil Marcus’ look at the history of counter culture, Lipstick Traces, and James Kelman’s book, How Late It Was How Late.
CALEB VAN DER SWAAGH (Cello) A versatile chamber musician and soloist, cellist Caleb van der Swaagh is an alumnus of Ensemble Connect. He won the first prize at the SAVVY Chamber Competition, Manhattan School of Music Pablo Casals Award, and Tanglewood Karl Zeise Memorial Cello Prize. An advocate of contemporary music, van der Swaagh is a member of counter)induction and Ensemble Échappé and performs with other leading new music ensembles. He appears on counter)induction’s most recent album, Against Method (New Focus Records) as well as recordings on Albany Records, Bright Shiny Things, Supertrain Records, Linn Records, and Avie Records. Van der Swaagh studied at Columbia University (Columbia – Juilliard Exchange), New England Conservatory, and Manhattan School of Music. His primary teachers are Bonnie Hampton, Laurence Lesser, and David Geber. www.calebvanderswaagh.com
JANET WONG (Associate Artistic Director, New York Live Arts) was born in Hong Kong and trained in Hong Kong and London. Upon graduation, she joined the Berlin Ballet, where she first met Bill T. Jones when he was invited to choreograph for the company. In 1993, she moved to New York to pursue other interests. Wong became Rehearsal Director of the Company in 1996, Associate Artistic Director in 2006, and Associate Artistic Director of New York Live Arts in 2016.
PAUL WONJIN CHO (Clarinet) Paul Wonjin Cho, bass clarinetist of Hartford Symphony Orchestra and principal clarinetist of the Binghamton Philharmonic Orchestra, has been described as a “stylish clarinetist” by The New York Times. He served as guest principal with the American, New Haven, and Vermont symphony orchestras, and has performed with the Metropolitan Opera, Orchestra of St. Luke’s, and Singapore Symphony, and was a fellow at the Tanglewood Music Center. Cho finished the program Ensemble Connect and became a core member of Decoda. He performs regularly with Ensemble Échappé, Ensemble LPR, and Sejong Soloists. Cho studied with Dong-Jin Kim, Yehuda Gilad, and David Shifrin at Korean National University of Arts, University of Southern California, and the Yale School of Music. Cho is an F. Arthur Uebel Clarinets artist.
BJORN G. AMELAN (Creative Director) was the partner of the late fashion designer Patrick Kelly from 1983 until Mr. Kelly passed away on January 1, 1990. Mr. Amelan moved to the United States to begin his collaboration with Bill T. Jones in 1993. He has designed sets for the following works by Bill T. Jones: Green and Blue (1997) for the Lyon Opera Ballet; How! Do! We! Do! (1999) for Bill T. Jones and Jessye Norman, in conjunction with the Lincoln Center’s Great Performances (1999), You Walk? (2000), The Table Project (2001), Another Evening (2002), Verbum (2002), World Without/In (2002), Black Suzanne (2002), Reading, Mercy and The Artificial Nigger (2003), Mercy 10 x 8 on a Circle (2003), Chaconne (2003) and Blind Date (2005) for the Bill T. Jones/Arnie Zane Dance Company. Mr. Amelan is the recipient of the 2001 New York Dance and Performance Bessie Award for his designs of The Breathing Show and The Table Project.
OLIVIA EDERY (Production Stage Manager) Proudly from the San Francisco Bay Area, Olivia Edery is excited to return to Bill T Jones/Arnie Zane Company as the new Production Stage Manager. A graduate of NYU's Tisch School of the Arts, she works as a freelance stage and production manager having worked and toured with such companies as MBDance, 600 Highwaymen, Dzul Dance, SF Sketchfest, Tabula Rasa Dance Theater, Joshua Beamish |Move The Company, and The Umbilical Brothers. She also works as an electrician both with IATSE Local 4 and for the Solomon R. Guggenheim Museum as a member of IUOE Local 30.
VERONICA FALBORN, (Producer) is incredibly excited to be working with the Bill T. Jones/Arnie Zane Company. Other touring and New York credits include The New York City Ballet, School of American Ballet, Stephen Petronio Company, Trisha Brown Dance Company, Vail International Dance Festival, Dances Patrelle, The Builders Association, and more. She is a proud graduate of the Design Technology Program at SUNY Purchase. Veronica joined the Company in 2015.
ANDREW LULLING (Associate Sound Designer & Engineer) Andrew Lulling has had the opportunity to work closely with many dynamic and vibrant artists and musicians. He has mixed past productions for Robert Wilson, Robert Whitman, Laurie Anderson & Jason Moran, Richie Havens, Phoebe Snow, Justin Hicks, and many others. Andrew was the Sound Designer for “MAZE” at the Shed in 2019, and has engineered the 2020-21 season at the Park Avenue Armory in New York City. He is a resident of Brooklyn, NY.
HILLERY MAKATURA (Director of Production) graduated from Stephen F. Austin State University with a B.F.A. in Theater. She has been touring both internationally and throughout the U.S. since 2006. She has worked as production manager for The Actors Studio, Big Art Group, Theater Mitu and Trisha Brown Dance Company.
KYLE MAUDE (Producing Director) graduated from Drake University with a B.F.A. in Theatre. She has worked with Ballet Tech/Feld Ballets New York, The Royal Ballet School of London, Buglisi-Foreman Dance, and Lesbian Pulp-o-Rama! Ms. Maude joined the Company in 2003.
SERENA WONG (Lighting Supervisor) is a Brooklyn-based freelance lighting designer for theater, opera, and dance. Her designs have been seen at New York Live Arts, Danspace, Irondale Arts Center, and Jacob's Pillow. She is the resident lighting designer for New York Theatre Ballet and enjoys beekeeping and bread baking.
NEW YORK LIVE ARTS
Artistic Leadership
Bill T. Jones, Artistic Director
Janet Wong, Associate Artistic Director
Executive Leadership
Kim Cullen, Executive Director/CEO
Board of Directors
Stephen Hendel, Co-Chair
Richard H. Levy, Co-Chair
Helen Haje, Vice Chair
Slobodan Randjelović, Vice Chair
Alan Marks, Treasurer
Alanna Rutherford, Secretary
Bill T. Jones, Artistic Director, Ex-Officio
Kim Cullen, Chief Executive Officer Ex-Officio
Bjorn Amelan
Sarah Arison
Amiee Meredith Cox
LaToya Ruby Frazier
Charla Jones
Colleen Keegan
Darnell L. Moore
Amy Newman
Randy Polumbo
Ellen M. Poss
Matthew Putman
Jane Bovingdon Semel
Ruby Shang
Catharine R. Stimpson
Diana Wege
Board Emeritus
Derek Brown
Terence Dougherty
Eleanor Friedman
Programming, Producing, and Engagement
Kyle Maude, Producing Director
Hannah Emerson, Producer
Veronica Falborn, Producer
Production
Hillery Makatura, Director of Production
Zaire Baptiste, Interim Technical Director
Olivia Edery, Production Stage Manager
Carson Gross, Lighting Manager
Chanel Pinnock, Production Coordinator
Creative Director
Bjorn G. Amelan
Randjelović/Stryker Resident Commissioned Artist
Faye Driscoll
Raja Feather Kelly
Development
David Archuletta, Chief Development Officer
Alexandra Burke, Individual Giving and Special Events Manager
Erin Baskin, Institutional Giving Manager
Bianca Bailey, Membership Services and Education Coordinator
Candystore, Development Assistant
Hans Rasch, Institutional Giving Assistant
Finance
Nupur Dey, Director of Finance
Manathus Dey, Finance Associate
Lutz and Carr, Certified Public Accounts
Operations
Gregory English, Operations Manager
Rafael Diaz, Facilities Services Coordinator
Aneudy Pilier Paulino, Custodial Coordinator
Adalid Nunez-Mendoza, Custodial Assistant
Communications
Tyler Ashley, Director of Communications
Hannah Seiden, Communications Coordinator
Taylor Adams, Julia Antinozzi, Pamyla Cummings, Salma Kiuhan, Camden Loeser, Paulina Meneses, Lydia Perakis, Sean Wesley Pfeiffer, Taylor Scott, Kiara Williams, Allie Zenwirth - Front of House Staff
Liliana Dirks-Goodman, Graphic Designer
Human Resources
ADP TotalSource
Legal Services
Lowenstein Sandler, PC, Pro-Bono Counsel
Located in the heart of Chelsea in New York City, New York Live Arts is an internationally recognized destination for innovative movement-based artistry offering audiences access to art and artists notable for their conceptual rigor, formal experimentation and active engagement with the social, political and cultural currents of our times.
At the center of its identity is Bill T. Jones, world-renowned choreographer, dancer, theater director and writer. New York Live Arts serves as the home base for the Bill T. Jones/Arnie Zane Company and is the company’s sole producer, providing support and the environment to originate innovation and challenging new work for the company and the NYC creative community. New York Live Arts produces and presents dance, music and theater performances in its 20,000 square foot home, which include a 184-seat theater and two 1,200 square foot studios that can be combined into one large studio. New York Live Arts offers an extensive range of participatory programs for adults and young people and supports the continuing professional development of artists and commissions.
New York Live Arts
219 West 19th Street, New York, NY 10011
+1 212 691-6500 / Fax: +1 212 633-1974
www.newyorklivearts.org
Thank you for supporting Northrop!
MAKE LEGENDARY PERFORMANCES POSSIBLE!
At Northrop, we believe in connecting great artists and ideas with our community and to a new generation of audiences. Your gift helps make memorable arts experiences possible by supporting extraordinary performances and new arts commissions, and helping ensure accessibility to everyone through live-streamed programming, outreach to diverse communities and subsidized student tickets. Our Friends are at the center of Northrop’s biggest ideas and brightest moments on stage.
Become a Friend of Northrop today!
Donate online at northrop.umn.edu/support-northrop
Ways to Give:
To learn more about supporting Northrop please contact:
Cynthia Betz
betzx011@umn.edu or 612-626-7554
FRIENDS OF NORTHROP
A special thank you to our patrons whose generous support makes Northrop's transformative arts experiences possible. Make your mark on Northrop's future by becoming a Friend today, learn more by visiting northrop.umn.edu/support-northrop.
We gratefully acknowledge the support from, Arts Midwest Touring Fund, Minnesota State Arts Board, Marbrook Foundation, National Endowment for the Arts, and New England Foundation for the Arts.
We extend a special thank you to our event sponsors PNC Bank, RBC Wealth Management, and HGA.
10,000+
5,000+
2,500+
1,000+
500+
250+
100+
Up to $99
Up to $99 (continued)
This season’s listing is current as of 10/25/21
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
The Heritage Society honors and celebrates donors who have made estate and other planned gifts for Northrop at the University of Minnesota.
*deceased
NORTHROP’S AEOLIAN-SKINNER ORGAN
Thank you to the generous donors who continue to support programming for Northrop’s beloved Aeolian-Skinner Organ. It is because of you that this magnificent instrument’s voice will be enjoyed by many for years to come.
This season’s listing is current as of 10/25/21
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
Northrop’s 2021-22 Season promises to bring exquisite artists to our stage. I am excited to experience the performances and events planned for this season that include the newly commissioned works, co-presentations with our partners in the Twin Cities arts community, and multiple premieres of pieces never seen before in this region. I hope you’ll enjoy this season and I invite you to bring family and friends to share memorable experiences with you.
As we enjoy this season and look to the future, I invite you to support Northrop’s programs, helping to shine bright lights on our stage. Please consider supporting the important work that Northrop is doing now and in the future to inspire positive change in our world. The Northrop Advisory Board is growing along with new opportunities to engage, if you are interested in learning more, please contact us at northrop@umn.edu.
I look forward to seeing you, soon, in the theater!
Jeff Bieganek, Northrop Advisory Board Chair
The Northrop Advisory Board
The Northrop Advisory Board is committed to the growth and awareness of Northrop’s mission, vision, and the continued future of presenting world-class dance and music in our community. If you would like more information about the advisory board and its work, please contact Cynthia Betz, Director of Development, at 612-626-7554 or betzx011@umn.edu.
This season’s listing is current as of 10/25/21
Please contact Trisha Taylor at taylort@umn.edu if you have any corrections or questions.
In honor of Dale Schatzlein (1948–2006) and his important work in dance and jazz in the Twin Cities, support is provided by Emily Maltz.
