Baryshnikov Arts Center,Jerome Robbins Theater

Please make certain all your electronic devicesare switched off.

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.

Co-presented with Baryshnikov Arts Center

Thursday–Saturday Evenings, October 9–11, 2014, at 8:00

Chalk and Soot (New York premiere)

Dance HeginbothamBrooklyn Rider

Featuring Carla Kihlstedt, Vocalsand 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.

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(Program continued)

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Additional support is provided by The Fan Fox andLeslie R. Samuels Foundation, Inc.

Endowment support is provided by the AmericanExpress Cultural Preservation Fund.

MetLife is the National Sponsor of Lincoln Center.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of LincolnCenter.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

Artist Catering is provided by Zabar’s andZabars.com.

The first iteration of Chalk and Soot premiered onNovember 16, 2012, and was commissioned byCarolina Performing Arts at The University of NorthCarolina at Chapel Hill as part of its “Rite of Springat 100” celebration.

Chalk and Soot was co-commissioned and createdin part during three Creative DevelopmentResidencies at Jacob’s Pillow Dance Festival, withsupport from the Jacob’s Pillow Dance AwardInitiative.

Support for the creation and touring of Chalk andSoot provided by the O’Donnell-Green Music andDance Foundation, National Endowment for theArts, Hollister-Clagett Family Foundation for thePerforming Arts, the Mertz Gilmore Foundation,and the Dance Heginbotham Commissioning Circle.

Upcoming White Light Festival Events:

Friday, October 10, at 7:30 in Church of St. Mary the Virgin

VespersRundfunkchor BerlinSimon Halsey, ConductorRACHMANINOFF: All-Night Vigil

Saturday, October 11, at 7:30 in the New York Society for Ethical Culture

Ecstatic JourneysRizwan-Muazzam QawwaliPre-concert discussion at 6:15

Wednesday–Friday, October 15–17, at 7:30, and Saturday, October 18, at 2:00 and 7:30in Rose Theater

The Rite of Spring (New York premiere)Basil Twist, Director and DesignerOrchestra of St. Luke’sJayce Ogren, ConductorALL-STRAVINSKY PROGRAMFireworks; Pulcinella Suite; The Rite of SpringPre-concert discussion with Basil Twist and JaneMoss on Friday, October 17, at 6:15 in the IreneDiamond Education Center

Wednesday–Friday, October 22–24, at 7:30 in JamesMemorial 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 RobertHollingworth on Thursday, October 23

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about pro-gram cancellations or to request a White LightFestival brochure.

Visit WhiteLightFestival.org for more informationrelating 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 leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Chalk and Soot (New York premiere)

Dance HeginbothamBrooklyn RiderFeaturing Carla Kihlstedt, Vocalsand Gabriel Kahane, Reed Organ, Vocals

John Heginbotham, ChoreographerColin Jacobsen, ComposerWassily Kandinsky, LyricsNicole Pearce, Lighting DesignMaile Okamura, Costume Design

Dance HeginbothamJohn Eirich, Lindsey Jones, Courtney Lopes (Oct. 10), Weaver Rhodes, Sarah Stanley (Oct. 9 and 11), Macy Sullivan

Brooklyn RiderJohnny Gandelsman, ViolinColin Jacobsen, ViolinNicholas Cords, ViolaEric Jacobsen, Cello

Chalk and Soot (2014)

ACT IIntro SoundsExitOpenSong

Intermission

ACT IILookStill?CurtainDisconnect, Delay, Lean and Release: A ritual dance for the modern day*SeeingTable

*Composed by Shara Worden (2012)

Chalk and Soot premiered July 30, 2014, in the Doris Duke Theatre at Jacob’s PillowDance Festival in Becket, Massachusetts.

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Note from the Choreographerby John Heginbotham

The first iteration of Chalk and Soot premiered as part of Carolina Performing Arts’s cen-tennial celebration of The Rite of Spring. Colin Jacobsen was commissioned to write newmusic for the event, and in the collaborative spirit of Stravinsky and Nijinsky, heapproached me about providing choreography. We looked to Kandinsky and his book ofModernist poetry, Sounds, for an anchor. Filled with absurd, colorful figurative and pas-toral scenes, Sounds was published in 1912, just one year before the premiere of TheRite of Spring.

We were both inspired by the idea that Kandinsky was known as a painter and not as apoet, and we imposed a rule for ourselves: each of us was to attempt something outsideof our respective established creative processes. Colin took on the unfamiliar task ofcomposing vocal music (originally for vocalist Shara Worden), while I took a stab at chore-ographing a portion of the work in silence (music was later composed for this portion, thesection called Seeing). Ultimately, music and dance combined, and we found the 30 min-utes 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 38evocative poems. Thanks to the generosity of several institutions and individuals, wewere able to expand Chalk and Soot into an evening-length work. What you will hear andsee 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 JacobsenLyrics 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. Andmaybe 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 ashield 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 crookedlegs. Sometimes the calf walks behind her very obediently.And sometimes it doesn’t. Then the woman pulls the calf by the rope. It lowers itshead and shakes it and braces its legs. But its legs are weak and the rope doesn’tbreak.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 ledyou 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 inA narrow ring,A narrow ringOf thinness.He is content.He has no ear.And doesn’t have his eyeballs.He cannot find What’s left behindOf red sounds of the sun ball.Whatever fallsStands 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 behindOf 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 askyou to look through the white curtain at me. Why does it hide your face from me? Whycan’t I see your face behind the white curtain? Don’t watch me through the white cur-tain! I didn’t call after you. I didn’t ask you. Through closed eyelids, I see how youwatch me, when you watch through the white curtain. I’ll pull back the white curtainand 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, speakingwindows 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. Youhold my feet in a spell. You are small, hard and gray. Who gave you the power to showme 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 thismoment. A certain curtain hung. A certain curtain hung. A certain curtain hung. It washanging 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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Dance HeginbothamFounded in 2011, Dance Heginbotham is aperformance group devoted to the presen-tation of dance and theatrical work createdby John Heginbotham. The company’swork features highly structured, technicallyrigorous, and theatrical choreography, fre-quently set to the music of contemporarycomposers. Dance Heginbotham made itsdebut in January 2012 on the MillenniumStage at the John F. Kennedy Center forthe Performing Arts and has since beenpresented by Baryshnikov Arts Center, theBrooklyn Academy of Music, Jacob’sPillow Dance Festival, Lincoln Center Outof Doors, the Metropolitan Museum of Art,Carolina Performing Arts, and ODCTheater, among others. This fall the com-pany will start work on a new piece with a commissioned score by jazz pianist/ composer Ethan Iverson.

Brooklyn RiderBrooklyn Rider offers eclectic repertoire ingripping performances that continue toattract legions of fans and draw rave

reviews from classical, world, and rock crit-ics alike. In the past season the ensemblecollaborated with banjo legend Béla Fleckon the Deutsche Grammophon/MercuryClassics album The Impostor and on a 20-city North American tour. Other highlightsincluded collaborations with soprano DawnUpshaw as part of residencies at theUniversity of Texas at Austin and theUniversity of North Carolina at Chapel Hill,as well as the eighth season of theStillwater Music Festival, a weeklongchamber festival in Minnesota founded bythe group in 2006 as a place to unveil newrepertoire and collaborations.

The quartet has been increasingly active inthe recording studio, with releases such as2013’s A Walking Fire on Mercury Classicsand the much-praised Brooklyn Rider PlaysPhilip Glass on the composer’s OrangeMountain Music label. Violinist JohnnyGandelsman launched In a Circle Recordsin 2008 with the release of Brooklyn Rider’seclectic debut recording, Passport, fol-lowed by Dominant Curve in 2010 andSeven Steps in 2012. The group’s newlyreleased album, The Brooklyn RiderAlmanac, includes the song “Exit” fromthis evening’s performance.

Composer, violinist, and vocalist CarlaKihlstedt is a veteran of folk/pop, contem-porary classical, improvised, and experi-mental music. She is a founding member ofseveral pioneering and iconic bands, includ-ing Sleepytime Gorilla Museum, RabbitRabbit, The Book of Knots, Minamo, and TinHat, whose most recent record was a set of17 songs based on the poetry of e.e. cum-mings called the rain is a handsome animal(New Amsterdam Records).

Carla Kihlstedt

Meet the ArtistsSARAH SMALL

JANELLE JONES

PETE

R GANNUSHKIN

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Ms. Kihlstedt has written a song cycle forthe International Contemporary Ensembleabout dreams, a musical/radio piece for theROVA Saxophone Quartet, a piece aboutthe advent of communications technologyfor the Bang on a Can All-Stars, a reflectionof the photography of Robert and ShanaParkeHarrison for Brooklyn Rider, animpressionistic audio travelogue forCausing a Tiger (commissioned by theBrecht Forum), and a score for the FolgerShakespeare Library’s production ofRomeo and Juliet, for which she was nom-inated for a Helen Hayes Award. She has also written a song cycle with poetRafael Osés for eight performers calledNecessary Monsters, based on Jorge LuisBorges’s Book of Imaginary Beings.

Ms. Kihlstedt has performed at many festi-vals in North America and Europe, includ-ing the Armenian National Gallery Festival;the Vancouver, San Francisco, andSaalfelden jazz festivals; and the Ojai,Caramoor, and Other Minds music festi-vals. In addition to her own albums andthose of her various bands and projects,she has contributed to the recordings ofFred Frith, Tom Waits, Mr. Bungle, TracyChapman, Pretty Lights, and MadeleinePeyroux. She teaches young musicians inthe Contemporary Improvi sation depart-ment at the New England Conservatory.

Gabriel Kahane has established himself asa leading voice among a generation ofyoung composers redefining music for the21st century. With high praise for hisorchestral debut of the premiere of hissong cycle Orinoco Sketches with JohnAdams and the Los Angeles Philharmonic,Mr. Kahane’s work defies classifications.This season sees the staging of his latest

album, The Ambassador, a musical investi-gation of Los Angeles by Tony Award–winning director John Tiffany at CarolinaPerforming Arts, UCLA, and BAM. Sincereleasing his 2006 song cycle Craigslist -lieder, Mr. Kahane has been commis-sioned by Carnegie Hall, Kronos Quartet,American Composers Orchestra, the LosAngeles Chamber Orchestra, and theCaramoor Festival, among others. As atheater composer, he has received com-missions from the Public Theater (FebruaryHouse), Signature Theatre in Arlington,Virginia, and the Williamstown TheatreFestival. A recipient of multiple fellowshipsfrom the MacDowell Colony and theCorporation of Yaddo, Mr. Kahane makeshis home in Brooklyn in close companywith a century-old piano and many books.

John HeginbothamJohn Heginbotham is a Brooklyn-basedchoreographer and performer, and the artis-tic director of Dance Heginbotham. Mr.Heginbotham is the recipient of the 2014Jacob’s Pillow Dance Award, the Martha HillPrize for Sustained Achievement in Dance(1993), and two Jerome Robbins Foun da -tion New Essential Works (NEW) Fellow -ships (2010, 2012). In addition to his workwith Dance Heginbotham, his choreographyhas been seen at Dance Theater Work-shop, the Museum of Modern Art, and Joe’sPub at the Public Theater, among othervenues. He has created work for the AtlantaBallet, the Wooden Floor, Cork Opera House(Cork, Ireland), Fischer spooner, DartmouthCollege, The Juilliard School, PurchaseCollege, Princeton Uni versity, and LongIsland University. In December 2013 Mr.Hegin botham choreographed Isaac Mizrahi’sPeter and the Wolf at the GuggenheimMuseum. This past June he collaboratedwith Mizrahi again on The Magic Flute at theOpera Theatre of Saint Louis.

Originally from Anchorage, Alaska, Mr.Heginbotham graduated from The JuilliardSchool in 1993. He was a member of theMark Morris Dance Group from 1998 to

Gabriel KahaneJOSH GOLE

MAN

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2012, and performed across the U.S. andinternationally with artists including MikhailBaryshnikov, Yo-Yo Ma, Emanuel Ax, theBad Plus, and Zakir Hussain. He is a found-ing teacher of Dance for PD, an ongoing col-laboration between the Mark Morris DanceGroup and the Brooklyn Parkinson Group.

Colin JacobsenColin Jacobsen is a composer and violinistwho was named one of the top 100 com-posers under 40 by NPR listeners. He is alsoactive as an Avery Fisher Career Grant–win-ning soloist and a touring member of Yo-YoMa’s famed Silk Road Ensemble. For hiswork as a founding member of two innova-tive, audience-expanding ensembles—thestring quartet Brooklyn Rider and theorchestra The Knights—Mr. Jacobsen wasrecently selected to receive a prestigiousUnited States Artists Fellowship. In 2005 hefounded Brooklyn Rider with violinistJohnny Gandelsman, violist Nicholas Cords,and his brother, cellist Eric Jacobsen.

Jointly inspired by encounters with leadingexponents of non-Western traditions and byhis own classical heritage, Mr. Jacobsen’swork as a composer developed as a naturaloutgrowth of his chamber and orchestral col-laborations. Among his most notable com-positions for Brooklyn Rider are Brooklesca,an homage to his Brooklyn home; Beloved,do not let me be discouraged, as heard onthe quartet’s acclaimed recording withKayhan Kalhor; and Achilles’ Heel, which isshowcased on Dominant Curve. His mostrecent compositions for the group includeThree Miniatures, which were written for thereopening of the Metropolitan Museum ofArt’s Islamic art galleries. Mr. Jacobsen col-laborated with Iran’s Siamak Aghaei to writea Persian folk–inflected composition,Ascending Bird, which he performed as asoloist with the YouTube SymphonyOrchestra at the Sydney Opera House. Hiswork for dance and theater includes musicfor Compagnia de’ Colombari’s theatrical pro-duction of Walt Whitman’s Song of Myself.

Nicole PearceNicole Pearce (lighting design) has workedpreviously with Dance Heginbotham onClosing Bell, Dark Theater, Fly by Wire,Manhattan Research, and Twin. She hasalso worked with Mark Morris (Mark MorrisDance Group, Boston Ballet, and VoloshkyUkrainian Dance Ensemble), Aszure Barton(Nederlands Dans Theater, Aszure Barton &Artists, Hubbard Street Dance Chicago, andThe Juilliard School), and Jessica Lang(Joffrey Ballet, Birmingham Royal Ballet,National Ballet of Japan, and Jessica LangDance), among others. Her New York the-ater credits include The American Dreamand The Sandbox directed by Edward Albee,Beebo Brinker Chronicles directed by LeighSilverman, Edgewise directed by TripCullman, Betrothed directed by RachelDickstein, A Raisin in the Sun directed byJade King Carroll, and Savage in Lovedirected by Pam MacKinnon.

Maile OkamuraMaile Okamura (costume design) has beendesigning and constructing costumes forJohn Heginbotham since 2002. She is also adancer with the Mark Morris Dance Group.

John Eirich (dancer) was raised in Orlando,Florida, where he studied ballet and jazz atSouthern Ballet Theatre. He earned hisbachelor of fine arts degree in dance fromNew World School of the Arts in 2005, wasa student at Jacob’s Pillow ContemporaryTraditions Program, and performed withMiami Contemporary Dance Company andthe Florida Grand Opera. He has workedwith the Amy Marshall Dance Company,was a member of Taylor 2 from 2006–10and has been a member of TAKE Dancesince 2007. Mr. Eirich joined Dusan Tynek

John Eirich

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Dance Theatre in 2010, is currently a mem-ber of Dance Heginbotham, and has per-formed Missa Brevis with the LimónDance Company, and L’Allegro, il Penser -oso ed il Moderato and The Hard Nut withthe Mark Morris Dance Group.

Lindsey Jones (dancer) is originally from St.Louis, Missouri, where she started dancingat the Center of Creative Arts. She gradu-ated with a bachelor of fine arts degreefrom Purchase College and also studied at London Contemporary Dance School.Since graduating, Ms. Jones has partici-pated in various reconstructions of MerceCunningham’s works with former com-pany members. She has performed withIan Spencer Bell, Adriane Lee/Rosario,June Finch, Jessica Taylor, and LaurenCamp with Co-Lab [Experiments in Collab -oration]. Ms. Jones is currently dancingwith Dance Heginbotham, Pam Tano witzDance, and GREYZONE.

Courtney Lopes (dancer) is originally fromBermuda. She attended the University ofNorth Carolina School of the Arts for herhigh school education, focusing on contem-porary dance, and earned her bachelor offine arts degree in dance from PurchaseCollege in 2012. Ms. Lopes has studiedwith the American Dance Festival, LimónDance Company, Doug Varone andDancers, and the Taipei National Universityof the Arts. Ms. Lopes has performedworks by such choreographers as Lar

Lubovitch, Paul Taylor, Jessica Lang, B.J.Sullivan, and Huang Yi of Cloud Gate DanceTheatre. Ms. Lopes is currently workingwith choreographers John Heginbotham,Ian Spencer Bell, and Kathryn Alter.

Weaver Rhodes (dancer) was born andraised in Colleyville, Texas, where he startedto dance at age 12 at Dance Continuum. Helater received his training from the Booker T.Washington High School for the Performingand Visual Arts under the direction of LilyWeiss. He then went on to receive his bach-elor of fine arts degree in dance fromPurchase College in 2012. Mr. Weaver hasattended various summer workshopsincluding the Rock School for DanceEducation, the Bill T. Jones/Arnie ZaneDance Company intensive at Skidmore, theAmerican Dance Festival, SpringboardDanse Montréal, and Northwest DanceProject’s LAUNCH: 7. He has performedwith various companies, including North -west Dance Project, Mettin Movement, theKevin Wynn Collection, and the MetropolitanClassical Ballet in Arlington, Texas. Mr.Weaver has also worked with artists such asRobert Battle, Dwight Rhoden, JessicaLang, Kate Skarpe towska, Patrick Corbin,Pam Tanowitz, and Greg Dolbashian.

Sarah Stanley (dancer) is from Houston,Texas, where she trained at the HighSchool for the Performing and Visual Arts.She graduated in 2011 from PurchaseCollege, where she performed works by

Sarah Stanley

Lindsey Jones

Courtney Lopes

Weaver Rhodes

JANELLE JONES

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Nelly van Bommel, Wally Wolfgruber, andJohannes Wieland, among others. While atPurchase, she had the opportunity to studyat Taipei National University of the Arts in2009. She now lives in New York, whereshe has worked with Nelly van Bommel/NØA Dance, Brice Mousset, LaneCoArts,KDNY, Jonathan Royse Windham, MettinMovement, Gallim Dance, Punchdrunk’sSleep No More, and Dance Heginbotham.

Originally from Camas, Washington, MacySullivan (dancer) currently dances for DanceHeginbotham and the Chase BrockExperience. She recently performed theroles of Peter in Isaac Mizrahi and JohnHeginbotham’s Peter and the Wolf, Marie inChase Brock’s The Nutcracker, and a fea-tured tap dancer in Tyne Rafaeli’s The Poorof New York. Ms. Sullivan has danced forRay Hesselink, Anabella Lenzu, AlexanderWein man, and Caleb Teicher, and per-formed work by Alexander Ekman, MarkMorris, Ohad Naharin, Christopher Stowell,Merce Cunning ham, George Balanchine,and Aug ust Bournonville. As a teachingartist, Ms. Sullivan has worked with LincolnCenter, Cayman Arts Festival, ArtistsStriving to End Poverty, and most recently,New York City’s Department of Education.She holds a bachelor of fine arts degree indance from The Juilliard School (Martha HillPrize, John Erskine Prize, ChoreographicHonors) and formerly trained with OregonBallet Theatre, Josie Moseley, Tracey Dur -bin, and Karen Cannon.

Baryshnikov Arts Center Baryshnikov Arts Center (BAC) is the realiza-tion of a long-held vision by artistic directorMikhail Baryshnikov to build an arts center in New York City that would serve as a gath-ering place for artists from all disciplines.

BAC’s opening in 2005 heralded the launchof this mission, establishing a thriving cre-ative laboratory and performance space forartists from around the world. BAC’s activi-ties encompass a robust residency programaugmented by a range of professional ser-vices, including commissions of new work,as well as the presentation of performancesby artists at varying stages of their careers.In tandem with its commitment to support-ing artists, BAC is dedicated to buildingaudiences for the arts by presenting con-temporary, innovative work at affordableticket prices.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the listener.—Arvo Pärt. Celebrating its fifth anniver-sary, the White Light Festival is LincolnCenter’s annual exploration of music andart’s power to reveal the many dimensionsof our interior lives. International in scope,the multidisciplinary festival offers a broadspectrum of the world’s leading instrumen-talists, vocalists, ensembles, choreogra-phers, dance companies, and directorscomplemented by conversations withartists and scholars and post-performanceWhite Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presenterof artistic programming, national leader inarts and education and community relations,and manager of the Lincoln Center campus.A presenter of more than 3,000 free andticketed events, performances, tours, andeducational activities annually, LCPA offers15 programs, series, and festivals includingAmerican Songbook, Great Performers,Lincoln Center Festival, Lincoln Center Outof Doors, Midsummer Night Swing, theMostly Mozart Festival, and the White LightFestival, as well as the Emmy Award–winning Live From Lincoln Center, which

Macy Sullivan

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airs nationally on PBS. As manager of theLincoln Center campus, LCPA provides sup-port and services for the Lincoln Center

complex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Acting Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Programming Publications EditorNasrene Haj, House Seat CoordinatorUtsuki Otsuka, Production AssistantReshena Liao, House Program Intern

For Chalk and SootMatt Miller, Lighting AssistantValerie Oliveiro, Production Stage Manager

Management InformationDance HeginbothamAdrienne Bryant, Managing Director www.danceheginbotham.org

Brooklyn Rider’s representation:Opus 3 Artists www.opus3artists.com

Mr. Kahane’s representation:First Chair Promowww.firstchairpromo.com

Ms. Kihlstedt’s representation:www.carlakihlstedt.com

SPECIAL THANKSChalk and Soot would not have been possible without Mikhail Baryshnikov and the incrediblestaff at Baryshnikov Arts Center; invaluable support was also provided by Ella Baff, the all-starstaff at Jacob’s Pillow Dance Festival, and the anonymous donors responsible for the Jacob’sPillow Dance Award; additional thanks to Emil Kang, Marnie Karmelita, and the staff at CarolinaPerforming Arts; Wanda Fleck, Norton Owen and the O’Donnell-Green Music and DanceFoundation; Sarah Marcus and the Hollister-Clagett Family Foundation for the Performing Arts;the National Endowment for the Arts; the Mertz Gilmore Foundation; the Dance HeginbothamAdvisory Council and Commissioning Circle: Jennings Bryant, Lauren Cherubini, ZevGreenfield, Jeanie Heginbotham, Kristen Miles, Isaac Mizrahi, and Michele and Steven Pesner.Additional thanks to Mark Morris, Nancy Umanoff, Huong Hoang, and the Mark Morris DanceGroup; Damian Woetzel, Christopher Pennington, Allen Greenberg and the Board of theJerome Robbins Foundation; Ron, Jeanie, Sherrie, Henry Heginbotham, Lorraine Leader, andKim Graham; Edmund Jacobsen and Susan Bloom; Mel and Amy Okamura; Todd and AlisonBryant; thank you to the performers; Val Oliveiro, you are amazing; Nicole Pearce, thank youfor your brilliance and patience; Adrienne Bryant, Maile Okamura—thank you for everything.

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Baryshnikov Arts Center

Board of DirectorsSlavka B. Glaser, ChairmanR. Jarrett Lilien, TreasurerMikhail Baryshnikov, Chairman Emeritus

Frank CordascoRichard DeSchererDiana DiMennaJames H. DuffySandra FoschiRoger W. HookerAidan MooneySteven PesnerSuzanne Weil

StaffMikhail Baryshnikov, Artistic DirectorSteven Battaglia, Operations ManagerRachel Bellamy, Marketing and Administrative AssistantPatrice Christu, Operations AssociateKatie Gorum, Technical DirectorLayton Hower, Director of Finance and Human ResourcesAlex Hurst, Assistant Technical DirectorKristen Miles, Director of Marketing and CommunicationsKirsten Munro, Director of DevelopmentPedja Muzijevic, Artistic AdministratorGeorgiana Pickett, Executive DirectorPamela Rapp, Production ManagerVernon Scott, Special Events Manager and Executive Assistant to the Artistic DirectorEleanor Wallace, Program Manager

Special thanks to our production crew, front-of-house staff, and volunteers.

How to Support BACPlease visit www.bacnyc.org and click “donate now” to make a valuable contribution to helpsustain artist-centered programming at BAC.

For more information please contact Kirsten Munro, Director of Development, at kmunro@bacnyc.org.

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 JennieDeScherer, Joseph and Diana DiMenna, James H. Duffy, Ehrenkranz Family Foundation,Barbara Fleischman, Sandra Foschi, Slavka B. Glaser, Louise Guenther, Agnes Gund, Dr. AyeleHadero, 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, AidanMooney, Steven and Michèle Pesner, Aidan and Elizabeth Quinn, John S. Rockwell, DorothyScheuer, Wallace Shawn, Christina Sterner, Jennifer Tipton, Ian and Jack Archer Watters, MaryWaters, Suzanne Weil, and in memory of Sophia Adams.

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Affirmation Arts Fund, The AG Foundation, Arison Arts Foundation, Capezio-Ballet MakersDance Foundation, Citizens of Humanity, The Enoch Foundation, J.C. Flowers Foundation, FordFoundation, Foundation for Contemporary Arts, Marshall Frankel Foundation, Howard GilmanFoundation, Francis Goelet Charitable Lead Trusts, Irving Harris Foundation, Francena T.Harrison Foundation Trust, Kent-Lucas Foundation, The Andrew W. Mellon Foundation, MertzGilmore Foundation, New England Foundation for the Arts/National Dance Project, RudolfNureyev Dance Foundation, Princess Grace Foundation-USA, Robert RauschenbergFoundation, The Jerome Robbins Foundation, James E. Robison Foundation, BlanchetteHooker Rockefeller Fund, Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation,The Thompson Family Foundation, Trust for Mutual Understanding, Agnes Varis CharitableTrust, and the Walter Family Foundation.

Baryshnikov Arts Center is also grateful for support provided by the National Endowment forthe Arts and public funds from the New York City Department of Cultural Affairs in partnershipwith the City Council. Funding is also made possible by the New York State Council on the Artswith 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

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